[image_with_animation image_url=”8367″ alignment=”” animation=”None” box_shadow=”none” max_width=”100%”] I asked Claire Putney to name some of the inspirational watercolor painters for her upcoming workshop Watercolor Landscapes. She listed:
Sunga Park
Maria Ginzburg
Walton Ford
Z L Feng
In the next week I’ll share artwork by each of these painters. Today I have work by Z L Feng.
Z L Feng
Feng’s paintings are built to win watercolor awards, and they do. Feng’s skill is clearly displayed in each work: examples of glow, reflection, loose and tight, planned “accidents” and formal work. The classic asymmetrical compositions are variations on a theme, as each painting follows similar recipes: The light sky is reflected in water for diffused open glow just off of center. The vertical trees provide lift, and intersect the top and bottom (reflection) edge of the canvas – which notably tends to be generally one consistent size and ratio, and you have your choice of vertical or horizontal layout. Triangles of land offer horizontal mass to the composition and outline the water form. Branches provide stained glass windows to the background. Depth is given a faded far away background, reassuring middle ground, refreshing foreground, with an equally measured balance of light, medium and dark values. Space and forms are divided just as equally between areas of large loose swathes, medium rhythm setters, and a few small articulate details. Chroma and colors are similarly balanced, as if by recipe of analogous (harmony), complimentary (vibrancy), and neutral (restful) colors that support the final bright splash of color lifted from the shadows to make it pop. They are formula paintings, and my goodness they are pretty! I don’t mind at all. More please.
From Radford University: Growing up in Shanghai, Feng began painting at age seven and never stopped, experimenting with different mediums, including pastel, oil, and egg tempera, before choosing his favorite, watercolor. “With watercolor you cannot cover your mistakes, so you must know what you are doing,” he says. He finds inspiration for his lovely landscapes in the countryside of the New River Valley: “Usually I go around – to the river, the forest, the lake – to try and find interesting compositions.”
Every week in figure drawing I teach a different drawing approach. Today was straight line measures; which always feels to beginners like they’re getting tangled up in bicycle spokes, but it’s invaluable and even relaxing for returning students. The basic idea of straight line measures is that you use straight lines to measure out the …
She studied the pattern and repetition of the pieces. She examined each character in the painting, and figured out the bride was the one with her orange hair out, and in black. Black clothing dye, as our resident textiles expert Lucy Garnett points out, would have been very expensive at that time, so appropriate for …
Exercise your creativity This SAL Challenge is a vocabulary based creative challenge every day for January. Materials are artist’s choice. You can draw, paint, sew, collage, sculpt your food, anything you want. See below for today’s creative challenge. Set the timer for 20 minutes and see what happens. NOMOTHETIC adj. relating to the study or …
The following is text from my interview of Fran O’Neill, Oct 6, 2020. I asked Fran to share some of the historical artworks she regards as masterworks. She talked about what she sees as the magic of transcriptions. “There’s a whole mystery that is incredible about works from the past, and unlocking some of that …
Z L Feng
[image_with_animation image_url=”8367″ alignment=”” animation=”None” box_shadow=”none” max_width=”100%”] I asked Claire Putney to name some of the inspirational watercolor painters for her upcoming workshop Watercolor Landscapes. She listed:
In the next week I’ll share artwork by each of these painters. Today I have work by Z L Feng.
Z L Feng
Feng’s paintings are built to win watercolor awards, and they do. Feng’s skill is clearly displayed in each work: examples of glow, reflection, loose and tight, planned “accidents” and formal work. The classic asymmetrical compositions are variations on a theme, as each painting follows similar recipes: The light sky is reflected in water for diffused open glow just off of center. The vertical trees provide lift, and intersect the top and bottom (reflection) edge of the canvas – which notably tends to be generally one consistent size and ratio, and you have your choice of vertical or horizontal layout. Triangles of land offer horizontal mass to the composition and outline the water form. Branches provide stained glass windows to the background. Depth is given a faded far away background, reassuring middle ground, refreshing foreground, with an equally measured balance of light, medium and dark values. Space and forms are divided just as equally between areas of large loose swathes, medium rhythm setters, and a few small articulate details. Chroma and colors are similarly balanced, as if by recipe of analogous (harmony), complimentary (vibrancy), and neutral (restful) colors that support the final bright splash of color lifted from the shadows to make it pop. They are formula paintings, and my goodness they are pretty! I don’t mind at all. More please.
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