Painting and Color Work

Tonal Values Add Depth to Your Project

Tonal Values in all crafts – wood carving, wood burning, colored pencils, and painting

If really is amazing the odd moments that you remember and that affect the rest of your life.

Mom and I had been to a doctor in lower, southern Baltimore that day.  She decided to take the long way home as it was a wonderful country ride and it avoided the “new” interstate highway.  I must have been less than 10 as my younger sister was not yet born, so about 1958 to 1962.

It was all rural dairy farm land at that time, Maryland’s main agriculture for the Piedmont area.  Late afternoon, driving into the setting sun, we came to a T intersection just above the little town of Olney.  Mom just stopped at the cross road and looked out across the farm land in front of us.  We just sat there for the longest time.

In front of us was a small hill of pasture land with an old wire fence.  On top of the rise was a dilapidated barn, leaning slightly, surrounded by young weed-tree saplings.  The silo was long gone, but the old, rusting tractor still sat by the side of the barn.

“See that fallen down barn … look at where the roof has caved in and where the windows and doors are long gone.  Do you see the light coming into the inside of barn from the holes in the roof?  Look at how black the inside of the barn is but how bright the sunlight patches are where they hit the floor. They are brilliant white”

“Do you see the locust trees growing inside the barn, how their trunks and branches are white in sunlight coming into the barn, then disappear into the black shadows, but come out of the roof looking white again?”

‘Notice how you can’t really see anything inside the barn where the black shadows are but you can see all the details where the sunlight has come through the roof.  Now THAT’S a painting!!!!”

It wasn’t the barn; it wasn’t the old tractor; it wasn’t even all the colors of the field, trees, and red barn paint that she saw … it was the light and shadows.  Mom was an accomplished artist who, as I, started out as an oil painter and later supported her family from her craft business income.

I passed that barn many, many times later in my life when I traveled from the University of Maryland to home.  Over the years it slowly settled into just a pile of rotten wood planks, and eventually was lost under those weed-trees that had grown to full size.   Every time I came to that T intersection, like Mom, I stopped and looked and pondered the bright sunshine highlights and the black afternoon shadows – the tonal values of that rustic landscape.

So in working on a new update for my blog and pattern site I was compiling a series of images of some of my work, shown above.   When I put them together as one image – wood carvings, wood burnings, colored pencils, tutorials, and oil painting – I realized they all had one thing in common.  Every project, for me, is about tonal value and how to capture those bright white highlights and blackest shadows.

Art is about the white eyelashes of that cow lying over the blackest shadow inside her ear.  Its about cutting a deep undercut to free the sides of the fence from the wood to cast a dark shadow.  Its about working the under painting of a white flower so that the insides of the petal are starkly contrasted to the white roll overs of the petal’s edge.

For me, art is about tonal values, and it is because of that one little, brief moment of my Mom sharing her love of just seeing the world through those highlights and shadows.

Thanks for letting me sharing this memory!

~Lora
Tonal Value Sepia Worksheet
Wood Burning Sepia Values
Mapping Your Pyrography Pattern
Contrasting Tonal Values
Light and Shadows in Pyrography
 

 

 

 

 

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Wood Carving, Pyrography Pattern Collection

On sale through Dec. 31st, 2022
For a limited time get a free bonus book, signed by Lora Irish with your
Thumb Drive order at ArtDesignsStudio.com
This week’s book is the Great Book of Wood Burning – Edition 2, a $22 value.

Wood Carving, Pyrography Pattern Collection Read More »

Mulberry Paper Collage for Wood Working

Collage is the art of using small scraps or pieces of paper, fiber, and printed material to create an image.  Its a favorite for scrap booking, altered art, and fine arts.  It can also be used for your wood and gourd crafts.

Supplies:  mulberry paper, rice paper, hand-crafted art paper, an acrylic based glue, a home computer printer, and a digital pattern.

ArtDesignsStudio.com and LSIrish.com are affiliates of Amazon.com.  Your purchases through these links helps me to keep LSIrish.com blog free for your fun.  Thank you for your support!

Mulberry and rice papers have little to no grain.  Instead they have a random fibrous base that allows the papers to bend, and adjust to the surface upon which they are applied. They are often semi-transparent which allows the media to show through the paper fibers – you don’t lose your wonderful wood grain of your basswood slab when you lay printed mulberry paper over top the surface.

Plus! They can be used with your home printer.  It is so much easier to print a complicated mandala pattern on art paper and then glue that paper to your board, then to try and trace each and every line of the design.

Acrylic-based glues and pastes keep the printed paper from becoming water saturated, which will cause the paper to buckle.  Try Yes! Glue, or PVA bookbinding acid-free glue instead of Elmore’s.

I have two new pattern packages on my pattern website, at ArtDesignsStudio.com, that are perfect for collage work.

I have also posted a new E-Project for creating a Mulberry Paper covered collage wood box, with step-by-step instructions.  Currently, July 13th, 2022, there is a Try It Before You Buy It free mandala pattern for the clock shown below posted on ArtDesignsStudio.com’s homepage.

This is a 1/2″ thick, end slab of basswood.  Sand the slab with 220-grit sandpaper and remove any dust.  Measure for the center point to create the 3/8″ hole needed for the clockworks.  Print your free pattern on Mulberry paper.  Use YES! glue with a palette knife on the back of the paper.  Center the mulberry printed pattern over the clock hole and with your fingers gently rub from the center out on the paper to remove any air bubbles.  Let the basswood collage slab dry overnight, then color your mandala with your favorite coloring agent – colored pencils, gel pens, watercolor crayons, soft pastels, and even watercolors.  Seal the finished clock with acrylic spray sealer … That’s it, quick, simple, and fun.

 

My new E-Project focuses on creating a collage covered wood craft box with a mandala design that flows over the top and sides of the box.You will learn:

how-to print the pattern to your art on mulberry paper,  rice paper, or hand-crafted art paper
how-to remove the pre-made box hardware
how-to measure the paper to fit the inside and outside of the box
how-to apply the acrylic-based YES! glue
how-to roll the paper over the sides of the box
how-to cut the lid free from the bottom
how-to create a secret inside lid trap door.

 

Of course, the E-Project covers basic instructions on using colored pencils to highlight your design.

Plus, there is a large, bonus, peony design, shown printed on medium-beige mulberry paper, ready for framing.

The new E-Project, Art Paper Mandala Collage E-Project, includes both mandala pattern packs – Mandala 1 Collage Patterns, and Mandala 2 Collage Patterns.  $14.95 for all.

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Coloring Wood Carving, Pyrography & Gourd Projects

Painting Wood, Water Colors, Colored Pencils, Marking Pens

 

Coloring Your Projects

Painting with Eye Shadow for Wood Carving and Pyrographyfree pyrography clock pattern
Coloring Your Project
Color Chart for LSIrish.com
Basics to Painting
Adding Skin Colors with Watercolors
Basics to Painting
Acrylics over a Primer for Wood Carving
China Painting with Acrylics for Wood Carving
Dry Brushed Acrylics over Oil Stain for Wood Carvings
Marbling and Splatter Painting
Simple Dry Brushing for Wood Carving and Pyrography
Vintage Painting
Wood Carving and Burning Painting Supplies
Paint Kit Supplies for Painting Your Wood Carving
Steps to Success, Painting Your Wood Carving
Burnishing Your Wood Carving
Simple Blending with Acrylic Craft Paints
General Techniques Used in Wood Carving Paintingfinishing and paintinf techniques for wood
Basics to Painting for Pyrography and Wood Carving
Painting Eyes
Watercolors and Wood Burning
The Color Wheel, Who Is R. G. Biv?
Dry Brushing, Wood Painting Techniques by Lora Irish
Colored Pencil Let’s Talk Color
Marking Pen Quilts
Adult Coloring – Colored Pencil Application
Adult Coloring – Working with Colored Pencils
Adult Coloring Portraits
Colored Pencil Let’s Talk Color
Colored Pencil Pyrography
Color, Shadow, and Light in Pyrography
Coloring your Pyrography using Colored Pencils
Painting a Color Wheel for Pyrography, Gourd Art, Wood Carving
Working in Layers, Colored Pencils
Color Chart for LSIrish.com
Painted Blue Jeans 2, Free Craft Patterns
Painted Blue Jeans, Free Patterns
Sepia Toned Crayons

LSIrish.com

L S Irish Mission Statement
Free Wood Carving, Pyrography, Painting PDF Files
Selling Your Finished Work – Art and Craft Shows
Copyright, Can I sell my finished projects?
Lora Irish Copyright Article
How to Download

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Working with Pure Color Hues

I have been working on three brand new e-projects for my pattern website at ArtDesignsStudio.com and in today’s work of one of these new e-projects I realized I had a set of images that taught the power of working with pure color hues.

I’d like to share these images with you !!!  Please click on any image for a full-sized photo.

We work with three types of color in relationship to their tonal values – pastels, pure hues, and jewel tones.

Pure hue = a color that has not been altered by the use of white, gray, or black as red, yellow, and blue.
Tonal value = the amount of white, black, or gray in a color as a pale gray tone to a dark gray tone.
Pastels = pure color hues that have white added as pink, pale yellow, and baby blue.
Jewel tones = pure color hues that have black added as maroon, deep gold, and gunmetal blue.

Tonal values in pyrography are what we use to shade and contour an area of the design, working in sepia (brown) tones.

1  The images below show my pyrography shading for one of my upcoming new projects.  I am working on birch plywood using my Colwood  burner with my loop-tip pen and a soft, scrubbie stroke.  The image to the right is the gray scaled photo of this shading which shows the black tonal value range.

 

2  After my shading was worked I added my fine line doodle detailing using my ball-tip pen at a medium-hot setting.  Part of that detailing step included creating some solid black areas in the design.  Again, to the right is the gray scale image, showing only the black tonal values.  All tonal values to this point have been specifically created with the tool tip and burner temperature setting in my pyrography.

 

3  But what happens to that pyrography tonal value work when colored pencils are added to give individual coloring to the design.  In this photo you can see the added color pencil work, using artist quality pencils which contain little or no chalk base. Inexpensive colored pencils, or school quality sets often contain chalk as the base filler which adds a white, gray, or black toning to the color hue.  Artist quality pencils use either a wax base which makes the blending of the colors easy without changing the color tones or if you are using watercolor pencils no base at all.

I am working with pure hues – red, yellow, and blue or secondary and tertiary mixes of those hues.  I have used some white as shown in the small left-side tear drop accents and I have worked a graphite pencil shading in the background area directly to the birch plywood.

4  Now let’s compare these three stages of work.  Stage one is the simple pyro shading, stage two is the pyro detailing, and stage three is the addition of pure color hues using colored pencils.  Now compare the gray scale photo of stage two to stage three and you will see that the colors have added very little to almost no tonal value to the work.

This means that all of my pyrography tonal value shading remains unchanged and therefore totally in my control even when I am laying colored pencil over the work !!!!

OK … I’m off to work on your new e-projects but will get back to you if I come across another ‘quick tip’ idea.

Thanks you ~ Lora Irish

 

 

 

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