Paint Along With Nancy Kominsky; 106; Low tide
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. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . I'll be very careful, I said you'll end up with a sky going straight down. I'm sure there is a sky like that, that案 pretty rare. I have a tendency to leave there canvas and spots, it works sometimes very well. But when you're inexperience it might upset you so cover the canvas. Have your sky interesting, don't beat it to death.
It's very rare you have an absolutely clear, clear sky. Let's put a dark tone over that like this. That keeps it rather interesting like that. I'll leave that for the moment. Let's go to the right hills on the right side, start with these small yellow hills and we start with the light tone like this. Be very careful. The light tone is on the right, remember your light is coming from the right and these are lovely pale yellow hills. We have dark tone on the left. Actually the median tone, I don't want it too dark because I want to create a very different feeling here. It's very far away and so they're quite pale. And a little bit of yellow, quite over here on the second or the third hill like that.
A little dark tone here. I would like to add a wee bit of orange on that. Just a wee bit. Now let's go to the green hills, leave this for just a moment. The dark tone on the left like this. The median tone. Now our stroke is down and over. Like this. Now when you put your light tone then dark and then this is light, dark, light and so on, you create the difference in your hills. The stroke is like this, over, down and over.
It creates a depth in your hills. I would like to add a little yellow tone to have this transition a little smoother like that. Now I will show you in just a moment how to create a feeling of distance. Over here we have an interesting situation in that this hill protrudes and so you have it a little lighter. This creates a feeling of this coming out. We have a very dark tone in here like this. This is interesting right here. We create this little inlet that I was struggling with in the drawing because I had gotten my brush too wet. Now blend it with the other tone so it doesn't look like it's just stuck on in there. It's a little green, very dark green valley.
Now before we go any further I would like to take clean your knife, clean your knife like this. And go into the sky and drag it down over your hills like this. This softens the hills. It creates a wonderful feeling because in a distance you always have a haze like that. I would like to see just a little dark green right here like this. You see I'm creating as I go along, this is what's so marvelous. And you will be able to do the same thing, you'll be able to create and change as you learn. And once you learn it will free you to experiment but you will have the base.
And this is what it's all about. This health system is a means of getting your started painting. Now we have a little darker tone here but please keep this very light here this hill for a very wonderful reason. And you will see it as we develop painting a little more. I don't worry about this, we're going to adjust the moment, clear that up because it is a little fuzzy there. We'll leave that for the moment. Now we have lovely water. Now remember that the water is a mirror of the sky. When you hold water in your hand it's clear there is no color. So actually a body of water acts as a mirror for the sky. If you have a gray stormy sky you're bound to have gray stormy water. So remember that we're going to take the tone of the sky and bring it down into the water. It also saves you mixing a color like this. We're going to start with a dark tone over here like that.
And there again we have our marvelous stroke. Now leave that for just a moment and let's go to the other side where I have mixed an extra light tone and we're going very carefully, we must do this carefully. Go between these little inlets because it's very important to create that feeling that I was trying to in the drawing. Like that. Now go back to the light tone. My paint is just a little soft but you won't have that problem. Let's bring this out like this. There we are. I'm going to add a little purple but for the moment leave it alone. Light tone and extra light tone on the right. Now there will be times when we will use four tones or five,
whatever the case may be. But we'll get into that later for the moment like this. If you lose the boat don't fret, we'll get it back. Now we go to the middle tone. As a matter of fact we've lost the boat and I just assume because I don't want to go around it. And then the dark tone over here. Now we have not a problem but we're supposed to and we should have a reflection of the green hills into the water. The stroke is like this. Over, it's a marvelous stroke. I use it for grass and what have you. Remember the water must look wet. Let's outline our shrubs here a little bit like that.
Of course we will go up into it. It's a good point to go into your objects a little bit like I have just done with the bushes. And then you bring the bushes up over the sky of the water tone. Let's put a little green here what have you. As a reflection. I've added a little purple to get the feeling of shadows. There are trees there and it's the dark side anyway. The light is coming from the right. I would like to add a little purple right along the edge here to clarify our inlets. Because they're terribly important and they're very interesting to add quite a lot to the painting. Because you have a variety of shoreline here and it's a marvelous boon. It's actually rather flat painting. But these little goodies that we put in give the painting a little interest and excitement.
I'm going to add a little more here. I think I will bring this down this way and up like this. Let's leave that for just a moment. We also have a feeling here of a little reflection not much. Very lightly. This is how you do a reflection along the shoreline. Very lightly. Now, leave that for the moment. Let's put in our trees. As usual our lovely purple trees. I think I would like to make this little darker here. It's a little flat. It's not very interesting. Lovely. Now let's put in our trees. Of course, a great distance away from this point. So the trees are quite small.
Take your purple. I use straight purple always. Like that. And I believe that about two or three trees, they're not too many. Just the feeling of trees there. Trunks. They must be very delicate. Remember, they're far away. I'm having a problem there with the purple. There we are. Let me get the vegetation on that much better. Let's get the feeling of being reflected down into the water like this. Now we put our vegetation. So we have a problem here that's not a problem, but it's a situation that we must work around. So the vegetation is rather dark on the left side like this. And I think we're going to add a little extra yellow in our light tone.
So you can see it from the background. These things, of course, you will learn as you paint. You always play dark tones against light tones constantly. If you follow these simple rules, it's amazing how you begin to do them automatically. You can even figure out your own paintings, paintings that you will do by yourself. Because after all, we're not interested in turning out a lot of things you can just give us and we haven't. This has been a marvelous thing about this system. It's gotten people started painting, but not necessarily the way I paint. There we are. Now leave those for the moment. Let's go to the foreground. It's a very interesting foreground. We're going to add green with purple and red. It has to be very dark to create a feeling of depth. That's also a very good gimmick in painting, as I've mentioned before. So let's start with the green. And the stroke is like this.
We work purple and dark green together like this. We're going to work in a little middle green like that. Now in here, this is a very interesting area like this. And the bushes are marvelous. Let's use a little red in the bushes. And this is the stroke. It's a mass. So you don't see the individual bushes. You just see a mass of bushes there. A little lighter tone on the right side. We're working a little red down in here like this. A little lighter green right here.
Just a wee bit please. Because I would love to keep this foreground very dark. It's very, very important. Let's work a little purple at the bottom like that. This is the most thrilling part to watch a painting actually come together at the last moment. Now I would like to get to the boat. That little boat. And I would like to make a point, if I may. In doing a boat, we're going to put a long square like this. And this is what you do. You cut the corner here and here like that. You see? It goes this way, this way, this way, and that way. And you have a boat. And that's how you do it. This is inside very dark like that. It's a very old row boat by the way.
There. There you are. Now I will do the same here. I'm going to paint the boat in with the brush and you do the same. Very quickly. Now I will take my knife. The boat is yellow ochre like that. Purple in the center. It has a bit of a light tone on the right side like that. Keep the purple inside of the boat. I remember that when we were painting a boat in California. It says, I know very little about boats. One of these students who has a boat.
We did a large sailboat. She said my boat was going one way and the sail was going another. So so much for my knowledge of boats. So I steer away from anything mechanical. We put the mask in the wet paint. Please do not paint it in. Simply scratch it in. It does not have a very sharp edge. If you find your boat is going to look like a little bathtub. And you have a very nice painting. Forget the boat and let it go at that. No one will know the difference. So don't worry about it. It has a little thing that goes here. After all it is moored. There. My paint is certain. That's a second. Let this down here like that. There we are.
I would like to put just a little purple here. Underneath the boat. Now again please once you finish your painting leave it alone. Try not to keep going back to it. Well the painting is finished. But before I leave I want to show you how to mix a color because every time I come on my color is already mixed. And we haven't had a chance to show you. Well not very often. So I'm going to show you how I'm going to mix the greens for my next painting red apples. So you take a large tablespoon of ochre. You add mixed green like this. Then we add a little vermilion to cool it down. That's the middle tone because each area in your painting is painted in three tones of light medium and dark. We take a half a teaspoon from that.
Divide the remaining pile and half so that we have three piles. We add a teaspoon of white. And a teaspoon of light yellow to make the light tone of green used on the leaves. Like this. And you always use white with yellow. And you do that with all colors. White with yellow. To darken the tone we leave the center tone because that's finished. To darken the last tone or the dark tone where the shadow is. You add in this case a half a teaspoon of purple like that. And a quarter of a teaspoon of green. Now there you have it. As you can see very plainly, three tones of green for my apple painting. There you are. And you can do it. It's not difficult. Always remember you must have your three tonal values. That's what the important thing is in painting. Even if you use your own color, be sure that you have three values. There you are.
And remember, don't ever touch the middle tone. Leave it the way it is when it's mixed. There we are. And now for the signature. Goodbye for now. Thank you. This program was made possible by a grant from Commercial Union Assurance Companies. Thank you.
- Episode Number
- Low tide
- Producing Organization
- Connecticut Public Television
- Contributing Organization
- Library of Congress (Washington, District of Columbia)
- AAPB ID
Host: Kominsky, Nancy
Producing Organization: Connecticut Public Television
- AAPB Contributor Holdings
Library of Congress
Identifier: cpb-aacip-b71708e8598 (Filename)
Format: 2 inch videotape
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- Chicago: “Paint Along With Nancy Kominsky; 106; Low tide,” 1976, Library of Congress, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC, accessed March 3, 2024, http://americanarchive.org/catalog/cpb-aacip-e9fe3a8ea7d.
- MLA: “Paint Along With Nancy Kominsky; 106; Low tide.” 1976. Library of Congress, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Web. March 3, 2024. <http://americanarchive.org/catalog/cpb-aacip-e9fe3a8ea7d>.
- APA: Paint Along With Nancy Kominsky; 106; Low tide. Boston, MA: Library of Congress, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Retrieved from http://americanarchive.org/catalog/cpb-aacip-e9fe3a8ea7d