See, React, Interpret with Artist Thomas Schaller

Cathedral of San Martino, Lucca, Italy by Thomas Schaller, watercolor on paper, 22x15
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Thomas Schaller demonstrates how to move beyond what the eye actually sees to present a unique vision.

Cathedral of San Martino, Lucca, Italy by Thomas Schaller, watercolor on paper, 22x15

Cathedral of San Martino, Lucca, Italy (watercolor on paper, 22×15) by Thomas Schaller


It’s my belief that an artist’s job is to interpret what he or she sees, not just to imitate it. Also, an artist should try to express what is felt about the subject, not just what is seen. There are different forms of reality. The observed reality of the subject is one form, but there is also the reality of the painting that results from this observation. This reality is more crucial because it’s where the artist’s voice is heard.

So many times I’ll see a student complete a beautiful passage, only to find that it has been scrubbed away minutes later. “What happened?” I’ll ask. Usually students will tell me the painting looked OK, but it didn’t look exactly like the subject. “But it looked like your painting, and that’s what matters,” I’ll reply. Once the world of your painting begins to evolve, that is the only reality you need. For as long as it takes to complete the painting, the artist needs to live only in that world.

If changes to what we see need to be made to make a better painting, by all means, we’re free to make them. While we may begin with a plan for our final work, letting that plan evolve or change completely is critical. Many times, it’s the “mistakes” — the things that we don’t plan — that can be the very making of our work. Remember to enjoy the process — relax, just breathe, and let it happen.

Materials

SURFACE: Fabriano Artistico
extra white 140-lb. coldpressed
watercolor paper, 22×15

PAINT: Sennelier Artists’ watercolors

BRUSHES:
· Raphael Softaqua (synthetic squirrel-like) Nos. 2, 4 and 8 petit-gris
· Raphael Kaerell (synthetic) No.
10 round and No. 12 flat
· Raphael Precision (synthetic sable-like) No. 10 flat
· ¾-inch synthetic flat
· Nos. 4, 8 and 10 synthetic
rounds


Thomas Schaller 1

Step 1

While in the Tuscan city of Lucca, Italy, I snapped this photo of the Cathedral of San Martino. The wall in the foreground, dating from medieval times, is impressive, but I was more interested in the cathedral tower. This photo was merely the springboard for my artistic vision.

Thomas Schaller 2-Sketch-Lucca

Step 2

I did a quick compositional sketch to help me figure out where I wanted to place major objects and values in my painting for maximum effect. Although the character of my drawing is very different from my reference photo, it retains a connection to my original inspiration. This sketch served as a guide, but I felt free to change course as I painted.

Thomas Schaller 3-Schaller_1

Step 3

I like to draw an indication of the general shapes of my subject on my painting surface—without getting too detailed. When a drawing is done right, it will join beautifully with the subsequent watercolor washes, showing the initial idea of the artist come to life.

Thomas Schaller 4-Schaller_2

Step 4

The sky I painted doesn’t look anything like the sky in the reference photo. In my interpretation, bright light comes in from left to right, hitting the tower on the left. I flipped the values of the sky from what appears in the photo because I wanted the center of focus to be toward the bottom of the tower. The value contrast between the darker blue portion of sky and the sunlit tower draws the eye to that area.

Thomas Schaller 5-Schaller_5

Step 5

I also flipped the values of the tower, making it darker on top, which draws the eye to the center of the painting. In addition to value contrast, I like contrasts of detail and specificity. The tower will be the tightest, most finished-looking part of the painting. Even the other parts of the cathedral have been painted a bit more loosely.

Thomas Schaller 6-Schaller_6

Step 6

I painted the trees on the right impressionistically. Note that these trees don’t reach as high as those in the photo. To add dimension, I varied the values. The lighter foliage on the top appears farther back. One of the easiest, most successful tricks in painting is to set up three distinct values—light, dark and mid-tone. As if by magic, they imply depth.

Thomas Schaller 7-Schaller_7

Step 7

I didn’t want the foreground to attract too much attention or be too specific, so I laid it in with a big, wet, juicy brush. At this point, the tree trunks were a bit more specific than I liked, but I would deal with them later.

Cathedral of San Martino, Lucca, Italy by Thomas Schaller, watercolor on paper, 22x15

Cathedral of San Martino, Lucca, Italy (watercolor on paper, 22×15) by Thomas Schaller

Step 8

To avoid the bookend-ish look of the trees in the photo, I differentiated the shape, tonality, color and specificity of the two areas of foliage. Dark values make the tree on the left seem closer, and its thin branches connect the left side to the right. I added a few dark marks to the tower to indicate ledges and window insets. Spritzes of water softened the edges of the tree trunks and blurred the foreground washes, adding mystery.


Thomas Schaller Live Demo!

This Facebook Live demo was a great time for us all. Thanks to Tom for his generous sharing and lovely work!

 

Enjoy a watercolor demonstration with Thomas Schaller as he discusses his painting process in detail and generously shows how he makes the artistic magic happen one painterly stroke at a time!

About Thomas Schaller

Thomas SchallerTHOMAS W SCHALLER, AWS, NWS, is an award-winning artist, architect, author and instructor. In 2010 he left his career as an internationally renowned architectural artist and concept designer to turn his attention to creating and teaching fine art in watercolor. His work has been featured in prestigious exhibitions in more than 20 countries. Schaller has authored three best-selling books on painting; the latest is Thomas W Schaller: Architect of Light (North Light Books, 2018).

 

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Join the Conversation!

  1. I Know that Thomas Schaller is not a fan of painting by numbers. I learned so much following along on this demo I wish he would release more painting along by numbers as demonstrated here.

  2. Hi Tom,

    Thank you so much for sharing your love of painting in the watercolor medium. I belong to the Valley Watercolor Society of which you will be doing a demo and a workshop February 2019. I can’t wait.

    Sandra

  3. Thomas Schaller painting are the best I love to watch his videos and his tips are excellent looking forward to receiving the two videos I ordered

  4. Lucky me! I took your workshop in Florida. Sponsored by Florida Watercolor Society in September. It was all that I had expected and more. Thank you so much. It left me inspired. I loved your little dog, lol.

  5. I’ve just watched Thomas’ demonstration. How fabulous. I really enjoyed watching and all the information he shared. I’m saving the rest of it till tomorrow so will have more to see. Thank him so much for sharing his demo at a knock down pricing of NOTHING. A top class Artist. Merry Christmas. Thanks Jude from NZ

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