Drawing in the Landscape: Painting Color
Drawing in the Landscape: Painting Color

Drawing in the Landscape: Painting Color

69 min

This is the third course in the Drawing in the Landscape series. In this course we observe the beauty of color in the landscape, as understood through the long-standing tradition of plein air painting. Shot on location in the city of San Francisco and the nearby East Bay Hills, this course inspires the audience to look at the phenomenon of color more closely and to teach a practical skill set in working with color in an artistic medium. Instructor Darryl Jones paints with U.C. Berkeley landscape architecture professor Chip Sullivan, and chemical engineer turned landscape designer Daniel Collazos. As they paint their favorite subjects, each of them shares useful painting techniques and their understanding of color while deliberating on the built environment.

In This Course

  1. Observing color is a fun and useful way to analyze landscapes, both urban and pastoral. By painting, we begin to interpret the color we see in a tangible way. With watercolor painting specifically, the interplay between the paint, water and the page teaches us about what we are seeing when we gaze across the horizon.
  2. Why We Paint
    Painting is a way of seeing, especially a way of seeing color. In this chapter, Darryl, Chip, and Daniel discuss what compels them to paint.
  3. The Right Color
    How do we know what color to use? Which color is the "right" color? Rationalizing what we see with what we paint is the great struggle of plein-air painting.
  4. Beyond the Painting
    A painting is a window to the world. The composition is always of a scene, but often it becomes more about the painting on the page itself. It is this process that gives us a vocabulary to talk about color in the real world.
  5. What is color? Science tells us that color is light as well as pigment. But that is not how we understand it in the real world.
  6. When It's Done
    The light is always changing, and therefore the color is always transitioning. At some point, we have to take our eyes off the page and gaze back across the horizon. A painting is never finished, but it can’t go on forever.

Published 2014