 Hello, my name is Kerry Kautzer and welcome to my exhibit here at The Glass. Keep it simple. And what I'm going to do today during the reception is a painting demonstration. And this is a winter scene with the same farm. And I'm going to paint in watercolors today. Many of my paintings on display are watercolors and some oils. And if you have any questions, you're welcome to ask at any time. All right? So what I do as far as any kind of painting I do on location or during a scene where I'm working out in my studio, I'll do a small thumbnail sketch like this. And I blew that up for you to look at. You can pass that around. You can probably see that fine. How do I paint the painting? How do I paint the painting? Many years of skill. Practice, practice, practice. Recently when I go on a trip and I can't carry all my gear, I purchase these inexpensive little paint pads and I'll do some little pen and ink sketches and I'll write some notes with whatever I feel like writing or including in the place where I'm at. And that's... pardon? Do I take a long? Right now? Not enough. This type I have a few but I have more expensive ones that are just sketches I don't do watercolors in them. These small ones? You can take a look at these. They get singed. It looks well. It's fun to just backpack everything along. And when you're out on location you like to pack as light as you can. Taking gear like this might be a little too much. But I do take sometimes more than I need such as this. I take along on island trips where we go kayaking. Depends on where you're going to go. Do you just do the sketches while you're on a trip and then paint it after you get home? No, I paint it right. I have a little, a small kit. I may take this pallet along. Can everyone hear me well enough? I use a number of different brushes. Everything from a three inch brush down to a small rigger for doing branches and signatures. The larger the brush the looser and faster you can create your painting. My paintings are very loose. I try to capture the essence of the scene instead of trying to do a lot of detail. The paints I use come in tubes. There are some artists here that know what I'm talking about where paints and supplies are quite expensive. That's why many people don't realize that paintings are as expensive as they are. A tube like this may cost $15 to $20. I should? That would be nice. I'll think about that. What I've done today with this winter scene of the farm, I've already sketched it in. I had some other lines on here but I want to keep most of the foreground white for the snow. I'm going to get started. If you have any questions or if I get in the way let me know. Many times I'll just wet the paper with a brush. This is a 140 rough paper. I soaked the paper in the bathtub for 10-15 minutes. The paper absorbs all the water and it expands a little bit with the fibers. Then I stapled the paper to the board and let it dry overnight or in a few hours. It becomes very tight to the paper and that's what I want. Otherwise you can use tape but if you do not do that you risk the chance of adding water in the paper buckles. I'm using a mixture of cerulean blue with some cold wall for the sky. I'll put that on pretty quickly. With watercolor paintings you want to leave white. Very important. Next I'm going to put some of the trees in the painting. I'm trying to keep it soft and give it that distant look. I'm going to use cobalt blue. With watercolor versus oil painting you want to work light to dark. I'll just keep adding some darks. A little more burnt sienna. Any questions? I'm trying to keep the paints wet. I'm just jumping around and that might be the way my brain is working. It bounces around a lot. I'll just keep adding a few more darks. This might be more of a gray day kind of painting. For the darkest dark I have indigo. It's very dark. The purer the color the richer the paint is going to be. Less water. Actually I'm not used to painting from the side. It's a little difficult to see what I'm doing. Many of these paintings on display are painted on location. Plain air. I prefer doing that. You get first hand information. But in the winter months painting watercolors after freezing temperatures we're done. I'm adding a little bit of yellow ochre. Grab this towel here. I thought I was reaching for the cookies didn't you? A pretty good start on what I need to map out. Keep the farm scene. I'm waiting for the paper to dry a little bit around the roof line and the silo. Because if you don't with watercolors it'll back run. It'll do things you don't want it to do. It is drying relatively fast. On painting outside watercolors they dry really quickly. In warm days and windy days. It's another reason I work fast. But by all means you don't have to paint like I do. I go a little crazy. Any questions before I proceed? I'm going to get a job. That's what I like to hear. It's easy to forget where you want to keep the whites. This is what I was taught from James Michael. Fearless leader. Put maybe a W or something where you want to keep the whites. You can raise that with your pencil eraser. I'm going to make this one red. You can get a nice gray mixture of cobalt blue and burnt sienna. Sometimes I need to step back. Sometimes I have this big one here for reference. I want to change it. We're doing on time. 30 minutes now. You can soften the edges by adding a lip. Just a touch of water. Adding a few more darts. Touches with some ugly big trees.