GEORGIA PACIFIC – Watercolor Landscape

Watercolor of Georgia Pacific, Fort Bragg, CA. Painting by Woody HansenGeorgia Pacific  – Original watercolor by Woody Hansen, 15″ x 22″
To learn more, ore view this painting framed, select the image.

This painting begins on location, August 10, 2004, at the former Georgia Pacific Mill Site in Fort Bragg, California. For what ever reason, the painting remains in an unfinished state over the next ten years. Eventually, it is resurrected and given new life as the basis for a recent class demonstration.

Unfortunately, the original pencil-and-ink value plan is no longer available. So, perhaps this digital re-creation will serve to illustrate the approximate process of creating a “rough” version of the original, hand drawn, value plan

After photographing the finished Georgia Pacific painting, the image is de-saturated, scanned, and printed in grayscale. Next, a contour line drawing is traced over  the printed image. Once the line drawing is complete it is scanned, and opened in Photoshop, where three separate values are added one step at a time. The steps are seen below.

STEP 1 – THE COMPOSITIONGeorgia Pacific value Plan, Step 1

STEP 2 – Light Gray (below)

There are several ways of creating a value plan. However, I most often begin my plan by assigning light gray to everything except my white shapes.  This is usually accomplished with a pencil. Although, in this re-creation, a digital, light gray accomplishes close to the same thing.  (below)Georgia Pacific value Plan, Step 2

STEP 3 – Medium Gray (below)


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A medium gray value is assigned to various pieces of the composition. The medium gray value is applied directly over the light gray. Georgia Pacific value Plan, Step 3

STEP 4 – Dark Gray (below)

In this step, dark gray is added over selected light gray areas. Georgia Pacific value Plan, Step 5

During the actual painting process each of these generalized values can be given greater variety by breaking them into three closely related values. An example would be the lightest values can be thought of as light-light, medium-light, and dark-light. The shapes of medium value can be broken into useful values of light-medium, medium-medium, and dark-medium, etc.

This type of approach is not meant to be followed in a strict,  rigid manner. There is always room for variety and flexibility as the painting process develops and evolves into its final state.

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