Watercolor Paper Ebook
To Most Of Us Watercolor Is A Psychological Struggle With Ourselves Just Getting The Materials Out And Starting
As you take this book off the shelf and quickly flip through the pages, you'll instantly get an overall feeling of freshness, vitality, movement and sparkle. This impression reaches you even before you begin to study the indi idual paintings themselves. I have written many books in the past about various outstanding artists, but the initial feeling of excitement I got when I first viewed David Taylor's watercolors en masse gave me a very strong desire to write this book about him and his work. However, this time it needed to be a teaching book in which I could analyze his paintings in depth, and hopefully use each one to impart his expertise to thousands of other painters and would-be painters, to inspire them and help solve some of the mysteries of watercolor. Generally speaking, watercolors are divided into two types one tight and considered, the other loose, immediate, and painted with strong emotion. David's work is definitely the latter These are the same kind of first, hard won...
Although the effect of marker sketching is quite similar to that of watercolor, the two media are actually quite different in nature and application. Markers strive for instant effect. The colors are premixed and come ready to use. The result is bright, loud, and perhaps pungent both to the eyes and the nose. On the other hand, watercolor must be mixed it takes time to achieve the desired effect it is light, quiet, and reserved. However, despite the differences in style and personality between these two media, watercolor and markers can complement and support each other. Markers are used routinely to supplement watercolor and to increase the intensity of its color effect. Fine-line markers are often used instead of ink pen to create the line-drawing base for watercolor application.
The translucency of watercolor makes it the perfect medium for capturing the ethereal, fleeting nature of the fairy world. Watercolor can be an unpredictable mediumespecially when employing wet-into-wet methods, as the paint tends to spread where you don't want it to and run into other colors, but with practice you will learn to control it. The classic method of building up a watercolor is to lay a series of thin, transparent washes, one over the other, working from light to dark, and reserving the white of the paper for highlights. It is possible to create very detailed paintings without building up in layers, by painting each area separately with full-strength color, but this involves careful advance planning so that you know exactly what color to put where. oi color than pure watercolor*, the result* can It fresh and spontaneous, and hence this is a very method of illustrative wort. Although all watercolors are transparent to some extent, some pigments are slightly opaque. The best...
Using an ink pen in your watercolor painting adds a dimension of hard, precise lines that you just can't replicate with watercolor paint and a brush. Think of it as making your own coloring book pages and then adding the watercolor. You can do it the other way around too. Paint with watercolor first and then emphasize shapes with lines using a pen. The cityscape in Figure 4-14a was drawn with a waterproof pen and then watercolor was added on top. The boat in Figure 4-14b was drawn with a non-waterproof pen, and the lines blurred when watercolor was added. To test pens, take a piece of watercolor paper, write the brand of each type of pen on the paper, then take a damp brush and paint a line of water over the writing. You can tell quickly which ones are waterproof. Waterproof pens should also be labeled as such.
When you apply paint to watercolor paper, it moves. You then add more paint or more water, and again the watercolor responds with a swirl. Painting with watercolor is a dance it's a relationship between the paint and the artist. When you paint watercolor on paper, you can make anything in the world happen. Figure 1-1 is one of the latest paintings I've made. To be fair, I probably should show you one of the first paintings I ever made, but I'll spare you the meager beginnings. It was probably a finger painting on the wall. But trust me, however bad you think you are starting out, I was probably worse. But I wanted to paint so badly that I kept at it. I have done watercolor as long as I can remember. I still struggle to make a great painting. But it's an enjoyable struggle. Transparent watercolor is what I want to share with you. In my opinion, it's watercolor at its best. Thin, transparent layers of paint are applied to white cotton rag paper. The...
Rawing is the basic essential to all art. Drawing is important in water-color because you need to plan in order to save the precious white areas in your painting. With a good plan and a basic outline in place, your paintings will be more successful. The drawing methods in this chapter relate to drawing needed for watercolor paintings. You need to draw shapes accurately and understand how shadows and perspective work to make your paintings believable. Watercolor requires a drawing unless you are working experimentally and looking for an abstract result. If you are working representationally, meaning that the painting is supposed to represent or look like something of the real world, you need a drawing. When drawing in preparation for your watercolor, you are collecting information for your painting. Because you'll be painting the image, you need only the cartoon, or outline of the areas and shapes. You don't need to do shadows and shading you paint those aspects. You may want to...
Maurice Wilson worked for over fifty years producing delicate studies of real and imaginary creatures and plants. He was renowned for his ability to portray creatures using very little reference material to aid the task, sometimes reconstructing long-dead creatures with only a few surviving bones as a guide. He worked mainly with water solvent inks, adding highlights in acrylic paints. After planning his pictures he usually began painting the dark areas, building up the main elements in watercolor and adding lighter areas with opaque pigments. The study on the previous two pages of fairies in a magic wood is in the early stages of painting. Unfortunately while producing this picture Maurice sadly died, aged seventy three years. This is his last, and as it is incomplete, his most revealing work. His huge knowledge of geological, geographical, botanical and anatomical detail made it possible for him to get a high degree of realism working from memory. Nevertheless he would frequently...
Grasping the basics of watercolor Separating the myths and truths about watercolor J ll paint begins with pigments. To do watercolor painting, you take those W pigments, add water, and use a brush to apply the paint to paper. It's as simple as that. In this chapter, you discover the interactive nature of watercolor, start to understand its attributes, get a quick overview of art design, get some ideas of what to paint, and then put some paint to work in a quick project.
Watercolor also works quite well with pastel, which is a chalk-like, opaque drawing medium. You can use a watercolor wash as background and apply pastel over the top to draw on or to cover over the watercolor. When I first started to watercolor, the results were sometimes less than fabulous. Adding a layer of pastel over the watercolor frequently saved a painting. A white pastel can return white to an area where it was lost. If you're using pastels, do your watercolor painting first. Watercolor doesn't go over pastels without making a slight mess. I should also warn you that pastels will rub off on your hands, on your clothes, on anything it touches.
Ian Miller trained as a fine artist and slowly developed from an oil painter to one who uses inks and watercolors extensively. Although his ideas have great freedom of expression, the detail within each picture is carefully resolved. His images come almost entirely from memory - they are stored details of the observed world which he can recall and build on. He seldom uses photographic or technical source 3 Airbrush backgrounds were produced with Ian's mix of watercolor and water solvent dyes. Their delicacy held the stronger elements of the drawing.
Painting on crinkled rice paper helps you produce watercolors with an artsy look and sometimes an Asian feel. Rice paper is a thin, absorbent, see-through paper usually made in Japan. Some papers have designs embossed or imbedded in them. There are many beautiful types available at most art supply stores, and you can use other types of thin paper as well. Mixing Watercolor with Other Media When you use another art medium with your watercolor you automatically have mixed media. (Yes, it's true I'm good at both art and grammar. Medium is singular, and media is plural.) Because watercolor is so versatile, it's a natural to mix with many other media. NG Watercolor is used on paper, so I don't recommend mixing watercolor with oil paint, which is used on canvas. Remember the old truism Oil and water don't mix. Oil can also discolor and leach into paper, disintegrating it over a long period of time. Not good.
Master these three watercolor painting techniques, and you'll know all you need to paint anything you want. These techniques really are all you have to work with. I have no idea why it took me 40 years to figure that out. Truly, the rest of this book is just refinement and details. Here are the basics 1. Draw six 2-inch squares on cold-press or rough watercolor paper.
After you get the subject matter in place, you can reflect it into the water. The reflection is a grayed-down version of the item mirrored in the water. And painting the darker reflection last follows the watercolor rule of painting light colors first and dark colors last. To gray a color, just add a bit of its complement, the color opposite it on the color wheel (see the color wheel on the Cheat Sheet at the front of this book or the one in Chapter 5). To establish a little movement in the water, wiggle the lines.
Paint is made up of a couple of elements. Pigment is either chemical or natural coloring that has been ground to a fine powder. The powder is added to a binder that makes it sticky and allows it to be used as paint. The binder for oil paint is oil. The binder for milk paint is milk. Now, what's the binder for watercolor That's right, it's gum arabic Okay, it was a trick question. Gum arabic is a water-soluble, sticky, clear goo that when added to pigment makes watercolor. Powdered pigment can't be used without a binder, which is already in the paint when you buy it. Most watercolorists just use plain water to dilute their paints and for cleanup, but you can purchase a little jar of gum arabic and use it to thin your paint if you want. It makes the paint shiny and makes it flow nicely. Watercolor paints come in two types of packaging 1 Tubes Tubes prevent the moist watercolor paint from drying out while it's stored. The paint is soft and easy on brushes. Some artists prefer the rich...
A typical watercolor format is with the longest length of the paper horizontal your desktop printer calls it landscape view and so do other artists. But don't forget other formats. You can choose the other view your printer knows, vertical or portrait, where the paper is longest vertically. You can break out of these standard views and paint in a square or make your painting any other shape you choose oval, short and wide, tall and thin, you name it. You can get watercolor paper in any size you want, including a roll of water-color paper as tall as you are and yards and yards long. It's physically challenging to paint, frame, and install a piece that large, but if you want big paintings, there is no limit to the supplies. (Chapter 2 has more info about sizes of watercolor paper.) You can save some money by painting to standard sizes to fit ready-made mats and frames. Some ready-made frame sizes are 8 x 10 inches, 9 x 12 inches, 11 x 14 inches, 16 x 20 inches, 18 x 24 inches, and 20 x...
Pump sprayer Pump sprayers give an irregular spray pattern, which is exactly what watercolorists want at times. These bottles have the pump at the top, and you use your index finger to pull down against a spring to pump the liquid out of the bottle to spray. Remember washing windows with a similar bottle When you use them, push halfway down to make the spray even sloppier. This looks good in backgrounds and foregrounds, and makes interesting watercolor texture.
The bigger the sheet of paper, the more important it is to stretch it. A bigger sheet of paper has more room to expand and contract therefore, it gets more wrinkles when it gets wet. The wrinkles get in the way of watercolor washes being able to flow, so stretching minimizes the wrinkles. As the stretched paper dries, it goes back to flat. The stretching is subtle, so the painting doesn't get distorted when you stretch paper that's already been painted on. Most art supply stores carry Gator board. If your local store doesn't, ask a frame shop to order some for you. Gator board comes in 4-x-8-foot sheets. I cut it in my frame shop to accommodate full sheets, half sheets, and quarter sheets. Watercolorists love it. A framer can flatten your watercolors before framing them, too.
Acetate is a plastic-like sheet that's completely clear and lets you see all the details without the frosted surface of tracing paper obscuring anything. A water-media acetate accepts watercolor so that the paint doesn't bead up when you apply it to the surface. The acetate, however, is heavier and costs more than good, old tracing paper. When you finish refining your image, place the final tracing paper over your watercolor paper. You can see through the paper to see the watercolor paper's edges. Move the drawing around until you like the placement, then transfer the image, using the steps in the Transferring your drawing to your watercolor paper section later in this chapter.
Don't forget to sign your masterpiece Again, load the liner brush with thinned color of your choice. (To load the liner brush, thin paint color of your choice to an ink-like consistency by first dipping the liner brush into painting medium. Slowly turn the brush as you pull the bristles through the mixture, forcing them to a sharp point.) Apply very little pressure to the brush when signing your painting. Sign just your initials, first name, last name or all of your names. Sign in the left corner, the right corner or, as one artist signs, right in the middle of the canvas The choice is yours. You might also consider including the date when you sign your painting. Whatever your choices, have fun, for hopefully with this painting you have truly experienced THE JOY OF PAINTING FLOWERS
Let me be direct for a moment You do not want to skimp on paper quality. Cheap paper can't take the abuse required of watercolor. Good watercolor paper is made of 100 percent cotton rag, acid-free content. (Acid-free is important because it ensures your paper won't turn yellow.) It lasts a very long time it's been found in Egyptian tombs in good condition Watercolor paper is typically white, whether that's bright white or natural white. White provides the most reflected light though transparent color. You can get colored paper in tan, blue, gray, and pink that makes for an interesting background color. In the following sections, I clue you in on the basics of watercolor paper, such as size, weight, and texture, and provide advice for what you need to get started and to complete the projects in this book. Individual sheets are a popular way to buy watercolor paper. Sheets of paper come in different sizes newsprint is highly acidic. So don't store your watercolors or your watercolor...
When painting flowers in a natural setting, you don't need to worry about copying them exactly. Each frill on a petal can wriggle in a different way. Each leaf can be different. Start with the outline drawing, but don't stress over making an exact copy because it doesn't matter. An iris drawing to trace, enlarge, and transfer to watercolor paper. An iris drawing to trace, enlarge, and transfer to watercolor paper.
Some artists mix acrylic with watercolor. For example, say you want something to not be removable. Maybe you want a background that won't lift when you add the next layer. Acrylic is permanent after it's dry and would be a good choice. You can also use acrylic to paint over the top of dare I say a mistake. In Figure 4-16, I painted the poppies with acrylic paint over a water-color wash background. The white is from paint instead of saved paper. Using watercolor and acrylic paint in the same painting. Using watercolor and acrylic paint in the same painting.
The basic elements of design are in Chapter 1. In Chapter 2, I cover the materials and products you can get in an art store and give you the information you need to ask intelligent questions and choose your supplies. After you get your supplies, what do you do with them Well, Chapters 3 and 4 take you by the hand to try out many techniques unique to watercolor. No other medium does as many cool things. Reading these chapters and practicing the projects in them gives you a firm grasp of fundamental watercolor skills.
Typically, you paint on white watercolor paper. And ideally you save the white of the paper as the white in the painting, painting around the white areas to leave the paper showing. Although you can buy white watercolor paint, it looks a little chalky, and unless you're going for the unnatural look, my advice is to avoid using it. Watercolor is very different from oil or acrylic painting where paint is applied for white areas.
Wading through costal living motifs Embracing waves of watercolor information Going costal bird watching Painting yourself into the sunset Half of the planet's entire population lives near the ocean. Even though I live far from the ocean in landlocked Colorado, it's one of my favorite places to visit and therefore paint. Many artists, myself included, have a spiritual, mystical, enchanting, compelling urge to paint water. Maybe it's because our own bodies are mostly water. Whatever the reason, watercolor is made for painting water.
Now that you have the physics of creating colors down, what do you do when you want black and white in your painting You can buy tubes of black and white paint, but in transparent watercolor painting, you traditionally include white by using the white of the watercolor paper. The best way to achieve white is by carefully painting around the area you want to remain white. Because you must save the whites, you need to plan paintings by sketching where white will go. Another way to save white is to use masking fluid. (Chapter 7 talks about planning your painting Chapter 4 tells you how to use masking fluid and talks more about keeping white in your paintings.) Of course, you can buy white paint, but it can produce a chalky, dull look that isn't as nice as the beauty of a glowing transparent watercolor paint. Some watercolor snobs frown on the use of white paint, and some watercolor exhibitions even prohibit its use. But white paint is available, and if it looks good, go ahead and use it.
Start loose. Put another piece of tracing paper over the first rough sketch and draw a little more carefully. Forget the eraser. Put each refined stage of the drawing on a new piece of tracing paper. You can look through the tracing paper to see the sketch below. When you get the drawing the way you like it, take the top tracing paper sheet and place it over the watercolor paper. You can now move it around until it's in just the right location relative to the sides of the watercolor paper. This allows you to crop some parts of the drawing if it adds interest. Try to avoid the lollipop look in the center of the page. Read Chapter 7 for ideas on better composition and Chapter 8 for info on how to transfer your drawing to watercolor paper. When painting flowers, start simple. At first choose flowers with fewer petals. Daisies, pansies, and tulips are great flowers to start exploring. (Chapter 4 has a painting of daisies.)
Bottom to give you something to rub your brush over to loosen sticky paint, although watercolor paint is pretty gentle and rinses completely and easily. Divided containers let you have a dirty-water rinse well and a clean-water rinse well. Some containers have a rim with holes where you can stand brushes upright for easy access. Palette A palette is a white container to put paints on. You need a white palette because white is the best color to gauge colors against. (When you think of a palette, you may imagine a kidney-shaped wooden board hand-held by an artist wearing a beret. That's an oil painter's palette. Oil paints are thick and don't run. Watercolor is liquid so you need a deeper palette.) A very simple watercolor palette is a disposable foam plate, but you can choose from many styles if you want to purchase one round and square shapes are the most popular. Figure 2-2 shows a variety of palettes.
Give a child a piece of watercolor paper, a set of paints, and a brush, and they're happy. I'm usually quite happy with that combination, too. And basically, that's all you need to start painting. But when you get to the store, choosing which items to buy gets a bit more complicated. The hundreds of choices of paper, paints, and brushes can make your head spin.
You're about to set sail on a journey that can last a lifetime. Watercolor can take you anywhere, build you anything, elevate your spirit, and calm your soul. Watercolor provides a way to communicate when you can't find the words. It's a companion whenever you require one. Watercolor will take you wherever you let it lead you, so welcome aboard
If you don't want a big drip on your painting, try spattering with the paper in a vertical position leaned up against something. That way you don't have to contort your wrist quite as far and the drips will land on the table instead of your painting. Most watercolor wipes up with water, but be sure to protect your table if needed. Here's a trick to help spatter only go where you want it Have several old towels in your watercolor painting kit. Washcloths or hand towels are perfect so long as they're dry and clean never mind the stains. Lay them over the areas of the painting you want to protect from flying spatter. Then spatter. If the paint is too wet, it may soak through the towels, so use a little restraint.
The way you apply paint is called a stroke. Because oil paint is thick, the strokes are visible, and an oil painter has to think about brush strokes that remain in the paint. As a watercolorist, you don't have that concern. Watercolor strokes don't show because the paint lies flat. You can get several types of strokes from the same brush, and the many types of brushes can help you produce a vast array of strokes. (See Chapter 2 for more on brushes.) The mixing area of your palette can get messy. When it's too messy, you may not be able to mix fresh clean colors. The solution is easy Take the damp sponge that always sits by your water container and sponge up the dirty watercolor. Don't forget to rinse the sponge until it's clean again. Experiment with your brushes to explore the strokes that are possible. You may want to use brush stroke paper available in art supply stores. The paper is gray but turns black when clear water is applied to it, so you can see what your stroke looks like....
Sketch your idea with a pencil or paint in watercolor. Usually you don't want to wait for watercolor to dry for these quick sketches. I usually just draw a rough idea in pencil unless I need to decide color choices. 4. Choose the sketch you want to paint, enlarge it, and transfer it to your watercolor paper. Take your sketchbook everywhere. Keep one in the car, and if you're waiting on something, you can always sketch. If you sketch with watercolor pencils, you can solve color issues too. Put dates on the pages, and you have a record of your ideas and when you had them.
Your watercolor paintings work out better if you do a little planning first. The chapters in this part show you how to mix and use color (Chapter 5), how to break down objects into geometrical shapes that you can then draw (Chapter 8), and how to use balance and variety (Chapter 6 along with the other principles of design) to compose paintings with energy and interest (Chapter 7).
I don't recommend traveling with the watercolors you use every day at home. Instead, buy a small travel set of watercolors. And to do watercolor painting, you need water. To hold this essential element, you can choose from collapsible or inflatable water containers that fold flat and are lightweight.
Paint watercolor over the top of the dry mask dots (see Figure 4-9). For my coffeepot, I toned down some of the dots by painting the white area with a little more watercolor. Depending on what you're painting and what you want to accomplish, you can paint over the white dots, you can soften edges by nudging them with a bristle brush, or you can leave them alone. You are the master of this technique's destiny. Figure 4-11 shows you what I ended up with in the final still life.
Then you enlarge the drawing you like onto drawing paper or tracing paper, where you can erase and scribble and further refine it. And finally, you transfer the drawing you're happy with onto your good watercolor paper. After planning the placement of the elements in the thumbnail study, redraw it to the correct size on a piece of drawing or tracing paper. Work like a designer if you need to. A designer would take scissors and cut out shapes and move them around until she had the correct placement. You can experiment with spreading objects out or overlapping them. Then you can redraw the scene using more tracing paper, or transfer the drawing to your watercolor paper if the placement is what you want. This tracing paper drawing is a tool and likely will be discarded, so spending a lot of time on it makes no sense. You want to get to the painting Transferring your drawing to your Watercolor paper You usually transfer your drawing to watercolor paper instead of drawing directly on the...
I want to thank Wiley Publishing for the opportunity to share my world of watercolor with others in the world. If everyone painted, the world would be a better place. How wonderful if we could all communicate through art using paint and paper. No more war would be allowed either. Countries would express ideas through art and not guns. I think everyone should make this his goal. I still believe in the tooth fairy, too. Personally, I thank my family for holding my hand through life my parents, who made me in more ways than one, and my terrific husband, who makes all my dreams come true. My art family the Greeley Art Association, my wonderful watercolor classes, and my business partners at the Showcase Art Center. All of you tolerated my whines and constant use of the laptop.
You can use a number of tricks to create some unexpected textures. It's one of the endearing qualities of watercolor. Have an experimental attitude and you'll make many fun discoveries. Many of the techniques in this section are like revealing surprises and presents at a birthday party. Most techniques are deceptively easy and quick. Not knowing the secrets, your audience will
Drop in colors and sweep them with your brush next to the subject and allow the color to softly dissipate into the wet
Lines or hard edges in backgrounds are caused by uneven wetness. The color travels to the edges of wet, gets stopped by a dry area, and creates a hard edge. Don't allow a spot to dry if you want the color to keep traveling. Of course, if you go back in and introduce a lot of water, you have uneven wetness again, only this time with too much water rather than a dry spot. More water in a damp area causes a blossom. Practice keeping your paper evenly wet. Get the dampness consistent before adding color. Blot too much water with a paper towel, or soak it up with a dry brush. Better yet, spread it around. The paper will absorb the water quickly. If you have too much wetness, wait. Watercolor will teach you patience.
Remember the story of Goldilocks and the three bears, in which the porridge was too hot, too cold, and just right Switch the porridge with water, and the same is true for watercolor paper and brushes. It's too wet, too dry, or just right. When you know how to deal with each condition, your watercolor painting will be much easier. That's what I help you do in the next sections. Watercolor has a magic time. It's just as the shine is about to leave the paper, when the paper is damp with no puddles or dry spots. This is the perfect time for all the techniques described in Chapter 4 or using a chisel-ended brush to scrape paint away as described in the Painting with the Brush's Other End section earlier in this chapter.
Watercolor is pretty gentle, so you don't need to wash brushes using soap very often, if at all. Rinsing with water is usually sufficient. Simply swirl the brush in water to rinse it, and then lay it flat to dry. Do this in between using colors. At the end of your painting session, do this really well. You want the brush to air dry, so don't cover it with anything.
One way to let watercolor work for you is to paint wet-in-wet. The paint is wet and the paper is damp. The paint travels a little on damp paper. You can even paint on damp paint. I sometimes think that what scares people from using watercolor is the perceived lack of control the paint moves But that movement is precisely the fun of watercolor. Lose control and enjoy it. 1. Use a quarter sheet of watercolor paper.
It is with the utmost pleasure and pride that I have the opportunity to present Annette Kowalski and her first Joy of Painting Flowers book. I sincerely believe that with the techniques and equipment she has developed, combined with a little practice, that you will soon be able to complete floral paintings so beautiful that you as well as family and friends will find it hard to believe. Once again, please allow me to invite you to experience the Joy of Painting Flowers as well as the joy of Annette Kowalski.
1 Lifting wet paint If paint is damp on the watercolor paper, use a clean, damp brush and touch the area that you want to remove paint from. Follow the shape you need lightened with the damp brush Draw a line, touch a dot, or use the side of the brush for a large area. Watercolor dries 30 percent lighter than it looks when wet. So wait to see if the area you want lifted is light enough when it's dry before trying to lift more paint. 1. Get a quarter sheet of watercolor paper.
Using watercolor paper, grab your pencil and draw a 4-x-1-inch rectangle for each color exploration. Transparent watercolor is what appeals to me. It glows from the light that bounces through the paint and is reflected back to the viewer. You can also buy opaque watercolor called gouache, which is pigment with Chinese white added. Some watercolor pigments can be opaque too. Cadmiums, for example, can be opaque. More water added makes every paint transparent. Both types of watercolor make beautiful results. Each is just a matter of style.
7 he world abounds with subject matter for you to paint. This chapter gives you four more step-by-step projects to enjoy and paint. Try these and then use the techniques and processes on your own subjects. Just change the colors, observe value changes, and in no time you'll have watercolors galore 1. Get an 8-x-10-inch piece of watercolor paper. Transfer the drawing in Figure 13-1 to your paper. Although I didn't plan this drawing, I give you a drawing to copy so you understand the technique. In your own leaf painting, you can choose to make a drawing or just wing it. If you choose to use the drawing here, enlarge it on a copy machine to the size you want and use watercolor paper in a corresponding size. A drawing to trace, enlarge, and transfer to watercolor paper. A drawing to trace, enlarge, and transfer to watercolor paper. 1. Get a piece of 6-x-6-inch watercolor paper and transfer the drawing in Figure 13-6 to your paper. foreground. I got lucky in that the salt cooperated and...
Watercolorists become sponge connoisseurs. You already should have a cellulose sponge beside your water container to help you control the water (I talk about essential supplies in Chapter 2). You can also use a variety of natural sponges to apply paint or lift it off the paper. Figure 4-4 shows some of the sponges you can use to create fun effects. E. Specialty shaped sponges come in animal shapes, alphabets, cowboy boots, you name it. Put the sponge in the watercolor and use it like a stamp to make a quick image.
Snow is another really easy thing to paint in watercolor. After all, the paper is white already Although Eskimos have a hundred different words to describe all kinds of snow, I break it down into two kinds falling snow and fallen snow. 1 Spatter masking fluid on your paper before painting on watercolor 1 After the watercolor is dry, spatter white paint (Figure 10-5c). The white paint here is Chinese white watercolor. Paint is a good last resort and can be used in combination with one of the other techniques. 1 While the watercolor is still damp, spray water droplets (Figure 10-5d). Water drops are also a bit unpredictable, and this sample shows some sizable differences.
This book is all about painting watercolors. Although you may get an appreciation of the art of painting by reading this book, there's no substitute for doing. You must paint yourself. Yes, you can paint a self-portrait or paint on yourself, but what I mean is, you must paint. It's the only way to appreciate others' work. It can help you see for the first time and always with a new appreciation of what you're looking at. Most practice opportunities use relatively small paper, almost postcard size. You can keep these assignments together and create a nifty reference book. You can use this book as a workbook, going through the exercises and doing extra paintings on your own. If you do a chapter a month, you'll have a great year of watercolor. Along with all the painting projects, I also show you how to create interesting effects, compose a good picture, and use color to full advantage, all in an easy-to-access and easy-to-understand format. I don't use art speak. I just tell you in...
These chapters contain the nuts and bolts that hold your art together. The first chapter in this part explores the color part of watercolor. The other chapters help you decide how to arrange your painting subjects according to accepted principles of design. They also offer tips on how to turn what you want to paint into a drawing that you can use as a guide for your painting.
Efore you can put brush and paint to paper, you have to get ready to paint. You have to gather some materials to work with, carve out some time to work, and find a place to do it. Then you can begin the journey of a lifetime. And if you're uncertain about how to start your watercolor hobby, this book is an excellent guide. You can work through it alone or with a friend.
Wax resists watercolor, so using a white crayon or a candle is a quick and easy way to save a bit of white when painting. Say you don't want to go to the effort of painting around an area for a tiny highlight in a flower. Just a touch of a crayon saves the dot, stays invisible, and keeps you from needing a steady hand to paint around that highlight. Squiggled white wax lines under a watercolor wash. Squiggled white wax lines under a watercolor wash. 2. Draw on the watercolor paper using your crayon or candle. Keep these points in mind when you use wax to preserve white in your watercolors
Some techniques require wet paper, but for hard, crisp edges, you need drier paper and a drier brush. Of course, a dry brush in watercolor painting is a relative term because it's watercolor and everything is wet. But having your sponge absorb most of the water from your brush before you dip it into paint lets you execute those very controlled, every-hair-on-the-dog type paintings for the control freak in you. To stay in control of your detail, stay dry.
If you produce a painting that you want to present properly, here's a quick bit about the final presentation of watercolors. Works on paper usually get a mat, glass, and frame around them to preserve them for posterity. Work with a professional framer for the latest trends and choices.
I find an opaque projector an invaluable tool for painting flowers. Almost all of my paintings are from photos I have taken. There is no better way to enlarge and transfer the exact likeness of a flower from photo to canvas than with an opaque projector. An opaque projector also allows you to enlarge the design to the exact size of the canvas you will be using. I suggest a bottom-loading projector, which gives you the option of projecting the design from an open book.
When you get more water than pigment, the water dries at uneven rates and creates blooms, blossoms, cauliflowers, backwashes, or happy accidents, an example of which is shown in Figure 3-6. Sometimes these look really cool and create a fun, juicy watercolor look, especially in a sky. Enjoy and have fun creating them. But trust me on this If you want a smooth, flat wash and you get a bloom in the middle, it's no happy accident. So figure out how to control blooms right now so you get them only when you want them. 1. Get a 4-x-6-inch piece of watercolor paper.
Some artists collect data by doing sketches on location. Then they take the information back to the studio where they can do their painting under controlled lighting and in comfort. You can sketch with your camera, but there's no replacement for studying a subject and sketching it with watercolor and paper. Your hand, eye, and brain learn so much more this way. A camera over- and underexposes light and distorts proportions. Watercolor is a perfect way to record the colors, shapes, and angles you see.
I haven't met a beginner yet who wasn't scared of backgrounds. (I think they're the most fun, though.) Perhaps it's the ambiguity or perhaps it's the control issue that is inhibiting. Whatever the problem, it really is no problem. Most of the time, I like to just make a soft, out-of-focus blur of colors. Watercolor makes this pretty easy.
New brushes are protected for shipping by being dipped in gum arabic, the binder in watercolor pigments, and or covered with a tight, clear tube. When you get a new brush, discard the plastic tube. Don't be tempted to replace it on the brush for protection. It's too small, and you'll end up bending back hairs and damaging the brush.
Ne of the best attributes of watercolor is the vast number of techniques available. Watercolor moves and reacts to your command. That may sound a little scary, but actually it's the best quality of the paint. In this chapter, I want you to forget about making anything that looks like something. The pressure to make perfect drawings or identifiable objects is off. In experimental, nonrepresentational work you simply enjoy the colors, textures, and surprises that result when playing with the medium. Play is a good word. It sets the mood for how you explore these techniques. In order to play, set up your palette and paint area as noted in Chapter 2. Get some watercolor paper ready to play upon. You can tear up small pieces about 5 inches by 7 inches and use one for each technique experiment, or you can just use little areas on any scraps available.
All colored pencils are to some degree turpentine soluble, but only some brands are water soluble. Those that are water soluble include the Caran D'Ache Supracolor, Venus Watercolor-ing, and Mongol brands. The Pris-macolor and Spectracolor brands are among those that are not water soluble. For the look that most closely resembles watercolor or painting, the water soluble pencils work best. Pencils that are only turpentine soluble also yield a fluid and painterly effect, but they do so with less conviction. Unlike the water-mixed leads, which flow smoothly, the turpentine-mixed pencils produce washes of a speckled and slightly clumped look. On the other hand, because the turpentine-mixed pigment dries in less time on the paper than the water-mixed, you can work at a faster pace with a turpentine solvent. 1. The solvent is added only where needed for spot blending and intensification. This is done by simply dipping a colored pencil's point into a cup of solvent or into a...
The character of a sketch relies a great deal upon the surface on which it is drawn. Pay close attention to the type of paper you use and understand its characteristics as you get acquainted with your markers. There are many choices, and you should discover your favorites by a process of trial and error. In general, avoid papers that can be penetrated and that bleed easily, unless you desire a special effect. The beginner should try Aqua-bee felt-tip-marker paper, which has a waxy coating on the reverse side, or Aquabee magic visualizer. Advanced and daring sketchers can try watercolor paper, tracing paper, rice paper, or even white dinner napkins. Your creativity and imagination are your only limits, and appropriateness is a matter of taste. Watercolor paper, which has a coarse, rough surface, will wear out fine-nib markers. It has an excellent surface for tone and mixed media, but it is not suited for line drawing. on watercolor paper
To create the bleeding'' effect of watercolor. systematically place selective colors on top of the original layer to dilute the original color while it is drying. For a more dynamic result, the wet on wet technique is very effective. To achieve maximum results, layer lighter colors on top of darker ones. Though not absolute, the reversal of this process often leads to a dark, muddy effect. To achieve a satisfactory mixing result, a slow-drying drawing surface is required. White tracing paper is an excellent medium for test-mixing markers. It does not absorb quickly and it dries relatively slowly. The colors remain brilliant and true. Another excellent medium is photographic paper. The special coating is an ideal surface for mixing and blending, and colors are erasable. However, this special plastic coating tends to lighten the overall color effect. Another drawback with photographic paper is cost. It is very expensive One should try to avoid any kind of bonded papers made from fibres....
When you paint with traditional media (except watercolor), it is often wise to paint on a mid-value ground. All colors look dark when you paint against a white ground, and that can make it hard for you to correctly judge the relationship between the light and dark values in your paintings. Using a toned ground may be even more important when you are working with digital media, because the white of the screen is so intensely bright.
A few autumnal leave- cling to the branches of a tree in which a fairy perches. Her slrirt an J wings are rimed with ice, showing that winter is on its way. She is a frost fairy, a hind of female Jack Frost who paints delicate icy patterns on window panes, and who nips children's noses and toes in her cold fingers. She was drawn in sepia ink and comple ted with la ers of watercolor washes. Notice that the contrast of her blue dress with the red leaves gives a wintry effect to the image. White gouache was used to create the icy areas. (left) Inspired by the creatures created by J.R.R. Tolkien in his epic trilogy The ix rj of the Krihjf, the artist has depicted a melancholy lint who calls for our sympathy, though the twig growing out of his nose adds a touch of humor. Ents themselves are entirely a product of modern fiction, but they also reflect many older legends of tree spirits found in forest glades, inhabiting certain magical trees such as the oak, elm, hawthorn, and willow. Sepia...
Only.) (28401-8) Acrylic Painting A Complete Guide, Wendon Blake. (29589-3) Acrylic Watercolor Painting, Wendon Blake. (29912-0) Figure Drawing Step by Step, Wendon Blake. (40200-2) Landscape Drawing Step by Step, Wendon Blake. (40201-0) Oil Portraits Step by Step, Wendon Blake. (40279-7) Watercolor Landscapes Step by Step, Wendon Blake. (40280-0) Texture and Detail in Watercolor, Richard Bolton. (Available in U.S. and
For ease of administration I will outline the components necessary for introduction of the technique. First I must state that prior to any art assessment I perform a verbal interview (which includes a mental status exam). This procedure affords an opportunity to bond and often offers information that will later clarify issues that arise during the art production. Some clinicians prefer to offer the client a single pencil with eraser I, on the other hand, prefer to offer a pack of fine-line markers or colored pencils. I have found that giving the client a range of colors with which to work yields another layer of personality dynamics, diagnostic indicators, and information that is missing from an achromatic drawing. In addition, the client is unable to erase with a fine-line marker, and the client's reaction to this limitation offers information on frustration tolerance and problem solving. Secondary to the markers, I offer each client the same type of 9 x 12 drawing paper (80-pound...
If you find drawing a struggle, choose a subject that does not really need accurate technical draftsmanship. Remember that it is much easier to use a modicum of drawing and then depend on your skill and dexterity with watercolor to create tex But in the experience of Richard Bolton, and other artists, drawing is an integral part of the thinking process of watercolor painting. Without it, paintings sometimes lack structure and shape, and can suffer from a lack of definite composition. So take the time to draw before you paint you will never regret it
Wash media techniques - Thin wash media (watercolor, ink, and opaque paints) with water, then apply to a heavy absorbent paper. Use a round or flat sable brush to apply washes. The four types of wash are flat wash, graded wash, wet-on-wet, and wet-on-dry. Listed below are techniques for using washes. An appropriately-sized round brush should be used to float-on washes. (4) Wet-on-dry is laying a wash on the watercolor paper and then allowing it to dry. Apply a second wash over the first after it is dry. This technique will allow build-up of the tone's value and create sharper edges between different tones or values. For a very sharp edge, lay masking tape or a masking medium over the area not receiving the wash. Once all is dry, pick up the tape or masking medium, and the protected area without wash remains the same value.
Twentieth-Century Drawings and Watercolors. New York Crown Publishers, Inc., 1968. Crispo, Andrew. Pioneers of American Abstraction. New York The Andrew Crispo Gallery, 1973. Crispo, Andrew. Ten Americans Masters of Watercolor. New York The Andrew Crispo Gallery, Nice, Claudia. Creating Textures in Pen & Ink with Watercolor. Cincinnati, Ohio North Light Books, 1995. Selz, Jean. Nineteenth-Century Drawings and Watercolors. New York Crown Publishers Inc., 1968. Stebbins, Theodore E. American Master Drawings and Watercolors. New York Harper & Row Publishers, 1976.
Now let's experiment with the use of charcoal and a color wash. Gather the following materials a tube of watercolor paint in ultramarine blue or another dark color a large, round brush (no. 14), or a 1-inch flat brush some pieces of 6 x 9 museum board (mat board) or heavy watercolor paper (300-lb.) a piece of wax paper larger than your board a water container a mixing dish newspaper and four heavy items, such as stones, to be used as paperweights.
As Anakin would say, this is where the fun begins Time to color For Nute Gunray, I decided to use watercolor and ink, but you can experiment with different watercolors, markers and paper. The smooth surface makes it good for mixed media. You might also want to try illustration board, 32 - which holds watercolor well. If you all you have is regular drawing paper, don't hesitate to try markers or even colored pencil. Start by blocking in large areas of local color. Lay down light colors first and then build areas of darker color on top by layering the marker strokes and adding different colors. You can make the costume any color you like -- it's up to you since you're the artist
The completed drawing was then transferred to the white panel by perforating the cartoon , or a tracing of it, along its lines, then positioning it over the panel and slapping it with a pounce bag, or sock filled with charcoal dust. The stencil was then removed, and the drawing finished freehand. Another method for the transfer was to cover one side of a piece of tracing paper with charcoal, or with a thin layer of pigment and varnish or oil, which was then allowed to become tacky, and use it as one might use carbon paper. Once the drawing was transferred to the primed panel and completed, its lines were gone over with ink or very thin paint, either egg tempera, distemper (glue tempera), watercolor or oil, applied with a pen or small, pointed, sable brush, and allowed to dry. The drawing was then isolated, and the absorbency of the gesso sealed, by a layer of varnish. Sometimes a transparent toner was added to this layer of varnish, which was then called an imprimatura. The tone of...
Putting excitement and vigor in your watercolor paintings depends on your ability to capture in pencil the very essence of a subject, so that you have a clear idea of exactly what you want to paint and can work out a plan for rendering the key textures before you begin to paint.
A great many types of plant gums were probably utilized in different times and places as binders for paints. Probably the most common is the material now known as gum arabic, which at this time can be found as an additive in many foods and is the binder of many modern commercial artist's watercolor paints (Figure 3.2). Gum arabic comes Watercolor over graphite on paper. Paintings like this one were carried out with commercial watercolor paints, which were sold in pans or tubes. The paints were bound with natural plant gums, most commonly gum arabic. In this type of watercolor painting, the paints are usually thinned with water and applied in washes. Bequest of Mrs. Alma H. Wadleigh. (Courtesy, Museum of Fine Arts, Boston) Watercolor over graphite on paper. Paintings like this one were carried out with commercial watercolor paints, which were sold in pans or tubes. The paints were bound with natural plant gums, most commonly gum arabic. In this type of watercolor painting, the paints...
Click in the Layers palette on the Watercolor layer, and drag it down until it is the first layer above the canvas. 2. Click the Add Layer button at the bottom of the Layers palette, use the Layers menu, or use the keys Ctrl+Shift+N (F+Shift+N on the Mac) to create a new layer right above the Watercolor layer. Make sure the Preserve Transparency box is not checked, and check the Pick Up Underlying Color box.
You can use various methods to change the value and color of a blank canvas before painting on the computer. Filling the area with a color using the Paint Bucket tool is often enough. For this particular project, though, we want the look and feel of a traditional oil painting, and a simple fill will not suffice. Also, the canvas already has some color and a pattern that we don't want to cover. The solution is to use one of Painter X's Watercolor brushes to paint a darker tone across the canvas. The effect will be the same as a coating of thinned oil paint brushed over a canvas. Because we are using a Watercolor brush, it will create its own new layer. Figure 1.11 shows the painting with a darker color painted over the figure and into the background, leaving a wet look. Figure 1.12 Watercolor diffuses into the paper texture. Figure 1.12 Watercolor diffuses into the paper texture. Note that even though you paint with the Watercolor brush on its own layer above the Canvas layer, the...
Washes are generally ink that's been watered down until it's a much lighter, transparent consistency. To apply a wash, you use a watercolor brush to dip into the wash and cover over the areas you want to shade, usually on a watercolor-based paper. To achieve the right gray shade, mix water in with a small amount of ink until you get the shade you want (see Figure 4-12). The results of washes are very similar to watercolor except that washes are always some shade of gray. The technique is still very much in use in cartoons that are regularly published in The New Yorker magazine, among others. The technique results in a toned-down, more sophisticated looking composition. Washes can create a soft tonal shade quality similar to traditional watercolors. Washes can create a soft tonal shade quality similar to traditional watercolors.
(2) Wash media is any media which is fluid and transparent, e.g., inks and watercolors. The term wash refers to the appearance of the media on the surface the artist is working, not necessarily to a particular medium. (a) Wash usually refers to thinned ink or watercolor. The more fluid the medium, the more transparent it will be (fig 3-3). 3. Mixed media is the combination of more than one media in an illustration. Some pleasing combinations are watercolors, tempera paints, or acrylics, with ink contours.
Drawing with Watercolors A good way of setting up the drawing is by practicing tonal watercolors. Before starting the drawing itself, we place the model in front of a single source of light, because shadows become confusing if there are several sources of light at one time. Before hatching, we can lightly draw the outline of the figure in order to have a template or guideline for working. Then, using a flexible brush, we quickly and nimbly apply dark watercolor on the areas of the body that are shaded, preserving the white of the paper for the more brightly lighted areas.You will have to forsake any intermediate tones precision is unimportant in this drawing, so don't waste time repairing forms and outlines.
This fairy thief may he either a scheming temptress who will take your last penny or a female Robin Hood, who takes from the rich to give to the poor. Some fairies are certainly known to be thieves, but on ly take away what selfish humans deserve to lose when people become miserly and refuse to share their possessions, the fairies will take them, ihe fine details in this picture, notably around the eyes, were created with colored pencils. Additional shadows on the stones and surrounding frame and wing segments were achieved with white gouache and gray watercolor marker. The artist has chosen a tall vertical format for this painting in order to draw the eye upward to the mischievous-looking fairy perched on top of a precarious-looking pile of rocks. To paint the stones, she blocked in the shadow first, using layers of Paynes gray mixed with lamp black. To achieve the granular cffcct , salt was sprinkled into the wet paint, and then some light scribbling with a watercolor pencil was...
L he Guardian I'airy appeared to the artist in a dream, and she felt compelled to paint her as soon as possible before the dream-image faded. She quickly sketched her daughter in the appropriate pose, transferred the drawing to watercolor paper, and began to paint, working from background to foreground. 1 he clothing and wings were left until last, so that the overall coloration could dictate the final shades of these. I he pale and delicate colors remind us of the fragility of the eggs themselves, and the irregular frame of apple blossoms that encircles the nest stresses the theme of the protection of precious objects.
As a husband and wife team, Mark and Mary have authored and illustrated Water-color for the Absolute Beginner (North Light, 2003), and the book has been translated into several languages. Mark's writings and illustrations have been featured in a number of other art instruction books. Mark is a contributing editor for Watercolor Magic Magazine. His regularly featured column, Brush Basics has been rated as a favorite among the magazine's readers.
First of all I covered a primed canvas (16 x 13 ) in a 'thin' mix of raw umber. Technically this is usually referred to as a 'imprimatura'. When I say 'thin' I mean a mix diluted with turps that spreads like watercolor and dries very quickly. When almost dry I use chalk to draw in the design. For this classic or formal design I place my imaginary 'horizon' about one third up from the bottom and then center the vase. If you prefer you could use charcoal for the drawing.
Vow don't need a vast quantity of materials to paint in watercolor. A basic range of colors, a small selection of brushes, watercolor paper, a palette, and a piece of sponge or tissue are all you require to get going, plus pencils and Watercolor paint* arc available in two main grade* artist'* and student' quality. It is Left to buy artist's quality, a tkey contain a higher proportion of pure pigment to filler* and binder*, and will yield more vibrant color*. I lie paint* are available in both tube and pan form. I ube paint* are best for mixing large quantities of paint for a broad watli, or for adding touches* of strong color. Pans, which are designed to fit into a paint box, and are made in half and whole sizes, are more convenient for small-scale paintings and detailed work, as well a* for painting on location. Watercolor brushes are made from sable or other animal hair, or from synthetic fiber*. Sable brushc* are undoubtedly the best, but they are expensive, so it might be wise to...
Hong Kong Original size 8V1 x 11 inches Medium Pilot fine-line and watercolor marker on watercolor paper Technique line drawing and wash Title Old Cairo. Egypt Original size 14x17 inches Medium Eberhard Faber markers on rice paper, watercolor Technique use black marker to outline the sketch wash with black and gray highlight the figure with bright color Title Egyptian Farm House. Cairo Original size 11x17 inches Medium Eberhard Faber on rice paper, blacks and olive green watercolor Technique sketch with markers use broad brush strokes to fill in the spaces highlight the trees with light olive green fine-line marker, watercolor on watercolor paper
Crosshatching is a technique best suited for applications in which other forms of shading may not reproduce well. This is especially true with regard to newsprint. Most newspapers print their pages in black and white, so shading your art using a gray wash or even color won't turn out well. Also, newspapers have a tendency to run images smaller than the cartoonist originally intended. If you color your art or use a watercolor wash, when the image is reduced down and reproduced on the page, the shading technique fails as the area appears solid and the image may lose any tonal quality.
At dawn, with a cup of green tea in hand, Steven Holl sets out his watercolors and a spiral-bound journal. He has followed this routine for more than twenty years, having learned to value the creative spark that comes prior to the day's unfolding energy. Holl has drawn and painted as long as he can remember his mother still has several paintings done during early elementary school. In addition to the watercolor journal, he also maintains a journal in which he notes his impressions of spaces and places, ideas, concepts, criticisms, reflections. He carries these with him at all times, relying on them for inspiration especially during his frequent travels. Begun in Rome in 1970 when he studied there, Holl says, the journals have allowed a continuous process, a dialog with ideas, quotes and spontaneous captured intuitive thoughts.
One of the most compelling qualities of acrylic paint is its uncanny resemblance (by means of manipulating the formulation of paint, diluent, and various additives) to the characteristics of a broad range of traditional paint media. It is sometimes difficult, at first glance, to distinguish oil paint from acrylic, or watercolor, tempera, and casein from acrylic. It can be thinned and used in washes on uncoated paper, or thickened and applied to gessoed canvas or panels. Additives can provide a matte or glossy surface as well as unlimited varieties of textures. The paint film is tough, flexible, and resistant to moisture. Acrylic also has unique qualities that artists have used to great advantage. It can be used as a stain on raw, unprepared canvas or when formulated to a particular viscosity, applied in very uniform layers producing surfaces that show
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