WATERCOLOR A
practical
guide to
watercolor painting tor the
home
artist
ARTIST'S HANDBOOK
1
BOOKS BEL-TIB 751.422 Artist's 2003 Artist's handbook. materials, Watercolor techniques, color and composition, style, qJo^ subject :
ADTICT'C
APR
2
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H D A A
DATE DUE o ?n u
M^'m
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JAN
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HANDBOOK:
ARTIST'S
WATERCOLOR materials
•
techniques
composition
Edited by
•
style
•
color and
•
subject
SALLY HARPER
AN OCEANA BOOK First edition for
North America published
in
2003 by
Barron's Educational Series, Inc.
Copyright
© 2003
Quantum Publishing
Ltd.
All rights reserved.
No
part
of this book
may
be reproduced
in
any form, by photostat,
microfilm, xerography, or any other means, or incorporated into
any information
retrieval system, electronic or mechanical, without
the written permission of the copyright owner.
All inquiries should be addressed to:
Barron's Educational Series, Inc.
250 Wireless Boulevard Hauppauge, New York 1 1 788 http ://www.barronseduc .com International Standard
Book No. 0-7641-5619-5
Library of Congress Catalog Card No. 2002107842
This book
is
produced by
Oceana Books 6 Blundell Street
London N7 9BH
QUMWAH Manufactured Printed in
in
Singapore by Pica Digital Pte Ltd.
Hong Kong by Paramount
98765432
1
Printing Co. Ltd.
INTRODUCTION The medium The
history of watercolor painting
MATERIALS
a>
How
to choose paper, boards, canvas, etc.
14
17
20
Brushes
VJ
9 10 13
and colors
Paints
7
Easels
21
Boards, palettes and other equipment
22
Lighting
23
TECHNIQUES
25
Laying washes
26
Foundations
32
Brush techniques
42
Color
50
effects
Alternative techniques
66
Mixed media
75
M
U
1
80
COLOR AND COMPOSITION
83
Composition
84
Tonal values
100
The
illusion
Creating
of depth
mood
107 112
Choosing colors
127
Mixing colors
132
STYLE
139
Painting an impression
140
Expressionist approaches
142
Abstracting from nature
144
Pure abstraction
148
SUBJECT
153 154
Still life
Plants
and flowers
Landscape Light
and weather
164
170 180
Buildings
199
The animal world
206
Figures
and portrarts
ClrK-arv
INDEX
AND ACKNOWLEDGMENTS
215
220 222
uction Of all
mec
the paint
perhaps the most idiosyncratic. With watercolor. what is done is done. Depending on the technique used, once
applied to paper, a watercolor
wash
will
stay there. But the very unpredictable
nature of watercolor painting also brings special satisfaction to the artist. There
is
intense pleasure involved
in working with watercolor and adapting to it. rather than determining from the outset what the
result will be.
The
art of watercolor painting has a
history that stretches back over 40.000 years. The
first
known examples were cave
paintings, using thick applications of
water-based
paint. Early
Chinese
opaque
artists.
however, used soft-haired brushes and
worked on
silk
and
rice paper,
whose
absorbent surfaces encouraged the use of delicate, transparent washes. With just a few fine strokes, these artists captured a
mood
of atmospheric space
in
their
landscapes, anticipating by several centuries
the
work of western watercolor
This
is
to
let
artists
such as Turner and Girtm. the strength of watercolor: its
ability
the texture and tone of the paper mingle wrth the vivacrty of the paint, en that illusion of light
many a have a mind of
and depth
for
which
/e. True, watercolor n its
own. but
the excrtement of
that
is
this intriguing
.ill
part of
medium.
INTRODUCTION
"I
don't
do watercolor
difficult"
amateur
it's
far
under running water and washed away.
too
Watercolor has many
remark often heard from
a
is
painters,
who
even those
main attraction for
other media, such as
in
oils.
It
cannot be denied that some people find
watercolors a
than
oils.
little
unpredictability should
this
is
very
be regarded
as
a virtue, not a drawback. What people really
mean when they make
of remark
this kind
that watercolors cannot
is
be altered over and over again can; a color
or wash, once
on the paper must extent this
is
true,
laid
as oils
down some
stay there. To
and
it
alterations can
feel
when in fact,
in
a color that has not
so that
it
are
oil
light.
of the paper
its
is
paint or acrylics,
opaque and can be
dark to
As
transparent,
is
must be applied from
dark, unlike
built
light
up from
Highlights consist of areas
white or very pale
left
certain
amount of
pre-planning
is
work
necessary at an early stage to
some
planning
always needed for
is
come
is
out
whatever medium
being used.
one ever
quite
knows how
behave, and
watercolor
will
watercolor
artists find this
one of
many
very
quite right can be changed dramatically
unpredictability
by applying another wash on top of
assets.The purely practical advantages
areas can be sponged out or over; and
if
to
which
washes surrounded by darker ones. A
No
be made, and
often are, as a painting progresses: a
wash
mixed with water and
painting or drawing,
approaching a watercolor But,
many
pure watercolor
implies,
it
out where the highlights are to be, but
is
understandable that people should a certain nervousness
its
its
of subjects, especially
landscapes and flower paintings.
medium
sometimes unpredictable, but
ideal for a variety
name
harder to use
This very attractive
being
freshness and translucence, making
regard themselves as reasonably proficient
virtues,
artists
it;
worked
the worst comes to the
worst the whole painting can be put
its
greatest
of watercolor painting are that you
need
little
expensive equipment, the
painting can
be done more or
less
anywhere provided there
enough
light,
be cleaned up
quickly, leaving
no mess. Since the paper relatively cheap,
expensive.
LIBERTY WATERFALL
McKay
is
experiments
and mistakes are not very
Shirley
is
and paints can
THE MEDIUM
THE DISMASTED BRIG John
The Medium
broad mosses, and the
Watercolor.
made by
like all paint, is
mixing pigment wrth a binding agent, this in
case
gum
arabic.
water. There are
which
is
Sell
Cotman
The rain-swept sky has been treated swirling
the waves has been used to in
make a
geometric pattern of different-sized
triangles.
soluble
two types of
different media,
and watercolor
watercolor." 'pure" or "classical"
often used with pastel, pen and
watercolor. which
pencils
is
gouache, or "body
transparent, and
color."
which
is
the
It
can be a useful
exercise.
technique of gouache painting
watercolor
can be
oil
laid
or
this
is
color
in
with pure watercolor.
Its
is
source of constant controversy
some
is
conjunction
use
a
and should never be combine the two wrth
considerable success. is
draw it
into
with
or
pastels to
see the
medium
ummosity used; others
a
has "gone
inks
among
claim th
destroys the character of the
when
wrong." to
outside
book; but gouache
quite frequently used
watercolonsts:
similar
acrylic, since light
over dark, and
the scope of
is
Nowadays
a general trend toward mixing
there
is
ink.
or crayons (see "Techniques").
same pigment made opaque by adding whrte pigment to the binder. The to that of
in bold,
movement of
effects that
can be achieved.
INTRODUCTION
The History of Watercolor
illustrators
seventeenth century. It
Painting
was, even
is
commonly
so, in
eighteenth-
century England that watercolor painting
It
of the sixteenth century
and the Dutch flower painters of the
was elevated to the
national art.
believed that
A new
interest
watercolor was invented by the
landscape painting for
English landscape painters of the
culminated
eighteenth century, but this so.
Watercolor has been
various forms for
many
in
is
far
use
from
it
for painting
plaster to
painted
in
Italy
were
a kind of watercolor;
it
776-
own
sake
1
837), the fore-
topographical - a truthful and detailed
record of a particular place - but the hands of
decorate their tombs; the great frescoes of Renaissance
1
its
work of John
had hitherto been purely
centuries.
on
(
the
runner of the Impressionists. Landscape
in
Indeed the ancient Egyptians used a
form of
Constable
in
status of a in
artists
in
such as Paul Sandy
(l725-l797),ThomasGirtm
was
(1775-1802), Francis Towne
used by medieval manuscript illuminators,
both
in its
"pure" form
and mixed with body color; the great
German
artist,
(1471-1528), extensively,
Albrecht Durer
made
use of
it
and so did many botanical
STUDY OF CIRRHUS CLOUDS John Constable English painter John Constable revolutionized
the art of watercolor, bringing to
observations of weather, light
it
his
acute
and atmosphere.
THE HISTORY OF WATERCOLOR PAINTING
*>een seen
in
paint
Throughout the nineteenth century the techniques of watercolor
continued to be developed subject matter
The poet (
1
757
v
i
A/illiam Blake
827). evolved his
1
an*
became more
of conveying
own method
poetic vision
his
in
watercolor. as did his follower Samuel
Palmer
(
805
1
1
88
).
1
who
used
and blocks of opaque color visionary
swirls
in his
and symbolic landscapes.
With the end of the Napoleonic
m
and the topographical
easier
new
reached
like
• .
heights
the
in
Samuel Prout
GREAT FALLS OF REICHENBACH a superlative draftsman
imer
V.
once again became
1815, travel
(
1
tradition
work of
783
who
1
852).
painted
the buildings and scenery of western (
740
1
1
(
784
1
1
6).
John
Cotman
Sell
1842) and Peter
(1782 than
8
-
849)
1
it
further
became much more
Watercolor
that.
Europe
deWmt
v.
illy
exploited and given the recognition that
was
its
artists
worked
watercolor alone, regarding perfect
medium
it
in
805
(
775
1
oil
1
85
1
M W Tur .
J.
achieved
).
painter, but
further by his friend, the French
•
possibilities
rnd
haphazard blobs of paint turning them into
some
of the most
depictions of
light
mi
and color
of watercolor.
its
gre.r
exponents being Graham Sutherland
a<
he explorted
accidental effe
(1798 1863).
of the twentieth
Fir
century have not ignored the
he produced watercolors
"rules."
new
1
)elacroix
of an amazing depth and richness. Qurte
unmhibrted by any
glowing studies of
landscape and figure subjects, to be
light.
i
fame
his
made
s<
quick sketches of skjes.The grc all.
876)
techniques, such as the "dragged" wash,
Constable used watercolor mainly for
cotonst of
1
Middle Eastern scenes, and
1
as the
for creating the
^xssphenc effects they
1
Traveling
John Fredenck Lewis
were pioneered by Richard Parkes Bonmgton ( 802 828) for both
due.
Most of these
(
in faithful detail.
afield.
(1903 (
1
889
1893)
1980) and Paul 1
946) and
h.s
N
brother John (b
Medium
It
with both professior
amateurs, and
ind
new way
constantly being found of explore that have
full
potential
I
I
k s>.
w hI
Materials "To get the tools":
right results, start with the right
it's
a rule that applies to
many
undertakings, including watercolor painting. If
you are
just starting
to experiment with
may not want to invest of money in equipment.
watercolor. you great deal
a
no need to rush out and buy an expensive easel and an enormous
Certainly, there
is
range of paint colors.
It
is
perfectly
acceptable to start small, and purchase
equipment when you are sure of precisely what you require. It may be that you never get around to buying that expensive easel:
many
work
professional watercolonsts
at
an ordinary table, with their board
supported by a it
is
areas.
pile
just as well
Good
of books.
not to scrimp
qualrty paints
same some
the
All
in
and brushes
stand the watercolor artist
will
good stead. and you will not need an enormous range of paints and brushes to start with. Few watercolonsts use more than a dozen colors, and most rely on only two or three brushes. The choice of papers available to in
the watercolor painter can also be daunting. Again, feel free to experiment:
buy
just a
few sheets
at a
time
until
you
are familiar with the characteristics of different types of paper.
MATERIALS
Perhaps the greatest single advantage of watercolor painting a small amount of equipment is needed, equipment which
is
that only
is
easy to
and brushes, although not cheap, last for a long time; indeed last virtually for ever if looked after. The best paper for watercolor work is hand-made from pure linen rag. Machine-made paper is less expensive but as the surface will not take the paint readily, the beginner should avoid using the cheaper brands. store. Paints
brushes should
Paints and Colors
opaque, unlike true watercolor.
Watercolors themselves can be mixed
Ready-made watercolor in
paint
make them opaque or semi-opaque, so that they
with Chinese white to
sold
is
commonest
various forms, the
being tubes, pans, and half-pans.These all
contain glycerine and are
known
as
become
Success
semi-moist colors, unlike the traditional
dry cakes, which are
are
in
require considerable rubbing with
water before the color
is
released.
more
subtle
watercolor painting
in
depends so much on applying
still
some artist's suppliers, but not used much today. Dry cakes
available
a softer and
form of gouache.
of transparent, but a mistake to
is
quality."
layers
color that
is
known
as "artist's
There are cheaper
paints, sold
a slow process, but the paints are
for "sketching," but since these contain
therefore economical.
a
Gouache
paints,
or designer's
colors as they are sometimes called, are normally sold paints,
in
paints,
have chalk added to the
pigment to thicken
it,
and are thus
filler
color
to extend the pigment, the is
weaker and the
paint tends to
be chalky and unpredictable.
Whether
tubes. These
and the cheaper versions of
them, poster colors and powder
tubes has
its
is
to use pans, half-pans, or
a personal choice. Each type
advantages and disadvantages.
who
Tubes are excellent for those
work
mainly indoors on a
fairly large
«fiiflft'J«/,ffft Kauiu
mm
s HUMIU
Mucum
2U I CUM*
— 14
it
buy any but the best-
quality paints, It
rich,
UUUM
—y
PAINTS
AND COLORS
squeezed out of them on to 'U left Or
;
ig IS
completed can be u ng
with
it
wet bru can be bought
m
in sets
.i
which
s,
own
their
are the
..
popular choice for wor^
outdoors on a small
scale.
be bought
:olors can also
concentrated form
m
with
in bottles,
droppers to transfer the paint to the •>minently suitable
broad washes which require a
for
large quantrty of paint, but they are
easy to mix than the other types.
less
The choice of colors
is
personal,
though there are some colors that
color,
everyone must have Nowadays there
than others according to the cost of
is
that a beginner
justified in feeling
bewildered, but. necessary.
mind
is
that
only a few are
in fact,
some
point to be
colors are
may not
use
for any painting that
be hung or therefore,
is
exhibited.
Hookers
•urers have systems of
se appear
m
.
green,
i
green.
raw umber, and
Wmsor
(called
on
blue
in
and Newton range) blue.
?
%
watercol<
than a dozen colors. For
recommended
to rule out any colors
•d as "fugitive" All
the
Few
cerulean blue, while monastral blue
wise course,
•
more
to keep
is
it.
landscape painting, useful additions to
intended to
is
A
call
the basic
b>
important consideration for q sketches and "note-taking," but dis
professionals
simple as possible.
considerably less permanent than others, which
more expensive
The golden rule when choosing a range of colors, or "p
is
somewhat
One
being
the pigment used.
inge of colors to
su
choose from
some
is
the
Wmsor
sometimes
instead of
For flower painting the
»e
might be enlarged by
addition of cobalt violet and
t
(J
lemon
also bear a
code
See the "Color and Composition" section for more
relative price of
each
information
yellow.
tubes or pans "
ng the
will
on color
ch<
15
I
MATERIALS
Suggested Palette Warm and
cool versions of the primaries are essential, plus
secondaries and
some of the
so called "earth colors." The latter
rather nondescript to the beginner, but they are of
because they are close but can be a good
mixing other
to
many of nature's
addition as
colors.
it is
more
Other useful but not
umber and
cadmium
cadmium
burnt
16
is
not included,
strictly
essential colors are
indigo.
lemon yellow
yellow
cobalt blue
importance,
vital
Black
or less impossible to produce by
red
umber
colors.
some
may seem
yellow ocher
sap green
burnt sienna
viridian
cerulean blue
French ultramarine
Prussian blue
Payne's gray
raw
HOW
TO CHOOSE PAPER. BOARDS. CANVAS ETC
How
to Choose Paper, Boards, Canvas, etc.
The
-
paper
the term used for the
support
surface
Hotpressed
on wt>
ting
is
done
-
is
whrte or
pale-colored paper, which reflects back through the transparent paint to give the translucent Cold-
qualrty so charactenstic of watercolors. There
are
many
pressed
types of watercolor paper Each
paper
probably need to try several
individual will
before establishing which one
suits his
method of may
working, though sometimes a particular paper
be chosen to create a
special effect
The three main types of machine-made paper are hot-pressed (HP), cold-pressed (CP). which is
also rather quaintly
known
as "not" for "not
hot-pressed." and rough. Hot-pressed paper
Rough paper
is
very smooth and, although suitable for drawing
or pen-and-wash. building
up
not a good choice for
is
layers of
washes
watercolor technique as
rt
in
the standard
becomes clogged
very quickly Cold-pressed paper which textured,
is
the most popular and
both broad washes and as
rts
name
implies,
is
fine detail.
much more
textured, and the paint
is
is
slightly
suitable for
Rough
paper,
will settle in
Hand-made paper
heavily
the
"troughs" while sliding off the "peaks." giving a
speckled effect which can be effective for subjects but
Among
is
difficult
some
to exploit successfully
the best -known makes of
good
color papers are Saunders. Fabnano.
Arches. Bockmgford. Strathmore. and R.W.S. (Royal Watercolor Society),
some
Drawing of which also
handmade papxHand-made papers are made from pure
include
(cartridge)
paper linen
rag and specially treated with size to provide the
best possible surface for watercolor work. Such
papers are sized on one side only and thus have
17
MATERIALS
a right
and a wrong
side,
wherever the surface has been
which can
One
be checked by holding the paper up to the
light
becomes
so that the watermark
Many of the
visible.
wrong
a right
paint,
moreover can be manipulated in
a very free way.
both strong enough to stand up to erasing, but mistakes are difficult to
remove from the former which holds
deal of preliminary drawing and
erasing without damage, but others
do
the paint very
not. Bockingford paper; for instance,
a
in many ways, is damaged by erasing, and the will take on a patchy appearance
good choice
firmly.
Saunders paper
for beginners:
although excellent
strong, stretches well,
quickly
pleasant surface.
Kent
Carisbrook
it
Arches
M 38AM
Schoellershammer T
Schoellershamme
M
I
1
40J
Fabriano
I
^^
Canson Mi Teintes
is
and has a
Hand-made
18
that
Arches paper and Saunders paper are
papers have surfaces that are
Rice
is
be removed by
and moved around
and
tough enough to withstand a great
paint
spoiled.
advantages, however;
washing out where necessary; the
better
side.
Some
its
paint can easily
machine-made papers also have a
watermark and hence
of
Ingres
is
HOW
TO CHOOSE PAPER. BOARDS. CANVAS ETC
Stretching paper If
you have
tried watercolor painting
on
paper, you
fairly thin
tendency to buckle when you apply wet washes, and then
of waves. This
you can turn will
shrink as
due
is
to
If
you tape
dries, pulling itself taut
it
have noticed
will
dry unevenly,
in
a
its
series
expansion of the paper when wet. a tendency that
to the rapid
your advantage.
to
down when wet and
it
fully
expanded,
it
as a drum, producing a lovely springy surface
not unlike a canvas.
The paper must be fully submerged in water for a few moments, either in the bathtub or
I
I
I
I
sink
as
or slowly passed through a large bowl,
shown
here. This ensures that every inch
of both sides
I
thoroughly wet.
Take the paper out of the water,
X
'Ppmg wet and I
for a
is
m
position to
be
lay
still
on the board
it
stretched. Leave
rt
few minutes for the water to be com-
pletely absorbed,
and when the buckling
process has reached maximum, wipe off surplus water with tissue. Then pull the paper at
I
4
When
^ii
one end. holding the other end down.
Dry the edges of the paper where will go with some
tour" sides
the gumstnp
are taped down, use J
I
more
tissue to
over the top of the gumstnps. Press
it
down
fresh tissue, then cut the strip into
wipe
to squeeze out
lengths,
wet the
sponge, and
sticky side with a
stick
damp
down.
any excess water and ensure
good adhesion between the two surfaces. Also wipe up any-
.
9
nearby pools of water which could run into the gumstnp, dissolving the glue
and
weakening the adhesion.
e the paper to dry for a few
you are
]
hours, or
I
up the process wrth
advisable to check
if
on
it
a hurry,
speed
a hairdryer.
during drying;
side has not stuck property, it
in
if
It
is
one
you can reinforce
wrth a fresh piece of gumstnp.
MATERIALS
many brushes
have a great
Brushes Soft brushes are normally used for
three or four
watercolorThe best ones are
sable,
and many
made from the
hairs of
practical
in
chisel-end for laying
tips
of the
tail
the small rodent found chiefly Siberia. Sable
a lifetime.
brushes are also hair
(known
as
Some
looked after properly
if
last
Watercolor
made from
reason) and ox hair These are
is
now
a
from
good
If is
made
washes and two
different sizes.
in
watercolonsts use ordinary
falling
essential to look after
water
of
out as you work.
you want your brushes to
Wash them
wide range of
synthetic brushes, usually
A
range would be one large
care must be taken to prevent hairs
some
substitutes for sable, but have less spring. There
be adequate,
use only two.
household brushes for washes, but
squirrel
"camel hair" for
will will
artists
or three rounds
brushes are extremely
expensive, but
they should
for
watercolor work; for most purposes
thoroughly
after use
-
nylon or a mixture of nylon and sable,
stained use a
and although they do not hold the
brushes pointing
if
little
them in
still
Never
downward
in
bend the
leave a glass
paint as well as sable, they are
of water, as this
excellent for finer details and are
out of shape, possibly permanently.
much cheaper
they need to be stored for a length of
Only by experimenting individual discover sizes suit
them.
It
will
an
which shapes and
is
time
in
a
will
hairs
box or can make sure
mildew may form. Store them
not necessary to
(left
to
hair,
mixed
right): blender, fine
fibers round,
If
that
they are absolutely dry; otherwise upright.
A RANGE OF BRUSHES SUITABLE FOR WATERCOLOR PAINTING synthetic roundhair, broad synthetic round
ox hair round,
squirrel hair round, sable fan
bright, chisel-ended,
sable round.
20
it
running
they are
soap.
last,
well.
sable round, fine
EASELS
studio easel,
Easels Watercolors. u
done
oest
at close qi.
*h the
support
not
necessary for indoor
really
It
allows you to
at different angles
to
do
vertical to horizontal.
Good
to
do without one
until
easels are it
is
many work
professional watercolonsts
work
wise
you are sure
at
an
ordinary table with their board
artists prefer
supported by a book or brick
preliminary drawings with the
board held
vertically)
around to the best
more
the
tilt
(many
convenient. Both
of your requirements;
work. However, an easel can be helpful.
more
not cheap, however, so that
held nearly horizontal, so that an easel is
is
are adjustable to any angle from
difficult
and to move
light,
which
with a table. The most
important aspects to consider of course, from price
and the
it
is
facilrty
are
apart,
stability
for holding the
work
firmly in a horizontal position.
For outdoor work, the combined seat
and
easel,
which
earned by a handle, useful.
is
folds
and
is
particularly
For indoor work, the
combination
easel,
which can be used
both as a drawing table and a
There are two
wooden one
mom
types of sketching e
ones They both weigh
about the some, and the height and angle can be oo)tr.
MATERIALS
Boards, Palettes
and Other Equipment
in
a variety of sizes,
the nonpainting hand
will
possibly
another necessity for outdoor work;
two boards of
have forgotten the water. Special
different sizes, it
where necessary. A piece of plywood or blockwood is perfectly adequate
wood
drawing
soft
pins.
is
smooth and
enough to take
For outdoor
a
used, with the paper clipped to
you
find that
containers can be bought, but plastic soft drink bottles can
the water and any
be used to carry
light
(unbreakable)
container such as a yogurt container will suffice
work
to put the water
in
when
you reach your destination. Various other items, though not
piece of illustration board can be it,
strictly essential,
can be useful and
though the paper must be heavy
inexpensive aids for watercolor work.
enough not to require
Small sponges can be used instead of
If
you buy paints
in
stretching.
paintbox form
you
will
already have a palette;
you
will
need one with compartments
for mixing paint.
are
22
nothing worse than arriving at
your chosen spot to
to support the paper and stretch
the
is
need a drawing board, or
provided the surface
in
when working
outdoors. Water containers are
there
You
and some have a
thumbhole so that they can be held
made
if
not,
Watercolor palettes
in plastic,
metal, or ceramic,
brushes to apply washes, to sponge
out areas, and to create cloud
effects;
soft,
paper towels,
smudgy
blotting
paper and cotton wool can be used
much the same
in
way. Toothbrushes are
BOARDS. PALETTES. AND OTHER EQUIPMENT
useful for spattering paint to create
textured
effects:
pebbles on a beach, for example. scalpel,
or a razor blade,
to scrape
away
a highlight area.
Lighting
to suggest sand or
is
A
For indoor work
often used
small areas of paint
in
And both masking
tape and masking
can serve to
fluid
block out areas while a wash
is
laid
over the top. leaving a hard-edged area of white paper
The
specific
devices are
when removed.
uses of such aids and
more
fully
explained
in
left
vital
is
to organize a
shoulder (or right shoulder
are left-handed) can be quite factory
south
It
even and so
less
is
if
the sun, since the
you
faces north (or
relatively
unchanging
window faces light may constantly the
brilliant
may even throw light
if
satis-
the southern hemisphere) and
gives an light.
window
the
if
in
change from
the "Techniques" section.
it
good system of lighting. Working by a window with light coming over your
to
murky and
distracting patches of
and shade across your work. An
artificial light
of the fluorescent
you to work room or comer and to working when the light has
"daylight" type will enable in
Starter Palette
a poorly
continue
faded
-
lit
winter days can
seem very
short for those dependent on daylight
Such
light
can be used either instead of
natural light or to
there
is
supplement
one type with a base
be clamped to the edge of a I
These colors
will
provide
adequate range
perfectly
Some
needs.
artists
for
it
and
that can
table or
liacent shelf.
a most
work with
fewer From top to bottom: cobalt blue. Prussian blue, vmdian. yellow
ocher.
cadmium yellow, lemon cadmium red. alizarin
yellow,
crimson, burnt umber. Payne's gray.
and
ivory black.
A desk lamp can be angled so that does not cast too much shadow Such lamps it
can be
fitted with daylight simulation
bubs.
23
4l
\
*
Techniques The two most important watercolor
are.
unpredictable to
some
characteristics of
that
first,
always
is
it
extent, even
the
in
hands of experts; and second, that because dark
is
needed
is
The as
always
laid
over
light,
some
watercolor technique
classic
wet-on-dry because each
laid
planning
before starting a painting. is
known
new wash
is
over paint that has already dried. The
basis of this technique
a thin skin of paint
paper, or a part of
moment
it.
the wash,
That
in
which
over the whole
wash
first
is
the
of decision, because you must
know which
then
is
laid
is
areas you wish to
"reserve" as white paper. In this
use
have been
section, the techniques
grouped roughly
them
in
in
the order you would
creating a painting,
moving
from washes and foundation techniques through brush techniques and color effects and.
lastly,
corrections. spirit
to making changes and
Approach each method
of experimentation
it
in
a
may be
worthwhile to set up some practice paper and use it to try out different techniques before launching into a complete composition. Don't be too quick to discard
your early
efforts,
though:
it
is
often
possible to rescue apparent mistakes by
reworking them using methods such as scumbling or
wax
resist.
TECHNIQUES
Laying Washes The term "wash"
a rather confusing one, as
is
implies a relatively broad
it
sometimes used by watercolor painters to describe each brushstroke of fluid paint, however small it may be. Here it refers only to paint laid over an area too large to be covered by one brushstroke. area of paint applied
Laying a Flat
flatly,
but
it
is
Wash
Beginners are often encouraged to practice laying perfectly
but while
it
watercolor rarely
as an
flat
washes,
teaches you control of the it is
fact a
in
used to create
underwash
technique
paintings,
for a
whole
except
picture.
also
Laying a Graduated This
is
tone color
you
a one-color
as
that changes
progresses. Mix up plenty of
it
the palette, but
in
lay
wash
Wash
this
time as
each successive band of color
gradually
add more water to the
mixture.
Try on both dry and wet
paper Start with a strong
I
solution of yellow lighten
it
ocher and
gradually by the addition of
water to each new stroke across the
Load the brush and paint
I
in
lay
the
even strokes across
the paper from one side to the other.Tilting the board a
paperThe
last
pure water
uneven
tilt
If
band should be almost
the wash appears
slightly
the paper to encourage
the paint to flow.
Do
not touch
it
with
little will
help the bands of color run into each
your brush.
other.
Never go back over the wet
2
paint;
it
still
dry
paper before
it
laying
the wash, which
helps the colors blend together.
26
flat,
may look uneven wet. You can dampen the
though while
will usually
Sometimes a more dramatic
2
tonal gradation
Dampen
is
required.
the paper and
lay
two or three bands of full-strength followed by
really pale
pure water for the
last
color and stroke.
color
finally
LAYING WASHES
Variegated Washes
Textures
"ndmg two or
more
colors together
A
W.itcrcolor washes can be n
sunset might
things:
some
simply play the role of a
require linear bands of red. yellow, and
flat
blue whereas a tumultuous sky could
while others serve the purpose of
be depicted with blobs or splotches of different colors blended
in
a
more
backdrop to a
providing an
underpamtmg
for
subsequent work. They can also be an
end
irregular way.
"drama,"
visual
mood
themselves, conveying
in
and atmosphere by means of a few brushstrokes swept over whrte paper. In
creating a wash, the illusion of
texture can be achieved by choosing
the right paper and pigments.
One
make
of the best ways to
wash say more
is
a
to use the texture
of the paper as an integral part of the painting.
mainly
i
start.
Watercolonsts
in
our colors before you
supports very
Lay the colors on dry
the contribution they
paper
in
even bands allowing
finished
who
washes choose
paint
their
carefully, fully
make
aware of to the
work.
the wet edges to blend wrth each other. Resist the temptation to
touch
up wrth your brush while the wash
is
drying.
Dampen
2
brush Tilt
in
The granulation of the pigment that
the pap-
the palest colors.
sometimes occurs when a wet wash applied over
a dry one can add
oreas. which
can become
the paper and allow the
colors to blend.
Jony flat
is
e-
useful
and
m
shadow
<1uli
27
TECHNIQUES must work fast. Paradoxically, when you keep all the colors wet,
that you
Wet-in-wet This
exactly what its name - applying each new color
means
implies
they
will
not actually mix, although
they
will
bleed into one another.
without waiting for earlier ones to dry
Placing a loaded brush of
so that they run together with no
on top of
hard edges.This
is
a
technique that
only partially controllable, but
is
enjoyable and challenging one.
is
a very
Any
of
the water-based media can be used, providing
no opaque pigment
added, but helpful to
in
the case of
color
it
is
add retarding medium to
wet wash of
new
the
brushstroke causes the
draw away. The danger with
picture wet-in-wet
painting a
is
that
undefined. The technique
to dry completely at any time. This
that you have
that you it
is
must
stretch the
a really heavy
one
of at least 200 pounds) and second,
whole
may
it
look
altogether too formless and
effective
first,
in
first
color to
The paper must first be well dampened and must not be allowed
paper (unless
paint
weight of the water
the paint to prolong the drying time.
means,
wet
a different
dropping a pebble
little like
into water; the
is
acrylic,
a
is
a
and
let
when
is
most
offset by
is
it
linear definition, so
gone
edges
when you
as far as
you
feel
can,
the painting dry, take a long, hard
look at
it,
and decide where you
might need to sharpen
it
up.
Step-by-step: Wet-in-wet
Flood the whole picture area with clean water and
1
soak
With
in
for a
let
it
few seconds.
a large, flexible brush such as a
squirrel-hair, paint in ultramarine, Payne's gray,
and
violet in separate areas defined
by your sketch.
Prolonged wet-in-wet
2
painting picture.
required for this
the paint starts to
dry halfway through, creating unwanted hard edges, spray on clean water with an atomizer This
will
take effect
in
seconds, softening hard edges and
enhancing the
28
is
If
flow.
LAYING WASHES
Subsequent washes need
3
more
definition,
so pne-wet
Mix a
4
only selected areas. Apply
cerulean blue softening
in
some
the central area parts with water Paint
ultramanne streaks stroke over
at the
them with
a
Allow the two areas to
bottom, then
wet
fuse.
brush.
Irttle
emerald green wrth
cerulean blue and a hint of Payne's gray,
the
and use to
give
wave more shape underneath. Then,
with a darker mix, paint the curve
underneath.
Add
same mix and
lines
a touch of black to the
paint in the small, dark
areas immediately under the crest
Go
5
around
the picture.
adding a few
dark spots and very pale, undulating in
the foam.
washes
Finally,
dab
spots of Chinese white
foam
in
any places you
have accidentally painted over Then add streaks of dry-brush
white over the blue for texture.
29
TECHNIQUES
Hard and Soft Edges
CHURCH HILL.WINCHMORE
HILL
John Lidzey
A
wet watercolor wash
laid
on dry
paper forms a shallow pool of color which,
if
left
undisturbed,
hard edges as
it
will
rather
dries,
form like
hard and soft edges describes the subject
a
tidemark.This can be alarming to the novice, particularly
in
of a painting, but
is
it
characteristics of the
the early stages
one of the many
medium
that can
be used to great advantage. By smaller; loose
laying
washes over previous
dry ones you can build up a fascinating
network of fluid, broken
lines that
not
successfully
gives the picture
There are
more
several
and also
variety.
ways of avoiding
hard edges. One is to work wet-inwet by dampening the paper before laying the first wash and then working
subsequent colors into
it
before
dries so that they blend into
another with subtle
it
one
transitions.
A
only help to define form and suggest
wash on dry paper can be softened
shapes, but also give a lovely sparkling
and drawn out
quality to the
sponge, paintbrush, or cotton swab
method
work. This
for building
is
an excellent
up rather
irregular
dipped
in
at
the edges by using a
clean water to
A
remove the
wash "dragged" or
shapes such as clouds, rocks, or ripples
excess
on water
"pulled" over dry paper with either a
You
will
not necessarily want to use
the same technique
in
every part of
the painting; however, a combination of
30
more
paint.
brush or sponge
will also
dry without
hard edges, since the paint
is
prevented from forming a pool.
LAYING WASHES
m
Backruns both e and a
These are boti
delight to watercolor painters. lay it
a
If
it
completely
is
chances are that the
seep into the
dry,
new
you
realistic
gently
always happen: the
by
does not
It
possible to avoid
them
is still
no remedy backrun except to wash off the entire area and start again. However many watercolor is
takes a
how wet
irregular,
will
if
first
there
on
it it is too wet and merge together without
a backrun. as they
do
in
the wet-m-wet
technique.
LEFT: The results of working into thoroughly
&y vary
a wash before
it
is
widely according to the paper used
the degree of wetness or dryness, but like this
be able to
or dry the
be, but as a guide,
a sheen
the colors
for a
practice to
little
wash should
altogether.
There
wash. The paint
area of soft color with the
judge exactly
is
damp
flow outward, giving an
jagged outlines so typical of reflections.
less
smoother, highly sized ones, and with it
still
will
conducive to backruns than the
practice
in
working wet color or clear
into a
or water
more absorbent or
rough-textured papers are
approximation of reflections
moving water can be achieved
lightly
water
alternatively It
\
conventional brushwork. For example, a
paint will
described as "cauliflowers."
or
ones such as the
quite unlike those achieved by
into
the
old. creating strangely
sometimes
ill
of flowers, as the effects they create are
shaped blotches with hard, jagged edges
large areas such as skies
watt"
wash and apply more color
before
in
quite dehbei
it
and
can look something
example.
BELOW
•
vre backruns have been
deliberately induced
and
then blown with a hairdryer so that they form definite is.
Techniques sue
I
amorphous shapes such as
particularly useful for
clouds, reflections. o>
r 31
TECHNIQUES
Foundations Building up
Watercolor When
Because watercolors are semitransparent,
colors cannot be
light
OVERPAINTING
laid
over dark. Thus, traditional practice
is
to begin a painting with the lightest
dry,
over the
the darker ones by means of
will
successive washes or brushstrokes.
much
Many, but by no means
by laying a
flat
wash
artists
all,
all
over the
paper leaving uncovered any areas
become pure white
that are to highlights
(known
pencil
it
is
wash or washes are
lose
done by
laying
original ones. its
freshness
A
if
watercolor
there
the strength of color needed for each layer carefully
and apply
one sweep of the each wash
wise to start with a
form a
is
allowed to
dry,
Some
be reserved. The tone and color of
clarity
artists find
and it
if
overall color key of the finished
adding the middle tones
laid all
over the paper might be the correct
landscape, but
would not be
will
the tone and color key of the painting
color then go back to the
in
it
crispness.
planned as they must relate to the
color and intensity for the sky
with
it
easier to judge
the preliminary wash also need to be
deep blue wash
quickly,
it
brush, so that
positive feature of watercolor
work, adding
place and shape of the highlights to
A
too
is
overpainting, so always assess
develop hard edges, which usually
drawing to establish the exact
painting.
darker
individual brushstrokes
does not disturb the paint below. As
as reserving). This
procedure obviously needs some planning, so
first
areas begins,
washes or
tones and build up gradually toward
start
a
suitable
they begin with the darkest area of
two extremes have been Building
up a painting
not the only method.
lightest,
last
when
the
established. in
washes
Some
is
artists
avoid using washes altogether
down
for a foreground containing pale
beginning by putting
yellows and ochers. Another variation
brushstrokes of strong color
of the overall wash
the paper sometimes modifying them
is
to
lay
one
for
small all
over
the land. Both these procedures have
with washes on top to soften or
the advantage of covering the paper
strengthen
quickly so that
you can begin to assess
colors and tones
without the distraction
of pure white paper.
32
the
the process of intensifying certain
certain areas.
FOUNDATIONS
Up
Step-by-step: Building
1^2
Having
laid
distant
hills,
a gray-blue
the
artist
wash over the sky and
blocks
m
a
slightly
the details of the middle distance.
these washes to dry and then paints the dark trees
The
final
touch
is
The warm cobr
to
lay
darker one for the
in
He
leaves
the foreground.
a green-ocher wash over the area behind the trees.
creates a sense of recession, as
front of the picture, while the cool blues are
it
advances toward the
pushed back
33
TECHNIQUES
Gouache and Acrylic
thick
and
dry, a light layer will
cover a
dark one completely, but there If
either of these paints
used
is
thinly,
without the addition of white, the
to the
soluble
those for watercolor described on the
that a
previous pages. The beauty of
will
that
is
painting will
stir
acrylic,
no amount of overup
because, once dry,
is
immovable
disadvantage of this being that
out
is
impossible).
acrylic
can be
infinite layers,
built
up
lifting
more or or
light
in
light. If
the paint
is
Working
in
gouache, the
and allowing runs to occur
When
the
first
in
washes have
used as watercolor
in
fish
more
thickly,
is
areas, but
and has applied a
broad stroke of opaque yellow.
muddy
is
dry,
so
layers
to begin by using the paint its
opacity gradually as
you work. The building up process
is
aided by working on a toned ground,
which serves the same function as a preliminary
wash
in
helps to avoid too
of
watercolor and
many
layers
paint.
in
Gouache
The prawns solidly
are painted less
than the
fish,
as befits
their delicate, slender forms,
and the opaque paint
places.
dried, she
she intends to build up the textures of the
a
application of moist paint
thin, increasing
2
washes
most
water even when
churn up and
artist
begins to define the detail.The paint still
is
you can
underneath. The most satisfactory
Working
begins with the paint well thinned, laying broad
layers
used
Step-by-step:
I
less
light
opaque gouache extent, be built up
over dark. Paintings
from dark to
in
dark over
can, to a certain
(a
used opaquely,
If
in
new
method
earlier paint, it
number of
apply as this paint continues to be
procedures are much the same as
however,
34
limit
is
small areas of highlight.
restricted to
FOUNDATIONS
Now
using really
opaque
white, she accentuates the silvery highlights.
Using a strong mixture of
3
gouache, the
artist
"draws" with
the point of the brush on the underbelly of the
The
and
swirls
Raised blobs
can be seen where the
pigment has been used
straight
from
the tube.
fish.
scales of the
One
fis^
O
s scraping into the paint
working small brushstrokes both
of the exciting properties
of gouache
is
that
rt
allows a
and
contrast of thick and
w
thus providing additional surface interest
thir
wet and wet-on-dry
35
TECHNIQUES
Underpainting
It
essential to use a pale color
is
and one that
the colors to be placed on top.
This involves building up a painting
over a It
is
monochrome
tonal foundation.
usually associated with
oil
not interfere with
will
painting,
but the early watercolorists used a
In
a
predominantly green landscape, for instance, blue
would be
good choice
a
and, since blues tend to stain the
modified version of the same
paper; a blue
technique, particularly for detailed
disturbed by subsequent washes. The
wash
is
to be
less likely
topographical or architectural subjects.
paper should be a
You can see the
one, such as Arches, which allows the
underpainting
wash down in
if
effects of
you have ever had to
a watercolor by dunking
a bathtub. Faint
it
shadows of the
original will remain,
which can often
provide a good basis for the next
absorbent
fairly
undercolor to sink into
be reserved
of course, be
white paper
An
Any
it.
areas to
as bright highlights should, left
will
uncovered so the
show
through.
underpainting for acrylic
is
attempt. This kind of "accidental"
much
underpainting highlights the value of a
permanent when dry and the
deliberately planned one: establishing
range can be greater because the later
the tonal balance of a painting
is
not
less restricted as
it
be
will
tonal
colors can be used opaquely to cover
always easy, and doing this at the
the
outset avoids having to alter or
good
correct (and possibly overwork) the
glazing, in
painting later on.
successive thin skins.
first
one. Underpainting provides a
basis for the
technique of
which colors are
ABOVE AND This painting
built
up
in
LEFT:
was begun
with a
monochrome underpainting
in dilute
cobalt blue, an unusual but deliberate
choice of color, as the blue
repeated
is
throughout the picture. The flowers and
drapery were then
up
in
method known as
lean," the
background and
left
36
built
paint the
quite thin.
thicker
"fat over
foliage being
FOUNDATIONS
Step-by-step: Tonal Underpainting
.
A I p
2
:
tonal underpainting can provide a better basis than an outline drawing, pencil lines quickly
gray, building
become
obscured. The
up to deeper tones
in
artist
begins with a very
light
areas that are to remain as dark
shadows.
The
J 9^
laid
gray chosen for the underpainting
over
it
but
the shadows
it
rs
slightly
remains
modified by the colors
virtually
unchanged which
importance of choosing the
right color.
stem of the boat and areas of the
water, have
highlights the
brightest parts, the
m
Notice that the
been
left
whrte
m
the underpainting.
37
TECHNIQUES
Glazing (acrylic
This
a technique that
is
was perfected
lay thin skins
of transparent
laying
watercolor painting, over-
washes
is
sometimes described
as glazing, but this
misleading as
is
implies a special technique, fact
it
is
the normal
when one
whereas
Acrylic paint
fast:
is
perfectly suited to it
dries
each layer must be thoroughly
dry before the next one effects
in
way of working
the glazing technique because so
it
using watercolor paints.
is
is
applied. The
the technique creates are quite
different
from those of color applied
opaquely, as
light
seems to
appearance of being
lit
The use of a
white ground
from
glazing
alone or
A
To
glaze with
small
38
for acrylic
both gloss and
conjunction with water
in
painting can
layer
by layer
seen
in
in this
acrylic paintings
way of
only
a
wash and allow to dry
built
up
as can
be
- but
this
is
not the
using the technique. Thin
glazes can also
be
laid
over an area of
thick paint (impasto) to great effect.
The
glaze will tend to slide off the
raised areas and sink into the lower
ones - a
useful technique for
suggesting textures, such as that of bark.
Other
ways of conveying rough textures and sponge
When lay
be
way -
some of David Hockney's
spattering,
Overpaint with a few brushstrokes of the same color
in
using watercolor include
within.
one color
available
whole
With only one color I
-
weathered stone or tree
reflect
through each layer almost giving the
brilliant
smooth
a
matte - and these can be used either
colors of incredible richness and luminosity.
on
media are sold
Special
pigment one over the other to create
In
ideal)
is
further enhances the luminosity.
by the early painters using oils.They
would
gesso
surface such as illustration board
2
wax
resist,
painting.
dry paint more strokes
of the same color over the top. This could be used for a grassy
foreground.
FOUNDATIONS
Step-by-step: Glazing
Working
m
acrylic
on water-
color paper the artist starts
I
with the paint heavily diluted with water Acrylic used
in this
virtually indistinguishable
from
watercokx but once
rt
way
A layer of darker color mixed
is
2
with special glazing
cannot be removed
dry. a considerable
advantage
been the
in
artist
now
laid
medium
builds
up the
highlights
with opaque paint
the glazing technique.
Here the transparent Deep-toned
3
on the layers
glazes are
apple. The
of color
way
reflect
now
laid
4
seea
eahter
back
luey quality of the Either
medium can be used
through subsequent glazes gives a nch
but
gtowng
right consistency.
effect
has
over the orange, and
it
takes a
little
slightly
pant can be
water or the for
acryk
special
glazes,
practice to achieve the
39
TECHNIQUES
Drawing a guideline to
changed off
radically
and beginning
be planned
they need to
advance and
in
where the first washes should be laid. Another problem is that on certain
(except by washing again),
it
papers, such as the popular
usual
is
to begin a painting by drawing the subject directly artists is
this stage,
because they are
Bockingford, erasing can scuff the
Some
onto the paper
dispense with
usually
surface,
but this
you
it
before, and have a clear idea of
how
There are certain inherent that the
are
paint
in
likely
find that
unsightly blotches.
drawn
will
probably consist of lines,
but a
subject, such as buildings
portrait, will
may find that the method (see opposite) is
drawing. Then you
squaring up
possible and any shading avoided so
helpful, using either a sketch
Having
made a
pencil lines can in
nothing
more than
photograph of the
preliminary drawing with a very sharp
be erased at
this stage,
any but the palest areas of the
but
painting.
or a
need a more elaborate
should, therefore, be kept as light as
is
pressure.
light
For a simple land- or seascape your
complex
to
If
you need to erase, use a
no more than a few
show through the the paler areas. The lines
lines
that the drawing
40
is
any paint applied to these
form
underdrawing
problems with underdrawings for
One
will
kneaded eraser applying
they want the finished painting to look.
watercolor
removing parts of the top
layer so that
areas
familiar
with the subject, have painted
remind you which areas
should be reserved as highlights and
Because watercolors cannot be
it
is
8
or
subject.
penal, the artist lays the
first
washes. The
not always necessary as they are unlikely to show
FOUNDATIONS
Step-by-step: Squaring up
The method demonstrated
The next
2
here avoids damaging the
I
ongnal drawing or photograph.
A gnd
is
drawn wtth a
felt-tipped
a sheet of acetate. The gnd
is
pen on
traced from
a sheet of graph paper below, which saves time
and
The
3
is
onto the working paper Fend, set square, and ruler are
and the
needed
pencil lines should
be
for this
as faint as
possible.
very accurate.
acetate sheet
is
then placed
square by square.
Do
not rush
this
process as you could place one part of
over the photograph or
working drawing and the is
stage s drawing an
enlarged version of the gnd
mage
the composition
n
the wrong square
transferred to the working paper
41
TECHNIQUES
Brush Techniques Brush Drawing
rather than a
line.
Thus, by using only
one brush you can create Drawing brush
is
directly with a
if
a variety of
you use several brushes,
satisfying and, like
including broad, flat-ended ones, the
an excellent
way to loosen up
repertoire
Down
your technique.
centuries, artists have
sketches,
through the
made brush
sometimes using pen marks
sometimes
as well,
effects and,
enormously
is
blots,
and
freely
not,
Chinese and Japanese technique into a
Opaque
and the
made
the
is
almost endless.
The technique can be combined with others
in
a painting, and
is
particularly useful for conveying a feeling of
animals,
movement,
in figures,
or even landscapes.
fine art.
paints are
not suitable for brush drawing, as the marks
must be - flowing easily
and
lines
fluid
from brush to paper
You can use ordinary watercolor watercolor
or
inks,
thinned with
acrylics
water Good, springy brushes are also essential.
Light pressure with
the size will
of a medium-
tip
pointed brush give precise,
delicate
more the
lines.
A
line will
become
thicker so that possible to thick
little
pressure and
in
More
it
draw
is
a line that
places and very fine
pressure
still,
is
in
dark and others.
bringing the thick
part of the brush into contact with the
paper
42
will
give a
shaped brush mark
FAMILY
ON THE BEACH Jacqueline
Rizvi
Watercolor and body color on pale gray paper. Working rapidly on the spot the artist
has used the brush very
medium.
much
as a drawing
BRUSH TECHNIQUES
Brush Marks greater or lesser degree. I
he marks made by the brush
use a broad,
painting are exploited
medium
most of
artists it
to
follow the direction of a form, while
contributing factor to a finished
thick buttery
Some
brush, allowing
flat
others use a pointed one to create a
the
fully in
oil paint.
network of
This
lines in different
colors
has often led people to ignore the
and tones. A popular technique for
importance of brush marks
creating the impression of squalls of
in
watercolor. but they can play a
and expressive part making lively,
all
in
ram or
vital
the difference between a
dynamic picture and a
"stroke" paint
dull
in
built
stippling.
up
Then the
in
into a
brush to
a particular direction,
most watercolors to
STRANDE WATER AND
HOGWOOD
onto paper using short
brush.
Another
useful technique for
foliage - a notoriously tricky subject
entirely with tiny
is
it
paint only partially covers the
a
|ul«tte
dry brush, which creates a pleasing
feathery texture because the dry
possible to discern the strokes of
the brush
work
strokes of a small square-ended
in
strokes of a pointed brush. However, is
flicking paint
visible
watercolor occurs
the technique of is
to
bristle
can be conveyed by dabbing or
obvious example of
brush marks
painting
in
is
while an exciting impression of foliage
dull,
routine one.
The
swirling mist
wet wash with a dry
a painting,
paper
Palmer
Palmer uses her small brush marks descnpt/vety variety of different
to build up pattern and texture. Notice the modes - kt)e left-shaped blobs and dots at the top. long strokes for the
clumps of rushes, and broader squiggles
for the reflections.
m 43
TECHNIQUES
EVENING, PANTYGASSEG David Bellamy The outer twigs and branches of the trees are suffused by lighter
tone for the fine outer branches
light
and merely suggests the
from the sky.The
artist
uses a
twigs using quick dry brush
strokes.
Dry Brush As This technique
-
implies
is
just
what
its
name
painting with the bare
minimum of
paint
It
is
one of the most often used
all
a painting as this can look
Texture-
in
a watercolor, particularly for
in
Opaque gouache and
acrylic are also
well suited to the dry brush technique.
both cases the paint should be used
and grass
in
a landscape or hair
In
in
a portrait or animal
with only just enough water to
painting.
there
is
It
needs a
too
the paper at
much
it
will
little all,
little
paint
but
if
practice, as
it
will
there
not cover is
too
simply create a rather
blotchy wash.
if
flat
or broken washes.
fur textures
foliage
and
dull.
combination with others, such as
ways of creating texture and broken color
over
technique should not be used
making methods work best
on the brush so
that the color only partially covers the
paper
a general principle, the
malleable
- or even none
at
all
make it - and
the best effect are obtained with
bristle
brushes, not soft sable or synthetic-hair
brushes (these
are, in
any case, quickly
spoiled by such treatment).
BRUSH TECHNIQUES
Step-by-step: Dry Brush - Animal Texture Asquare-
2
ended brush is
into paint dried.
there paint
Make is
dipped
and
partially
sure that
not too
much
on the brush by
expenmenting on a spare piece of paper
before painting.
As
before, dry brush
applied over
I
work
is
washes The main
colors of the horse's head are lightly
painted and allowed to dry before
shadows are added.
Because he wants to grve
3
hint
artist
very
slightly
uses a color that
is
only
darker than the wash
beneath, and makes quick, strokes
just
of the hair texture, the
light
brush
a
By means of successive
4
light
applications of dry brush, the artist
models the forms
accurately, suggesting the different
textures of the horse's head and
mane
45
TECHNIQUES
Scumbling This
is
one of the best known of
all
techniques for creating texture and
broken color
particularly
effects
the opaque media.
It
in
involves
scrubbing very dry paint unevenly
over another layer of dry color so that the
first
but only
one shows through,
partially.
Scumbling can give amazing richness to colors, creating a lovely
glowing effect rather akin to that of a semi-transparent fabric with
one
another, solidly colored
beneath.
There
is
no standard
for the technique, as
it
set of rules
is
fundamentally an improvisational one. You can scumble
dark over
light,
or a
light
over dark,
color over
vivid
a contrasting one,
depending on the
circumstances, but
do not
try to use
a soft, sable-type brush or the paint will
go on too evenly (and you
quickly ruin the brush).
brush
is
ideal,
A
but other
will
bristle
possibilities
are stenciling brushes, sponges,
crumpled paper or your
fingers.
The particular value of the method for gouache is that it enables colors to be overlaid without
becoming muddy and dead looking always a danger with this medium.
Scumbling
is
watercolor, but
less well suited it
is
to
possible to
adapt the dry brush method to scumbling, using the paint as thick as possible
- even
straight
out of the
tube - and working on rough paper
46
SUN AND SHADOW, SANTORINI Hazel Harrison Here successive layers have
been
built
up over a
pre-tinted yellow ocher
ground. The detail shows thin over thick
scumbling with a
bristle brush.
BRUSH TECHNIQUES
Stippling light
This
is
a
method of
applying paint
series of separate, small
a
in
marks made
to dark, with highlights
or only
lightly
left
white ground shows through, while
up
gradually with
with the point of the brush, so that
dark areas are
the whole image consists of tiny dots
increasingly
dense brush marks.
However,
is
of different colors.
It
was and
still is
a
and
is
seldom used
for
However,
for
anyone
who
work and the
attractive
rt
is
an
method and can produce any
other watercolor technique.
The success of stippled paintings relies on the separateness of each dot: the colors and tones should blend
m
the viewer's eye rather
than physically on the paper. Like
watercolors they are
built
establish a larger,
preliminary wash.
enjoys
lovely results qurte unlike those of
together
and to
highlights
challenge of
a slow and deliberate approach,
quite permissible to use
darker area of color by laying a
large paintings for obvious reasons.
small-scale
it
built
body color to emphasize the smaller
technique favored by painters of miniatures,
white
covered so that the
all
up from
The beauty of the technique that
is
allows you to use a great
it
one small shadow could consist of a whole spectrum of deep blues, violets, greens, and browns. As long variety of colors within
area
-
a
these are
they
will
all
still
sufficiently close in
read as one color, but a
more ambiguous and
evocative
than would be produced by a
wash
of. say.
as
tone,
one
flat
dark preen.
MARGARETS JULY Carol
Ann
Schrader This artist u
stipple as
a form
of detailing The very fine dots
con be seen only by dose inspection.
47
TECHNIQUES
Spattering Spraying or
flicking paint
paper once regarded and
"tricksy,"
artists as
now
is
onto the
unorthodox
as
/"
accepted by most
an excellent means of either
enlivening an area of
flat
color or of
suggesting texture.
Spattering
a somewhat method and it
is
unpredictable
some
practice before
of the effect to try
it
it
out on
create, so
will
some
before running the painting.
takes
you can be sure it
is
wise
spare paper
risk
used, but
the paint must not be too thick or will
simply cling to the brush. To
fine spatter load a fairly
it
bristle side
effect,
use a
down, and bristles.
bristle brush,
loaded with paint of the same consistency,
a
horizontally
run your forefinger over the
For a coarser
of color of the spattered paint against
it
make
toothbrush with
thick paint, hold
above the paper
The main problem with the method is judging the tone and depth
of spoiling a
Any medium can be
and tap
it
sharply with the
handle of another brush.
If you apply dark paint - and thick watercolor will
that of the color beneath.
of necessity be quite dark
very pale
The
tint
it
- over
may be too
best effects are created
a
obtrusive.
when
tonal values are close together
If
the
you
are using the technique to suggest the
texture of a pebbled or sandy beach, for which
it
is
ideal,
you may need to
Step-by-step: Spattering
Spattenng
one of the
I
stages painting.
final
a
in
Here the
is
artist
has completed the
cliffs
and rock The foreground,
however looks and
48
lifeless.
fairly flat
BRUSH TECHNIQUES
spatter this
one
pale color over another
case the best implement
mouth
is
a
diffuser of the kind sold for
In
spraying fixative. The bristle brush
method can pamt. but
also
will
be used for watery
give
much
larger drops.
Because he wants to prevent the spattered paint
from going over
the finished areas of the picture,
the
artist
tracing
two
masked these with
paper
layers of
He now
spatters
pant over the
light
brown foreground wash.
Any
overlarge or
overdark blobs can be
removed with a cotton ball stjll
or sponge while the paint
is
wet The 4-
spattered
paint givesa realists
impression of the rough
sand and pebble beach.
The dark
formed by
line
the paint collecting at the
edge of the mask helps to suggest the
shadow
where the beach meets thedrff
49
TECHNIQUES
Color Effects
I
a painting by reserving areas of white
Body Color
paper There are good reasons for This slightly confusing
term simply
means opaque water-based paint. it was usually applied to
watercolor can be destroyed by the
In
the past
Chinese white, either
mixed with
transparent watercolor
in
parts of a
however,
highlights. it
alternative
is
Nowadays,
for
is
when used
sensitively.
opaque gouache
watercolorists avoid the use
of body color altogether; priding them-
on achieving
all
the highlights
in
is
medium
gouache
in
shrouded
weather
landscapes, such as misthills. It
gives a lovely, milky,
translucent effect that of
zinc
particularly well
suited to creating subtle effects
Some
an attractive
(not flake) white
paint.
selves
body colon but opaque
either Chinese white or
often used as an
term
addition of
watercolor
Transparent watercolor mixed with
painting or used straight out of the
tube for
this,
as the lovely translucency of
gouache
slightly different
itself,
more
from
which has a chalky, pastel-like *
quality.
A
watercolor that
wrong become over-
has gone
perhaps
worked or too bright in one particular area - can often be saved
L
by overlaying a semi-
opaque wash, and untidy highlights can be tidied
up and
strengthened
same
in
the
way.
STILL LIFE
WITH TEAPOT
AND DECANTER Moira Huntly
50
Rl,
RSMA
E
COLOR EFFECTS
INTERVAL AT THE GLOBE
THEATRE Jacqueline Rizvi This artist
uses
•vith
up very
builds
v.
opaque white and gradually, usually
working on a toned paper (the
ground
for this painting
light beige-gray).
was brought out
velvet
is
a
The red of the in
places by laying transparent
red watercolor over a
slightly
opaque cnmson and white r
e
Toned Ground For a picture that
is
planned as an exercise
colors
rt
m
and
dark, rich tones
can be an
advantage to begin with a pre-tmted ground.
is
It
possible to
buy heavy colored papers
for water-
colors to
some
extent. Secondly, they
allow you to build up
deep colors
color work, but these have to be
with fewer washes, thus avoiding the
sought out; few of the smaller,
risk
specialist art
A
supply shops stock
quick and simple
watercolor paper
wash of thinned
is
The
color,
it
to pre-tmt
to lay an overall
when
permanent, so there stirring
way
if
is
be
no danger of
up with the next
layer of
problem with
artists like
snow
The advantages of toned grounds First,
they help you to
pre-tinttng
scene,
on
a
warm, yellow
ocher ground so that the whrtes. small
is
Some
to paint a cool picture, such
blues, blue-
and grays are heightened by
amounts of yellow showing
through. Others prefer cool grounds for cool paintings
paint.
are two-fold.
mam
deciding what color to use.
as a
you are doing
dry. will
of muddying.
The
them
acrylic (after
stretching the paper this).
less
for
warm
carefully
and
ones. You
about the
warm
need to
grounds think
overall color key of
achieve unrty of color because the
the painting and you
ground shows through the applied
to try out
will
probably have
one or two ground
colors.
TECHNIQUES
How A
Toned Groundworks
a
toned canvas helps you to judge the
color mixtures
more
how the colors will colors. To demonstrate how a toned ground
toned canvas by other
gives
or value, of your
relative intensity,
accurately than a white canvas. This
you an idea of
(below) shows a piece of canvas, of which half
ground of raw umber and
half
is
left
is
is
look
because the
when surrounded
works,
this illustration
painted with a toned
white. Small squares of ultramarine and
cadmium yellow are applied to each half: observe closely and you will see how much more intense the colors appear on the toned ground than they do on the white canvas.
BELOW:
I •
Generally, the color for
2.
When
the canvas
is
well covered,
wash of white
applied to the support with smooth, even
scumbled over
result
strokes. Here, however, the artist begins
light
is
mixed on the palette and
applying the color will
in
by
loose strokes which
be blended together on the canvas.
Cadmium
red, yellow, ocher,
and
diluted with water, are freely
white, well
and
painted over the white surface.
52
a toned
thoroughly dry, a thin
ground
loosely
it.
The
toned surface
in
is
and paint
is
a medium-to-
which the brush
strokes are only partially blended. The colors
blend
in
the viewer's eye, however,
effect
is
more
color
vibrant than a flat
mixed on the
palette.
and
the
wash of
COLOR EFFECTS
Ground
Step-by-step: Cool Tinted Paint
2
the
shadow of the plate with cobalt green
even
flat
using a
in
an
wash
No. 3
round sable.Thts color harmonizes
with the pale
background.
with a pale wash of vindian
I
and cobalt
blue. After
you
have completed the pencil drawing, use gamboge followed by Prussian blue and shells. little
alizarin
cnmson
Apply simple
flat
to paint the
washes with a
wet-rvwet mngling.
The cod green of the ground Gradually bmkJ up the color
3
areas, flat
metrockalry
laying
blue
down
washes O^rlay the green
shadow with Hooker's green Add
cobalt
deep to the mussels and part the
lobsters with akzarri
magenta gamboge, and
cnmson.
4
causes the bright yellows and reds to stand out
and
"vibrate"
in
contrast
These opposing color
values create a dynamic tension. The
trued background also mparts a depth that could not
be achieved with
stark
white paper
53
TECHNIQUES where
Blending
a
wash ends or meets another
wash, brush or sponge the edge This
means
with water before
gradual
soft,
from one color or tone to
transition
another
achieving a
It
is
a slightly trickier process
with the water-based paints than with oil
or
pastel,
because they dry
quickly,
of these
is
to
work
or
fruit
the soft contours of a face, use the paint
fairly dry,
applying
it
small
in
strokes rather than broad washes.
that the colors flow into a lovely
method
them
wet-in-
wet, keeping the whole area
is
the roundness of a piece of
lightly
convey
dry. To
If
can be softened by "painting" along
can be used.
This
is
unwanted hard edges do form, these
but there are various methods that
One
it
damp
so
one another
for
shapes such as clouds, but
amorphous is
The acrylics
is
in
a
water
little
method for blending them fluid by adding
best
retarding
less
sponge or cotton
using a small
swab dipped
to keep
medium. This enables very
suited to precise effects, such as those
subtle effects, as the paint can
you might need
moved around on the
in
portraits, as
you
sufficiently You can shadow intended to nose or cheekbone spreads
cannot control
it
gouache colors can be
easily find that a
another to create soft
define a
the danger
is
of wet color
haphazardly.
To avoid the hard edges formed
that too stirs
paper. laid
be
Opaque
over one
effects,
much
though
overlaying
up and muddies the
earlier layers.
Step-by-step: Blending Colors
This I
is
a
more
laying
vanegated wash. Lay two stnps of color
allow to dry
54
A middle
controllable
technique than that of
a
parallel
on dampened paper and
2
stnp of color
and the edges blended existing stnps
gentle brush strokes.
is
laid
into the
of paint with
COLOR EFFECTS
^^
WATERCOLOR
A V ^^ ^^^
^|
^.•'*
.
*
^^H
A
pate green wash
rs
laid
and
|^H
some darker greens and browns
^F ^F
allowed to dry and (he tones are bui/f
up
with sma// brush strokes
of pa/nt carefully blended together
I
^^^^^^
"
a morsfened brush.
GOUACHE
The some
be used
n
t<
gouoche. but here the point rs
used
thickfy.
with the blending
done by working very
dr<,
over the underlayer with brush.
On
paint has
a
bristle
the top of the apple,
been applied over
light
dark.
ACRYLIC
Because
ocryfcc
cannot be
dhes so
moved around on
the
paper as wotercoJbr con, retarding
medkjm has been used
to slow the
drying time This arso m-
transparency of the
pant
so
I
the brush strokes used to butt up the shadows are dearty
visible
TECHNIQUES
Broken Color
cover the raised tooth of the paper a
It
is
one of the paradoxes of flat
appears as
or indeed, as
realistic,
as
broken up
colorful,
one in
that
some
Impressionists,
is
the same one - the effect
textured or
more a
in oils,
discovered that they could best describe the
of
light
on
fleeting,
foliage
shimmering
In
and
and interesting surface texture.
gouache and
acrylic,
stiff
brush. Acrylic
one green
once
many other
ways to break up color textured paper the paint will
will
sink into
CORNISH FARM
Michael
Cadman
acrylic
it
is
immovable
which means that more or
endless layers can be
over the other This it
is
is
laid
one
not true of
opaque,
it
also absorbent and so too many layers will disappear into
not completely
the troughs, but
I
less
dry,
gouache: although
you "drag" a wash over a heavily
broken
perfect for this
is
kind of treatment as
for each area. This technique
have
will
applying the paint rather dry with a
or grass by placing
can be adapted very successfully to
56
lively
be even
will
varied and the painting
yellows side by side instead of using just
If
in
color effects are best achieved by
effects
small dabs of various greens, blues,
watercolor but there are
exploited
If
a different color or a darker version of
way. The
working mainly
much
effect
you then apply drier paint over the original wash -
color seldom
that a large area of
broken color
by watercolorists.
painting
and watercolor
is
new
those below.
COLOR EFFECTS 'iKJ-valueone.
Highlights
When The
white p integral part of a watercolor painting,
good watercolors
giving
ucent
most
qualrty.
effective
For
way of
highlights
*o
is
their lovely
this
reason the
creating pure,
to "reserve" any
be whrte by
painting
around them. This means that when
will
be. so
where the
some advance
highlights are to
planning
white,
m
all
of course, are pure
a paintjng where
all
the values
Thus, before the painting has advanced far
you
will
have to decide whether
to reserve areas of an to build
for a highlight,
it
very
effective,
but
ft
need a
more
softer,
is
not necessanry
might, for example, diffused highlight
on a rounded object such fruit. In
as a piece of
such cases, you can achieve a
greater transition by softening the edge brush, small
swab dipped
in
sponge or cotton
water, so that
it
blends
area
Small highlights, such as the points of highlights,
are dark, whites could be oveHy-emphatic.
very
wash around an
a
what you want. You
into the whrte
is
necessary
Not
lay
dry with a hard edge. This can be
you begin a painting you must have a clear idea of
you
be reserved
light reflecting off
up
really
initial
pale
wash or
dark values around a
light in
eyes or the
tiny sparkles
on water which are
virtually
seen
impossible
to reserve, can erther be achieved by
masking or added wrth thick Chinese whrte or zinc whrte gouache paint as a final
stage. Highlights
by removing
can also be
made
paint.
Step-by-step: Highlighting The shapes of the mrtialry left
fruit
A rmdde stnp of coJor
X
are
whrte. their outlines
is
laid
and the edges blended nto the -ting strips
of pant with
gentJe brush strokes
57
TECHNIQUES
Step-by-step: Highlighting continued Instead of applying a
3 }4
wash
all
over the
flat
and
fruit
then adding darker value,
each area of color
is
treated separately
though some washes later stage. With
all
and the main washes artist
decides
where
dark emphasis
is
will
overlap at a
the paper covered in
place,
further
the
light
and
needed.
She darkens the cast shadows on
5
and below the green apple and uses
opaque white to add highlights
on the
fruit at left
additional right Those
and
on the orange have been applied the point of the brush, giving a impression of the
peel.The
artist
slightly pitted
lightly
with
realistic
texture of the
has been conscious of texture
throughout using the granulated
quality
of the
wetly applied paint to add surface interest
The grapes
O
are given further
modeling, with the dark paint again kept very
wet The
onginal
reserved highlights are not touched again, but the
stalks
are defined with a
combination of opaque paint and reserving.
The treatment
#
rather than
impressionistic
is
literal,
and the patch
of dark green at the top of the apple,
which could be either a shadow or
a leaf has been added pnmanly to separate
it
from the background and
emphasize the highlighted
5
58
areas.
COLOR EFFECTS without worrying about spoiling the
Masking
area to be reserved.
Many watercolonsts use masking
and masking tape for reserving areas of white paper. Masking specially
made
fluid,
kind of liquid rubber sold bottles
Some
which
for the purpose,
and applied with
watercolonsts
in
is
a
is
method of area, can
laying
with masking painting
in
classic
washes around an
be gained by fluid
is
a
it.
Stopping out
method of
fluid
is
applied,
quite dry before
and the
is
called the resist
method. This differs
wax
in
from the previous
being permanent; once
on the paper
is
the
to use
it
cannot be
laborious
scraping with a razor blade. The paint,
moreover, to
some
will lie
on top of the wax
extent, leaving a slightly
very attractive, particularly for flowers
or
fabrics.
An
ordinary household
candle can be used, or a white
wax
finer lines.
and
subtle shades made by the brush remain when the liquid is removed.
the
what
crayon for
"negative"; the precise
The paper must be
in
is
textured surface. The effect can be
effects, quite different
from those produced by the
way of keeping
away from the paper
removed except by
feel a certain
mechanical. However, very attractive
and exciting
wax
the
or as being too
as "cheating."
paint
techniques
small
a brush.
disdain for masking methods, regarding
them
Yet another
fluid
fluid itself
BELOW to
mask
Here the
enabled the fresh,
artist
used masking
fluid
certain areas during painting. This artist to
spontaneous
work
freely, resulting in
a
style.
must be allowed to dry before a wash is
laid
the
over
fluid
finger
area,
it
Once
the wash has dried,
can be rubbed off with a
or a
soft eraser, leaving the
white
which can be modified and
worked
into
if
required. Masking fluid
should never be
left
on the paper
for
longer than necessary, and care must
be taken to wash the brushes immediately; otherwise
m
fluid will
harden
the hairs and rum them. Masking
fluid
is
not suitable for
all
papers,
especially ones with a rough surface.
Masking tape
is
particularly useful
for straight-edged areas, such as the light-catching side of a building
or the
edge of a windowsill. Masking tape enables you to use the paint freely
59
TECHNIQUES
Step-by-step: Masking Fluid The —
I -
tree trunks are carefully
drawn, masking
fluid
is
applied,
•
and then further
work
is
left
to dry before any
done. The
artist
is
on Bockingford paper wrth a not from which the rubbery
\
removed;
ft is
rough papers as
With the intricate
fluid
is
easily
not suitable for use on ft
sinks into
and cannot be peeled
2
fluid
working surface,
the "troughs"
off
protecting the
shapes of the trunks
and branches, dark washes are built
up behind and above without
paint splashing
onto the pale
the washes are dry the
fluid
areas. is
fear of
When
removed
by rubbing wfth a finger
The
3
trunks and branches are
modeled wrth darker places
gouache define the
60
paint
in
and touches of white highlights.
COLOR EFFECTS
Step-by-step: Spattering Masking Fluid
For I
this painting
m two
masking
consecutive
wash of
fluid
layers.
applied
is
Apply an
initial
pale burnt sienna Allow to dry
completely, then spatter loading a toothbrush
on some masking
and
flicking
the
fluid
bristles
by
with
a finger
Paint a
2
second wash over the
dried masking
fluid,
reserving
the shapes of the figures
When
dry,
masking
rub
fluid
off the
second
layer of
and spatter on a second
layer creating larger blobs as well as a fine
spray
Cover almost
and allow the
Apply a
3
to
half
the surface
dry.
wash - a darker
combination of burnt sienna and violet
second
third
fluid
layer of
painting the
When
dry,
masking
rub off the
fluid Finish
two fishermen mending
nets using the
same
their
limited palette with
the addrtion of black and ultramarine
LEFT Masking tope can be very helpful buildings
It
for
takes the tension out of pointing
allowing you to work freely without the danger of spoiling
on edge
that needs to
be
straight
and
61
TECHNIQUES
Out
Lifting
Certain colors, such as sap green and phthalocyanine blue, act rather
Removing
paint
from the paper
only a correction method,
color technique
be used to great
it
a water-
is
and can
right
effect to soften edges,
dyes, staining the
cannot be
highlights that
papers absorb the to
move
paint,
making
Bockingford, Saunders, and
papers are
all
excellent for
Cotman
lifting
out
streaked wind clouds
the technique, choose your paper
blue
easily
in
a blue sky
wash and wiping
a dry sponge,
paintbrush or paper tissue across
while
is still
it
is
created by laying a
it
wet. The white tops of
accordingly
out
Paint can also
by using a
gum
be
lifted
out
when dry
dampened sponge or other
When
working with
is
useful for
lots
become too wet and flow of paint
of wet washes,
wiping areas that have
Use a
for controlling the
blot-and-lift
motion.
Tissue paper can also be used to
amorphous shapes
in
a
lift
wet wash.
out
lifting
small
you intend to
dampened sponge,
pressure
cotton
tissue
in
most
lifted
but for
useful tool
cotton swab. Never apply too
method depends both on the color to and the type of paper used.
it
Large areas of dry paint can be with a
the
lifted
useful aid to
remove.
partially
such tool, but the success of the
be
Another
arabic.Add
smaller ones the
paper
blotting
is
if
quantities to the color
cumulus clouds can be suggested by dabbing the wet paint with a sponge or
so
in
you become addicted to
this way,
and
hard
it
around.
it
reserved. For instance, the effect of
quickly
62
like
paper can can never
be removed completely, while some
and modify color and create
diffuse
those
own
in its
not
is
a
is
much
when using a cotton swab, may poke through the
as
plastic
tip,
scratching the surface of the
paper
Blotting
paper
is
thicker
and more
absorbent than tissue and, once dry
be reused.
If
you wish to
precise area hold the blotting
lift
out a
is
can
comer of the
paper against the surface
excess paint
it
small,
absorbed.
until
the
COLOR EFFECTS
Out
Step-by-step: Lifting
With the I
lift
Use
2
less
wash
still
wet
out areas with a piece of
crumpled deliberately
blue
uneven
tissue to give a
effect
pressure toward the
bottom of the
sky;
always smaller and
clouds are less distinct just
above the horizon
In this I
been
be dried pink
case laid,
lifted
two washes have
and the blue
is
to
out to reveal the
wash below.
Again use a small piece of tissue to
2 effects
sponge,
rag.
you might
try usr>g a
or large piece of cotton wool
63
TECHNIQUES
Textures contrast. You can vary the brushmarks,
There are two main kinds of texture painting; surface texture, in
paint
itself
is
some way
in
which the
up or manipulated n
built
to create what
is
known
as
surface interest; and imitative texture,
which a certain technique
is
using fine, delicate strokes
in
some
places and large, sweeping ones
in
employed
others. You can put
with a
knife,
on
in
slabs of paint
and you can even mix the
paint with sand or sawdust to give
an
it
intriguing, grainy look.
to provide the pictorial equivalent of a
texture seen
to
some
in
nature. These overlap
extent: surface texture
sometimes seen in
many
cases
it
as an is
a
end
is
in itself,
welcome
but
by-
product of the attempt to turn the
on are described SPONGE
convincing two-dimensional image.
are
Surface texture
-
be
built
this
in
Since watercolors
thin layers, they
cannot
up to form surface texture, but
can be provided instead by the
grain of the
paper There are a great
in
other entries (see
DRY BRUSH, SCUMBLING, SPATTERING,
three-dimensional world into a
are applied
PAINTING,
WAX
RESIST),
but there
some other tricks of the trade. One of these - unconventional but effective to mix watercolor paint with soap.
is
The soap
thickens the paint without
destroying stays
its
translucency Soapy paint
where you put
instead of flowing
it
outward, and allows you to use
many watercolor papers on the market, some of which - particularly the hand-made varieties - are so rough
textures and forms.
and they appear almost to be
be obtained by a variation of the
embossed. Rough papers can give
technique.
exciting effects, as the paint will settle
turpentine or white
unevenly (and not always predictably),
paper and then paint over
breaking up each area of color and
and the
leaving flecks of white
Reserved
showing through.
inventive
you
dry,
crystals
resist
down some
lay
spirit
on the it,
the paint
separate to give a
marbled appearance.
because the edges are
ragged,
If
oil will
effect can
slightly
brushwork to describe both
Intriguingly unpredictable effects can
on rough paper stand out with great brilliance highlights
A
slightly similar
be gained by dropping
of sea
salt into
brush off the
salt,
wet
paint. Let
and you
will
pale,
above the surrounding
has absorbed the surrounding paint.
colors.
snowflake shapes where the
shapes
used both
form
same
thickly
and
thinly
in
the
painting, providing a lively
salt
the crystals are close together these
surface interest because they can be
will
run into one another to
a large mottled blob rather
resembling weathered rock.
it
see
the white areas appear to be raised
Acrylic paints are ideal for creating
64
Imitative texture Several of the best-known techniques for making paint resemble rocks, tree bark, fabrics, and so
If
L
COLOR EFFECTS
Step-by-step:Textures The basket I
is
first
drawn
in lightly,
and then washes are applied to the background, foreground, and itself. The paint is left to dry Shadowed areas are painted in,
to the basket completely.
and. while the paint
is still
wet. the
textured side of a piece of paper towel
pressed into
it
to
lift
off
some
is
of the paint
and leave an imprint of the paper behind.
The
paint
is
then
left
to dry.
Spots of darker color are then
2
dabbed onto the basket using bubble wrap, bubble-side out. to
suggest the mottled textured
When
3
is
dry. a strip
of corrugated cardboard is
for the
this
weave of
the basket.
used to apply paint
woven border along the
top edge of the basket.
An
imaginative application
4 scrap materials that
people have resulted
in
in
their
most
homes, has
the almost
tactile
surface
texture of this basket.
65
TECHNIQUES
Alternative Techniques regular wash, squeeze
Sponge Painting
paint out so that the
Sponges are an
moistened. This
essential part of the
tool kit. As well as being useful mopping up unwanted paint,
some
sponge
which can be
artist's
striated effect,
for skies, seas, the distance
landscape, or hair
-
either alone or
sponge
in
flat
wash
with a sponge as only thing
it
is
just as
satisfactorily
is
take a wash around an intricate edge
-
for which a brush
is
best
- but
if
you intend to begin a painting with an
wash of one colon the sponge
overall is
ideal.
For a completely even wash,
keep the sponge well saturated and squeeze
down
it
out gently as you work
the paper
If
a
gives an attractive mottled
achieved with a brush, particularly
easy
with a brush. The
is
it
cannot do
a
a portrait.
effect quite unlike anything that can
conjunction with brushes. Laying a
in
effective
in
Dabbing paint onto paper with
corrections, they can be used for
applying paint
only
is
give a slightly
will
for
cleaning up edges, and making
of the
you want a
less
you use the paint reasonably
method
is
an excellent
way
be
if
thick. This
in
which
to describe texture, and you can suggest form at the applying the paint
and densely
There
is
in
some
areas
others.
no reason why whole
paintings should not this
same time by
lightly in
be worked using
method, but the one thing the
sponge cannot do
is
create fine lines
or
intricate
details,
so brushes
are usually
brought into play for the later
stages of a picture
when
extra definition
is
needed.
LEFT: The mottled finish that
sponging
creates
ideal for
is
conveying the pitted surface of fruit such as oranges.
66
ALTERNATIVE TECHNIQUES
Step-by-step: Painting with
It
1^2
is
often necessary to
window
bars,
m
you cannot take paint around edges
you can with a brush. The
artist
as
has masked the
which are to remain white, by the simple method of holding a
ruler against each
over
employ some system of masking when
painting with a sponge, as precisely as
Sponge
a
places, as
He does
edge as he works. he
is
aiming at a
soft,
not worry unduly
if
paint splashes
impressionistic overall effect.
Working
3
carefully,
the
artist
continues to build up
the painting, using the paint fairly
each
new
wet so
that
application
merges with the surrounding colors.
One
4
of the problems with combining
sponge painting and brushwork the contrast of techniques,
if
is
that
over-
emphasized, can destroy the unity of the composition. Although the conventional brush washes
the paint loose and
fluid
artist
has used
in places,
he has kept
throughout, blurring the edges of the brush marks on
the crockery so that they blend
in
with the sponge work.
67
TECHNIQUES
Painting Foliage with a Sponge The sponge
is
frequently used to portray vegetation and trees, as
atmospheric painting by Maurice Read. The natural impressions
mimic the appearance of
foliage. The overall effect
soft
is
and
in this
left
by a sponge
consistent with
is
the treatment of the rest of the painting.
A sponge was used to give it
68
The
foliage
was
built
of these trees
up with a
The
to fuse
fine grain
to apply
an aged look
It
and blend a
made
by the
some
little,
up with wet-in-wet washes
sponge, with a more
with brushwork to bulk
applied
stippled effect around the
out,
edges.
grain to merge.
and cause some of the
some brushwork
The main body of trees has been built
it
dome
rather wet, to allow
assisted by
sponge has been enhanced
fine
sepia to the
was applied
fairly
overlaid with give texture.
concentrated and
sponge painting
to
ALTERNATIVE TECHNIQUES
Blots
The shapes the blots make depend
on the Blot painting
most often
a technique
is
monochrome
associated with ig,
but since watercoloi
le
m
form
liquid (ink)
I
ink
Tilting
is
an
t
.
its
inclusion
is
technique
will
that
ay of loosening
it
up
one
make the
blot
the paint or ink
will give
A
a diffused, soft-edged
further variation can be
provided by dropping a blot on to the
uns. blot
suggest a painting
will
flicking
I
give small spatters; wetting the
paper blot.
never entirely predictable, and the ike will
the board
run downhill;
have
included this technique here. The
other reason for
>m which they are
dropped, the consistency of the p 01 mk and the angle of the paper.
paper and then blowing
sometimes
it.
tendrils of paint shooting
which sends
out into
various directions. Blots can also be
c
way
nent of a subject quite unlike the
used
was planned. Allowing the ng to evolve in this way can have
suggest the texture of trees, flowers,
that
ting effect
new way
and may sugge
of working
Blot painting
is
in
a controlled, selective
or pebbles
in
a particular part of a
I
the future.
a form of
freed from the cor
pies have
;x>sed by
the need to "n
loosen up and en|oy you effect
been produced dropping colored on to the paper from different h<
Some
itmg." yo>
mdom
of the colors have been used
undiluted and
of colored
blots will suggest an actual subject,
and
some mixed
with a
'endnls of
spreading
i
e the result of
blowing the
repp
technique for flower and foliage
mt
but often.
effe
little
mk
can be developed into a roughly
as here, trv
to
painting.
constructive doodling. Because you are
Sorrv
in
blots, a useful
and simple
TECHNIQUES
Line
intended to convey a sense of
and Wash
movement. Rembrandt's sketchbooks This technique has a long history, and is still
much used
illustrative
are
work. Before the
began to exploit the
full
possibilities
medium
had been used mainly to put
one or two
The
of
pale, flat
over pen drawings, a practice that
itself
continued the tradition of the
is
of the
color
made by
not look
preliminary studies
for paintings. line
it
and wash technique
and
let
it
to begin
is
dry,
and then
color with a brush.
difficulties
way
such a
in
like
of the technique
line
that the
washes do
a "coloring in" exercise, so
more
often
is
both
is
lines
to integrate the drawing and the
pen and ink-wash drawings often
The
method
traditional
lay in fluid, light
One
few
a
in
surely placed tones.
with a pen drawing,
it
tints
artists as
monochrome pen and wash
needed to record
British
watercolorists of the 18th century
watercolor as a painting
of
full
drawings, conveying everything he
today, particularly for
satisfactory to
and wash
at the
some
develop
same
time,
and color
particularly well suited to small,
beginning with
delicate subjects such as plant
and then adding to and strengthening
drawings or to quick figure studies
both as necessary.
A I
line
medium, such
as
pen or
Usually the line drawing
The
artist
is
the
is
no
is
done
first
as
in this
hard-and-fast rule.
has used a water-soluble pen, so
that the lines are softened
washes
pencil,
perfect partner for the delicacy of watercolor
case, but there
2
lines
laid
on
and spread by the
top. This prevents the line
drawing from appeanng too hard and clear
in
contrast
to the watercolor I
The washes on the
3
for flower drawings
70
shell
have been kept to a
minimum to preserve the delicate effect for which the technique - which is often used
-
is
so well
suited.
t
ALTERNATIVE TECHNIQUES
a razor blade. For the finest
Scraping Back
the point of the This technique,
sometimes
paper
paint so that the white
revealed. The
called
it
means removing dry
simply
"ito.
method
used to create the kind of small, fine highlights that
such as the grass It
in
a
is
catching blades of
the foreground of a landscape.
more
method than
satisfactory
opaque white applied with this
a brush, as
tends to look clumsy and.
over a dark very
color,
if
laid
does not cover
it
Scraping
scraping gently with the side
remove only some of the This technique unless
is
done with
such as a scalpel or
a sharp knife,
craft knife,
or with
is
not successful
reasonably heavy paper -
no
will
paint.
you use a good-quality, than
lighter
flimsier
1
it
40 pounds.
paper you could
should be
On
easily
a
make
holes or spoil the surface.
The same method can be used gouache or
well.
diffused
of the knife or razor blade, which
cannot be reserved,
light
A more
over a wider area can be
highlight
made by
is
most often
is
into the paper.
use
lines,
but avoid digging
knife,
surface
is
acrylic,
one
but only
if
for
the
that can withstand this
treatment.
LEFT The
delicate,
complex
pattern of the frothy water this
painting
in
was created by
scraping with a sharp point. The effect which in
the detail
shown
can be seen
here,
clearly
would be
impossible to achieve by any other
means. Opaque white gouache or
acrylic
could be used, but the texture would be less interesting
and
RIGHT:
Sharp,
highlights
dean
can be
Ivres
made
and
by
scraping mto dry paint with
a
scalpel or other sharp knife
Take core not to
damage
the
paper by pressing too hard A fingernail provides
ready tool
another
for scraping back.
cnsp.
and
the lines less fine
TECHNIQUES able
Wash-off
volume of
then This
is
an unusual and fascinating
laid
over
must be used,
difficult,
but
it
is
not
slow, involving careful
planning and a methodical approach. Basically,
the
method
involves
painting a design with thick paint,
gouache
covering the whole picture
surface with waterproof ink and then
under running water. This
holding
it
washes
off the soluble paint
ink that
covers
in
it,
and the
leaving only the ink
the unpainted areas to form a
the paper must be stretched -
essential, as
it
has to bear a consider-
A
left
is
E
to dry, after
painted on with paint.
White
the paper and destroy the effect.
wash
light
paint
i
as a color could stain
sharp
clear,
For the same reason the wash
should be as pale as possible:
purpose
only
its
to allow the white paint to
is
show up as you apply Once the paint is thoroughly it.
dry,
cover the whole picture surface with
waterproof
Allow the
ink.
"negative" can either be
into with
new
it
dry
ink to
completely before washing
and-white image or
negative image. First
is
white gouache
thick,
of Indian ink and gouache.
is
and
which the design
technique that exploits the properties It
water.
it
it
left
off.The
as a black-
can be worked
colors, using gouache,
watercolor, or acrylic.
E
Step-by-step: Wash-off In this I
example, the
a soft brush to
artist
E
uses
remove any
excess gouache. The
waterproof black
ink that
E
was not
painted over gouache stays firmly place, despite
in
repeated washings.
El The
2
finished effect
is
a silhou-
etted image. This can be is,
or
it
left
as
it
can be developed by
fei
adding color to the white parts of the design. For demonstration purposes, the
shown here has deliberately been However the technique is best suited to a more intricate or textural
EE
design such as leaves and flowers.
E
design
kept simple.
Animals, with their fur texture and markings, are another suitable subject.
72
ALTERNATIVE TECHNIQUES
Wax This
simple or as complex as you
Resist
like.
You
can suggest a hint of pattern on
addition to the wart
colonst's repertoire,
is
a technique
based on the antipathy of
and involves deliberately
oil
and water,
repelling paint
wallpaper or fabric
in
a
still
life
or portrait by means of a few dots or blobs
made
group lines,
with a candle or
do something more complex by
from certain areas of the paper while
making quite an
allowing
crayons, which are smaller and have
The
rt
to settle
idea
is
simple, but can yield
quite magical results. lightly
scribble over
and then overlay the paint
others.
in
If
you draw or
paper with wax
this
will slide off
with watercolor
the
waxed
areas.
good
beneath watercolor gives a
delightfully unpredictable
effect that
pressure you apply and the type of
paper you use.
methods
wax crayons produced for children. The wax underdrawing can be as
trunks.
'
were then knd on top.
In
some areas
1ry
repeated. A
and
the
the pro,
more pronounc*
can be gained by working on rough
speckled
vanes according to the
hold candle or the type of inexpensive
boied over
drawing using
points.
Wax
You can use either an ordinary house-
ABOVE AND RIGHT
intricate
It
is
one of the best
for imitating natural textures,
such as those of rocks,
cliffs,
or tree
TECHNIQUES flowing into
Gum Arabic
Its
This
is
the
medium
that,
together with
varnish.
the binder for watercolor
gelatin, acts as
arabic can
and If
is
is
moist).
Gum
little
mixing it
less
gum
paint,
runny and easier to blend.
particularly suitable for the kind of
painting that
is
up
built
brush strokes, as
it
in
small,
separate
}2
The paper
is
When
masking
dry,
first
fluid
the wash
surface. While
damp, a
clean,
the wash to
wet brush
lift
water The wash
out is
rule of
are built up
gum
fluid
is
in
74
is
teach
will
when
medium, but
using
a general
thumb is that there should be more water than gum.
considerably
Gum
Arabic
is
used to mask out the shapes of the
ink
mixed with gum arabic
is
fish.
A
painted over the
the
removed.
highlights
the same way.
craft knife while
arabic mixture
it
is still
Additional highlights are
out with a
to dilute
to dry completely
Darker washes and
3
should never be
pressed into
highlights in
left
before the masking
is
gum
covered with a pale wash of blue-green watercolor
wash of green and blue whole
how much
as a painting
Step-by-step: Using
I
It
cause cracking. Experience
you it
them from
prevents
application of
used undiluted, however, as this could
extra body,
it
light
additional richness.
to your water
gives
it
as a
arabic will revive the color and give
bottled form
in
is
a dark area of a painting,
such as a very deep shadow, has gone
washes, a
often used as a painting medium.
making It
be bought
you add a
when
keep them
If
dead through too much overlaying of
pigment (watercolors also contain glycerine to
one another
other important property
lifted
the ink and
damp.
To complete the
picture, the
goldfish are painted
orange watercolor
in
tones of
MIXED MEDIA
Mixed Media Although many
know
artists
that they
can create their best effects with pure
more and more
watercolor
finding
and more
that they can create livelier
be extremely
other
that,
is
once
and the
vivid,
dry.
the paint
cannot be removed. This can be an
.
from convention,
breai-
desired,
advantage, as further washes, either
watercolor or
acrylic,
one without
can be
laid
expressive paintings by combining
an
several different media.
pigment. The paint need not be
To some extent, mixing media
now
such a diversity of
a
is
matter of tnal and error, and there
is
prescribing
is
each possible combination.
for
However,
it
can be said that
some
and watercolor.
example, can be
made
thin
in
washes throughout: the
combination of shimmering, translucent
can be very
acrylic
for
to blend into
one another almost imperceptibly
effective,
particularly in landscapes with strong
foreground
mixtures are easier to manage than others. Acrylic
applied
disturbing the
watercolor and thickly painted areas of
artist *s
no way of techniques for each one or
materials that there
initial
in
over
interest,
where you want
to pick out small details like individual
flowers (very hard to color).
It
is
do
in
water-
often possible to save an
unsuccessful watercolor by turning to acrylic in
the later stages.
because they have very much the
same
characteristics, but
two or more
physically dissimilar media, such as line
and wash, contrast. this
rt
will
automatically set
There
nothing
is
may even be
exercise
but
ft
up a
wrong with
the point of the
can make
to preserve an overall
it
difficult
Watercolor & Gouache These ire often used
many
between them. However, are used thinly
gouache
Watercolor & Acrylic
to
make e.
Acrylic used
thinly,
diluted with water
but no medium or white, behaves in more or less the same way as watercolor There are two important differences between them, however.
One
is tr
of color so that a
r
first
wash
depth
can.
if
and
it
dull
paint, it
unless both
more manap
can be a
combination to
difficult
unity.
toy.-
artists scarcely different
once mixed with white
opaque
which can make
'te it
look dead
beside a watercolor
v.
TECHNIQUES
Step-by-step: Painting One I
stage
in
Gourds of the most attractive
qualities
of these gourds
contrast
in
up the
building
orange gourd, the with
gum
textures.
arabic,
is
As the
the first
pitted surface of the
artist
mixes her paint
which makes
it
settle
with
a slight bubbling.
Still
2
using transparent watercolor,
she paints the yellow gourd wetin-wet, allowing the colors to blend
softly
Opaque gouache
3 the
used for the
fruit.
gourd
is
flat
is
together
now
back-
ground and some areas of The texture of the orange achieved by further
applications of paint
gum arabic. This damp sponge.
is
mixed with
blotted with a
4
The finished result shows the pleasing variety of paint
quality typical of
media
mixed-
paintings.
tk 76
MIXED MEDIA
eighteenth century
Paint and Pastel
at
Soft fully
-.'i
.
be used very success-
means of adding texture and
face interest to a painting. Sparkling
wash with
strokes of pastel, particularly
work on
a
fairly
if
light
oil
pastel laid
effect.
A
light
down under
a
repel the water
will
to a greater or lesser degree oil
(some
pastels are oilier than others) so
that
it
medium. Some mixed-media
dissimilarity
sinks only into the troughs of
the paper, resulting
in
a slightly
mottled, granular area of color.
its
own
kind of nati.
partners, having a similar matte, chalky
Watercolor and Crayons
Pastel
been used together
I
hese have
since the
ese
m
effect,
mixed media
selves.
When
dry they are a drawing
are.
them-
in
medium, but as soon as water applied to them they become
is
paint,
and can be spread with a brush. Very varied effects can be created by using
them
in
a linear
manner
in
of a painting and as paints
They can
Gouache and
of the elements used,
which creates
you
Oil pastels have a slightly different
of
was
pastel
rough paper.
but equally interesting
watercolor wash
when
popularity as an
dynamism, but these two are
broken colors can be created by overlaying a watercolor
t's
its
techniques are based on the
with watencolor. and provide an
excellent
the height of
also
some
areas
others.
in
be combined with
traditional watercolors, felt-tipped
pens or pen and
ink.
CHURCHYARD by This
combination
of media has
produced a
lively
contrast of
The
buddng and are pure color,
sky
tree
v.
while the
and
grass
are pastel
worked
ov<-
irvtid watercolor
wash.
TECHNIQUES
Mixed Media PASTEL WITH
I
The
WATERCOLOR WASH
vibrancy of soft pastel colors
2 Using a
soft
watercolor brush, he
can be used to enhance the delicate
washes over the
transparency of watercolor washes.
toned wash to spread the
Here the
color
artist
creates a design with
3 While the wash artist
is still
adds further
point of the pastel
wash dnes. more
damp, the
details with stick.
pastel
Any
When
the the
marks and
watercolor washes can be added.
A
pastel with a light
surplus moisture
removed with
a soft orange pastel.
78
Effects
blotting
cloudy sky at sunset
striking. In this painting
pastel is
paper
is
particularly
the
artist
has
used watercolor and gouache, the
former for latter for
its
its
transparency and the
bnlliance of color
MIXED MEDIA
Mixed Media
Effects
GOUACHE AND CHARCOAL I
The
artist first applies a thick
layer of yellow gouache. this
is
design onto
it
Note
the paint
that
if
the charcoal
2 Using a No. 4
bristle brush,
into the charcoal
the
artist
drawing with
further gouache colors. Interesting variations of
tone are achieved by
with charcoal.
will
ACRYLIC
works
effectively in
wet,
AND CRAYON
be used very
combination with
crayons. The
oil
crayon
resists
the watery paint and the design
allowing the charcoal to dissolve into
shows up
the color
colored wash.
in places.
is still
not take.
Acrylic paints can
oil
When
completely dry he draws a
clearly
through the
TECHNIQUES
Making Changes Corrections
As
may It
is
a
common
belief that
cannot be corrected,
watercolors there
but, in fact,
you
a painting nears completion,
find that
edges or
there are too
many hard
insufficient highlights.
Edges can
be softened by the water treatment
are several ways of making changes,
described previously, but here the best
correcting or modifying parts of a
implement to use
painting.
swab. Both these and sponges are near-
If it
becomes
something
clear early
on that
essentials
badly wrong, simply put
is
the whole thing under cold running
water and gently sponge
in
clean water and
a
dampened cotton
watercolor
are ideal for
lifting
painting, as
they
out areas of paint to
create soft highlights.
Any specks of dark
off the paint.
For smaller areas, wet a small sponge
in
is
paint that
may
have inadvertently flicked onto a white
or light-colored area can be removed
wipe away the
offending color or for a very tiny area,
with a scalpel blade, but use the side
use a wet brush.
in
It
must be
colors are
said,
though, that
some
more permanent than
a gentle scraping motion, as
pressure with the point could holes
others - sap green, for example,
make
the paper
in
is
hard to remove totally - and that
some papers
hold onto the pigment
with grim determination. Arches of the
latter,
is
one
but both Bockingford and
Saunders papers
will
wash
clean very
well.
ABOVE ABOVE Here
the artist finds he needs to
lighten the color in this area, so
some of the
80
paint with a
damp
he
lifts
out
sponge.
If
create an
one color floods
unwanted
mopped up
effect,
into
another
to
the excess can be
with a small sponge or piece of
blotting paper.
MAKING CHANGES LEFT Small
blots are easily
scraping with
a
careful not to apply too
you could
BELOW
removed by
knife or razor blade.
make
holes
much
in
the paper.
Ragged edges can
udied up with a white gouache
knife, or
Be
pressure or
either
with
pami as seen
be
opaque here.
Color changes Newcomers it
difficult
to watercolor often find
to judge the strength and
quality of the
color to be applied.
first
There are two reasons lighter
when
for this:
becomes
that the paint
dry.
one
is
a great deal
the other
that
is
is
it
hard to judge a color against pure
white paper - the
wash
first
inevitably
looks too dark or too bright. If
you
the
find
wrong, do not
colors are built up laid
colors are
first
despair. in
Because water-
a series of over-
washes or brushstrokes, the
color and tone you put
means
final:
made on
is
first
lighter,
by no
this
many changes can be
the paper
yellow wash
down
is
itself. If
that
into a
become
now two
layers of paint.
the same token, a wash that pale
is
very
easily
is
By
too
darkened by
applying a second
wash of the same
color or a
darker version of
slightly
Although
it
is
often stated
about watercolor that cannot be only
laid
means
light
in
it.
books
colors
over dark ones,
that they will not
too "cool," that
is.
this
become
A
in
green
with too high
be changed
warmer, richer green by
strong wash of yellow
green, and the tone darkens because
there are
is
a proportion of blue, can
a pale
covered with a blue
one. the color changes to
but colors can be modified
way. particularly greens.
on
laying a
top.
I* l*
S9K&.
ra *
I
Composition Having experimented with the range of techniques used
in
watercolor painting,
is
it
time to look at the art of composing a picture
and putting on paper the colors that are before your eyes (or in your mind). There are questions of selection and balance to be
addressed,
in
order to make a three-
come
dimensional subject
to
life in
a
two-
dimensional form.
Many of these
principles are
painting media, so
much
common
of the material
to
all
in this
section does not refer specifically to painting
with watercolor. in
If
you are already competent
painting with other media,
you may be
familiar with the principles explained here; but
for those fresh to painting, these guidelines will
be
particularly valuable in the early stages of
constructing a painting. Having learned these rules,
you may wish to break some or all of is one of the elements of creativity.
them. That But
it
is
also important to have a firm grasp of
the principles of painting so that you are aware
of the effects of each decision you make regarding form and color.
Some
people are fortunate enough to have an
instinct for
good composition and color
others have to learn scene.
If
how
to create a pleasing
you are one of the
the simple guidelines
use;
latter,
in this
don't despair
section
will clarify
the mysteries of color and composition.
COLOR AND COMPOSITION
Composition large the picture should be, how the objects you are be grouped together and positioned within the picture area, choosing different elements of line and shape, value and color and applying them in ways that make your painting look right as a whole - all
how
Deciding
painting should
these are the ingredients of composition.
Size
and Shape or irregularly shaped. This
elliptical,
The
may be because the
majority of pictures are
rectangle. Partly this
paper it
is
is
sold
easier to
in
is
just practical
-
rectangular sheets and
make
this regular format,
in
than to prepare a
painting surface of a different shape. Visually, a
is
shape of a painting usually grows out of the demands of an individual subject or approach. Unusual shapes
a stretcher for
canvas or cut a panel for painting
painting
planned for a particular place, but the
rectangular or contained by a
rectangle gives a clear-cut,
something that you
for painting are
can consider later
if
they interest you.
Working with a rectangle, you can choose to make the picture square, or
evenly balanced picture area within
to have a longer dimension from top
which you can organize the elements
to bottom, or from side to side.
of your painting. Artists can, and do,
format
make
paintings that are round,
is
longest
is
often referred to as a
portrait shape; is
longer
A
which the upright dimension
in
is
one
in
IEI
which the width
called landscape. These
however don't imply a rule for composition - a portrait or figure can
terms,
occupy a wide canvas, and
a landscape
can be given vertical emphasis.
When
IE|
IE
you begin work, you have to
choose paper or canvas of appropriate size and, unless
=
you are making a
square painting, decide whether you will
use
it
as a portrait
or landscape
shape. This depends on your choice of
LEFT: The viewpoint of Stephen Crowther's
The Water's Edge
exploits the strong line
At
E ?
of
the promenade.
84
(i
COMPOSITION subject and
what you decide
best view of
Some deciding
is
achieving the correct proportions and
the
spatial relationships.
it.
a
painting without
'
on the
dimensions of
final
the painting, letting the shape gradually
An
emerge. Alternatively an unusual format
may
a long,
narrow
rectangle, say
suggest a particular treatment
you work on paper, you don't
have to trim
it
on. use a
or. later
mount
on. use a
or. later
mount
to contain
the picture area. You can even extend it
quite easily
if
is
your painting becomes
be done
and
quickly
without
simply,
will
finished painting
is
same
exactly the
photograph. The same method can be
used to reduce a rectangle, though this
is
less
common. You
will
need
reference, and a sheet of tracing
another piece of paper to
paper, which
is
It
easiest to begin with a format that will
work
for the painting
mind.
If
you
find
you have
when you
in
something important
edge of the
picture,
slips off
taped over the
vertical line. This
left
develop the composition that
is
draw the bottom
First
bottom
start to
a
set square, a ruler, a pencil, the original
too large for the paper by attaching it.
the
proportion as the sketch or
to
contain the picture area. You can trim it
up
ensure that the shape used for the
the given rectangle. You can
fill
integral part of squaring
enlargement of a rectangle, which can the need for calculations. This
of the subject. If
Scaling up a Rectangle
left
line,
original.
then the
forms the
comer shared by
the
and the enlargement.
original
the
you can adjust
your composition by redrawing and
overpamtmg.
When for
your
you
select a size of
painting, consider
it
paper terms
in
of the actual scale of your subject. small landscape can
be powerful, but
you might prefer the spacious large picture.
If
A
you choose a
feel
of a
large
picture area for a small-scale subject,
however, say a
may mean
that
still-life
or portrait,
Place the reference
you end up painting
the objects larger than
life
size.
This
can look strange because objects
life
and when you
size,
paint
them over
you encounter problems
diagonal
and
line
this
corner
in
through the bottom
the top right
Continue
fhrs line
any point on
naturally relate to a personal sense of scale;
m
and &•
it
to the
hand
base
vertK
rectangle
comer of the
corner
original
extending to the top
fhrs line
line
left
you can drop a
and a
t
vertical
horizontal to the r
m your nev,
left-
COLOR AND COMPOSITION
Enlarging with a Grid
accurately, as the
method
grid
Preliminary sketches are often
drawn
eye plays
The
tricks.
an accurate way to
is
transfer, enlarge, reduce,
or even
smaller than the finished painting, as
deliberately distort an image.
they are usually done
time-consuming, but you can be sure
to
make them
full
size
If
photos, they
will
also
enlarged. This can be is
sketchbooks;
would be
need to be
done
difficult
solely
to enlarge
It
is
of accurate proportions. You
you are working from
unnecessary.
eye, but this
in
to
draw two
grids,
will need one to go over the
reference and a second,
by
proportionately
guide for the
to act as a
larger,
new
drawing.
Lay a sheet of tracing paper
over the sketch or photo and
I
tape the two together at the
back with masking tape. Using a ruler
and set square, draw a
grid of equal
squares over the whole of the tracing
Number
paper letter
can
each
vertical line
each horizontal
fix
line,
and
so that you
any point of reference.
This drawing
2
is
being
enlarged twice up from the original. Take
another larger
sheet of tracing paper and redraw the grid, exactly
twice the
the squares
in
numbers and
size,
the same
then
way
label
with
letters. Transfer
the
drawing from the small to the large grid, using clear,
When
3
simple
lines.
the drawing
is
completed, rub over the back of the trace with colored
chalk,
under the drawn
trace
in
place
chalk side
lines.Tape the
on the watercolor paper
down, and redraw over the
existing drawing; the lines will
transferred to the paper chalk marks.
86
Remove
in
be
the form of
the trace.
COMPOSITION
Measuring Anything out of
You should
give yourself
avr
becomes
up your olor and relating the objects within
it.
Make
sure that your
viewpoint
fixed:
obscure your
line
You should never attempt to turn your head from side to side to see
do not
of vision with your
this field quickly
distorted and out of focus.
more
central line of vision
very quickly
one eye when
comfortable, seated or standing, so
measuring up distances. This
will
ten minutes.
not want to
Do
move
after
not attempt to draw
will
become confusec
also necessary to shut
you
order
and your view
drawing board and be certain you are
that
in
as this will alter your
is
because
our two eyes provide us with binocular vision, which gives us a
your objects from too close a view-
moving viewpoint. Shutting your eyes
point or to cover too wide a range.
alternately will
Although we can see through an angle of 80° only a fraction of this, about
particularly in the relationship of
1
within our proper
Hold a per
thumb up and down sizes
of objects.
it
field
show
this
to be so.
objects close to each other.
of vision.
ength and shde your
Hold up a wooden nJer and
to calculate the n
matches the to the
dkogf
•
•
*'ie line
dra*
87
COLOR AND COMPOSITION
Making aViewfinder Cut out
a rectangular
window from cardboard
of a neutral color, such as
mark quarter segments on two sides and half segments on the others. These marks will aid in calculating the proportions black or gray. With a pencil,
of different objects.
This
shows the
possibilities
of a
landscape format. You can spend
By holding up the viewfmder
time moving the viewfmder around
you can eliminate surrounding at arm's length, trying detail, simplifying
the scene and
helping you to make decisions on what to include in your
out
first
a
landscape format and then a portrait shape, until the
composition begins to take shape.
and what format to
picture,
choose.
When
working outdoors the simple window-
easiest to use, but
a standard
if
you want to vary
type viewfmder
,
is
the
the proportions from rectangle,
two
cut-out "L"
shapes can be used.This allows
you to plan a square composition,
or an elongated landscape shape, as
shown
88
here.
COMPOSITION
Making Thumbnail Sketches Before starting a painting, spend
some
time making simple pencil sketches.
4 the basic shapes and directional lines you can see
>y making a framework of connecting shapes, then start to break
down
lines that
in
your subject.
contain the overall
the large areas into small sections, paying
attention to the relative height, width, and depth of different elements
and curves, and the
subject, the interaction of straight lines
shapes
in
When
links
in
your
between
different parts of the picture.
you have made a variety of quick sketches, play around with the
and proportion of the
picture. Try drawing a rectangular frame around each sketch to increase the background area or push the edges of the size
picture closer into the subject, perhaps allowing important shapes to off at the sides,
be cut
top or bottom of the frame.
The
I
picture frame encloses a
conventional view with vertical
and horizontal
stresses evenly
balanced.
2 Moving
into the subject,
the
makes the
artist
stress
more
central
vertical
and the
background more busy and active.
3
ttured so closely, the tree
becomes an
abstract shape
that divides the
j
background
and breaks up the balance.
COLOR AND COMPOSITION
Clouds
whole. Since the sky
Composition
in
some extent will
integral part
of a composition are
often ignored, which
view of the
seems strange
fact that skies are often
the dominant element
in
a landscape.
But the landscape painter must tackle this
problem: clouds form exciting
shapes
in
themselves, and these can
Not
all
this kind
those
in
distance, such as
rounded
hills,
clumps of trees or
and
if
colors as well as
shapes are repeated from sky to
land.
two parts of the painting will come together to form a satisfying
the
A
need
mountain
scene, for instance, or winter trees
if
the sky
in
be more is
allowed to take
place, but a flat landscape can
often be saved from dullness by an eventful sky, so
the foreground or middle
distant
paintings, of course,
stark silhouette, will
second
the sky can also be
shadows or
of sky interest
successful
in
in
hills.
be manipulated or exaggerated to
planned to provide a balance for
reflected to
from the undersides of clouds
occurring again
add extra movement and drama to a subject Shapes
is
the land below, you
often see touches of blue or
violet in
in
book
keep a
special sketch-
for recording cloud effects so
that you can use
them
landscapes
in
painted indoors. Skies are very
to recreate from
memory
difficult
alone, so
in
addition to sketches, you could also
use photographs of
skies.
SOUTH
SUNSET.
DOWNS Charles Knight In this
pointing the dually the
whole composition, with the fields
and
hills
serving as
an
anchor to the
movement
above.
Much of the
sky
and
foreground has been
painted wet-in-wet
and
in
the central
area the orange and gray washes have
been allowed
to
flood together, giving
a
realistically soft
effect
90
COMPOSITION SPRING
SHOWER
Donald Pass
clouds
eye
«
enc<< 5
we
follov,
'he sky
ind both by using the
*ork
>d by
of
th-
CLOUD STUDY Ronald Jcsty rxjOC
xxjgh
appearonct
planned and
stixkxomposed
mode on
will
do at
some
the spa
I*
t
composing
if
you ore receptee enoi
-fgestions
done ouickh f
sugg*
The
p
'/
>nd the dark
^ling
out
m
places (see itrrw-tc out)
around the shapes with the point
o\
do
and
tt
and was
COLOR AND COMPOSITION
Composing a
alternative
Planning the disposition of objects still-life
colors
A
a
in
group so that they provide a
is
as important as painting
good
painting,
still
life,
like
should have
into the picture
and
from one object to another
It
wise
letting
some
formed by the back and
placing
front of a
will
out of the painting instead of into
lead it.
device often used to break up such horizontals
is
to arrange a piece of
drapery so that
it
front of the table
lines
the objects
a
in
as this will look static
in
relate
them
terms by
pictorial
overlap others, and give
depth to the painting by
them on different spatial some near the front of
planes, with
tabletop: the eye naturally travels
and these
all
and uninteresting. Try to
a sense of
lines
toward the centre of
to one another
to avoid the parallel horizontals
along straight
provides diagonal
between them,
it
is
it
in
Never arrange
drawn
is
around
lead
regimented row with equal spaces
movement and led
will
the picture. it.
any other
dynamism, so that your eye
to place the table at an
is
angle so that that
and
satisfactory balance of shapes
An
rhythmic curve around the objects.
Still Life
A
the table and others towards the back. Finally
make
sure that the spaces
between objects form pleasing shapes - these "negative shapes" are often
hangs over the
overlooked, but they play an
and forms a
important part
in
composition.
BLACK GRAPES AND
WINE Shirley Trevena
Trevena works straight
from her arranged group with no sketching,
and
composes as she
paints.
She
vary the
likes to
texture of her paint using thin watercolor
places layers others.
and
of gouache
The lace
original white
untouched.
a
washes
thickly built
is
up
in
the
paper
left
Her work has
lyrical quality:
the objects
recognizable, but
are
all
we
are drawn to the
painting by the fluid
shapes and
92
in
colors.
COMPOSITION
MOTHER AND CHILD
Greta Fenton
watercolor and conte crayon
in
Composing Figure
or foreground interest to balance a
window, It
m
is
easy to
become so bogged down human figure
the intricacies of the
and face but
it
is
that composrtion
every
brt as
is
forgotten,
important as
any other branch of painting. Even
you are painting
just a
m
sitter in front
example,
horizontal lines
in
well as a subtle lines also
will
have
and
the background as
fall
of
light,
while the
pictorial potential.
setting
need
planning. You will have to think
whether to make them the
background and the balance of
relation to the
the ideal
foil
values.
might be
for a dark-haired srtter
allowing you to concentrate the
drama on the
face
itself,
often find you need
but you
will
about
them
in
foreground and
background and what other elements
you should include a
more background
an
focal point
of the painting, where to place
plain, light-colored wall
in
careful pre-
square or rectangle of the paper, the
A
of a
give an
Figures or groups of figures
outdoor
head wtthm the
for
interesting pattern of vertical
if
head-and-
shoulder portrait, always give thought to the placing of the
your
subject. Placing
Painting
good
idea to
-
make
or suppress.
It
is
a senes of small
thumbnail sketches to work out the
composrtion before you begin to
paint.
93
COLOR AND COMPOSITION
Composing a Landscape
full
range of their
responses to
Whatever the medium used, landscape is among the most popular of all
choose
One of the reasons for this the common belief that easier than other subjects. Many who
nature
painting subjects.
it
is
would never attempt
relief
exacting and thus
However
more
mishandled colors
itself:
painting
is
about the
finding
real
in
or leave out and think about
whether you might exaggerate certain feature
be
in
feeling of
space
in
a
wide expanse of
countryside by putting
things
in
some
The
convey the impression of misty
best landscapes are painted by
have chosen to paint the
land because they love
it,
in
small
the middle distance, or light
by suppressing detail and treating the
whole scene
and use the
TALL TREE AND BUILDINGS Charles Knight
art.
For instance you might emphasize the
figures
who
a
the interests of
always matter; whatever the subject.
artists
94
You should never attempt to copy
to put less
marred by poor composition or
- these
who
as an easy option.
means that you have to make choices and decide how much
enjoyable.
a painting will certainly
to express their
world. This
to
country scenes, feeling them to be
skills
not by those
pictorial equivalents for
is
a figure painting
or flower study turn with
it
it,
in
in
broad washes.
watercolor
It
COMPOSITION
Composing a Flower Painting
A group
of flowers tastet
arranged
in
an
attractive vase always
looks enticing
that after
pant of
them
putting
may not make
all. is
the
there - but
a painting
m
ft
itself
Placing a vase of flowers in the
center of the picture, with no
background or foreground interest
is
not usually the best way to make the
most of the
some
are
rule.
subject - though there
notable exceptions to
So you
this
have to think about
will
what other elements you might include to
more
make the composition
interesting without detracting
from the main subject
One
of the most-used
compositional devices
is
that of
placing the vase asymmetncally
and painting from an angle so that the back of the tabletop forms a diagonal instead of horizontal
Diagonals are a powerful
m
the
artist's
line.
weapon
armory, as they help
to lead the eye
in
to the center of the
picture, while horizontal lines
opposite.
One groups
difficulties
with flower
that the vase leaves a blank
space at the bottom of the picture area. This
IN
A TUMBLER
can sometimes be dealt with
Ronald jesty
omposibons are always often surpnsing, as this
of the is
SWEET PEAS
do the
one
is
bold,
We
and
are so
conditioned by the idea of "correct" settings for flower pieces
and
stiH lifes
that the idea of
a vase of flowers on a newspaper seems olmost heretical but it works per
placing
newspaper images providing yust the
by using a cast shadow across part of
with the
the composition, or you can scat*
nght combination of geometric shapes
one or two blooms or petals beneath or to one side of the vase, thus creating a relationship between
and
dork tones to balance the forms and colors of the sweet peas.
foreground and focal point.
95
COLOR AND COMPOSITION
Balance and Counterbalance
"composition consists of observing
and depicting this
One
of the most important goals
composing a balance.
In
painting
is
contain enough variety to keep the
in
achieving visual
lines,
we
shapes, colors, values and
human eye
order and
centuries, artists
have put forward
freedom,
a successful composition. But
in fact,
unity,
is
drawn to
it is
we
diversity,
stability,
also attracted
by
and the element of
surprise. The challenge for the artist
innumerable theories about what
makes
observation sums up,
begin composing a painting. For though
harmonious
the
critics
if
the dilemma that faces us each time
result.
Throughout the
this variety
are to avoid confusion. Plato's
- must be arranged with
care, so as to create a
and
viewer interested, but that
must be restrained and organized
other words, the various
elements that make up the image -
textures
By
diversity within unity."
he meant that a picture should
it
in
striking
lies
the right balance between
was the ancient Greek philosopher, Plato, who expressed most succinctly what good composition is all about.
these opposite attractions.
Plato stated quite simply that
composition,
The most obvious way to achieve balance
is
through a symmetrical in
which elements of similar value,
shape, and size are used
together
in
almost equal proportions.
Although
at
times such a structure
may
serve a concept well, for
most
purposes too
much symmetry ABOVE:
In this illustration
imbalance between the
there
left
and
is
an
right halves.
The mass of the mountains and rocks on the right
has great
color
and
visual
its
demonstrate
this
is
virtually
imbalance.
D
strong
value contrasts, whereas the
half of the picture
96
weight with
left
empty.The scales
%?
COMPOSITION
ABOVE the
\ion
same bme.
shows how an asymmetrical composition can en
retaining balance
and
unity
included onty the foreground rocks on the that has
enough
design, lacking
artist
has
mountains
we have a
Thus
counterbalance
visual weight to
results in a rather static
The
left
its
small
mass of dark
large
For most
artists,
the
wrthm unity
is
way
to achieve
to create an
asymmetrical composition,
which
in
shapes and masses within your
composition as "weights" to be
features that are inherently different
nged so
but of equal mtere as to counterbalance
one
another.
An
asymmetrical composition succeeds
in
creating a sense of equilibrium, while at
the
same time
Asymmetrical composition
is
much
vegetables
often
which a small but
heavy metal weight on one side balance a
found.
until
Remember, an object
it
an
is
not only
size that gives
strong color, shape, texture,
-
will attract
the eye
visual
when
used as a contrasting element, even
in
•.mounts For example, a large
a pair of old-fashioned
scales, in
is
weight
interest.
compared to weighing
balanced and counterbalanced equilibrium
or value
allowing a contr
of shapes, colors, and values that lends
and
left
or>
D
diversity that Plato talked about.
diversity
value
and
value on the
and uninspired
the element of
in
mass of light
i
larger pile of fruit
or
on the other Think of the
area of
light
value can
be
counterbalanced by a small area of dark
valu<
more
visual weight;
and a
large area of cool color can
offset
by a small amount of intense
color that creates a strong focus.
be
COLOR AND COMPOSITION
Creating a Center of Interest
LEFT: This seascape has few interesting physical features to hold our interest. But
the sea
look
and
more
sky could have been
made
to
interesting than they are here;
the painting has no obvious focal point
and our eyes
dart from one are of the
picture to another, unable to settle
anywhere
The nineteenth-century English artist and writer John Ruskin was once asked "Does a picture need a focal point?" His reply was firm: "Indeed it
in particular.
normally the
sitter's face,
whose
expression conveys
his
or her
personality. In a
life,
the center of
interest might
still
be a jug of flowers, with
does, just as a meal needs a main dish
the other objects playing a supporting
and a speech a main theme,
role.
tune needs a note and a
just as a
man
There are
an aim
several devices that the
."
in life
In
.
artist
.
other words, a picture should
center of
have one strong center of interest to
which the viewer's eye pint
is
drawn - the
more more
or texture
shapes. But the attention-getter
known
tonal contrast.
is
well
these are usually abstract designs
the nerve endings
artist sacrifices
in
that area, or
most dynamic
don't have a center of interest, but
which the
in
intense colors, or contrasting
Of course, many
paintings
such as placing
interest,
detail
which contains the message of
the picture.
that
light in
the eye and
and appear to contrast.
absorb
Therefore, by placing the lightest
representational
on the other hand, the
lack of
light
light
and the darkest dark adjacent to each
you
a center of interest leads to an
other
incomplete
create a visual tension, a "push-pull"
When
feeling.
planning the compositional
arrangement of the
painting,
your
I
I
emphasize
it?"
For example,
a portrait the center of interest
is
the center of
eye and holds
More
want to emphasize, and how
should
at
interest,
sensation that attracts the viewer's
first
question to yourself should be "what
do
is
appear to expand, whereas dark areas
dramatic
interest for the overall unity of pattern In
It
areas stimulate
or texture. painting,
98
can use to bring attention to the
that you in
his
or her
interest.
often than not, the subject
want to
paint won't have an
obvious focal point -
it's
up to you to
create one. This applies particularly to
COMPOSITION landscapes and seascapes,
which the
in
sheer magnitude of a panoramic view
attention toward a specific point.
When
you're looking at the real thing
your eyes can happily roam
at will
over
the scene without resting on any
and
particular point,
this
it's
detail, color,
"freeze"
on
rt
a small,
flat
that
sheet of
paper
One is
The
some
be more
scene, but with
cliffs
Even
the picture contains multiple
if
subjects, the
composition needs to be
commands more
than the
rest.
one
is
caught by the
against the dork
placed the
lightest
eoch
and
other,
light
do
and darkest
this
shape of the i
values
has
For example,
if
a
foreground trees of equal
compete
for attention
they
size,
one tree
in
will
and you may size
of
order to lend more
importance to the other.
g focal
point
more n
I
Now is
the picture has
more
satisfying to look
at The dark foreground wave has a part play. too.
It
acts as
a co
to
the
m
sharp contrast maki
subject
attention
landscape scene includes two
one
marked improvement NotKe how your on
and the picture loses impact.
have to deliberately reduce the
important thing to remember
that there should never
BELOW
is
diluted
or area
a quite
when you take all and movement and
matter
area,
interest
more than one the message becomes
there
carefully controlled so that
won't do"
from your enjoyment. But different
If
dominant
to focus your
difficult
it
major center of
:>ne
painting.
se of
movement
that directs our eye few
.
COLOR AND COMPOSITION
Tonal Values and drawing are an extension of the art of seeing; by viewing a unexpected way we often gain new insights not only into the physical world around us but also into ourselves and our own individuality This intensity of experience inevitably comes through in our paintings and drawings, which take on a greater power and beauty. Painting
familiar object in an
Accordingly, the projects and
demonstrations
in this
of
chapter are
designed to develop your awareness
If all
of tonal values through close
is.
observation and intelligent inquiry. You'll learn
how
light
ordinary subject;
how
to
how
sounds
like
hard
work -
it
artist will tell you,
knowledge of
Added
most
make sense
is
as vital to
practical techniques.
to which, the discovery and
understanding of what makes a thing
of a complex subject by making value sketches; and
this
But as any
successful picture-making as the
and shade that
lend poetry to even the
can be achieved by working
painstaking observation
to spot those
dynamic shapes of
reality
with a limited range of values.
tick
is
always a rewarding and exciting
experience
a convincing illusion
BEACHED FISHING BOAT, SUFFOLK ESTUARY
by Edward
in itself.
Wesson
r 1
1
\
\
^*
il
* j^^^^5^
•
|
"l
V
1
\
teiJ J
j^yM^tf 100
..^--
-
.
V
TONAL VALUES
What are Tonal Values?
light
from the window
The idea of
The word light
how
"value" simply refers to
understand
md
or dark an an
color.
Some
more light why we perceive
colors reflect
than others, which
is
navy blue and sky blue are
both the same basic
m
blue
is
dark
light
m
value.
In
color,
unmixed
addition, the value of a color
show man m
so that one color can of values. Imagine a
look at
m
it
color, that
between. You can
terms of
is)
h
from white to
test this
g
by
looking at a black and white
photograph of a
is
adjusting the
light falls
we
it.
easy to
is
white. Every color (every
tonal "value." ranging
in
but navy
value, while sky blue
changed by the way the
striking
black and with infinite shades of
as being paler in value, for iple.
pure,
if
is
tonal value
or by
television set until the picture
is
on
painting,
knob of your color
it.
black
goes
and white.
a vanety
a navy-blue sweater
standing
in
window so
front of a
that
he
is
at
right-angles to you. His
sweater
is all
made
of the
same color of wool, but you'll
notice
how
appears darker
at
rts
value
the back
than at the front, where the
LEFT wide range of values. The colors
n
tne frua
contrast with the
and
flowers
muted
colors
of the other obje
above
Fhe
some Hi
photographed
n
block
and
see the
arrangements
and dork
*\
terms of light
value ptr
COLOR AND COMPOSITION crystallized form. The
Making Value Sketches
when Having trained your eye to perceive
now
values, you're
to the next stage
-
ready to
like
move on
using tonal values
to create a balanced and unified
composition.
In
lightest light
is
we
far
could ever hope to
attain in a painting.
As
artists
we
have to portray what
BELOW: A here
102
is
harbor scene
we
like this
see
is
and colors,
in
useful firstly
way
lit
by changing
light,
in
which you
because they provide a
of getting familiar with the subject feel
more
starting to paint
a
one makes an
that the overall value pattern
confronted with a profusion of shapes,
so you
in
order to give a painting more force,
we
see the
So how, when
and value masses. These sketches are
of the subject, and
ignore the inconsequential details;
that,
concentrate only on the main shapes
obliged to select from nature only
spirit
we "can't
sketches of the subject
are
those elements that seem to capture the essential
is
do we begin this process of selection? The answer is simple: before you begin painting, make a few pencil
nature the range of
extremely wide -
a landscape,
forest for the trees."
values,
values from the darkest dark to the
wider than
problem
faced with a complex subject
too busy
confident
it,
when
and secondly
because you can use them to try out
attractive painting subject.
and scattered
The only problem
TONAL VALUES merits of lights and
differe
seems
one
the
until yoi.
best. There's
the hghh
an old carpenter's
If rt
\hes
cut
once" Making
prelin
will
save you a
of time and
lot
••ige
something
and look
Claude mirror to help them
more
lights,
clearly the simple pattern of
m
and middle values
darks,
when
glass which,
It
helps
if
you
i
at
the sketch as a
dimensional pattern of shapes.
If
this
light
flat,
two-
and d
simple light/dark pattern
doesn't hold together as a harmonious abstract design, then the painting
a
landscape. This consisted of a piece of
darkened mirror
areas,
feel
color and identifiable subject matter
r
landscape painters often used a device
see
and dark and you
temporarily disregard aspects
Assessing the Values
called a
"clicks"
happy with the way they hold together.
the eighteenth ce
and
the proportion and
distribution of the light until
frustration at the painting stage.
Dunng
values?
doesn't, feel free to arrange
"measure twice and
:.s
)oes the finished
i
good balance of
sketch have a
t
What you
most
likely
for
a lively interplay of lights
is
fail
will
should strive
and
movement
held up to the subject, reflected the
darks that creates a strong
image
across the paper. The overall pattern
in
a lower key.
the image
reduced
also
It
enabling the artist to
in size,
see a large stretch of landscape as
it
should be simple and cohesive, consisting of a
few
large, interlocking
would appear picture-size.The device
shapes rather than a
was named
fragmented ones.
after the French
Claude Lorram well
known
(
1
ai
600- 682). who 1
mellow
in
Today. Claude mirrors are
by looking
at
through a piece of tinted acetate. This
the image
m
no
but
ft
most of the color and can see a
the subject
glass
or
won't of course, reduce size,
more
will
cut out
detail
simplified
Start with Five Values
colors.
longer made, but you can achieve a similar effect
of small,
is
for his beautiful tonal
landscapes painted
lot
so you
arrangement
When
a painting contains
different colors, at
rt
is
too many
unsatisfying to look
because the colors end up by
out Exactly the same thing applies with values too many will cause a painting to look
canceling each other
confused and
can discern
disjointed.
literally
Of course we
dozens of
and there
different
nothing
of values. Looking at the subject
values
through sunglasses also works
nature that looks confused or disjointed
When work just
making your value sketch,
quickly
and reduce everything to
three values
light,
medium, and
dark (save the white of the paper for
in
nature
is
but for the purposes of picture-n
we need to reduce the number of values we see to just a few. m order to make
a
clear,
uncluttered statement.
in
COLOR AND COMPOSITION
LEFT: By half-closing his eyes, the artist reduces the scene to just three or four values. In this first
sketch,
he
t/es similar
values together to larger,
make
stronger shapes.
BELOW: Now he
strengthens
the areas of darkest value.
One
of the most useful lessons you
should leam
make
is
how
a
little like
painting
say more.
less
speech -
giving a
many
in
if
It's
become
will
make
Most
values, but
picture with just three to
the whole idea of tonal values leaves you feeling puzzled, a
make
a
good exercise is few paintings or
drawings using only
five
values; white, a light value, a
middle value, a dark value,
and black By doing will train
this,
you
your eye to judge
the value of any color correctly,
and you
to see things
in
will
leam
terms of
broad masses instead of getting
04
bogged down
in
long and if
by;
It
gauge
positive to
how
five
you
on the
light
I
in.
(2.5
scale,
or dark
Start by drawing a bar 5
it is
fact
one to
depending on
good
five. In
is
simply give each area of color a tone value from
work with
possible to create a perfectly
you something
the values of your subject
well delivered,
a lasting impression.
around nine to twelve
to
gives
bored, whereas a
painters tend to
one below
the colored objects you are painting.
you include too
few considered phrases,
scale like the
helpful in determining the values of
irrelevant facts, the listener will
very soon
small details.
A value
to
in. (
1
it is.
2.5
cm)
cm) wide on a sheet
of white paper. Divide the bar into
TONAL VALUES
I
in.
(2 5
cm) squares. Leaving thr
square white.
)ther four sqi
ed
lines
over the hatched
square
If
j
same
pencil,
solution of
l*m using watercolor
up
a full-strength
»nd
ivoi
then dividing
go
it
between four
keep one saucer "neat." to
lit
with the third square.
over squares four and finally
even gradation.
I
the
I
degree of pressure on the
•ig
and
IB pencil
I
five only.
Now
five again,
So long
go
en. to get
and
as
middle, and dark grays.
I
sau<
•
a>
my
add
light,
a
teaspoon of water to the second
you
two teaspoons to the
exert the same degree of pressure
saucer,
with the pencil each time,
three teaspoons to the fourth for the
give
this
you an even gradation
from white to ittle
should
in
more
ABOVE H
difficult
I
•
and
Jied the
man
value
reinforcing the linear
ng
is
now
n oV
stronger
layout
and more
and
simply use the white of
to create a
remains intact but the composition t^
ue.
the paper.
I
the rrmjcte values
the
:
third,
ut
ch
wifl
'.
COLOR AND COMPOSITION
Still
One
life in
of the most fascinating aspects of
complex
interplay of
qualities that
Five Values still
life
painting
shape and form, value and color
make each
still
life
is
recording the
light,
and shade -
unique. The aim of this project
is
those shapes and values as simply and expressively as possible words, to get to the Set up a simple
real essentials
still
life
group
matter what you choose to
other
of the subject.
similar to the
paint,
to record in
one
illustrated.
It
doesn't
so long as the group includes a range of
colors from very pale to very dark. Arrange the objects
on
a table against a wall,
and
light
them from one you
side so that
get interesting cast shadows.
Use any
medium you but
stick
like,
to just
five values. In
order to keep the values consistent
throughout,
it's
best to premix
them
before-
hand.
I
Highlights
light
values
and
2
Pale
mid-values 3 Dark mid-values 4
Darkest values
complete the picture
06
THE ILLUSION OF DEPTH
The IDS illusion
Illusion of
Depth
landscape pamtir
the greatest ch
of space and depth on a
flat
and trees stretching away into the hazy distance but
Simple
tricks
how
can
we
capture
of linear perspective
>f
it
is
convincingly
a
in paint?
perspective." This term, invented by
Leonardo da Vinci (1452
overlapping one shape
describes the
front of
effect, as
presence of a foreground
does the
detail that
effective
the most
means of improving the
quality of
painting
far
is
depth and distance
in a
through the use of
LANDSCAPE LATE AFTERNOON
lighter in
become
the distance but
light
forms
darker, with the con?'
between values becoming progres-
recedes into the picture, such
road or fence. But by
1519),
phenomenon found in whereby dark forms become
another, for example, gives an instant
three-dimensional
fields, hills
marvelous one.
can work to a certain extent; in
creating the
piece of paper The sight of
sively smaller
toward the horizon.
This section explains
how
to use
value and color to reproduce the effects of aerial perspective
by Charles Harrington
and so
COLOR AND COMPOSITION bring your landscapes to
life.
addition, you'll find advice
In
on how to
choose the best viewpoint so emphasize the recession.
feeling of
as to
the
far-off hills
the
sky.
feeling
depth and
Objects
and recession. in
the foreground are
value and have stronger
to capture the subtle nuances of value
stronger
and color that lend atmosphere to
tonal contrasts within themselves than
portraits,
still
lifes,
and indoor scenes.
objects
these in
Aerial Perspective Also this
know
is
as
atmospheric perspective,
a subject which
is
of particular
concern to the landscape picture
artist. In
perspective
effects
of
in
the result of haziness caused
is
by dust particles and mist and other of weather As values lessen
on an
in
increasing
blueness; while a far distant range of
aerial
skill
the middle distance, and
turn are stronger than objects
strength, they take
the
hills is likely
to be seen almost entirely
as a limited scale of light blues
carefully, controlling his
values and colors with great
in
in
effects
below Robert Dodd has
observed the
in
the far distance. This difference
value
so that
and
blue-grays. Middle distance fields will
the middle ground merges gently into
tend to be seen as greenish blue and
the far distance.The tonal contrasts
foreground features
in
the foreground are quite strong, while
TILLINGBOURNE VALLEY, WINTER
will
exhibit the
whole range of color and
by Robert
;%muw* 108
of place and atmosphere as well
as of space
discover ways
Finally, you'll
are only just darker than
His painting creates a strong
Dodd
value.
THE ILLUSION OF DEPTH
view THROUGH THE VALLEY techr
i
The control and subtlety exercised here indicate the considerable
a good eye
for tonal
atmospheric perspective as the magnificent slopes ttnge
of the drstont
is
establishing
by the scale of forms
the
in
foreground. The inclusion of
monuments,
tl
way
of
hazy blue
to the
buildings, figures,
m
as seen here, or the
or a good grass
will
be adequate
same
trees
and
in
fields will
green spring shoots change to
summer
the composition
green
mam
yellow,
subject of
It
landscape providing atmosphere and
A
foliage
one green
change from season to season; yellow-
I
the painting, with the surrounding
setting the stage.
•
No
nature. The
and
can often be the
focus point
achif
green.
to depict the range of color seen
other features adds interest and •
made
use has been
Full
the foreground give
mow
Another method of depth
assessment
m
is
bk
leaves to the purple,
and orange of autumn important to vary the
L
constituents of the greens you use;
blue and yellow mixed give the most
building in a
landscape can provide an interesting
common
change of tone and form
yellow ocher aoq frequently added, and
a basic
rectangular shape within softer,
more
Green
is
the most dominant color
landscape.
acid
and
rt
It
is
easily
made
thin
takes real sensitivity to
and
black umber, and
es of Prussian blue and sienna,
m
result but
raw
or raw umber contrast well
the brighter hue o' general rule
is
to
than one green
is
make used
>ie
sure that in
any
more
pair
COLOR AND COMPOSITION
Choosing the Best
respect, your choice of viewpoint
becomes
Viewpoint
vital;
difference
Once you of
have grasped the principles
depth and atmosphere
in
your
However
it
is
Let's
interest,
paintings will increase tremendously.
equally important to
a
look
first
of
is
picture just because
destroy
feeling of recession
or
the center of
interest;;
in
the forefront of the it
is
the center of
indeed by placing
it
in
As we have already is
seen, the
way
to divide your
picture into distinct areas
in
terms of
encourage the viewer to "step
will
into"
the picture and explore the composition, thereby increasing the
- the foreground, middle ground and background - and to keep
impression of distance and depth.
these areas distinct
thought, too.
distance
in
value. In this
I
the
distance or middle distance, you
it.
to achieve depth
at
drawn. This does not necessarily
your picture, since
enhance the
all
the picture to which the viewer's eye
have to be
can either
the
all
insipid
or focal point - the part of
consider the actual composition of this
flat,
picture and an exciting, effective one.
the qualities of
aerial perspective,
make
can
it
between
The foreground needs It
careful
e:
should be the strongest
LEFT:
SPRING
by Frederick
Walker
E
Influenced by the PreRaphaelites, Walker uses carefully
observed and highly
wrought
detail,
picking out the
foreground with particular care.
E
FAR RIGHT: LANDSCAPE
NEAR
LESS
BAUX
by David
Hutter In this striking
has chosen a
image the
which the landscape out
like
Notice
a
map
how
artist
bird's-eye view in is
rolled
in front
of us.
the outer edges of
the picture are vignetted; these
areas of bare paper pull the
and back
to the distant
mountains.
110
seem
to
eye into the picture
E
THE ILLUSION OF DEPTH
of the three planes
not so strong that
in it
the picture, but
sets
up
between the viewer and the the composition. For
rest of
this reason, artists
such as Camille Corot included nothing
a barrier
(
1
796- 875) 1
the foreground of
in
was nearer than 200 or 300 yards ( 80 or 270 meters) away from their easels. A slight their pictures that
1
where the
values of the landscape Are
delicate, as in a misty scene.
On object
the other hand, a prominent
m
the foreground can act as a
valuable counterpoint to a
more
distance center of interest. For
example, the overhanging branches of a foreground tree can
be used to
create a frame within the borders of a
through which the viewer
sketchmess
in
the immediate
picture,
foreground
is
often desirable, especially
looks out across the landscape beyond.
I
I
I
COLOR AND COMPOSITION
Mood
Creating So
we've looked
far
at
we
aspects of what
ways of using tonal values to describe the physical see - in rendering the character and solidity of
objects and the nearness and farness of things, for example. But the
emotional content of a picture
is
every
bit as
more so. conveyed by the way light
important,
if
not
Mood, atmosphere, a certain intangible quality falls on a subject - these combine to create "the spell that charges the commonplace with beauty," to quote from the great British photographer
Here, once again, tonal values play a
major role
creating the
in
want to convey is
in
your
a strong connection
value range
mood
it
in
mood
you
pictures. There
between the
mysterious atmosphere, whereas values create a
impression. The
light
or cheerful
lively
way
light
and dark
can also have an influence on the
example, dark values
the lower half
in
of the painting convey a feeling of stability;
but
if
the dark
values occupy the upper half of the
composition, as
in
a
storm scene, the
alters radically,
becoming
threatening.
many
This section explores the in
which tonal values can be
organized and used as a means of expression. You'll learn
how
to key
tonal values to convey a particular
mood; how to capture the atmospheric effects of indoors and out;
12
shadows
portraits;
in
and
how
to
in
creating powerful and
compelling images.
how
light,
both
to use
light
BELOW: A STREET colors,
and
is full
to
IN
MILAN
by
Phil
limited range, consisting entirely of
and
purple-grays, create a
accentuated by the shaft of misty
empty
Wildman
of atmosphere. The somber
sense of quiet loneliness.This feeling
cars,
the bus.
emotional impact of a painting. For
ways
mood
exploit the magic and mystery of
browns, ochers,
values are arranged and distributed
somber and
create
This painting
dark values gives a somber or
mood
Brandt.
a painting and the
conveys; a preponderance of
strength and
Bill
and
is
sunlight, the
the small group waiting for
CREATING
ABOVE STORM FROM THE SEA
by
Son Perron
MOOD
BELOW ?
white of the
Mien rubbed off delicate white shapes is
'he btrd's
BELOW:
Cobalt blue. Paynes gray
sienna are used
to
and burnt
fot
with scumbled brush strokes
Av
ABOVE
is
outkntd
a$
og tonal contrasts here odd
<'
roxkite fron
corMnongiy dramatic m
if
the picture
«a
COLOR AND COMPOSITION
Keying Your Values To express
the term "key"
simply,
it
darkness of a particular painting. painting of a dimly
because values.
A
summer
lit
A
and low notes are the equivalent of
interior, for
would contain mainly dark
it
depiction of a cornfield on a day,
a "high-key"
painting, containing mainly light values.
Where many amateur wrong
is
in
artists
mood
values,
it
too many
becomes
When
a
different
rather uneven and
confused, and furthermore, the
It
far better
is
limited range of values
more than the
five
- and
-
certainly
no
them to
It is possible to draw an analogy between the values in a painting and
in
a piece of music:
should be used in
in
order to achieve
we
they
a controlled range
To take the analogy
pictorial
harmony.
a stage further
can compare the whole range of
values of a painting with the key of a
piece of music, and the
way
in
that
they both create a particular mood.
Music that
is
composed
mainly of
high-key notes sound either
114
create a sense of
drama or
mystery.
any successful painting and
at
see immediately that
good key - there
is
it
has a
a unity, a feeling of
strength and solidity that stems from
colors. You'll notice
too
how
the
artist
has deliberately orchestrated the values to underline the
mood
he or
whose
Impressionists, for example,
full.
the notes
and
high-key paintings capture perfectly the
to use a
exploit
a soft
she wishes to convey. Think of the
emotional message becomes dissipated.
a painting: light
the perfect harmony of values and
and to give greater power and
painting contains
will
you'll
importance of using a limited range of
directness to their paintings.
mood, or
optimistic
in
create a cheerful and
will
Look
go
not understanding the
values to express a particular
and dark values
light
values
romantic one, whereas dark values
on the other hand,
would be the subject of
more somber,
melancholy sound. These high notes
be termed "low-key"
instance, could
Low-key notes, on the other
piece.
hand, produce a
refers to the overall lightness or
light
and
brilliance
of sunshine and the heady
summer
warmth of
a
end of the
scale there are the low-key
day.
At the other
Dutch masters
paintings of the great
of the seventeenth century - people such as Rembrandt ( 606- 669), Vermeer ( 632- 675) and Pieter de Hooch (b. 629) - in whose portraits 1
1
1
1
1
and domestic
atmosphere
is
interiors a tranquil
conveyed exquisitely
through muted darks offset by a few telling
areas of soft
light.
So by now you can see values play a
vital
role
in
that
establishing
the overall atmosphere or
mood
cheerful or poignant and romantic,
of a picture, no matter what your
depending on the rhythm of the
subject
is.
CREATING
MOOD
ABOVE:
High-key Painting
WATCHING GULLS
by Lucy W.lhs
In c
Jacqueline In
most of the
a high-key painting
colors are
in
mood
the light-to-middle value
range, and there are
of
(page 42). the
f-
high-key pointing
this
is
one of
exuberance.
no sharp
contrasts of value. This creates a sligh*
•
nosphenc
effect that
ideal for expressing qualrties
is
such as
m
delicacy, tenderness, softness, frag
or
the viewer's eye while
Indeed,
pale, gentle colors
painting,
mixed with a
Edgar Degas
use lot
retaining
was the Impression
rt
notably Claude
pi.
To create a high -key
still
their vibrancy.
of
(
1
839
1
(
1
Monet ( 840 926). 834- 9 7). Alfred S 1
1
1
1
899). and Cam.lle Pissarro
who were
work wet-m-wet so that one color Wends softly into another with no abrupt change in value. To
greatest exponents of high-key
keep the colors
and the way
white, and
lively
and luminous,
them on the palette; it's to do as the Impressionists
don't overmix far
better
(1831-1903)
-
painting. They
were
it
perhaps the
fascinated by light
affects
the appearance
of objects, and their canvasses consist
almost entirely of high-key colors that
did and use small strokes and dabs of
capture not only the impression of
broken color (see above) which blend
shimmering
light
but also the
mood
of
COLOR AND COMPOSITION
again, the trick
silvery haze.
deliberately emphasize the lightness
the sun
is
shining.
So what kind of subjects are suited
is
to
and brightness of the scene - to paint and brighter than it actually necessary - in order to
to the high-key treatment? Let's take a
it
portrait subject to start off with.
appears
Suppose you want to paint a portrait of a small child, or a mother nursing
about your emotional response to the
her baby, or a pretty young
makes these subjects so
girl,
what
attractive
lighter
make
more
a
still
gentleness and grace - qualities that
pale values.
might be
lost
gentle colors,
more spirit
in
if
on the other hand, are
keeping with the emotional
Of course am
not presenting
I
I
with
pretty, delicate
- and
perhaps, or pale china teacups
arrange soft,
this
cannot be broken,
them on
a windowsill with
diffused light
coming through the
shadows
keeping with the
soft, in
high-key effect.
have seen mother-and-child
portraits executed
are
Choose
you can
mood
romantic
window. Remember to keep the
of the subject.
as a rigid rule that
and
warm,
Soft,
soft,
objects - a jar of wild flowers
you used too many
the painting.
in
light.
painting, too,
life
create a
statement
forceful
fleeting effects of In
is
if
their qualities of youth, innocence,
dark values
full
in
dark values that
of tenderness and
simply trying to suggest
feeling.
one way
I
The
in
portraiture this
is
say.
And
extreme in
in
into
fall
which neither
nor extreme darks
lights
predominate. When handled
skillfully,
important, since here the emphasis
is
personality.
values creates a subtle and
harmonious image with a quiet,
Everything about the painting should
contemplative mood. However, while
be geared to making the viewer
closely related values
aware of the
harmonious, a middle-key painting
sitter's
character
Landscapes, of course, offer plenty
danger of emerging
may be
flat,
some
positive
lifeless
contrasts, so try to introduce a
river that sparkles with light
or a landscape
in
from the autumn,
telling lights
scheme to
it
or
contains
rich
give
choice of colors
mist and clothing everything
painting. Since
a
few
darks into the
more
"snap."
Give careful thought also to the
with the sun breaking through a pale in
it
in
a middle-key
you are
in
and
of opportunities for high-key painting.
unless
is
bland,
The most obvious examples might be a snow scene on a sunny day; or a setting sun;
a
painting consisting mainly of middle
particularly
on the expression of
vast majority of paintings
the middle-key range,
orchestrate your values to better
express what you want to
Middle-key Paintings
am
which you can deliberately
116
Once
exuberance that everyone experiences
when
sacrificing
the
3
CREATING
1
rtic
possibilities
(light/-'
image
3
exciting in
is
vital
terms of
By choosing colors that are
1
intensity,
that
a
13 13
a !3
is
value but contrasting
or
r
of chiaroscuro '
1
is
you
in
that the
BELOW HAZY SUN AND DAMP BOULBY
MIST.
DOWN by Trevor Chamberlain
color.
similar
m
atxxr
tempt
ontrolling
cture
will
harmonious and
MOOD
vibrant.
« subject
preaston
I
demanded by Sud
COLOR AND COMPOSITION
Low-key Paintings CAT
LEFT:
CHAIR
A
ON A
by Lucy Willis
low-key painting
doesn't have to be
somber.
In this
charming study of a cat on a chair,
backlighting throws
the subject into nearsilhouette
and
creates
interesting positive
and negative shapes.
ones.
In
our
subconscious minds, darkness
is
associated with night,
turn
which
we
in
associate
with mystery,
suspense, and
emotions such sadness,
fear,
loneliness.
as
and
Dark
values can also
create a feeling of strength and calm.
By choosing your subject carefully
and using colors in
the mid to dark
value range, you
As we have seen, a low-key painting one that is predominantly dark in value,
and such paintings create a very
different
118
is
mood
from that of high-key
can use the psychological effect of
darkness and shadow to create exciting,
dramatic images.
The example shown above
CREATING demonstrates the powerful
MOOD
m
lies
humans have
1
ition for the
good
ow. After
doesn't the figure lurking
shadows
strike us
with
terror than seeing the
in
far
and
a strong as
all
we
learn
dge here
•
mysterious
film
experience,
their air of
skillfully
another,
how
to soften
/alue there,
blend one area into
the interests of creating a
in
picture that breathes
all.
and has
Choosing your Subject
more
monster face
'
't'^SS,
ft
important that your subject
same way. the most memorable pamtm
to the low-key approach.
the
that leave |ust a ition
little
I
iose
to the
of the viewer. The
to use
shadow
as a
veil,
softening harsh outlines and creating a subtle
atmosphere around the
His figures, softly
shadows and them.
yet
We are
be a
portraits of
Rembrandt painted are example of this. Rembrandt
knew how
a child, for example, generally
portraits that
a classic
subject.
emerge from the seem a part of
men key
mesmerized, and the
men
emphasizes rugged
A
still
life
of inanimate objects
doesn't necessarily suggest a particular
mood;
up to you to create one. Try
it's
still
background,
lit
•/as
skill
wrth
astounding. But don't
'hibit
mood
you can create your
*
how
they convey, and then see
own
style
that
mood
through
of painting.
Never underestimate the value of power to suggest. When we
we
strive to
everything as •
en
.
render
possible in the
belief that clarity equals
The resuR. of course, the subject ends up k>
a
mood
more
ind
source
intin
difficult
mood
is
to achieve because you
have no control over the artists
lighting.
But
can take advantage
of weather effc pictures;
ordinary scene
is
even the most transformed
storm threatens, or when
when
a
&
Or you could try painting woodland scene, wrth shafts of pale
approaches a
i
of
Outdoors, the low-key
'
ng.
light
create intriguing highlights and
landscape
the
against a dark
by a small
shadows, lending a subtle atmosphere
and
you: simply study
Rembrandt's paintings to absorb
life
placed to one side of the group. This will
let
women
of mystery and introspection.
we first saw Of course Rembrandt was
gr
portraits of
equally well, conveying a sense
placing your
a
would not
particularly older
Low-key
image continues to haunt us long after it.
suited
portrait of
from the use of low-
lighting that
work
A
s is
suitable choice; but
benefit
features.
lit.
master, and his technical
life.
the
to face? In
>on
I
With more
ntmg.
I
d emotionally. The appeal of sue!
more
two-dimensional,
in
low-key paintings can have, both
sunlight breaking
through the gloom.
COLOR AND COMPOSITION
Mood In
in
Landscapes
a landscape subject,
the same subject over a period of
one of the
most important elements to consider is
light,
because
light affects
both the
values and colors of a picture, and
both have a
significant effect
mood. Claude Monet put
when he
said:
does not
exist in
its
it
on
its
own
and the
light,
it
which vary
Monet became so effects of light
same
life
the
it
and therefore
alter
- the
air
continually."
the
conveys.
For example, a seascape viewed at flat
and
even and there
is
little
But a few hours
values.
sun
is
is
contrast later,
very
in
as the
going down, the luminous
and color that he again and again
scene, painting
different times for the
it
at
day and
in all
seasons. Making a series of paintings of
120
in
uninteresting because the light
fascinated by the
would happily return to the
to
mood
how
demonstrates
midday might look
every
moment; but the surrounding atmosphere brings
it
can alter the balance of values
a picture,
right, since
at
because
even quite small changes
in
worth
certainly an exercise
is
trying,
lighting
beautifully
"For me, a landscape
appearance changes
time
BELOW:THE AUVERGNE
by Moira Clinch
Strong contrasts between
warm and
and
light
to this
and dark
cool color
values lend a vibrant
sunny landscape
in
mood
southern France.
MOOD
CREATING
ABOVE THE
PASS
OF RYVOAN
by David Curtis
values of the evening sky con-
with the cool blue values of the
and the
land, creating a subtle
on
and
evocative image.
The
the pointing
on the landscape. 1
provide strong
mood
c
of
is
nst the sky.
light
isolation
can
themes, as
is
of
Then
light
light
same
;
values with which to capt
the bright, high-key
mood. A snow-
creates bold patterns of
and theres
Viewpoint and composition are
approaching storm
m
mood.
creating
and
also an interesting reversal
is
made more
dramatic by placing the horizon
line
very low so as to place emphasis on the
sky.
On
a sunny
day you coul<
positioning your easel so that
view
for the
one
dull light
bl-
brooding atmosphere o'
again, the
covered landscape on a
once, appears
wintry feeling
and
mornm
sky. for
important elements
transformed by the sparkling
of a bright frosty
of values as the
when
time you might choose a limited range of
conditions.
darker than the land, creating a
In winter.
the branches of bare trees en
scene
more comfortable
in
seasons, too. offer splendid
opportunities to exploc light
ope
location in Scol
with squalk of cokl ram before completing the
a
more
than
is
telling, sur
if
in
shadow except s will
di
the subject were even
I
much for
en
picture
COLOR AND COMPOSITION
Mood
Interiors
in
opportunity to explore the dramatic contrast of
Domestic
interiors are often
as suitable painting subjects
not seen
by
beginners, perhaps because they are
so
much
it's
easy to take
is
a
a part of everyday
them
life
that
for granted.This
since interior scenes offer
pity,
marvelous opportunities for creating unusual and exciting tonal
natural daylight or
artificial light,
closed environment of a
room
rich with
is
luminous values and
soft,
deep shadows that create and tranquil
a calm
atmosphere. Interiors offer distinct
one
advantage over
landscapes
that you can
in
control both the
compositional
arrangement of the subject and, to a great extent, the lighting, so as
to express what you want to say
in
your picture. The
some
following are just
of
the ideas worth considering:
# A darkened room an open door
in
with
the
background that offers a tantalizing glimpse
of a
scene beyond. The scene might be part of a
sunlit
landscape, or another
room
that
is
this will give
122
brightly
you an
lit;
the
and dark values and
lit
only by a
table lamp that sheds a soft pool of
an otherwise shadowy room.
light in
This sets up an intimate, low-key
mood. BELOW: INTERIOR by Keith
compositions. Whether illuminated by
light
warm and cool colors. £•' An interior at evening,
GWYNDY BACH
Andrew
Subtle colors the quiet
and
mood
soft
mid-tones contribute to
of this domestic
interior.
CREATING
MOOD
mysterious and
mood,
evocative mclucv
shadowy perhaps
figure, sitting at
the fireside or reading by a lamp.
Before you begin to paint
good make
it's
a
idea to
value
sketches of the
room from different
viewpoints, until
you
find
the
composition that appeals to you.
Observe how and where the light falls.
Do
the
shadows and highlights create
interesting
patterns?
ABOVE HOYA
IN
THE WINDOW
ea of
by Lucy Wife
more high-key mood Is
consists
warm
positioned
you want the center of tch
It
light
of a frame wrthm a frame. The
there a
lively
Is
the
where
interest to be?
interplay of shapes
and
formed by the walls, floors, windows, and furniture? All these angles
greens of (he garden, seen through
the window, are surrounded
and
emphasized by the coot blues of the
interior
things
must be
carefully considered;
necessary, rearrange,
waff.
if
add or subtract
objects until you get the effect you
'
Sunlight filtering through thin S
light
bathes the
that lends a
atmosphe
room
still,
in
diffused
timeless
'
learning to select
of the process of
from what you see
order to amplify what you want your painting to
in
COLOR AND COMPOSITION
Mood
in
Portraits mystery and
Painting a portrait involves
more than Your
much
introspection.
simply achieving a likeness.
something about the character and quality that the
with.
In this
quality,
light
an emotional
viewer can empathize
respect, the
on the
subject: the cool,
weak
daylight
coming
amount,
and direction of the
'
have an influence on the impression
window and the
lighting affects
particular
a landscape,
the values and colors
the subject, which
in
in
from a
light will
you wish to convey. As
in
also play
two sources of
painting should also say
personality of the sitter
You can
v.
>
in
turn convey a
atmosphere and sense of
place and time. For example, bright sunlight creates strong contrasts that
convey energy and light-heartedness,
whereas low
lighting
conveys an
air
of
stronger
warmer
light
of a
lamp. This creates a range of
and cool colors that give a
warm
special
luminosity to the portrait.
So before you portrait, first
mood
start painting a
decide what kind of
you wish to convey and
arrange the
lighting accordingly.
you don't have an shouldn't be too is
a couple of
stands.
124
Even
actual studio, this
difficult; all
lights
you need
with adjustable
if
CREATING MOODS
PORTRAIT SKETCHES by Terry Longhurst
A
portrait
be
does not have to
nighty finished but to
successful
it
be
must convey a
sense of the person
portrayed
None of these
studies has
mrwnum
more than
background and
the treatment of the faces
and
figures
But.
each gives a feeing of
the
sitter's
is
character as
nbmg hairstyle,
spontaneous.
and
we*
feci
pos-
125
COLOR AND COMPOSITION
Using Shadows Creatively
when
everything
golden
The power of suggestion can be used to great effect
in
and
arresting, mysterious,
stillness
When
is
and evocative.
bathed
is
object
a soft,
a magical air of calm
to the scene.
a cast
shadow
another object that
Shadows are not always dramatic or
in
and the lengthening
shadows lend
a painting, turning an
ordinary image into one that
light
travels across
lies in its
path, that
becomes much more
threatening; they can also introduce
interesting to look
beauty and poetry to a painting. Most
describing three-dimensional form, the
work
landscape painters prefer to
the early morning or
when
the sun
is
at a
late
favorite painting
time
is
and as
autumn.
in
back and forth between seeing
the shadows as a descriptive element
My own
later
afternoon on a sunny day
we
interesting paradox: unconsciously shift
earth and trees and buildings cast
shadows.
addition to
graphic lines of the shadows offer an
in
afternoon,
low angle to the
long, descriptive
at. In
a purely abstract pattern. In
this
way our
we
play an active part
imagination in
is
fueled and
the work.
Carry a sketchbook with you
BELOW:A COURTYARD
whenever you can and make visual notes of any interesting shadow
IN SPAIN
by Hazel Soan
patterns you In
come
across, such as
the final stages of the painting, the artist
those cast by a tree, or a wrought-
decided that the foreground shadow was too
heavy and too regular a shape. She decided
wash down the area and change dappled
tree
it
to
shadow, softer and more
keeping with the rest of the picture.
a in
to
iron gate, or the
dappled shadows of
trees and plants
on
a garden path.
Indoors you can experiment by
moving
a
lamp around the room, shining
it
on
objects from different
heights and
angles to see
what
kind of
shadows
it
creates (adjustable
desk lamps are great for this).
126
CHOOSING COLORS
Choosing Colors red. yellow,
The three primary colors produce
all
basic palette. But
and blue
many
can be mixed to
and blue
the other colors, so obviously these must be included
paint,
if
we
different reds,
buy must be of the
we
ask
in
in
our
our local art supply store for red. yellow.
be asked "Which one?" because there are so yellows, and blues to choose from. The first ones to will
brightest, results
m
most intense hues because mixing always loss
of color
intensity.
Starter Palette
m »* <*«
*h Raw umber
Burnt sienna
m
Cadmium
red
t+ Ivory
bghl red
Cadmium
**
yellow
Uttramanne
Vrndian
Colors to be added blue,
lemon
YeHow ocher
**
4F cobdt
bkxk
Phrhdln
Wmsor
Mur
violet
i
yellow,
raw s»enna burnt umber. Payne's
gray.
Chme^
Hooker's green or fern? verte
127
COLOR AND COMPOSITION
Tinting Chart Watercolors have or
light
different tinting strengths,
a color you've
paper With
practice,
add for each
color;
mixed up
you
will
in
and
your palette
it
is
will
impossible to
learn to estimate roughly the
but to start with
it
is
is
considerably lighter
when
how
dry.
how
it
dry
Beginners usually add too
dark the color looks
when
dark
amount of water to
a wise course to try out a mixture
a spare piece of paper before committing yourself. Let
they are alarmed at
tell
be when applied to the
first,
on
as watercolor
much water because
wet.
Cadmium yellow
Lemon yellow
Sap green
Terre verte
French ultramarine
Cerulean blue
Alizarin
crimson
Permanent rose
E
128
t
CHOOSING COLORS
Transparency of Paint
others they are categorized as it
One
of the most exati<
unpredictable, qualities of watercolor is
its
abilrty
to impart color while
to a greater or lesser degree.
Linked to
this
is
the
way
in
which
paper
more
generally a tighter
detailed style
uses a higher mix of pigment to water
than a looser one. As a rule the
pigments can be diluted with water so that the white of the
The amount of water used matter of personal preference, but
allowing underlying layers to remain visible
or semi-transparent and
semi-opaque
the
itself
dilutes the color, rather than
result.
No two
contain the
"polluting" the color with white, as
is
more
water used the more unpredictable mixes
will
same amount of
ever water,
and the solution with the higher
the case with opaque paints. Because
percentage of water
will
of the transparency of watercolor. the
less diluted mix. This
"pushes" the
usual
way of working
is
from
dark, gradually building
up
Transparency, however,
is
light
relative,
because some pigments are considerably
to
pigment creating
intriguing,
unpredictable, effects.
layers.
and
"run" into the
It
is
if
seldom
possible to recreate them, as they are
never exactly the same.
more opaque than
yy yyyy yS,xy
ABOVE RELATIVE TRANSPARENCY Some colon art less transparent than others The more opaque cenJean lemon yek**. and yetow ocher Any of these used the value of a darker cokx beneath
m
a
colon
n
the starter pak-
forty strong solution.
w#
kghten
COLOR AND COMPOSITION
Judging Color
and look
Relationships
appears all
at
an area of color which
at first sight to
be the same
over - an orange, for example, or
Color relationships can be established
the cover of a sketchbook. The
by continually comparing your picture
square of color you see, isolated from
to your subject and marking
its
alterations
and modifications
until
you
judge the relationships to be satisfactory. This
variations
which develops
painter's
eye
now
and you
moving the
try
begin to see
will
the color You
in
darker shadow areas and
changes
with experience. Try to look at the
world around you with a
slightly
look pretty
will
meaningless, but
card
does require very
careful observation
neighbors,
in
little
notice
will
slight
color intensity caused by
reflected light or the proximity of a
one
while thinking which colors you could
different-colored object. By taking
mix for that yellow-edged cloud or
area of color out of context you are
those interesting greenish shadows on the
unlit side
learn a
stuck
A
lot,
in
and you may
a traffic
jam
good way of
changes with a
Hold
of someone's face. You'll
is
'/•<
this
find
able to see
what
happening
really
is
in
terms of color instead of simply what you expect. You don't have to use a
being
less frustrating.
analyzing color
- your
piece of cardboard little
with a
fist
hole between the fingers
will
do.
to use a piece of cardboard
in.
(0.6
cm) hole cut
in
Making Color Notes
it.
up about a foot from you
You may
some
also find
recreate a scene Ofcai*-
«
useful to
make
the studio. You
in
may remember the
to (suu-teoj* t t-
it
color notes so that you can
general
impression of a color; but no one can recall
the subtle variations, so
out looking for a
likely
subject try to jot
down some
if
you're
landscape
impressions on a rough pencil sketch.
/
This can be
done
in
words, for
instance "sky very dark blue-gray,
mixture of Payne's gray and ultramarine."
MP
*£%/'
pastels,
you have
paints,
make some
quick visual notes there
and then, trying out various combinations
130
If
or even crayons with you,
until
you are
satisfied.
CHOOSING COLORS
The
Color Combinations
Artist's Palette
fWue
Cerulean blue + Aureolm yellow
Cerulean blue
rp blue
Cobalt blue
+ Aureolm
yellow
Aureolm yellow
Raw
sienna
Antwerp blue + Aureolm yellow
umber
Burnt
Burnt sienna + Cerulean blue
cnna
These three blues, combined with oureoim. a
lemon
slightly
yellow,
wide range of delicate greens. greens at
all
no block or
Burnt
stronger cokx than
umber + Cerulean
blue
enable the anist to n
have been used
ftjyne's
gray
No
tube
here,
and
A tmy amount
Chinese white was mixed with the blue
of Burnt ."'•'
•
i
obalt blue
Color Temperature
Worm
colors
the red
am
those closer
end of the spectrum.
Cold colors are those the blue
d
end of the spectrum
COLOR AND COMPOSITION
Mixing Colors Having chosen your colors, the next stage
to practice making
is
new
shown on page 6. There are only 0, which may seem a small number but the charts show how many more colors those 10 can produce. The chart colors are all two-color mixes: you can make an even wider range by using three. It is not advisable to mix more than three. colors from mixtures of the "basic palette"
I
1
Charts
like
otherwise - and not allowed to run
these are useful for
reference, but you'll learn
more
if
you
do your own experiments on the same lines. First, though, here's a brief look at
some
neighbors.
In
general,
painting
itself;
it
often leads to
muddying or an uncontrollable mess.
They are
blue, yellow,
and
paint
themselves must be looked after
Primary colors are the ones you
produce by mixing other
you
although this can be
successfully,
The tubes or jars of
them.
colors.
carefully.
It is
most important
that their
caps are screwed on immediately after
red.
Secondary colors are made by mixing
use.
two
acrylics,
gouaches, and watercolors
which make green. Tertiary colors are
harden
in
mixtures of one primary color and one
replaced
secondary, or three primaries.
their box, otherwise you'll never find
primaries, such as blue
and yellow,
You can buy both secondary and already have three of palette: viridian, gray.)
them
in
However you can
your
achieve
more - and it
much more fun. The quantity of paint to mix should always be more than you think you'll is
need.This applies particularly to
watercolor washes, which lot
of paint.
It
is
infuriating
really
need a
to run out
of a mixture which has taken a long
time to make. Try to keep your mixture clean. Each color should be thoroughly mixed - unless you want
not,
oil
paints leak everywhere;
their tubes. Pastels should in
their correct position
using a large
raw umber and Payne's
variety of color through mixing
If
the one you want, especially
tertiary colors ready-made. (You
132
its
done
of the properties of
colors and the terms used to describe
can't
into
should avoid mixing colors on the
it
number
if
be
in
you are
MIXING COLORS
Two-Color Mixes This chart
shows
all
ette (top
the colors
mixed with one another half proportion.
When
with color mixing you
how
in
and left-hand in
a half-and-
you experiment will
discover
dramatically the proportions
affect the
mixture and
the side)
how much
some col< Compare the cerulean and stronger
gray mixture on the
far right
chart with Payne's gray will
detect
little
itself
is
is
^J H
red
^r
Lemon
^A
I
is
v.
strong.
/////A Cadmium
of the
a relatively
and Payne's gray
others.
and you
difference. This
because cerulean color,
in
Payne's
//
H
yekr*
Cadmium
^A
^^ CenJean
uttromann>
^*
^7 ^&
jfel
ocher
Raw umber
^A 4^r
^
4^r
33
COLOR AND COMPOSITION
Mixing Secondary Colors The secondary
colors, green, orange,
and purple, can be bought as various hues
tube or pan form, but
in
generally
- and
it
more colors more fun -
if
you mix your
own.
These next pages show how by mixing
two
create both intense and
muted
secondaries.
can be achieved
is
green or one of the purples, you can
primaries together; or by
mixing a primary with one of the
There are some secondary hues, however such as vindian and cadmium orange, which cannot be mixed from two primaries have an intensity which
it
as
is
they
impossible
to reproduce.
proprietary secondaries, such as sap
COLOR When
Cadmium
colors are placed next to
BIAS
one another you can see the color
^^
red
Cadmium
yellow
Alizarin
^m
(yellow bias)
t
i
bias.
crimson
(blue bias)
French ultramarine
(red bias)
(red bias)
7^^H 5 Lemon
yellow
(blue bias)
134
,-"
^m
^W
^^
Winsor
blue
i (yellow bias)
MIXING COLORS
Understanding the Mixtures
< MIXING INTENSE SECONDARIES
French
mne
red veers toward yellow, so
sense
Lemon
yettow
+ Cerulean blue
when
mixing secondaries, you
will
need to know which of the primaries to use. as there are
many
versions of
each one. As you can see from the color wheel, each
toward another;
one has
a bias
for instance,
makes
intense secondary to exploit the bias.
Conversely,
When
it
trying to achieve an
if
you want to
n
neutral secondary or neutral colors,
mixing colors that contain the
opposite or complementary color on the color wheel
even muddy
will
give a
muted or
result.
cadmium
MIXING MUTED
SECONDARIES These charts show choice of the
how
the
pnmory cokx
affects the mixture Those closest
together on the wheel create
ntense secondaries. wfWe those furthest apart create neutrals
French uft/amome +
Cadmium yetow
13!
COLOR AND COMPOSITION
Mixing The warm
Warm
Pigments
colors of burnt sienna,
yellow ocher, and burnt
umber form
the basis of Moira Clinch's La Bougainvillea.The versatility of a single
watercolor pigment
is
demonstrated
umber was used both the somber nature of
by the fact that burnt to depict
the gate and the delicate plasterwork of the
wall. The
only difference
between the two
is
the amount of
water used to apply the
paint.
ABOVE: A
strong diluted fat underwash of
burnt sienna
was used as the
basis for the
brickwork Individual bricks were then over-
painted
deep
in
red,
diluted mixtures of cadmium
raw
sienna,
and
yellow ocher.
LEFT: The highlights of the bougainvillea fowers were painted in concentrated rose
madder
carmine, while shadows were
formed by subduing the
BELOW: The
gate was painted in a umber and lamp black and indigo for the shadow
iron
mixture of burnt with extra black area.
RIGHT: LE BOUGAINVILLEA by Moira Clinch
136
color with indigo.
MIXING COLORS
Muted Colors This painting by John Lid. 4 colors
very
clearly.
which to mix and drop used to convey a
in
t
the
fluid colors.
dull winter's day.
A
The cool
very limited selection of colors was ".indigo,
color
»nd the spiky, linear pencil drawing emphasizes the
atmosphere, but n crimson
this
is
of
used the actual page as a palette on
Th<
cleverly counterbalanced by thin
and yellow ocher.
and
bl-
washes and mixes of
giving the painting slight
touches of warmth.
the whole porting
can be ,
t.f
d
ABOVE
•
skeleton drawwyg of the
>>*
yetow ocher and
ultrorr
iMtromanne. mdtgo.
*\ond LEFT xrtsondW. gouoche *' coo*
and warm tones
blossom on thek-
13
Style Before art schools were established, most artists
learned to paint
the studios of
in
As apprentices they copied their master's work, and once they were sufficiently competent they sometimes even
successful painters.
blocked
in
the master's paintings, leaving
perhaps only the
finishing
master
The
touches to the
himself.
tradition of copying persisted
even into
the Impressionist era. Pierre-Auguste Renoir (
1
84 - 9 1
1
1
9). for
example, copied the work of
the great eighteenth-century masters such as
Antome Watteau
(
1
684-1 76
)
in
1
the Louvre, a
task that helped formulate his love of
luminous colors.
In his figure paintings.
light.
Cezanne
returned constantly to arrangements based on the work of Michelangelo, Rubens, and Poussin. Actual copying continues to be practiced by
some
artists
and students today, but
Many modern
longer obligatory.
however, make
visual
references
in
it
is
no
artists.
their
work
to paintings they admire, sometimes using the
same compositional elements or re- interpreting a particular theme. As you develop your skills as a watercolonst.
study the
work of
you
will find
past masters
understand and establish your preferences.
it
in
useful to
order to
own
stylistic
STYLE
Painting an Impression Impressionism set the standards of a granted. Despite paintings
still
all
seem
valid for application
was
originally
new
we now
realism that
the innovation of twentieth-century fresh
and
take for
Impressionist
art,
and the approaches remain
inspirational,
to contemporary themes.The term "Impressionist"
coined as a
critical insult,
implying that the paintings
artists were careless in their what we see in the work of Claude Monet, the figurehead of this movement, is a detailed, analytical process of
appeared hasty and unfinished, and that the perceptions. Yet
observation and record, which nonetheless results vital,
colorful,
The Direct Approach
in
images that are
and celebratory. glazes (successive layers of thin paint)
and more detailed brushwork.
Of the new Monet and
concepts developed by
two principles One was the
his colleges,
featured importantly.
unknown but the the
first
to adopt
Impressionists
them
were
as standard
requirement to complete a painting
procedures for painting finished
by direct reference to the subject -
works. The immediate impression of
for example,
working outdoors
in
the
the subject became the
image
final
landscape, building up an image of the
without the imposition of
artistic
immediate view. Previously on-the-
theories and conventions.
Essentially,
made which
spot sketches were
would then be used
they understood that a painting
as reference for a
should reflect the transience of
formally constructed studio
observed
composition. The other principle was
reflected the
the technique of working directly
and surface
onto white canvas, often allowing
new
colors to blend with undried layers
below, a
method known
as
working
wet-in-wet. This contradicted the traditional
method of developing
realities. Their
ways
detail
in
paintings
which
form
change with changing circumstances -
above
all,
natural
the variable effects of
light.
Another
significant
feature of Impressionism a
solid
can appear to
was
that
it
challenged traditional concepts of
was no
painting slowly layer by layer beginning
comparison and drawing.
with a dark or mid-toned ground and
longer considered necessary to have
It
proceeding to a
monochrome
objects precisely defined and clearly
underpainting
which the main forms
distinguished from
were modeled this
in
in
value alone.
When
had dried, colors were
introduced, usually
40
These concepts were not previously
in
the form of
one another
Paintings did not have to
be neat and
distinct close-up as long as
be read
at a distance.
they could
PAINTING AN IMPRESSION
Responding to the
blue,
Moment
it
The
practical guideline for
Impressionist approach
is
an
think
respond
it
described
it
thus:
When
Monet
you go out
until
gives
it
"naive impression"
the
light.
is
word
naive
unique
you saw
in
As Monet
stressed,
you have
looks to you."
in
front of you. a tree, a
here
is
a
little
field.
square of
The
is
not
this
implies, but
what moment.
your painting
impression "exactly as
Impressionists,
inspiration
simplistic, as
sometimes
that place at that
records
think,
own
you your
consisting only of
to paint, try to forget what objects
Merely
exactly as
it
naive impression of the scene.'This
you know, about your subject and directly to the purely visual
and paint
looks to you. the exact color and
shape,
to free your
mind from what you know, or
sensations of color and
here an oblong of pink here a
streak of yellow,
it
who drew
from the English landscape painter John
Constable
(1776-1837). applied their paint
m
thick
dabs and strokes of broken color to depict what
was
their
mam
preoccupation the ever-
changing effects of
on the
light
landscape
AUTUMN AT ARGENTEUIL
by
Claude Monet (1840-1926)
The French Impressionists
were very much influenced by Constable's landscape
pointings,
particular took the preoccupation with the effects of light almost to the
frequently hghts,
worked out of doors, and would paint
buidmg up the pomt
motion which he sought
m
thick
several versions of the
and Mont
pomt of on obsession
same scene m
He
ckfferent
impastos to ochieve the ever
STYLE
Expressionist Approaches beyond appearances,
Expressionist painting goes
technique and composition to develop
mood
using devices of
and atmosphere. By
distorting or exaggerating particular aspects of the subject, the artist directs the viewer's picture. The picture
response towards the emotive qualities of the drawn subjectively rather than objectively. An
is
Expressionist painting threatening, but
it
is
not necessarily "unreal," and
need not be reality.
to caricature. The characteristic
Composition and
features of faces and bodies are
Stylization
exaggerated, even to the point of
means of emphasizing
Distortion and stylization are
deformity, as a
characteristic features of the
the narrative point of the image or
Expressionist approach.
As
in
the
associations.
simplify detail, so that a
space and distance can be heightened
object
through exaggerated perspective.
ingredients that
In
landscape, architectural and interior
and
distortion of the subject can create a
mood. Paintings from the commonly use a method similar
is
its
can also be helpful to
It
Schiele painting, the impression of
subjects, selective composition,
42
it
has to challenge our normal perceptions of
person or
reduced to those still
make
essential
it
recognizable. But Expressionism does
not always aim to provoke or disturb.
Sometimes Expressionist devices are
particular
used to create
figure
of alternative
lyrical,
realities.
appealing visions
EXPRESSIONIST APPROACHES
LEFT
TAUREAU
ROUGE by Franz Marc
A
founder
member
of the Blue Rx)er group. Franz
Marc
experimented with the express/veness
of color and Cubtstinspired rhythmic
harmonies
m
wotercotors of his
onmal
favorite
subjects.
Colors as Expression eye and a large expanse of
The
colors of
(page
Women
Upside
Down
42) are intense and hectic
1
yellow can have a disturbing
The
.
particular
wrth dominant high-key tones that
mam
color
create an unnatural brightness.
solid
and
A
startling feature of
the painting
brilliant
is
effect.
hue and tone of the
in this
painting
make
rt
suffocating.
Expressive use of color always
the dominant yellow, used as the
involves a subjective element, but
theme color
there are also predictable interactions
in
several Expressionist
works. Although yellow has
some
pleasant associations, particularly wrth sunlight,
it
is
not always easy on the
between colors
be exploited mood. of hue or tone
that can
to create a particular
Deliberate contrasts
can introduce discordant notes to a LEFT
WOMEN
Scheie
(
UPSIDE
DOWN by Egon
191 S)
Heightened color and expressionisoc drstortion
ofEgon
of form are characteristic features
Scheie's angurshed portraits of
Viennese sooety
composition, underpinning the portrayal of a violent event or ur-
atmosphere. Conversely, color
harmonies and
carefully related
tones
can help to evoke calm and pleasant emotions.
STYLE
Abstracting from Nature some
For
word
people, the
be
will
"abstract" automatically signals that a painting
to understand and possibly uninteresting to look
difficult
at.
Abstraction frequently evokes an unsympathetic, even hostile reaction,
because
it
seems to
our
reject
common around
It
is
work
true that an abstract
themes and methods, and respect
it
is
life
as, say,
work
all.
it
also
is
common
For example, an abstract
painting can
has this
is
excluded from abstract
most
likely
art,
because you have
not been given the means to relate
painting. This
on abstraction may
knowing a
bit
it
know and
understand about section
be a two-dimensional
who
you are one of the people
felt
to things you do
contains the
kind of perceptions that are
to us
both areas of image-making. If
a recognizable
or figure painting. But
true that such a
concept and technique, so stimulating
that
in
not as readily accessible to
the casual viewer still
one
is
unique response to particular
artist's
experiences of seeing the world
us.
leave
you
more.
rendering of three-dimensional space
and form; or
may obey
it
particular
Sources of Abstract
conventions of composition and division of the picture plane.
composed of the same
It
is
Imagery also
There are two
materials as
methods of
One
developing an abstract
represents similar preoccupations with
use objects and images from the
technique and surface values.
world
The
idea that figurative and
is
absolutely
false.
helped by
some
who
felt
have
it
But
this
artists
not
is
and
more
between them,
universally valid than
since abstraction
common, even
another
became
form of painting
in
to
from which
to employ purely formal pictorial
relationships
such
qualities
as nonreferential shapes
and surface
and color effects
directly relating to the material In
a
for a while dominant,
the middle of the
twentieth century. The
is
real
"abstracted" interpretation. The other is
and to claim one approach as being
fact,
as reference points
elements and material
critics
necessary to create a
kind of competition
style.
you evolve a personalized,
abstract approaches are worlds apart
144
basic
other paintings, and therefore
two apparently
properties of the chosen medium. The
second approach
is
investigated
on
pages 148-151. Abstracting from nature
take to
mean
we
can
deriving abstract
different disciplines have usefully
imagery from things actually seen.
exchanged developments of
Landscape
style,
is
a frequently used
ABSTRACTING FROM NATURE
resource for
its
enormous
enables us to look at
and disregard cannot be
of approach,
this kind
perhaps because
it
natural
objects, indoor
overall
and man-
be
and outdoor
To describe analysis in the
this
SEA by Milton
in
the earty
and color areas not vet broken up by
seen as an
same
elliptical
uniform
be
way. a face can
shape colored an
pink.
Arms and
legs
can
interpreted as basically cylmdncal
forms and clothing as separate areas of
environments, and actual events
ROAD TO THE
the landscape
features. In the
method can
be applied to other
like figures,
m
the particular detail of individual
clearly identified al
equally well
made
broad terms
incidental detail that
distance. But this basic
themes
in
blocking
stages of the painting - broad contours
scale
bold color and pattern.
Avery,
c
1
938
process of abstract
most simple terms, we
Often,
in
any subject you can
identify linked
and repeated shapes
can take possible examples and relate
and forms that give a sense of unity to
them to
your interpretation The same type of
figurative interpretations
For
be made within the range
instance, a landscape of fields,
linkage can
hedgerows, and distant
of hues and tones that you see. so that
hills
can be seen
as a series of rhythmic shapes, each of
you can discover a pattern of sim
which has a dominant cotor; an abstract
and contrast. Abstraction means
ig
of such a view might look
something
like
the image that a
figurative painter
would achieve while
mrtially
breaking
down what you
see
before you into simple, sometimes
very obvious visual elements.
STYLE
How
Far Does
it
Go?
If
you are interested
in
abstraction
and have not previously understood
So
fan
we
simplistic
have examined a
fairly
approach that opens the
very
paintings
in
these terms and imagining
door to abstraction but does not wholly bridge the gap between
what might have been the
what an
keep
artist
sees and
on the canvas or
what goes
paper. This
is
some point a new conceptual leap may occur that eliminates some of the links because
at
for specific shapes
is
in
mind that
also an
inspiration
and colors. But in
abstract art there
emphasis on the material,
surface qualities of the painting, and
more
is
often
in
figurative
realities. if
you were
working on an abstracted landscape, you might see a sudden shaft of sunlight falling field,
on
a grassy
which might then become a
yellow on your As you step back and see the effect on your image, it may slash of bright
painting.
occur to you to give the yellow a different
hue or tone, or to turn
the slashed brush mark into a distinct,
hard-edged shape.
Alternatively,
you might suddenly
decide that every area that had previously represented green grass
should be painted bright red, to
completely change the character of the painting.
Or
you might create a
broad pattern corresponding to the linear texture
of the blades of grass,
not necessarily
As such
in
naturalistic colors.
ideas develop,
you
remove the particular associations that would enable an
ABOVE: DORIS TYSTERMAN
un involved viewer to relate
A
elements of your painting directly
ways of unleashing abstract properties
to those of the original subject.
but from a basis of observed
gradually
46
it
directly influential than
works.
between observed and interpreted For instance,
it
well, try looking at abstract
by Roy Sparkes
natural subject such as flowers can suggest
reality.
freely,
ABSTRACTING FROM NATURE
tartmg
Collage from a Landscape or Still Life
Choose
a landscape
view that set
is
theme
familiar to
up a simple
still
you
life,
to vary the surface qualities within the different shapes. For instance, use heavy impasto
-
or
and
contrasted with patches of transparent color glazing; or color next to active,
create an abstracted color study
opaque,
using cut and torn pieces of
broken brushwork.
flat
colored paper collaged to your
base paper Try to deal with distinctive,
strong shapes,
Drawing with Color Using a similar subject,
make
a
eliminating small-scale detail.
color drawing with brush and
Don't worry about making the
pamt. following the contours of
some
shapes too precise, and you can
shapes and including
allow the paper pieces to overlap
elements, such as interesting
and modify each
make changes
other. You can
simply by gluing
pieces over each other.
textures
on the surface of the
objects you are looking
Painted Abstraction
Repeat the project but using I
to create the color are
Apply the paint
ABSTRACTION
al
using a bnght-colored piece of
paper for your painting
A
detail
project, so that
select
in this
you have to
your paint colors boldly to
e sure they have an imp
in differ
by Stuart Davis. 1937
14;
STYLE
Pure Abstraction makes no reference to the
abstract painting, which
In
become (
872-
I
the subject of the work.
real
and execution
basic ingredients of color; composition,
Some
world,
Mondnan
artists, like Piet
944), arrived at a form of pure abstraction by working their
1
through
figurative styles
Others, particularly
the
in
the
is
it
that, in effect,
way
and processes of abstracting from nature.
when
twentieth century
late
so
many more
examples of abstract work have been produced, seen, and commented upon, have moved very quickly into this way of thinking and working early
It
may be
in
their careers.
impossible to eliminate
completely
all
normal range of human
is
If
not to refer to
anything known, the important
visual
experiences, and sometimes a viewer
question seems to be, where do you
may
start?
feel that, for
example, a landscape
reference can be seen
in
painting that purports to abstract. This
is
because
put
be wholly
color?
we
tend to
suggesting space and form, and
we
when
are looking for references to real
situations identify
or objects,
we may
what seem to
associations.
However
unconnected with the intentions;
abstract
mode, the
claim to
us reasonable this
is
artist
in is
a purely
dealing
with shapes and forms, colors, and textures
in
terms of what they
actually
not what they represent.
are,
As
in
any form of image-making, the
abstract artist deals with basic
elements of line,
pictorial
construction -
mass, color, tonality, surface
texture, and pattern, shape, contour,
position the line
in
one
What
should be the next mark, and why? is
It
because such questions cannot
usually
be answered
precisely,
reference to something
many people find become interested
in
or by
else, that
difficult
it
to
abstract art. The
of an abstract painting seems too
personal and inaccessible.
The
artist
makes
negative responses abstract work.
the painting
what
Composition Elements
Why
place rather than another?
logic
artist's
when working
What prompts the artist first to down a line rather than a block of
a particular
see marks on canvas or paper as
148
depth, and apparent volume.
spatial
the painted image
references to the
it
is
Its
positive in
and
producing an
logic
can
lie in
what
supposed to do, and
should not do. Mondrian
good example to study because
is
in
a
his
geometric grids and limited color range are so apparently restrictive and severe. His intention
was to create
"dynamic equilibrium,"
movement and
tension
a sense of in
an image
that also had absolute balance.
PURE ABSTRACTION
Mondnan chose a
the right-angle as
pure and constant factor
fixed
•
and balanced relationship
between two
lines.
When
using this to
construct squares and rectangles,
however, he
still
had a great deal of
scope to vary the proportions and interactions of these simple geometric
shapes.
In limiting his
color range to
What
these paintings are not
supposed to do
is
to create an
impression of three-dimensional space, or refer to external dimensional space, or refer to external this sense.
Mondnan
reality. In
challenges both
himself and the viewer to discard
received notions of pictorial space.
We
might tend to relate a grid
the three primaries and the neutral
structure to architectural frameworks.
colors of red. yellow, blue, black, white,
The use of
and gray he had a palette that
implies light
incorporated absolute qualities of hue
modeling three-dimensional form. But
black and white usually
and shadow, a means of
and tone. As these were applied to
Mondnan's
the geometric
picture plane,
grid,
they further
paintings
lie flat
on the
and neither the color
influenced the tensions and balances
nor the construction suggest any
m
element of
the painting.
real
space and form. This
requires careful
judgment of the proportions of the
shapes and the extent of the color areas, and their interactions.
Painterly features are
also eliminated - the
color
is flat
the marks
brush are
and opaque,
made by
the
virtually
invisible.
SELF
PORTRAIT
(1872-1944)
by Put
Mondnan
STYLE
The Range of
(1880-1966), some of whose
Abstraction
paintings also
conform to
a grid-like
structure and contain very strong
Mondrian aimed
at,
and achieved,
what he described as "an expression of pure
reality,"
but as you can see
colors and tones. Yet Hoffman's is
work
vigorous, free and gestural, the
colors and textures of the paint are
A
from looking through any book on
rich
modern
dimensionality sometimes occurs
art, straight lines
color are by no
and
limited
means the only
ingredients of abstract art.
It
is
compare Mondrian's German-born American painter Hans Hoffman
and
varied.
when shapes
suggestion of three-
overlap and colors
seem
to advance or recede but, as with
interesting to
Mondrian, the image exists on the
work with
surface of the canvas and
that of the
referential
- the viewer
is
is
self-
not led into
an illusory pictorial space.
Looking
at abstract
painting
in
definitions,
terms of simple there are
distinctly different styles. In
hard-edged abstraction, shapes are sharply defined although not necessarily
geometric, and color interactions are usually strictly controlled.
style
is
which
Another
gestural painting, is
visually busier
and more complex, with vigorous brush marks, splashes, spots,
and
dribbles. There are also
more
decorative forms of
abstraction,
LEFT:
in
which the
COMPOSITION
byWols.c.1950. In
50
Europe, watercolor was used
working
by abstract
artists
style called
Tachisme.
in
a
PURE ABSTRACTION
picture surface
appears he patterned. There are
other categories, and
works by
all
individual
who draw on
artists
of these
conventions.
You may
find that
easiest to
is
it
develop an
approach to pure abstraction by
beginning with abstracting from nature.
As you work
through particular images, you
will
become gradu more interested what
is
in
happening on
your canvas or paper,
and you may forget about the actual source. You can start
to deal directly with
color interactions; relationships of
ABOVE LIGHT COMING
line
and mass, textural contrasts: or
PLAINS
developing a composition that
by Georgia OKeefe. 1917 i
suggests space while also emphasizing
down
yourself
if
working
in
do. But
to
let
is
beware -
yourself get
in
1
terms of what you tried to it
is
more tempting
away with
unsatisfactory solutions
than
evoke the American landscape
your intentions and ask
the painting
economy.
Georgia OKeefe used watercolor to
the flatness of the picture surface. Try to pin
ON THE
I
in
abstract
representational work, as you
You
will realize
that
many of
the
preoccupations involved are the same as those
you had to apply to
work, but
at
some
becomes the
have no external points of reference
own
by which to judge what the picture
experience
should loo'
ft
painting
itself
instinct, technical skills, will
figu-
point your subject
and your and
enable you to
ca'
through.
151
ubject section demonstrated so
As the previous clearly, painting
techniques are no
more
vehicles for the expression of ideas. section,
we
will
look specifically at
than
In this
how
watercolor can be harnessed to depict a personal vision. The explanations and step-bystep demonstrations are grouped according to
theme, ranging from
still
life
and plants and
flowers through to animals and portrait and figure
For the to
newcomer
work.
to painting,
work through these themes
is
it
in
worthwhile
order.
Still
life
offers the luxury of a subject that doesn't
move and which can be
arranged into a
easily
pleasing composition, then rearranged and
to
suit
the
artist.
relit
People and animals present
particular challenges as living subjects; although
they can be especially satisfying to are at the
shown in each of the subject areas, together with some explanations of the particular associated with certain themes.
difficulties
Someone who
has never dared to attempt to
portray the effects of changing the perfect say.
method
"so that's
how
for the rt's
first
done.
too." You probably
i
they
and approaches
variety of different techniques is
paint,
same time more demanding. A wide
I
light
could <
may see
time here and
do
that
SUBJECT
Still life life, as its name implies, simply means a composition of objects which are not moving and which are incapable of doing so, usually arranged on a table; the French rather depressingly called it "dead life'
Still
(nature morte).
The
subjects can be
like,
but traditionally the objects
group are
life
still
in
whatever you
painted with breathtaking
some way
a selection of
fruit,
still
life
painting can be entirely controlled by
associated with each other - a vase of
flowers with
skill.
Because the subject of a
a
in
the
artist,
lighting,
as can
its
arrangement and
present an unusual
lifes
still
vegetables with cooking vessels or
opportunity for exploring ideas and
implements, and sometimes dead
experimenting with color and
game, or fowl with
a goblet of
fish,
water
perhaps, or a bunch of parsley. (Culinary
are less popular
lifes
still
(
risk
of looking
like
cook book.) Good
made from
wonderful and moving
nothing but a
Most
artists
pile
life
still
lifes
at
one time or another and several, notably Jan Vermeer ( 632- 675), 1
included
them
in
life
artists
became obsessed with all
In
more
lavish
still
to control the subject of
ability
life
means
much time
you
as
out
new ones
as
still
other subjects,
the past for
still
as
to work out
like
you
feel inspired.
paintings, but
it
lifes is
in
other than flower
now becoming
extremely popular.
portrayals of
tabletops gleaming with edible produce,
RIGHT: STILL rare porcelain,
that you can take
Oddly, watercolor was seldom used
and vied with one another to produce every
The a
painting techniques at leisure, trying
1
their figure paintings.
to the exclusion of
dimensional surface.
the composition, and you can practice
the seventeenth century a group of
Dutch
fundamental problems as form and
from
of books on a table.
have painted
906), found that the form
1
the three-dimensional world to a two-
subjects.
still
Cezanne
Paul
life,
still
839-
space and the paradox of transferring
be
paintings can
Gogh (1853-1890) made
Vincent van a
the cover of a
homely
quite
1
allowed him to concentrate on such
nowadays, possibly because they run the
composition. The greatest master of the
and golden
LIFE
WITH GRAPES
goblets. In by Shirley Felts
many of these, tiny insects are visible among the foliage, blood drips from the mouths of freshly
killed
hares or rabbits,
and bunches of grapes shine with droplets of moisture, every object
154
tiny
For reasons not entirely understood, shapes
have particular properties, and natural eye-catchers. circles in
some
bottles, or
a
Many
form: plates,
circular table,
circles
still lifes
fruit,
as
are
incorporate
the tops of
in this painting.
STILL LIFE
55
SUBJECT
I Setting up a still
Lighting
life
also very important.
is
It
defines the forms, heightens the
There are no
specific
painting a
life
still
problems
colors,
in
or flower piece once
has been set up. The real challenge arranging
it,
and
this
may
it
down on first
arrange
them
in
long as you decide
it
theme of some
It
is
kind:
the various objects are too different
kind they
Start with something
you
bowl of fruit on a patterned or a potted
cloth, perhaps,
like,
satisfied that
light,
it
will,
of
so
where the
a
but often
it
brings if
its
more
is
artificial light.
satisfactory to use
own
problem, however since
you are painting flowers or
they
will wilt
plant,
more
fruit
quickly.
ii'
and
until
you have
achieved a good balance of shapes
and
Drapery
colors.
subject,
and
is
often used to
complement the main
balance and
it
is
useful to have a
selection of fabrics or tablecloths
hand for
this
purpose.
Many
on
artists
make small sketches or diagrams to work out whether a vertical line is needed
the background, or a
in
tabletop
shown
foreground.
as a diagonal
Finally,
when you
sure that the arrangement at
it
well
to
Move
it
will
fairly
do, look
will
fill
the space allotted
the frame around so that
you can assess several Often you may
56
the
through a viewing frame to assess
how it.
in
are
possibilities.
find that allowing
one
Most
still lifes
-.,
This solution sometimes
table-
keep arranging and rearranging you are
in
look uneasy together
will
the
shadows are to be at the outset and do not keep trying to change them;
to
is
a harmonious way.
also best to have a if
difficult
in
may not matter very much
This
composition simple. The more objects
you have the more
component
you are working by
course, change as the day wears on.
to keep the
is
If
northern hemisphere)
not give
will
painting. The wisest rule to
you a good follow at
a table
vital
natural light other than a north (in the
time - plunking an assortment of objects
a
composition.
is
some
take
and casts shadows which can
become
are arranged on a tabletop or
similar flat surface, so you'll
need
to get the
of the objects to run out of the
right perspective for the front back,
picture actually helps the composition.
edges, or the entire painting
will
and
look
side
tilted.
STILL LIFE
Themes
soiled
boots are almost a form of
pictorial biography, telling us as
A
successful
random
still life is
life is
if
collection of objects
should always be
One
seldom,
some
ever, a
there
where
still
fruit,
You can
th.it
up
need very
"dm
alsc
subject, so that the
viewer
is
not
seem not
to belong.
Another kind of theme one.
"literary"
Some
still
is
the
The best-known examples
artist.
painting stage
van
Gogh
paintings
lifes
are those of Vincent
853- 890). whose of his room at Aries and (
1
his
kind you
may have
them in a semi-abstract way. allowing them to hide their identity
BELOW: BY THE COTTAGE
his
own work-
DOOR
by Michael Emmett
a
still life
outchor group
been
is
on example of
W''
'.e
that someone, perhaps the
1
moving portrayals of
the objects are
in
to treat
This delightful still
if
a
story about the personal interests of
of such
themes
careful handling at the
behind their general forms or outlines.
the
lifes tell
and
linked visually or set
exciting contrasts. Visual
widely dissimilar
worried by the discordant notes of objects that
also take colors
seem to be
grouped together Attractive themselves, they
much
about the objects
shapes as the theme, choosing objects
vegetables, and kitchen equipment in
artist as
themselves.
kind of theme.
of the most popular types of
the culinary one.
about the
sitting in
vegetables.
con see rxx
f'
the sun prepanng
fruit
and
SUBJECT
because the dominant theme
Backgrounds One
of the
life
still
background to
commonest
painting
mistakes
in
as unimportant.
It is
easy
matter and that the spaces behind
and between them are areas that filled in
elements
a
in
just
somehow. All the painting should work
need to be
together however and backgrounds, although they
allows you to exploit color
may play a secondary much consideration as
some pattern itself. The most important thing to remember is that the background color or colors must be
in
You can
stress the relationship of
when you two areas of
foreground to background
the placing of the objects.
begin to paint, tying the
The
kind of background you
depend you
entirely
plan.
A
plain
will
on the kind of picture white or off-white
wall could provide a
good
foil
for a
group of elegantly shaped objects, such as glass bottles or
ABOVE: PLUMS IN A DISH
tall
still life
paintings,
has chosen
and
by Ronald Jesty
in this
to paint his subject
the picture together by repeating colors from
example,
if
one to another For
your group has a
predominance of browns and try to introduce into the
blues,
one of these colors
background
also.
vases,
This artist likes to exploit unusual viewpoints in his
tune with
the overall color key of the painting.
role, require as
choose for an arranged group
58
it
and pattern would be better served by a bright background, perhaps with
only the objects really
feel that
color but a group you have chosen
because
to treat the
is
in this
case would be shape rather than
This not only neatly solves the
problem of a
separate background and foreground,
example he
allows
from above.
shape of the metal
him
to
make
the
it
also
most of the elegant
platter.
STILL LIFE
Step-by-step: Arranging
I
I
Because a vase of flowers
I
makes a
I
needs to be combined with
shape
tall
it
often
a Floral
I
2
The edge
I
more
provides a
and the bowl of
Moving the
pink
harmonize with the
and blue color scheme.
color and "acton." so a piece of blue fabric
^ed to give a
is
line
of the back table
distracting:
interesting
small pot
makes each shape
The background needs some '
is
moving the
group to the other end
other objects. Here, the small blue pot fruit
long
Group
comer
view.
away from the vase
distinct
The napkin complicates the
4
composition.
It
is
removed
pinned up and
feeling
of
movement
59
SUBJECT
9
Step-by-step: Cyclamen
A
careful outline
made
I
The
drawing was
of the flowers and pot
2
and then the flowers were painted
in
with a mixture of
red and purple
was
on
cadmium
lake. Particular attention
paid to the arrangement of the
mid-to-light tones of the
leaves
definition being sides,
to form a
colors
in
quite
the center were freely,
laid
sharper
reserved for those at the clear,
- emerald
sharp outline.The
green, sap green,
raw sienna -
spaces created by the flowers against the
Payne's gray, and a touch of
background.
were put on wet and allowed to mix on the paper
The
3
leaves
darkened
and flowers were
in
places and a
wash was then
laid
first
on the
pot.
Here, too, the colors were applied wet
and moved around on the paper the
artist
was
satisfied
with the
until
way they
had blended together
A very pale wash
4
was put on
the underside of the
dish,
leaving the rim white to stand
out against the checks. The blue used was chosen to echo the blue on the pot and the shadow was added later
160
S
STILL LIFE
Here the
S
;
the
tip
artist
is
using
of a sable brush to
(
I
checks
paint the blue
Although they were painted lly.
and vaned
in size
to suggest recession, the
and color has
artist
not attempted to produce perfectly •
it
or regular
which
lines,
would have looked mechanical and monotonous.
I
©
The wet-in-wet technique
!
was used
I
pot
giving
for painting the
a
it
lively
appearance suggestive of
and
light
texture. Widely varying colors
were
applied with plenty of water and
blended into one another
the paint
If
too wet or blends the wrong way.
be dabbed sponge or
jgf^
'
<
TJMl i
among
can
off with a tissue.
Flower arranger are
it
is
in
•
the most
Indeed they
subjects
are often regarded as re
I
a
branch of irely
practn
however, they ore
type of sull the
same
life,
a
posing
probier
wet as shanngthe major advantage of
bemg a
captive subject
SUBJECT
Persimmon and Plums
Step-by-step:
Ronald Jesty
1^2
who
likes
is
an
artist
to exercise
control over his
full
medium,
and he works almost exclusively wet-ondry. This painting carefully,
and
separate stages. full-scale
up
First
a series of
in
he transferred a
drawing to the paper by
drawing over a
He
has been planned very
built
is
E
tracing.
began with several
small, neutral-
colored washes and then painted the
golden-brown background. He turned the board sideways to
make
it
easier It is
to take the paint around the edges of
3
the bottle.
important to establish
the color key early on, so
once the background complete he puts down a pale
is
pinkish
gray for the tabletop and areas of vivid
red for the petals of the anemones.
Without the background been
difficult
it
would have
to assess the strength of
color needed for these.The next stages are the
persimmon and the mug
holds the flowers, close
in
that
tone and
color but with clearly perceptible differences.
color
is
None
of these areas of
completely
flat:
the modeling
on the persimmon and the
jug begins
immediately, with darker cooler colors in
the shadow areas, linked to the blue-
gray of the mortar and pestle.
The
4
flowers and
colors built up highlights
in
fruit
are
now
virtually
complete, with the dark
a series of small, overlapping
of varying
intensity.
The
light
blue-gray of the vase
represents the color and tone to be reserved for highlights.
62
rich
washes to leave
on the
left
STILL LIFE
The box on the
lc"
|
5
painted picks
I
in
up
a color that
that of the
persimmons and yellow plums. Although the painting
is
and
vivid
the colors are deliberately
colorful,
orchestrated to give an overall
and
strength
unrty to the
composition. A further wash
on the blue vase to stand mid-value highlights
when
is
laid
as the
the
darkest values have been added.
I
O
The complex forms of the
,
artichoke head are
I
descnbed wrth
delicate but
accurate brush strokes. Again, the colors used are versions of those
elsewhere are in
With the deep
#
I
blues
and purples of the
are
some
delightful touches,
read and the sketch on the
our attention
is
left
drawn to the
center by the strong, dark tones
and glowing to achieve
colors.
It
is
this intensity
not easy
m
watercokx without muddying the paint by overworking, and is
why
thoroughly.
jesty plans
He
so
overlays
washes
to a considerable extent but avoids overworking by using barely diluted paint from the
outset
be
where the tones are to
dark.
in
the painting
blacks or
-
there
dead browns even
the darkest outlines.
jug
now
complete, the painting has
a sure and definite focal point Although the whole picture
e
this
no
such as the book
title
is
we
eventful
and
cannot quite
SUBJECT
Plants and Flowers Flowers, with their rich and varied array of glowing colors, intricate
forms, and delicate structures, are an irresistible subject for painters.
There are many to the
different
medium
approaches to
habitats or indoors as
still
life
painting, in
all
in fine detail
suited
their natural
arrangements, they can be treated
mixed groups, they can be painted
in
branch of
this
of watercolor Flowers can be painted
singly
or
or broadly and
impressionistically.
Indoor Arrangements The
great advantage of painting cut
flowers indoors
that you can
is
control the set up and
your
less at
leisure
-
the blooms fade and
problem
is
at
work more or any rate
die. The
until
main
that flowers can look over-
arranged, destroying the natural, quality that
is
living
the subject's greatest
charm. Always try to make them look as natural as possible, allowing
to overlap others, and placing different heights, with
some them at
some of the
heads turned away from and others
toward you,
as they
when growing
in
would appear
a garden.
Give equally careful thought to the
scheme - of the flowers them in, and the background. Too great a overall color
themselves, the vase you put
mixture of colors can lead to a
muddled
attention with
The
no sense of
painting that has
unity because each its
hue
is
fighting for
neighbor.
best flower paintings are often
those with one predominant color such as white, blue, or yellow, with
those
in
the background and
foreground orchestrated to provide just
164
the right element of contrast.
ABOVE: BRIGHT
GARDEN BOUQUET
by Muriel Pemberton
Here the off
way
the flowers lean to the
left
give
a rhythm
to the composition, leading the viewer's eye
around
it
from one area
Pemberton s technique varied.
is
to another.
equally
lively
and
PLANTS AND FLOWERS
RED ROSES
IN
A FLOWER BED
by Audrey Macleod
One ofMadeocfs panting flowers or design of her
•
concerns, whethe' portraits.
*
(he overof
pomongs Here she has used
round
shopesare
ore
angular ones. Ports of 0*
"been
•
to stand as hrghkghts.
65
SUBJECT
Composition interesting without detracting
A group in
of flowers tastefully arranged
an attractive vase always looks
-
enticing
putting
make
that, after
all, is
them there - but
a painting
of flowers
in
in itself.
the point of it
may not
Placing a vase
the center of the picture,
main
from the
subject.
One devices
of the most-used compositional that of placing the vase
is
asymmetrically and painting from an angle so that the back of the tabletop
forms a diagonal instead of
a
with no background or foreground
horizontal
is not usually the best way to make the most of the subject - though there are some notable exceptions to
arsenal, as they help to lead the eye
interest,
this rule.
So you
will
have to think
about what other elements you might include to
make the composition more
powerful
Diagonals are a
line.
weapon
in
the
artist's in
to the center of the picture, while horizontal lines
One groups
of the is
do the opposite.
difficulties
with flower
that the vase leaves a blank
space at the bottom of the picture area.This can
sometimes be
dealt with
by using a cast shadow as part of the composition,
or you can scatter one or two blooms or petals
beneath or to one side of the vase, thus creating
between
a relationship
foreground and focal point.
LEFT:
ANEMONES
by Mary Tempest This bold, highly
patterned
composition, with the
emphasis on
carefully
distributed areas of bright color,
is
somewhat
reminiscent
of French painter Henri Matisse (1869-1954).
166
PLANTS AND FLOWERS
rendered. Looking
Single Specimens The most obvious example of flowers and
help you to
'>
v
ither than
pi
books
illustrated
.it
and photc
background
.
\
,
nt of a group
knowledge
paintings. R-
been made since
p-
k
x.
J
Renaissance times
and are
an
still
important branch of
saying that
I also need to
best of
I
these drawings
/
and paintings are
but their
primary aim is
to record
precise
information aboi.'
more concerned
with
scientific
them
in
Most flowers can be
such as like
circles
or
bells.
These,
everything else, are affected by
perspective, so that a circle turned
away from you becomes an ellipse. It is much easier to draw flowers if you main shapes before
describing each petal or stamen.
artists,
who
with these than
accuracy, can exploit
a freer,
However,
will
charms are
secondary bonuses, but are
you
draw from
constantly
life
establish these
particular species. For the botanical illustrator, pictorial
it
•nphfied into basic shapes,
works of
fine
leaf
goes without
specialized illustration.
Many of the
and
shapes, but
~
more
this
is
painterly way.
an area where
careful
drawing and
observation
is
needed. You
may be
able
to get •.
ith
imprecise
drawing for
ABOVE The
oad impression flower group, but a subject that
on
its
own must be
is
to stand
convincingly
CROWN
sr>
IMPERIAL by jenny Macthewi es.
/lowers are so fu
demand
the nght to
colors of r
they
some
seem
to
shme out proud and
alone, without th<
ground or other dvers*
«e
and
xjcground
fore-
romty the
SUBJECT
WATERULIES
by
Norma Jameson
Natural Habitat
and you may have to adopt a ruthlessly selective
Oddly, the term "flower painting"
makes
us think of cut flowers rather
than growing ones, perhaps because
most of the that
we
see
paintings of this genre in
arranged rather than outdoor
best
in
however, are
painting
and
them outdoors, whether they
hedgerows or cultivated
city
blooms
in
woods,
gardens,
is
both
can,
however, present
more
problems than painting arranged
68
light
sky the colors and
or flower head that was
suddenly be
spot-lit
no longer ignore
way to
its
shadow
will
so that you can presence. The
deal with this problem,
than a few hours to complete,
is
to
two or three separate sessions at the same time of day or to make several quick studies that you in
groups indoors, because you cannot
can then combine into a painting
control the background or the
the studio.
lighting,
if
you think a painting may take more
work
rewarding and enjoyable. It
have a changing
previously obscured by
best
wastelands, or in
will also
moves across the leaf
at their
their natural surroundings,
are wild specimens
You
source to contend with. As the sun
values can change dramatically, and a
art galleries are of
subjects. Flowers,
approach to
achieve a satisfactory composition.
in
PLANTS AND FLOWERS '
Narcissi
ABOVE
rms ore butt up from
|
in
Sunlig
ABOVE Spontaneous and
lost
brush strokes
and found edge
'*ov>c*e
"breath
the bock can be
those
ww
'^os
jlt
Tot
169
SUBIECT
Landscape Watercolor has always been
closely associated with landscape
seascape painting, and even with today's proliferation of the
artist
there
is
still
atmospheric
none more qualities
Tradition In
England, the country which
more
sky.
of the Dutch school such as Jacob van
629-1 682), but the general
Ruisdael
(
public
the main wanted portraits
and
in
1
historical subjects. The great
English portrait painter Thomas
founded the great tradition of
Gainsborough
watercolor
in
landscape was not
really
suitable subject
the
late
in its
considered a
own
right until
eighteenth century. The
formal, classical landscapes of the
French
artists,
Claude Lorraine
deep
(
727-
1
1
788), had a
love of his native landscape and
regarded
it
as his true subject, but
order to earn a
living
in
he painted many
more portraits than landscapes. The two artists who elevated landscape and seascape to the status
were Constable and Turner
(1600-1682) and Nicolas Poussm
of
(1594-1665), were much admired by
Their influence on painting, not only
artists
and discerning
were the
70
and
sea,
than any other can claim to have
landscape painting
for
able to render the transient and
of countryside,
The English Watercolor
and
new media
realistic
collectors, as
landscapes of artists
fine art
Great
Britain
but
all
over the world,
was immeasurable. By the
early
in
LANDSCAPE
FAR LEFT THE WHITE HOUSE. CHELSEA
Thomas
by
Thomas Qrtm was a pioneer of watercolor much admired by his contemporary. Turner
ABOVE David
Girtin
He worked
Mack monostrol sienna and light
with only five colors
blue.
red
-
yeHow
ocher.
The
JUBILEE DRIVE.
MALVERN
HILLS by
Prentic*.
b'
the foreground trees, where
-
over lighter colors.
I
to create subtle
evocations of atmosphere.
nineteenth century landscape had arrived,
and
at
watercolor. a
the
medium
for quick sketches
his feelings
and
hrtherto used for coloring
maps and prints, had become the medium for many landscape ai Constable used watercolor as
chief
his
predecessors had. as a rapid means of recording impressions, but Turner used
new and ted
its
daring
potential
way and fully
about
light
and color
At much the same time John
same time
to express
Sell
Cotman. the cofounder of the school of painting School, finest
known
as the
Norwich
was producing some of the
watercolor landscapes ever seen
before or since. These paintings by the
•>ofthef
•••rcolor
have never been surpassed: they
became an
inspiration to
ai
everywhere, and remain so to
school
SUBJECT
I
I
Hints for
ABOVE: A
Outdoor
watercolor of stones atAvebury.
The cool tones express the
Painting
and
clarity
of daylight
the calm grandeur of this ancient
monument
Once
landscape had
"official"
become
an
subject for painters, working
outdoors
from nature became common, the more so
directly
increasingly
after the French Impressionists set the
example.
It
is
now
not
Photographers
lining
so popular
up to record
scenic view are a
more
than
so.
artists
doing
It
excellent discipline, which forces you
rapid decisions about
how
make
to treat
work
it
medium,
is
a light
ideally suited
work, but on-the-spot
and portable
as
it
is
laid
down, freezing
numb your
hands, sudden efforts
or wash them away altogether and changing
light
that confuses you and
and composition.
If
initial
drawing
the weather looks
unpredictable, take extra clothes (a
off the painting
hand are a help
to outdoor
winter), a plastic bag or
painting,
enough to hold your board
whatever the medium, always presents
72
the
pair of old gloves with the fingers cut
itself.
Watercolor
soon
winds that
makes you doubt your
and lends immediacy and spontaneity to the
is
showers that blotch your best
however, an
to look hard at a subject and
among them
with blazing heat that dries the paint as
a
usual sight is,
problems. Chief
weather You may have to contend
rain,
and anything
else
in
case large in
case of
you can think of
LANDSCAPE your comfort,
for
tea or coffee bright try to
sit in
otherwise the
you it
off the
difficult
ermos of
s
and a
radio.
a
If
the sun
bounce
reconnaissance
b.i
or sometimes impossible to If
you are
headphones to
device.
:>n
Some
listen
do
not.
people also
Always take
sufficient
water and receptacles to put restrict
m, and
it
your palette to as few colors
Choose
make
a subject that genuinely
you rather than one you
you "ought" to
paint,
even
if it
a back garden or local park.
If
familiar with a particular area
is
feel
in
you
mind. When
light
a start
changes.
If
on one day
Seascapes are especially
difficult,
since
the color of the sea can change drastically
from dark indigo to bright
blue-green, for
make
It
is
example
in
a matter
often advisable to
several quick color sketches and
then work indoors from them.
only
you are
BELOW THE CLEARING
by Roland Roycraft
will
probably already have a subject, or several subjects,
first
and complete the work on another.
of minutes.
as possible.
interests
I
you can
as quickly as
complete before the necessary
an aid to concentration, though
others
work
important stages of the painting are
to your radio serves as an efficient
it
I
try to
dashing
in
out with your par
without rushing, so that the
embarrassed by the comments of passers-by. using
\
advance by
in
pi
white paper, which makes
see what you are doing.
find
•ioning in an unfamiliar
to assess a subject •
shaded
light will
is
pure white, and the shadov.
you n
than
SUBJECT
Trees and Foliage
I
clump of foliage you fragmented
Trees are all
among
the most enticing of
landscape features. Unfortunately,
they are not the easiest of subjects to paint, particularly
when
foliage
effect.
some parts of the tree, those shadow or further away from you, will read as one broad color area, while and those nearer to you
sunlit parts
will
show sharp
light
and shade.
To is
paint a tree
in leaf
broad shape of the
dominant
successfully
to simplify
it
it
to
Start by establishing the tree, noting
characteristics,
width of the trunk
contrasts of tone and
in
rts
such as the
relation to the
height and spread of the branches.
Avoid becoming bogged defining individual shapes
down in
a
in detail,
manner
A areas lines
useful technique for highlighting
where you want to avoid hard is
that of
painting
the
is
lively
foliage.
a
lifting
out, while
good way of
sponge
suggesting
broken-color effect of
Dry brush
is
If
technique, well suited to winter trees
with their delicate, hazy patterns
74
El
created by clusters of tiny twigs.
d
you try to give equal weight
and importance to every separate
i
another favored
that does not detract from the main
mass.
d
color
usually necessary
some extent
B
will
in
the
patterns of
the subject
see that
own complex
its
create a jumpy, at
with your eyes half closed and you
obscures their basic structure and
makes
will
Look
BELOW: LAKELAND TREE
by Moira Clinch
LANDSCAPE
Fields
ABOVE AMBERLEYAND KITHURST
and Hills
HILL.
SUSSEX by Robert Dodd
Dod
and mountains always make
Hills
' I
sufcyect
by
f/ve
dramatic subjects, their powerful
presence needing only the minimum
expto
of help from the painter, but quieter
country
featureless
enough
or with gentle contours
flat
become
easily
in
just
dull
a painting.
and
It
is
part of the process.
seldom
)f
to paint what you see. so
the problem with
of landscape
is
this
that although
you may have to think of ways of
often beautiful and atmospheric,
enhancing a subject by exaggerating
of
certain features, stepping
up the
its
appeal
kind
much
comes from the wa
surrounds and envelopes you.
Once
colors or tonal contrasts, introducing
you begin to focus on the one small
textural interest, or using your
part of
brushwork more Interestingly,
that they have •
who
been
have believed
or
unconsciously improving on nature
fit
onto a piece of
known
Img well
'
to anyone
who
tal
photographs. So take a page from the
painting exa
they have seen, but they never :>nsciously
you can
found so -•
there have been artists
throughout history
it
/ou often wonder what you
inventively.
photographer's book and viewfinder
is
of cardboard
us-
a rectangle cut in a piece is all
you need.
SUBIECT
Step-by-step: Morning Headland
Working on stretched and well-dampened paper; the
artist
begins by dropping dark gray paint into light to create the effect of
heavy clouds.
Holding the board sideways at a sharp angle
makes the
paint
flow toward the bottom
cornerYou can exert control by varying the angle of the board;
the paint flows too
far in
direction, simply reverse
if
one the
angle.
The mountain was
3
paper to dry laying a tilting
until
slightly,
rough band of gray, and
the board upside
down
the paint flowed into a
suitable
then
•
created by allowing the
shape.The board was
laid flat.
J
76
LANDSCAPE
paint will continue
4
jntil
I
detail
tt
to lose an effect you
added
in
Step 3
became
of blurred, rounded shapes.
The color flowed upward and
moving
has dned. Be prepared liked.
The
a senes
5
downward, edge
at
creating a jagged
the top of the
mountains, and giving a
realistic
impression of a dark forest below.
MORNING HEADLAND Robert
by
Tilling •
sf
exploits
the wet-on-wet
method
m
his
extensively
atmosphenc
seascapes, but
always combines
it
vorkThe sky and xjrts
of the sea
vere painted wet-
•wed to dry before the
i
leodland -
whch
equired cnsp edges
kjedand iarker blues
ntroduced into the
177
SUBIECT
Step-by-step: Distant Hills
E E The wash
for the
with a No.
I
was
1
sky,
squirrel brush,
deliberately
light
2} 3
squirrel
put on
the far
dry,
wash
for
the same
brush was used to
i
II
a darker shade, with Payne's gray
added to the cobalt
cloud cover
as the
the sky was
laid slightly
unevenly to suggest a pale blue sky with a
As soon
put on
blue,
to the area of
Lll
hills.
The second wash had to be darker than that for the sky but not too dark as the
artist
knew
that he
would have to
increase the tonal contrasts
distance to suggest
its
to the picture plane.
[As 4- 9
5
each wash has to be
in
relative
L
the middle
nearness
m Ej
allowed to dry before putting
on the
next,
particular technique, a hairdryer
in this
is
sometimes used to hasten the process.
The
third
and fourth washes, darker
shades of the second, were leaving the
laid
on
next,
whole of the foreground and
middle distance
still
U
untouched. »
78
>
LANDSCAPE
Rocks and Mountains rocks and
y
Mountains are a
gift
to the painter
r
cliffs call
I
different approach, since th
they form marvelously exciting shapes,
most
their colors are constantly changing
sharp edges and their textures
and. best of
be
sitting
all.
on one. they are
be seen
to
without too
as
flat
details lightly
far
enough
seen on
from
detail.
or semi-flat washes with
light
in
are pitted
surface and an
soft to the touch.
One
of the
best techniques for creating edge
be depicted
qualities
is
the wet-on-dry method,
where successive small washes are laid over one another (if you become tired of waiting for them to dry. use a
on those closer to
you. For atmospheric effects, such as mist or
some seashores
and uneven
such as individual outcrops indicated
even
the rounded, sea-weathered boulders
broad shapes
much worrying
Distant mountains can using
happen to
unless you
exciting qualities are their ha
cloud blending sky and
speed up the process).
hairdrier to
mountain tops together, try working
Texture can be
wet-m-wet or mixing watercolor with
of ways. The
opaque
salt
white.
spatter
LEFT
built
wax
up
resist,
in
methods are
WELSH
a
number
scumbling, or all
excellent.
CLIFFS by Michael Chaplin
w the
been suggested
m
places by
7g washes, a technique .
M ibbed onto paper with a sponge looks
You'll find
you hove op
fed for sutjects 'pie
sponge
lie
like
on
weathered stof layers of
th*
gray-brown n
touches of yellow, create an accurate impression of the weathered mottled surface of the
<
arty well
on the rough
SUBJECT
Light and The
British
Weather
landscape painter John Constable (1776-1837) once said
and governs everything." Sky is, of it is part and parcel of all landscape, transforming it - sometimes in a matter of minutes - from a peaceful, sunny scene to a dark and brooding one. that
".
.
.
the sky
is
the source of
light
course, the mirror of the weather and
Painting Clouds
agent. It
is
easy to think of clouds as simply
gray and white, but
them
carefully,
you
if
you look
will
pink, yellow,
areas
and
may
blue,
may appear
contain hints of
and the gray
purplish or
gain a
new
that your clouds
vitality
will
and luminosity
if
for grays
more
will find
lively:
these mixes
adding straight
black or white reduces the intensity of
the mixture and produces a lackluster
muddy
gray. is
mixed gray which a pink gray.
a very useful readyis
both a yellow and
Once you
have
painted with delicately "colored" grays.
experimented with mixing
For a
will find
that Payne's gray has
and,
any other color there are
start, reject
black and try
instead a mixture of ultramarine and
burnt
180
or cadmium red for pink or
yellow grays. You
Payne's gray
will find
to lighten the color,
and a touch of yellow ocher raw
often
brownish.
You
Add water
sienna,
at
be surprised
by the variety of colors they contain: the "white" areas
crimson as your darkening
alizarin
umber or
ultramarine and
like
times
when
it
is
you
grays, its
suitable to use
place
it
LIGHT
because
nt Payne's gray,
is
it
AND WEATHER
such
reflecting the sun.
and the shadows
a delicate mixture of colors, can safely
underneath have a
be used
reflecting the sky Yellow
I
for darkening other colors.
colors
tel
a choice of useful for studies. is
come ready-mixed
tints,
in
which can be very
For example, yellow ocher
the very palest
It
you from some blending, but
worth remembering
will it
that if you tint your complementary colors,
will find
//ith
encouraging minute patches of the save
is
that colors
•
sunlight highlights.
tint
of yellow,
tint
perfect for a sunlit highlight.
ochr
better than lemon yellow for
You
making speedy cloud
bluish tinge,
you
pure
color,
lively
clouds.
will
achieve
more
which
are not too uniformly combined are often
more
which are
BELOW CARBIS
interesting than those
efficiently
blended.
Highlights are not always found
the tops of clouds
Piousness
on
depends on
it
evening,
when
highlights are
the sun
In is
is
low. the
underneath the clouds
and often tinged pink or the sun
the early
high
in
the
sky.
yellow.
When
the highlights
on the tops of the clouds are
yellow.
•
part to the treatment of the perspective
the position of the sun.
BAY. ST IVES
by Ashton Canncl
m
g
is
due
in
sky. 7h>
she
Oouds appear largest and most c'< defined when h/gh in the sky directiy above you.
and smaller
the closer they are to the
honzon. The colors are also paler on the
and
usuali.
SUBJECT
Cloud Formations
Clouds are always on the move - gathering,
dispersing, forming,
and re-forming - but they do not behave
a
are different types of cloud, each with
and
its
in
random
own
way. There
individual structure
characteristics.
To paint clouds convincingly you need to recognize the differences. levels,
and
It
is
also helpful to realize that they
this affects their
Cirrus clouds, high delicate, feathery
in
the
sky,
that form
clouds, with horizontal bases
clouds (or thunderclouds)
level will
different
are fine and vaporous, forming
plumes where they are blown by the wind. The
two types of cloud
vertically,
form on
tones and colors.
-
on the lowest and
gray,
cumulus
level are
cauliflower-like tops,
heavy masses that
and storm
rise
up
often resembling mountains or towers. Both these low-
clouds
show
strong contrasts of
sometimes look almost black
clouds are extremely bright surprisingly
light
and dark. A storm cloud
against a blue sky,
where the sun
strikes
and cumulus
them and
dark on their shadowed undersides.
Sop green Cerulean
is
a good
particularly for sky.
Here, the
encouraged
it
to
blue,
a summer artist
has
be retained
in
the dips of the rough
paper.
Note the sharp edge
painted around the
highlit
top edge of the cloud.The
shadows are created by merging colored gray washes wet-in-wet touches of raw sienna, Payne's gray,
cobalt blue are
and
visible.
Further darker grays are
added
82
wet-on-dry.
LIGHT
AND WEATHER
Step-by-step: Lifting The technique In this
overlaid
of
demonstration the
when dry
Antwerp using a
Out Clouds
blue.
wrth a thin
ocher. overlaid
The clouds are en
crumpled
od
of yellow
wash
tissue. (Alternatively
when dry
with
you could use a
cloth, a
I
I
The
-
artist
it
di
sponge, or evo
dry brush, depending on the type of cloud you
I
h of
out the paint before
'ting
ng.)
has to
work
soon as the wash
As
fast
completed.
is
jmpJed piece of
tissue
is
used to gently dab off the blue paint
more
Slightly
pressure
define the clean
is
applied to
edge of the
brightly
Irt
top surface of the cloud.
Having established the outline, the tissue
cloud.
is
reshaped and used
main body of the As you work, vary the pressure I
to
lift
off the
applied with the tissue to create the irregular
shape of the cloud. Take care
not to rub the paper or you
will
destroy
the surface; use a press-and-lift motion
I
3
Cloud shadows
I by the thm I
the
lifting
apt
•
layer of blue
off
left
by
proo
combining with the yellow ocher wash
beneath To further,
bmW
up these shadows
washes of gray are applied usng
the wet-m-wet technique.
SUBJECT
Painting Skies
ABOVE:THE TEMPEST
by Roland Roycraft
Besides being exciting to paint, skies also play
a
vital role in
sky
is
when
the
landscape composition. Here the
main subject of the
the sky occupies only
painting.
picture,
you can use clouds (invent them
like) to
give extra color
and movement
landscape.
RIGHT:
MOONLIGHT NORWAY
by William Wyllie
184
Even
a small part of a if you
to
a
AND WEATHER
LIGHT
Judging the Tonal
Painting a Vibrant Sky
Strength of Blue Sky Inexperienced
artists
and the
rt
which emanates from
light
summer
m
often find
to capture the intensity of blue,
difficult
sky.
On
rt.
of
sky positively pulsates with light but
rt
is
impossible to translate this into paint
because pigment
is
opaque and
light The artist
absorbs
must therefore
shimmenng
colors optically
in
on the paper or as
we
effect
by the Impressionists
the elusive nature of is
based on the
light
fact that
captunng
The pnnciple
our eyes are
unable to focus property on small areas of color which are the same shade. The colors resonate
on the
retina
in effect
"dazzling" us. just as light dazzles. For
green can be mixed from
pie,
yellow and blue; but a green
of small dabs,
and
blue,
left
flecks,
composed
or strokes of yellow
unblended, appears
vibrant because the pure yellow
blue are
still
discernible,
resonate on the eye. point if
out however,
more and
important to
that this only
works
the constrtuent colors are of equal or lual value.)
Optical mixes also
appear more vibrant because the paint is
applied
stipples,
m
small dabs, strokes,
skies
is
and
which themselves have more
energy than a
flat
color The tnck with
to introduce hints of
vw
mauves. and yellows into the blues.
to paint
with
it
and the
rule
is
this
could lead
because the shade of
become too that a blue
strong
si
always tonally lighter than the
landscape below
You may
find
it
easier, particularly
area of blue
the picture
m
sky.
if
to paint the rest of
and then add the sky
first
a lighter shade. If.
however, the sky dominates the
composition, leaving an expanse until last
can impair your judgment of
the values
in
the landscape below.
cases such as these,
to block
in
is
rt
a
good
work
the rest of the painting
is
rt
up when
well or
way. Working back and forth
exercise;
rt
is
between
also a useful
helps to into
thus creating a
atmospheric
more
natural
"wo.
and
e' v
To help you judge the comp. tonal values
look at
rt
m
a
i
complex landscape,
through almost closed eyes.
This helps to take the colors leaving
In
idea
the sky area with a pale
blue wash and then
the sky and the land
and they
(It is
is
the composition contains only a small
.
in
into trouble
the sky can easily
canvas. Optical mixes.
know, were used to
all
by mixing
light
sumn
a perfect
conjure up. However,
-
the eve rather than
on
temptation
the deepest blue pigment yoi.
you
resort to artifice and create an impression of
you are faced with the intense
blue of the sky day, the
'he
a
When
out
you better able to judge the
SUBJECT
Shade: The
The Quality of Light
early
Any
painting that aims
some way
in
to
represent the world around us by creating the illusion of painting
about
light.
reality,
None
occupied - value,
-
is
independent of
Light can
When
light
light
means of
in
reduces the
face,
it
light itself
order to capture an accurate
impression of
light in
your
paintings,
you have to be able to judge quality This quality can
effect
what
it
the
in
and the
has on our perception of
before
is
light
us.
the weather the time of
the
day,
time of year and of course where exactly you are
in
the world and
how
close you are to the equator It
in
or paintings the
effect that changing light
colors
it
on.
falls
day, colors are
shadow more
bright sunlight, colors
gently. In
appear more
vibrant with few middle shades highlight
Outline: You
weaker the
will
objects
in
the
light
of dusk, even
direct light will have soft
outlines, while will
notice that the
the softer the outline
light,
In
and shadow.
those
be almost
in
deep shadow
indistinct. Bright
sunshine produces clearly defined
edges where
it
shines directly
on
objects.
can be very instructive to record
a series of sketches
all
At these times of
an object has.
There are various
factors which affect the quality of the light:
the evening
light in
will qualify
between
its
be seen
color and strength of the
extremes, but you
Sunlight can cast a cold, blue
highlight to
transitory thing. In
contrast, the
generally softer, graduating from
an elusive and
is
In
of the
up the variety
the early morning and a
light in
which
Yet
limits
plays
middle values.
golden or pink
inspired.
it
its
shines through the leaves of a tree, or
and
the
bleaches out the subtle
gently illuminates a misty morning, we, as artists, are captivated
in
so the tonal
sky,
the middle shades.
Color:
on
sparkles
weaker
power of the midday sun pushes the will find
water catches and animates a
throughout
Shadows: As the
sky,
the sun travels across
shadows
position, color,
alter in length,
and value. Strong
light
the day has on a particular scene.
produces dark, hard-edged shadows,
There are various things you
while soft
notice
86
the
value range to
it.
be the source of
inspiration as well as the revelation.
in
value range, but
space
color, form,
low
is
Such
of the
considerations with which the painter is
is
values are softer and less intense.
a
is
sun
light
morning and evening when the
will
when you compare them.
light
produces paler
defined shadows.
ill-
LIGHT
AND WEATHER
Changing Light
ABOVE SUNRISE. NINE SPRINGS color
some
the sky have produced
in
by Ronald
J<
ed
of the most magnificent and sublime
m
works
one of " ')>ch
the history of
make
Glorious
art.
sunsets, towering banks of sunlit
cumulus cloud, dark, storm-filled the featfv
s
si
landscape oc
of cirrus clouds
blue expanse: thes* id of subjects Is
•
for gen*
•
Unfortunately, you cannot
fr
the
sky,
to produce this type of woi
i
the suns relentless progress across
so you have to learn to cope
you don't want to be hurried, you could
•
and building up the 1
You may
find
it
than dc
helps to restrict
yourself to working
on
on
detail,
for only an
»und
;
olution
Still
he
is
to
;
ne.
a small scale,
md few 1
them.
but you
colors.
may not
until
the
;
ompleted
if
you
constant. V
187
SUBJECT
you have to
If
one at
sitting,
as
much
in
information
the start as you can. Your visual
memory at
your painting
finish
amass
can be improved
you work
if
you were painting
it.
more than
the quality of the
in
season
affect
if
It
is
common
a
shadows
Study the
shadows
cast.
mistake to regard
as negative areas of a
Not
do shadows help to
comparative values, scan the contours,
painting.
explore the character of the patches
strengthen the compositional
of
light
and shadows.
Some
that sketching these aspects detail
artists find
any
in
tends to impair the power of
the memory. But Unless you
it
paint a scene
in
do both. want to
helps to
specifically
you
bright sunlight,
outdoors on a
when and
drastic
changes of
intensity
less likely
overcast day,
slightly
lights
in
only
structure, they can also contribute to
the atmosphere of a scene and to the
mood
you wish to convey. For
example,
bright, crisp sunlight casts
sharply defined areas of
shadow
that
will
and
light
emphasize the
bracing atmosphere of a seaside
be better advised to paint
will
light
the shade, color and
configuration of the
exploring every part of the scene as
But
indistinct.
changes
during the day and according to the
by concentrating hard and
it
and
subtle that,
the position
and shadows are
to occur
same
scene. But that late
afternoon
when
lengthen and the
an
scene, painted
in
the shadows
light
is
have
hazy, will
of calm and peace.
air
Shadows are never completely
Painting Without shadows, So
if
light
will
and only
influenced by the local color of the
filled
object on which the
colors
anything.
not
bright sunlight, in
quality of
mean
light. In
shadows are hard-edged
more
gentle
light,
complementary (opposite) to
they are
shadow; for instance, a yellow object
may throw
a
shadow with
a blue-
violet tinge. Shadows vary in density,
becoming
lighter in
shade the further
they are from the object casting them.
ABOVE: MRS MAUDSLEVS GREENHOUSE
impression of light
by Ronald Jesty
of dappled
sunlight which break into the
shadow on
the wall heighten this effect
In this
wonderfully inviting picture
contrast
and
between the
intense,
and
light,
the color of the object casting the
it
Shadows vary enormously,
depending on the and dark;
will
falls,
is
shadows are often tinged with
also,
emphasis, that highlight
shadow
by the color of the prevailing
paint a bright highlight, but without an give
shadow
exist.
need to master
shadow to
rarely are they a
neutral gray. The color of a
the art of painting shadows. You can
equally dark
188
does not
you want to paint pictures
with sunlight, you
black,
Shadows
it is
the
dark shadows
the bright sunshine that gives the strong
and
depth. The
telling
spots
and
entice us into the illuminated greenhouse.
LIGHT
AND WEATHER
189
SUBJECT
Step-by-step:
Hot Sun
This watercolor painting speaks of the hot Mediterranean sun. The artist
was
attracted by the geometric pattern created by the strong verticals of the walls,
countered by the diagonals of the roof against the sky and the mid-morning
shadow cast across the wall. The artist's general plan is to work from cool to warm, starting with blues/through to yellows and finally red. In this painting the artist is working mainly from memory, but with the aid of a sketch supplemented with notes and photographs.
i
Having sketched
in
composition, the
artist applies
masking are to be
left
the outline of the
over those areas which
fluid
white, such as the flowers
in
the
foliage.
i
With
^i
2
a large softhair brush loaded
with cerulean blue little
cobalt,
the
warmed
with a
artist paints in
the
sky area and then the shadows.
Now the artist starts to work
4
on the
details, starting
from
the center of the painting with
A wash
3
the
of yellow ocher
applied wet-on-dry, runs
down
further than planned, so the
paper
is
laid flat
fashion the
190
and a
tissue
edge of the
step.
is
used to
foliage. The
fluid
mean
and
light
areas of dried masking
that a
merged wash of dark
green can be painted
without worrying about the
in
intricate
shapes of the flowers and stems.
LIGHT AND WEATHER
5
shadow
When
are located with
diluted cobalt blue, applied
with a small round brush to give
©
more
dry.
the paint
the masking
thoroughly is
removed by rubbing with kneaded eraser Note the
detail.
is
fluid
delicate,
a soft
darker
shadows which have been added to the
window
panes.
The geranium
§
painted pink
allowed to
flowers are
wet-m-wet
underwash
dry.
It
First a pale
applied and
then wetted and a
is
cnmson
spot of alizann
is
is
added and
allowed to fuse and spread.
The
8
artist
foliage
m
decides that the
the center
is
too
hard-edged, so with a small piece of natural soft sponge she stipples
on some green
I
9
To make the
rt
painting "sing," a
stronger dilution of yellow |
I
ocher
is
taken through the
painting, representing reflected light
applied
paint to soften
on the
It is
steps here using the dry
brush technique with a
flat
bristle brush.
191
SUBJECT
Step-by-step:
Hot Sun
(continued)
Finally,
the gabled end of
the house
is
knocked back
with a gentle scumble of
yellow ocher applied with a dry
brush
in
a circular motion.
BELOW: SPANISH STEPS
by Hazel Soan
Finally satisfied, the artist declares the
painting finished.
There
is
probably no
subject quite as
appealing as sunlight
and shadow, and
it
is
most pleasant to paint outside on a warm, sunny day under the
shade of a tree.
Look
carefully at
the
colors of shadows. They are rarely gray or black;
they veer toward blue
or mauve, crimson, or green, as they are
colored by both the surfaces fall
on which they
and by reflection
from adjacent
objects.
Analyze their shapes; like
clothes draping a
person's body, shadows
can be used to describe
the forms over which
they
92
lie.
LIGHT AND WEATHER
com
disappear and tonal
Mist and Fog
minimized. The effects of Sunny,
warm
inviting
days are
much more
perspective are
to the painter than wet. cold
days. Yet
if
painting
in
that objects only a short distance
away seem to melt
the practical problems of
bad weather can be
overcome, painting
in
u
more pronounced, so into a blur
Capturing the veiled and
bad weather
mysterious aspect of a foggy
is
exciting because of the transformation
landscape requires sensitive
that takes place in the landscape.
observation and a certain amount of
Rainstorms, fog.
ice.
and snow: each of
these weather conditions has
its
restraint in handling the paint.
own
magic, and can turn an ordinary scene into a
memorable
On
a foggy day
contrasts
in
closely-related tones;
contrasts
painting.
you
will
notice
how
will
In
and allowed to blur
water vapor held
acrylics, oils,
filter
air acts like a
neutralizing bright colors
flattening
and
light
and
at
the edges.
pastels,
In
use the
Reserve any clear
details
and dark
tones for the foreground; these
tones appear darker The mist
disperses the
of
techniques of blending and scumbling.
masses and contours. Dark
tones appear lighter than normal, and light
illusion
watercolor
washes can be applied to damp paper
reduced to subtle modulations. The the
too many sharp
destroy the
all-enveloping mist.
color and tone are
in
Use
subdued, harmonious colors and
will
enhance, through contrast, the
so that shadows
mistiness
in
the background.
Step-by-step: Wet-in-wet Mist a sheet of I
•
I
•
dampened paper
washes of rose madder are
laid in
horizontal strokes, star
the top of the paper While the paint
wet patches
of color are
small piece of
lifted
is still
out with a
dampened sponge
to reveal
the whrte of the paper
I
2
The contours of using a
I
with
hills
are added.
wash of cobalt blue mixed
light red.
dampened once more
The paper
is
to produce the softly
dappled color of the sky and
v.
SUBJECT
Snow
Scenes
being a highly reflective surface, reflects light
For those regard
it
who
snow and
rarely see
as a treat,
it
way
For
a sight that
is
this
from the sky
in
the same
body of water does. reason, snow is rarely
brings pleasure and excitement. For
blanket of pure white;
others
affected by the quality of the
it
betides the onset of long
weeks or months of cold and discomfort, so they greet positive attitude.
weather; the
As
prevailing
with a
it
less
paintings of
in all
emotional
artist's
response to the subject
is
at least as
important as the presentation of the facts.
And
it
is
not only
moods
light.
a
its
color
sunny day the
snow appear
sunlight
produces shadows which
contain
its
complementary color -
blue or blue-violet, depending on the
warmth or coolness of the
that
such as cold and wet as well.
highlights, often
many who
evening
pinkish tinge,
are intimidated by the prospect of
In
painting snow. They feel unable to
light
sunlight.
creates softer
with a yellowish or
and deep blue shadows.
transparent watercolor you have
to establish the position of the
on the snow
cope with such an expanse of white,
brightest highlights
and sub-zero temperatures do not
advance and paint around them.
them to take
exactly encourage
paints outside to try. But
demur from order
actually to paint,
a scene
even
if
their
you could try working on
you
paper and adding body color
braving the elements
from the
Certainly
hand the
it
is
artist's
effect that
snow
itself.
light
has on the
Getting closer to your subject
in
way you will soon discover that snow is a fascinating subject to paint. If you have ever woken up in bed when there is snow outside, you will know how the room appears bathed in
a cool
light.
This
is
because snow,
is
the most economical
for painting
snow
scenes, as
you can leave some areas of white paper to represent the
on the snow
this
of Chinese white
effect of snow.
medium
at first
landscape and, particularly, the effect
of different kinds of
slight chalkiness
Watercolor
eye.
worth studying
Or
toned
renders the appropriate powdery
or
simply take a walk and observe your
surroundings with an
a
in
(Chinese white) to the colors. The
in
you can sketch
inside of a car
a
is
dazzlingly white, but the yellow
Warm
are
On
sunstruck areas of
have to be recreated, but sensations
No wonder there
94
that a
Model the contours
in
lightest lights.
the
snow
with
pale washes of blues, grays, and yellows.
Use
straight lines
edges where the snow
is
and hard fresh
and
clean; indicate patches of melting
snow by
using scrubby drybrush
strokes to represent the earth
peeping through.
LIGHT
AND WEATHER
LEFT
THE CLEARING
by Roland Roycraft
torn
the
I
shadows
,oate
blues were
deep
yellow l> ;
blue-gray
and
blue-green shadows
ensures that the highlights
BELOW paper
'.disking fluid
for the
was used
in this
appeo'
painting to reserv
snow on the branches. The snowfiakes were made by
spattenng thick white gouache over the top half of the
pambng
with a
toothbrush.
}
195
SUBJECT
Light on
Water
the paradoxes of watercolor painting is
The
effects of light
almost
irresistible.
on water are
Obviously they can
seldom be painted on the
that the
most seemingly
spontaneous
spot; a shaft
of sunlight suddenly breaking through
effects are in fact the
result of careful planning.
Work
out the colors and tones
cloud to spotlight an area of water
correct
them by
could disappear before you
wash.
can be helpful to
lay
out
in
advance so that you do not have to
It
wash over make a
overlaying
your colors. But you can recapture
series of small preparatory color
such effects
sketches to try out various techniques
in
the studio as long as
you have observed them
and color combinations. Knowing
closely,
committed them to memory and
made the
sketches of the general
lie
BELOW:THE RIVER GUADALUPE
of
When
you begin to
remember
This lovely painting
paint,
that the effect you
want to
skillful
shows a breathtakingly
use of reserved
highlights.
reflection, tiny sunlit twig is one of transience, so try to make your technique express this quality. This does not mean splashing on the paint with no forethought -
convey
this
196
is
by Shirley
Felts
land.
unlikely to
be
successful.
One
of
and
Each pale
point of light has
been achieved by painting around the This
can
result in tired,
area.
overworked paint but
here nothing of the luminosity of the watercolor has been sacrificed fresh
and
sparkling.
and
it
remains
LIGHT AND WEATHER
>u
you to
m
intend to
paint freely
ition.
you decide to
If
do en
:
wav
and without paint
rl
paint by tilting the board.
If
you
p'
work wet -on -dry. establish exactly where your highlights are to be and then leave them strictly alone or. alternatively, put them in last with opaque white used
for suggesting the ruffled
breakers, while the deli
patterns formed
accurately "painted" by scraping
decide on. use as few brushpossible
disappointment o'
ill
im has completely
.
ment of the
subject. This
insistence detail,
and
on
is
because
you
There are
it.
and
so learn to make
ng
fev.
on
a .vn
ordu
ruthlessly
.ouldbe nable to
belie
i
medium
ti
that has such an obvious ing
suppre often
•
of tone
wtth hard edges
is
how
ngs go wrong.
The commonest reason
Ripp distinct contrasts
poor observation
I
A same
j
and
color and tone
j
between the sunlit tops and ^ws caused by broken reflect Working wet-on -dry is the of describing
provide clearty defined reflection'
color, often
I
•
t
but avoid too
this edgy,
much
4
of
e
v.
over beca*.
all
no
reflective
obje
overlaying of
iddy the color
'luid is
very helpful
here, as you can block out sr
be
"less
the secondary ones.
shows very
Water
day
3re" by looking for is
you put on
will look.
mirror-like surface of a lake
I
pro
to paint moving water unless
simplify
paint
to the pamtei
lesson for the painter. You can ne.
hope
more
Still
movement b
including every
this
the
wet the water
to
failed
movement and e ezes
less
or rushing
capture the
i
t
nique or
.•
the
photograph
v.
'rom the beach can be very
Most people have experienced the of finding th
efl
combinations of techniques you
Moving Water
a
made
of a broken spray on the tops of
Wh
the
c
freely
practice controlling
'
to
rl
you work
.
she/ color and tone iiso
often
affected b
v
SUBJECT
viewing. Water usually looks darker
the foreground because
you and thus It
is
also
in
closer to
is
is
a horizontal
ABOVE: Knight
is
HEADLAND
in
waves and given a
by Charles Knight
provides the perfect illustration of the
their
98
played by technique
in art.
lovely feeling
movement and drama crisp,
role
can sometimes
and
recession by exaggerating a darker tone
and a master of the watercolor medium. This wonderfully atmospheric painting
made
It
stress flatness
bring the foreground forward.
painter,
has
implied.
an
a committed land- and seascape
secondary
is
assume the
one because no
or even inventing a ripple or two to
sounds obvious, but has
horizontal plane painted
will instantly
properties of a vertical
be necessary to
powerful implications for painting.
A
unvaried tone
recession
reflects less light.
important to remember
that a lake or area of sea plane. This
it
He
excellent use of wax resist for the
dark pencil
lines,
to the
but
of
headland with
his techniques,
although fascinating to analyze, remain place" as no
more than
which allow him to express
"in
the vehicles
his ideas.
BUILDINGS
Buildings Watercolor broad,
the
ell
is
washes of one
flat
slightly irregular
suited to architectural subjects. You
color,
or
on old
surface
buildings. You
edges, and define decorative details with a small brush
made by
c u
teven ones sugge
deliL-
The
paintings
or professional architectural "renderers" to show prospective clients are more often in watercolor than in any r medium, and some of these are fine works of art in their own nght. architects
•
Optical Trickery
Linear Perspective Many
ng
peopl'
and painting
buildings
because they
Because the
real
have guessed that perspective n *
'
J
J
lot. But you will not make the problem go away by avoiding
bowl of
perspective
The *
is
the most
figures,
feelings of
a landscap*
into the distano
on
fruit
group of
a tabletop.
or eve-
gloom and made'
most people experience
thought of learning perspe
\
ne into the of
because
important of these, providm,
.vmdmg
j|
evolved a senes of conventions, or
perspective n % to represent
5
:
^ave over the cent
a
^itectural subjects,
world
dimensional and a p
at
the
!
I
mmm
*r
£m
i
*
not sur;
on
through an encyclope
the subject, and was horrified by the
J
complexity of the
ind the
them to
impossit
real such as a house, or ;
J
Vjt
ft
need not be mad' 1 hope
even
'
I
I
^
see
LEFT
HOTEL VIRGILKD. ORV1ETO
in this
dispel
section of the boo-
some
of the darkness.
)
the (kigond
*n«
gn*4> ofbukingi
3
by Ray
.vings an<
lean
feeing of
%wrd
SUBJECT
making objects look
and
solid
side planes will
convincing by suggesting space and
further
volume. There
this
is
another kind of
perspective, called aerial perspective,
which
concerned with tone and
is
color This
and
explained on pages 108
is
In
happen the
become
a way, perspective
set of rules that can
more advanced
And
to
make
have to
closer together (a
optical fact) until they
meet on the
line.
the easiest
is
part of painting because
are.
parallel lines
geometrical impossibility but an
horizon
109.
appear smaller the
away they
it
is
simply a
be learned. The
aspects of
art,
such as
composition or the use of particular colors and shapes to create a specific
mood, can
involve a long-term
personal quest and the conventions
adopted are
different for
but perspective
everyone.
is
every
artist,
the same for
Once you have become the rules you
familiar with
will find
draw with much more
that you can
confidence because they
become second
will
have
nature to you.
ABOVE: One-point
Simple Perspective
perspective
the simplest kind of perspective,
If
you have a mathematical bent you
life
much of your
to the study of perspective, but
this section
about
is
buildings, so
it
same
vanishing point (called VP
subsequent diagrams).
the vanishing point picture. If he
simple as possible. The
left.
of perspective
is
founded on one
which can be readily observed by eye - the apparent
which
all
at the
in this
case the
and
all
artist
has drawn from the middle of the street so
makes sense to follow the "need to know" principle and keep matters as whole system
In this
the term for
in
meet
the receding horizontal lines
could probably devote
is
right
to
it
is
in
had been
the center of the further over to the
would have been somewhere on the
Often
it is
estimate
its
outside the picture, so you have position.
basic tenet,
decrease
in
the size of objects as they
recede towards the horizon. Suppose the objects
in
simple cubes
200
question are a series of
- then
it
follows that the
The Vanishing Point This brings us to the golden rule that all
receding parallel
lines
vanishing point, which
is
met
at a
on the
horizon. This sounds simple, as indeed
BUILDINGS have to work out
enough when
the honzo'
you are or
located
is it
ng but houses? The answer n
and
this
where the
is
eye
are
.
omt
picture area,
Extend
this line
Sometimes the
m
will
be outside the
which case
a
amount of guesswork is involved, combined with careful observation
converge.
when you
Normally,
front of you.
vanishing point.
i
what determines
lines will
m
to the honzon. and you have your
own
exactly at your
is
are
can see
I
I
e of the
rooftop by holding up a pencil or
when you
c
the middle
and then
is
or sea meets the
1
but where
level,
the h quired
the honzon
ipe
whc in
pc
lookir
'
.i
its
sitting
about your be lower v
sketching or simply walking
eye
level
(honzon)
will
VP
Horizon
the tops of the buildings, so the
honzontal
windows but
lines
of roofs and high
appear to slope down,
will
you choose a high eye
if
pie looking
down on
houses from the top of a honzontal
lines will
level, for
a group of the
hill,
slope upv.
Iishmg the vanishing point
the essential
first
and painting
buildings,
step
is
when drawing because
it
gives
framework on which to work the angle of every honzo from the top of a roof to the bottom you a
definite
-
of a door,
is
determined
you are
in
the middle
If
row of houses on
a
nothing could be easier
hmg you and in
I
c
point at
many
the ''ont of
d
your eye
the honzon
rule as
is
I
either side,
line
lev-
and then
lines as
I
upword
lines
you and
toe.
immeoVote. >o
front of
ponf
'xinge you'
)u are viewing at an angle,
in
ore workjn% on
and so on.
however, the longer be
vomhng the&ow,
to the
you need to
establish the diagonals of rooftops,
window
ABOVE
yen.
Ov hokbnv A o 'j*" •
movrw
your he<;
#1 ffont of yv
SUBJECT
Step-by-step: Painting Buildings
I I
touch of
First
make
a drawing, then lay a
blue
wash
for the sky
flat rt
or gradated
to
dry.
Lay a
very pale wash, perhaps yellow ocher with a crimson, over the rest of the painting.
alizarin
Paint the
2
and leave
shadowed
side of the building, then
begin to darken the colors
in
the central area
and foreground shadow. Paint the lamppost over the other colors.
Add
3
V
further dark washes to the central area
(notice build
shadows are
up
blue-gray)
on the
detail
and then begin to
buildings.
%
n 1
—
=7 7 H * ^
;
—^\N \
Continue to add strengthen colors
detail
and
where
necessary.
White
buildings such as those adorning
Mediterranean landscapes are best reserved as white paper. Define their shapes by using the colors of the landscape around them, so that they shine out terrain,
strokes.
202
like
jewels against the dark
then pick out details with small brush
BUILDINGS
Step-by-step: Granulated wash Rough
paper, a size 7 brush, and tube color are used to
for the stucco surface of the windmill. 1
settle
undisturbed
Use very wet in
( 1
pain
the tooth of
the colors
th<
Urtramanne and burnt sienna have been flooded I
:
into
dampened paper When
windmill and
its
reflection
dry,
and
dampen
paint a very
the
wet
loose mixture of cerulean blue, yellow ocher. and burnt
sienna Watch
rt
it
2
granulate as
in
ft
sel
the banks of the nver and
]
use granulating washes on the
I
wall
with the
tip
and cottage. Draw the
sails I
of the brush.
3
When
the windmill
paint the I
windows
is
in
dry.
with
very thick wet paint (indigo |
and Indian
red):
ttles
tilt
the paper so the
unevenly.
pen the shaded
4
side
of the windmill and. with a I
strong swift stroke,
that side against the
•
broken glaze over the water and paint the foreground detafc.
203
SUBJECT
Looking Out
Inside The way
which you approach a
in
a window depends very much on the aim of your painting.
view through
Window
views, or glimpses of the
outside world seen through
open
doors, have always fascinated as they provide an intriguing
artists,
and
challenging set of pictorial possibilities.
But
BELOW: INTERIOR WITH DESK AND CHAIR by John Lidzey The houses outside have been deliberately "held back," with the
minimum of detail and
tonal contrast so that they
with the
do not compete
interior.
good
like all
subjects, they
have
their attendant
problems.
The main difficulties
are those
of creating a sense of
space and
emphasizing the different qualities of inside
and outside
without losing the unity of the picture.
Of course,
not
everyone sees things in
terms of space -
some
r
artists will
deliberately ignore
it,
treating interior walls,
E
windows and the outside landscape as a more-or-less flat
area of color and pattern.
to
do
If
you want
this, fine,
your approach
more
literal,
but
204
helpful.
if
F
is
the
following advice
be
E
may
m
BUILDINGS
Framing a View
to the ich of the pic'
is
of the
view •
is
window or
door.
Suppose
this
an exciting crtyscape and you
make
to
it
the
mam
acting as
little
more
around the edges. treat the
scene
will
window
In this
it
itself
than a frame
just as
you were painting
subject of
case,
if
outdoors. But
have to give extra emphasis
ABOVE ROADSIDE CAFE
terms of tone or
or bott
more ton more obvious division between
color and
and dark) than those and
far distance. This
in
to the view will
itself,
immediately
light
the middle a neat
is
giving a feeling of space
you can
you would
in
to you alway
to be devoted to the view out
the painting, with the
you
color
window
way of
and recession
because the window
come
front of the picture
-
forward to the
known
as the
picture plane.
by Mc*ra Clinch
panting the sharp contrast of light and shade between the front and the stde of buMng contributes to the strong sense of perspective The deep shadows and bnght highlights I
In this
grve
on impression of the heat and
glare of midday
m
Ne-
SUBJECT
The Animal World The animal kingdom presents the commonest of all problems to the would-be recorder of its glories: none of its members stay still long enough to be painted. One can usually bribe a friend to sit reasonably still for a portrait, but you cannot expect the same cooperation from a dog,
Watch
or horse.
cat,
however why not
subject,
an animal carefully and you
will
If
movement make a
the essence of a
virtue of
it?
anatomy was
detailed study of
movements it makes, although they may be rapid, are not random - they have certain patterns. If you train yourself to make quick sketches whenever possible and also
whose prime concern is accuracy, still do this, but for most this depth of
take sequences of photographs as an
study
notice that the
you
will find
animal is
necessary before they could even begin to
draw or
creature.
Some
paint any living
wildlife painters,
unnecessary.
is
understanding their movement,
aid to
is
far
that painting a moving from impossible - and
Sketching from
Although background knowledge
also deeply rewarding.
Understanding the Basics Painters and illustrators
who
in
natural history gain their
in
a
wide
variety of ways.
Life
it
helpful
specialize
knowledge
Many
because
paint with
it
more
will
is
enable you to
confidence, books
and magazines are never for direct observation.
a substitute
When
working outdoors, whether
you are
in
a
zoo
or on a farm, try to keep your
take
powerful binoculars and cameras into
sketches simple, concentrating on the
remote parts of the countryside to watch and record birds and animals
worrying about
main in
their natural habitats, but they also rely in
on
illustrations
and photographs
books and magazines or study
stuffed creatures
in
museums.
and shapes without
and coloring. while you are
and
All this
lines
start
If
details
in
mid-sketch, leave
drawings on the same page can provide a surprising
basic
information. You
bird's
wing and
feathers
lie
or
a horse or cow's legs are jointed. artists
were taught
how
first,
In
and you
that a
it
another one - several small
them to understand structures, such as the way a tail
such as texture
the animal moves
research helps
the past,
206
is
learn to
amount of may find difficult it
but quick sketches are a knack
practice,
really will
get better with
at
THE ANIMAL
WORLD
Step-by-step: Squirrel
A series of loose watercolor washes are
laid,
colored pencil the
and then a
is
brought
in
•
d*
I
For the
I
use of the
soft gray fur
slight
the
artist
gram of the
paper to give a broken texture.
I
3
Fine lines arc then
added on
top with white gouache to indicate the silvery
so characteristic of a
shimmer
squirrel's fur
SUBJECT
Birds Birds are a perennially appealing subject, but they are also a
If
complex
one. The fur of a smooth-haired
you are painting birds
natural habitat
you
rather than
obscure the
detail.
the
Both
line
and
structure
wash and
beneath, but
the brush
drawing
the feathers
if
-
methods are
at
well suited to
do
of a bird
you look
a skeleton
.'
*
in
this kind
'
museum you may find
impression, but
hard
it
to relate to the
two most
the
exciting features of
it
birds, particularly
living,
feathered reality.
exotic ones, are
To
color and texture,
portray a bird
and many bird
convincingly
painters
is
it
more
important
employ a
detailed
technique to show
to understand the
these
framework around which
it
is
"built,"
You can practice
in
their
full
and the way the small feathers follow
and discover ways of building up texture by working
of the wing and
tail
extend beyond
it.
Never be ashamed to draw on the knowledge
built
up by others:
find that
watercolor
control or
could try gouache,
as well as sketching birds
you
whenever
If
hard to
many mixed media
techniques.
can.
ABOVE:
MACAWS
by Laura
Wade. Watercolor,
gouache, and colored pencils
The
the
is
work
bird.
becomes overworked, you acrylic, or one of
look through natural history books
magazines
from a
artist's
or even by painting a stuffed
and photographs
in wildlife
initially
photograph or another
you
glory.
painting feathers
the contours of the body while those
store of
of
broad
a
artist
media
208
their
movement
concentrate on shape and
animal does not
in
need to
will
has
to build
made good up the
illustrators,
use of mixed
bird's vivid colors
delicate textures. Like
drawings from
and
many
professional
she used photographs as well as life
for
her reference.
THE ANIMAL
WORLD LEFT
AND BELOW SKETCHBOOK
STUDIES Boys
by David Boy*
is
:
ondon
Z&
tormatxxi labels outside their
should not blind us to the fact that they
'emely accurate, and each one the end-product of several days of
observation
and
is
c
careful drawing. However,
they provide an excellent example of the
use of watercohr as a
medium
recording rapid impressions.
for
SUBJECT fj
Domestic and Farm Animals SHANDIE
by Ronald Jesty
Although
this
not a particularly small
is
has chosen a
picture, the artist
circular
format reminiscent of a miniature his delightful
adapted
dog
portrait
technique to
his
for
and has suit the
idea. His usual style, illustrated
elsewhere
in this
book
is
a precise
yet bold use of wet-on-dry but here, although
still
working wet-on-
dry he has used very
fine,
linear
brushstrokes to build up the texture
of the
equal
in
and
tones
The buildings behind are
fur.
treated
detail,
but with the
colors carefully controlled so
that they recede into the background.
the best paintings are of subjects
All
that the artist
Rembrandt
(
1
is
606- 669) painted
(
1
1
and
his children,
paint animals
or pet
rabbit,
So
why not
in
environment, so that
its
in
mid-air
own
cow
in
a
field,
always try to
dog,
start at
the edges
in
places to avoid a cut-out
effect.
of the great advantages of
entirely a
preference and
will
your particular
interests,
sleeping (cats are particularly
in
good
at
running, eating, or simply sitting
contemplation.
country,
If
on or near
if
but
it
is
you opt for a very
precise method, using small
brushstrokes to build up the texture
a farm, sheep,
of an animal's fur or wool, you must
live in
models, as they tend to stand
when
saying that
be dictated by
the
you
use the same approach throughout
cows, and goats are also willing
long periods
worth
are
matter of personal
that they are always around
this),
appears
integrate the animal with the
and you can make studies of them
is
it
Whether you
The techniques you use
One pets
painting an
background and foreground, blurring
home?
210
mistakes
to pay insufficient attention
to be floating
or a
you
if
and have a
captive subject, such as your cat,
is
are painting a cat lying on a windowsill
output was
inspired by his native Suffolk.
want to
while
Constable's artistic
commonest animal
to
1
himself, his wife
much of John 776- 837)
deeply familiar with.
grazing.
still
One
for
of the
the painting or the picture disjointed
and
unreal.
will
look
THE ANIMAL
WORLD
Step-by-step: Horse's
Head
washes
2
painted wet-on-dry complete the
modeling of the head, and are
left
to dry before the fine hairs over the jaw are
suggested with dry brush work.
i
•
I
blue-gray over a
I
pencil sketch create the
;ht
light
and shade.
u I
3
A pencil
is
then used for added
mane
definition in the
I
4
Wrth any watercotor too much fiddling
I
around can lose the
freshness of the
the dry brush and pencil kept to a
inrtial
washes, so
work has been
minimum
21
SUBJECT
•
Wild Animals Painting wild creatures habitats
in
becoming an
is
their natural
increasingly
specialized branch of art, mainly
because
involves so
it
ABOVE: RING-TAILED LEMUR
by
Michel trained as an
but began to
exhibit paintings
when her book
work decreased. She became a
more
much more than
illustrator,
or less by accident
and
a painter of cat and dog
is
Sally
Michel
illustration wildlife artist
well
known as
portraits.
simply painting. Professional wildlife artists
devote their
lives
to watching
and studying birds and animals field,
in
the
often using sophisticated
equipment such
as powerful binoculars
and cameras with telephoto
However
this
lenses.
does not mean that wild
animals are beyond the reach of the
ordinary
artist.
Wildlife
and butter of these
is
the bread
specialist painters,
often
viewer
more
in
come
quite close to the
country parks, while shier
exotic creatures can be
sketched at zoos.
A
zoo, of course,
not a true habitat for a
monkey, so
if
may have
standard of accuracy, but not
magazines for a suitable
all
those
to paint animals need to be
is
no need, either to choose
inaccessible subjects.
nothing
tiger
is
or
in
you
a forest
to resort to books and
wrong with
setting. There
this
-
after
all,
not everyone has the opportunity to
so constrained.
There
is
lion,
you want to use sketches
for a painting of a tiger
and their patrons often require a high
who want
212
example, are eminently paintable and will
Deer
for
paint the forests of Asia
from
and Africa
firsthand experience.
I
THE ANIMAL
WORLD LEFT
DOG WITH A
STICK
III
by LucyWilhi without waiting
,
have run together ish
front
This
offset
is
by
work on the muzzle and
paws I
(below) the
artist
idy of
an owl
in
uses very loose
f
b<
marks, which not only capture the
e
of the feathers but also
accen'
Movement
qualities
and washes. A
sketc
I
treatment, perhaps with areas of
When we
watch an animal
movement
in
such as a horse galloping,
our eyes take
in
an overall impression
of shape and color but no precise details -
these
generalized
in
become
blurred and
direct ratio to the
paper
left
uncovered,
motion much more
at a fast shutter
impression because
itself
suggests
it.
so try to keep
your work unfussy. applying the paint fluidly
and
letting
your brush follow
the direction of the Alternatively,
pastels
mam
you could
lines.
try watercolor
or crayons, which can provide
an exerting combination of linear
than a
one - the surest way to "freeze" a moving animal is to include too much detail. This is exactly what the camera does: a photograph taken
way of capturing the essence of movement is to choose a technique that in
suggest
highly finished
speed of the animal's movement. The best
will
vividly
speed
gives a false
much human eye c Photographs, though, are enormo
more
it
registers
than the
i
useful for helping
you to gain an
understanding of the way an
moves and there
is
no harm
ai
in tal
snapshots to use as a "sketchbook
combination with direct observation
and on-the-spot
studies.
SUBJECT
Textures
the mind, springing from the widely held belief that watercolor can only
The
fur of an animal
of a bird are
among
or the feathers
most
their
attractive features, but they
do
is
that too
much
versatile one, as can illustrations
attention to
Fine, linear
feathers and,
in
way
a
careful to
that hints at
all
recede into the distance, and
the
in
if
be seen from the
painting fur or
necessary, the paint can
extra body. Another useful
it
technique
is
dry brush, which can be
worked over
objects appear smaller as they
manner.
be thickened with opaque white to give
the body beneath. Perspective makes
fluid
an extremely
brushstrokes are an
way of
can obscure the underlying form and
you must be
is
throughout the book.
excellent
paint textures
a preliminary
wash or
onto white paper while the
straight
same way the brushstrokes you make
perfect
to represent fur must vary
details,
such as whiskers catching the
light, is
scraping back with the point of
a knife,
which gives an
becoming smaller
away from
as the
in size,
form recedes
you.
The other problem is the more technical one of how to represent soft fur
or
stiff,
bristly hair
not a
real
problem
at
all,
line
this
but only
method
for highlighting tiny
infinitely finer
than can be achieved with a brush.
BELOW: YOUNG HIMALAYAN FOX
with an
aqueous medium. Take heart -
is
in
by
Sally
Pastel
Michel
was
build the
214
medium
texture, the animal's "outer covering,"
structure, so
broad and
a
in
the
In fact,
present certain problems.
One
be used
laid
over watercolor washes to
dense texture of the animal's
fur.
FIGURES
AND PORTRAITS
Figures and Portraits The human and that
may
seem an
face and figure can
why
is
be. but
it
is
it
was saved
certainly
acquired enough
impossibly ambitious subject.
end of this book. Ambitious it not impossible, and by now you will have
skill in
for the
handling watercolors to tackle
human
subjects with a degree of confidence.
Proportions of the Figure The key to
successful figure drawing
is
to get the vanous parts of the body
m
their correct proportions. This
easier said than done, since
is
our eyes
some
tend to mislead us into seeing
parts as larger or smaller than they really are.
The hands and
feet, for
example, are frequently drawn too small.
Most
artists
gauge body
proportions by taking the head as their unit of
measurement. Allowing
for slight differences
from one person
to another, the adult
human
figure
measures seven to seven-and-a-half heads from top to bottom. Although
no two people are exactly alike, it is helpful to memorize the proportion of the "ideal" figure and keep these
mind
as
RIGHT
in
you draw.
The rule that the head
body about seven umes
human conforms
is
a
fits
into the
useful one. but
no
absolutely to the norm, so
use your observation along with your
knowledge The greatest vanation the htps
and
is
found
m
shoulders.
215
J
SUBJECT
Drawing or Painting the Head
the eyes, and from here
it
gauge the eyebrow
Sketch a
line.
is
easy to
midway between the eyebrow
When as is
drawing and painting the head,
a head and shoulders portrait,
in
it
important to remember that the
and the base of the chin find
in
line
line
order to
the position of the base of the
nose; then
draw
a line
midway
features occupy a relatively small part
between the base of the nose and the
of the head. The bottom of the eye
chin to find the line of the lower
socket
the mid-point. Beginners
is
make the
often
Finally,
draw
a vertical line
down
center of the head to guide you
features too large,
with the eyes placed too high.
positioning the features
lip.
the
when
on either
side.
Although faces vary widely (and the first
step to successful portraiture
is
being able to pick out individual differences
in
proportions)
you'll find
remember the basic rules. The task of drawing the human head becomes much easier if you it
useful to
break
down
it
portions:
into
manageable
draw an
first,
BELOW: PLACING THE FEATURES A common mistake is to underestimate size
place the eyes too high up.
remember
and
finally
bottom of the eye
sockets.
outline of the
features,
adjust the position of
individual face before you.
The head egg
the shape of the
is
to think of
it
as an
on top of the of the neck. Seen
sitting
cylinder
from the
front,
upright, while
side
way of
easiest
it
is
the egg
is
from the
tilted at
roughly
45 degrees. Having established the shape of
the head, you can position the features, and here the "rule of halves"
is
useful. Lightly
sketch a horizontal
the head;
216
this
line
halfway
down
marks the position of
helpful to
allowing for individual differences
the features according to the
visualizing
It is
that the mid-point of the
head, then sketch guidelines to enable
you roughly to position the
the
of the forehead and top of the head, and
A
>
-
is
head the
FIGURES
AND PORTRAITS
The Head From an Angle One
of the most i
head
of proportion
if
semi-profile, or
forward.
difficult
the head
is
when
things
to apply the "rules"
is
is
seen
in
tipped back or
From the
angles, the eyes,
nose and mouth may appear
compressed together or distorted, because they are seen from a foreshortened viewpoint. Because our
mind
finds
distortions,
it
difficult
to accept these
and therefore
tries
to
recreate the head-on measurements,
the proportions of the head and the TILTING THE
positioning of the features have a
tendency to go
av.
Drawing the head from an angle involves careful observation and some
As you draw, use tool to measure the
precise measuring.
your pencil as a
distance between,
HEAD
Whe'
say.
in
perspective. To place the features con-
see the head as an egg shape and draw
some
light
guidelines
around
it,
as shown
m
p
the nose and
the back of the ear and then compare that with the distance from. say.
eyebrow to
chin.
By constar
measuring and comparing
you should
in this
way
arrive at an accu'
result.
217
SUBJECT i I
Skin Tones
LIGHT SKINS
DARK SKINS
The
Again, look for the predominant
is
best approach to painting skin
to establish the overall color and
make
color,
which may be yellow brown,
reddish brown, or even bluish
a suitable mixture. This can
then be lightened for highlights by
brown. There are often
adding water, and darkened for
considerable color variations
shadows
between the highlights and the shadow areas, but these will always
using touches of blue or
green. There
is
no recipe
colors, as they vary so
for
most
light skins
for skin
much, but
be
related.
If
you mix the main
color and add darker colors for the
yellow-ocher
will be among the colors Here are some suggestions
and red
shadows, you won't go wrong.
used.
you use too many
If
different colors
for "basic skin colors." Payne's gray
you may create a disjointed
or raw umber can be used for
The color combinations shown
shadows.
provide a starting point. Vindian or indigo can
effect.
be used for shadows.
Cobalt blue Yellow ocher
Alizarin
Cadmium
Lemon Yellow ocher
red
Payne's gray
Raw umber
yellow
Cadmium
red
French ultramarine
218
crimson
Sap green
Cadmium red
?
FIGURES
AND PORTRAITS
Step-by-step: Painting Hair
I
2
hard-edged effect so he I
After making a
light
preliminary
pencil drawing, broad, loose
I I
washes are
laid
over the whole
of the hair These are allowed to dry
before cnsper definition
In
the
is
final
stage the effect
of the masking fluid
can be
clearly seen,
giving the effect of
"negative" brushstrokes in
the area above the
forehead.
added.
distinct
The works wet-on-dry to
edges to each wash.
uses masking
fluid
clearer highlights.
He
give also
to reserve the
Glossary Alia
prima A
direct
method of
painting
in
which an image is developed in wet pigment without reliance on preliminary drawing or
Grain The
or drawing. Paper grain
form
Ground The
in
or drawing.
The techniques of roughly
of a painting or drawing
in
terms of mass
Paint,
In
can be achieved by adding
this
A
an effect achieved by
is
a pure state, without blending
or mixing them, and dragging paint of a
stiff
support so that previous
new
be seen through the
trees.
is
It
used as the
pastels.
Half tones
layers can
A
range of tones or colors can identify between
artist
extremes of
A technique
Hatching tone with
and dark.
light
of creating areas of
direction.
Hue This
Complementary
colors There are three basic pairs of complementary colors, each consisting of one primary and one secondary color
found on a scale ranging through the
Composition The arrangement
so that a heavy texture
in
of various
Cross hatching
A technique
etc.
of laying an
area of tone by building up a mass of cross strokes rather than with a
criss-
method of
Dry brush A means soft,
spectrum, that
of applying watercolor
feathery effect by working
lightly
dampened with
color The hairs
may be
red, orange, yellow, green,
is
of applying paint thickly is
knife marks.
body than watercolor
is
technique and impasto
discernible, created
Gouache, having more suitable for this
is
commonly used
painting.
Masking A technique protecting
it
in
of retaining the color
parts of a painting by
with tape or masking
fluid
while
colors are applied over and around the areas.
Medium This term
is
may
used
in
two
distinct
contexts
Foreshortening The
material with which a painting or drawing
effect of perspective
a single object or figure,
in
which a form
appears considerably altered from proportions as
it
recedes from the
its
normal
artist's
Fresco
A
color
applied to a ground of fresh plaster
is
technique of painting
Gouache A
water-based paint
in
which
made
opaque by mixing white with the pigments. Gouache can be used, like watercolor to lay thin washes of paint but because of its
in art.
It
refer to the actual is
executed, for example, gouache, watercolor,
or
pencil.
It
extend or
gum
viewpoint.
:1
in oil
spread between finger and thumb.
in
r
violet.
A technique
Impasto
masked
over the surface with a brush merely
used for a pure color
is
and
blue, indigo,
of the ground
solid shading.
with a
term
by brush or
a painting or drawing, for
example, mass, color tone, contour
one
strokes following
fine, parallel
application.
elements
is
binder for watercolor, gouache, and soft
which an
quality across the
surface preparation of a
tinted
Broken color This in
in
ground may be laid on white paper to tone down its brilliance. arabic A water soluble gum made executed.
white to eliminate transparency. using colors
a fine or coarse
manufacture.
from the sap of acacia
such as gouache, which
has opacity and therefore covering power.
watercolor
may have
depending upon the methods used
Gum
and tone or color
Body color
L
thickly.
support on which a painting or drawing
out the forms and overall composition
laying
its
colors
light
texture of a support for painting
Binder A medium which can be mixed with powder pigment to maintain the color in a suitable for painting
work
possible to
is
it
over dark and apply the paint
underpainting.
Blocking
220
opacity
or
Not A
also refers to liquids used to
alter
the viscosity of
paint,
such as
oil.
finish in high quality
papers which
falls
watercolor
between the smooth
surface of hot pressed and the heavy texture
of rough paper
Ochers iron
in
Earth colors derived from oxide of
a range
from yellow to orange-red.
•J
Opacity
which covers
rt
or oL
Support
or previous layers of olor
iple.
or dish on whu
Palette lays
board, or
I
out paint for thinning and mixing. This of wood, n
(
Tone
.or
I
between
medium made by binding powder pigment with a little gum and rolling Pastel
g
Tooth A degree •
ice
the mixture into stick form.
Perspective
which create
impression of depth, recession
on
Pigment A
a
flat
and
solidity
Transparency A quality of paint which mean ns or modifies the color
mg
surface.
substance which provides color
and may be mixed with a binder to produce
Primary colors
in
which allows a painting or drawing
the surface on which
si
gam
color mixtures
through successive layers of
A
int<
thinly
washed
technique of painting
colors are red. blue, and yellow. They cannot
which the basic forms and tonal values of
be formed by mixtures of any other but m theory can be used in v u
the composition are
proportions to create
Resist
is
a
all
colors,
il
is
Value The character of
other hues.
m
making
soft
Wash fine
is
the
dragged or
lightly
in
scrubbed
the
Secondary colors These
blue).
paint
loose, mottled texture by drawing the
across the bristles of a
stiff
brush
loaded with wet paint so the color "
or tc
^
ibic.
'•
-fistic
technique
and purple (red and
Spattering A method of spreading
onto Stippling
diluen
requiring
on
-
'he
of watercolor as
is
flicked
the painting
build
compared
is
to lay
in light
tones
first
and
>v
Watermark
name
.ymbol or
manufacturer incorporated
in
of the
sheets of
quality watercolor pat
when the Wet-in-wot
i
;
up to
th<
"chnique of applying color of small dots,
made
ending and fus»on of colors.
.
the point of a drawing instrument or fine
'
wet over dry so
Study
•
watercolor and ink
wrth other types of paint and the tradrtional
orange (red and yellow), green
thumb
make the
Transpar
Paint cc
:
medium or
are the three
colors formed by mi>
i
thinly.
merit
color which modifies the tones underrv
blue),
quality of
Watercolor boun
I
vital
which
across a surface to form an area of broken
colors;
light.
application of paint or ink
washes whereas gouache washes are semi
nnting technique
paint
An
color spread quickly and is
u tists.
opaque
a color as assessed
considerably diluted with water to
brushes of
vhich are usually favored by
Scumbling
roughly before
>m dark to
hair of this small, weasel-like
used
laid in
in
color are elaborated.
local
method of combining 'Color pain'
Sable The
and
details
of
it
Watercolc
it.
medium and
Underpainting
painting the pi
and whfl
•
to adhere to the support
ii
terns of representation in ting
black
of tc
!
•
often prefer to lay
v,
of overlapping "SSKXi of a
1e as
structured form.
intended to record particular aspects of a subject.
72
4 9 2 4 2
1
1
1
8
1
1
1
1
1
1
1
1
97
1
6
1
L
Index A A
Courtyard
Spain
in
Street in Milan
I
1
145
48-49 abstraction, range of 50-5 acrylic 34-35 aerial perspective 108-109 alternative techniques 66-74 Amberley and Kithurst Hill, 1
1
Sussex
step 203
204-205 202
painting buildings
E enlarging a grid
Carbis Bay, St Ives
changing
Church 1
by step 207
212 55
architectural subjects see buildings floral I
light
Hill,
1
1
8
composition and stylization
1
88
Winchmore
group
1
59
in
1
82
atmosphere, creating
I
wash 26
foundations 32-33
color effects 50
found groups 156
colors 15
G 3
I
27
I
muted
58
glossary
basket texture, step-by-step
65 Fishing Boat, Suffolk
birds
I
figure
I
36
92-93 painting 94 95
1
I
1
boards, palettes, and other
creating a center of interest
equipment 22-3 body color 50
creating
Bright
Garden Bouquet
98-99
1
64
H 1
hard and soft edges 30
Hazy Sun and Damp Boulby
Down
1
1
Mist.
7
head, the
composition 84- 26
mood
I
74
hair step-by-step 2
56 cool tinted ground 53 composition 66
69
of Reichenbach
Falls
arabic
3
still-life
Cornish Farm
colors 54
222
Great
gum
Composition 150
Wine 92
blending 54-55
blots
34
30
I
pigments
a landscape
208-209
I
composing a
Estuary 100
35
37
temperature
warm
96-97
1
35
relationships
balance and counterbalance
Black Grapes and
I
I
38-39 220-22 gouache 34-35 gourds 76 graduated wash 26 granulated wash 203 glazing
mixing 132-1 33 mixtures
I
175
flat
mixing secondary
B
37
color changes 8
intense secondaries
1
Autumn atArgenteuil 141
1
hills
color and composition 82-83
bias 134
3
and
values
choosing
Beached
Fen Cottage fields five
At the Water's Edge 84
1
30
Cloud Study 9
combinations
backruns 3
Hill
composition 90-9
assessing the values 103
backgrounds
142
colors as expression 143
cloud formations clouds
1
apple, step-by-step
I
Churchyard 77
2 3
wild animals
86
expressionist approaches
I
squirrel, step
easels 2
57
1
1
horse's head, step by step
palette
213
III
1
linear perspective 199
Cat on a Chair
arranging a
176
hills
with a Stick
210 Dons Tysterman 46 drawing 40-4 dry brush 44-45
inside looking out
200-20
210
textures 2
Dog
domestic and farm animals
By the Cottage Door
domestic and farm animals
artist's
distant
granulated wash, step-by-
1
1
21
Dismasted Bng, the 9
buildings
simple perspective
anatomy 2 5-2 Anemones 166 animal world 206-2 birds 208-209
movement
1
brushes 20
I
75
I
60- 6
1
brush techniques 42-43
44
abstract imagery, sources of
abstraction, pure
cyclamen, step-by-step
brush marks 43
I
from nature
abstracting
broken color 56 brush drawing 42
26
I
drawing or painting 2 from an angle 2 Headland 198
1
1
high-key paintings highlights
I
15-1 16
57
step-by-step 58 I
12-1 13
Crown Imperial 167
history,
the 10-12
horse's head, step-by-step 2
I
^
Hotel Vw&kx Orv^fo br does it g< n fhe
99
1
ih
70
68
199
Mdhdbm
od
m
I
I
M
•Husion of
depth 107 •nde* 222 224 binder 88
Inters •ntenors.
hanges80
mood m
"*h Desk and
2 19
59
g
Owr
prop
60
I
' of the
Ghbe
Theatre 5
217
87
•"troduction 7
218
the 8 9
17
J
/"Wee On**. Modern H*s
i'xJ /
7
«d
fog 193
media
effect
ke>ing your values
I
Lakeland Tree
I
74
70
1
18'
jn 150 151 85 responding to the mo-ie
75
Late Afternoon 107
1
light
77 olor and d olor and p<
Landscape near LesBcx.landscapes
of
painting gourds 76
H
L
Londxope
7'
78
mood
112
126
141
7
d«tant hJK, step-by-step 176 fields and Nh 75 ***$ for outdoor pamtme
g Heodlan-'
mov
213
1
172
173
mood m 20 1
/88
muted
colors
1
37
121
morning headUnd. step-bystep 178 179 socles and mountains 77 trees and fokage 74 laying washes 26
N
gte
scumt
1
shadows. us^g |?6
1
Le 6ougow»*ei, liberty Waterlog.
85
outdc
8
Wtmgou: ctouds 183
18
snow
step-by step 63 Light
Comng
on
fa
Plans
195
140 I
and weather changnghght 188
fcght
suggested 16
cfoud formations 82 not sun. step-by step 1
183
-rnonand
spon
>:
th
68
p
170 pigm. mist
and fog 193 P*nt«g ctouds 180
181
P*nt»»g skies 184 185
P*nt'"g shadows snow scenes
1
composition 166 •ndoor arranger
189
9-«
***** 23 >p
159
223
94
1
stippling
3
5
1
47
The White House, Chelsea
Stones of Avebury
I
Storm from the Sea stretching paper
I
Tillmgbourne
1
Downs 90
1
1
29
74
I
U
wild animals
underpainting 36-37
Women
and Buildings 94 Taureau Rouge 43 techniques 24-8
V
textures 27, 64, 2
value sketches
1
1
transparency, of paint
Tree
1
1
trees and foliage
a Tumbler 95
1
light
I
in
1
water
on water 96 moving water 97 97- 98 still water Waterhhes 168 wax resist 73 Welsh Cliffs 79 wet-m-wet 28-29
28
toned ground 5 how it works 52
Nine Springs 187
Sunset, South
Tall
08
1
tonal values 100
subject 153
Sweet Peas
1
Watching Gulls
Winter
Valley.
tinting chart
I
W wash-off 72
thumbnail sketches 89
I
Study of Cirrhus Clouds, style 139
Sunrise.
70
I
themes 157
72
4
212
Upside
Down 142
1
1
The Auvergne 120 The Clearing
I
73.
02 wash 27
variegated 1
95
Young Himalayan Fox 2
1
View Through the Valley
1
1
09
making a 88 viewpoint, choosing the best
The Pass of Ryvoan 2 The River Guadalupe 96
viewfinder,
1
1
The Tempest 184
I
10-1
I
I
Picture Credits The
material
in
this
book
previously appeared
in:
Watercolor Techniques Source Book;The Complete Watercolor Artist; Watercolor Step-by-Step;The Encyclopedia of Watercolor Landscape Techniques;The Techniques; The Complete Drawing
and
Artist's
Painting Course; The
Manual;
Complete
Practical Watercolor Artist; Painting in
Watercolor;
The Encyclopedia of Watercolor Techniques; The Illustrated Book of Watercolor Techniques; The Illustrated Book of Painting Techniques; Watercolor School; Light How to See It, How To Paint It; Watercolor Painter's Question
224
& Answer
N
Book.
I
L
The
J
essential guide to creating
beautiful watercolor paintings
Includes practical hints and
medium, including
tips,
style, subject,
covering
all
aspects of this
color composition, and materials
Features step-by-step demonstrations of both traditional and
experimental techniques showing
how
to achieve a wide variety
of effects
A perfect introduction for beginners, and a source of inspiration for seasoned lovers of the
medium ISBN 0-7641-5619-5 5
ISBN 0-7641-5619-5
BARRON'S
780764M56199 ll
27011 05619 ll
l
" 2
16£>5>
11
$16.95 Canada $24.50 www.barronseduc.com
J
