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Watercolor Painting
Watercolor Painting
Watercolor Painting
Watercolor
essentials
Mediapedia
By Bi rg i t Oc o n n o r
Watercolor
W
This article is excerpted from Watercolor Essentials 2009 by artist Birgit OConnor (www.
birgitoconnor.com) and is used with permission of North Light Books, an imprint of F+W Media
Inc. Visit www.northlightshop.com or your local bookseller, or call 800/448-0915 to obtain a
copy. OConnor is also the author of Watercolor in Motion (North Light Books, 2008). The selftaught artist has shown her luminous paintings all around the world.
Paints
Watercolor is available in different grades and a variety of forms.
Experiment to find out what you like
and what works in your paintings.
watercolor essentials
Palettes
Make sure that you have a large enough
palette with a large mixing surface so that
you have room to mix a couple of different
combinations at a time.
There are several ways to set up your palette.
You can arrange your colors in groupings of lights
and darks or warm and cool colors, or you can create a color wheel so that complementary colors
are opposite each other.
watercolor essentials
Brushes
Watercolor brushes can be expensive, but a few good brushes
can last almost a lifetime if you take care of them. The most
common brush types are the following:
watercolor essentials
Paper
There is a wide variety of fine art paper available; each paper reacts with
watercolor paint differently (see examples below, at left).
Hot-Pressed
Cold-Pressed
Rough
The hot-pressed sheet dries in the mold and then is run through heated
rollers. This paper is smooth, hard and not very absorbent. Hot-pressed
paper is ideal for drybrush techniques. It also works well for loose paintings where backruns and blossoming can be used to your advantage.
The cold-pressed sheet is removed from the mold before the paper is quite
dry, then pressed without heat. Its semi-smooth and easily workable,
absorbing water and color well. Its the most commonly used surface for
watercolor.
The rough sheet is allowed to air-dry in the mold without any smoothing or pressing. Color skips across the very rough, absorbent surface and
settles in the hollows, creating interesting effects. Rough paper is wonderful for bold work.
In the scale for paper weights, the higher the number, the thicker and stiffer
the paper is. Lighter-weight papers such as a 90-lb or 140-lb tend to buckle
more and accept less water and handling. Heavier papers such as 300-lb are
able to accept more water, lifting, reworking and general handling. Standard
watercolor paper weights include 90-lb, 140-lb and 300-lb, with some new additions now available in 260-lb and 400-lb weights.
Paper is sold in various formats. Blocks are pads of mold-made, 100-percent
cotton paper with sealed adhesive edges. Blocks come in a variety of sizes and
eliminate the need for stretching.
Sheets are available in various sizes. A standard full
sheet is 22x30, a single elephant is 253/4x40, a double
elephant is 30x40 and a triple elephant is 40x60.
Ten-yard rolls of 441/2-inch paper are a very economical way to purchase paper. You can cut any length you
want. To remove the memory of the curl, cut your paper
to the desired length and soak it in a tub; then hang it on a
line with clothespins, or mount it to a board with staples.
Sizing is a glaze applied to paper to make it more resistant to moisture absorption. Paper with both internal and
external sizing is best.
Traditionally in preparing the paper, most watercolor
artists soak and stretch their paper before painting. This
prevents buckling and allows you to use lighter-weight
papers. Stretching paper removes the surface sizing, which
then changes the flow of color for the initial wash. I prefer
to work with heavier, 300-lb paper because no preparation
(soaking or stretching) is necessary. I do not attach my
paper to boards because I want my paper to be flexible and
to bend if necessary.
Watercolor
essentials
Keys to
Luminous
Color
M
In the photo that inspired Makin OJ (watercolor on paper, 24x18), light cascaded over the
orange halves and seemed to set them rolling across the paper. I was excited by the way
the crisp morning sunlight fell, from left to right, boldly on the first orange, obliquely on the
next, with the last cast in shadow and lit from within by light transmitted through the fruit
itself. I was intrigued by the challenge to capture the luminous cellular quality of the juicy
cut oranges and their mottled rinds in a dynamic, high-key painting.
watercolor essentials
To begin Squeeze Me
First! (watercolor on
paper, 20x17), which is
bathed in bright sunlight,
I covered the paper with
a warm yellow wash
with the exception of
the white highlights
I wanted to preserve.
Next, I laid in a wash on
the central orange that
approximated its overall
color. To play off that
spot of color, I laid in a
color note for the cast
shadow to its right, then
a note for the aqua color
next to that, the yellowgreen next to that, and
so on around the piece.
artiststoolkit
Paper: I use Arches 140-lb. cold-pressed, typically in block sizes 14x20 and 18x24.
When the work calls for a unique size, I turn to Arches cold-pressed watercolor
board, which can be cut to whatever size I need and allows me to start painting
immediately, no stretching required.
Brushes: I love my Escoda Reserva Series 1212 Kolinsky-Tajmyr sable round brushes,
sizes 8 to 16. I also have a full quiver of Winsor & Newton Cotman synthetic rounds
that I use for down-and-dirty techniques, such as scrubbing and lifting, to which
I wouldnt subject my delicate kolinsky sables.
Paints: My first choice is Winsor & Newton Artists Water Colour, but Daniel Smiths
quinacridones are also a staple on my palette. I use Aquacover by Creative Mark
when I need to recapture a highlight that Ive lost.
watercolor essentials
As I watched my
wife twist and
crush oranges over
the ribbed dome
of the juicer for our
fresh-squeezed
orange juice one
morning, a lightning
bolt of inspiration
struck. What was
once breakfast
was transformed
into still life. With
camera in hand,
I dragged everything outside into
the brilliant morning sun. Bathed
in light, the juicer
turned magical.
Three of my best
watercolors, including Fresh Squeezed
(watercolor on
paper, 17x15), came
from this shoot.
I often create a
quick, loose color
study before I delve
into a painting. In
this study for Fresh
Squeezed (far left),
I worked out the
composition and
tested many different color mixes
before I settled on
this palette.
A spread from my
color notes (left)
offers a sneak
peek into my colormixing process.
watercolor essentials
Preserving Highlights
Generally speaking, Im careful with my whites.
I paint around them if I can, use masking fluid
if I cant and, in rare cases, I use opaque white
paint to reclaim highlights.
Although I
relish the often
unnoticed middle
and dark tones in
paintings such as
Sliced Citrus With
Calamondin
(watercolor on
paper, 14x20), for
me, color is all
there is.
Despite the variety involved, mixing colors for the bright, juicy
fruit came fairly easily for this painting.
Doing a color study such as the one above, I know pretty quickly
if the composition is a winner and if the colors are going to be a
challenge or not.
watercolor essentials
seethelight:3tips
1. Natural light appears different
every moment of the day. Morning
light can be bright but cool. Midday
light can be warm and hazy. Evening
light, which has traveled through the
days heated atmosphere, can cast
rosy hues.
2. Sunlight is typically warm. Watercolorists often use the white of the
paper to depict sunlight, when, in
fact, the white of the paper can
appear quite cool.
3. Its the relationship between
colors that speaks the most about
light and shadow. If you see shadows at all, its because they have
light in them. Where does this light
come from? Is the shadow reflecting the blue sky? Is it picking up
color from nearby objects? Resist
the tendency to go to your darkest
dark too quickly; leave something
in reserve. Indeed, youd be hardpressed to find any really dark notes
in my paintings.
keepcolorsfresh:3tips
1. Steer clear of thin, diluted color. Take advantage of
the full range of color intensity available to you.
2. Start your painting by mixing a bright color. Apply the
color strong but not at full strength so you have some
wiggle room. Work in other colors around the bright and
see how they influence one another: In comparison, one
color will be dominant and one subordinate; one warmer
and one cooler. It will become apparent which color needs
to be more intense and which less.
3. Once youre satisfied with your bright, leave it alone.
Let it be the anchor to which you key your remaining colors.
Adjust your middle and darker notes accordingly.
watercolor essentials
I began by working out the main blue and green mixes that would dominate
the painting; most of the colors I used sprang from these mixes or incorporated
one or the other in some way.
By the time I finished the painting, Id filled five 11x15-inch sheets of my notebook
with color notes like the one above, which also included a small color study.
colornotes
watercolor essentials
I continued in the
same manner, working to cover the entire
painting with color. Here
I focused primarily on
the values of my blues,
establishing the pattern
of lights and darks.
Watercolor
essentials
A Symbiotic Trio
I
Harmonize Shape,
Color and Movement
By L i n da k e m p
watercolor essentials
before
youbegin
Shape-making strategy:
Think round. Curves,
curls, circles and ovals
work together to unify
shape and movement.
toolkit
Surface: 140-lb. coldpressed or hot-pressed
watercolor paper, 5x7
inches
Paints: cadmium orange,
cadmium red deep, cobalt
turquoise, permanent
yellow-orange
watercolor essentials
3
7
Continue building
watercolor essentials
9
11
10
10
Scatter stones
I follow the same basic strategy for building in the negative space
to add more pebbles. Im not painting the pebbles; Im painting around
them. I work slowly and let the paper
dry between steps.
11
watercolor essentials
12
12
Eyes and the fins bony spines can be added, but instead
of painting them in, I paint around them.
A United Front
The combination of color, shape and movement produces a calming,
quiet effect in the completed painting (below). The blended complementary hues, repetitive shapes of the pebbles and the semicircular
positioning of the fish add up to a harmonious result.
Color, shape and movementas well as the bright shot of turquoise in the
center of the paintingdraw the viewers eye into The Love DanceGolden Koi
(below; watercolor on paper, 5x7).
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