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Creating Textures.

Watercolor strands of hair.

Water tumbling over

lg reflections in glass

The

or metal

rocks,

textures of

lements are what make your watercolor igs

come

alive.

They make

Id "step right into" the

the viewer feel as

if

scenes you've created

how do you create these textures? How do you muddy mess instead? Expert

:reating a olorist :al,

Cathy Johnson shows you,

step-by-step manner,

how

in

her

to create 83

nt textures, including:

and vegetables

ruits

i

iair

s&

[lass

netal

abric

lowers ur kin i

variety of other textures

h of these textures

— and

their

many

variations

lemonstrated by Johnson's beautiful watercolor

with helpful captions to

es, all

ques.

When

applied to your

illustrate specific

own

paintings,

techniques will help you accurately recreate the es

you

see,

allowing you to create lovely

:olor paintings that almost

seem

to "breathe."

:hy Johnson's expertise as an artist will

dw

to

expand your own

er a world of textures e in

your paintings.

artistic vision

—

a

show and

world you can then

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Creating Textures

Watercohr A guide to

painting

83 textures jrom grass to tree

bark

to

glass

to fur.

CATHY JOHNSON

Cincinnati,

Ohio

mating Textures in Watcrcolor. Copyright

No

® 1992 by Cathy Johnson Manufactured

in

China

book may be reproduced in any form or by any electronic mechanical means including information storage and retrieval systems without permission in rights reserved.

ting

from the publisher, except by a reviewer, by North Light Books, an imprint of

jlished

lcinnati,

Ohio 45207. (800) 289-0963.

who may

F&W

quote bnef passages in a review,

Publications, Inc., 1507

Dana Avenue,

First edition.

North Light Books are available from your

ler fine

m

part of this

local bookstore, art

supply store or direct

the publisher.

00

01

jrary of

99

98

11

10

Congress Cataloging

9

8

7

in Publication

Data

inson, Cathy (Cathy A.)

Creating textures in watercolor ark to fur p.

/

Cathy Johnson.

—

:

a guide to painting

83 textures from grass

to glass to tree

1st ed.

cm.

Includes index.

ISBN 0-89134-417-9 (hrdcvr) 1.

Watercolor painting

—Technique. 2

Texture (An)

—Technique.

Htle

52422 J64

1992

1.42'2—dc20

ited

by Greg Albert and Rachel Wolf

signed by Sandy Conopeotis

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DEDICATION To my

whose

intelligent questions

have helped

to

my

students,

to

shape

Greg

supportive

book;

Albert,

and meticulous

and understanding

and

this

editor;

to Harris,

whose presence makes

it

all possible.

TABLE OF CONTENTS troduction ...

Chapter Five

1

Chapter Eight

Tree Bark lapter

One

•

aper Surfaces...

From

a Distance

Shagbark, Birch

•

•

Close

& Weeds

Grasses

...35

Up • Cottonwood,

Oak, Sycamore, Cedar

lough • Cold Press • Hot Press or Plate

•Using a Fan Brush

•

Grass

•

57

Grass — Two Versions

•Distant Grass •Close-up Textures Tall

...

"Weeds and

Hay or Straw

Chapter Six hapter

Two

he Four S's...n >alt •

Scraping

•

Sponges

•

Chapter Nine

Earth, Pebbles, Sand... 41 •Bare Earth

Spatter

•

Weathered

Rocky Earth or Gravel

#

Sandy-to-

•Tree Stump

•

Wood

Tree Roots

•

...

65

Weathered Fencing

Pebbly Beach "Eroded Ground "Furrows in a Field

•Old Siding 'Architectural Forms

Chapter Seven

Chapter Ten

Rocks

Lichen

hapter Three

Vater Textures Still,

Water

Reflective

Choppy Water

or

•

...u

Moving

Waves

•

Reflections

•From

Whitewater

a Distance 'Boulders or Rocks "Volcanic

Deposits

Waterfall

...49

•

Sandstone

•

Limestone

•

Rock Walls or

Buildings

hapter Four

^oliage Scumbling

•

...25

Wet-in-wet

•

Natural Sponge

nrubs 'Winter to Early Spring

Deciduous Trees

•

•

Summer

•

to Fall

Evergreens

www.ebook777.com

& Moss

...73

•Lichen from a Distance 'Lichen

from a Distance

•

Moss Close Up

Up

Close

#

Moss

Chapter Eleven

Flowers

...

79

•Shiny or Matte Surfaces •Rough, Complex

Shapes and Textured Petals Overall Texture

•

•

Chapter Fourteen

Chapter Eighteen

Hair...

Miscellany ...125

•Straight Hair

Flowers with an

•

101

'Waves

in Hair

"Curly Hair

Facial Hair

— Smooth

.85

Skin Tones Textures ... 107

•

•Smooth, Young Skin • Weathered Skin »From a

Other Lusterless Fruits

Distance and

Shiny-to-lusterless

Up

Close

•

Miscellaneous Hints

•

Desert Cactus

Chapter Sixteen

& Metal...

Chapter Thirteen

Glass

Fur...

•Shiny Glass "Cut or Molded Glass "Metal —

91

•Wet-in-wet •Drybrush •From a Distance

Up

Dark, Glossy Fur

•

Fur Patterns

•

•

Fake Fur

•

Isle •

Polished •Metal

— Tarnished

and Textured

Rough Fur or Hair Chapter Seventeen

Rust... •From

119

a Distance "Close

hinges, etc.

"Old

Up 'Aging Metal — tools,

Cars, Tractors, etc.

•

Fabrics

—

— Fungi,

Feathers

Polished

Wood

Index

.

.

.

136

•

Forest

Domestic Textures —

Curtains, Stucco, Wallpaper

Vegetables •Varieties of Fruit Shapes and Shines

Close

and Aran

Denim "Sweater

Natural Textures — Scales and Seashells

Floor

•Apples and Other Shiny Fruits 'Bananas and

•

Burlap and

Tulle, Satin "Natural Textures

&

Chapter Twelve

•

— Corduroy,

Herringbone and Plaid "Fancy Fabrics — Lace,

Flowers in a Field

& Vegetables

Fabrics

Knits

Chapter Fifteen

Fruits

•

•

Basketweaves and

/

V

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4

INTRODUCTION Everything has texture — surface characteristics you can

when

the light hits

Think of

it.

tree bark,

rough

feel

or that affect the

unique texture that contributes something essential

smooth or ridged

subject ring true

There are those

by believably rendering

It's

instruction.

It

who

say watercolor

exciting, all right,

is

spontaneous

how

to

wing

it

that

tell

is

one of the best keys

It isn't

rough or shiny,

How does

paint

And what

first to

attracted

to

— you

it

first

can be,

call

if

"happy

gliding without proper

don't jump off a is

much

the light hit your subject?

in the

it

without crashing.

enhance or

get the effect you're after?

you

so

produce what we

hang

as

—and

cliff

Is it

without a

the same.

to rendering surface texture, followed

you about what you see? Does

And what should you should you go?

at times!

in the basics. Capturing textures in watercolor

dose of (right-brain) thinking.

What does

appeal of your work.

soft or hard,

effects that

Like learning to hang glide, watercolor takes practice

Careful observation

tactile

through and planning ahead

tricky— impossible,

but almost as dangerous

takes practice to learn

good grounding

a

after.

are only shooting for those exciting,

accidents."

— they have

feature

to their identity.

surfaces. It's simply a matter of thinking

capture the effect you're

you

common

capture these textures in watercolor to enhance the

You can make each

thing looks

grasses, polished glass, a baby's cheek, the

glossy flanks of a thoroughbred horse. All these things share a

You can

way a

by

a

good

oblique or straight on?

flatten surface characteristics?

What comes second? How

far

place?

necessary to paint every hair on a kitten to capture the

effect

of soft

fur,

or to capture

every light-struck detail of a cut-glass vase; these techniques are a sort of shorthand you can carry as far as I

you

like.

(However,

prefer the simpler approach,

if

you

are into photorealism,

and most of the examples

in this

you can "get there from here.")

book will

reflect that simplicity.

book includes techniques

This

that

depend heavily on the paper you choose; rough paper

reacts quite differently than hot-press or plate,

leam

to

use

to

it

your advantage. Chapter

and

if

you

are ready for that difference

One will lead you through

you can

the basics of paper surfaces.

Other basics depend on brushwork — drybrush, wet-in-wet, wet-onto-dry and vice

Watch

for

approach Still

Tricks

examples of these brush-handling techniques throughout to

choose with a

and Techniques, but

your needs;

I

and

seldom use

you hints on which

specific subject.

other techniques are flashier —

scraping, sponges

salt,

to give

versa.

for the spatter.

salt

1

purposes of

Some

number

covered a

are

book

this

more

of these in

I've distilled

my

book, Watercolor

them

to the four S's:

useful than others, depending

anymore but couldn't

live

without

on you and your

spatter. You'll find

own

favorites to achieve the effects you're after.

The body of the book Not,

mind you,

specific

a "Here's

examples

the surface.

I've

is

more

basic, a simple step-by-step, show-you-how-you-can-do-it.

how it's done"

chosen aren't

Even though I may be

approach, because everybody works differently.

for you, skip

talking about

them and

but think

it

would work

Most of the examples or slighdy

in this

for

something

you on moss

instead,

book are step-by-step.

I'll

If

you

wash once

the

first is

Look beyond

like the texture I've

change the color and go

suggest an underwash

more complex — then suggest ways you might manipulate

or suggest a secondary

else.

the

wash

achieved

for

it.

— either simple

to create texture

dry to layer on the texture. Final details add the

spark needed to complete your subject, and you're through. In most cases, you'll

let

the

dry thoroughly between steps — and that's what makes this approach so accessible and so simpler (and

more

predictable) than

many

the

smooth, shiny apples, the same basic technique

applies to pears or eggplant— to any shiny organic subject. for rust

try

If

watercolor techniques.

It

www.ebook777.com

wash

much

takes patience to let the

wash

dry, or a

good

worth

it.

Your

technique: there's nothing flashy about

it.

It's

hair dryer,

but the

effects are well

frustration level

is

almost

guaranteed to drop. This

is

new

not a

more

of watercolor, from a century or

ago.

It's

the traditional English style

learning to control a difficult

medium

so that

next time you want to jump on that hang glider and run for the edge, you'll have the knowledge

and the This

skill to

book

do

is

it.

Enjoy the

ride; the

view

is great.

intended to be accessible and easy to use,

wide

to allow

some

of these samples in

you

to see what's

workbook. The pages open

going on more easily and to paint along

if

you

like. I've

used

my workshop classes for years, and my students have enjoyed copying

them. Usually they say, "Tell useful as they have.

like a

me

this is

your next book!" Well,

it is,

and

I

hope you

find

it

as

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Chapter One

PAPER

RFACES

U

S

It's

hard to believe that the surface you choose can have such an

but

it

pH

will

does.

Choose your paper carefully

not only ensure your work will

nothing

like trying to fight a nasty,

to

make your

last

but

will

task easier.

on

effect

the texture you're depicting,

A good-quality rag paper with a neutral

make your working

cheap paper that wants to warp up

as pleasant as possible. There's

like the

Appalachians

at the first

touch of a wet brush.

To

that end,

buy

the heaviest paper

lightweight to use without stretching

but

will usually flatten

back out as

on watercolor board. Of course, good-quality paper

mounted on

it

you can

it first),

140

dries), or

afford.

good compromise

lb. (a

300

in

90

(too

lb.

some when wet

that will curl

a heavyweight paper that's almost like painting

lb.,

that's a nice idea, too,

a cardboard

Most watercolor paper comes

if

you can

afford

it.

backing— is extremely hardy;

Most watercolor board —

it'll

take about any kind of

punishment, including scrubbing out, scraping or erasing. Surface characteristics vary from brand to brand; get to

what

to expect

know

from them. Rough paper from one company may seem smooth

manufacturer's rough for a few years; another brand of hot-press like cold-press

compared

from one of the Rough.

and

No

it is

on

almost as

textures,

Tide,

Maine 15" x 22"

Get your

feet

if it

a

like a relief

that catch easier to

map

averages out. But

thank you.

to

to

like

you

and

after

have a

pad of various papers or a

it

will

you'll

know

using another

bit of tooth,

set of loose

more

samples

have certain characteristics, with tiny

the manufacturing process wherein paper pulp

it is

texture.

may seem

you

wet along with the paper.

is

poured out on

hills

a screen to dry.

of mountains, others were obviously mechanically created, but

and hold pigment.

do a

flat

wash — an unblemished,

the smoother cold-press or hot-press.

mandates the

Incoming

by

bumps

Oddly enough, than

Shop around; buy

matter what brand of rough you choose,

papers are almost

these tiny

it is

to others.

larger suppliers.

valleys created

Some

the papers

The pigment

when you drybrush

For that reason,

1

featureless expanse

settles

— on rough paper

more or less evenly

in the valleys,

over that smooth wash, the paper surface

usually choose cold-press or hot-press;

I

like to

itself

make my own

Cold-Press. This

paper

is

weighted

depending on the manufacturer and

enough

flat

wash

for

down

how much

most purposes Glow often

while allowing you to overlay any texture you Hot-Press or Plate. just like you'd iron

You guessed

your best

can almost see your face I

find

for

I

am

tightening

spontaneous

as

in.

it

shirt. It

Washes

dries,

pressure

in nature like

one

is

smoothing the surface is

applied.

do you

It's

either a

little

or a

lot,

very versatile, making a smooth-

find a truly

flat,

unvarying hue, anyway?)

with a variety of techniques.

made by

pressing the paper with a hot metal surface,

can vary from a rather vellum-like surface to a smoothness you

are unpredictable

up too much,

effects.

— this

it

exerting too

on hot-press paper, but

much

Here, you have to create your

control

own

on

very, very exciting.

my paintings,

textures

if

I

When

get out the hot-press

you want recognizable ones —

otherwise you'll just get puddles that depend for their surface on the paper and the characteristics of the particular pigment you've chosen.

Try samples of each to familiarize yourself with these paper types, and buy as

can afford to find the one you

and 1 had

to

leam

a

don't marry

it.

My

favorite

paper

is

as

you

no longer imported,

whole new approach with much gnashing of teeth.) Pick your paper surface according

to the subject you've

brush

like best. (But

many brands

chosen or

to

your mood; there's a whole world of difference before you ever

to paper.

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Chapter Two

THE FOUR There

S's

any number of ways to manipulate pigments on your paper — plastic wrap or waxed paper

are

impressed into

damp

pigment, stamping, finger painting, inks, Maskoid and rubbing alcohol, to name

narrowed the

just a few. Here, I've

field to

what

I

call

— four

the four S's

simple ways to achieve big

effects.

Salt at

all.

can be tricky to use.

But

it

If

your wash

texture.

Scraping can

It

you achieve

let

it is

skies, the sparkle of

how wet your wash

right angle, the scraping tool bruises the

resulting in dark lines; at a

wet shine.

try

it

is

with caution and

more acute

it's

and how you hold your scraping

wet paper

a

damp one

fibers,

effect

restraint.

controllable but

tool,

to reclaim lights.

you can make

Held almost

at a

making them accept more pigment and

angle, close to the paper, the tool

A narrow tool makes narrow lines;

no

snow, a sandy beach — or just

textures difficult to master in any other way;

wet wash or push the pigment from

dark, fine lines in a

uncontrollable, too dry and there's

has been somewhat overused in the past —

spontaneous. Depending on

its

too wet,

can be an effective tool to suggest starry

an interesting

has lost

is

produces

lights in a

wash

that

the broad edge of a spatula or a trimmed credit

card will give you broad areas of lighter value.

Sponges are useful for more than directly with them. Natural sea like texture

My

may be

it

Uprooted

II

22" x 30"

sponges are most useful for

helpful as well.

And

favorite texturing trick is spatter;

harder-edged spots. salt,

mopping up; you can suggest

A

but with a softer

into a lacy edge.

It all

number

I

spatter into a

A well-aimed

of textures

by painting

but a man-made sponge with a brick-

of course, lifting color with a clean,

clear-water spatter can effect.

this,

a

wet wash

produce a spray of

damp sponge

is

for soft effects, into a dry

tiny light spots that

easy.

wash

for

can stand in for

spray of fine water droplets at the edge of a wash will break

depends on what you're

after.

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Chapter Three

WATER TEXTU RES One

of the

fluid as the

first

things that students invariably ask

water

itself,

— observation,

else

logic

but

doesn't have to be.

it

and

is

It

"How do

follows the

same simple

make

thrown

It's

a tricky subject, as

rules as painting anything

in to season the pot.

this liquid subject

much

wet" and jump

you

easier to handle;

right in.

The water's

fine

(and not nearly as daunting as

it

seem). In this chapter we'll cover

reflections;

with

its

still,

moving water, with

its

randomly broken surface

reflective

water — a matter of suggesting the glassy surface and adding

appearance dictated by the direction of the water's flow; choppy water,

textures; white water;

and waterfalls. Armed with these suggestions, you

should be able to tackle just about any situation that presents itself— or find a way to do

My

If

approach with drying time between steps can tame even the most turbulent white

water. So let's "get our feet

may

paint water?"

application, with a dash of adventure

so choose, you can use traditional layering techniques to a simple step-by-step

I

it

on your own.

examples are intended mainly to remove some of the mystery and to give you suggestions, not as

hard-and-fast rules.

Heron Lake 15"x22"

17

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