The Big Book of Watercolor Painting

THE BIG BOOK OF

WATERCOJ0R By Jose M. Par ramon

$ 24.95

THE BIG BOOK OF

WATERCOLOR By

M. Parramon

Jose

A

watercolor painting must be a

in

the

prima

—

fast, spontaneous. The understand the medium itself:

moment,

secret

to

is

watery, translucent texture,

its

la

rhythms,

fluid

gem-like colors which

vivid,

its

render such

its

irresistible results.

extraordinary exploration of the

In this

technique

of

watercolor painting, a world

renowned artist, teacher, and author of 27 books shares a wealth of practical and creative knowledge with the beginning or more professional painter. From his survey of the masters old and new to the actual application of the craft, Jose M. Parramon shows the reader not simply how to mix color, choose brushes, understand paper surfaces, select a palette, furnish the studio, but also how to compose,

—

—

evaluate tone, execute perspective, trans-

and interpret a theme. Parramon's "active pictures" are carefully selected to complement the text and exlate lighting effects,

pand the

reader's understanding.

He dem-

onstrates the techniques of wet-on-wet painting, drybrush,

sponge

texturing, su-

perimposition of translucent shapes and

use of the paper as white, and an examination of style. He experiments with ranges of color warm, cold, and broken as he enjoins you, the reader, to "do it," to really follow his procedures and practice the demonstrations so perfectly worked out in this book. colors,

—

—

The author includes step-by-step pracdemonstrations that trace the painting process in watercolor for seven classical themes: rustic landscape, landscape with a house, cityscape, seascape, harbor scene, still life, animals, the human figure. Teaching, communicating with the reader/student is clearly a labor of love for Jose M. Parramon. His presence, patience, knowledge, and enthusiasm are felt throughout The Big Book of Watercolor Painting as he strives to "create in the reader the idea that the artist is beside

tice

him, painting with him, explaining

son how

to

do

it."

in

per-

Wonderfully detailed,

The Big Book of Watera joy to look at, an unending source of information, and an

lavishly illustrated,

color Painting

is

inspiration to paint.

192 pages. 9 x 12 (23 x 30.5 cm). 382 color plates. Glossary.

WATSON-GUPTILL PUBLICATIONS

THE BIG BOOK

OF WATERCOLOR PAINTING

THE

BIG BOOK

OF WATERCOLOR PAINTING The

history, the studio, the materials

the techniques, the subjects, the theory

and the practice of watercolor painting

by

JOSE M. PARRAMON

WATSON GUPTILL PUBLICATIONS / NEW YORK -

Copyright

(£

1985 by Jose

Published 1985 Barcelona First

in

M. Parramon

Vilasalo

Spain by Parramon Kdiciones, S.A.,

published 1985 in the United States by WatsonPublications, a division of Billboard

( iiiplill

Publications, Inc., 1515 Broadway,

New York, N.Y.

10036.

library of Congress Catalog ISBN 0-8230-0496-1 Printed in Spain by Cayfosa, Sta. Perpetua de Barcelona (Kspaha). Register

Number 84-40386

Mogoda

Book Number: 785

legal Deposit: B-32171-87

No part of this publication may be reproduced or used in any form or by any means graphic, electronic, or mechanical, including photocopying, taping or information storage and retrieval systems without written permission of All rights reserved.

—

—

the publishers.

Manufactured

in

Spain

3 4 5 6 7 8 9/89 88 87

1

Contents Introduction, 9

History of watercolor painting,

1

The

painter's studio, 49

The

studio for painting in watercolor, 50

Lighting the professional studio, 51

Furniture and tools, 52

Running

water, wall unit, armchair, 54

Materials and tools, 55

The

easel,

56

Paper for watercolor painting, 58 Stretching the paper, 61

Watercolor colors, 62 Watercolor color chart, 64 Watercolors commonly used, 66

Tempera colors (gouache), 67 The palette box, 68 Jose M. a Parramon. Villar del Saz (Cuenca). Private Col-

Moisteners, masking

lection.

Water, 71

fluid, fixatives,

and more, 70

Brushes for watercolor painting, 72 Brushes: their use and care, 74 Other materials, 75 Drawing: the foundation of watercolor, 77

Cube, cylinder, sphere, 78 Fit,

dimension, proportions, 80

Light and shade: tonal values, 82

Doing a quick

A

sketch, 83

special exercise, 84

The

right perspective, 86

Aerial perspective, atmosphere, contrast, 91 Plato's rule, 92

Vitruvius' golden section, 93

Compositional schemes, 94 The third dimension, 95

Composition

in practice,

Wash: warm-up Characteristics

96

for watercolor,

and

97

similarities,

98

First practical exercises, 99

Techniques of watercolor, 103 Painting with two colors, 108 Examples in wash, 112 Theory and practice in color, 113 Primary, secondary and tertiary colors, 114

Complementary

The

colors, 115

color of forms; the color of shadows, 116

Colorists

and value

Harmony, 118

painters, 117

To Maria, my wife

Color mixing in watercolor, 119

Three basic

Warm

colors, 120

colors, 121

Cold colors, 124 Broken colors, 126 1

"Special' colors, 127

Painting a watercolor with three colors, 128

Technique and

skills,

131

Dry watercolors, wet watercolors, 132

Wet

watercolors, 133

Synthesis, 134

Synthesis and interpretation, 136

Thumbnail sketches, 138 Watercolor painting in practice, 141

The human

figure, 142

Painting skies and clouds, 148 Painting trees, 152 Painting a landscape in watercolors, 154 Painting a sea port in watercolors, 160 Painting a seascape in watercolors, 164

Painting an illustration in watercolors, 170 Painting a Jose M. a Parramon. A snowy landscape Private Collection.

snowy landscape

Glossary, 188

in watercolors, 177

J.

M a Parramon. Port of Genoa.

Private Collection.

— introduction Painting as a hobby, only a hobby...? It sounds fine. But there are hobbies that

never take off, they never quite crystalize, because they are not taken seriously. Can you imagine someone who plays the piano for a hobby but only sits down to prac-

able x and give

my

opinion of different

brushes, colors, papers, etc. I have dedicated an important part of this book to explain-

tings

ing, by means of pictures and practical examples, the habits and techniques of professional artists, from the different systems for absorbing and reducing colors, to the different procedures for "opening up" white spaces before or after painting, wet or dry. I have painted wet in wet, and I have brought color theories into practical use by proposing a series of practical exercises beginning with painting with only three colors, which tests and proves that all of the colors found in Nature may be made with only the three primary col-

last

ors.

tice

once a month?

the piano: one must play it often. It has its technique, its mechanics, its skills. Likewise, one must paint often, Painting

is

like

even more so in watercolors. a process, as you well know, which requires assiduous practice; the more one It is

paints, the better.

Van Gogh, who was an

worker— close

indefatigable

to 850 pain-

and more than 1000 drawings in the year of his life!— was pleased to quote a remark on watercolors made by the Impressionist, Whistler: "Yes, I painted it in two hours, but I worked for years in order to be able to do it in two hours." Painting in watercolors

an

is

amateurs with the to work:

art for

acity

most will

certainly

and cap-

An art which must be learned and practiced In this book,

I

have

tried to bring together

the knowledge necessary to learn to paint in watercolors. ten,

first,

so that

I

have researched and writ-

about the history of watercolors,

you may know when, who, why,

and how the first watercolor painters painted, and along the way I discovered, some early figures— such as the Academy of Dr. Monro, in London—which filled me with surprise. I have brought together all manner of information and pictures, by and about everybody, in order to inform you with regard to furniture, materials, and tools for watercolor painting;

on the

different types

and

I

comment

qualities avail-

have applied to painting in watercolors, of the laws, rules, experiences, and findings which I know after many years of teaching art, in the areas of drawing, color, mixing, colors, composition, interpretation, and blending. And finally, I have carried out a series of demonstrations some with the cooperation of my friends, leading names in Spanish watercolor painting—in which I explain step by step and in a practical manner the lessons contained I

all

in this book. It is

a

book

instructive illustrations—450 in is

a

book

exercises

and all—and it

illustrated with active

to take part in, with practical

you can carry out

ing, perspective,

in color mix-

composition, and other

technical lessons.

Ah, but we must play our whole hand! I have done all I can and all I know how to do. Now it is your turn. It's not enough to say that you haven't the time or that you don't feel inspired. "Waiting for inspiration is a vain act," said Balzac, "one must begin, take up the material and get one's hands dirty."

introduction Beginning to paint,

like

any

intellectual

process, always requires effort, off with

"we

try to

type of excuses, the pencil is dull, the palette is dirty..." Yes, but it is also almost always true that, no put

it

all

sooner do we start than we feel an unobtainable passion to continue to work.

When

passion is cultivated, it becomes a habit: the habit of working. this

Van Gogh acquired

this habit of working from the first day, with all the passion which is reflected in his paintings:

"From

the time

I

bought

my

first col-

and painting tools, I have been coming and going, painting all day and finishing exhausted. I haven't been able to contain myself, I haven't been able to hold myself back nor stop workors

ing."

I

this book will help you to begin to passion for painting in watercolors.

hope

feel a

Jose M. Parramon.

10

Fedenco

Lloveras.

Embarca-

dero Private Collection.

.

t

of watercolor painting

f

surfaces. 440 Fig. it

is

440-ln

this

second stage

possible to see the need to

diversify the color, particularly

on the fronts and roofs of the houses, on the land, and on the fences. This diversity, which is always a good idea, is particularly necessary when, as in this case, the subject suggests a

marked gray tendency.

181

WATERCOLOR PAINTING

snowy landscape

painting a Fig.

441 -It

straight

is

off.

PRACTICE

IN

watercolors

in

important to paint

\.

f

without stressing

anything, trying to achieve suc-

cess with the

first

application

and brushing without fear. This also involves the technique known as scumbling or dry brush, which makes possible to blend with mimscule dots or spots caused by the rubbing of the half-dry brush on the grain of the paper. The success of this technique depends largely on trying the effect out on a separate piece of paper first, and on working carefully with the blotting paper to eliminate or remove color if necesarry.

—

i :

%

-

it

&** IB^^^^^H %

i

'•';•

441

First

piece of sandpaper, then

To I

finish off the

middleground of the

gulley,

paint in the interior with grays, Siennas,

and

blues corresponding to the rocks and clods of earth not covered with snow, the bushes and

clumps of

grass, etc.

This

is

a minute!

and

The crest

a

energetically rub

I

the area just above and beyond the limit of the area mentioned above, in a movement parallel to that area. This

"opens" and widens the

white area. Afterward eraser

room

"open

is still

sythesis. But, hey! Wait of the ridge, at the edge of the blue band, seems poorly explained and narrow. It would be better if I could extend it, and I will, using the sandpaper technique. for interpretation

I

a laborious task

calling for a fine brush, but there

182

wrap the eraser end of a pencil with

Fourth stage: finishing the gulley and resolving the foreground (Fig. 447)

I

(fig. 1 '

begin

442, 443).

I

Then

area and blend

now

clean the area with

it

I

touch up

this

my

new,

in.

to paint the wall of the lower

right-hand side, as well as the

snow on

the

foreground, resolving them land in the with the dry brush technique. Attention should be paid to the direction of the brushstrokes left

WATERCOLOR PAINTING IN PRACTICE

here, which should be diagonal for the snow, descending from left to right, parallel to the diagonal of the gulley and ridge. For the stones of the wall, which is free of snow, the brushstrokes should also be diagonal, but in the opposite direction, descending from right to left (see the diagram which accompanies fig. for a better understanding).

nuances:

443-"0penmg up" wound

around the end of a pencil, and rubbing fairly energetically When the rubbing is completed, the area must be cleaned with

rubber

a

eraser,

then

touched up as necessary.

These are the

wide "frottis" sections, done with a wide brush, continuous and decided, and their success depends as much on the amount of paint and relative dampness of the brush,— which I will, of course, test beforehand many times—as on the simultaneous control exercised by the absorbent paper towel. I will begin with the

snow on the

442,

Figs.

a white with sandpaper,

442

443

444

left-hand side, using three color

first,

a neutral light gray, which serves

as a base, breaking

down and becoming

grows more distant from the foreground. As I have already mentioned, the frottis must be carried out with a broad brush and in a continuous and decided manner, therefore, I have taken the precaution of covering the edge of the wall with a piece of cardboard, as you can see in fig. 446. In this way, I avoid the risk of "running over the ,, line, that is, running into the ochre of the wall at the end of those large, rapid strokes of the lighter in color as

it

dry brush. Finally, to finish this fourth stage, I paint the snow in the foreground of the wall applying two coats of two different grays, the

wich serves as a foundation, the second, alternating with the dry brush technique, drawing the forms the snow takes on in this area. As you can see, I also use small touches of siennas and blues to clarify these forms (fig. 447). a light gray

first,

Fifth stage: peeling off the

masking

fluid

and

general touchup (Fig. 448) Energetically rubbing with an ordinary every-

day eraser, I remove the masking fluid from the mountains, the roofs of the houses, the

mound and

walls that surround the

I

want you

Fig.

«*i&

444- Here

picture of the

wall

am

is

an enlarged

snow and

the the foreground, which resolving with the "scumin

I

ble" to more closely represent the texture of snow-covered

surfaces.

445

445-As you can see in scheme, the direction of the brush differs depending on the place and the subject or element which is being Fig.

this

painted.

town and

the trees and trunks in the foreground, leaving the snowdrifts for last. Horrible, right?

>

446

to see this view,

moment

(fig. 448), so that you can better understand the disagreeable surprise of these whites-so terribly white- that stand out by

this

virtue of their excessive contrast, and that may lead us to believe that our trick with the

masking fluid was a mistake. You will see that it is a good trick in the following stages, but obviously it should be used with caution.

Now

I

begin to retouch, to blend these whites

Fig.

446- To

paint here with

the

"scumble" (dry brush) technique and with these broad and long brush strokes and avoid "going too far," have covered the wall on the rightI

hand side with a piece

of card-

ho.mi

183

WATERCOLOR PAINTING

painting a Fig.

IN

PRACTICE

snowy landscape

in

watercolors

447-The white at the peak margin

of the fringe or

center

is

now

in

the

broader, after

having been widened by rubbing with sandpaper; the irregularities

and dark shapes

of

the fringe have already been

reviewed and reconstructed; in have resolved the texture of the snow by using the "scumble" or dry brush technique; everything is ready for the removal of the masking the foreground

I

fluid.

447

into the rest of the nuances and colors, graying them, dirtying and diffusing them patiently working with the point of a damp brush where their edges are too hard, painting the "holes" in the trees with blue-gray to represent the

snow

in the shade...

you can see

184

and leaving

in fig. 449.

it

like that, as

Sixth stage: slender trees, snowdrifts and overall finishing (Fig. 450)

With a neutral black, made from dark Sienna and a little blue, I paint, or perhaps I should say draw, the profiles of the slender trees in the foreground, retaining the white strokes

made by the masking fluid. For this I take advantage of the fine point of the no. 6 sable brush, with which I also trace the fine branches —so fine that I wind up drawing some of

WATERCOLOR PAINTING

Fig.

448- This

is

IN

PRACTICE

the state of

the watercolor. once the masking fluid

which reserved these

removed

blank areas has been

A

which is somewhat unpleasant, due to the excessive contrast and the lack of balance caused by these white areas result

against the color the watercolor

hope

that

result,

fact

you

that

harmony

in

having

of

general,

seen

I

this

be aware of the masking fluid to

will

reserve certain areas

is

a

good

cases (to represent the flakes of snow. as we shall see further on. for example); but this technique auxiliary for certain

should not be abused despite the

good

final

result

which

I

expect to achieve once these blanks have been harmonized.

448

them with

a black ballopint pen. Afterward,

I

paint the few dry leaves with ochre, a little carmine, and a pinch of blue. Then I remove the masking fluid from the snow drills and

begin the ballpoint

work of finish. With the black pen I draw some almost impercepfinal

contours, in the fan-shaped drifts in the trees of the gulley, as well as some small tible

branches.

I

outline the edges of

some of the

and windows of the village houses. Now I decide to open up some lighter, spherical-shaped areas on the left side of the village. I use the technique of opening whites with a synthetic brush, keeping in mind that roofs

these light areas correspond to hearty village trees which animate and diversify the forms. I

continue with the sharp point of a blade or mat knife,

"opening up" very

fine points

and

lines,

185

WATERCOLOR PAINTING

painting a

IN

PRACTICE

snowy landscape

in

watercolors

Fig. 449— The excesses have been smoothed and harmonized with light glazes which cover the "holes" which the masking fluid revealed. Just a few more touches to finish the

painting.

Fig.

450—1

paint the slim trees

the foreground with spontaneous, carefree strokes, using in

the dark liquid paint

way that the

in

such a

brush flows

freely.

There is no chance that with such a fine stroke will end up with an excessively linear or too I

technical resolution.

I

give a

few

touches with a black ballpoint pen to the trees, the houses; paint the eaves and remove the masking fluid over the I

snowflakes.

I

the feeling of

feel the cold

snow

mountain, and

I

in

am

air,

the high

happy.

I

have finished

449

scraping and scratching the paper in the snow-

the trees, on the branches of the slender trunks in the foreground, adding snow

drifts,

I

leave

it

alone,

and

sign

it.

And now, I bid you adieu with the sincere wish that today, tomorrow, right now— partially by having read and looked at this book

always correcting—just little things, almost nothing— the color of a house, the color of the village wall, the color of the mound of

—you

earth...

to paint a watercolor.

effects...

186

Then

in

will feel

the preeminent need to begin

WATERCOLOR PAINTING

IN

PRACTICE

450

187

BRnnn

THE BIG BOOK OF WATERCOLORS

glossary

A

background. The interposed

Cartoons. Small or reducedscale

Absorbent paper.

atmosphere is one of the factors used to represent the third dimension in

A

type of

spongy paper, which, by virtue of

its

properties

a painting:

absorbent

used as a

is

paper towel, most often

in the

kitchen. This type of paper

used

is

it

is

up" white areas by removing

etc.

the background with relation

is

to the foreground.

Agglutinate. Liquid products

used to build up and bind powdered pigments or

a characteristic of

quality drawing paper.

paints. In watercolor painting

Drawing the

these products are water and

Blocking

gum

shape of a form using

and glycerine or

in.

analogy are called boxes. Botanical painting. Painting

The

which studies flowers, plants, trees, and fruits from a scientific and didactic point of view. This was an important

paint. air

a pistol

is

with a liquid

When, connected

to

an

compressor, the paint can

be shot

in a jet of

powdered

subject in the 18th century.

Broken

directed spray, allowing the

composed of a mixture of two complementary colors mixed in unequal amounts

artist to paint indistinct,

graduated and diffused

With the help

of stencils

made

colors.

Colors

with white. In watercolors,

of thick paper

or cardboard cut to shapes

broken colors may be made

up of only the two complementary colors, since

brush permits the painting of

the paper

is

translates "first time."

of direct painting which

completes the painting in one single session, without

with

any previous preparation.

adequate for painting

wood

in color.

still

balancing the various parts with respect to each other.

Atmosphere.

which

Term used

in art

relates to the distance

between the foreground and the or air space

188

made

paste, usually gray

Paper of a quality

watercolors

of a painting while

will result in

the

recomposition of white

Example:

light (or vice-versa).

by adding dark blue to

A

small cylindrical or

square bar which colors

by rubbing. Chalk soil,

milled

similar

is

to pastel, but

more

with a harder

line.

latter

being a

and red— we recompose white light.

colors green

gummy

water, and

oils,

yellow— the

combination of the "light"

make of

is

substances. Chalk

stable and There are

An

Contrasts.

optical effect

by which a dark color appears darker, the lighter the

chalks in white, black, light

surrounding colors

sienna, dark sienna, cobalt

and

blue,

are,

vice-versa.

and aquamarine.

Those

parts or

of copper covered with

on which one

zones of the painting which,

varnish,

even when

draws with a metal point which cuts through the

in intense

shade, allow the forms of the object to show.

varnish, making incisions which reach down to

might

It

be defined as the

art

of

the metal. Errors

shadows. Rembrandt was one

corrected by painting on

of the great masters of

new

chiaroscuro.

drawing

is

scale.

sometimes

The

varnish. is

scale as applied to the

(do, re, mi,

invented

fa, sol, etc.),

in the

When

the

completed,

is

bathed

in nitric

which corrodes and etches the exposed metal acid,

system of musical notes

incisions.

was

year 1028 by

Guido D'Arezzo

in

may be

painting light within

word

distribution of the elements

flat

with a rounded point.

Chromatic

Cardboard. Thick sheets

intuitive

for the filbert brush,

the sheet

C

Refers to the technique

Asymmetry. Free and

name

white.

concrete shapes or forms. Alia prima. Italian expression

primary color

"Cat's tongue". Popular

Chiaroscuro.

previously worked out, the air

which

colors are secondary colors to

Copper engraving. Sheet

color tones like a well-

strokes.

actual size.

with

with powdered colors.

is filled

cardboard enlarged to

powdered

Air brush. Process for painting

principal tool

in

is,

aspects, colorist.

Complementary colors. Speaking in terms of "light" colors, complementary

by means of a

in,

Chalk.

rectangular prisms, which by

preservative.

Contemporary painting

through a graph or

system with the contours

basic

squares, rectangles, cubes, or

a

painting a certain effect.

which the addition of a

border of handmade drawing

good

may be differentiated and distinguished using

bodies

many

Unequal edge or It is

believing that forms and

only color, lending the

for

transfered to canvas or

to the wall

B paper.

models

Cartoon, on cardboard,

grid

Barbs.

which

projections or

decoloring and blurring

paint.

honey combined with

board or cardboard, used as

drawn

absorb color and to "open

Bristol

murals, mosaics, tapestries,

a matter of

in watercolor painting to

arabic,

drawing done on

to signify "a

The

nitric acid

used to etch the copper lends this

process the other

name

often used: etching.

succession of perfectly Crayons, wax colors. Basically

backing. If the finished

ordered sounds." In painting, we refer to the succession of

watercolor painting

colors in the spectrum as the

compounded

chromatic scale: "any

and grease and heat-fused

perfectly ordered succession

certain temperatures to

supplied with cardboard

is

to

be reproduced using photomechanical processes, this cardboard-backed paper will

of colors or tones."

in

which case it is preferable paint on normal paper.

to

form

a

with

wax

homogeneous

at

paste

which, once dry, takes

not permit reproduction

by the scanner method,

these are pigments or paints

Those artists who more importance to

Colorists.

the shape of small cylindrical

give

bars.

color than to tonal value.

They

are stable colors,

applied by rubbing and, to a

THE BIG BOOK OF WATERCOLORS

certain point, cover,

or colored earths, and with

permitting the application of

the addition of

a light color

or

over a dark

color, reducing the latter by

mixing with the former.

Fauvism. French term derived from the word/at/ve (meaning "wild, in English), first used by the critic 11

D

Vauxcelles

the

fifth

scale, or the

most important

By analogy,

note.

it

may

be applied to painting

may be

also

in

dominant

referring to a

This

to

note of a musical

warm,

making for intense contrasts, sometimes

strident colors,

related to the juxtaposition of

complementary

cold,

or broken colors.

colors.

shank, or metal part which

as a

more

made one

The

the

over darker colors.

Type of flat brush with rounded point, commonly

Filbert.

great

a

known

or

as "cat's tongue."

drafts as projections

before starting on the

Frottis.

Term

complementary color."

artist to

Induction of complements. dries

It

This

is

explained by the

statement: "to modify a

Golden Rule, Law of the. See Golden Section.

determined color, one may simply change the background colors

Golden Section, Law of

surrounding

Established by the

the.

it."

Roman

architect Vitruvius to

L

aesthetically speaking, within

The Golen

a given space.

hairs.

masters

a thick, covering

is

medium, allowing

of a line or point, Ferrule. In a paintbrush, the

Draft. Projection of a painting

study beforehand.

(tempera)

determine the ideal placement

surrounds and retains the

drawn or painted

sympathetically, the

appearance of the

with a matte, pastel finish.

distinguished by brilliant and

"viewing any color creates,

by their opaqueness. Gouache

color.

a particular

color, or a set of

arabic in order to

obtain colors characterized

paint with light colors

d'Automne of Paris. The fauvist style is

established by the physicist

Chevruel, according to which

in referring to

a 1905 exposition in the Salon

Dominant color. The term dominant is used regularly in music to refer

gum

honey

derived

Lead

pencil.

Term used

Section states that: "in order

to refer to the ordinary pencil

that a space divided into

made

unequal parts be aesthetically

"lead"

must be relationship between the a smaller and larger parts

and

such that the smaller

is

up only of lines, without

larger as the larger

to

pleasing, there

to the

of cedar

wood

with a

composed of graphite

clay.

Line drawing. Drawings

made way

from the French verb frotter (to rub) which refers to

the total."

Dry brush technique.

the technique of painting in

expression of the Golden

watercolors, since the color

The technique

watercolors on a coarse-

Section or Golden Rule

values used to represent the

painting in which a nearly

grained paper with an almost

equal to 1.618.

dry brush, with very

dry brush, holding very

paintings themselves.

of watercolor

little

is

shadows. This

The mathematic is

of drawing

is

the ideal

when

painting in

volume of the objects painted must be resolved

Grain. Structure or direction

rubbed against a textured paper so that the paint remains on the surface

allowing the texture of the

grain determines the

transparency, watercolors

of the texture, leaving a

paper to show

roughness of the paper. Paper

appear dirty

granulated surface. Also

paint.

called frottis.

also

paint

Dry

is

watercolors.

Dry

paint.

little

The brush

is

of the fibers

rubbed on the paper, in the

The frottis technique known as dry-brush

is

watercolors.

"dry"

is

The

adjective

used to differentiate

them from wet

watercolors,

given that the latter type involve

some

special

is

divided into fine grain, grain,

directly with the watercolors.

By

virtue of their

if

one paints

over a drawing containing

and rough

grain, the latter having a

watercolors do not consist of

any special technique, being the normal, classical

The

for watercolor painting

medium

technique.

in paper.

shadows. The term "line

drawing"

is

also applied to

industrial drawing.

rough texture apparent to the

G

Watercolors are supplied

Gum

Glaze. Transparent coat

of paint, applied before or over another color, which modifies the

latter.

techniques.

Gouache. French term used throughout the world to refer to tempera paint, a

Liquid watercolors.

naked eye.

medium

watercolor,

arabic.

Sap drawn

from the African acacia which,

when

with water,

is

used as an

same

engraving.

larger proportion of

Liquid watercolor

may

also be diluted with water,

is

very transparent and gives an

with other products, for

intense but luminous color.

watercolors.

Local color. This

is

the

actual color of bodies, in

those parts where they suffer

ingredients, but with a

pigment

tubes and bottles of liquid.

agglutinate, together

of the

Etching. See copper

dry tablets, moist tablets, tree

diluted

similar to

made

in

no

alteration

from the

effects of light, shade,

Images, succesive. Rule

or reflected colors. 189

THE BIG BOOK OF WATERCOLORS

glossary Motif. Is the

M Mat

knife (also X-acto

These are special knives with removable knife).

modern

for "subject,

introduced

light color

and

form, utilized

palette, with shallow

apparent preparation, such as

indentations that allow mixing and making up of colors.

might be found

in

everyday

Papyrus.

it is

gum

of

watercolor

painting to protect small

forms, strokes, or to reserve

may

white areas which

be painted over or around. Subsequently one rubs off the

gum

with the finger or

white spot reappears. Masking fluid

may be

applied with a

narrow brush (no.

3 or 4),

with synthetic hairs, dilutes in water, but

N Neoclassic.

A

style

and architecture dating from the end of the 18th century painting, sculpture

middle of the 19th century and inspired by to the

roman

periods, imitating their

formal content, and

period.

O

deteriorate.

Medium. Term used

Ox

to

describe a painting process.

are a painting

medium,

bile.

Product

as are

bile

when

of oxen, used as

it

A

mixing agent

painting

replace water. In watercolor it is

used

in

order to

eliminate any possible residues of grease from the paper. Watercolor medium increases the adherence and moisture of the paint and generally improves the chroma.

Monochrome. A painting is monochromatic when it has been painted in only one color. "Wash" drawing done with black or sepia

190

is

monochromatic.

Pre-Raphaelites declared

were followers

may be

was prepared

Florence: Gozzoli, Botticelli,

and other predecessors of Raphael— from whence

was cut off, and then it was rubbed and smoothed with a pumice stone. For centuries, parchment was considered to be the best material for works of particulary for painting

was discovered

it

in the

Pergamum by King Eumedes II.

name

Pre-Raphaelites.

They considered

the art

more

before Raphael to be sincere and less

artificial,

and

they opposed the academic rules fashionable in their

own time

in England which were inspired by Raphael, Carraccio, Reynolds, and so on, and by the sculptures

of antiquity.

of

The

Pre-

Raphaelites painted

many

watercolors and boasted such

Term used

painters as Rossetti, Hunt,

and

Millais.

reconstructs an important

that the artist regrets

the shoulders of this animal, a good addition to the pine

what he

or she has already painted.

The

pentimenti of Velazquez

are well

known, and were

for

discovered by infrared

Primary. Basic colors of

the solar spectrum. Primary "Light" colors are green, red

and dark blue; Primary Pigment colors are cyan blue, purple

and yellow.

painting in watercolors.

The higher number brushes most often used, those 18, 20, and 24, which serve for dampening and painting large areas.

photography.

are

Perspective.

numbered

of graphically representing the

A

metal box with

science

the appearance of size, form, color.

We may

between linear perspective, which represents the third dimension (depth) through lines and forms; and aerial perspective, which distinguish

Palette box.

The

R

effects of distance on

and

watercolor, sienna, Venetian red,

it

part of the painting, signifying

Ox hair. The ox hair brush made from hairs from

marten hair brushes used

active

the end

of the art of 15th century

by treatment with limestone

it

at

importance to painting. that they

when one modifies and

small containers.

is

It

movement

literary

England

The

ram or

written upon.

Pentimento. in

which may be mixed with or painting

generally of

in

of the 19th century, of notable

in the center,

with

with watercolors. Sold

Medium.

on

miniatures. Tradition has

made

small proportion of

a calamus,

goat, treated so that

Pre-Raphaelites. Artistic

and

similar to a feather.

city

water

oils, etc.

one end and cut

that

from the

upon using

a short stick bevelled

art.

a wetting agent by mixing a

Example: Watercolors

into

the

residues which can

cause the brush to

be of organic or inorganic

cyperus papirus.

then washed, the hair

exhibiting romantic and

applied very carefully, will leave

it

Parchment. Animal skin,

the art and architecture of the

powders and may

available as

origin.

called

written

of

academic influences from the not

in a liquid, provides a

pigments are generally

writing paper and was

same

contrast.

Pigment. A pigment is any color which, when diluted

fibrous plant

The stem was formed

it

if

A

the Nile by the Egyptians,

who

Greek, Hellenic, and Greco-

with an eraser and the

and

color for painting. Painting

life.

in liquid in

color, shade,

harvested from the banks of

cardboard with either,

Latex

When

designate a model without any

wise to use a metal ruler.

fluid.

represents depth using

open, the tops serve as a

cutting paper or

Masking

which

contains the colors.

by the Impressionists to

blades used for cutting paper.

When

a top or double top

,,

word

Reflected colors. This

is

a constant factor, given,

on

the one hand the

surrounding color, and on the other, the concrete reflection

of one or objects.

more

particular

THE BIG BOOK OF WATERCOLORS

support on which watercolors are painted sheets or

Sabeline hair. Sabeline hair

may

brushes

also be used for

painting in watercolors. Like sable hair,

it

origin, but slightly stiffen, as

well as

more economical.

mounted on make a compact

are undoubtedly the best for

They

hold water and paint better

These brushes are made from the point at

tail

all

times.

hairs of a small rodent

called kolinsky, or red sable

which lives in Russia and China; they are expensive but long lasting, and of

monuments from ancient Rome, much in style during

centuries, given to draftsmen

the 18th century

who reproduced

Europe, but particularly in

Sumi. Oriental watercolor aspects of which are related to

Zen. Painting

done with Chinese ink diluted in water and with special brush, with a

is

a

bamboo

handle.

Symmetry. Relates to artistic composition and may be defined

"the repetition of

as:

the elements of a painting on

each side of a central point or axis."

Synthetic hair.

brush

mixture, in pairs, of the

them "amateur brushes." They

cyan

and yellow, the

secondary pigment colors

and deep

are red, green

etc.

volatile oil

used

in

W

watercolor

painting for painting special effects.

Turpentine, along

principal solvent for oil paints.

particularly

oil, is

the

V

call

are

manufactured

in

the hair of this animal

and a bamboo handle. as a Japanese brush,

it

Japanese brush,

the wider sizes,

dampening or

washes on wide

Any

is

perfect for

surfaces.

paper, the brushes,

and other

tools, as well as the

who

the

same

as in watercolor

Wash was

paint the effects of light

painting.

and shadow, valuing the tones

by most

and recreating the volume of

Renaissance and Baroque.

The

greatest

artists

practiced

of the

Cennino Cennini the 14th

proponent was Rembrandt; a

century Italian

pigment colors obtained by

contemporary example might

educator, discussed the

mixing primary and

be

development of the wash

A

series of six

tertiary

in pairs.

The

pigment colors

ultramarine, emerald green,

Dali.

tactile

visual

and

appearance of a painted

surface. This

or texture

appearance

may be smooth,

may be

Wet-in-wet. Special technique

applied to

of painting

for their protection.

which the artist paints an area previously dampened

It

sold in small containers

applied with a brush. intesifies the colors

paint gloss

color.

This

is

a varient,

painted and

and gives a perceptible which increases with two

reason,

some

painters reject

in

watercolors

in

with water, or recently

of the

squares, satiny, grainy, etc.

or less, of local color,

and

It

rough, broken into tiny

more

in

watercolors once they are dry,

or three coats. For this

Tonal

and

Varnish, protective. Varnish

is

The

artist

his writings.

light green.

surface on

which a pictorial work may be realized. The specific

usually black, sepia, or

The

and shadow by using

the objects.

Texture.

for painting

different tones of

Value painters. Artists

and

in

resolving the effect of

in

economic.

of equal or lesser quality

than an ox hair brush.

limited color

general techniques, are

are: orange, carmine, violet,

Known

A

dark sepia with lighter Sienna.

between the

different tones.

Tertiary.

is

the

such as bleach and are

secondary colors

Japan with

the paper

Chinese ink or with one or two similar watercolors and water. The colors are

light

drawing,

Stag hair. Type of brush

when

and has not been

Wash.

same image. Valuing is the same as comparing and

Some

free-hand drawing;

artistic

Warping. Undulating

form which drawing paper assumes as a result of soaking or dampening,

with linseed

quite resistant to corrosives

relatively

instruments.

Support.

watercolors.

Value. Relationship existing

blue.

done without the aid of rulers, compasses or other

flat

or record

watercolor or drawing realized

capacity to hold water

paint.

manufacturers

The secondary

"light" colors are

The

document

voyages, scientific expeditions,

mounted beforehand.

with synthetic hairs,

and

is

greater interest in

Type of

same

A

contributed, indirectly, to a

Topographers were contracted

than that of the sable hair

primary colors.

England, where they

thin

Secondary. Colors of the

the truly

private

over

all

houses, or simply landscapes.

Turpentine. Grease-free

spectrum composed of a

Sketch.

buildings,

monuments, gardens,

to

brushes but without the

blue, purple

countrysides with views of

name

from the 18th and 19th

offering greater tension

high quality.

used to refer to drawings of

support.

than any other kind of brush

and have a tense but flexible hair which holds an excellent

Veduta.

the reflection of other colors.

Topographers. English

the eastern religious

Sable hair. Sable hair brushes

Meaning "view", was

generally influenced by

cardboard to

movement

painting in watercolors.

paper, either

painting technique, certain

of animal

is

is

still

wet. This

technique promotes the

running of the water and colors, with a resultant

it.

diffusion of forms

The

and

According to them,

contours.

watercolor paintings should

watercolor painter Turner

have a matte

utilized this technique.

finish.

English

191

BOSTON PUBLIC LIBRARY

3 9999 00426 039 2

Salei--

he Library

Jos6 M. Parramons talents as an artist have been recognized since he won the Youth Prize of Barcelona at the age of eighteen. Since 1967 he has been teaching in the famous Escuela Masana, one of the most important art schools

He

is

in

Spain.

the author of 27 books on drawing

which have been translated from the Spanish into eight languages:

and

painting,

English, French,

German,

Italian,

Dutch,

Danish, Portuguese, and Japanese.

In

Instituto

Parramdn

Ediciones, S.A., a publishing

company

1974 he founded the

which has won a prominent place and South America. Above all, he artist;

some

colors can

progress

in is

Spain an

of his fine painterly water-

be seen as works-in-

in this

book.

WATSON-GUPTILL PUBLICATIONS

tJL, jSfV*

*

»"