The Watercolour Artist s Handbook

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

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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.



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

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

ovy 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

«

encnd 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

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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



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 »*

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

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

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

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