Watercolor Workshop

COLOR

WORKSHOP BY ROBERT

WOOD

E. AND MARY CARROLL NELSON

TECHNICAL EXERCISES, STEP-BY-STEP DEMONSTRATIONS, AND INNOVATIVE APPROACHES FOR THE WATERCOLORIST.

WATERCOLOR

WORKSHOP BY ROBERT

E.

WOOD AND MARY CARROLL NELSON

Watching an expert watercolorist at work is not only is one of the best ways to a stimulating experience, learn new techniques Through this book, the reader it

invited to participate in a painting workshop with Robert E Wood, famed California watercolonst, as he demonstrates his unusual approaches to this chalIS

lenging medium.

The

artist

strategy:

begins by discussing his general painting

how he approaches

a painting, preliminary

sketches and brush drawings, technical decisions,

and painting organization Then the reader is invited to paint along with Wood as. in each chapter, he explains and demonstrates one ol his special techniques. Each chapter begins with a discussion ol the concepts and techniques that will be used in the particular painting problem To visually clarify the discussion. Wood presents one or more technical exercises— bnel sketches or paintings that

enable the reader to both practice and perfect his technique before moving on to the full painting demonstration that follows The areas covered in this work-

shop include the glaze (wash), the silhouette, basic design, organization of subject matter, middle painting values, dry and wet lift-off to regain lights, value for dramatic

and

effect, texture, abstract

spatial concepts, finding

underpainting. depth

new compositions, and

painting figures,

Walercolor Workshop offers the beginning or professional watercolorist an enthusiastic, informationto new approaches in watercolor enhanced by many fine examples of finished paintings that amply illustrate the watercolor wizardry of Robert E. Wood.

packed guide

technique,

176 pages. 8'A x 11. Over 125 black and white 32 pages in full color. Index,

trations.

WATSON-GUPTILL PUBLICATIONS

illus-

OTEIRCOLOE WORKSHOP

WATEECOLO BY ROBERT

ftc^rr

E.

WOOD AND MARY CARROLL NELSON

l^li>M61>

fkJiiU^--^ WATSON-GUPTILL PUBLICATIONS, NEW YORK PITMAN PUBLISHING, LONDON

Copyright First

^

1974 by Watson-Guptill Publications

published 1974

the United States

in

a division of Billboard Publications.

One

Astor Plaza.

Published

in

New

Great

York. N.Y.

by

Britain

Sir

and Canada by Watson-Guptill

Inc..

10036 Isaac Pitman

& Sons

Ltd..

WC2B 5PB

39 Parker Street. Kingsway. London ISBN 0-273-00859-5

rights reserved No part of this publication may be reproduced or used in any form or by any means

All

—graphic,

electronic, or mechanical, including photocopying, recording, taping. or information storage

and

retrieval

systems

— without

written permission of the publishers.

Manufactured

in

USA.

Congress Cataloging Wood. Robert E 1926Watercoior workshop Library of

1

Mary

Water-color painting

7514 22

ISBN 0-8230-5682-1 First Printing.

Second

1974

Printing.

1975

Publication Data

— Technique.

Carroll, joint author.

ND2420W66

in

II.

I.

Nelson.

Title.

74-10938

Publications,

To those

who share my

watercolor love

1

Contents

1.

Prepainting Thoughts, 11

Gathering Information, 11 Sketchbook, 1 Large Brush Drawing, 15 Abstract in Nature. 18

The The The The

Thumbnail Sketch, 21

Color Studies, 22 Technical Decisions, 22

A

Mental Plan, 25

Valid

Reasons

2.

26 28

to Paint,

Painting Value Plans.

Materials, 33

Paints,

33

Brushes, 34 Palettes, 34 Watercolor Papers, 34 Mounting Boards, 34

Paper Stretching, 35 Easels, 35 Miscellaneous Materials, 35 3.

The Glaze and

Silhouette,

39

Indirect Glaze, 39 Granular Wash, 40

Staining Colors, 40 Direct Glaze,

Warm and

40

Cool Contrasts, 42

Color Unity, 44 Building the Glaze. 44

DExercise: The Glaze, 48 DExercise: The Silhouette, 50 DPainting Problem: The Glaze and Silhouette, 53 4.

Design Unity, 57

Subject Matter, 57 Design Elements. 58 Major Design Goals, 58 Combining Elements, 59 DExercises: Static. Curvilinear, and Diagonal, 60 DPainting Problem; Introducing Subject Matter, 64

5.

Structured Middle Values, 71

Painting Middle values, 71

DExercise: Middle Values and Saved Whites. 75 DPainting Problem: Using the Middle Values. 76 6.

Regaining the Lights, 83

Methods, 83 Methods. 84 DExercise: Practicing Dry Lift-Offs, 86 OExercise: Practicing Wet Lift-Offs. 87 DPainting Problem: Rustic Cabin, 88 Dry

Lift

Wet

7.

Lift

Dramatic Staging, 97

A Key

to Value Control. 97 DExercise: Colored Value Plans, 99 DPainting Problems: Value for Dramatic Effect, 100

8.

Surface Variation, 105

Anything Goes, 105 DExercises: Discovered Patterns. 106 DPainting Problems: Displaying Textures. 107 9.

Abstract Underpainting, 115

DExercise: Finding an Abstract Design. 117 DExercise: The Abstract Underpainting. 118

DPainting Problems: From Abstract to Nature, 120 10.

Space Concepts, 127

DExercise: Line and Wash Spatial Study. 129 DPainting Problem: A Statement of Space. 132 11.

Painting Within a Painting, 135

DExercise: A New Composition. 136 DPainting Problem: New Painting from Old, 138 12.

Figures in Painting, 143

Stylistic Control.

143

Sketchbook Rewards. 144 DExercise: Brush Sketching. 146 DPainting Problem: Starting with the Abstract. 148 13.

Theme and

14.

Robert E. Wood:

Variations, 153

A

Profile of the Artist, 161

Biography and Awards, 169 Painting Credits, 172

Index, 173

Acknowledgments I

would

like to

thank

my many

behind-the-scenes organization

understanding

who

kept up their end-

and

less pressure

by asking "When

building this book. For their pro-

students

your book be out?" To Don Holden, Editorial Director of Watson-Guptill Publications,

will

appreciation for patience during

his

my

years

of

long pro-

crastinations. Without the back-

ing

and

fine

assistance son,

my

of

technical

Mary

talented

writing

Carroll Nel-

co-author.

I

have found the courage to start this project. To my working editors. Diane Casella Hmes and Jennifer never would

Place,

I

wish

to state

my

ap-

preciation for their long hours of

their

in

fessional help with the bulk of

the color photography.

give grateful thanks

over the chores

as

thank

I

Doyle Courington and Segovia. To Joni, my for

David wife.

I

taking

my

first

—

and typist and for just putting up with me during the months of my isolation in the studio. To my dear mentors. Rex Brandt and Phil Dike,

editor

thanks for their years support and encouragement that finally persuaded me to get heartfelt

of

Watercolor Workshop into

print.

^--^Hiji^ji #,

10

WATERCOLOR WORKSHOP

1

Prepainting

1.

Thoughts

Lakeside Trees. White drawing paper. 18" x 24". I painted ttiis quicl<

study of the character and

structure of the trees just

my

below

studio with a limited palette

of burnt sienna, phthalo blue,

and yellow ochre. intentionally worked close to the subject to capture the details and stylized

I've

searched

for

I

a selective

distribution of details

and bold

accents rather than simply

filling

take you to paint that

it

My

painting?"

"About

quick reply

It

certainly

meet the exciting chal-

effort to

lenge

of watercolor.

is.

hours and 25

ttiree

years."

I

character of the scene.

been asked, "How

often

long did

doesn't take 25

Gathering Information You can only paint what you know. begin painting the I

years of preparation to paint a successful watercolor, but more than any other mediunn. watercolor demands a directness of handling that comes

watercolors

sparkling

fresh,

seek by going formation.

often

I

I

to nature for in-

complete

watercolors on location, directly from nature, but enjoy working I

the

page

with overall

refinements.

only from constant practice.

The watercolorist is faced many complex decisions that must be met with authority in a limited amount of time,

with

I've found that my chances for completing a well-organized painting improve tremendously have some time to get acif

Basic drawing,

composition,

textural

and space and controls can all be re-

quired

simultaneously

color planning,

first

a

frantic half-hour of

new watercolor. One type of painting

in

the

work on I

enjoy

doing involves a real battle against time; this happens

when

I

employ the wet-into-wet

on wet paper, and the basis for the whole

technique. painting

I

is

start

laid

while

in

the

paper is still damp. Although can prolong the period of dampness, my best defense is top/an ahead. Planning to paint I

a watercolor often takes longer

than the act of painting In

this

chapter,

I

it.

want

to

my approach to exploring a new subject and the strategy I've developed in my

share

the studio also. Either way,

in

I

—

quainted with the subject to draw and sketch before jumping into the final watercolor

—

challenge.

The Sketchbook and painting use 8'/2" x 11" sketchbooks. In them gather information from nature. Here is where answer the question, "What is it?" They're not master drawFor small drawing

plans

I

I

I

ings, but

my

personal reactions

work in a variety media: ink, pencil, felt pen, marker, brush, etc., making a collection of notes and observations. These sketchbooks are call my a storehouse of what vocabulary those subjects know well enough to use as source material for future paint-

to a subject.

I

of

I

—

PREPAINTING THOUGHTS

I

1

The Deserted Cabin. Sketchbook double-page. 11' X 17". I have sketched and painted

my

this

old cabin near

studio for years, but

find that

new

I

still

excitement

develops from drawing the area again and again. If I can

do several pages

of

informative studies, exploring

new views and of emphasis,

paint the with

new

I

same

altered areas

find that

I

can

old structure

involvement and

interesting results.

-Y y

^



;T)i^^

.

,

\

Figures in the Trees. Aquarius paper. 22" x 30". This began with a discovered composition" as a foundation. The subject matter is superimposed over it with inventive, firm design control. I believe most students have

painting

good sense of design, but it can be easily overpowered by the demands of rendering a subject This method of painting-starting with a well- organized nonobjective underpainting-releases the natural command of design controls. With practice, this command can be maintained in the overpainting when subject is added. a

96

WATERCOLOR WORKSHOP

I

Dramatic

7.

Staging

The normal value range

is

one

in

which the bulk of the painting is enveloped in the middle-light to middle-dark values. They further a painting's sense of structure and mastering this normal range of gutsy middle values is basic. Accents of whites and darks are

added

later for

boldness

or

sparkle.

chapter, however, we'll

In this

explore arbitrary uses

of

value

neutral

key paintings.

be

low-key plan could but I've instead

totally dark,

devised a painting that

is,

in

By painting the bulk of the page darker than middle value and surrounding the few saved light forcing

effect,

areas with is

the lights.

rich darks, attention

dramatically directed to the

quality

To subdue the shocking of the accents, which

The illustrations on the next page show the changing moods that can be expressed by different

might page,

it's

value limitations.

into the

A

Key

lights.

to "Value Control

Normal Value Range. The majority of this composition is covered by middle-light to

middle-dark values. This allows the whites and final darks to both be important accents. To coax you out of the normal range, however, study the values shown in the other three

of

seem

to

jump

helpful to

the

off

portions

let

them soften and gently blend background darks. Boldly

Middle-Key.

contrasting

and rich colors against neutral ones of almost equal value can result in a dramatic, colors

middle-key

painting.

All

pure

whites are painted out, and the entire

values used is in The needed conare formed by pitting cool

range

of

the center trasts

illustrations.

against

High-Key. This airy, light paint-

against

ing includes nothing too dark or

painting that the magnetic de-

bold,

but

Structure

It

is

isn't

wishy-washy.

strongly delineated

even though the painting reserved of

!*>^^iiJ^^,

A

Low-Key.

purely for dramatic effect.

-^

—and the restrained use

darker values are points to consider in planning the high-

of

in

effect

interesting

harmoniously cool

and

is still

The choice

colors arranged

— warm rich

against against

warm and dull.

It's

in this

brilliant

type of

is most important: and glow come from the intense purity of color com-

sign element vibration

petition.

Experiment with

strong contrast of

the

complemen-

—

colors blue against orange, red against green, etc. tary

DRAMATIC STAGING

97

Low Key

Middle Value

98

WATERCOLOR WORKSHOP

Exercises: Colored Value Pl2ai8

On

18" X 24" inexpensive white

paper, make four full-color thumbnail experiments of a subject you know well. I'm using a

new

subject (an

adobe

Golden, New Mexbe explonng restricted value and color controls to obtain a range of strikingly different effects. Mark off your paper in 7" x 10" areas, and use a full range of colors along with your

church ico).

at

I'll

normal watercolor equipment. Using the following illustra-

Normal Value. Use a

full

as examples, paint (1) a normal range value study, (2) a high-key plan, (3) a low-key

light,

plan (that

the

tions

and

(4)

will

force the lights),

a plan using only the

middle range

of values.

Notice the changed

each

of

mood

in

the paintings shown.

Besides being four versions of a theme, they're really four separate paintings, each exciting

in Its

own

special staging.

The painter has the

tools to

spotlight, to dim, to flood with

range of values. Pure

ligfits

and

and

Like

all

at his

the theatrical

and the movie maker,

director

creates a mood with dramatic control of light. The artist has power not just to record nature but to create a artist

The more he beof his power and exerts the more creative his work becomes. Throughout this book, the emphasis is always on the creative power of choice

work

of

art.

comes aware it,

that rests with the artist.

High Key. Keep your tones

middle value in development of

lighter than

nchest darks should be kept to a minimum; they are the accent tools of this plan. The bulk of the composition will be painted in the middle range of values.

study. Patiently experiment with the

Low

Middle Value.

Key. Start with at least a middle value and paint out most of the page The few saved lights will be dramatically spotlighted Use your most transparent colors for the middle dark and darkest shapes Soften an edge or two of your harsh light patterns to blend them into the painting.

darken

to

command.

this

interesting color qualities. Start with clean, glowing color

and then

neutralize

This

some areas by

overpainting.

whole composition should be built out Color will obviously be your

of near-middle values

strongest tool for creating the

needed

contrasts

Experiment with the strong clash of complementary colors-warm against cool and rich against neutral.

DRAMATIC STAGING

99

Painting Problems: Value for Dramatic Effect

On good-quality watercolor paper,

you'll

now

four

paint

half-sheet paintings that

will

be

carried to the finished stages.

Again the illustrations shown are to serve as an idea stimulator for you. I'm using the

same I

basic subject again, and learned in

plan to use what

I

doing the exercises, but these be completely new paint-

will

ings.

New shapes

will,

of

^3V^" x 20".

in doing these bigger paintings, and interesting, unusual color may develop. Instead of merely copying a previous plan, I'm going

sheet painting,

keep alert, cooperate with what develops on the page, and try to really become in-

on unstretched paper,

course, evolve

to

volved with the creative aspects of this exercise in disciplined color and value control. Each problem will be a half-

I

have worked mine on 140 pound d'Arches watercolor paper that stretched ahead of I

time.

If

you're used to working fine.

I

personally enjoy painting on a

sheet that stays perfectly matter how wet get it. I

flat

no

You'll

need a full range of colors on your palette plus your regular working equipment.

f-

Normal Value. Cover most of the page with light values that cut around and save an apportioned selection of whites. Next, paint large shapes of middle and middle-dark colors that

will

build structure. In the final stage, you

carefully paint a

tew

rich darks

and

can

color accents.

Low

Key. This will be an almost totally dark painting middle value and darker, to force the lights into extremely powerful accents A luminosity can be achieved in these dark values if you choose your most transparent colors. The saved, light areas need to be designed and distributed carefully. When nearly finished, (develop a transition from the whites into the darks

by softening a few edges.

High Key.

WATERCOLOR WORKSHOP

all

middle value. Gradually overpaint these shapes with other pure colors, warm over cool and cool over warm, and see how the page begins to glow. Some areas of neutral color will eventually occur due to overpainting.

Middle Value. Color is the basic designing tool in this The value contrasts are limited, staying within the middle range. I tried to use bold, complementary colors that would scream against each other. To alleviate the raw brightness of too much pure color. I also used some calmer, mixed neutrals. These subdued areas help to make the painting rich, not just gaudy. The final mood is zingy

painting.

and

100

Try painting with clean, sparkling colors,

lighter than

tropical with plenty of verve.

Texas Tug. D' Arches paper. 73 20"- In this painting

I

"

x

was forced

to

explore unusual color qualities

because I set a range before

example contrasts

means

I

restnction on the value

started. This is

an

of the middle value plan

discussed limited.

I

in this

in

the

chapter. With

work so

was forced

to

intentionally

explore other

page became

of giving the

substance. Color

structural

the

tool-and a very dynamic statement the result.

Mission at San Jose Creek. D'Arches Here again is a subject painted within specific value limitations. I did full-color thumbnail

paper. 22' x 30

studies

first,

.

trying a normal-value

range, a high key. a low key. and a middle-key plan. Each plan offered

good

possibilities,

middle-value plan

but the

seemed

the

most

exciting.

DRAMATIC STAGING

101

x U". The slight tooth of the board allows rougher watercolor papers. The identity of individual brushstrokes and stamping textures stays in locus on this sheet. It is hard to achieve smooth washes, but if you work directly -trying to strike things in with the correct value and color the first time -the painting glows with an intense

New England Light.

Bristol board. 11

different textural possibilities than the

vitality.

102

WATERCOLOR WORKSHOP

1 I

Ij.l'i? Lobster Pote a( Mof/f I. D' Arches paper. 22 x 30". This is the final painting done as a demonstration for a painting workshop I used a finder mat to discover a composition in a magazine After pasting it on a card. I tacked it to the top of my drawing board and painted the nonob/ective underpainting. I then let the class choose which side it wanted up", and proceeded to do the painting from memory of my earlier paintings and sketches Motif 1 is so named because it has probably been painted more than any other location in the nation. Using an arbitrary underpainting provided the unique composition that, I feel, makes this an interesting version of a very tired theme.

/^/^$a>j«S.r Northwest Inlet. D Arches paper. 22 x 30 I used 140 lb paper, and I folded and crumpled it before painting This is a powerful way to create patterns that are useful, different, and not possible with standard brushes While the full page was wet and the design still tentative. I folded the sheet back on itself to provide more patterns Using middle values. I began suggesting the sub/ect, and then finished with darks, and color accents Before the page dried. I stretched it flat on my board.

DRAMATIC STAGING

103

D Arches paper. 22 x 30". Exciting areas were created in this painting by lift-offs, stampings, and spatters. They symbolize the different surfaces and types of material,

Pier A.

and they give them their character. Unorthodox tools can be used for a wide variety of textural effects. The challenge to apply them selectively-balancing textured areas against restful plain ones -and to keep the total effect is

mind.

104

WATERCOLOR WORKSHOP

in

8.

Surface Variation

Brushes are but one

A

watercolorist.

can achieve with

salt,

a

interesting effects

a brayer. or number of other use many means

blotter,

a limitless materials.

tool for the

creative artist

I

and methods to control the flow of pigment and water on paper. However, don't think of them I

as

guarantee sucMy aim is to paint a variety of textures on tricks

cessful

that

results.

the picture surface

in distinctive

and pleasing contrast to normal watercolor effects. Enhancing the surface creatively adds a personal

subtle,

quality

to

a

painting.

Anything Goes In this

chapter,

You'll

exercise

be given a technical

— with

illustrations

of

varied textural effects and the

methods used to achieve them to suggest ideas for

—

your

first

experiments.

The painting problem

that fol-

lows involves the use of inventive textures with a conscious purpose. The final surface variations will be practiced effects that attempt to evoke an intriguing range of tactile sensations. enjoy freshness and vitality in a I

good watercolor

and

painting,

these techniques can enlarge your command over the medium and provide a quality of "controlled casualness. and not just happy accidents, that can add new life to your work. "

I'll

introduce a

anything goes toward the possibility of

free-wheeling, attitude

painting with "foreign" materials.

SURFACE VARIATION

105

Exercises:

Discovered Patterns

Use stretched paper

—

good

of

two half-sheets or a full sheet. Each experiment will be done on an area approximately 4" square. Use any quality

color

either

you

like,

but

remember

to

select the less staining colors

whenever you plan ment off the pageRead through the

accompany

that

to

lift

pig-

instructions

the

illustra-

then gather the materials you'll need. When you're ready to start, draw some strokes and

tions,

Paper Towel, or Napk/ns. These materials can also serve to lift out paint. Each one leaves its unique pattern. The materials can also be crumpled for still different textures. Tissue,

Crayon Resist. White and colored crayons can be drawn on the page. The wax will resist the watercolor wash that is painted over it. letting the crayon show through.

Squeegees. Using cardboard scraps or credit cards, firmly drag pigment from an area of the damp watercolor page. with

It

will

leave a lightened area

some paper

texture showing.

Blooms, or Waterspots. Touch water damp areas. As the page dries these waterspots enlarge and

into barely

form interesting patterns. Clear water

can be sprinkled, dropped, on the painting.

or

brushed

Cardboard Stamping. Apply paint to cardboard scraps of different shapes and textures and then stamp these into wet or dry areas. This will transfer impressions of the paint patterns.

with both a light and dark crayon in your first work space; then cover the space with a bold wash of middledark value. You're on your way to experiencing some different

shapes

creative watercolor techniques.

many of the suggestions as possible, and more important, invent your own methods Try as

applying and lifting color. There are no rules, so feel free of

Sand and

memorize a few strange methods of ap-

Gravel. These nonabsorbent materials sprinkled on a wet wash will gather concentrations of color around each spot of grit. The loose material can be brushed off after

plying watercolors to paper.

the

to experiment.

exercise

is

to

The goal

of this

teach you to be

inventive, not just to

106

WATERCOLOR WORKSHOP

page

is

dry.

Brayer. Paint can several colors, or dry

paper

Continued

muddy

be applied

a

roller),

Try just a stroke or two.

rolling will

color.

to

perhaps in and then rolled on wet

brayer (an inking

mix up a layer of

Toothbrush Spatters. Scrub a damp

Clean-Water Spatter. Fling clean

Blotter Lift-outs. Blotters can

toothbrush into pure pigment With

water droplets off the brush or fingers onto the painting. Different effects result from damp versus nearly dry

off

your thumb, pull the bristles back and

Mask

spring color toward the painting.

areas with cards or cut paper to control the

shapes of the

spatters.

Other Stampings. Paint can be applied to a leal and then pressed on the painting Try stamping with a spool, the

end

of a

pen cap.

or

an

eraser

Palette knife.

dab

A

palette knife

can

drag pure pigment on wet or dry paper The edge can be

either

used

or

for creating

very thin

lines.

paper. will

If

show

the for

page your

is

very wet. nothing

efforts.

a

damp

the blotter

lift

paint

watercolor The texture of will

show on the paper. Try down for different

leaving the blotter

lengths of time. Try a

little

pressure:

try

a firm blotting.

can be sprinkled on a moist pigment will be absorbed by

Screens. Paint can be applied to a piece of wire screen and then stamped on a painting: or paint can be brushed through a screen placed on

Salt. Salt

the painting.

patterns

Brush Handle. The chiseled handle of a flat watercolor brush can be used to

Sponge

or ScusAi

lifted oil

a

scar or distress the surface of the page, either /ust before painting or while the area is still wet This will cause dark markings

sponge

Soft patterns of light

area:

each grain When the paint brush

is

dry

off the salt-the crystalline left

are that of

page

,

.

with a

r

snow

or rain.

paint can

damp

be

brush or shapes

are the result Thick pigment can

be

applied to the brush or sponge and

stamped on

the

paper

also.

SURFACE VARIATION

107

Painting Problem: Displaying Textures

Having completed the exeryou've probably found

cises, that

it

wasn't too

new ways

difficult to in-

applying paint to paper. The range of different effects that can be discovered is unlimited. Now it's time for the most dif-

vent

of

challenge: using some of these new methods in a wellorganized painting. When an artist IS first presented with the ficult

color,

of everything

bit

variations

Textural

exciting, but throwing

can be little

water-

he sometimes goes a

overboard. a

of

possibilities

textural

in

never leads

a satisfying result. So the first concern is to limit the variety of

to

—

surfaces saving plain spaces, building delicately patterned

contrasting

some some

— warm-cool,

dark-light,

textured-plain.

Trust

instincts as you quickly develop the whole painting sur-

sign

face.

At

first

major goal your

You'll

will

look

like.

be expenmenting rapidly

with the scaled

teresting

display of

in-

surfaces. ahead of time

textural

Don't worry about specific subject matter. big, midInstead, think scale dle, and small. Think balance

—

108

WATERCOLOR WORKSHOP

is

the abstract rela-

you establish with

tionships

applications

inventive

balance,

scale,

textures,

of

dis-

calm areas, slightly and emphatically

tribution of

active areas,

patterned ones. Set these ac-

complishments mind. Turning

firmly this

in

your

underpaint-

ing into identifiable subject matter

becomes

might think ganization

painting

finished painting

disth-

without restrictions. Again, the

dramatic activity you can force into a single composition. able to

at lib-

and

bute the surface variations

play

problem you won't be predetermine what the

you should be

erty to freely invent

areas and some strongly patterned ones. This is more important than seeing how much

In this

and

your de-

simpler than you the abstract or-

if

is

a satisfying dis-

in itself.

Enough aration.

of this

Let's

fun!

mental prep-

get on with the Stretch

another

paper equipment

half-sheet of watercolor

and get your

full

Gather implements for textures (more than you'll possibly need) so they'll be handy when and if you get the urge to use them. Read through all the steps in the examples shown, and thus prepare yourself to work without ready.

creating

hesitation.

4

step

Paint a simple underpainting to support the textural experiments to

1.

random wetting of most of the page to provide some Then use your big brush (at least a 1 " flat) to build a static foundation of shapes no deeper than middle range- Color should convey a feeling, a mood, rather than the actual facts of nature. Forget about blue skies and green trees Paint the warmth of summer, the cool of an evening light. Let color play a symbolic and abstract role, just as the textures will when they eventually suggest things. follow soft

You can

and

start with

a

crisp distribution.

4

SURFACE VARIATION

109

"^ •

•r %

Step in-

2.

Now try your textures.

controls in this freewheeling phase, however.

balance,

be

Don't wait for the underpalnting to dry-jump right

Be daring-explosive-emotional-inventive. There

and

and

the distribution of

some

important goals

attention to scale,

plain areas. The textural applications

can range from

WATERCOLOR WORKSHOP

can

tiny to

and they can be dry and crisp or diffused. Get these design and mind before you start.

organizational devices well in

110

some

are

Pay

delicate in color or strongly contrasting. Their size

large,

Vi^'fi-'"'

X

1

step in

3.

When you

start to paint subject matter,

mind. One. obviously,

is

you should keep some new goals

and another is to simplify page is terribly active. Now you should picl< and make them effective by painting out some of

to start identifying things,

the composition. The experimental

and save a few

of the textures,

Suggest the first impressions of what your subject might be in an incomplete, ghostly manner. Sponge out other areas if it improves the balance and distribution of the restful areas of the composition. the surrounding activity.

SURFACE VARIATION

1 1

step

4.

As

the painting continues, refine the lost-and-lound quality. The subject

matter has been gradually developed

until it has a substantial sense of structure. Areas that seem too busy are either painted over or lifted out. A few selected areas of really beautiful texture are saved and enhanced with surroundings of glowing darks and simplicity. Final details and richest colors notes finish the

painting.

112

WATERCOLOR WORKSHOP

nil

New Mexico

Church. D' Arches paper. 73V2" x

20". I'm

using a subject that I now know quite well (see Chapter 7). This painting points out again that doing a subject once does not exhaust its possibilities. There are many good reasons to return to a theme. Notice that the structure of the

church does not

strictly

fit

underlying patterns freely

the underpainting.

and

still

structure.

114

WATERCOLOR WORKSHOP

It

can jog the

record as a substantial

5

9.

Abstract Underpainting

begin a watercolor

could

I

painting with a detailed draw-

and when Im just getting often do know a subject,

ing, to

I

begin

this

approach

way. in

an

It's

the usual

artist's

early

But with more experience, the artist organizes his

career.

subject

matter,

and

in

effect,

abstracts from nature to create a composition of good design. I

find

it

equally valid to begin

a watercolor with a nonobjective statement of shape, space, and textural order color,

A

picture

—almost disregarding an eventual

display of subject matter.

Only after the abstract underpainting is organized to my bring the subsatisfaction do I

ject into focus. This

proach

I

want

to

is

the ap-

demonstrate

in

this chapter.

technical exercises search for a nonobjective composition, then recreate in an underpainting. In the painting problem, we'll add subject matter to a nonobjecIn

well

the

first

it

tive

composition.

magazine and an adjustable mat are used

to

discover a variety of

nonobjective composition plans.

ABSTRACT UNDERPAINTING

1 1

Exercise:

Finding an Abstract Design exercise will deliberately avoid reference to subject and instead look tor satisfying abstract compositions. picture You'll need a

This

nnagazine or two that you're willing to cut up and discard. You'll also

need

to cut

two small

made

from stiff paper or file cards (approximately 4" x 6"). These mats will be used as a viewer to search out small "L's"

portions

of

photographs

that

display pleasing compositions.

You won't be looking for identifiable things. The search is for nonobjective arrangements in

space

that are

satisfying

and

interesting.

A unique pattern, an arrangement of scaled shapes with unusual character and balanced light and dark elements can be discovered in this manner. The little compositions should be cut out and pasted on file cards to serve as plans

for

abstract under-

later

paintings.

you feel unsure your selection of compositions. Cut out several possibilities and paste them down. After you've collected about a dozen, you'll see that you have discovered a few you like better than others. That's the start you need. Don't worry

if

of

A Search for the Abstract. Move the finders around on a photograph until you see a dramatic composition you like. Cut it out and paste it down on a 4 x 6" file card. You aren

't

looking for subject matter. Scale, balance, containment,

and

interesting textural variety are the goals to

keep

in

mind

as you choose these nonobjective compositional plans. Prepare several of these studies for use in the next exercise.

116

WATERCOLOR WORKSHOP

7

ABSTRACT UNDERPAINTING

1 1

Exercise:

The Abstract Underpainting An underpainting

—an

that

just

is

organized layer beneath

the subject.

It

gives the finished

and color The underlayer

painting both design

organization.

shouldn't connpete with the sub-

so there are some limitaobserve. It would be wise to use a wet-into-wet

ject,

tions to

and shapes will be reserved for the second half of the painting process technique, and keep

it

soft

diffused. Crisp, in-focus

when

the subject

is

developed.

Limit your underpainting to light

and middle values. Save your middle-darks

have

when you up an

later

force the subject. Set

color

arbitrary

warm

Play

darks so you

to

punch available

their

mood.

against cool, letting

one be dominant. Scale, balance, containment, and textural variation can be freely interpreted within the above limitations.

Above

remember what

all,

painting: K.I.S.S.

Stupid!

ple,

portant to ing simple ity is is

to

—

It's

I

It

especially im-

keep this underpaintbecause more activ-

come when

the subject step

introduced.

need two

You'll

stretched

half-sheets

watercolor paper cise,

a

full

or of

for this

palette,

18

three

good exer-

and com-

plete working equipment.

1

I

begin a Keep Sim-

myself before

tell

WATERCOLOR WORKSHOP

1.

Pick one of your favorite "discovered design plans" for a guide. Decide

and

w/hlcti

side you prefer "up"

In ttie

big stiape distributions

It

tfien.

on your stretched watercolor paper, pencil

displays.

9

step

and

2.

Now

paint the space, shape,

textural relationships of your small

plan Start on a dampened page with a middle-light value The whole underpainting should be completed

in

hues no darker than middle value. Concentrate on saving the lights and striking in the large

Keep

values.

areas ot delicate

the underpainting

soft.

Work quickly so you can gel the composition plan too firm color in

an

mood

step

%

before the

dries

identifying

I W'

down

and the shapes become edged and important. Use

page

arbitrary rather than

manner

to

produce the

of your choosing.

3.

Use your middle values to basic underpainting. and

finish the

add

a

little

Do

final color

excitement

now

phase just before the page starts to dry and your underpainting will have the design organization you like -one subdued enough (limited value contrast and soft-edged shapes) to be later overpowered with ncher colors, stronger darks, and hard-edged also

this

forms.

ABSTRACT UNDERPAINTING

1

1

Painting Problems:

From Abstract Each time

I

to Nature

do a watercolor

starts with a well-organized

stract

underpainting,

I'm

that

absur-

prised at how successfully these nonobjective patterns seem to work with the superimposed subject. Not only do the arbitrary

shapes seem to coorbut even more

dinate well,

importantly, the patterns under-

neath provide a unity of design that

makes

the whole painting

easier to bring to a successful

conclusion.

When painting,

you've finished the first stretch another half-

sheet and develop a new underpainting design. This time try an abstract underpainting plan of your own design (with-

a clipping). An incombination of soft and crisp shapes can be developed by a random partial wetting of the paper just before out

using

teresting

painting.

Again,

subject

influence

don't

let

the

you

too strongly at this early stage. Most important is the goal of establishing a shape, value, and color statement that is a pleasing organization in itself. Value control, softness, balance, color mood, and containment are the objectives. Be alert to what develops on the

page, and mold a composition you like for itself. As the underpainting begins to work, move right into the subject, defining with your darker values and firmer shapes. that

it

120

WATERCOLOR WORKSHOP

Develop a new set of discovered composition plans with your mat finder. ttiat you like for this painting problem. Don't be overly concerned with thoughts of future sub/ect matter at this stage. It's more important to search for a scaled display of shapes that creates a unique balance and distnbution of activity throughout the painting -an arrangement that is interesting in itself.

step

1.

Pick one

*l #

step

2.

using a

Now do full

another half-sheet study on

palette of colors.

good watercolor paper,

Decide on the general color

stretched,

mood you

wish to paint the ma/or

develop Wet your page, and with your biggest brush, start to of the underpainting as indicated by your small plan. My painting will develop a warm, sunny feeling. My first delicate washes will be in a range of cool blues to provide relief and contrast to the dominant warmth that will come later. Work quickly to keep these first washes soft and diffused. Without going deeper than middle value, complete the design of your underpainting.

shapes

ABSTRACT UNDERPAINTING

121

--^.iliMII.II^

.^^-.^,JM Step

3.

It

is

time to decide on your subject. You

material that you

One of ttte might be good for a

know

well.

will find it's

character silhouette

easiest to use "

studies you did

start. The underpainting has been (Chapter 3) allowed to dry. Mix up a middle-dark value of your theme color (I'm using a burnt sienna) and start the first simplified structure of your subject. Explore linkage from one area to another, and distribute patterns with concern for your

earlier

'

total

composition.

122

WATERCOLOR WORKSHOP

step

4.

Local color variations can

now be

struck into the middle-value pattern

and smaller dark shapes, continue to deschbe your subject. See if you can't finish the painting with a minimum of refinement and detail. Let this be an understated translation of your subject into symbolic patterns Now sit back and take a good look at the nearly finished work See if there are any disturbing sky holes-spots where the underpainting shows through openings in your structural darks. These can be adjusted by painting them with a slight change of color so they are no longer obvious A second thing to adjust is the edge quality of the bold shapes. Soften an edge of a totally crisp shape now and again so a transition is provided into the softer

just established. With richer colors

underpainting

ABSTRACT UNDERPAINTING

123

One Underpainting-Different

Subjects.

I'm including additional

examples to illustrate further just how independent the underpainting can be.

I

Completed Underpainting. DArches paper. 13-2 x 20\ Using the small composition plan as a guide. I painted lour hall-sheet underpainlings. as nearly alike as possible. The shapes were painted on a dampened page so they could be kept soft, and the darks limited to no deeper than middle value M/ color scheme is predominately warm -a range of yellows through ochres and earth tones with a smaller portion of complementary blues and violets One of the

finished paintings that resulted

124

WATERCOLOR WORKSHOP

is

shown on

the opposite

page

j4!?»'ni-;

Dead End Wharf. D Arches

paper. 13V2" x 20". Whatever your choice of subject, overpamting phase is to design a well-scaled arrar^gement of simple shapes in middle and middle-dark values. Pay attention to the total composition, and stay away from finishing things too soon. Let the details wait. Keep the bigger brushes at work, and you will have better results. the goal ol the

first

ABSTRACT UNDERPAINTING

125

Wharf Space //. D' Arches paper. 13V2" x 20". A good example of using overlapping shapes and aerial perspective to create spatial sensations.

126

WATERCOLOR WORKSHOP

10.

Space Concepts

A

painter is limited to a flat surface on which to create an illusion of a third dimension

— depth

in space. Traditional perspective relies on lines that appear to taper or converge in a diminishing manner to a van-

honzon method taught

ishing point on a distant line. in

This

is

the

basic drawing classes; you'll the classic cubes,

remember

cylinders,

and spheres you

were asked

to

draw

in

perspec-

tive.

The serious artist needs to understand the principles of linear perspective and how to put them to use in his work.

However, there are other methods of building strong spatial sensations that many competent painters seem to be unaware of. In this chapter, some powerful tools for creating a three-dimensional feeling will

be presented. A diagrammatic line and wash study will help

you explore the theory behind the use of these perspective tools. The painting problem will apply the various concepts almost arbitrarily in a large watercolor a creative work that makes decisive spatial impressions. Most artists today aren't concerned with the infinite horizon (with the excep-

—

tion,

possibly, of those painting

a surrealistic style that benefits from the illusion of limitless in

space). The comtemporary artist often "tips up" the horizontal

so

surface of his composition seems nearer to the pic-

it

develops a feeldepth with many overlapping shapes. There are

ture plane. This ing of limited

multiple spatial sensations that

appear

to

happen close

to the

page. Several concepts of perspective can be surface of the

used sense

to

of

project

this

arbitrary

space.

SPACE CONCEPTS

127

Overlapping Shapes. This statement of one object another. The eye level

is

is

a clear

in front

of

close to the

one of objects on a tabletop. and no shape has a common border with its neighbor Shapes are placed so there is either adequate space between objects or an obvious overlap. ground. The effect

is

Aerial Perspective. Here the shapes

stepped up the ground plane, not crowded on the horizon line. The effect is one of looking down on the scene. The

overlap, but the objects are

Cast Shadow. A

light

source can be a

multiple light sources.

can be

Shadow moves

along the ground plane and possibly up a neighboring vertical plane It establishes form and distance

between objects With a multiple light source, shadows can be pushed in various directions to balance the design and distribute the effect of spatial sensations.

128

WATERCOLOR WORKSHOP

behind objects with a softened halo

patterns are distributed effectively

a cool dark, the light objects are

throughout the picture and make a clear statement of spaciousness

pulled forward,

tr logical, single light, or there

Push Back. Sometimes referred to as push-pull, this is based on the idea that dark recedes and light comes forward. By pushing back the space

and

feelings of

of

space

are enhanced.

"*

Diminished Repeat. Objects in space appear to grow smaller in the distance By repeating an object in several diminishing sizes, the

artist

creates a sensation of distance.

Linear Perspective. Tve left linear perspective until last, not because I think It unimportant, but because it is probably already understood. Also, my

emphasis

is

on the other 3-D

tools.

Exercise: Line and

Wash

Spatial Study

can be no one way to paint a watercolor. The concepts presented wont provide guaranteed success in your next few paintings, but If

there

sure

is

one

fact tfiat

of, it's that

there

I

is

hopefully they'll open new of involvement with your work and offer a source of inareas

spiration that

new

will

lead you into

creative experiences.

For this

technical

exercise,

24" work paper, a few dark colors, and a Number 8 brush. Mark off several 9" X 12" areas on your

you'll

need 18"

x

paper, and follow the steps the

accompanying

in

illustrations.

r

/

i^y

n

^*

1. Draw several 9" x 12" picture areas or) inexpensive drawing paper. Use Number 8 brush to draw a subject of your choice. Pick something that will allow you to display many simplified overlapping shapes Dent worry about

step your

doing an accurate finished drawing Think of the objects as stand-up cardboard cutouts, and distribute them so they develop spatial sensations throughout the total picture area. An aerial perspective view will help in this regard

SPACE CONCEPTS

129

/;

\. I

t.. in another painting space. To emphasize between shapes, push back the area of space behind each spot where an overlap occurs. Use a middle value of blue to trim around sections of the forward shapes. Then fade the blue area with a brushstroke of clear water, and it will become just a "halo" of spaciousness. Notice that the white shapes are now pulled forward. This is what is meant by "push-pull. " Use a darker blue to invent shadow shapes that can augment the feeling of space between objects. The way the shadows fall can describe the surfaces between areas of sub/ect matter. Let the shadows move in almost any direction. It is more important to balance the spatial sensations than to have a single light source at

step

2.

Duplicate your brush drawing

the feeling of distance

this time.

130

WATERCOLOR WORKSHOP

%jl i

3. Continue with inventive additions of subject matter that use the diminished repeat to further enhance the feeling of distance Use people, boats,

step

or trees in various sizes. Start introducing color to identify different parts of this study. Experiment with color perspective.

Use some

rich

warms

in

the

foreground parts: then mix cooler versions and find uses for them deeper in the painting. Pure, intense color will record as something close: gray or neutralize color slightly and you'll see that it recedes.

SPACE CONCEPTS

131

Painting Problem: It's

time to

put

A

some

Statement of Space spatial

work in a full watercolor painting. suggest you try a full stieet. If you use 300 pound paper, no stretching is necessary. Thinner weight paper will you work more effectively

tools to

I

if

stretch

it

painting larger

ahead of time. My done on an even is

size

— d'Arches

"double

elephant," 26" x 40".

Choose a subject painted

that you've

before or a

made-up

composition you can do from

memory. Sometimes

this

latter

tion

of

works best. Plan a build-up that allows you to

shapes

Start while

wet

a

for

— that

goal of this painting problem.

can be very pleasing. As the page dries, some spots of push-pull can be reinforced with touches of firmer edges. Color perspective, diminished repeats, and cast

your painting in the normal "big brush" manner. Search for an abstract display of scaled, simple shapes, and concentrate on spatial sensations as you develop this abstract underpainting. If you can, make the dimensional feelings "pulsate" the page in these early stages: should be easy to bring the subject into focus Start

it

later.

broken up with a variety of overlapping shapes, try your push-back method to increase the ap-

WATERCOLOR WORKSHOP

—a

is

softness

and insert things as needed and aren't restricted by too concrete an image. A fully-packed composi-

132

of depth.

page

explore spatial effects, the true

suggestion works best; you're free to invent, select,

pearance the

After the

page

is

halo

effect

shadows are the other tools to explore. These tools aren't formulas that must be used consistently ing.

throughout the paint-

Trust

your

instincts

and

paint with your feelings as you

see the page develop. After it's just another painting painting that offers the to

all,

—

chance

experiment with a seasoning

of spatial sensations.

A

detail of Tie

and Dye People.

and Dye People. D'Arches paper. 26" x 40'. This painting uses the 3-D tools earlier It was painted immediately after my return from a workshop in Sausalito. California had done several paintings on location and had a good number of drawings in my sketchbook This painting is not a particular place: it's a memory study of the general character of Sausalito One challenge set for myself when started this work was to develop a strong spatial statement, not to Tie

discussed

I

I

I

record the images of a particular location For to

build

material

my own if

sub/ect" from any of

my past

this

reason.

I

felt

completely free

experiences and

to invent

new

needed.

SPACE CONCEPTS

133

A New Composition.

Select one of your paintings to be used as a source for a discovered composition plan. Prepare a variable-sized finder by cutting an old mat Into two L's. Tfie three-value study you will be doing in this chapter requires just one tube of darl< paint, your large brushes, and inexpensive work paper.

134

WATERCOLOR WORKSHOP

11.

Painting Within a Painting

believe

I

going out

in

to paint

—

nature it's my favorite way to discover new things to

from

when painting on lotempted by the wealth of material a new subject offers. No matter where But

paint

I'm

cation,

I

an overabundance

look, there's

design, color, and

of exciting

More

form.

temptation

often than not, the is

say too

to

too great, and

much

I

try

a single

in

simplification

tive control

needed

finished watercolor

achieve

in

the

and selecin is

a good,

easiest to

studio.

There,

packed, on-location picture can be reworked. The

the

fully

basic composition can be recreated in a more dramatic and simplified version, or the original painting can serve as a

source

completely

for

new

pre-

sentations.

How to find new, exciting compositions in a previouslypainted work and how to use them as inspiration for fresh, paintings

creative

goals

in

this

will

chapter.

be the In

the

technical exercise the stress

painting.

The

same

on how

to find

a

is

new composi-

tion within the old

one. For the

problem, you'll make use of your own discovered composition. painting

PAINTING WITHIN A PAINTING

135

Exercise:

A New

Composition

Gather together some of your paintings, finished or unfinished, that can be used as source material for three value composition plans. You'll also need an old painting-sized mat

that

(into two as a var-

can be cut apart

'Ls") to be used

viewer. The exerbe done on 18" x 24" work paper with a single dark iable-sized cise

will

color.

^4|'^

'^^

that offer 1. Move your finder on the painting surface and search for areas uncommon spatial balancings and sensations of scale. Try vertical formats as well as horizontal and both large and small dimensions. When you find a

step

composition that you enjoy. fasten the mat with push pins or masking tape Mark out a rectangle on your work paper. 10" x 14 or larger. If necessary, pencil in the major space divisions of your composition. Then, with a light value, paint over the whole page except for the near white areas. When this is dry, use a middle- value wash and paint in the bulk of the plan. Finally, paint in the dark patterns as suggested by your plan.

step 2. Readjust the finders on your painting until you discover another new composition Outline another workspace on inexpensive paper and paint this discovered composition in three values. Search for more compositions. In each trial your goals should be to discover interesting distributions of light and dark, a bold sense of scale, and different shape presentations. This is not the time to trim or slightly crop your original-in effect barely refining your first work. This is the time to create new, exciting paintings. Why paint another so-what watercolor?

PAINTING WITHIN A PAINTING

137

Painting Problem:

New

Paintings from Old

be selecting a portion

You'll

of

a previous painting as a design source for a new work, but the

problem more than of

be something

will

rendering a part painting, the term

just

another

"new painting"

is

the real key;

be strengthened. The new

probably

will

painting should emit a feeling

scription

and

completeness. The color of your new work can take its character from your

however, is to keep the underpainting and middle value stage of the

will

of

original, likely

but

need

it

too,

most you like

will

adjusting.

If

mood in your original recommend you

some adjustments will have to be made to complete this paint-

the color

ing successfully.

copy that as a starting point. As soon as the page is covered

Containment is one aspect that needs to be considered. Because the composition began as a part of something probably has some larger, it

patterns

and

colors

that

are

powerful at the edges. By weakening value contrasts and color intensity near the borders of

and by letting edge shapes sof-

page,

the

some

of the

ten with a wet-into-wet techni-

que, the feeling

138

of

containment

WATERCOLOR WORKSHOP

painting,

I

your first major washes (which start to establish the would be think color mood), wise to turn your original painting to the wall. Now watch only what is going on in the new painting. Develop a distinctive color quality and balance in this new work. Feel free to place related color accents effectively with

I

it

further de-

detail.

A more

important challenge,

development simple. You may that the painting you do

find

from your discovered plan will turn out to be as complicated and fully-packed as your original.

Remember:

keep a

it

K.I.S.S. Try to

simple.

And as a last reminder; this is new and separate painting.

The original only furnished a composition plan and color suggestion and should have no further painting

ate with

ing

areas may seem too open and uninteresting, so

into

Once

influence. is it.

the

underway, cooperTrust your emotions,

your instincts, and

within the painting.

Some

need

let

the evolv-

shapes and colors lead you an exciting creation.

step 1 (Left). If you don't want to use one of your plans from the previous exercise, start from the beginning with another painting and select a portion of it tor your new composition Convert it

into

Here are several ideas for new paintings that were isolated from my wharf scene Though all three composition plans were found within the same painting, notice how different each is in its scale and balance and overall gesture. Each one could inspire another painting. I have used the first of the three as a guide for this painting problem. Step

2.

original

a small, painted, three-value

use as a guide for this painting problem. I'm using Wharf Scene, ISW plan

to

X 20",

for this demonstration.

PAINTING WITHIN A PAINTING

139

step

be a half-sheet good watercolor paper, and will require your full

3. This will

painting on stretched,

palette of colors.

Prop up your painted

composition plan and your original painting (with the mat in place) where they can

be seen

easily.

Pencil

in

the

major space divisions of your chosen plan, and get your color controls in

page and start and big shapes surround and capture the light

mind. Wet your

painting the colors that

patterns you want to retain

Concentrate on the overall design of your composition and establish a color mood that determines the character of the painting.

Step 4. Before the page dries, strike in the major middle-value patterns as suggested by your value-plan guide. Once these are established, it would be wise to turn your reference material to the wall. Now its important to work

up a finished painting with merits of its own. There are no rules or restrictions from here to the finish. I suggest that you try to keep away from too much detail too soon. Use any technique that seems suitable. If you notice interesting textural variations, spatial qualities, or exciting color feelings

developing, by

all

means make use

them.

140

WATERCOLOR WORKSHOP

of

Wharf Scene

II.

D Arches

paper.

ISWx

20".

PAINTING WITHIN A PAINTING

141

m

:>

Beach

Figures. Drawing paper,

18' X 24".

The inexpensive drawing paper used for this study makes it easy to be casual. The paper isn't precious, I

neither are the drawings.

142

WATERCOLOR WORKSHOP

12.

Figures in Painting

Introducing the into

human element

your work can add emo-

tional

interest,

and

character,

an otherwise bland painting. A landscape painting doesn't need figures in order to scale to

make

it

a

finished state-

vital,

ment.

However.

trying

to

often enjoy capture man's relationship to nature his blending into his surroundings or even I

—

his

awkward

contrast to his en-

vironment.

How

to successfully integrate

figures into your paintings

will

be the major concern

of

the

won't

at-

following

material.

tempt

deal with the use of

to

I

the single figure as the main

and cerThose aspects of figure painting have their own specific demands. subject

in

painting,

tainly not portraiture.

Stylistic

Control

The most common

pitfall

using

watercoior

figures

painting occurs in

unsure

in

when

of himself:

when

the

artist

he tends

to

he can translate nature clouds,

fields,

(trees,

water) into ex-

pressive shorthand statements.

He creates a suggestion

of obinstead of rendering things in complete detail. When he inserts figurative interest, however, he begins to illustrate in a different manner. The resulting figures look like an afterthought (which they are) and loom off the page with an unfortunate degree of importance. Figures in paintings have psychological attraction. An

jects

and

bold

equally

colorful

in-

animate object will be definitely subordinate to a spot of human interest. People in paintings have the ability to attract and hold our attention. For this reason alone it's worth exploring ways to blend figures into the overall design construction and almost camouflage them within the other elements of composition. The technical exercise will suggest ways to

handle figures

and

in

a fresh, sym-

way, The

end of the painting process and to paint them in a style foreign to

bolic,

the rest of the subject matter.

interest

The practicing watercolorist

cept that has established the rest of the painting.

leave the people

until

the

usually arrives at a point

where

painterly

painting problem

methods

of

with

will

relate to

integrating

the

FIGURES

human

design con-

IN

PAINTING

143

Sketchbook Rewards

Once again Id

like

to

em-

phasize the importance of acquiring the sketchbook habit.

The awkwardness paintings

is

of figures in

often the result of

simply not knowing the subject well

only

enough. After

all.

you can

what you know. no way to overstress

paint

There is the importance practice

in

of

continued

drawing, sketching,

and painting figures. It's essential to be completely familiar with sketching figures

in

order

them with simple freshness and directness. Models

to paint

are

plentiful. If you use your spare moments to do quick sketches of the human activity around you, painting the figure will be increasingly less fearsome.

144

WATERCOLOR WORKSHOP

Harbour and Lortg page.

11

"

x

17'.

I

Streets, KIrtgston

managed

figure information at the

capital

lo

gather

(Left).

some

Sketchbook interesting

main intersection of Jamaica's

city.

Shopping Center Sketches (Above). Drawing paper. 18"x

\

24 These people strolling through a large shopping center were seen for just a few seconds. Each instant impression was recorded with the fewest number of brushstrokes: then another passing model was observed and painted.

FIGURES

IN

PAINTING

145

Exercise:

Brush Sketching The

who wants

artist

rate the figure

must learn

to

human form

into

to incorpo-

his paintings

in

translate the

shapes, col-

and masses instead of outlines. To do this, there is no

ors,

substitute

brush drawing.

for

The fluid property of pigment and water lends itself to a painterly result one that will blend

—

into

a watercolor as an

intrinsic

u

part of the whole.

physical

the

Unfortunately,

situation of sketching

often limits

the

in

artist to

public

pens

or

pencil for quick line studies.

It

be necessary for our purpose that you find a location where you can observe groups of people and still set up your

will

equipment

small

(a

three or four colors, a

palette,

Number

8 brush, and a water container) and work directly with your

1. To Stan, mix up a middle-light value of a warm flesh tone. This can be almost any mixture of yellows, oranges, and reds. I'm using yellow ochre and

step

bright red (vermilion) to establish the massive structure of the whole figure

group. The subjects are painted without outlines. Try to capture the overall the subject-to suggest mass and weight. Work directly with the one simple color and search out unified figure silhouettes.

shape of

painting tools. A comfortable working situation might be in your home using family members as models, or you might try looking out a window. A beach or a park also offers a

good

variety

important

of

subjects.

learn

to

— to

to

It's

look

understand what and then doing work quickly in an attempt to capture the essential shape of intently

the figure

—

is

your figure or figure groups. This exercise can be done either

on sketchbook pages or

the larger 18" x 24" work paper. isn't a demanding part of problem, but if you have a palette you can experiment

Color this full

with

different

pigments

that

combinations of suggest a variety

of flesh qualities.

Paint figures

and brushes

— anything

Number

6 to your

of varying sizes

pointed from your

Number

146

try

out your

12.

WATERCOLOR WORKSHOP

to push back different segments of the shapes can be introduced to start the suggestion of other parts of your composition. Stay away from outlines as you introduce clothes, cast shadows, and other pieces of your study. The middle-value

Step

2.

figure

Darker flesh tones can be used

A

variety of local color

structure should develop without insignificant details.

adjoining pieces touch isolated compartments.

and run together than

to

It

is

actually better

if

have a design with too many

study should not be overworked The goal is to put down some symbolic way-one that could eventually work well with other freely painted parts of a finished painting. Use your middle-darks and darks to finish this study. Before the shadowed parts of your figures dry completely, touch in a little cool blue to make them recede. Mingle a hint of

step

3. This

figurative interest in a painterly,

warmth

(reflected light) into your cool cast

small color accents

and

rich dark

shapes

shadows. Add a limited amount of describe your subject.

to further

FIGURES

IN

PAINTING

147

Painting Problem: StEirting with the Abstract chapters have explored

Earlier

the abstract underpainting ap-

proach

to starting

a painting.

It

allows a free and easy adjustment of scale, color balance,

and design unity. Nonobjective elements of the composition are well conceived before the

subject is introduced. The same approach can be prac-

when

ticed

volved.

The

the

figure

is

in-

should be

figure

thought of as a shape or a color, a piece of the whole rather than a separate specific element unlike the rest of the painting.

One firm suggestion that will prevent the figures in your painting from being obvious afterthoughts is a simple one: don't wait until the

process

painting

end

to

of the

early

the

in

indicate terest

is

painting

of

control of scale (emphatic large, middle-sized, the

first

goals. Immediately introduce a smaller,

that are light to to reds).

The

and balance are dispersed amount of cool colors.

and small

units)

These should not be too dark and could repeat the casual blockish theme.

de-

start

veloping the figures. Touch

simple shape or two

step 1. Paint an arbitrary arrangement of overlapping rectangles middle values and are primarily a range of v/arm tones (yellows

in

a

color

that

will

where the human into be developed In the

middle stages, carry the figures to a half-finished state. When the rest of the work is in a final stage of adjustment, the figures won't be a struggle and will seem to almost complete themselves.

Discovering figures within a nonobjective display of shapes

and colors played in Your aim ing

be the game

will

this painting is

figures

problem.

to practice designthat

will

integrate

design conpainting. Full

well with the basic

cept

of the equipment, full palette, and the large sheets of work paper will again be needed.

Step

2.

Use middle value and darker colors

to start

breaking into the

Develop some body shapes (or cutting around to make them exist). Support some of these masses with a variety of tapering leg shapes, and design further interest with head gestures and arm movements. Don't finish things. Distribute the hit and miss structural indications about the composition.

underpainting with shapes that give a

masses by

148

WATERCOLOR WORKSHOP

painting in their

first

hint of figures.

like In finishing this figure group Add shadows, bags, signs, balloons, etc.. to distribute decoration and descnption around the composition. Use color to spark up the display and further control the balance of the overall arrangement. Don't be concerned with what to paint as you finish this exercise: it's more Important to know what not to

step

3.

You can be as inventive as you

clothes, umbrellas,

paint Let this study stay purposefully unfinished in figures retain transition

some

some

of the lost-and-found quality that

will

between sub/ectjve description and abstract

of

its

parts Let the

provide a needed

organization.

FIGURES

IN

PAINTING

149

/

A ^%.

}

t i i

i 150

WATERCOLOR WORKSHOP

^^^^^

.-W-

Nude 4

(Left)

Bristol paper. 75" x 75"

Warm Slumber

(Below)- D' Arches paper. 26" x 40". Sleeping Model (Far Left). D' Arches paper. 22 x 30". MIml (Below Left) D Arches paper. 22 x 30". "

These paintings are examples of using the main subject in a composition.

figure as the

usually

do these paintings

finished charcoal drawings

>^ f

the model. direct

I

in

my

done

I

studio from directly from

also often use charcoal to

do a

drawing on the watercolor paper before

painting.

^>-^

4&4T. •«-