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Watercolor Painting Tips - Creating Textures in Watercolor

These watercolor painting tips are courtesy of Beth Mcrorie of EJM Studios.

Beth is an extremely talented watercolor artist. Her paintings are stunning, vibrant and full of color.

"Luminance, reflections, and color all attract me to my subjects. I see light dance through glass, or sparkle off a lemon, and I feel compelled to capture what I see with paint and paper. My art is my way emphasizing the beauty in the every day world around us, of asking the viewer to slow down long enough to enjoy the vibrancy of color in a flower or the brilliance of light streaming through crystal."

- Beth Mcrorie

Please take a moment to visit her website to view more of her work.

Creating Textures in Watercolor by Beth Mcrorie

Texture in watercolor can add both depth and drama..and they are fun, too! The textures shown here are all done in prussian blue. If you are going to use one of these texture, practice first on a small scrap of paper. Different colors will react differently to the techniques. Try experiementing with laying several colors together. (Please forgive my blue thumb in the photos!)

Lay down a wash and let it sit a bit, but don’t let it get too dry. Then use either a paper towels or tissue. Great for clouds!

Lay down a wash where you want fur, then quickly add a few strokes of darker paint. Let dry a bit, then add a few more strokes. Then when almost dry, a few more. This greats the illusion of soft fur with some depth.

Lace can make a wonderful stencil! Use a gentle dry brush or spray with tooth brush as shown here.

Lay on a wash, and allow to dry. Use the sharp point of a razor or other instrument and gently scratch.

Tap a loaded brush against your hand to create a splatter affect

On dry paper

On wet paper.

Use a toothbrush and pull your thumb across the top to create spray.

On dry paper

On wet paper

Lay on a wash and put down wax paper where you want the texture. Great for stone walls!

Use a natural sponge. Good for marble and many other textures.

Lay down wash and allow to dry a bit. Use a brush loaded with water and brush it where you want the texture. Then use a paper towl to lift up the paint. Lay down a wash and allow to dry completely. Then use sand paper to create texture.

Lay out a wash. The texture will be different depending on the type of salt and how wet the wash is. Larger salt crystals will create larger white areas. The dryer the wash the lighter the texture will be. But don’t let it get too dry or it won’t show up at all.

Kosher Salt

Table Salt

Dry brush using a fan brush make lovely wood grains.

Beth recommends two books on textures in watercolor:

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How to Understand Color in Painting

By Jimmy Cox

Unlike some teachers of watercolor, I advise students to start painting as soon as a satisfactory drawing is completed. So let’s start right in with a simple explanation of value and color. Value, according to Webster, is “the relation of one part or detail in a picture to another with respect to lightness and darkness.” The primary colors of the painter’s palette are red, yellow, and blue. When these three are mixed in pairs, we get orange, green, and purple.

To learn as much as possible about color, take each color in turn and play with it. See how alizarin becomes pink when water is added and how it becomes dusty rose when you add various shades of gray. Then experiment with various mixtures. You’ll want to make copious notes as you go along with these experiments. They will be invaluable references later on, and unless the notes are on paper they may be forgotten.

Perhaps the easiest way to think of color is to divide your pigments into two general classifications - warm and cool. The intermediate, borderline group between warm and cool can be slanted either way by the addition of a warm or cool color; this group is useful for such elusive color effects as weather-beaten barns, dirt roads, etc. However, do not concern yourself with these until you have assimilated the essentials, the elementary principles of color.

To fix the warm and cool divisions in your mind, think of the hot, sultry colors of the tropics - the dazzling reds, magentas, yellows, oranges, purples - and compare them with the austere, cool, almost bleak colors of such northern regions as New England; think of the brooding grays, glacial blues, icy greens, and of the effect that these colors have even upon the personalities and temperaments of the inhabitants of those climes.

Think also of the emotional impact of color: how color determines the mood of a picture, how color can denote joyousness, gayety, and laughter, or how it can be stark, ominous, and foreboding. A wide, almost limitless range of effects can be achieved with the colors I use.

Once you have grasped the fundamentals, strike out on your own because every individual can develop his own sense of color. For example, a group of well-known painters worked simultaneously from the same model. When the paintings were finished, each artist showed a different color concept in his work, but each painting, viewed individually, was a true portrayal of the sitter. Despite the variations in each artist’s color, all of the values in the paintings were properly related.

Another matter I would like to impress on your mind is that there can be happy, almost providential, accidents of color. If you make an unintentional brush stroke or drop some color where it doesn’t belong, the effect may be well worth while keeping in the picture. Don’t be in a hurry to delete such a mistake unless it actually harms the work.

There are really no set formulas to restrict or inhibit your creative urge. So let yourself go!

Fog and Rain

In painting fog, you will note that objects very near you - because of the softness of the fog and mist - have a tendency to appear quite sharp. Remember, too, that because you are painting fog, you will have, at times, a strong, penetrating light which will give the picture intensity totally unlike that of sunlight.

To paint the fuzzy background, keep the paper wet. Keep working down, leaving un-painted only really white areas. Work from light to dark and keep the paper wet while at the same time establishing your values. The reflections should not be added until the paper is almost dry. In translating this tonal sketch into color, always remember that fog leans toward the cool side.

Above all have fun with your painting!

Discover The Secret To Becoming A Well-Known Water Coloring Artist

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Technique of Watercolor Painting: WC07 PLANNING

Technique of Watercolor Painting: WC07 PLANNING
By John Blenkin

Plan or not to Plan? The outcome of the painting will be vitally affected by the decision to either plan the work or starting head down without any idea how the painting will finish.

It is not a matter of preference but of personality. To a great extent the subject will decide the issue. A painting of a building a design a specific place - a record painting a commissioned painting will usually lead the painter into an approach where pre-planning naturally results.

In this type of work pre-planning will reduce errors and the target idea will more likely to be realized. Any measured work - enlarging - portraiture anything technical animal bird or plant illustrations are usually best planned beforehand. Professional work to deadline is a pre-planning must.

In general where the subject of the painting has to conform to the requirements or standards of others or to a specified known standard for a fee by a certain date it is best to pre-plan.

In this context the painter will no doubt feel less creative but the painter must have the technique and professional approach to match demands.

This is especially true for the watercolor painter as reduced errors means fewer destructive demands on the paper ground and less repainting over previously washed out work. Please note that a professional buyer will approve the work by viewing it as it were dead without glass - mount and frame.

Overpainting dulls the light reflecting back through the pigment. Without overpainting the work looks fresher and the craft of it looks easier and under greater control in your hands as a result to the painter’s credit.

There are probably three main valid approaches to painting in any medium!

PRE-PLANNED
MAINSTREAM
FREE CREATIVE

Each one of these is strictly valid in pure painting terms because the approach is determined by the nature of the project. The end dictates the way forward.

In passing it is wise to note that with watercolor painting on paper each painting should first be covered by a blue tint all over wash. This blue tint wash kills the red inherent in white watercolor paper. Even the whitest watercolor paper will be improved by this slight blue wash. The tint should be so light that it seems to be pointless doing it. Use a blue that has no red in it.

PRE-PLANNED

These paintings do not appear to be particularly creative - they are! This is a good way to acquire the essential geometry involved in transposing small images from one surface and enlarged onto to another. The process comes in handy too when paintings of imagination need a structure to bring them to fruition.

Planning is not only the best option for some types of painting but also perhaps the only option. Graphic works for publication on short time scales are the norm in the printing industry. These works have to be planned and even the way of achieving the desired result be decided in a flash. There is no waiting around for days mulling over the philosophy of the issue because others are waiting to make money out of the work you are commissioned to paint.

Often the idea of a painting changes during the work. If this happens too often more thought should be given before committing time an effort to your projects. Careful planning brings focus and therefore clarity to the final painting and this is conveyed unconsciously in the quality of the work.

For the general painter a coordinated grid method is used to transform a small image into an enlarged exact scale drawing to become a guide for a larger watercolor painting.

This system uses a very light pencil grid of convenient unit size drawn on the watercolor paper. The image ultimately to be painted on it is added in outline either by hand or ruled or both. This outline drawing provides an exact line where the different colors are to be applied as a wash or as a series of watercolor detail areas.

Soft pencil drawn grid lines when erased later will leave immovable smudge marks. Too hard a pencil will scribe into the paper surface and show up later as dark colored lines. It is best to use a very hard pencil frequently sharpened to a very fine point. Practice before starting the work.

The grid lines help to judge if the relationship between the features in the original image are matched on the larger drawing and is a correct to scale transfer. This must be assured before any watercolor is added otherwise it will be necessary to start the work again.

The size of the grid spaces drawn for the original image is determined by the complexity of the detail.

The vertical grid LINES are lettered across from the top left corner beginning at A and continued through the alphabet to the end of the top vertical grid line.

The first top horizontal grid line starts at the top left hand corner and is denoted 0. As the first vertical grid line too starts from the top left hand corner and it too is denoted A the top left hand corner of the grid is denoted by coordinates A0. From the top left corner the grid continues horizontally A0 B0 C0 D0 and so on. Vertically from the top left corner the grid down the left hand side is denoted A0 A1 A2 A3 and so on. Any point of the grid can now be defined by looking at its position in relation to the top and left hand sideline coordinates.

It is better and easier to make a square grid. This avoids errors in transfer. Also a square grid of whole numbers makes it easier to fix interpolations within the grid space.

Any straight or curved line or shape will be seen in relation to the allocated numbered and lettered coordinated gridlines.

The same grid to a larger scale is drawn on the watercolor paper ground to the larger size. If the original measurements and grid size have been carefully judged a simple increase to the new grid size from the original is all that needs to be done.

There is no need to draw all the gridlines - in sky areas for instance where there is no exact detail to be transferred only draw the position of the gridlines at the edge with their letters.

Remove the grid lines and unwanted marks from the paper with a putty rubber before painting. If the lines have been finely drawn on the paper surface they can be easily removed without damage to the paper.

The above method is ideal for painting a large picture from a small photograph. I use a thin piece of glass sheet over the photograph on which to draw a thin inked-in grid direct using a technical pen. To protect the ink from rubbing off apply back adhesive transparent film. This is like sheet grade invisible tape. Protect the edge of the glass with paper drafting tape. This is lipped over the face of the glass and back of the photo up to but not touching the grid lines on the face. The coordinates top and sides are marked in ink on the tape.

This method is ideal for Architectural building renderings and perspectives still life portraits lots of mechanical drawing subjects such as cars large paintings of birds. The preparatory outline work is part of the technique. It is not a necessary evil to be got through as quick as possible. It is an enjoyable part of the whole process.

MAINSTREAM

This general type of painting is based on a combination of feeling - reason and logic to inspire the painting. It is the way most painting is realized a jumble of many things brought together with a subject finally emerging from unrelated ideas having titles added later to justify their political correctness.

Get to know the language and vocabulary of painting. This includes color balance - color temperatures and the various forms of perspective such as in the use of line tone and color. Paintings need to be subjected to intellectual checks during painting by assessing the balance of colored areas of the painting in percentage terms of brightness and average tonal value. Understand the meaning of balance between areas of the painting in terms of its effect as seen by the viewer at normal medium and close distance and in relation to the inner perspective construction of the work.

The avoidance of black and white is very important in watercolor painting but it is important too to know if and when the any rule can be broken. The tonal balance of areas of the painting is vital and how high and low tonal density of colors both warm and cool affects balance. Another issue is the use of color of plane surfaces when these appear both in and out of shade. Further it is useful to know how to direct the attention to the focal point of the picture by each aspect of technique. It is important too to know how to use a range of colors sympathetic to each other to avoid unwanted inexplicable tensions in the picture .All of these have to be automatically applied within a working discipline of Technique.

These disciplines are necessary to produce any type of painting. The medium of watercolor painting shows any deficiency in technique rather more than any other painting medium. Those whose technique is complete and dependable can ignore technique if by doing this they gain extra power in their work.

FREE CREATIVE

Free creative work allows its justification to emerge as it were by itself. Here the painter must break loose from ego to free the mind from its blocks and limitations for the painting to be ready to be painted by someone or something other than the painter. The picture flows into the painter and onto the ground from surrounding energies.

The best way to do this is to bring the mind to a point. Remember to relax - not to tense up or prejudge anything or anyone in any way. There should be no sense of what the painting is or should be about. Sense the moment. Mix the paint and let it flow as and where it will.

Paint whatever the energy in the arm guides you paint.

If you are really free and devoid of achieving or prejudging or critical of what you are doing you will be completely and utterly refreshed when you are through. Pure creation never tires or depresses but restores.

Paintings are truly finished after the Title Signature Date and Picture Sequence Number have been added.

My very best wishes.

John Blenkin is a retired architect and is now a watercolor painter and article writer. His interests are wide covering both technical and philosophical subjects. He also writes online articles on the technique of watercolor painting.

http://www.freefolios.com/
foka@spidernet.com.cy

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Watercolor Painting For All Ages and Abilities By Dean Novosat

Watercolor Painting For All Ages and Abilities
By Dean Novosat

Watercolor painting is a free-flowing adventure in color, textures, and form. It is easy when you learn it one step at a time. The art of watercolor painting is rich in traditional techniques and formality. The difficulty in watercolor painting is almost entirely in learning how to anticipate and use the behavior of water, rather than attempting to control or dominate it. A unique quality of watercolor painting is the look obtained when various colors are layered on top of previous colors (after each layer has dried). In rich, mutable, easy-to-mix colors, watercolor painting is perfect for beginners as well as more accomplished artists. A traditional watercolor painting is executed with transparent watercolors with no opaque pigments used and the white of the paper serving as white paint. And today, fine art watercolor painting is a highly respected and much sought after, art form bringing high bids at art auctions around the world

Watercolor is a type of paint made from pigments mixed with a water-soluble binder, such as gum Arabic. Watercolor paints can be bought in tubes or pans (small blocks). It is one of the most dynamic mediums available to the artist. Watercolors are great for outdoor painting because of their quick drying nature and ease of use and watercolor painting offers a wide range of varieties and consistencies.

Watercolor techniques have the reputation of being quite demanding, although they are actually no more demanding than those used with other media. In the 17th and 18th centuries, ink, pen and watercolor tints were common mapmaking tools, portable and convenient to use outdoors and in remote locations. At the beginning of the 18th century, the topographical watercolor was primarily used as an objective record of an actual place in an era before photography. It was also a popular choice for landscape painting. Watercolors have moved from mapmaking to the mainstream in the past 300 years. Now, watercolor painting can be enjoyed by people of all ages and abilities.

Painting in watercolor is one of the most popular mediums for aspiring artists, yet there are many pitfalls that can snare the beginner. Painting in watercolor is fun when you can find new opportunities for personal discovery, expression, and invention. Painting or drawing while traveling always makes the experience more rewarding, satisfying, and unforgettable. Professional watercolor paper is the basis for getting beautiful watercolor paintings, so remember this when selecting your watercolor paper. The better the paper, the better the painting.

Watercolor is not just for mapmaking anymore. Watercolor painting is enjoyed by people of all ages and abilities. My first memory of painting is using dime store watercolor paints in a metal tin. Although not the best quality, it introduced me to the watery, transparent color of this type of paint. Later in life, I learned to use these transparent pigments to create works of art. If you are considering getting started in painting, you may want to consider watercolors as your medium of choice.

To learn more about watercolor painting and how to master watercolors, you can read more about it on OfficialPainting.com in the Watercolor Painting section

Dean Novosat owns and operates http://www.officialpainting.com and Painting

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Recommended Watercolor Palette

You may already have your own preference for watercolors, if you don’t, or if you are feeling adventurous, you may want to give the following palette of colors a try. The following colors are considered to be wonderful in terms of purity and pigment strength. They also work quite nicely when mixing together.

Cadmium Red

Cadmium Red has good permanence. You won’t need to use a lot of this color. Just a little of this pigment can go a long way.

Permanent Rose
Permanent Rose is a more modern color and is sometimes used to replace the less permanent Rose Madder.

Cadmium Yellow
Cadmium Yellow is a bright color with a high tinting strength.

Cadmium Lemon
Cadmium lemon is a bit paler than Cadmium Yellow but is equal in
permanence.

Winsor Green
Winsor Green has good permanence and mixes quite well with Burnt
Sienna.

Winsor Blue
Winsor Blue has very good permanence and has become more popular widely replacing Prussian Blue.

French Ultramarine
French Ultramarine also has good permanence and gives your washes a very rich deep tone.

Burnt Sienna
Burnt Sienna is a very nice earthy tone with good transparency.

Raw Umber
Raw Umber is also a great earthy color with good permanence.

For more watercolor tips:
http://www.creativespotlite.com/watercolor-techniques.htm be sure to check out Creative Spotlite.

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Using Watercolor Instead Of Oil

By Jimmy Cox

Although watercolor painting is many centuries old, its application as we know it today is fairly recent. Used in the past by the Egyptians on papyrus and by the Chinese on silk, it gradually evolved to become an important medium on paper. Its original use on paper was to elaborate upon line drawings with monochromatic washes. Color followed, with the line still used for drawing and modeling of form.

It was not until Winslow Homer appeared that watercolor became a medium to be handled directly on the spot in a broad manner. While these early watercolors were used as a means of study from nature for subsequent oils, they came to have all the power contained in the heavier oil medium. Watercolor continues to be a medium that lends itself readily to painting on the spot, and working directly from nature is the most vital part of learning to handle it, aside from the original intention of studying the various aspects of nature. It is only alter a long period of outdoor study that a reasonably convincing watercolor can be made in the studio.

If you have worked in oils, you will find the knowledge you have acquired in painting with this heavier medium very helpful in doing watercolors. Experience in drawing and composition, and the training of your eye to see color, will all stand you in good stead. Now all you have to do is master the technique of handling watercolor!

To acquire this technique requires much practice. When working in oils you could finally arrive at the desired effect by much mixing of color, scraping the canvas for a fresh start, and making changes by the application of an opaque color over a previously painted area. Now you must work more directly. The beauty of watercolor lies in its fresh, transparent effect, and the approach must often be one in which the value, color, and drawing are accomplished in a single operation. However, while this is the ultimate effect you may want to achieve, a subject can be painted by separating these important ingredients into progressive stages.

The paper upon which you work is also a vital factor in imparting luminosity to a watercolor painting, because the whiteness of the paper showing through the transparent color aids in establishing a brilliant effect.

The novice has a tendency to work with too small a brush on an equally small surface. I advise you to work with as large a brush as possible and to do your early work on a half sheet rather than a quarter sheet. This will help to prevent a niggling or timid approach; the larger brushes and working size will force you to work more broadly. Later, when you have acquired more technical facility, you can work on any size.

Though preliminary drawing is always stressed, as you progress you will undoubtedly want to try other methods, possibly painting a subject directly with color or combining watercolor with other media. You will find that watercolor is an excellent medium for experimentation.

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Tips For Painting Landscapes In Watercolor

One of the biggest challenges beginners face with any type of art, is the ability to really connect with the creativity that is inside of them. It’s difficult in the beginning to just let go and paint from your heart and soul. Your mind is being filled with techniques and systems for approaching painting, that may inhibit your creativity. Don’t get me wrong, painting techniques are essential to learning, but there should be a point where you begin to draw from your own creative imagination.

When painting a subject, whether it be a person, landscape, wildlife, etc., it is important that you first carefully study and observe your subject. You need to get intimate and personal with the subject you are painting. If you want to learn how to paint great landscapes, then you should spend time in and around the area that inspires you to paint. Only then can you really get a sense of what it is you are seeing, and how to re-create that scene on paper.

Before you even touch the paint though, head down to your location with only paper and pencils. One of the best ways to become closer to the scene you are painting, is to spend time there doing sketches. This will really force you to observe what you see and burn the image and the environment into your senses. You will be amazed at how much you learn about a scene by simply doing a few drawings.

Painting on location can be rather challenging, especially when just starting out. As the day progresses and the sun changes location in the sky, the scene you are painting can change dramatically. There are certain watercolor techniques that require the paper to be at certain angles, or the paper needs to be saturated to a certain degree, etc. To get everything right within such a short time span is difficult. If you feel you will not be able to capture the scene with paint, bring a camera with you. In the beginning you should probably choose compositions that are not overly detailed or complex. Once you find a composition that you like, take a bunch of pictures at different distances and angles. When you get back to your studio you will now have some great reference photos as well as the drawings you created.

Another great way to immerse yourself in watercolor landscape painting is to find artists who share the same interest. Search online for any groups or websites for landscape painters in your area. Start chatting and get to know everyone. Many of the artists in these groups love to connect with other artists and plan painting trips. This is a great way to gain experience.

When painting on location you don’t need to bring an entire studio worth of supplies. Some artists make the mistake of bringing far too many supplies with them, which becomes more of a nuisance than anything else. Only bring the colors and supplies that you really need to work on a particular scene.

Remember, things change very quickly outdoors. Lighting conditions and weather can change in a matter of minutes. You must be able to paint quickly without being too sloppy. Block in all of your large areas first then go back and start adding your details. Many landscape artists usually block in the sky area first. The sky is generally paler than the rest of the painting, which enables you to work from light to dark. The sky area also influences the way you paint the rest of the objects in your painting.

When painting objects in the foreground that require a lot of detail, do not try and paint every single leaf or blade of grass that you see. This will create too much detail and will draw focus away from the center of interest in your painting. It also consumes too much of your valuable time. Besides, a painting is not meant to be an exact replica of what you see, rather your unique impression of the scene. If you want exact details, you are better off taking a photograph.

Don’t be afraid to use your imagination. If you are painting a scene and feel that you should add a few trees here, or a bush there, or a bird on a branch, then by all means go for it.

If you find one particular location appealing, and have already painted there once before, don’t hesitate to go back and paint it again, only this time go out on a cloudy day instead. You will be surprised how different a scene can look when the weather changes.

I hope these landscape watercolor painting tips have helped. If you ever find yourself getting discouraged or frustrated by your progress, don’t give up. Instead, welcome and learn from your mistakes. It will make you a much better painter.

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Beginner Watercolor Painting Tips - Getting Started With Watercolor

Like any new form of art, Watercolor paint comes in both Student and Artist quality. Artist quality paint has a more intense vibrant color. Student grade paints have more fillers in them rather than pigment, which is why they are less expensive. Many artists recommend only using artist quality paints, but it really is a matter of taste. Experiment on your own with both grades to form your own opinion.

Watercolor paint is available in tubes and pans. With watercolor pans, you have to add water to the dry cake in order for it to be workable. With pans, make sure your brush is clean before picking up a new color; otherwise you will dirty your colors. With a tube, the paint is more workable, but be careful not to squeeze out more paint then you need.

Purchase only a few primary colors and learn how to mix your own colors rather than purchasing premixed colors.

When you become more experienced, you can then start incorporating more colors into your palette.

BRUSHES:

Brushes are probably the most important part of an artist’s supplies. The watercolor brush should be of good quality, with the ability to perform well under most conditions.

Brushes come in an assortment of sizes and shapes. There are both natural hair brushes and synthetic brushes. Natural hair brushes are more expensive, while synthetic brushes may not perform as well as natural brushes. It is therefore recommended that you purchase a blended brush that is made with both natural and synthetic hairs.

You do not need a ton of brushes to get started in watercolor painting. In the beginning, a few good brushes should do the trick.

You should at least purchase a round brush, a flat wash brush, an oval wash or mop brush, and a rigger or liner brush for fine details.

PALETTE:

You will need a palette for mixing your watercolor paint. The best kind of palette for mixing watercolor paints is a white palette. Since watercolor paint is transparent, a white surface seems to be the best color for clearly seeing your mixtures.

GETTING STARTED:

Now that you have a basic of idea of the watercolor supplies you need, it’s time to find a place to setup your studio. You will want a location in your home or elsewhere that is quiet and where you will not be interrupted.

Next you will need a painting table. If you can, invest in a drafting table. If not, you can use a regular table. Whatever kind of table you use to paint on, it is important that your painting surface is inclined to a 15 or so degree angle.

Next you want to make sure you have an organized and clean painting area before you begin. Make certain that you have all the materials you will need within reach for that particular painting session.

Here are some things you should consider having in your watercolor studio:

- A large see through plastic jug to hold water.
- A clean absorbent cotton rag for drying your brushes
- A spray bottle filled with water to keep your paint wet and your palette clean
- Pencils for sketching
- Erasers
- A sketchpad for doing preliminary sketches.
- Container for your brushes

WHAT SHOULD I PAINT?

Many painters often struggle with this question. If you find yourself feeling uninspired or confused about what to paint, simply remember what subject in life that you feel an emotional or deep connection with. When you have this type of connection to a subject, your painting will reflect that passion and you will not lose interest.

You can develop great ideas for subjects in a variety of different ways. If you are a lover of the outdoors and nature, simply taking a trip with a camera can do wonders. If you love animals, you could take a trip to the zoo and snap off some shots or head to an aquarium and do the same. Take your photos back to your studio and find the most desirable subject for your painting.

I hope this watercolor lesson has helped. Best of luck and happy painting!

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