Beautiful Watercolor Painting and Demonstration…
April 20, 2008
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I came across a very beautiful and interesting watercolor painting and demonstration today that I had to share.
It was created by the very talented artist, Lori Rase Hall.
There are many quality photographs along with detailed instructions.
Popularity: 17% [?]
Step by Step Watercolor Painting By Alistair Butt
March 27, 2008
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Below is a wonderful step by step watercolor demonstration by the very talented artist Alistair Butt.
Please take a moment to visit Alistair’s site when you are finished reading through this demonstration. There a handful of other demonstrations on his website, tips on painting supplies, limited edition prints for sale and more. |
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Stage One |
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A drawing of the subject was produced on pre-stretched Bockingford 250lb watercolour/watercolor paper. Before any painting is started all the white areas of the painting are masked, in this case all the swans (I used colourless masking fluid from Winsor & Newton). Next the whole paper area is given a wash with plain water and while this is soaking into the paper I’ll pre-mix the first wash colours/colors on the palette. The first wash is to establish the sky and remove the remaining white areas of paper. A light grey/blue for the sky which was extended down to the river as this colour/color would become the highlight areas on the river and the beginnings of the shadows placed in the foreground. |
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Stage Two |
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| Two methods can be used for the this stage. The first is to mask all the foreground leaves and paint the background first or second (as I have done here) is to paint the leaves first and then mask before painting the background. The leaves are created from three washes, each of changing colours/colors working from light to dark. |  |
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Stage Three |
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All the leaves painted in stage two had masking fluid painted over them plus highlight areas on the water were also masked. Having pre-mixed the colours/colors needed, the background was painted using two wet into wet washes, the first wash was allowed to dry before applying the second, softening any edges that were too sharp using clear water. I also painted the reflections while the correct colours/colors were on the brush. Some loosely applied detail was added to the middle distant trees. |
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Stage Four |
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With the masking fluid still on the leaves I painted the foreground tree trunk with four washes. Starting with the highlight colours/colors then starting the modeling with a mid to dark colour/color wash followed by adding the details, like the branches, splits in the bark etc before the final shadow wash. The masking fluid from the leaves was then removed and some softening of the edges is done. More detail for the reflections on the river is added before a darker version of the sky colour/color is washed over the whole river. |
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Stage Five |
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| Moving to the foreground. The whole area is given a wash to establish the sunlight parts of the grass and tree on the right |  |
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Stage Six |
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| Two darker washes followed in the tree and on the grass to start creating the shadows cast from trees to the right hand side. The washes were a mixture of wet into wet and wet on dry. |  |
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Stage Seven |
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| Further detail was added to the tree on the right. The final grass shadow wash was added and as sharper edges were required the details like the twigs on the grass, gate and the plants by the river edge were painted last. |  |
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Stage Eight |
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| The final part (having removed the masking fluid that covered the swans from the beginning) was to paint the swans. The swans were painted with four washes, the first being a warm wash to capture the sunlight on the swans with the following three for the modeling and shadow areas working from light to dark and allowing each wash to dry before progressing, whilst being careful not to paint a shadow wash over a swan standing in sunlight. The details for the heads and legs being the last parts to be painted. |  |
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All Images and Text are © Copyright, Alistair Butt
Popularity: 49% [?]
Watercolor Painting Tips - Creating Textures in Watercolor
February 25, 2008
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!) |
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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! |
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| 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. |
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| Lace can make a wonderful stencil! Use a gentle dry brush or spray with tooth brush as shown here. |
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| Lay on a wash, and allow to dry. Use the sharp point of a razor or other instrument and gently scratch. |
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| 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! |
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| Use a natural sponge. Good for marble and many other textures. |
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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. |
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| 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. |
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Beth recommends two books on textures in watercolor:
| This is a wonderful book for learning textures! His work is so gorgeous. | I have the whole series of splash books. This one is specifically about texture in watercolor. |
Popularity: 35% [?]
Technique of Watercolor Painting: WC07 PLANNING
November 7, 2007
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
Article Source: http://EzineArticles.com/?expert=John_Blenkin
http://EzineArticles.com/?Technique-of-Watercolor-Painting:-WC07-PLANNING&id=126372
Popularity: 21% [?]
Watercolor Painting For All Ages and Abilities By Dean Novosat
October 27, 2007
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
Article Source: http://EzineArticles.com/?expert=Dean_Novosat
http://EzineArticles.com/?Watercolor-Painting-For-All-Ages-and-Abilities&id=750222
Popularity: 16% [?]
Recommended Watercolor Palette
June 29, 2007
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.
Popularity: 13% [?]
Tips For Painting Landscapes In Watercolor
May 12, 2007
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.
Popularity: 14% [?]
Beginner Watercolor Painting Tips - Getting Started With Watercolor
March 16, 2007
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!
Click here for more watercolor painting tips from CreativeSpotlite.com
Popularity: 11% [?]
Watercolor Painting Tips - What Paint Should I Buy?
December 29, 2006
Just like oil and acrylic paint, there are also a variety of watercolor paints available to the beginner.
It is best to start out with a less expensive brand of watercolors in the beginning. As you become more experienced, you can then experiment with more expensive higher quality watercolor paints.
Here are a few recommendations for beginner watercolor artists:
Winsor & Newton Cotman Watercolors
Grumbacher Academy Watercolors
Click here for more watercolor painting tips from CreativeSpotlite.com
Popularity: 9% [?]
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