Watercolor - Techniques for Artists and Illustrators

["You will need 199 Watercolor \u25a0\u25a0 No. 2 soft-hair mop brush \u25a0\u25a0 Table salt Buildings Transparent \u25a0\u25a0 No. 1 and no. 0 soft-hair \u25a0\u25a0 12 x 8 in (30 x 20 cm) orange round brushes cold press 140 lb Perylene violet (300 gsm) watercolor \u25a0\u25a0 Fineliner pen paper Light brown Ultramarine \u25a0\u25a0 Bleach blue Aqua green Liquid watercolor Turquoise blue Pastel green Porto, Portugal 4 Flat facades Fill in the flat faces of the buildings, using different tones for shadowed sides and overlapping some colorful washes of turquoise and ultramarine to bring interest to the main features. 5 Features Mix darker tones and add details over the flat washes. Use a neutral gray for stonework and rich mixes for shadows of doors and windows. Loosely suggest the ornamental surround on the church. 6 Final detail Use a pen to outline architectural details and street furniture. Include local details, such as passing cars and figures, adding a sketchy, loose line to bring the tree into focus.","200 Urban abstract Landscapes and townscapes | SUBJECTS EVOKING A LOCATION AND ATMOSPHERE A complicated urban scene can be daunting for an inexperienced artist, but simplifying it to the point of abstraction can be an accessible and exciting approach. Working quickly and not getting drawn into too much detail will keep your painting looking dramatic. The aim is to create a sense of place that will engage the viewer without making a very representational painting. PUTTING IT INTO PRACTICECadmium 1 Block in the basics yellow Dampen the paper with a water spray. The essence of a moody urban Decide where your horizon line will be landscape drawn from theCadmium red and block in strong compositional marks imagination can be capturedAzure blue with the mop brush. Trust your instincts quickly with the use of hard- and make some exciting marks. Use a edged shapes; strong, darker Phthalo blue concentrated mix of blue as it will colors; bold gestures; and Black become lighter when it dries. emphatic contrasts. You will need \u25a0\u25a0 No. 20 soft-hair mop brush \u25a0\u25a0 Medium swordliner brush \u25a0\u25a0 Spray bottle \u25a0\u25a0 12 x 161\/2in (30 x 42 cm) rough 300 lb (640 gsm) watercolor paper \u201cDark colors 2 Let colors bleed together and angular Add a hint of diluted red to the blue shapes suggest areas, applying it loosely and keeping industrial areas.\u201d your brush marks simple. Let the colors bleed together, but be sure to leave some areas of white paper.","\u25a0\u25a0Minimizing details 201 To make an abstract painting of an urban Ambiguous shapes Leading the eye Urban abstract setting, reduce the amount of detail that gives definite information to the viewer. These shapes could be read as wooden Strong diagonals in the sky and buildings Instead, aim for ambiguity, allowing for the posts, clumps of reeds, rocks, or distorted and the linear shapes in the foreground interpretation of the scene as the viewer reflections of buildings; the spattering lead the eye to the patch of light on the wishes. Combine the basics of strong might be birds, pebbles, or water spray. water that is the focal point. composition with diffuse edges, angular shapes that indicate buildings, and a play of lights and darks, emphasizing the latter as a way to evoke an industrial area. 3 Add the sky Angle your board and give the paper a spray of water from the top. Let the colors merge. Blend black into the blue, suggesting a stormy or polluted sky. 4 Indicate the buildings When the paint has dried, suggest the buildings with strong black marks to indicate warehouses and dockland. 5 Add foreground interest Once the paint is dry, paint a few strong blue brushstrokes over the foreground black shapes to form a more solid area. Finally, add a couple of small orange highlights.","Artist Grahame Booth Title St. Mark\u2019s Square, Venice Paper 14 x 19 in (35 x 48 cm) cold press 200 lb (425 gsm) watercolor paper A group of figures Using gouache Straight edges See pp.230\u2013231 See pp.150\u2013151 See pp.80\u201381 Almost all of the figures here Little touches of gouache Applying paint using are linked together, and most successfully suggest a the edge of a piece of are only hinted at. A simple highlight. Masking fluid mount card gives a approach is always best, would also work, but it slightly broken straight but the proportions must be must be applied at the very edge, ideal for the correct for the effect to work. beginning, before painting. flagpoles in this scene.","Townscape | Subjects Showcase painting This depiction of a famous, bustling scene relies mostly on suggestion. The individual marks hint at the complex structure and crowds of people (and pigeons), but each mark on its own is quite abstract. As a result, we are aware of everything in the scene without seeing any real detail. Softening edges Focal points Linear perspective See pp.94\u201397 See pp.140\u2013141 See pp.134\u2013137 A softly blended dark-to-light The focal point of this The vague lines of wash, disappearing as it painting is the area of the paving on the ground, if reaches the sky, suggests a strongest tone and color; continued, will meet at head dome\u2014a hard edge would the Z-shape of the pigeons height of the crowd. This have created the impression and figures also lead the ensures that the ground of a square shape. eye to this area. appears level.","204 Creating patterns \u25a0\u25a0Repeating designs Patterns, still lifes, and flowers | SUBJECTS BUILDING A FLORAL DESIGN To extend your watercolor tile pattern, scan or copy your artwork A successful pattern design is one that has a continuous, as many times as required, cropping seamless repetition that will flow and extend endlessly the edges as close as you can so without obvious variations. Use similar shapes and colors there are no borders or empty to create fluid connections on your base tile pattern, spaces. How you position the copies which will become the foundation for extended repeats. will affect the repeat. Orientate each copy the same way for a simple repeat, use a half-drop position, or try a mirrored effect. PUTTING IT INTO PRACTICE Start at the outer edges This base tile builds in successive layers, using organic elements Fill all spaces, that are linked together with connecting elements repeated shapes and colors, to create a balanced pattern that can be used in repeated designs. You will need Watercolor Opera rose Perylene Ultramarine 1 Plan design Light violet When drawing the design, ensure all the elements are balanced and in scale, with no single element as the focus brown of attention. Work from the outside in, without bleeding Crimson off the edges to help when cropping for repeat designs. red 2 First layer: foundation shapes Liquid watercolor Pastel green Gold ocher Start painting groups Turquoise of elements by color. Here, three tones of blue green are used for the first color layer \u25a0\u25a0 Liquid watercolors (colors above) of leaves, mixing on the surface wet-in-wet. \u25a0\u25a0 No. 4 and no. 2 soft-hair round brushes Ensure that the colors and shapes are evenly \u25a0\u25a0 No. 1 soft-hair rigger brush distributed across the whole tile. \u25a0\u25a0 12 x 12 in (30 x 30 cm) cold press cotton 140 lb (300 gsm) watercolor paper","205 Simple repeat Half-drop repeat Mirrored repeat Creating patterns Place your copies in pairs in the same Position two copies together vertically, This is similar to a simple repeat but turn orientation without any spaces in between. align the mid-point of the third copy at the each copy so that the same corner meets in Work in rows, ensuring corners meet neatly. horizontal join. Add copies above and below. the center, creating a symmetrical design. Repeat similar-sized circles of intense gold ocher 3 Second layer: connections Mix two tones of brown from light brown and perylene violet for the tendrils that connect the flowers and help create harmony between the elements. Don\u2019t vary shapes too much; repetition is key to pattern making. 4 Third layer: balance color Use intense mixes of pink and red for the petals and carry the color across the pattern to maintain the balance. Add details with lines and dots and overlap some new elements.","206 Still life shadows PUTTING IT INTO PRACTICE Patterns, still lifes, and flowers | SUBJECTS USING LIGHT AND TRANSPARENCY By keeping the shadows consistent you can create a convincing still life from a fabricated set up. In this When composing a still life, think about still life, colored glass creates shadows in muted the effect of lighting; the strength, direction, shades that are reflected onto a white backdrop, and brightness of a light source will create mirroring the varied shapes of the vases. shadows that help give a sense of space and realism. The transparent nature of 1 Plan the watercolor lends itself to delicate shadows, composition blending fleeting edges of light with colors and tones from the solid objects. You can create a still-life composition \u25a0\u25a0Working with shadow effects using found images. Here, the two pink In most still life setups you will need to consider not vases inspired a still only the balance of solid objects but also the effects life that was set up as of shadows in the overall composition. Shadows a photo montage of add depth and help anchor objects to the surface. glass objects. Transfer Look at shadows carefully, thinking about their the outlines of the placement, shape, and color. composition to your watercolor paper.\u00a0 Plan ahead Leave white highlights of Different glass Establish areas of darker tone paper where the light objects are combined or shade to give shape to solid hits the surface objects, ensuring that you leave in one set up highlights. Sketch in the outlines of cast shadows, mirroring the shape of the object and checking that the angle of the shadow is consistent. Shadow color and shape 2 Establish background shapes Establish the solid shapes that are the Observe shadow colors, as background for the glass objects. Wet the they often contain muted areas of the plinths and fill them with a tones of the main object. Use light, medium gray tone with a no. 6 brush. a diluted wash to reflect the shape of the object in its cast shadow, noting the direction and source of light. If lit from the side, shadows will fall at oblique angles; overhead light creates short shadows. The vertical shadows seen here suggest a flat backdrop.","You will need 207 Nude \u25a0\u25a0 Selection of Still life shadows Harvest yellow soft-hair round brushes Camel Light orange \u25a0\u25a0 111\u20442 x 161\u20442in (29 x 42 cm) cold press Orange 140 lb (300 gsm) Peach watercolor paper Coral red Vase shapes Light pink Saddle brown Turquoise Aqua green Light gray Medium gray Black Splattered color adds visual interest to the solid forms of the vases Transparent wash bleeds at the edges into wet paper for muted tones 3 Transparent color Fill the shapes of the vases in different colors, using transparent washes to vary the tones and represent the translucent surface. Where objects overlap, ensure one wash is dry to maintain crisp edges. 4 Add shadows Using a lighter, transparent tone of the colored glass, apply the shapes of the shadows, keeping the wash darker close to the object and letting it soften and lighten toward the outside.","208 Aged surfaces Patterns, still lifes, and flowers | SUBJECTS FOCUSING ON TEXTURE The appeal of painting still lifes is that you can select your subject matter, bringing together objects that have a common theme. When focusing on texture, draw on different techniques to produce a painting that is visually exciting, with sedimentary pigments, granulation medium, and salt to convey your subject without painstakingly painting every detail. Use these methods for many subjects, from metal to fur. PUTTING IT INTO PRACTICE For this still life of rusty and mossy objects, grainy pigment represents the aged surface, with saturated salt applied to add real surface texture. Dry brush marks contrast with smooth blends. You will need Lemon 1 Highlight underpainting yellow Paint the highlights that you want Cadmium to retain, using large, transparent, overlapping washes for the brightest red surfaces. For the rusted edges, use Burnt dry brush marks (see pp.56\u201357) and sienna granulating pigments such as cobalt to Cerulean introduce texture. Mix green and violet granulating pigments for the algae effect. blue Cobalt turquoise light Ultramarine blue Granulating Piemontite genuine Shadow violet Cobalt blue Lunar blue Green apatite genuine \u25a0\u25a0 No. 18, no. 10, and no. 6 soft-hair round brushes \u25a0\u25a0 Granulation medium \u25a0\u25a0 Salt wash of 50:50 salt to water \u25a0\u25a0 101\u20442 x 15 in (26 x 38 cm) rough 140 lb (300 gsm) watercolor paper Patinated textures 2 Encourage granulation When the underpainting is dry, apply a wash of clear granulation medium over the areas of algae. While still wet, add granulating pigments with more medium, painting with a loaded brush at a vertical angle. Encourage rivulets to run freely.","\u25a0\u25a0Controlling textures 209 By combining granulating pigments (see Rivulets and runs Salt wash Aged surfaces pp.90\u201391) with granulation medium or salt, you can intensify or manipulate the effects Apply granulation medium to the Mix 50:50 salt and water and apply as a to create some unique patterns, such as free underpainting. Then slowly dribble clear wash. Drop strong pigment into the flowing rivulets. Plan your palette to include granulation medium and granulating wash before it dries. The pigment and pigments that separate, and match them to pigments down the surface for rivulets. salt combine for a textured effect. your subject and the textures that you wish to convey. A salt wash attracts pigment to look grainy, which differs to the light, mottled effects of using dry salt (see p.148). The texture of the rough paper holds pigment that adds to the overall effect 3 Apply salt wash Once your rivulets have dried, scoop up a thick quantity of saturated salt onto your brush and apply it with the salt water to the rusty areas. Quickly add plenty of burnt sienna in blobs to this area; it will appear lighter as the pigment is drawn to the salt grains. 4 Smooth contrasts While working on the rusty texture, keep other parts smooth for contrast, working wet-on-dry for the lamp base. Add the background, keeping the textures simple in order not to detract from the main focal points.","Artist Michele Illing Title Garlic, Lemons, and a Lime Paper 161\u20442 x 27 in (42 x 69 cm) cold press 140 lb (300 gsm) watercolor paper Shadows and sunlight Using masking fluid Wet-on-dry See pp.138\u2013139 See pp.100\u2013101 See pp.50\u201351 Strong shadows\u2014which are Masking fluid is very Using the wet-on-dry method colored, not just gray\u2014with effective at keeping small liberally gave the artist the defined edges, give depth areas and thin lines white, freedom to enhance areas and a sense of three- which would otherwise be of the painting with dimensional form, and impossible when painting interesting visual textures show the direction of light. in watercolor. and brush marks.","Still life | Subjects Showcase painting Light, shade, and color are key to this painting, as is the balance between free and controlled brushstrokes. By capturing the infinite variety with which light falls on objects, both natural and human-made, watercolor can elevate the humblest of subjects to the status of art. Highlights Splattering Complementary colors See pp.104\u2013105 See pp.98\u201399 See pp.118\u2013119 Leaving some of the white A simple splatter technique The blues and purples in of the paper rather than adds energy to a still life. this painting help create color applying opaque white is a The thicker the bristles, harmony and mood, while the much fresher approach to the coarser the splatter. intense contrast of the bowl adding highlights, and will For these marks, a stiff of yellow lemons is enhanced make your painting glow. stipple brush was used. by the purple shadows.","212 Botanical PUTTING IT INTO PRACTICE painting Patterns, still lifes, and flowers | SUBJECTS A moment in time is captured in this study of a DEPICTING PLANT LIFE ACCURATELY fading anemone flower. Such detailed work demands a smooth surface, so a hot press watercolor paper Sitting somewhere between art and works better than a more textured paper. science, botanical art serves both faculties. The botanical illustrator not only depicts You will need the form, color, and botanical structure of a plant as accurately as possible, but also Quinacridone paints with artistic expression. gold \u25a0\u25a0Beautifully accurate Quinacridone red Build up layers gradually, starting with the lighter tones and working to darker ones. Successive washes help Quinacridone create the form of the flower and give a luminosity magenta to the piece. As well as using delicate wet-in-wet brushwork, a drier brush technique (little paint, little Phthalo blue water) is best for adding details and darker shadows. (green shade) Mayan dark blue \u25a0\u25a0 No. 6 soft-hair round brush Fading anemone \u25a0\u25a0 Ruling pen \u25a0\u25a0 Masking fluid \u25a0\u25a0 Tracing paper \u25a0\u25a0 Graphite transfer paper \u25a0\u25a0 81\/2 x 81\/2in (22 x 22 cm) hot press 300 lb (640 gsm) watercolor paper 1 Posing the subject Position the main light source in front of the subject but to one side. A secondary light on the other side will act as a backlight to enhance the translucence of the papery petals. Layer 1 Layer 2 Layer 3 Layer upon layer 2 Creating the background Build up rich colors over several carefully applied layers of wet-in-wet washes. Allow each layer to dry completely before applying the next Thoroughly wet a one. This repeated sequence creates form and strengthens color. larger-than-needed piece of paper. Dab Darker details pale mixes of browns and creams into the Highlight detail or deepen wet areas. Once dry, shadows with a drier brush. trim to include the Pick up small amounts of drying most successful area. paint on the tip of your brush or switch to a smaller brush. The mottled appearance echoes fading book pages A drier brush works best for details","213 3 Transfer the drawing 4 Protect lighter areas 5 The wet-in-wet washes Botanical painting Working alongside the specimen, draw the Apply masking fluid to the central stamens Wet the whole shape, then dab color to flower larger than life size onto tracing paper. with a ruling pen. Once dry, you can safely create the underlying undulations and forms Transfer using graphite transfer paper. wash over the masked shapes to create depth. on one petal at a time. Watch out for dryness.","214 Patterns, still lifes, and flowers | SUBJECTS 6 Successive layers Repeat the wet-in-wet washes, as needed, to build up the form or color. It is not unusual to have to apply several layers at this stage as colors tend to dry paler than when first applied. The golden rule is to not fiddle once the paint starts to dry, then leave to dry completely before working on subsequent layers. 7 Detail on petals Once you\u2019re happy that the petals are looking three- dimensional, switch to a drier brush technique for veining detail and to deepen shadows. \u201cDraw\u201d the detail using small amounts of dried paint color. Make these veins irregular and uneven to reflect the dried, papery feel of the petals. \u201cFading flowers shrink as they dry, so are easier to depict if painted larger than life.\u201d","215 Botanical painting 8 Revisit the center Once you are happy with the depth of color and the paint is dry, rub off the masking fluid with clean fingers to reveal and paint the individual stamens. 9 Leaves next Experiment with the arrangement of the leafy collar on your tracing paper drawing. Then, transfer this drawing over your painted image. 10 Finishing touches Assess the whole range of tones from dark to light and adjust. Even tiny areas of dark, where a petal turns over, for instance, can bring a painting to life.","216 Loose flowers PUTTING IT INTO PRACTICE Patterns, still lifes, and flowers | SUBJECTS SUGGESTING FLOWERS SIMPLY The energy of the strokes in saturated color adds vibrancy to this still life. The random effect When painting flowers in a loose, fluid style, of one color flowing into another it is important to be selective about how brings dynamism. wet you choose your paper to be. Broad washes of color that flow across the paper You will need provide exciting effects that allow the viewer\u2019s imagination to fill in the petals \u25a0\u25a0 No. 18 and no. 12 soft-hair further, but some detail is also needed mop brushes to give structure and variety. \u25a0\u25a0 No. 5 synthetic and no. 3 \u25a0\u25a0Suggesting depth and detail soft-hair round brushes Using a mixture of soft and harder edges conveys \u25a0\u25a0 81\/4 x 6 in (21 x 15 cm) the three-dimensionality of the flowers, while also hot press 140 lb (300 gsm) stimulating the eye of the viewer with different textures watercolor paper and lines. Strong colors and harder lines advance in the Madder lake painting, while diffuse washes of similar colors for the red light background give the idea of a larger number of flowers that cannot be clearly discerned. Red ocher Hooker\u2019s Hard and soft edges green Rose A combination of hard and soft edges describes the flowers, yet Phthalo blue also invites the viewer to lend (green shade) their imagination. A detailed Neutral black botanical approach is not necessary to explain the Pink lilies flowers\u2014suggesting their essence is sufficient. 1 First hints at form Hard edge Wet the whole sheet Suggestive background with a thick brush, then loosely apply A background that is not clearly a mix of ocher and explained suggests depth to the madder lake red light viewer and invites the sense where the flowers that there is more to be are. If needed, you revealed. Diffuse shapes and can tilt the paper diluted colors mean that the to allow the paint background enhances rather to flow freely. than competes.","\u201cFluid washes of color evoke the 217 freshness of living flowers while Loose flowers defined marks give structure.\u201d Add leaves where you like 2 Leaves and stem structure to enhance the composition When the paper dries out a little but is mostly wet, add structure. For leaves and stems, mix green with black and madder. Where the paper is drier, the strokes will be clearer and where it is wet, they will be blurry. 3 Flowers and buds When the paper dries a little more, indicate flowers and buds with free strokes, mixing colors as you choose. Use intense colors for line details and less saturated ones for more general color. 4 Finishing touches When the paper is completely dry, add details with a fine brush. As well as lines, you can apply water and dot on some paint, allowing it to spread slightly.","218 Painting faces PUTTING IT INTO PRACTICE Portraits, figures, and animals | SUBJECTS CAPTURING A LIKENESS Breaking the tones down into shapes makes portraits easier to paint as you can more easily see the placing The first step is to choose a pose that is of the features. You need to be decisive early on interesting and relatively easy until you about what you will paint and what you will omit. have gained some experience; a slightly turned profile is attractive and you need You will need to paint only one eye rather than trying to match the exact gaze of a full-face portrait. Transparent Use natural lighting so the coloring of yellow your subject will be more true to reality. Rose madder \u25a0\u25a0Making a lively portrait Dioxazine violet What you leave out of a portrait is as important as what Cobalt you include. Hair and clothing can be merely suggested; turquoise your colors and technique can add more vitality to the subject than painting everything will achieve. Save your Cerulean blue finer detail for the focal point, often the eyes. Ultramarine blue The eyes Payne\u2019s gray Render the eyes with more Viridian controlled strokes, using a thin brush to build shadows on the Davy\u2019s gray eyelid, adding fine marks for Ivory black eyelashes, and leaving crisp, A profile portrait wet-on-dry edges for the pupil. \u25a0\u25a0 No. 8 and no. 4 soft-hair round brushes \u25a0\u25a0 No. 0 synthetic round brush \u25a0\u25a0 8 x 8 in (20 x 20 cm) cold press 140 lb (300 gsm) watercolor paper Rose madder and Cerulean blue and cobalt turquoise rose madder The hair Shading with color 1 Laying shadows Using the no. 8 round brush, lightly Whatever the style, hair can A successful rendition of skin lay pools of rose and turquoise where the be minimally suggested using tone (see pp.220\u2013223) is integral shadows on the face are present. Use a just blocks of color with a few to a good portrait. Try less literal slightly cooler mix of cerulean and rose on strokes painted to describe its color mixes such as blue with the forehead, which is on a different plane general direction. pink, for a lively effect. to the cheek in relation to the light.","Painted negative space emphasizes \u201cNatural lighting 219 the shape of the face will give you the truest skin tones Painting faces 2 Framing the face Use the no. 8 brush to paint the in a portrait.\u201d negative space around the face, neck, and hair with Payne\u2019s and Davy\u2019s 3 Defining gray mixed together. Carefully work the features around the edges, causing the face to emerge. Allow plenty of space for Mix yellow, violet, the hair\u2014remember that the eyes and ultramarine for are halfway down the head. the hair and build up with the no. 4 brush. Mix viridian and rose with the no. 0 brush to define the darkest areas of the features. Use a touch of black for the pupil and rose for the lips. 4 Shadows and highlights With the no. 4 brush, mix cerulean, rose, and yellow. Paint the shadows on the skin to create more depth. Add a very diluted wash of yellow to create warmth on the highlights. 5 Finishing touches Mix Payne\u2019s gray and cerulean with the no. 4 brush and repaint the background. Use the no. 0 brush to refine the hair, selecting any strands with ultramarine, violet, and yellow.\u00a0","220 Skin tones \u25a0\u25a0Dark skin tones Portraits, figures, and animals | SUBJECTS PAINTING THE COLORS IN SKIN Dark skin uses burnt sienna in the high tone. Mixing it with cool crimson prevents the skin tone being too Realistic skin tones are best painted with orange. Burnt umber in the mid tone gives a warm just a few basic colors, since this results in brown which can make a mauve in darker mid tones. tones that harmonize with each other and provide a natural appearance. All skin tones, from the lightest to the darkest, can be painted with a limited palette of just three colors, with reserved paper providing white for the highlights. \u25a0\u25a0Light and shade High tones Mid tones Dark tones Look for the high, mid, and dark tones in your subject\u2019s skin, which depend on the direction and strength of the light source. When close to light, the skin may look paler, cooler, or yellower. Using a cool green or purple mix is an effective way to depict shadows, as they will complement the warm reds and yellows in the skin. \u25a0\u25a0Flesh tones Using a basic palette will give you a good starting point for mixing skin tones. Earth colors such as sienna, umber, and ocher often provide a good foundation for flesh tones; you can mix them with primary colors to create warmer or cooler hues according to the high, mid, and dark tones you have identified. Cadmium Yellow Raw Burnt Burnt Burnt sienna Burnt umber Burnt umber yellow ocher sienna sienna umber Cadmium Alizarin Cerulean Ultramarine Alizarin crimson Alizarin crimson Alizarin crimson red crimson blue Limited palette Palette for dark skin Ultramarine Mixing skin tones from a limited palette of colors will help unify Use burnt sienna with crimson for the high your painting. Choosing a warm and cool version of each primary tones, substituting burnt umber for the sienna in color will ensure that you can create a wide variety of convincing the mid tones. For very dark skin, make strong skin tones, no matter the complexion of the subject. mixes and add ultramarine to cool the color a little so that the crimson does not dominate.","\u25a0\u25a0Olive skin tones \u25a0\u25a0Light skin tones 221 Olive skin has raw sienna instead of burnt sienna in Light skin can be painted from pink through to yellow Skin tones the first mix for the high tone. Raw sienna is a yellower tones by varying the balance of alizarin crimson to color, which is also used in the mid tone to keep the yellow ocher in the first mix for the high tone. Use olive complexion from looking too brown. darker tones of the mixes for shadowed areas. High tones Mid tones Dark tones High tones Mid tones Dark tones Raw sienna Raw sienna Burnt umber Yellow ocher Yellow ocher Burnt umber Alizarin crimson Burnt sienna Alizarin crimson Alizarin crimson Alizarin crimson Alizarin crimson Ultramarine Ultramarine Palette for olive skin Palette for light skin Ultramarine Lay washes for the overall skin color and tone Use the basic colors of then use darker tones for shadow areas. For yellow ocher and burnt olive skin, use only subtle variations of color umber, adding touches and tone to give a convincing effect. Allow of crimson or ultramarine washes to dry then build up gradually. for warm or cool areas.","222 PUTTING IT INTO PRACTICE Portraits, figures, and animals | SUBJECTS Portraits rely on a slow build up of washes, because it is easy Cerulean blue to add extra paint but undesirable to lift out unwanted edges and alizarin and marks, since it leaves the skin looking too shiny. Secondary colors are best mixed rather than using manufactured colors. crimson create a cool lilac shadow You will need Yellow ocher Cadmium yellow Cadmium red Alizarin crimson Burnt sienna Burnt umber Cerulean blue Ultramarine \u25a0\u25a0 No. 12, no. 8, and no. 4 soft-hair round brushes\u00a0 A relaxed pose \u25a0\u25a0 Craft knife or razor blade \u25a0\u25a0 15 x 12 in (38 x 30 cm) cold press linen 140 lb (300 gsm) watercolor paper 1 Laying a base color Paint a mix of crimson and ocher over the face, leaving reserved highlights on the top and side of the head and the beard area. Dilute the wash where the mustache will be. When this wash is dry, use the color again to darken some areas, in particular around the eye sockets, sides of the nose, and under the chin. Yellow Alizarin First wash ocher crimson color 2 Modeling the head Mix a wash of crimson, ocher, and cerulean with which to create a three-dimensional tonal image, paying attention to the bone structure of the head. Form the eye sockets, define the nose, and shape the cheek bones. When this is dry, use the same wash a second time to darken the features. Yellow Alizarin Cerulean Second ocher crimson blue wash color","3 Intensify colors 223 Using ocher, red, cerulean, and crimson, paint the brighter Skin tones colors of the skin and clothing. Cadmium red mixed with ocher down the center of the nose brings it forward. Dry brush a mix of ocher and cerulean to suggest beard stubble. Drag a mix of cerulean, ocher, and crimson for the eyebrows, beard, and mustache. 4 Darkest tones Make a mix of ultramarine, crimson, and umber to create a soft black for small details. Use this mix for all the features, varying it to make brown, mauve, and green darks for a lively portrait. Dry brush the mix over the beard in a broken stroke to give the impression of whiskers. Alizarin Burnt Ultramarine Soft black crimson umber color 5 Lift out details Once the painting is completely dry, use a sharp blade to lift out just a few of the hairs of the beard that were not possible to reserve.","224 Expressive PUTTING IT INTO PRACTICE portrait Portraits, figures, and animals | SUBJECTS In this technique, the effect of inventive colors, CONTRASTING BOLD AND SUBTLE COLORS strokes, and lines is important. In contrast, the face and eyes are clearly drawn, giving structure and a Vibrant color blocks, quick strokes, and focal point respectively. subtle layers combine here to create an expressive style of portrait. The skin tones You will need on the face are created from layers of warmer or cooler transparent color. Hansa yellow Yellow ocher \u25a0\u25a0Creative color Madder lake The multiple layers of color on the face, the vibrant red light multi-colored blocks of color flowing into each other Scarlet on the hair, and the quick free lines on the clothes and hair give the effect of expressive realism. The colors Red ocher may spread beyond the pencil lines to give the effect Raw sienna of additional dynamism. Phthalo blue (green shade) Ultramarine Neutral black \u25a0\u25a0 No. 18 and no. 3 soft-hair round brushes \u25a0\u25a0 No. 12 mixed-hair oval wash brush \u25a0\u25a0 No. 5 and no. 2 synthetic round brushes \u25a0\u25a0 12 x 8 in (30 x 20 cm) cold press 140 lb (300 gsm) watercolor paper Three-quarter profile Color Gray scale 1 Mark highlights and shadows In your pencil sketch, mark circles where there will be highlights or dark tones. Leave fine lines, but erase excess ones. You can erase some after applying the first layer once it has dried. Colorful tonal range 2 Apply a base wash With a thick brush, The hair colors may seem unconventional, but converted to lay a dilute wash of gray scale they can be seen to follow a tonal range: yellow for sienna, leaving white high tones, red for mid tones, and blue for the darkest tones. paper for highlights. Lay more paint for dark Glazing the skin tones with a mixed oval wash brush. Apply water Several layers of to lighter areas, blot it, delicate, transparent then lift off color with washes create a a clean thick brush. multi-dimensional effect on the skin. They are especially suitable to convey the youth and sensitivity of the subject.","\u201cAn expressive portrait allows you to be 225 free and experimental with color Yellow in the hair Expressive portrait indicates light falling rather than trying to describe reality.\u201d on the top of the head Stray bits of hair rather 3 Block in than a smooth outline the hair give a lively effect Dampen the hair area with clean water. Add ultramarine, yellow mixed with yellow ocher, and scarlet mixed with red ocher. One color can flow a little into another. Be careful not to mix with the layers on the face. 4 Layer the skin colors When the first layer dries, add a blue and ultramarine mix on the face and eye area. When it is dry, add eyebrows and eyes with a black and ultramarine mix. Use scarlet with red ocher for shadows and the mouth. 5Finishing touches Using ultramarine and black for the darker areas, apply thick paint for the hair. Paint the clothes with plenty of water so that everything flows to fit the style of the face.","Artist Denise Findlay Title Balanced Paper 11 x 171\u20442in (28 x 45 cm) cold press 140 lb (300 gsm) watercolor paper Balanced composition Tone Lifting out See pp.110\u2013113 See pp.66\u201367 See pp.82\u201383 The weight of the headscarf The contrast of dark and light Carefully lifting out a is balanced by the hand gives this portrait a lifelike small amount of color is an under the subject\u2019s chin, depth. Treat dark tones with effective way to bring light which falls in the lower third confidence and use layers. back into areas that are in of the picture, creating a Light tones should be thinly shadow, here creating a focal point to lead the eye. applied and transparent. warm, natural glow.","Portraits | Subjects Showcase painting This luminous portrait combines a striking composition with a soft, delicate approach to conveying the subtleties of skin tone, light, and shade. Painting a person in profile emphasizes the contours of the face, especially effective against the minimalistic background used here. Negative spaces Softening edges See pp.114\u2013115 See pp.94\u201397 The silhouette of the A seamless transition subject\u2019s head and between light and dark hand create interesting areas was created by background shapes in adding water to the edge the space between and of a colored wash, then around the form. blending with a dry brush.","228 Single figures PUTTING IT INTO PRACTICE Portraits, figures, and animals | SUBJECTS POSE, SETTING, AND COMPOSITION Tonal contrast is important in this painting, because the focal point is where the lightest and darkest tones touch Successful figure paintings usually create a each other. The defined edge of the horse\u2019s flank against sense of scale, proportion, and perspective. the blurred background gives perspective to the scene. The best way to achieve this is to think of the figure as part of a setting. Pay attention Cool cerulean blue to the overall composition and spatial relationships between the figure and 1 Cool background tones the other elements in your painting. Using cool cerulean blue on the back of the sweatshirt, and a mix of cerulean and \u25a0\u25a0Scale and relationships ocher behind the forearm, pushes back these areas to create distance. The white of Figures are enhanced when painted in relation to the forearm is reserved to bring it forward. another point of interest. The comparative sizes of the horse and farrier need to be judged to create harmony between the two shapes. The sense of space between them is produced by using warm and cool colors. Cool colors push the background away from the viewer Warm colors help Warm cadmium orange Warm ultramarine the foreground advance and create 2 Warm foreground tones a sense of depth Warm ultramarine is used for the jeans to bring the front leg forward. Allowing the Identifying key shapes cerulean and ocher mix to bleed into it gives granulation that suggests denim. The upright shape of the horse gives structure to the top of the painting. Impact comes from the diagonal of the farrier\u2019s feet and shoulders, while shadows in the sleeves show the stretch of the arms.","You will need 229 Cadmium yellow \u25a0\u25a0 No. 14 and no. 8 soft-hair Single figures Yellow ocher round brushes Cadmium red \u25a0\u25a0 15 x 11 in (38 x 28 cm) Alizarin crimson cold press linen Burnt sienna 140 lb (300 gsm) Burnt umber watercolor paper Cerulean blue Ultramarine Fitting a horseshoe 3 Hard and soft marks Scale and balance are emphasized by using hard edges toward the front of the farrier and keeping the mark-making soft for painting the horse behind him. 4 Wet-in-wet backdrop Wet-in-wet painting using cool tones gives some interest in the background while at the same time keeping it visually soft to maintain the sense of distance. 5 Dry-brush texture A dry-brush technique is used to paint the tail of the horse, giving the impression of movement and the texture of the hairs.","230 A group of figures \u25a0\u25a0Capturing people Portraits, figures, and animals | SUBJECTS PUTTING PEOPLE IN THE PICTURE Focus on the proportions, gesture, and pose of the figures: the way Many artists avoid putting people in their paintings, but they walk, swing their arms, and figures can make your painting come alive. They needn\u2019t be lift their legs. Always consider the detailed; often a suggestion of a figure is enough. The key scale\u2014you don\u2019t want figures taller to bringing unity to the piece is capturing the proportions than doorways, for instance. Unless of figures within the perspective of the scene. the person is up-close, there is no need to worry about facial features or details of the hands and feet. PUTTING IT INTO PRACTICE This painting is more about the figures than the landscape. If you concentrate on the proportions and get the gestures right, you can use surprisingly loose brushwork to convey the sense of a bustling crowd. You will need 1 Prepare the paper Using a large mop brush, dampen Pure yellow the paper around the foreground Yellow ocher figures and statues. Lay wet-in-wet Quinacridone washes for the background, being careful to leave some light in the magenta foreground. Think about color as it Cadmium red will set the mood of the painting. Perylene maroon Caput mortuum violet Perylene violet Manganese blue Ultramarine blue Indanthrene Phthalo green (blue shade) Neutral tint \u25a0\u25a0 No. 10, no. 6, and no. 000 soft-hair mop brushes \u25a0\u25a0 Small Chinese brush \u25a0\u25a0 12 x 17 in (30 x 43 cm) hot press 300 lb (535 gsm) watercolor paper Castel Sant\u2019Angelo, Rome 2 Background figures Build up the background figures using a wet-on-dry technique, thoroughly drying each layer as you go. Separate light and dark tones as figures recede; very distant figures can just be silhouetted shapes.","Proportions Normal Lower eye level eye level A person is generally 7 to Seated perspective 231 8 \u201cheads\u201d tall. The belly If you are sitting, the eye line would be lower and run through the same part of button sits 3 heads down; each figure, probably around the chest. wrists, crotch, and hips are A group of figures halfway down; 4 heads down for fingertips; 5 for knee caps. Make sure the head sits on, and does not float above, the shoulders. Standing perspective Bottom of knee cap On level ground, a crowd of people\u2019s heads is 5 \u201cheads\u201d down appear at the same height but their leg-length decreases as they gain distance. 3 Foreground figures Gently define features of the foreground figures as you build up tone, without being over-fussy with detail\u2014just hint at features. 4 Add shadows and detail Once each layer is dry, paint in shadows and detail, focusing on ever-smaller shapes every layer. 5 Finishing touches Add more local color and splatter the foreground for interest. Darker tonal accents will give depth.","232 Fashion PUTTING IT INTO PRACTICE illustration Portraits, figures, and animals | SUBJECTS Inspired by catwalk images, this illustration combines EXPRESSING CREATIVE IDEAS bold, simple colors with added pattern and fine detail to showcase the clothes, using varied Compared to traditional figure painting, tones and blends to add depth and texture. fashion illustration allows you to develop a more abstract, simplified approach to You will need a pose. Any medium is suitable but watercolor is especially expressive. Nude Harvest \u25a0\u25a0Taking a graphic approach yellow Your choice of materials is endless, and this is a great Camel opportunity to use mixed media and many expressive watercolor techniques to convey the originality of Red your designs. Using graphic materials, such as liquid Light gray watercolor, fineliner pens, technical pencils, gouache, and collage, will add extra drama to the clothes. Medium gray Black \u25a0\u25a0 Liquid watercolors (colors above) Catwalk sketch \u25a0\u25a0 Selection of soft-hair round brushes \u25a0\u25a0 0.5mm fineliner pen or technical pencil \u25a0\u25a0 Bleach \u25a0\u25a0 Cotton swab \u25a0\u25a0 12 x 81\/2in (30 x 21 cm) cold press 140 lb (300 gsm) watercolor paper 1 Draw outlines and add skin tones Use a fine pen or pencil to develop your ideas. Include details and outline any areas of different colors. Facial features are kept to a minimum but add hair shape and lips. Start by painting the skin with two or three natural tones and no. 2 and no. 4 brushes, keeping just inside the pencil line. 2 Build color Fill the colored areas, using undiluted color for solid features, such as the shorts, and ensuring each area dries before adding the next. Use dilutions of black to fill the top. Pen and ink Watercolor effects Technical pens and fine marker Fluid wet-in-wet blends within a pens can be used to either outline simplified outline, or silhouette, an image, or add detail over a suggest both movement and dry wash. Scribbles, hatching, pattern in fabric. Manipulate and shading can all be used to blends to suggest garment suggest pattern or fabric sheen. components, such as sleeves.","\u201cCombine graphic 233 drawing skills with painterly effects to Fashion illustration develop ideas.\u201d 3 Wet-in-wet blends Use drops of red for the dress, diluting the intensity of the color with water and allowing some natural blending wet-in-wet to occur on the paper. Use lots of water to dilute the wash for highlights. 4 Fine details Once the main clothes have been added and have dried, continue to add the finer details and the accessories, using a thin no. 1 brush. Paint the feathers with undiluted black. Alternatively, use a fineliner pen. 5 Fabric patterns To add a dot pattern to both figures, carefully apply drops of bleach with a cotton swab over the watercolor, reapplying the cotton swab each time and using the tip to vary the size of the dots. Some pigments will leave a lighter tone rather than a bright white.","234 Incidental figures \u25a0\u25a0Integrating figures Portraits, figures, and animals | SUBJECTS PORTRAYING FIGURES IN A LANDSCAPE It is easy to make figures in a landscape too prominent. Figures naturally tend to demand our attention and Remember you are painting a can dominate a scene. For landscapes, all elements should landscape that happens to have blend to a harmonious whole. Through careful planning figures, not a figure study with a and color choices, you can subdue the impact of figures landscape; the figures must blend in various ways to create a balanced composition. with the other elements. Try to connect and harmonize the figure with the landscape by merging edges and repeating colors. PUTTING IT INTO PRACTICE In this view, the figures are part of the landscape, adding incidental detail to the overall composition. Similar colors and tones from the sea and land help the figures blend with other elements without distraction. You will need Azo yellow 1 All-over wash Cadmium Paint a blending background wash yellow from top to bottom. Use a mix of phthalo blue with a touch of quinacridone Burnt sienna magenta for the sky and sea, and a warm Quinacridone mix of quinacridone magenta and azo yellow for the land. Do not leave space magenta for the figures; nothing is more isolating Cadmium red than a hard edge around every figure. French ultramarine Phthalo blue (green shade) \u25a0\u25a0 No. 14 soft-hair round brush \u25a0\u25a0 No. 10 soft-hair mop brush \u25a0\u25a0 10 x 14 in (25 x 35 cm) cold press 140 lb (300 gsm) watercolor paper Seafront 2 Blend figures to background Allow some of the Start to gradually define the elements figures to partly blend with the second wash, warming the middle ground with cadmium yellow. with the background Use similar tonal values for the figures, carrying touches of burnt sienna in the landscape to create visual connections.","235 Blending in Repeating colors Incidental figures White space or painting a hard edge around a figure will immediately Try to integrate figures into the rest of the landscape by using the local isolate them, as if spotlit. To avoid this, soften edges and partly color for both, and if you must use a strong color such as red in your blend the figure with the background, linking it to other features. figure, include it in the landscape, too, to lessen the visual effect. A few light clouds break up the sky wash and balance the composition 3 Connect colors Repeat every color in the landscape in the figures (and vice versa) to create harmony. Here, the stronger greens and browns of the palm trees link to the clothing in the figures beneath. The same mix of phthalo blue and Blend the lower legs with 4 Tonal balance cadmium red is used to link all the shadows to anchor Continue to strengthen all colors, mid and foreground shadows the figure to the ground adding darks here and there with dots and dashes to create tonal interest. Treat the figures with no more importance than the trees or buildings, using similar tones and color.","Artist Gilly Marklew Title The Swimmer Paper 13 x 18\u00bd in (33 x 47 cm) cold press 140 lb (300 gsm) watercolor paper Using masking fluid Layering paint Lifting out See pp.100\u2013101 See pp.58\u201361 See pp.82\u201383 Masking fluid, applied Lighter colors have been To create glowing highlights between colored washes, applied over large areas, on the surface of the water, preserves white and tinted then incrementally smaller the masked-off areas were highlights, allowing the artist sections glazed in translucent softened by lifting out to apply washes freely washes on top, revealing the pigment with a brush when without losing light tones. previous washes in between. the wash was almost dry.","Figures | Subjects Showcase painting Layered washes in this painting show movement in the clear water around the figure. Careful use of masking fluid and softened highlights capture the way direct sunlight sparkles on the surface of the water, and the effects of refracted light on the partially submerged figure. Focal points Wet-on-dry Variegated wash See pp.140\u2013141 See pp.50\u201351 See pp.74\u201375 The highest contrast in tone Painting small sections of An initial variegated is between the swim suit the artwork wet-on-dry wash, painted wet-in-wet and the water, and the results in hard edges, to create soft edges, gives highest contrast of color used here to show the an impression of movement is around the head; both rippling surface undulations beneath the surface of attract the eye. of the water. the water.","238 Pet portraits PUTTING IT INTO PRACTICE Portraits, figures, and animals | SUBJECTS PAINTING ANIMAL COMPANIONS In this pose, the face is painted in detail, making the spaniel\u2019s doleful eyes the focus with his direct gaze. Capturing your pet\u2019s unique character The form of the body is conveyed using different in watercolor is a challenge, but with a brushes, set against a loosely defined background. subject that is familiar and a medium that is particularly suited to the soft nature of You will need fur and whiskers, you will soon master pet portraiture. Sketch from life and take lots White gouache of reference photos to help choose a pose. Naples yellow Quinacridone \u25a0\u25a0Conveying highlights and textures magenta A common characteristic of most pets is their fur. Burnt umber Utilize different brushstrokes for fur textures, layering Burnt sienna your strokes wet-on-dry to build a sense of density and direction, helping give your pet form. Highlights found Perylene in eyes, wet noses, and shiny fur can be incorporated violet with resist techniques (see pp.100\u2013103). Caput White highlights mortuum violet For contrasts in markings you can leave some of the white of the paper Indanthrene showing, or use masking fluid in the blue early stages to preserve the highlights. Once removed, the masked area will Indigo have a defined, crisp edge that can Neutral tint be softened if required. \u25a0\u25a0 Medium and small Fur texture Chinese brushes Chinese brushes are ideal for painting \u25a0\u25a0 No. 000 soft-hair mop brush fur as they hold their shape when spread, and you can paint several hairs \u25a0\u25a0 Masking fluid and craft at the same time. These brushes are paintbrush or palette knife very absorbent and will hold a lot of paint, creating fluid strokes. \u25a0\u25a0 13 x 16 in (33 x 41 cm) hot press 300 lb (640 gsm) Wet-on-dry strands watercolor paper Load a small brush with wet paint and Pet spaniel paint on dry paper to achieve strokes with hard edges; ideal for defining 1 Establish basic strands of fur. This wet-on-dry proportions technique tends to give you more control when working in small areas. Check the relationship between eyes, nose, and ears to make sure your drawing is accurate. Mask highlights such as the whiskers and eyes, and lay in lightest color areas with a splayed Chinese brush. 2 Underlying form Notice how the fur follows the underlying form, parting over the muzzle, for example. Mask to keep the areas of lightest paint. Think of masking fluid like paint and consider the marks you\u2019re making. Start to build up glazes for the eyes and nose.","239 Pet portraits 3 Background washes 4 Build layers 5 Soften edges Paint in a loose background with large Add fur color and when dry define the When you feel you have built enough variegated washes. Mix your colors on the area, following the direction of the fur with depth in your painting, remove the masking paper not on the palette; they will be much your brush. Use a small Chinese brush to build fluid. Use a damp mop brush to soften and fresher. Use the side and tip of a medium detail wet-on-dry (see left), giving the illusion blend hard edges as needed. Add final details Chinese brush for different, loose marks. of layers of fur without overworking. with a few strokes of white gouache.","240 Creatures PUTTING IT INTO PRACTICE in motion Portraits, figures, and animals | SUBJECTS The interplay of cooler tones contrasting with the CAPTURING WILDLIFE CHARACTERISTICS warmer tones in this painting aims to thrust the hare forward, emphasizing a sense of urgency and its Careful observation is key to painting speed. Loose impressions of fur add vitality. animals since you need to capture their essence in nature in just a few brushstrokes. You will need Understanding their anatomy is useful, too, as proportion and balance are equally Raw sienna important for an authentic portrayal. Indian yellow \u25a0\u25a0Defining features and form Raw umber Van Dyke Experiment with the best techniques to use to brown express the key features, such as eyes, ears, nose, mouth or beak, and feathers or fur. Certain techniques Burnt sienna lend themselves perfectly to describe fur, where you Alizarin want to give the impression of both texture and density. crimson Layering techniques help build colors that not only describe an animal\u2019s pelt but also help suggest Cadmium red the form of the body beneath. Dioxazine violet Dry-in-wet French Single, brisk strokes or dabs ultramarine of dry paint into wet washes Phthalo green produce very effective results for fur, hair, or animal markings. (blue shade) The drier the paint, the more it will hold its form in the wet \u25a0\u25a0 No. 15 and no. 8 layer, blurring just enough to soft-hair round brushes give credible effects of fur. Be aware that if paint is not dry \u25a0\u25a0 2 in (5 cm) hake brush enough it might cause runbacks. \u25a0\u25a0 No. 3 synthetic-fiber Stretching out rigger brush Mix a loose wash and paint \u25a0\u25a0 141\/2 x 201\/4in it lightly over the dried layer. (36 x 52 cm) cold press With a slightly damp brush, 140 lb (300 gsm) drag and \u201cstretch\u201d the wet paint watercolor paper into the areas where you want crisp shapes of tone, shadow, or Hare sketches fur. Such \u201cstretching out\u201d allows you to control the sharp edges. 1 Initial sketch Sketch the pose, noting Sharper edges add definition the angle and length of the ears (the ears of a hare are surprisingly long). The setting of the ears dictates the pitch of the head. Take care to get the balance right so that the shift of weight on the downward leg would convincingly propel the hare forward. Correct proportion is key. \u201cUse rapid strokes and loose wet-in-wet mixes to reflect the immediacy of a moving subject.\u201d","241 Creatures in motion 4 Dry-in-wet detail Beginning with a wet-in-wet wash, drop a mix of raw sienna with a hint of Indian yellow into the eye area, leaving a chink unpainted for the highlight. Using the dry-in-wet method (see left), add the pupil with Van Dyke brown and a touch of French ultramarine to deepen the hue. 2 Wet-in-wet variegated wash 3 Darker tones Generously wet the paper, leaving some areas Once the initial glaze layer is dry, rewet areas to dry as highlights. Drop in raw sienna, burnt sienna, establish stronger darker tones using a wet-in-wet and raw umber, alternating the quantities and wash of Dioxazine violet and Van Dyke brown for strengths to establish the initial form and depth. the darks, and warmer oranges for the highlights.","242 5 Stretch out When the second Portraits, figures, and animals | SUBJECTS glaze is dry, use the purple mix to stretch out and form the deeper tone of the cheek below the eye. Do the same for the shadow inside the ear and the top of the head, using a cooler tone of the phthalo green. The sharp edges help define the anatomy. 6 Dry brush detail With Van Dyke brown and a dry brush, indicate the nose, taking care not to make it too strong nor to drag attention away from the eye. 7 Fur effects Suggest the shape of the body through a combination of stretching out and dry-in-wet techniques to create the effect of fur and form. Use a wet-on-dry glaze layer on the body with thicker paint in wetted areas to suggest dense fur. \u201cWhen working dry-in- 8 Defined details wet, test how dry the With a rigger brush, paint is on your brush paint the whiskers with before applying it dry Van Dyke brown in to the wet paint.\u201d one swift stroke per whisker, to keep it light and immediate.","243 Creatures in motion Splatters of the background Sharp edges resulted from 9 Bringing it together colors add a sense of where the color was Finally, add a darker shadow wash speed and urgency with the cooler combination of colors, stretched into dry areas both to ground the hare and consolidate the painting.","Artist Julia Cassels Title Puffins Paper 20 x 28 in (50 x 70 cm) cold press 140 lb (300 gsm) watercolor paper Highlights Balanced composition Wet-in-wet See pp.104\u2013105 See pp.110\u2013113 See pp.52\u201355 Jagged, crisp areas of In this L-shaped composition, Touches of phthalo turquoise unpainted white paper the flying puffin in the top were allowed to merge contrast starkly with the left corner is about to land, smoothly into the still-wet painted areas, catching and leads the viewer\u2019s eye black ink, creating a the eye of the viewer fluidly across the foreground colored sheen on the and creating drama. to the last puffin on the right. dark wings.","Animals | Subjects Showcase painting Fluid lines, loose washes, and areas of bright color create a sense of liveliness in this painting. The intense contrast between the black ink and crisp white highlights brings the subject to life, while the composition guides the eye smoothly from the flying puffin to those on the ground. Glazing Line and wash Using inks See pp.124\u2013125 See pp.76\u201379 See pp.154\u2013155 A glaze of transparent The washes of color India ink is water-based, so pigment, such as the purple deliberately do not quite works well with watercolor; shadow on this bird\u2019s front, meet the sketched lines of it is useful for intense tone, allows the richer, warmer ink around them, producing as seen here in the contrast tones of body color beneath a sense of life and movement between the black and white to glow through. in the painting. areas of the puffins.","246 Glossary Glossary Terms with their own entry Complementary colors Graduated wash Masking fluid are given in bold type. Colors located directly opposite A wash that fades smoothly A latex fluid that is painted Aerial perspective each other on the color wheel: between light and dark. Created onto paper and resists any yellow and purple, red and green, by laying down bands of watercolor paint put over it. Portraying the illusion of depth, blue and orange. They brighten progressively diluted paint. Used to create highlights. especially in landscapes, by each other when used together. Also known as a graded wash. painting distant objects lighter Medium and cooler in tone compared Composition Granulated wash to warmer, brighter, and more A substance used to modify detailed foreground objects. Also The way in which the various A wash in which watercolor the fluidity, thickness, or finish called atmospheric perspective. components of a painting, pigments separate from the of paint. Also describes the including the main area of binder and water, creating a materials used to paint, such Alla prima focus, are arranged to create grainy texture when dry. as watercolor, gouache, or ink. a harmonious whole. Italian for \u201cat first attempt\u201d, Granulating pigments Mid tones this term describes a painting Cool colors finished in one sitting. Pigments with heavy particles All variations of tone between Colors with a bluish tint. that can form a grainy texture the darkest and the lightest. Analogous colors They tend to appear to recede on the paper. Examples include in a picture, so can be used to French ultramarine, cerulean Modeling Groups of colors that are next to create aerial perspective. blue, and Mars black. Also known each other on the color wheel\u2014 as sedimentary pigments. Using light and dark tone to such as red, orange, and yellow. Crosshatching create a three-dimensional Highlight impression of an object. Blending A drawing technique in which crisscrossing parallel lines create The lightest tone in a composition, Monochrome A painting method in which two tone. The closer the lines, the occurring on the most brightly lit colors gradually merge together. denser the tone. parts of a subject. A painting made with the light to dark tones of only Body color Drybrush Hot press paper one color. Opaque paint, such as gouache, Application technique where a Paper with a very smooth Negative space which will obscure underlying loaded brush is squeezed out surface that has been pressed areas of paint. and slightly splayed then dragged between hot rollers. The gaps between objects. lightly across the paper surface. Negative space is as important Bristle brush Hue as positive shape in creating a Flat wash satisfying composition. A brush made from stiff fibers, Another word for color. such as hog hair. Can be used A wash of a single uniform color. Opaque color damp in watercolor painting Produced by painting overlapping Key for removing dry paint. bands of consistent hue and Color that is impervious to dilution strength to create an The overall tone of a painting: light and which obscures Cockling even layer of color. a predominantly light painting is anything underneath; the said to have a high key, while a opposite of transparent. Curling and buckling of paper Focal points dark one has a low key. supports, caused by the paper Palette expanding when wet. Can be Points of interest that the eye is Layering prevented by stretching. drawn to immediately, whether Any suitable mixing surface for because of the perspective, the Painting one color over another paint. Also means the range of Cold press paper color, or an intricate shape. color that is dry. colors used for a painting, or an artist\u2019s preferred colors. Medium-textured paper made Form Lifting out by being pressed through Pan felt-covered rollers at a cold The solid, three-dimensional Removing paint from the surface temperature; also known as shape of an object. of the paper, using a damp brush A small block of solid watercolor NOT (not hot press) paper. or paper towel, often in order to paint designed to fit into a Glazing create soft highlights. palette or paintbox. Color wheel The application of a transparent Linear perspective Perspective A visual device for showing the layer of paint over a layer of relationship between primary, paint that has completely dried. Portraying three dimensions in a The method of creating a sense secondary, tertiary, and Used for adjusting the hue or painting by ensuring that parallel of depth on a flat surface through complementary colors. tone of layers underneath. lines appear to converge in the the use of modeling, linear, and distance on a horizon. aerial perspective.","247 Pigment Rule of thirds Soft-hair brush tone of a paint can be lightened Glossary by diluting it with water. Particles with inherent color An aid to composition that A brush made from soft-textured that can be used in paints. divides a picture into thirds, animal hair, such as sable, Transparent color horizontally and vertically, squirrel, or goat. Plein air to make a grid of nine squares. Color that light will shine Points of interest are placed on Softening through easily. When layered, Meaning \u201copen air\u201d in French. the \u201cthirds\u201d lines, and focal points it will not obscure anything Describes painting outdoors. on the intersections. Blending the edges of a paint underneath. Transparent stroke with a brush dampened pigments are ideal for glazing. Positive shape Runbacks with clean water to prevent the paint from drying with Underpainting The outline shape of an object. Irregular shapes, sometimes a hard edge. called blooms or cauliflowers, An initial layer of paint that Primary colors caused when a weak wash (less Spattering serves as a base for composition. pigment) is added to a strong There are three primary colors\u2014 wash (more pigment). Flicking paint from a loaded Value yellow, red, and blue\u2014that cannot toothbrush to produce a fine be made by mixing any other Sable spray of dots. The tonal position of colors on colors. Any two primaries can a scale from light to dark. be mixed together to make a Sable fur is used in the finest Splattering secondary color. quality paint brushes. The long, Variegated wash dark brown hairs have a great Flicking paint from a loaded Recession capacity for holding paint and paintbrush to produce texture. A wash that changes from one create a fine point. color to another. A variegated Moving from the foreground Staining pigments wash may be laid in bands of to the background. Color Scraping progressively changing color so recession is the use of warm Pigments that leave behind that the colors blend smoothly, and cool colors to create a Using a blade or other tool to some color when lifted out, or in random dots and dabs so sense of depth. remove layers of dry paint in and cannot be fully removed. that the colors mingle. order to reveal the white paper Examples include phthalo blue, Repelling pigments below and create highlights. Prussian blue, and azo yellow. Warm colors Pigments that can prevent Scumbling Stippling Colors with a reddish or blending and merging, often orange tint. Warm colors appear because of their opacity. Applying a thin, irregular layer The application of relatively to come forward in a picture Examples include cadmium of paint over a previously neat dots to form a color and can be used to create yellow, orange, and red, and painted surface, allowing patches field, or to create shading. aerial perspective. Naples yellow. Lifting out these of the color underneath to show. pigments is usually easy. Stretching Wax resist Secondary colors Reserving whites The process of preparing A method of using candle wax or Colors made by mixing two watercolor paper to lay flat oil pastel to prevent the surface Leaving areas of paper unpainted primary colors together. They by first wetting and taping or of the paper from accepting to show the color white. This are: green (mixed from blue and stapling it down then letting paint. Once applied, the wax allows the paper to form the yellow), orange (mixed from red it dry to tightness or pastel cannot be removed. lightest tones and highlights in and yellow), and purple (mixed the painting, instead of paint. from blue and red). Support Wet-in-wet Resist Separating pigments Any surface onto which paint Applying paint onto wet paper is laid, such as paper or canvas. or onto paint that is still wet. A method of preserving Combinations of pigments that highlights by applying a material do not mix fully and separate on Tertiary colors Wet-on-dry that repels paint, such as the paper, for example cadmium masking fluid. red and phthalo blue. Also The colors between the primary Adding layers of paint on top describes granulating pigments and secondary colors on a of color that has already dried. Rigger that can separate on drying. color wheel. They are created Painting in this way produces by mixing an equal proportion vivid colors with strong edges. A long-haired brush for details. Shadow of the primary color into the secondary color. Rough paper The darkness cast when light is obscured, either on an object Tone Paper with a highly textured or by it. surface that has been left to The relative lightness or darkness dry naturally, without pressing. of a color. In watercolor, the","248 Index Index A evoking in urban cityscapes Japanese hake brushes 19 color 194\u2013197 lifting out pigment 82 abstract art 162 abstract art 162\u2013165 mop brushes 19 adding opacity with gouache 15, abstracting a landscape 178\u2013179 evoking with soft edges 94\u201395 riggers 18, 174, 192 150\u2013151, 158\u2013161 composing with shape and warm atmospheres 35 sable-hair brushes 18, 19 adjusting the tonal value 33 color 108 sizes 19 aerial perspective and 122\u2013123 principles of 162 B squirrel-hair brushes 18 analogous colors 32, 34, urban abstract 200\u2013201 stippler brushes 19 116\u2013117, 174 using inks 154\u2013155 backgrounds swordliner brushes 18, 80 applying smooth color with flat modifying with glazes 124 synthetic brushes 18\u201319 wash 70\u201371 accidental effects variegated wash 74\u201375 brushstrokes 20 applying wax resist 102\u2013103 controlled accidents 162 blending 70 blending to create depth 132 using runbacks 68\u201369 balanced color schemes 121 controlling wet-on-dry building deeper saturated colors bark texture 173 79 acrylic, using in picture frames 44 base sketches 62 brushstrokes 50\u201351 choosing a palette 40\u201341 acrylic inks 14, 15 bias, color 34, 36, 37, 38, 118, 119 buildings 11 color bias 34, 36, 37, 38, 118, 119 aerial perspective 26, 122\u2013123, binding mediums 23 color harmony 34 birds 10 architectural features 198, 199 color mixing 36\u201339 124, 172, 176 black and white, working in 128\u2013129 recording landmarks and views color reference charts 13, 39 aged surfaces 208\u2013209 blades, lifting out details with 87, color temperature 34, 132 alla prima 62\u201363 198\u2013199 color theory 32\u201339 223 urban cityscapes 194\u2013195, 197 color wheel 32, 116, 118, 119, checklist for working 63 bleach 148\u2013149 121 alphabet letters, as compositional bleeds 72 C complementary colors 32, 35, 60, 116, 118\u2013119, 140, 141 shapes 110\u2013113 bleeding colors 179 C-shaped path of focal points 27 complementary pairs 119 analogous colors 32, 34, 116\u2013117, removing unwanted 86\u201387 candles 102 composing with shape and color separated wash 92\u201393 card, achieving natural lines with 108\u2013109 174 blending contrasting bold and subtle angles blending brushstrokes 70 80, 81 colors 224\u2013225 controlling inks 155 carpenter\u2019s pencils 22 converting to monochrome measuring 28 encouraging blends 52 cars 199 128\u2013129 useful heights and angles 29 pigments 35 Cassels, Julia, Puffins 244\u2013245 cool colors 34, 120\u2013121 animals softening edges with 94 cauliflowers, preventing 87 diluting colors in washes 72\u201373 fur 19, 238, 240, 242 wet-in-wet blends 52\u201355 cellulose-pulp paper 16 for flowers 41 markings 92 blocks, watercolor 17 charcoal glazing 124\u2013125, 182, 185 in motion 240\u2013243 blooms, preventing 87 gouache and 15, 150\u2013151, pet portraits 238\u2013239 blossom, tree 174\u2013175 combining with watercolor 158\u2013161 animation 10 blotting 86 152\u2013153 for illustration 41 capturing subtle movement on boats, harbor scenes 188\u2013189 for landscapes 41 Booth, Grahame, St. Mark\u2019s Square, tonal studies 190 layered color chart 39 water 182, 186\u2013187 Venice 202\u2013203 Chinese brushes 19, 238 lifting out pigment 19, 53, creating effect of 102\u2013103 botanical painting 212\u2013215 cityscapes, urban 194\u2013197 82\u201383, 85, 177 architecture 11 broken marks, painting with clouds merging color 86, 132 architectural features 198, 199 mingling colors in a wash 74\u201375 negative spaces 114\u2013115 drybrush 56\u201357 creating texture with a sponge artist quality paints 13 brushes 18\u201319 84 artistic license 24 atmosphere achieving natural lines with 80 painting with gouache 15 adding with silhouettes 189 brush shapes 18, 19 variegated wash 74 color and 25 Chinese brushes 19, 238 clutch pencils 22 conveying 176\u2013177 hair used for 18\u201319 cold press (CP) paper 16 evoking in urban abstracts collage, fashion illustrations 232 200\u2013201"]