START Watercolour Cover _Layout 1 05/06/2013 11:41 Page 1

START

Watercolour

A

supplement in association with

Inside this supplement...

30-minute painting

Paint flowers using a loose and
lively technique

An introduction
to watercolour
Colour-mixing exercises
Four vital techniques

Work from a photograph
How to paint a landscape successfully

‘PAINTING FLOWERS
IN WATERCOLOUR’
NEW FROM FIONA PEART

PEGASUS ART WATERCOLOUR SELECTION KIT
‘THE BEST PICK N’ MIX’

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Fresh & vibrant 30 minute projects be prepared, find inspiration with
Fiona; simple brush strokes and
clear technique instructions.
A5 size - generous 96 pages.

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HORADAM AQUARELL
ARTIST GRADE SET

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Everything you need to be prepared, start painting and have fun!

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Collins Gem Pocket
Book ‘Watercolour Tips’
Daisy Porcelain palette 6”
3 in 1 Water Container
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Drawing in the landscape, making studies in a museum or quick
portraits in a café; sketch with water soluble pencils (soft, medium
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06/06/2013 11:53:41

is published by North Light Books.. Tenterden. Views expressed are not necessarily those of the publisher. Queens Road. She writes regularly for Leisure Painter magazine and has written several practical art books.co. Caxton House. Their book. Develop your skills by capturing the essence of a landscape using a variety of techniques Fiona Peart is a professional artist and tutor.. Kent TN30 6BD. Telephone 01580 763315 www. . Page 8 30-minute watercolour: Blue iris vignette START Watercolour is published by TAPC (The Artists’ Publishing Company Ltd). Kent Contents Page 4 An introduction to watercolour Mark and Mary Willenbrink Get started with colourmixing exercises and watercolour techniques to try All material copyrighted: reproduction forbidden without permission. Her book. Mary is a writer. who paints with oil and watercolour. Mark trained as a commercial artist.Contents Start Watercolour_Layout 1 05/06/2013 11:11 Page 1 START Watercolour Publisher Dr Sally Bulgin Editor Ingrid Lyon Advertising Sarah Hubbard Tel: 01778 392048 Design Sarah Poole Printed by Headley Brothers Ltd. is published by North Light Books. Ashford. Julie Gilbert Pollard is a well-known American artist and tutor. Watercolor Unleashed. The Invicta Press. 63/65 High Street. 30 Minute Artist – Painting Flowers in Watercolour has recently been published by Search Press.uk the website for Leisure Painter and The Artist magazines Fiona Peart Build your confidence with this wonderfully vibrant watercolour demonstration Page 12 Paint from a photograph Julie Gilbert Pollard Your tutors.painters-online. Mark and Mary Willenbrink have been writing together for over five years. Watercolor for the Absolute Beginner.

painters-online.co. green and violet result from mixing two of the three primary colours.Colour & technique p4-7_Layout 1 05/06/2013 10:37 Page 1 First steps Introduction to watercolour Colour and technique Welcome to the wonderful world of watercolour! Mark and Mary Willenbrink offer a wealth of practical advice on colour. colour mixing and the basic techniques. yellow and blue can’t be made from other colours. also referred to as hue.uk . Get yourself a small set of watercolours and after practising these exercises you’ll be ready to paint along with the demonstrations that follow Understanding colour Colour. Orange (red+yellow) Green (yellow+blue) Violet (blue+red) Yellow Secondary colours Red Blue Orange. is based on the three primary colours. Yelloworange Yellowgreen Redorange Bluegreen Redviolet Tertiary colours Blueviolet These colours result from mixing a primary colour with its adjacent secondary colour. Primary colours Red. From these all other colours are derived. 4 START Watercolour Summer 2013 www.

Technique 1 Painting wet on wet To work wet-on-wet. which will result in a neutral grey or brown.Colour & technique p4-7_Layout 1 05/06/2013 10:37 Page 2 Using complementary and analogous colours Complementary colours are any two colours that appear opposite each other on the colour wheel. you have combined all three primary colours. for example.uk START Watercolour Summer 2013 5 . Mixing complementary colours Complementary colours Analogous colours Colours that are directly opposite each other are considered a pair of complementary colours—red and green. The paint should transfer easily from the brush to the paper and spread to areas where the paper is wet. Choose your colours and mix lots of paint and water on the palette before you wet the paper.co. or if you mix blue and the colour orange (yellow plus red). The entire area you want to paint should have an even sheen just before you start painting. flat brush filled with water. back-and-forth strokes. Use long. After the colour leaves your brush. Applying paint wet-on-wet allows you to use loose strokes and bold colours. but it also offers plenty of unique and unexpected results. wide brush to cover the area with water just before you begin to paint so the whole area is covered with a smooth. you will get a brown mixture. Load a brush with paint and gently touch or sweep the brush along the paper surface so the colour transfers from the brush to the damp paper. The same result occurs if you mix yellow with its complement. orange. apply a brush loaded with paint to wet paper. which you will learn about later. Remember that these are watercolours—trying to brush the paint into submission once it has been applied can cause smearing. Time is of the essence when you’re working wet-onwet because you need to finish painting the area before the paper dries. This technique offers less control than wet-on-dry or dry-brush techniques. If you mix a pair of complementary colours together. www. Analogous colours are a range of neighbouring colours that make up a portion of the colour wheel—red-orange. Apply water Apply colour Wet the surface of the paper with a wide. If the paper is too wet or too dry. If you mix the primary colour red with its complement green (yellow plus blue). Use a big. even sheen. yellow-orange and yellow. for example A group of analogous colours always includes just one primary colour. the colour won’t bleed out smoothly. let the spontaneity of watercolours take over.painters-online. straight. violet (blue plus red). A pair of complementary colours is made up of one primary and one secondary colour.

1 Wet-on-dry on different papers 2 Examples of this technique used on different papers appear left: hot-pressed (1).co. it won’t want to accept the colour. Rough paper shows plenty of texture. How much water do I use? The trick when painting wet-on-wet is to apply just the right amount of water to the paper before painting. However. Before adding colour. If the surface is too dry (5). even sheen of water over the paper’s surface.Colour & technique p4-7_Layout 1 05/06/2013 10:37 Page 3 What paper to use The smooth surface of hot-pressed paper doesn’t allow paint to spread out as much as cold-pressed or Rough paper does. If you want to use wet-on-dry or dry-brush techniques. 1 Wet-on-wet on different papers 2 Examples of this painting technique on different papers appear right: hot-pressed (1). make sure the area is completely dry before painting. use cold-pressed or Rough paper. Hot-pressed paper lets very little texture show through after you’ve painted over it. Don’t get frustrated. the smooth surface of hot-pressed paper allows cleaner edges. cold-pressed (5) and Rough (6). 3 5 4 Technique 2 Wet-on-dry technique To paint wet-on-dry. If the surface is too wet (4). gently smooth any puddles of water so you have a thin. the colour may bleed out in an inconsistent manner.painters-online. cold-pressed (2) and Rough (3). apply a wet brush loaded with paint to dry paper. Because there is no water on the paper to help the paint disperse. It may take some practise to learn how much water to use. 3 Technique 3 Dry-brush technique The dry-brush technique uses dry paper and a dry brush loaded with a mixture that has very little water. wet-on-dry produces defined strokes with hard edges.uk . uneven results. 6 6 START Watercolour Summer 2013 www. cold-pressed (2) and Rough (3). Different papers react similarly to the wet-on-dry technique. If you want to create soft edges with the wet-on-wet technique. though I do like the interesting watermarks and hard edges. and you will get pale. 4 Dry-brush on different papers 5 Examples of this technique used on different papers appear left: hot-pressed (4).

the brushstrokes themselves should indicate the fence posts and rails. It’s easy to plan what areas to leave untouched if indicating a white object. Use negative painting as a way to present an ordinary image in a unique way. You just need to plan ahead. Draw all of the shapes in lightly. Positive painting. You can make a dull. such as white water in rapids. Negative painting Positive painting Negative painting is an easy technique to learn when painting with watercolour.Colour & technique p4-7_Layout 1 05/06/2013 10:38 Page 4 Use very little water for dry-brushing Mix the paint with just enough water to allow the mixture to transfer from the brush to the dry paper. I like to imply the shapes of daisies on a dark background using negative painting. £14. You might paint the negative space of an object around a white area or over a previous wash of colour. www. only implying its shape. To paint the fence positively. means simply painting the object. Here is a real confidence builder for beginners and those new to watercolour. you would leave the white of the paper for the fence and define the fence’s shape by painting the colours of the foliage behind it. by leaving the fence white and painting the shapes around it.uk This article was adapted from Watercolor for the Absolute Beginner by Mark and Mary Willenbrink (North Light Books. Take the challenge of painting an object that normally is brown. then paint around the object. Packed full of easyto-follow tuition and practical advice on all aspects of watercolour painting. by contrast. for instance. Carefully plan your composition before painting. The example near right shows too much water used. To paint a fence using negative painting.co.painters-online.99. START Watercolour Summer 2013 7 . such as a fence. drab fence into an interesting part of your composition. ISBN 978-1600617706). Technique 4 Positive and negative painting Imply shapes Negative painting implies an image by painting the shapes around it.

then use the embossing tool to create dark lines. giving yourself just half an hour will stop you doing that. walk away from it. When you find the time to paint. Paint the left-hand iris’ petals. and all in just half an hour! You will need Surface Bockingford NOT paper 12x8in. (30.painters-online. If you are lucky enough to have the space to enable you to leave your art materials set up.5cm) Brush Pyramid (or short sword) Watercolour French ultramarine ● Bluebell (or a mix of permanent rose and French ultramarine) ● Raw sienna ● Burnt sienna ● Country olive (or olive green) ● Shadow (or a mix of French ultramarine.Flower p8-11_Layout 1 04/06/2013 15:32 Page 1 Flowers 30-minute watercolour Blue iris vignette There are so many different varieties of iris that you can alter your colours to almost anything you fancy and there will probably be a variety that would look like your painting! Make the most of wonderfully vibrant watercolour with Fiona Peart M ost of us just want to dive in and start painting. it can be so exciting not to have to waste time wondering what to do.uk . the drawing can be done and your paints can be all ready to go – right down to a clean. When you come back to it. but to have everything at hand ready to just go for it. The results are always fresh and vibrant. 8 START Watercolour Summer 2013 Step 2 Scrape out light lines to suggest the shape of the petals using the palette knife. How often I hear people say ‘oh. This does not mean spending hours in consideration.co. I often overwork watercolour’. Spectrum blue 32 Golden brown 59 Miscellaneous Palette knife. Embossing tool Low-tack masking tape DEMONSTRATION Blue iris Vingette Step 1 Use the watercolour pencils to sketch your initial lines on the paper.5x20. but spending a little time thinking and planning really will result in greater success. then all of your preparation can be done beforehand. Once you put those finishing touches to your painting. burnt sienna and permanent rose) Derwent Watercolour pencils Crimson lake 20. but using those snippets of time when we cannot paint to store a few ideas. you can still prepare everything in advance so that when you get a spare half hour you can quickly put everything on a table. Double load the brush with dilute French ultramarine in the body and bluebell in the tip. we can just get on with it when we do have that luxury of half-an-hour to paint. www. Well. then border the edges with masking tape. inviting water pot just enticing you to dip a paint-coloured brush into it! If it is not possible to leave your art materials out anywhere. starting from the base of each and lifting the brush as you reach the tips. fill your water pot and paint. with the added advantage that you do not have time to fiddle – the resulting paintings are often better the less time you spend on them. how wonderful it wll look.

uk in wet. paint the outside petals (standards) on the foreground iris. using country olive. Step 7 Detail the cases and buds Step 8 Using a stronger double double load it with raw sienna in the body and burnt sienna on the tip. then use the palette knife and embossing tool to detail the case. draw the brush down the stem from the case in one stroke. www. Allow the painting to dry before continuing. Use this to suggest the stamens. Use this to paint the papery case (spathe). and paint the two buds. load of shadow and bluebell.painters-online. working wet in wet. then paint the cases as before. START Watercolour Summer 2013 9 . then rinse the brush and pick up raw sienna on the tip.co. Aim to allow a little of the shadow/bluebell mix to bleed into the cases.Flower p8-11_Layout 1 04/06/2013 15:32 Page 2 Step 3 Rinse the brush then Step 4 Using country olive wet Step 5 Mix shadow with bluebell Step 6 Paint the stems as before. with the palette knife and embossing tool.

ISBN 9781-84448-826-10). An inspiring read for everyone who loves the vibrancy of watercolour.painters-online. (30.uk . The finished painting Blue Iris.5x20. £6. then paint the lower petals (falls).co. 10 START Watercolour Summer 2013 This tutorial was adapted from Fiona Peart’s recent book: 30 Minute Artist – Painting Flowers in Watercolour (Search Press. Step 11 Paint the spathe and stem using the colours and techniques in steps 3 and 4. Step 10 Scrape and bruise all of the petals using the embossing tool and palette knife. touching it to the outside standard to allow the colour to bleed at the edges. Allow the painting to dry to finish then remove the masking tape Step 12 Rinse the brush and touch in the stamens with raw sienna.Flower p8-11_Layout 1 04/06/2013 15:32 Page 3 Step 9 Paint the central standard with a slightly lighter mix.99. then paint both foreground buds using the colours and techniques in steps 5 and 6.5cm). 12x8in. This practical and beautifully illustrated book is aimed at beginners and busy artists. Fiona covers everything from materials and techniques to ten step-by-step demonstrations for you to follow. watercolour. www. who want to complete loose and lively flower paintings in just half an hour.

Flower p8-11_Layout 1 04/06/2013 15:33 Page 4 .

Landscape p12-15 _Layout 1 05/06/2013 10:28 Page 1 Paint from a photograph landscape Capturing the landscape’s essence Julie Gilbert Pollard takes you through the painting of rocks and how to place them in a landscape. don’t worry about trying to paint them beautifully – focus on capturing the shapes. Just make sure you have the canvas supported by a solid surface behind it or you could stretch a depression into it or even poke a hole in it. www. The composition is a little tricky and the value pattern is critical to pull it off. Nickel azo yellow. pencil rubs off cleanly from watercolour ground. textures. Transparent turquoise. Rocks that are too realistic lack the painterly quality so many of us desire. Learn all you can about your subject. As you draw the subject. Indian yellow. charcoal pencil.painters-online. rub your finger over the pencil to further pull the darks and medium-darks together to push areas into shadow. When putting them into your paintings later. 8 Round Small sumi bamboo brush 3 4 Miscellaneous 2B pencil. Winsor yellow Fluid acrylics Dioxazine purple. You’ll learn here how to work on a multi-media canvas surface and use a variety of techniques and media to produce a vibrant painting W e need to find a balance between drawing realistically enough so that we can capture the character and personality of our subjects (even rocks).uk . angles. Too stylised and non-individualised and the rocks begin to look like potatoes and popcorn. Permanent alizarin crimson. Manganese blue. DEMONSTRATION Rocky Hollow You will neeD Surface Watercolour canvas. telephone 01453 886560 Reference photo I’ve photographed this same little rocky ravine the same time of year for several years now. No. * available from Pegasus Art. and putting in every little detail. Pyrrole orange. (19mm) aquarelle. you can decide which details to leave out in order to paint them in your individual style and capture the essence of rock. colours and even the cracks. After scribbling over all the areas not blasted by the sun. masking fluid. salt. While doing studies of rocks. Scarlet lake. (30x30cm) Watercolour Cerulean blue.co. watercolour ground. planes. so it makes perfect sense to begin with a preliminary study like this. New gamboge. Turquoise (phthalo) Brushes ⁄ in. Tip Drawing over watercolour ground When necessary to erase. you will still need to make a good bit of freehand adjustments to move the tree trunk and fallen branch away from centre. coated with Daniel Smith Watercolour Ground* 12x12in. 12 START Watercolour Summer 2013 Tonal value study Start with a fairly detailed value sketch. palette knife.

Before moving on to the next step. Sprinkle a little salt and spatter a little darker colour into the damp rocks to give them texture. brush two coats of watercolour ground. Draw a few twigs. Remember that you are basically painting with very hard-edged white. draw the composition onto the canvas using a 2B pencil. Step 4 Add darks with acrylics Step 5 Glaze most of the surface Step 6 Paint the rocks and leaves Using a fluid acrylic mixture of pyrrole orange and dioxazine purple. Take care with its application or you’ll find it causes more problems than it solves. Do not run the wash through all the masked areas of twigs and leaves. you can always glaze over the marks later with very diluted acrylic. This should soften the harshness of the liquid mask and the watercolour ground a bit. www. then brush in a light application of fluid acrylics: nickel azo yellow over the leaves in sunlight and a mixture of dioxazine purple and transparent turquoise (phthalo) to create a pale blue and a lavender. making it easy to get careless. Let the masking fluid dry completely. Begin painting the rock by painting around parts of the masked twigs and leaves. Masking can be a tedious job. (19mm) aquarelle.co. Wet the canvas with clean water. If not sufficient. squint at your painting to confirm you have a nice balance of dark marks. Apply masking fluid with a palette knife. Once dry. paint the holes between the rocks using a small sumi brush.painters-online. Paint the rocks around the fallen leaves at their bases. The masking fluid is serving as a fallback measure to preserve the most important light areas in case negatively painting around them fails. drawing and applying the dark acrylic mixture with a charcoal pencil. Apply this over the twig areas. As the paint is unloaded from the pencil. letting the first layer dry before applying the second.uk Using transparent turquoise with just a touch of permanent alizarin crimson. the line transitions from paint to a charcoal pencil line. Leave space between the blue wash and the mask. START Watercolour Summer 2013 13 . creating shaggy edges here and there. Suggest the moss by painting those areas with green and yellowgreen.Landscape p12-15 _Layout 1 05/06/2013 10:28 Page 2 Step 1 Prepare the canvas and Step 2 Add the basecoat Step 3 Apply masking fluid sketch the subject Onto a canvas. run a light wash over all parts of the painting that are not in direct sunlight with a 34⁄ in.

Let dry.Landscape p12-15 _Layout 1 05/06/2013 10:28 Page 3 Step 7 Keep refining the rocks Step 8 Refine the foliage Add some warmth to the upper right background and slightly to the left of the tree trunk. Lift out some of the dark to let the light reddish-purple and blues that have stained the canvas shine through. 14 START Watercolour Summer 2013 In a hit-or-miss fashion.painters-online. and much darker painted areas. spatter and cast shadows until all rocks have received the same treatment. the contrast can be shocking when it finally comes off to reveal such stark. The rock directly to its left has become too dark on its left side. salt. glaze bluegreys over the pale branches to create a dappled light effect. When both rocks are dry.co. spatter some dark over both. Step 9 Refine the background touches Add a stronger shadow over the light bluish rock at the bottom. hard-edged white shapes next to the more refined. plus a branch shadow to break up the remaining light that’s falling on it.uk . add warmer colour to parts of the leaves. leaving the top very light. Paint around the twigs and leaves where possible. but are not necessarily complete. Step 10 Remove the masking Step 11 Glaze the branches Step 13 Add the finishing Continue modelling the rocks with variegated colour. Add a few more spindly saplings growing up out of the fallen leaves on the right for balance. If you leave it on too long. Paint the background in a mediumdark value. www. In the same manner. just left of centre. Darken and add some texture to the lower shaded area. Paint a loose wash of gold and green over the leafy ground at the bottom. Sprinkle in a little salt. fluid Remove the masking fluid. Paint the leaves at the base of the tree from the point at which the bank angles downward and away from the light.

This is a wonderful book for those new to watercolour who want to learn to let the medium flow.co.painters-books. watercolour on multi-media canvas.painters-online.co. (30x30cm) www. Watercolor Unleashed (North Light Books.99. £16.99.uk This demonstration was taken from Julie Gilbert Pollard’s new book.uk for £13. Learn how to make the most of watercolour’s unpredictability and paint pictures full of life and interest. Available from www. 12x12in. START Watercolour Summer 2013 15 . ISBN 978-1-44032-088-0).Landscape p12-15 _Layout 1 05/06/2013 10:28 Page 4 The finished painting Rocky Hollow.

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99 £39. Cad Red Light.‘PAINTING FLOWERS IN WATERCOLOUR’ NEW FROM FIONA PEART PEGASUS ART WATERCOLOUR SELECTION KIT ‘THE BEST PICK N’ MIX’ SPECIAL OFFER £6.co. medium and dark) then apply a wash with your refillable water brush pen. Ivory Black Cotman Sketchers Pocket Box . making studies in a museum or quick portraits in a café.5 PM MONDAY TO SATURDAY Why not order online? www. 8B Plus 1 x Pentel Water Brush (Choose from Broad. 4B. A5 size . Perm Carmine. 3 x Derwent Watersoluble Pencils HB.99 Fresh & vibrant 30 minute projects be prepared.12 Half Pans & Travel Brush Bockingford Spiral Pad from St Cuthbert’s Mill 140lbs (300gsm) 10”x 7” 12 pages Da Vinci Squirrel Round Brush Size 8 Collins Gem Pocket Book ‘Watercolour Tips’ Daisy Porcelain palette 6” 3 in 1 Water Container Spritzer Water Bottle Natural Sponge Faber Castell 2B pencil Soft Eraser S20 DERWENT WATER-SOLUBLE SKETCHING PENCILS PLUS PENTEL WATER BRUSH SPECIAL OFFER £9.99 ORDER LINE 01453 886560 OPEN 9 AM . Cad Yellow Light. Prussian Blue.99 10 X 5ML TUBES WATERCOLOURS Carefully chosen for you by the artists at Pegasus Art. SCHMINCKE HORADAM AQUARELL ARTIST GRADE SET SPECIAL OFFER £52. Phthalo Green.00 £38. simple brush strokes and clear technique instructions. Sepia Brown.generous 96 pages.99 £5. Everything you need to be prepared.indd 1 Drawing in the landscape. sketch with water soluble pencils (soft.FREE Pegasus. Yellow Ochre. start painting and have fun! SPECIAL OFFER £53.£4.00 Beautifully engineered portable metal tin with your core colours of high pigment paints.pegasusart.25 £6.uk POSTAGE & PACKING Under £50 . Ultramarine Finest. find inspiration with Fiona. Contents: Lemon Yellow.95 Over £50 . Medium or Fine Tip) 06/06/2013 11:53:41 .

Contents Start Watercolour_Layout 1 05/06/2013 11:11 Page 1        START   Publisher Dr Sally Bulgin Editor Ingrid Lyon .

. The Invicta Press. Kent All material copyrighted: reproduction forbidden without permission. Ashford. Views expressed are not necessarily those of the publisher.  An introduction to watercolour Advertising Sarah Hubbard Tel: 01778 392048 Mark and Mary Willenbrink Design Sarah Poole Get started with colourmixing exercises and watercolour techniques to try Printed by Headley Brothers Ltd. Queens Road.

Kent TN30 6BD.painters-online. Telephone 01580 763315 Fiona Peart Build your confidence with this wonderfully vibrant watercolour demonstration www. Caxton House. 63/65 High Street. Tenterden.  30-minute watercolour: Blue iris vignette START       is published by TAPC (The Artists’ Publishing Company Ltd).co.uk the website for Leisure Painter and The Artist magazines .

30 Minute Artist – Painting Flowers in Watercolour has recently been published by Search Press. Mary is a writer. . Mark trained as a commercial artist. She writes regularly for Leisure Painter magazine and has written several practical art books. Their book. is published by North Light Books. Julie Gilbert Pollard is a well-known American artist and tutor. Her book.  Paint from a photograph Julie Gilbert Pollard           Mark and Mary Willenbrink have been writing together for over five years. who paints with oil and watercolour. is published by North Light Books. Watercolor for the Absolute Beginner. Watercolor Unleashed. Develop your skills by capturing the essence of a landscape using a variety of techniques Fiona Peart is a professional artist and tutor.

colour mixing and the basic techniques. also referred to as hue. ((*"'!'#($ Red. From these all other colours are derived.co.uk .painters-online. Orange (red+yellow) Green (yellow+blue) Violet (blue+red) Yellow )"'%(*"'!'#($ Red Blue Orange. Get yourself a small set of watercolours and after practising these exercises you’ll be ready to paint along with the demonstrations that follow Understanding colour Colour. yellow and blue can’t be made from other colours. is based on the three primary colours.Colour & technique p4-7_Layout 1 05/06/2013 10:37 Page 1 ($&* $&) $  %& ( ' #" &  ' %* & ' * & ) ( " ' ! ' #( Colour and technique Welcome to the wonderful world of watercolour! Mark and Mary Willenbrink offer a wealth of practical advice on colour. Yelloworange Yellowgreen Redorange Bluegreen Redviolet )(&(*"'!'#($ Blueviolet These colours result from mixing a primary colour with its adjacent secondary colour. 4 START         Summer 2013 www. green and violet result from mixing two of the three primary colours.

Use long. apply a brush loaded with paint to wet paper. Choose your colours and mix lots of paint and water on the palette before you wet the paper. even sheen. but it also offers plenty of unique and unexpected results. back-and-forth strokes. which you will learn about later. ' !))%&( %!''#$* "'!'#($ "'!'#($ Colours that are directly opposite each other are considered a pair of complementary colours—red and green.uk !*"'!'#( Load a brush with paint and gently touch or sweep the brush along the paper surface so the colour transfers from the brush to the damp paper. flat brush filled with water. Remember that these are watercolours—trying to brush the paint into submission once it has been applied can cause smearing. Applying paint wet-on-wet allows you to use loose strokes and bold colours. you have combined all three primary colours. www.painters-online. orange. straight. START         Summer 2013 5 . Analogous colours are a range of neighbouring colours that make up a portion of the colour wheel—red-orange.Colour & technique p4-7_Layout 1 05/06/2013 10:37 Page 2 Using complementary and analogous colours Complementary colours are any two colours that appear opposite each other on the colour wheel. The paint should transfer easily from the brush to the paper and spread to areas where the paper is wet.co.   %* " ' ! ) ) %& ( * " ' ! ' #( $ A pair of complementary colours is made up of one primary and one secondary colour. The same result occurs if you mix yellow with its complement. for example A group of analogous colours always includes just one primary colour. the colour won’t bleed out smoothly. violet (blue plus red). If you mix a pair of complementary colours together. yellow-orange and yellow. or if you mix blue and the colour orange (yellow plus red). If the paper is too wet or too dry. This technique offers less control than wet-on-dry or dry-brush techniques. Time is of the essence when you’re working wet-onwet because you need to finish painting the area before the paper dries. you will get a brown mixture. Use a big. wide brush to cover the area with water just before you begin to paint so the whole area is covered with a smooth. for example.   !*&)( Wet the surface of the paper with a wide. The entire area you want to paint should have an even sheen just before you start painting. let the spontaneity of watercolours take over. which will result in a neutral grey or brown. ) " % #) * Painting wet on wet To work wet-on-wet. If you mix the primary colour red with its complement green (yellow plus blue). After the colour leaves your brush.

1 )&'%(*'%*)() 2 Examples of this technique used on different papers appear left: hot-pressed (1). though I do like the interesting watermarks and hard edges. If you want to use wet-on-dry or dry-brush techniques. 4 5 ) " % #) * Wet-on-dry technique To paint wet-on-dry.uk . 1 )&'%)&*'%*)()%&*  )($ 2 Examples of this painting technique on different papers appear right: hot-pressed (1). Because there is no water on the paper to help the paint disperse. and you will get pale. it won’t want to accept the colour. If the surface is too wet (4). cold-pressed (2) and Rough (3). apply a wet brush loaded with paint to dry paper. gently smooth any puddles of water so you have a thin. If you want to create soft edges with the wet-on-wet technique. If the surface is too dry (5).painters-online. cold-pressed (2) and Rough (3). Different papers react similarly to the wet-on-dry technique. cold-pressed (5) and Rough (6). the smooth surface of hot-pressed paper allows cleaner edges.co. Hot-pressed paper lets very little texture show through after you’ve painted over it. Before adding colour. 3 ) " % #) * Dry-brush technique The dry-brush technique uses dry paper and a dry brush loaded with a mixture that has very little water. wet-on-dry produces defined strokes with hard edges. Don’t get frustrated. 6 6 START         Summer 2013 www. even sheen of water over the paper’s surface. uneven results. make sure the area is completely dry before painting. use cold-pressed or Rough paper. 4 ((#$*'%*)()% 5 Examples of this technique used on different papers appear left: hot-pressed (4). It may take some practise to learn how much water to use. However. the colour may bleed out in an inconsistent manner.Colour & technique p4-7_Layout 1 05/06/2013 10:37 Page 3 What paper to use The smooth surface of hot-pressed paper doesn’t allow paint to spread out as much as cold-pressed or Rough paper does. Rough paper shows plenty of texture. '*#"*&)(*'**#$) 3 The trick when painting wet-on-wet is to apply just the right amount of water to the paper before painting.

Colour & technique p4-7_Layout 1 05/06/2013 10:38 Page 4 $)*)(*!&&!)*&)(* '(*((#$% Mix the paint with just enough water to allow the mixture to transfer from the brush to the dry paper. ) " % #) * . The example near right shows too much water used.

painters-online. Draw all of the shapes in lightly. you would leave the white of the paper for the fence and define the fence’s shape by painting the colours of the foliage behind it. To paint a fence using negative painting. Carefully plan your composition before painting. To paint the fence positively. Take the challenge of painting an object that normally is brown. the brushstrokes themselves should indicate the fence posts and rails. such as a fence. Negative painting Positive painting Negative painting is an easy technique to learn when painting with watercolour.uk This article was adapted from Watercolor for the Absolute Beginner by Mark and Mary Willenbrink (North Light Books. You might paint the negative space of an object around a white area or over a previous wash of colour. You can make a dull. START         Summer 2013 7 . Use negative painting as a way to present an ordinary image in a unique way. I like to imply the shapes of daisies on a dark background using negative painting. drab fence into an interesting part of your composition. means simply painting the object. Here is a real confidence builder for beginners and those new to watercolour. then paint around the object. www. such as white water in rapids. by leaving the fence white and painting the shapes around it. It’s easy to plan what areas to leave untouched if indicating a white object.99. by contrast. £14. You just need to plan ahead.Positive and negative painting  !*$ ) Negative painting implies an image by painting the shapes around it.co. ISBN 978-1600617706). Positive painting. only implying its shape. for instance. Packed full of easyto-follow tuition and practical advice on all aspects of watercolour painting.

it can be so exciting not to have to waste time wondering what to do.co. then all of your preparation can be done beforehand.painters-online. giving yourself just half an hour will stop you doing that. This does not mean spending hours in consideration.uk . When you find the time to paint. How often I hear people say ‘oh. burnt sienna and permanent rose) Derwent Watercolour pencils Crimson lake 20. If you are lucky enough to have the space to enable you to leave your art materials set up. Paint the left-hand iris’ petals. Double load the brush with dilute French ultramarine in the body and bluebell in the tip.5cm) Brush Pyramid (or short sword) Watercolour French ultramarine  Bluebell (or a mix of permanent rose and French ultramarine)  Raw sienna  Burnt sienna  Country olive (or olive green)  Shadow (or a mix of French ultramarine. but spending a little time thinking and planning really will result in greater success.5x20. Once you put those finishing touches to your painting. but to have everything at hand ready to just go for it. walk away from it. inviting water pot just enticing you to dip a paint-coloured brush into it! If it is not possible to leave your art materials out anywhere. then use the embossing tool to create dark lines. The results are always fresh and vibrant. I often overwork watercolour’. you can still prepare everything in DEMONSTRATION advance so that when you get a spare half hour you can quickly put everything on a table.Flower p8-11_Layout 1 04/06/2013 15:32 Page 1  !'"   & ' ( & ' "  !! " Blue iris vignette There are so many different varieties of iris that you can alter your colours to almost anything you fancy and there will probably be a variety that would look like your painting! Make the most of wonderfully vibrant watercolour with Fiona Peart M ost of us just want to dive in and start painting. (30. how wonderful it wll look. Well. with the added advantage that you do not have time to fiddle – the resulting paintings are often better the less time you spend on them. we can just get on with it when we do have that luxury of half-an-hour to paint. Spectrum blue 32 Golden brown 59 Miscellaneous Palette knife. and all in just half an hour! ( (  Surface Bockingford NOT paper 12x8in. the drawing can be done and your paints can be all ready to go – right down to a clean. fill your water pot and paint. Embossing tool Low-tack masking tape '( "( '&&' %&'$(# Use the watercolour pencils to sketch your initial lines on the paper. then border the edges with masking tape. www. When you come back to it. but using those snippets of time when we cannot paint to store a few ideas. 8 START         Summer 2013 %&'$( Scrape out light lines to suggest the shape of the petals using the palette knife. starting from the base of each and lifting the brush as you reach the tips.

%&'$( Paint the stems as before. and paint the two buds. in wet. Allow the painting to dry before continuing. working wet in wet. draw the brush down the stem from the case in one stroke. then paint the cases as before.Flower p8-11_Layout 1 04/06/2013 15:32 Page 2 %&'$( Rinse the brush then %&'$( Using country olive wet %&'$( Mix shadow with bluebell double load it with raw sienna in the body and burnt sienna on the tip. Use this to paint the papery case (spathe). then use the palette knife and embossing tool to detail the case. Aim to allow a little of the shadow/bluebell mix to bleed into the cases. %&'$( Detail the cases and buds %&'$(.

uk with the palette knife and embossing tool. Use this to suggest the stamens. then rinse the brush and pick up raw sienna on the tip. Using a stronger double using country olive.painters-online.co. www. START         Summer 2013 9 . load of shadow and bluebell. paint the outside petals (standards) on the foreground iris.

%&'$(# Scrape and bruise all of the petals using the embossing tool and palette knife. %&'$(##( Paint the spathe and stem using the colours and techniques in steps 3 and 4. Allow the painting to dry to finish then remove the masking tape %&'$ # Rinse the brush and touch in the stamens with raw sienna.painters-online.uk . £6. touching it to the outside standard to allow the colour to bleed at the edges. An inspiring read for everyone who loves the vibrancy of watercolour.co. who want to complete loose and lively flower paintings in just half an hour. ISBN 9781-84448-826-10). then paint both foreground buds using the colours and techniques in steps 5 and 6. This practical and beautifully illustrated book is aimed at beginners and busy artists. 10 START         Summer 2013 This tutorial was adapted from Fiona Peart’s recent book: 30 Minute Artist – Painting Flowers in Watercolour (Search Press. then paint the lower petals (falls).Flower p8-11_Layout 1 04/06/2013 15:32 Page 3 %&'$( Paint the central standard with a slightly lighter mix. The finished painting Blue Iris. www.99.5x20. Fiona covers everything from materials and techniques to ten step-by-step demonstrations for you to follow. (30.5cm). watercolour. 12x8in.