f

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if It h

All about the medium

All about the equipment

All about technique

All about color

All about paintinc

METHODS
All about pointers
and practical advice
% I
ALL
All about specific
subjects
,-' ABOUT
techniques in

wmm
An indispensable

IIMMtlf
manual for artists

BARRON'S
BOSTON PUBLIC LIBRARY
Copley Square
GOvi
 ALL
About Techniques in

WATERCI IR
 ALL
About Techniques in

WATERCOLOR
i

%
h M

BARRON'S
Contents
Preface 5

Materials and tools 6

Paint 6
Paper 10
Brushes 18
Boards, Easels, and Cases 26
Containers, Cups, and Palettes 30
Other Materials and Accessories 32

Techniques in watercolor 36
Stretching Paper 36
Using the Brush 38
One Color 42
Two Colors 48
Three Colors 50
Wet and Dry 58
White 62
Tricks of the Trade 72
The Sponge 88
Line Drawing 90
Shadows 92
Light 96
Atmosphere 100

Watercolor subjects 102

Skies 102
Water 108
Vegetation 114
Flesh Tones 124
Animal Textures 130
Glass 138
Metal 140

Topic Finder 142

 Although it is possible to find examples dating reader will find everything about the watercolor
back to ancient times, watercolor painting, as such, medium —that is, answers to questions, tricks

started in the fifteenth century. Despite its rela- needed to achieve a certain effect, and exact
tively recent development, however, it is second only information on every aspect of the technique.
to oils in popularity. This technique is based on the This book has been designed for the fine arts
interplay of water, pigments, and the brilliancy of teacher, who will find abundant information
white paper to create effects of light, transparency for his or her classes; the art student, for whom it
}
(watercolor s main quality), and subtlety of tone. will be an unrivalled reference work; and the
Today, watercolor is one of the basic painting professional, who will benefit not only from its

techniques, as well as one of the best known and thoroughness but also from the way it classifies
appreciated. It is fascinating to work with a the graphic materials, and the wealth of new

medium that allows the artist to paint such fresh, information it contains. All About Techniques in
spontaneous, and flowing works. Although it is a Watercolor will be an essential companion for
naturally fragile medium and requires little beginners and more advanced amateurs, who are
equipment, it can produce works of great beauty unlikely to find such a far-reaching technical
and elegance. and practical guide as this one elsewhere.

As with any other technique (probably more To anyone who paints in watercolor, we offer
so, given the difficulty of correction), mastering this work as a guide to entering the world of this
watercolor requires the artist to paint constantly, exciting technique.
to practice time and again, to experiment a
thousand times over. In time, practice makes per-
fect and arouses the imagination. Much will

depend on the individual's efforts, willpower, and

constancy: If the artist can combine a firm atti-

tude with sound knowledge of the technique itself,

the result will be the perfect artist.

All About Techniques in Watercolor is an

attempt to deal exhaustively with the knowledge
necessary for mastering watercolor painting. It
seeks to provide a solid basis that is well
documented and up to date. In addition
to the paints, paper, and the other neces-

sary materials, the artist will find

tricks of the trade, advice, basic exer-
cises, and demonstrations set out clearly
in the form of detailed step-by-step
procedures.

The practical format of this book

makes each subject and detail easy
to understand so that anyone who
paints can put the information into
practice effortlessly. It is, therefore,

a true handbook in which the

 CHARACTERISTICS
COMPONENTS
The main characteris-
tic of watercolor paint is
Watercolor paints are
the transparency of its
< obtained by mixing pig-
GO colors. This is because
—I
a water- based paint that has as its ments, binders, <\nd mcis- gum
< Watercolor, or aquarelle, is arabic is the binder
cure-retaining agents called and water the only
principal characteristic the transparency of its color. (The is

humectants. solvent used to dilute

opaque water-based paints, including gouache and casein, will Quality in watercolor the paint.
paint is determined by die Transparency affects
not be covered in this book.)
quality of the pigments the entire procedure of
This quick-drying medium makes use of glazes that are applied and other components it watercolor painting. To

from light to dark. Light tones are introduced before the dark contains. Two basic fea- begin, white is a color

tures reveal the quality oi that is rarely applied;

ones because, being transparent, a light color will not conceal a a paint: stability and per- instead, the artist uses
dark one. Whites are obtained by reserving certain areas of the manence. the white of the paper—
Stability is a feature a method called reser-
paper itself.
ving or masking. As
that depends on the
Watercolor is both the simplest and the most difficult of tech- binders. After its use, a watercolor paint does
not entirely conceal any
niques. Simple, because all the paints can be carried in small stable paint will not crack
underlying colors, it is

boxes and the painting surface is paper. Difficult because the c >r peel off.
impossible to cover up a
Permanence, or resis-
paint's transparency means that your work must be carefully
tance to light, refers to the
dark color with a light

one. For these reasons,

planned as it is a rather unpredictable medium that is virtually color and is direcdy asso-
when painting in water-
ciated with the pigments
impossible to correct. color, it is essential to
used. The color should
plan the work before
The of watercolor glazes resembles a dye more than a
effect not change over time and starting and to paint the
continuous layer of paint. The colors can be combined on the alter the overall tonal light tones first.

over balance of the picture.

palette or the paper, as well as by superimposing one glaze
another.
These colors can be applied thick and hardly PIGMENTS
diluted— as they come out of the tube. In this extremely fine powder is

not adhere well to the paper, Watercolor paints are obtained. The smaller the
case, the paint will
priced according to the grains of the pigment, the
and the color will re- I quality and density of the easier it is to spread the

semble an opaque pigments in the paint. paint evenly.

Paint of good quality can Each pigment reacts
brushstroke. Water
be diluted with a lot of differently when it is

color applied this w ater without losing its mixed with water and is

color because consists with the paper.

way may crack if it in contact

of 50 percent pigment.
the paper is not
The raw materials from
kept perfectly flat. which pigments are pro-
duced are ground until an
Pigment is the component
that gives paint its color.
 Burnt sienna tends to amount
contains a greater
form granules and the of humcctants such as
particles collect in the honey and glycenn; thus,
grain of the paper pro- it is creamy, fresh, and
ducing a mottled effect. moist. These characteris-
tics make it more suitable
for large formats. Because
they dry. more slowly,
tube paints allow large
areas to be covered
quickly. They are also
lube paint that dvia on the
practical for slow, more palette should not be thrown
away; it can be ninmstcncd
detailed work.
with water and used like
Pans and tubes also dif-
pan paint
Gum arabic is used to bind fer when it comes to mix-
the pigments; glycerin acts PAINTS ON
THE MARKET ing the color on the
as a humectant.
Ultramarine blue con- palette. Tubes allow you
tains particles that attract Watercolor paints are to mix one color directly
each other instead of dis- available from art supply with another to create a
persing, an effect which Magenta and organic stores in three forms: new color without smudg-
also produces a mottled reds have a limited per- solid, creamy, and liquid. ing the first two colors. In
look. manence, whereas yellows Liquid watercolors are other words, two store-
that contain cadmium, sold in bottles; the solid bought paints can be
umbers, and ultramarine form, in pans of various combined easily to pro-
are resistant to sunlight. sizes; and the creamy duce a third color. Tubes
The tube threads should
type, in tubes. can be bought singly or in be wiped clean before
boxed sets. The number replacing the cap because

of colors to buy depends gum arabic is a glue If the

cap sticks, the tube could be
solely on the artist. Stores damaged when
TUBES offer small boxes with it is reopened.

Yellow and red contain Pigments are gradually The watercolor paint only six tubes and large-
only one pigment that mixed with binders to paste that results from boxes that hold a manu-
is resistant to fading: produce a paint of pasty mixing the pigments and facturer's entire range (see
cadmium. As it is rather consistency. binders can be packed page 28).
expensive, you will only In watercolor paints, into tubes or pans. Both
find cadmium yellow and the main binder used is forms have the same qual- Advantages: Colors in-
red in the best-quality purified, natural gum ara- ity, though die procedure side a tube never spoil.
watercolors. bic of various types. This is slightly different when A color can be applied di-
A
few pigments dye substance, when dissolved it comes to using them. A painter's
range of colors rectly onto the palette.
the paper and leave a makes the paint
in water, Of the two, tube paint can be supplemented with a Tubes more prac-
,ue also
tube of Chinese white. Tins
mark if removed. Others flow spontaneously and opaque paint is used to tical for blending diluted
can be lifted off the paper evenly. obtain small highlights washes in the cups as it
or to increase the opacity
without lea\ing a trace. Glycerin added
is also is not necessary to add
of the watercolor.
Some pigments are humec-
to the paint as a die color with a brush.
naturally transparent and tant to lengthen Disadvantages: You
are ideal for glazes; others drying time. must decide first how
are opaque, even though For the much of which colors you
they have a high glycerin same reason, are going to use. If you
content —such as cerulean some manu- do not, you will have to
blue, chromium oxide facturers even interrupt your work to
green, and Naples yellow. use honey in add more paint as you
Although watercolors their formulas, need it. In practice, you
are applied in fine layers, as painters must either waste some-
it is not true that they fade did in the paint or spend time
more than others due to past. adding more .is you work.
the effect of sunlight. Only
semitransparent pigments
or those of a doubtful ori-

gin are likely to fade, as

they would if used in any
other type of paint.
 LIQUID
WATERCOLORS
Manufacturers pack
liquid watercolor paint m
small plastic or glass bot-
tles. Liquid paints have
vivid colors and are more
suited to graphic art and
illustration. The plastic
bottle has a tapered inner
spout that allows you
to pour out exactly the
amount of paint you
need. The liquid products
are useful for painting in Dry watercolor pans for
DRY PANS school use. As these
plain colors as they are colors lack quality, they
already diluted and will do not spread evenly and
Watercolors in pans arc Dry-pan paint is the yield unstable results. They
always produce the same
of the same quality as watercolor typically pro- are not intended for
tone. Artists who use liq- artistic works.
tube paints, though they vided to young school
uid watercolors tend to
contain more gum arabic children. These paints
have a large assortment
and less glycerin. As a come in round cakes
because the paints are a
result, they dry more that contain hardly any
little awkward to mix. QUALITY
quickly. The paints are glycerin. Consequently,
subjected to an evapora- these paints are difficult
Advantage: The paint come
Watercolor paints
tion process during manu- toremove and often need
does not need diluting intwo different grades:
facture. This eliminates hard rubbing with the
as this has already been one quality for artists
most of the water and brush. Their quality is not
After using the pans, it is done. and another for students.
produces a doughlike advisable to dry them with
suitable for artistic work.
Disadvantages: You can- The difference be-
paint, which is then cut absorbent paper to clean As they have a scant
them and prevent the not vary the intensity of tween the grades lies in
up, packed into plastic amount of pigments and
colors from accidentally the colors as the paint is the amount of pigment
pans, and labeled. mixing. use low quality binders,
always the same tone. the paint contains and the
Pans enable you to see the colors do not spread
Mixing is difficult because process by which it has
all the colors you have at evenly and the result is
boxes. The boxes them- would have to
the colors been ground.
a glance. Moreover, pans selves range from shirt- unstable when dry.
be poured into the cup The best paints contain
are also practical because pocket size to others as in exactly the right pro- 50 percent pigment that
they are portable, and the large as an attache case. portions. has been thoroughly
lid of the box can be used The latter may contain ground to produce pure,
as a palette.
the manufacturer's entire intense colors. It is always
Pans are sold whole, or color range, a palette, and best to work with the
by halves for the smaller an assortment of brushes finest materials, but if you
(see page 28). are starting, the student,
or beginner grade can
Advantages: One glance also produce good results.
is enough to see all the
colors on the palette. No
time iswasted as you
don't have to stop to add
more paint. Neither do
you have to plan your
colors ahead.
Disadvantages: When a
pan is opened, the label
When using pans for the
may not showing the name of the
first time, they
provide enough color; tin- color is lost. The paint has
same sometimes happens to be taken to the palette
when they have not been
used for a long tune. The one brushstroke at a time.
problem can be easily solved: Pans are less practical for
Wet the pans with a few Small glass and plastic
making cupfuls of diluted
drops of water and let it bottles of liquid
penetrate into the paint; washes. watercolors. Plastic
rehydration will make the bottles usually hare a
paint softer and easier to tapered pouring spout
dissolve. underneath the cap.
 Paint

a manufacturer's chart. o
COLOR CHART o
Some artists who demand
the widest range possible
A color chart is a range
from each tone work with
of colors manufactured
different brands at the
and marketed under a
same time to make the
given brand name. It is
fullest use of their palette.
a fairly accurate represen-
All charts include in-
tation of the hues die user
formation on the perma-
can buy ready made. This
nence of the colors. As
chart is practical for find-
mentioned earlier, per
ing and selecting the
manence is die capacity of
colors that best suit your
a pigment in the color to
style or requirements. Of
resist change. This per-
course, no watercolorist
manence is usually indi-
uses such a vast palette
cated by small symbols
as the job of constantly
such as stars, asterisks,
searching for different
crosses, or circles. The
colors would be a hind-
rance, not an advantage.
An artist usually works
widi a palette containing TUBES OR PANS?
between 15 and 20 col- A person who decides
ors. If more colors are to paint in watercolors
kept in the palette than will naturally dismiss the

are generally used, they liquid form as it is more

just takeup space and can suited to graphic art; the
round, dry pans are not
interfere when you look
for artistic work. So the
for tones that you use
choice narrows to water-
more often. When choos-
colors in tubes or in pro-
ing a palette, most artists
fessional-quality pans.
usually work with three
It is impossible to say
tones of red, yellow, blue,
which type of watercolor
green, and earth. These
paint is better as individ-
are more than sufficient
ual artists have their own
to obtain any other color
preferences. If the work
by mixing them (see has a large format, water-
pages 50-57). colors in tubes are
Manufacturers offer preferable because they
such widely ranging color stay fresh longer. On the ** Very permanent
charts to enable artists to other hand, you need to colors
*** Long-lasting colors
choose the tones each squeeze them out of the ** Moderately long-
feels most comfortable tube; thus, any unused lasting colors
••••! TmtlK (K Mil (**") * Ephemeral colors
with. Note, however, diat paints will dry on the Lit. HI RED i

color designations are not palette. (To reduce this

completely standardized: waste, art suppliers have

A color chart of average-
The same hue may be available palettes with larger the number of sensitive to the effects quality watercolor paints.
covers.) The asterisks indicate the
given different names by symbols, the more resis- of sunlight.
manufacturer's evaluation
different manufacturers. Watercolor paints in
to dam- Regarding the inten-
tant the color is of the permanence of each
Depending on the pans have the advantage color. Names of colors vary
age from age and weadier sity of die colors, keep in
that the entire range of a m onjf man ufa cturers.
brand and the quality of conditions. Remember mind as you start to paint
colors can be seen at a
the paints, the chart will that any kind of paint that when the colors dry
glance and they are easi-
be more or less extensive. with long exposure to diey will lose between 10
er to carry.
The one shown here has sunlight or excessive and 20 percent of their the paint or adding it to
Probably, for begin-
39 colors, plus Chinese indoor lighting prone is intensity. You will need to the varnish.
ners who have never
white. It is useful to keep to fading or changing compensate tor diis loss if As regards color charts
painted in watercolor,
a chart handy in the stu- color. you are painting from life remember that
in general,
the most advisable step
dio as an aid in finding a is to start with pans, Some colors such as or want to be true to die you are looking at printed
specific tone or to see if which will enable them crimsons, madder lakes, original coloring. Part of colors that may appear
one obtained through to arrange the colors on olive greens, and the this loss of tone can be slighdy different from die
mixing colors is available the palette and paint yellows that do not con- offset by applying a fine original watercolor.
in readv-made form on directly from the pans. tain cadmium are more layer of gum arabic over
 Paper

Paper
Paper is the main and nearly the only painting surface used for
watercolors, which, being water based, require a surface that
retains moisture. The water and the pigments determine the
characteristics that suitable watercolor paper should have.
The paper must have capacity to take up water and expand, so
it is important the fibers create a porous surface that can absorb
the moisture well, can expand in all directions, and can return
to its original shape when dry.

In relation to color permanence, the capacity of the paper to

absorb and retain the color is just as important as the adherent
properties of the paint. Additionally, the paper must enable the
the paint to flow easily with a surface that provides small troughs
and pores in which the paint can accumulate.
The difference between watercolor paper and drawing paper
is the sizing applied to the surface. During the manufacturing
process, watercolor paper is pressed and immersed in a sizing
bath of gelatin. Because both sides of the paper are treated, the
paint remains on the surface and does not penetrate to the cen-
ter. If penetration occurred, the colors would appear flat and
lack their characteristic brilliance.
In the past, sizing was applied to only one side, so it was versatility that quality
COMPOSITION paper requires. The best
important to distinguish one from the other. Nowadays, this
paper is made entirely
is not the case and the watermark is there only to identify the Watercolor paper is
from cotton.
made of wood pulp, glue,
manufacturer. The sizing that binds
and cotton, sometimes
Pressing of the pulp can be done when it is either hot or cold. and wood pulp
the cotton
called rag.
determines the paper's
Cold pressing is best for watercolor paper, as this maintains the Fifty percent is the mini-
capacity to absorb water
structure of the fibers and their original porosity. The heat of
mum amount of cotton a
and resist washes and the
good paper should con-
the hot-pressing process alters the fibers and gives the paper a use of large amounts of
tain. Cotton is a vegetable
water. In the best paper,
fine-grain structure with a smooth and less absorbent surface, fiber with sufficient ab-
sorbency and elasticity to
making it more suitable for drawing and detailed work.
proxide the resistance and
Many types of paper can be found in the market. Each man-
ufacturer has its own range. Some artists find no difference be-
tween papers of the same grain, whereas others are very sensitive
to these differences. The only way to discover your preferences
isby using and practicing with different types of paper to find
the one that best suits vour stvle of work.
 y Paper

useful for developing

/ The weight of paper is
calculated in pounds per
ream or grams per square
meter. The heaviest papers
are usually the thickest.
Weights of watercolor
paper range from 90 to
300 pounds ( 185-640 g).
(Weights per ream are given
for die popular 22 -by- 30-
inch [56 x 76 cm] sheet).
Weight differences af-
fect paper performance.
Paper weighing more dian
140 pounds (300 g) does
not need stretching before
painting, unless die paper
is soaked. Papers widi less
than the aforementioned
QUALITIES
Paper comes
qualities that are differ
entiated by the paper's
composition and die type
of size used.
In watercolor painting,
the quality of paper
judged by its resistance to
washes and corrections:
Does it permit lifting out
some paint to create high-
lights, for example? Does
it retain the pigments on
its surface to maintain die
intensity of the colors?
Student grade
Paper of ordinary qual-
ity, or student grade,
artists in the beginning
in three
stages of learning.
Usually, paper of this
grade consists of cellulose
from wood pulp, contains
no cotton, and is sized
with synthetic glue. It is
the most economical and
is
is not necessarily bad. It
can be used for making
sketches and drafts
Medium grade
Fine art students and
dedicated amateurs are
the principal users of
medium grade papers.
Paper of this grade has
a high cotton content,
over 50 percent, and is
is
sized twice, in the pulp
stage and after pressing.
It is more expensive than
those of inferior quality
but reacts much better to
washes and corrections
and is more stable. A seri-
ous painter will find the
difference is significant.

Top grade
Top-grade paper is in-
To read certain watermarks tended for artists, pro-
gelatin is used twice dur-
you need to hold the paper fessionals, and earnest
ing its manufacture, first
up against the light. Some amateurs.
as a binder in the pulp manufacturers emboss their
mark on the paper. This paper is made to-
stage and later to coat the
tally from cotton, with a
surface.
size of gelatin added be-
Papers of lesser quality
fore and after pressing it.
are sized using synthetic CHARACTERISTICS
Being extremely stable
glues. Badly The principal charac-
and extraordinarily resis
glued paper teristic of watercolor
weight need stretching to tant to repeated washes
disintegrates paper and what differ-
stop them from warping and corrections, this paper
easily when entiates it from the
and are useful only for responds well to all kinds
the paint others is its surface.
is
small formats because of treatment and yields
reworked on The surface of water-
diey warp easily. results that cannot be
color paper is treated
the surface. Resistance to warping equalled by papers of
with a special sizing
Because differs even among papers lesser quality. It is expen-
solution that causes the
paper fibers are a natural
Some brands, such as of the same quality, gener- sive but its quality more
pigment to remain on
product, they can oxidize, Arches, have the same ally, however, die heavier than makes up for its
the paper's surface with-
which becomes apparent roughness on both sides. the paper, the better it han- price.
Others do not, but this out penetrating to the
when the paper uirns dark can be useful as the
dles water as wrinkling and
center. The sizing allows
Other papers
or yellowish. To prevent same piece of paper will curling are factors related
the colors to retain the
have tiro different types to paper thickness and Although this book
oxidation, an alkaline —
of texture the manu- weight. A large amount of
brilliance and intensity
primarily refers to water-
substance added to the
is
facturer's watermark is that characterize water-
read backwards to find sizing on the surface of die color paper, some artists
paper pulp to maintain color paints. In addition,
therough side. In the paper usually increases use papers have that
a neutral pH value. Anti- watermark watercolor paper is man-
past, the
its weight. Consequently, not been manufactured
fungal products are also indicated the side of ufactured in various de-
when a paper of the same specifically for this tech-
added to prevent fungi the paper that had
grees of roughness that
been treated. Today, brand and die same grain nique. Whichever you
from developing and watercolor paper is
are graded as fine, medi-
as another weighs more, choose, remember that
causing a yellowish stain usually available with um, or coarse.
the additional weight is watercolor work done on
size on both sides.
that grows over time.
due to the amount of size unsized paper will have
applied to the surface. a dull, flat appearance
 ) .

Paper

_l
o work on the block itself FORMATS Disadvantages: Satiny
O
and save the time other- The format of the paper produces breaks and
wise spent stretching it work usually dictates the makes gradations difficult

< yourself. To separate the type of paper to be pur- Geler, Satiny ( 1 )

Cfl sheets, simply slide a knife chased.
Geler is a good satiny
< between them, taking Large formats usually
paper, but it does not
DC care not to cut the paper. call for a heavy paper. A
withstand retouching and
roll of paper is practical
the paint pigment does
Postcards in that it will let you work
not spread easily over the
Watercolor paper in in any format because it

surface.
postcard format has ap- is sufficiently large and
peared recently on the can be cut to the desired Arches, Satiny (2)
market. One side of the size. On the other hand, Arches satiny paper has
printed for ad- its large size and ten- characteristics similar to
sheet is

dressing the card and the

dency to coil makes it Geler's. It is, however,
difficult to handle and slightly more resistant
other blank so artists
is
requires stretching. for retouching.
can paint whatever thev
For small formats, a
Watercolor paper can be like.
COMMERCIAL pad will work well; a
PRESENTATIONS bought in pads, blocks,
block the best choice,
FINE-GRAIN PAPER
sheets, and rolls. is

however, in the appro-

Watercolor paper is Pads
priate size and with a Although watercolor
sold in several different Pads come in all sizes
fine grain. Blocks save paper ought to be cold
forms, including sheets, and types. Pads generally
the time and bother of pressed, some manufac-
pads, blocks, and more. measure between 7 by 10
stretching the paper turers hot-press it and also
inches ( 1 8 x 26 cm and )
yourself. leave a certain roughness,
Sheets 20 by 28 inches (50x70 For paintings of inter- without which the color
Sheets are available cm). Small sizes are also mediate size you can would not adhere to the
either packaged or loose available for making use paper in any form surface of the paper.
and in many different sketches and miniatures. and of any gram.
Working with this paper
sizes. handmade pa-
Fine Pads come bookin either
Postcards made from requires skiD in control-
pers are not made to pre- or spiral form. The book
watercolor paper. ling color boundaries, in
cise measurements. Names form allows you to work
blending, in gradating,
are used to indicate ap- on a double page. TYPES OF PAPER retain the water on the
and in manipulating wet
proximate dimensions. surface and dries quickly.
contours because the fine-
An Imperial sheet, for Blocks Several types of water- The effect it has on the
grain of the paper surface
example, about 22 by
is There are also blocks color paper are offered. brushstroke can be seen
causes the paint to run.
30 inches (56 x 76 cm). of glued sheets that are Some are differentiated by readily. The brush can
Fine-grain paper can be
more suitable for profes- texture: satin}', fine, medi- easily leave bristle marks
used for small formats and
Rolls sionals. They may be held um, and rough. Others and the paint may sepa-
watercolor drawings.
Rolls usually measure together with adhesive on by their
are distinguished rate; thus one brushstroke
10 yards 10 m) f in length one side or on all four manufacturing process, may create streaks over Advantages: Fine-grain
by 1 yard ( 1 m ) in width. sides. The latter are prac- such as handmade paper; another because the paper paper enhances the lumi-
They can be bought ticalbecause the glue their composition, such surface does not allow the nosity and transparency of
whole or in part. The around the sides stretches as Japanese paper; or strokes to blend or be- the colors. It allows clean,
great advantage, and dis- the paper, enabling you to their color. ( Some papers cause the paint has dried precise brushwork.
advantage, of a roll is that may be difficult to find too quickly. Satiny paper Disadvantages: Working
it needs cutting after de- Pads and glued blocks of in North American art is suitable for precision with fine-grain paper is
sheets; to separate one, just
cidingon the format you supply stores. work. not easy. This paper does
slide a knife between the
want to work in. sheets. Advantage: The results not absorb very well and
SATINY PAPER can be seen immediatelv. if too much water is used,
Texture offine-grain paper, shown in actual size.

Although not really

for watercolors, satiny
paper has become popu-
lar among artists recently.
It is better suited to illus-

tration and graphic arts

than to artistic work. It
is hot pressed and its sur-

face is completely smooth.

As it has neidier grain nor
pores, satiny paper cannot
 Paper

SIZE Tins fine-grain paper is Q

5
After
the best in us category. f-
pressing, pa-
Q
per is given a coating of GUARRO (5) z
glue, or size, so that its Guarro tine grain pa- <
surface will retain mois- per contains 60 percent —1
ture and keep the color cotton and gelatin inside <
from penetrating deep .\nd out. No acids arc
into the paper. In this used. It is similar to satiny
way all the intensity of paper in that it causes die
the color is preserved. paint to separate a little
Certain quality pa- and makes gradations dif-
pers have a thick layer Cinarro
ficult to achieve.
of size on the surface is regarded as a good
that may interfere a lit-
paper within its category.
tle when painting. This
problem can be avoid- Artists' (Winsor &
ed by wetting the pa- Newton) (6)
per first, or by wiping Produced with 100
the paper with a damp percent cotton and with
sponge to partially re- gelatin size added before
move the size before and after pressing, Artists'

beginning to paint. is a flexible fine-grain

paper that blends color
well and produces clean
lines. It is extraordinarily
resistant toretouching
and maintains the inten-
it forms puddles and
sity of the color used. This
causes the contours to
paper has a heavily sized
run. If only a little water surface.
is used, the paint dries
quickly and cracks.
Fabriano (7)
Fabriano is 50 percent
Arches (3) cotton. Lacking sufficient
Arches fine-grain paper flexibility, dais paper tends
is produced with 100 per- to disintegrate if over-
cent cotton and gelatin worked. Nevertheless, it
size. It is air dried. This is a good paper within its

paper does not yellow and category.

is ideal for mixing colors.
The paint flows and
blends well on its surface.
TYPES OF TEXTURE
The consistency of the Watercolor paper can
paper preserves the inten- be satiny —that with- is

sity of the color. Because out grain —or have fine,

it has a lot of size on the medium, or coarse gram.

surface, it requires wet- The type of paper artists

ting before painting on it.
choose will depend on
their individual prefer-
Fontenay (Can SON) ence, working style, cho-
(4) sen format, watercolor
Fontenay is made with painting experience, and
50 percent cotton and is even their choice of
sized before and after subiect.
pressing. It has a medium Almost all manufac-
absorption rate that is turers sell all three types
very suitable. It allows of texture. However,
pigments to be blended, different brands of pa-
and resists repeated brush- per have different sur-
strokes and retouches. face characteristics. You,

All the samples that appear therefore, need to famil-

on these pact's dealing with iarize yourself with the

different types of paper various types of paper
have been reproduced in
actual size to best show the and decide for yourself.

grain and the resulting

per: taoriano. watcrcolor brushstroke.
 Paper

Advantages: Medium-
SUGGESTIONS grain paper can be used
Keep in mind that to for any format. The artist

make the fullest use of does not need to work

watercolor paper, you quickly.
must take into account Disadvantages: Paper of
your format and the medium grain does not
paper's grain, weight, much water
retain as as
and composition. coarse-grain paper; nor
For this reason it is
does it allow the detailed
advisable to stretch
work possible with the
papers weighing less
fine-grain paper.
than 140 pounds (300 g)

that otherwise would

MONTVAL (C ANSON)
warp with the moisture.
(9)
Paper for large formats,
Montval medium-grain
irrespective of weight,
paper is made from cellu-
should also be stretched.
lose pulp. It has low acid-
As regards the texture, it

ity and receives antifungal

is best to start painting
treatment. This paper is
with cold-pressed paper
until you master this
probably the best in its
technique. category. It can be used
for large formats as long
brushstrokes will not
Whatman Fine-grain
produce color breaks.
(8)
Pigment expands well on
Whatman fine-grain
the paper surface with a
paper is made with 100
sharp line and vivid color.
percent cotton. It is highly
absorbent and allows the
GUARRO (10)
paint to spread well, mak-
Guarro medium-grain
ing gradations easy to ob-
paper is produced using
tain. It yields vivid colors
69 percent cotton, is sized
because the pigment re-
with gelatin inside and
mains on the surface. This
out, and contains no acid.
paper has excessive size
This is a good paper in its
on the surface and must
category. Although not
be wet before painting.
highly resistant, its pig-

MEDIUM-GRAIN ment diffusion and line

PAPER sharpness are satisfactory.

Medium-grain paper SCHOELLER (11)

is cold pressed and has Schoeller medium-
an intermediate rough- grain paper is made with
ness. Its soft grain allows 100 percent cotton. This
the artist to work more is a flexible paper that

slowly because the paper allows good color diffu-

holds sufficient moisture sion and \ields sharp lines,

without causing pigment but not suited to re-

is

separation. touching and corrections.

Texture of medmm-grain paper, actual size.

 Paper

Whatman (12) and blends well. It is a

O
o
Whatman medium- firm support that retains
grain paper is produced color intensity and outline
with 100 percent cotton. sharpness well. A heavy
It has a thick coating of coat ofsize coven its but
size on its surface; there- face, so the paper must be
fore, it needs to Ix* wet be- dampened before use.
fore use. Pigments do not
FONTENAY (CANSON)
penetrate, so lines and col-
(14)
ors are distinct and vivid.
Fontcnay coarse gram
This paper makes grada- paper has 50 percent cot-
tions possible and allows ton and is sized with glue-
easy diffusion of the paint. before and after press
It has good absorbency. ing. It has a good rate of
absorption, allows for
COARSE-GRAIN
PAPER satisfactory blending of
pigments, and withstands
Coarse-grain paper is retouching.
characterized by a notable
GUARRO (15)
roughness that forms Guarro coarse-grain
small troughs in which paper contains 60 percent
the paint can accumulate. cotton and is sized with
This feature makes it ideal
gelatin before and after
for working with a lot of pressing. It contains no
water.
acids.Aldiough much re-
Advantages: The texture touching is not possible,

of coarse-grain paper lets the pigment spreads well

the background show and lines remain distinct.
dirough and slows down Artists' (Winsor &
the paint drying time, Newton) (16)
thus allowing corrections. Artists' coarse-grain
Disadvantages: Results paper is made with 1 00
are unpredictable with percent cotton. Gelatin
coarse-grain paper. A be- size is added before and
ginner will find die rough after pressing. It is a pli-
surface makes contour able paper. Its surface al-
work more difficult. This lows color blending well
paper detracts from the and yields impeccable
brilliance of the colors be- lines. This paper offers
cause too much paint col- good resistance to repeti-
lects in die deep hollows. nve work and retouching,

Arches (13) and it preserves color.

Arches coarse-grain Fabriano (17)

paper is produced with Fabriano coarse-grain
100 percent cotton, sized paper contains 50 percent
with gelatin, air-dried, and cotton. Its surface dffiises
contains no acid. It does color well, maintains
not yellow over time. This sharp lines, and is good
paper is ideal for mixing for creating gradations.
colors on its surface be- This paper is highly resis-

cause the paint spreads tant to retouching.

Textu re of coa rsc -jjra 'ii paper, shown in actual size.

 Paper

o SCHOELLER (18) industrial manufacturers

o
Schodler coarse-grain monitor the entire pro
paper is produced from duction process closely.
< 100 percent cotton and is Lacking such quality con-
CO sized before and after trol procedures, handmade
_l
< pressing. papers in the long run
The reverse side of this deteriorate more readily.
paper is not treated and is In other words, they are
not suitable for painting. unlikely to last more than Handmade paper.

Colors gradate well and one hundred years.

remain vivid, and lines (20) Coarse-grain
stay sharp. Not suited to handmade paper allows
repeated brushwork. colors to blend well and
without separation streaks.
Whatman (19)
It admits corrections, but
Whatman coarse-grain
lines thicken a little. (See
paper contains 100 percent . .
_

<,i^'m \\
illustrationon page 15.)
cotton. Size of good qual- Handmadi •
paper.
(21) With handmade
ity is added before and after
cream-laid paper (illus- ;,;}*£ U :£?*&
pressing. With a heavy
coat of size on its surface,
on page 15), colors
trated y& f.:<

remain vivid and lines are

Whatman paper repels
distinct.
paint, so it is essential to
(22) The handmade
wet it before working.
paper shown in the illus- -

This paper has agood rate

tration at the top right of
of absorption and is good
this page has a heavy coat
for gradations as the paint Handmadt paper.
of size on its surface, but
spreads easily. Lines re-
the colors can be gradated
main distinct and intense.
easily.This is a rough

HANDMADE PAPER
paper that deteriorates L
Handmade paper owes
its appeal to the number

of different textures, for-

with repeated brushwork;
nevertheless, the lines re-
main
(23,
clean.
24,
Handmade papers include
25, 26)
^^BP ih\
mats, weights, and colors Handmade paper.
a wide range of colors and
it offers. values, of which the four il-
Some really beautiful lustrations on this page (at
handmade papers can be right) are only a small sam-
found; nevertheless, it is pling. Paint adheres well to
important to note that, in the surface and does not
general, the craftsperson or run; tones and gradations
small manufacturer who can be modified. However,
produces such paper does this paper is not suitable for
not have the adequate Handmade paper.
opening up whites.
means for total quality (27) It is apparent from
control. By comparison, the illustration to the right
of this page that this hand-
P*f
made paper is extremely
OTHER PAPERS
rough; it is also absorbent
On this page we deal
and resists repeated brush-
with certain types of
work well. This is a good
special paper that are
paper for creating effects.
not exclusively used ndmadc paper.
(28) As the illustra-
for watercolor. Some
tion at right shows, the
are more suitable for
Japanese techniques or
rugged and deeply tex-
wash-painting. Others tured surface of this
have a surface that is
handmade paper makes
totally different from continuous lines impossi-

what you would expect ble to paint. Suitable for

of watercolor paper. abstract painting ( >r w< >rk-
ing with patches of color.
Handmade paper.
 Paper

suit. ice unprotected from

JAPANESE PAPER
the penetration o\ color.

Japanese paper is a Repeated brushwork is not

beautifully handcrafted possible. Because moisture

paper that is made with penetrates to the core of

vegetable fibers, which are the paper, it takes longer

visible when the paper is to dry than sized paper.

held against the light. Recycled paper (33)

Japanese pape
Some Japanese papers The recycled paper
even contain small butter referred to here is of the
and flowers pressed
(lies type used in offices tor

m Japanese paper
within their fibers. This
paper reacts differently to
watercolor paint because
it is

spongy
a rice paper with
texture.
the best-lcnown brands of
Among
a
taking notes or for envel-
opes. As

and breaks up
it

Wrapping paper (34)

is

absorbs moisture quickly

Brown wrapping paper

not sized,

easily.
it

Japanese paper are Kozo,

is not absorbent. Conse-
Mutsumata, and Gambi.
quently, the paint remains
Many of these papers are
extremely absorbent, a
on the surface forming
tiny puddles. Despite its
feature diat makes manip-
tendency to warp readily
ulation of the paint im-
possible. For this reason,
when dampened, many
artists have experimented
brushstrokes need to be
with it.
precise. Japanese paper is
Japanese pape
intended for wash paint- Newsprint paper
ing and is ideal for Japanese (35)
brush-painting techniques, Newsprint paper is

such as Sumi-e. This is a completely absorbent and

light paper witii a weight disintegrates easily. This
of 55 pounds (120 g). paper can be used only for
(29) The unique Japan- preliminary sketches, with-
ese paper illustrated here out repeated brushstrokes.
(top, left) takes water well.
It does not allow correc- BOARD
tions, however. The paint
Lightweight board for
spreads only slightly on
watercolors has a cellulose
die surface and looks flat.
core to which watercolor
(30) The Japanese pa-
paper has been glued.
per shown in this illustra-
This makes it unneces-
tion (at left) is suitable for
sary to mount die paper
gradations and blending
on a frame.
lines.
Recycled paper
(31) A highly absor- COLORED PAPER
bent Japanese paper is illus-
trated here (also at left), but Watercolor paper is gen-
it is not for painting with erally white because this
large amounts ofwater. The is a transparent medium
paint dyes the paper and whose depend on
colors
colors cannot be removed the background for their
This paper stops the pig- luminosity; additionally, the

Brown wrapping paper. ment from spreading. white color is provided by

die paper itself. Neverthe-

UNSIZED PAPER less, some dyed handmade

papers can be found. An
(32) As the illustration artist who wishes to work
of unsized paper (at left) on a colored background
shows, it produces flat will usually apply washes ( >r

watercolors because the use odier papers designed

absence of gelatin or other for similar techniques, such

Newsprint pape types of glue leave the as pastel.

 Ihandle
PARTS OF A BRUSH
Brushes All watercolor brushes
are comprised of three
brush the tool used for spreading the paint on the parts: handle, ferrule,
The is

and hair or bristles. All

paper. It is undoubtedly the key instrument in painting and
are important if we wish
without it the history of art would have been quite different. to obtain good results.

Despite the progress made in techniques and style, the brush still The part that most de- ferrule
termines the quality of a
plays a relevant part in artistic creation. Brushes are still hand-
brush is the hairs, specif-
made in large part: the bundle of hair that fits perfectly into the ically, their shape and
ferrule has been selected and inserted by an expert hand. origin.

A good brush must show versatility, capacity for loading and THE HANDLE
laying down paint, elasticity in its hairs, resilience for recovering

its original shape, durability, and precision. A brush must have a

handle so an artist can hairs
Quality in a brush is direcdy related to the quality of materials
hold and manipulate it.
used in its manufacture. A good brush, if treated properly, will Quality handles are made
last for many make
years and will the artist's task considerably of light wood diat resists
warping or losing its
easier. An inferior brush may make certain types of work virtually
shape and that is soft
impossible. enough to permit en-
enamel and a final layer of
Brushes leave the factory with a coating of gum arabic to graving of the brand
varnish to protect them
name, number, and even
protect the shape of the hair bundle, a practice that sometimes from humidity. There are
the place of origin. Han-
also handles made from
makes the job of assessing them difficult. To test a brush for dles are generally painted
other materials, such as
water and with one snap of your wrist shake with several layers of
quality, soak it in plastic and bamboo, as
out the water to see if the brush forms a good point; then soak well asfrom swan feath-
ers quills, which were
it again and squeeze the water out to see what its capacity is.
commonly used in the
The springiness and flexibility of the hairs can be evaluated past for this purpose.
when dry. Even brushes with ergo-
nomically designed han-
Other things require consideration: Success in painting,
dles can be found.
and above all in watercolor, also depends on using the right Handles are made long
or short; brushes with the
type of brush. Brushes come in many sizes and
former are used for cases
shapes and with various types of hairs, each in which an artist needs
intended for a specific function. to keep a certain distance
from the work. Short-
The size of a brush is indicated by
a number imprinted on the handle.

With all these variables, the only WHAT IS A BRUSH?

X
A brush is an instru-
way to determine whether a certain
ment for applying the
brush is suited to the type paint on the paper; it has

of painting you want to do three distinct parts: the

bundle of hairs, the han-
is to know it well. This de dle, and the ferrule,

gree of familiarity can only which attaches the hairs

to the handle.
achieved through use, so you must try
different types of brushes until you find the
one you need.
 Brushes

HOW DOES A ule with flat and O

3:
THE FERRULE rounded Up In give the hair O
BRUSH WORK? a i////, fanned shape
The bundle B Flat ferrule
of fibers A ferrule is the metal
is the part of the brush sheath that gathers and
( !, Flat, extended ferrule for <
wide, flat brushes.
in
that applies the paint.
grips the bristles M\d also 1> Round ferrule. —i
When the fibers come in E. Flat ferrule. <
secures them to the h.in
P, held by
1'lastie ferrule, rr
contact with the paint,
die. Ferrules can be made wire in imitation of the old
color fills the spaces way of attaching the hairs
of different materials, but
within and between the to the handle.
the best are made with
hairs.
nickel plated brass in a
When the brush is
single seamless piece
touched to the paper,
that needs no soldering.
the fibers separate and
Quality ferrules have a
release the paint in

amounts according to
more precise lit than
the degree of pressure others; they do not rust

employed. The greater and, because they have no

the pressure on the soldered seams, cannot
brush, the more paint break open. Inexpensive
it releases. The conical brushes have ferrules
Brush handles can be
structure and rough made of nonrusting alu-
long or short depending surface of animal hair minum, also without
on their purpose. allow it to take up more seams. The design of
paint than synthetic seamless ferrules requires
fibers that are also meticulous measuring so
used in brushes. that all parts of a brush
handled brushes are can fit together perfectly.
more suitable >r detailed
ti

work and for tabletop

painting (when a long-
handled brush would be
cumbersome.)
A LITTLE HISTORY
The first brush is
A. Ergonomie handles
B. Bamboo handle thought to have existed
C. Plastic handle some 25,000 years ago;
itwas little more than
a twig with one end
broken up into fibers.

Later, brushes with vege-

table fibers made their

appearance before ani-

mal hair, finally, came

into use.
During a large part of THE HAIRS
the last thousand years,
artists made their own Undoubtedly, die fibers

brushes. They used dif- are the most important

ferent types of hair that part of a brush and de-
they fitted into quills. termine its quality. Brushes
The first crafted artists' are generally made with
brushes did not appear animal hair, which is con
until the eighteenth cen- with small cavities
ical
tury, in Europe where the paint can col-
Today, it would be dif-
lect. The hairs pick up the
ficult to find artists who
paint .md retain it. This
make their own brushes
characteristic is what turns
because manufacturers
a brush into an instru-
offer products to suit
ment diat dispenses paint
Retractable brushes are practically every taste.
ideal for sketching in the in accordance with the
field; the cover not only amount of pressure it
protects the hairs during
receives from the hand
transport but becomes a
handle for painting. of the artist.
m Brushes
o hardly be seen. This tea
o TYPES OF FIBERS MONGOOSE
ture makes sable brushes
versatile because they
Brushes can be made Because the mongoose-
make a fine line as well as
of natural hair, bristle, or is a protected species,
a thick one easy to draw
synthetic hair. The differ-
brushes made with hair
by simply varying the
ence in these materials lies from this animal are hard
pressure on the brush. Be
in their respective absorb to find. Due to the scar-
careful, though, as not all
ency, hardness, flexibility, city of mongoose hair, an
sable brushes are the
artificial fiber called Teijin
and structural features.
same. The quality of the
Although bristles and nat- has been developed to
hair depends on the ori-
ural hair are similar, their
replace it.
gin of the animal and
structure differs at the tip:
Mongoose hair is stiff
whether it has been raised
Natural hair ends in a sin- but fine and has a good
in captivity or in die wild.
gle point, whereas bristle capacity for absorption: it
Low temperatures and
has several points at its tip; Squ irrel-ha ir brushes. also forms a good dp for
harsh conditions imposed
moreover, the latter is painting.
bv a life in die wild, make
harder and more resistant.
these animals grow longer qualities of sable hair,
The choice between one and stronger hair than such as the hair obtained
tvpe of hair and another
their captive counterparts. from the Harbin-kolinsky GOAT
is dictated by the style of
Brushes made from the marten and the red
painting and preference
long hair of these wild marten.
Goat's hair is similar to Mongoose-hair brush.
of each artist.
animals are preferred by squirrel's hair but is lower
discerning professionals. in quality. It is used for Compared with sable
The favored hair is that
imitations of squirrel hair hair, it has less spring.
obtained from die kolin- brushes. Nevertheless, it makes a
sky, an animal named SQUIRREL
This is the hair used for resistant brush for con-
SABLE after the place in Siberia
the traditional flat brush tinuous use and is a good
where it is found. This Hair taken from the
of the Far East, the hake alternative to more ex-
Sable hair is the most little animal does not re- tail of the Canadian or
brush. Goat hair brushes pensive hairs, especially for
highly prized in water- produce in capthitv, thus, Russian squirrel, some-
are rare and cannot be brushes with high num-
color painting as
best in terms
it is

ofquality. It
the its

price.
hair comes
There are
at a high
also other
times called camel hair,
agood substitute for sable.
is
usually found in art sup- bers—or thick brushes.
ply stores. Some painters actually
is different from others is more eco-
Squirrel hair
prefer an ox-hair brush to
because of its tip. This nomical and has a great
a sable-hair one, because
kind of hair always returns capacity for absorption.
ox hair is a little stiffer.
to its original shape and WHICH TYPE OF The absorbency of
the tip is so fine that it can HAIR? squirrel hair makes it suit- OX HAIR
able for corrections but it
For watercolor brushes,
there is no doubt that can make painting diffi- Ox hair is light brown
cult because it is too soft and is taken from the in-
Two sable -hair brushes. Otic the most suitable type
(on the right) has a coating of hair is that of the and lacks strength. side of ox ears.
of gumarabic to keep the
highest quality, namely,
hairs tidy and
prevent them from losing sable.
their shape before using Sable hair, however,
the brush for the first time.
is extremely expensive
and most painters re-

sort to other types when

buying large brushes.
Two popular alterna-
tives to sable hair in

brushes are ox hair and

synthetic hair. Another
useful substitute that
has strength and a good
point is mongoose hair,

although, in actuality, it

is difficult to obtain
because the mongoose
is a protected species.

Ox-hair brushes (top) and, goat-hair brush

with handmade ferrule (bottom).
 Brushes

NATURAL HAIR legs. European pomes Brushes of this type arc o

IMITATION O
SABLE HAIR AND yield the best hair tor this not lor the professional as
SYNTHETIC HAIR purpose. it is almost impossible to

Leaving sable brushes The hair of this animal work with them. I low <
Brushes made to sim-
aside, when choosing is soft but loses its shape ever economical they may CO
—I
ulate sable hair are usually
an alternative you must easily. It is more com be, they are unsuitable for <
made from ox hair that
cosmetic en
decide between natural monly used in watcrcolor painting. I 'J
has been chemically
hair and synthetic hair. brushes but is also ade-
treated to resemble the
s
Ox hair can take up a quate for those used in
color of sable hair.
considerable amount of school work.
Reputable manufac- paint and is soft. An ox- Pony-hair brushes. You can readily see
turers usually indicate on hair brush adapts to each that they will not come to a flood
the brush itself that it is brush- point and may be cumbersome
artist's style of
when painting.
an imitation, although work and is easily han-
others sell it without dled. On the other hand,
making this important although synthetic hair

distinction. has less absorbency

than natural hair, it holds
Fan brush of
imitation sable ban: a better point than ox
hair, is strong, and does
not distort.
HAIR BLEND SYNTHETIC HAIR Both types of hair are

highly suitable and the

now watercolorist usually has
To reduce the cost of It is possible to
a brush of each kind.
the product and take ad- produce fine synthetic
vantage of different types filaments diat possess die
of hair, brushes have been strength found in sable
developed that combine hair, and they are treated
BRISTLE used tor removing a >l< >r « (

several kinds of natural to give them the neces- to obtain a special effect.

and synthetic hairs. One sary spring for returning Top-of-the-line brushes Hog's hair, or bristle, The animal's breed, its

the most economical fodder, and the country's

brush blends top-quality to their original shape. made widi a combination is

synthetic fibers widi either Unfortunately, to date, of synthetic and natural natural hair available. It is climate give Chinese
sable or squirrel hair, which science has been unable hair perform well because taken from the loins and bristle its special quality.

back area of the animal. Strong and diick, the hair

make up for the lack of to completely replicate they are flexible and do
China the world's has a special softness, ,\nd
absorption capability in the structural features of not lose their tip. They is

largest producer of this its tip splits into two or

die synthetic material. This natural hair. Because syn- givegood value for the
smooth type of hair and classifies three points, or flags, a
produces a good interme- thetic hair has a money and are available
the different varieties by characteristic that differ-
diate product. surface, it cannot take up in many shapes, duis diey
as much paint as natural have gained wide accep- dieir place of origin. The entiates from die hair of
it

hair. tance from artists. best conies from Chung- any other animal. Flat,
Brushes with a king. wide hog's hair brushes
combination of natural A bleached bristle of have been specially treated
and synthetic hair.
PONY HAIR low quality is also pro- to make them appropri-
Synthetic-hair ate for washes and cover-
duced.
brushes.
Pony hair used in In principle, hog's hair ing large areas. They arc

brushes is taken from die is not suitable for water- extremely soft .\n<A c>\\,
bellv of the animal, or its color painting, unless it is absorb a lot of paint.

Hog's hair brushes.

 Brushes

This arrangement of
TYPES OF BRUSHES ROUND BRUSHES
the hairs makes tlat tipped
brushes easy to control.
Brushes arc classified Round brushes have
< conical ferrule and a
Because they yield pre-
by die type of ferrule they a
to dictable results, they are
_i carry and by die shape of pointed tip. This is a clas-
< ideal tor straight lines ,\nd
DC dieir bristles or hair. sic design that lets an
LU outlining.
Ferrules can be flat or artist paint in any direc-
Fine lines and points
round, and die hairs or tion and draw fine or
are easily achieved with
brisdes can be arranged thick strokes.
this brush by touching
into shapes that have The versatility of
the paper with the right-
pointed or flat tips. round brushes makes
angle corner of its tip. It
Certain kinds of brush- them particularly appro-
is also ideal for quickly
es,such as round ones, priate for watercolor
covering certain areas of
have many uses. Odiers, painting (see page 41).
die paper with color.
like fan-shaped brushes,
Most watercolor pro-
ha\ e been developed
fessionals have at least one
for a specific purpose.
flat- tipped brush, usually
Generally, however, the FLAT BRUSHES
the type made with syn-
principal feature of a
thetic hair. Some pamters
brush is versatility; its up
Flat brushes take
even habitually work with
bristles should facilitate less round
paint than
this kind of brush.
many different types of ones but are more accu- Round brushes with different types of hair.
brushstrokes. rate when it comes to
drawing contours. These the shape in which the FLAT-TIPPED
brushes come in many hairs are arranged. They BRUSHES
The dif-
different types. can be flat-tipped, filbert,

ference among them is or bell-shaped.

A flat- tipped baish has
a flat ferrule; its hairs are

all the same length and

perfecdy ordered.

Flat brushes: bell-shaped (top), flat-tipped (center), and filbert (bottom)

Different brushes for watercolor painting: (1) sable-hair

brush; (2) monjjoose-hair brush; (3) ox-hair brush:
(4) synthetic -hair brush; (5, 6) ox-hair brushes.
flat-tipped and filbert; and (
",
8) fitch brushes.
Flat-tipped brushes with different types of hair. Next to each brush is the kind of stroke it makes.
 Brushes

of hairs is attached to a
JAPANESE BRUSHES
bamboo handle. They arc
Japanese brushes use- most suitable fbrgpuache
soft bristle from hogs, and for Japanese style
deer, or oxen, and painting. They are very
the bundle soft.

Fan brushes.

Japanese brushes
iiitb diffl ' at
the work is finished, you
FAN BRUSHES types of hair.
can use one to apply a
coat of varnish to fix die
A flat ferrule gives the
colors in die painting.
hairsof a tan brush the
shape for which it is
named.
Fan brushes are used FILBERT BRUSHES
Filbert brush.
for blending to obtain an
even transition between In filbert brushes,
colors on an already which are flat, the hairs
painted surface. When are arranged in an arch-
such a brush is dipped in ing shape. This form
w atercolor paint, it cre- earned them the other
ates an effect similar to name by which they are
that of a dry brush. known —that is, cat's
Bell-shaped brush.
tongue,
A filbert combines the
FLAT WASH usefulness of both the flat
BRUSHES
and round brushes be-
Flat wash brushes
used for covering large
areas, such as a back-
are cause
a
its tip

round brush, and

brush is
can paint

held almost par-

like

if the 4pF CO fSABE»

ground, or for painting allel to the paper, it acts Absorbent brush. BELL-SHAPED These brushes are usu-
—
washes for example, to like a flat brush. In other BRUSHES ally made widi synthetic
suggest the sky. words, it can be used for hairs of good quality.
These brushes have detailed work and for
A bell-shaped brush is
In w atercolor painting
covering large areas.
and has hairs that have
flat
another function: after Flat wash brushes with bell-sliaped brushes are em-
different kinds of hair
been cut so that the ends
ployed for applying broad
for larjje washes. do not come to a point.
brushstrokes and cover-
ing large areas. Additionally,
they can be used tor washes
and, because they can take
it
up quite a lot of water, also

u *3 «Hl
for absorbing moisture.

ABSORBENT
BRUSHES
Some bell-sliaped brush-
es are especially absorbent.
They are generally made
fh >m squirrel ( * goat's hair

and are used tor lifting out

a )lc >r c >r tor techniques re-

quiring that die brush ab-

sorb large quantities of
water.
 Brushes
00
_l
O BRUSH NUMBERING The numbering system dered in advance, This
O SYSTEM
is
THIN VS. THICK
is, therefore, .\n attempt why most artist use thick
Preference for a cer-
to standardize the mea- brushes made with ox
brushes have a
All tain kind of brush de-
surements and to provide hair or synthetic hair.
number stamped on the pends exclusively on
a reference that will make There are no low
handle that indicates the individual style or the
die artist's work easier. numbers for Sat brushes
diameter of the ferrule format the artist usually
For sable brushes, die as this obviously would
and, therefore, die diick- chooses. Artists who
numbers range from 000 make no sense. Numbers paint large watercolors
ness of the bundle of
for the thinnest up to 18 and 22 are not manu- without concentrating
hairs.This numbering
16 or 18 for the thickest factured. too much on detail will
system is used interna-
brushes. The da Vinci Wide brushes are sized obviously prefer a thick
tionally and is common
brand, however, has a in inches that indicate brush that takes up a lot '
to all brands. Neverthe-
much wider range that the width of the ferrule. of paint and allows them
less, no standard exists
runs from 10/0 up to 36. These range from 1 inch to cover large areas
for sizing brushes, so you
Large sable brushes are (30 mm) to 3 inches (80 with a couple of brush-
may find diat a 10 brush
not easy to find because mm). Some flat brushes strokes. Even in this
from one manufacturer
they are particularly ex- are sized by a different case, there are always
may be slightly different ' !
pensive; therefore, a num- number, but this system certain small areas or
in size from that of details to be added that
ber 36 sable brush would is not followed by all
another. would require the use
probably have to be or- manufacturers.
of a thin brush.
22

20
18 14

12

10
 Brushes

10
12
14
16
Complete range offlatl-tipped brushes.

20
24

Complete range of round sable brushes, shown in actual size.

10/0
WHY SO MANY
THICKNESSES?
Manufacturers offer
such a wide selection
of brushes in an at-

tempt to accommodate
every artist's prefer-
ence.
.
In practice, there is

no noticeable differ-

ence between a num-

bers and a 9 brush. It is
also true, however, that
a painter who has both
sizes will tend to use
one exclusively — say,
the 8. So tnere is no
sense in the artist's

having a number 9. On
the other hand, another
artist will always opt for

the 9 brush if given the

same choice. This is
why manufacturers pro-
duce a vast array of
thicknesses.

_ . I.
I Boards, Easels, and Cases

Boards, Easels,
and Cases
For vvatercolor painting all you need is paper, paints, a brush
and a little water. There are, number of additional
however, a

items that simplify the artist's work. Some of these have become

virtually indispensible.

takes hours to dry; this However, it is not suitable

BOARDS
way you can prepare forworking on wet paper
several pieces of paper because its surface is not
A board is useful for
for painting the next day. porous and it traps the
supporting and securing
Use boards made of moisture. Consequently,
the paper. It is best to wood that will not warp the paper takes longer
have several boards as you or give way to the taut- to dry on this kind of
will probably be working ness of the stretched surface.
on more than one paint- paper as it dries.
ing at the same time. If, Fiberboard is light and

in addition, you intend to resistant and can be used The most suitable boards are made of plywood with
use dampened paper, you for supporting small for- a minimum thickness of 'A inch (6 mm).
will need more than one mats. Because it is thin,
board because wet paper fiberboard is easy to carry.

The size of the board will depend on the format you wish
to work in. It should always be about 2 inches (5 cm)
BOARDS AND larger than the paper itself. It is preferable to have
several boards of different sizes: 26 by 34 inches
EASELS (65 x 85 cm) and 43 by 31 inches (HOx
Boards and easels 80 cm) for large formats; 10 by 12 inches
(25 x 30 cm) for the smallest, which
complement each other are the standard sizes. The board
perfectly because if the should be sturdy, but remember
board is the support for that if you intend to work
outdoors, it should also be
the paper, the easel is
as light as possible.
the support for the
board.
Easels are essential
when painting outdoors.
In a studio the artist can
rest the board on a table
for painting with the
paper in a horizontal
position or place an
object underneath the
board to give it the right your needs by means of
inclination. If the artist
wooden pegs. There are,
usually paints with the An easel is a structure however, easels specifically

board almost vertical, on which the board or designed for vvatercolor

the board can be set stretcher rests. Almost all painting; these can be ad-
against the wall. An easels for oil painting are justed so that the board
easel is, therefore, not perfectly suitable for liescompletely flat or at
necessary if you will not working with watercolors, any other angle of incli-
be painting outdoors. especially the kind used nation. Moreover, they
in a studio, because their are usually lighter than
height and inclination the easels for oil and are
can be adjusted to fit portable.
 Boards, Easels, and Cases
CO
_l
Lectern Portable metal easel, o
type easel folded (right) and opened
up 11 ad ready in receive
P
the board {left)
Q
<
CO

4
TABLE-TOP EASEL
'In bh- -tup

There arc artists who easel.

prefer to sit at a tabic when

painting in the studio;
sonic like the paper totally
horizontal and others, die
majority, opt for a certain
tilt.

easel
This is

tabletop, or lectern-type
comes into play.
The table does not
where the

quire any special features,

although it is always best
re-
With a wooden board
and a couple of foldable
easels, a good work table

can be set up.

PORTABLE
METAL EASEL

Portable metal easels

r
are just as practical as the
for it to have drawers for
wooden version but less PORTABLE
storing paints, brushes,
bulky. They have tele- WOODEN EASEL
palettes, and so on.
scopic feet to accommo-
date any size board and Foldable and light-
are sturdy. This easel is weight, a portable w< x xlen
made from light materi- easel is easy to carry.
alsto make it easier to Additionally, it has two
carry. small arms for holding a
The easel's lightness paint box. To select a
can be a disadvantage if good portable easel, look
working on uneven ter- for it to be light, solid, ad-
rain or if die wind is blow- justable, and equipped
ing hard because it is not with a mechanism for
stable. In this case, artists gripping the board
must use their imagina- firmly. Even with
tion to find die solution. these features, this
kind of easel is radier
unstable and can
be easily blown
SKETCH BOX down by a strong
gust of wind.

name suggests,
As its a
sketch box easel has a
paint box incorporated in
its design. For painting
outside the studio, this
kind of box is very useful.
It has a drawer for storing
materials and a palette.
Sketch boxes come in
several sizes, the largest
Sketch box, folded (top) and
unfolded (bottom). of which even includes Portable
wooden easel, folded
a folding scat. This easel
(on left) and unfolded
is carried like a suitcase. (right).
 Boards, Easels, and Cases

Medium-size box
containing 12 pans. LARGE AND SMALL
Has a lid with three
wells for mixing colors
BOXES
and a foldable color
Box with 36 pans, which
can be removed. The entire
As you can see from
palette.
box becomes a palette with the materials illustrated
< many wells of varying in these pages, water-
capacity.
color paint boxes of vari-

ous sizes can be found.

The large wooden boxes
are more attractive but
in practice can be some-
what awkward to use.
To begin with, they are
much more expensive
than the simple metal
or plastic boxes and,
although they contain
PAINT BOXES several accessories apart
AND CASES from the paints them-
selves, they are usually
In art supply stores Metal box with 12 tubes
heavy and the artist
you can and
find elegant and a palette with wells
for the paint (bottom lid) needs to find a place to
beautiful wooden boxes and another with larger set them up.
for carrying and storing wells for mixing (top lid).
Small, simple boxes,
paints and brushes. When on the other hand, only
painting outdoors, how- have the paints and the
ever, they are not practical space necessary for a
because they are not de- couple of brushes, fit

signed to hold water, rags, snugly into the artist's

pencils, and so on. Several hand, and are easy to

alternatives exist: a sketch carry and use.
box, or an oil box that
can be adapted to your
needs as a watercolorist.
Undoubtedly, the best
solution is to copy the
professionals and order
a custom-made box from
a carpenter. This way you
can decide the size and the
number of compartments.
Metal boxes are simi-
lar to palette boxes but
are adapted for earning
watercolor paints in tubes
or pans. These are the
most practical as you then
have both colors and
palette in one hand, an
important convenience
when painting standing
up or in uncomfortable
conditions. Together with
the plastic versions, metal
boxes are usually die least

expensive and also the

most useful because their
lids can be used as a Acompact and quite
palette. They come in complete box with 12 colors
many sizes, with a capac- for making sketches or
Plastic box with 12 pans.
working outdoors. It
ity for holding from 6 including a retractable contains tiro foldable
brush. Ideal for making
to 36 colors. palett. - a brush, a small
sketches.
sponge, and a bottle and
small cup for water.
 Boards, Easels, and Cases

S3
Wooden box with 16 colors, two brushes, o
a ceramic palette with three sections, a o
tube of Chinese white, and two wells
for water. It is practical for use in
traveling and in the studio or
outdoors.
<
(/J
—I
<
cr
LU

FOLDING SEATS "Wooden box with a set of

24 colors and a metal
palette. Three containers
It is not advisable to and four brushes
complete the set. It
paint sitting down as an
is suitable for
immobile position de- tra
traets from die spontane-
ity of painting. Despite
this, there are certain
artists who feel more
comfortable painting
while seated.
Small wooden box with
In a studio you can palette and retractable
brush. It is more pretty
choose the most com-
than practical and rather Wooden boxes with 6 and 15 colors
fortable chair. Some artists expensive.
and without a palette. Tlie small
prefer stools to chairs. boxis for making sketching notes.

When working outdoors, The large one comes complete

with a brush. Both are extremely
the best choice is a por-
expensive and most impractical.
even
table stool, or seat,
one of the simple, camp-
ing variety. Whichever
you choose, it should be
foldable for portability.
A portable seat is small
and totally flat when
folded. Some may even fit PRINT RACK
inside a large paint box.

A print rack is a fold-

able piece of furniture
that opens up in scissor
fashion and is designed
for holding large papers
and folders with finished
works. Stands are really
practical for keeping
folders because diese can
be easily seen at a glance.

Of course, they are also

good for storing a supply

\ Folding seats for painting outdoors.

of different types of clean
paper.
 I Containers, Cups, and Palettes

CO
_l
O lhi\ tray allows von in
O prepair n lot ofcolors in
h-
Q
Z
<
Containers, Cups, advance sn in nut in hnvi
in interrupt your work.
It is suitable for paiiiiniii
in small formats because
CO
—I the wells are small and
<
CO and Palettes hold little paint.

both paints and water

Anto makeneeds various receptacles
artist

painting easier. Palettes, jars,

for

and containers are

essential tools in watercolor work. A wide variety of shapes and
sizes is available in stores. Many containers used in the home,
however, can serve the same purpose These rectangular compart-
ments make it easier to
equally well. control the load of paint on
the brush: the color collects
at the deep end and the
tilted base carries the paint
away from the brush.
need to carry water with
CONTAINERS Round compartments have
you as it is not always easy
no corners in which the
to find. Some artists take paint can collect, so it
Containers are needed
a bottle of mineral water dissolves entirely in
to keep water at hand the water.
with them and use it for
because water is the
painting and drinking;
medium used to dissolve
others carry a canteen.
watercolors and to clean
One of the most prac-
the brushes when chang-
tical containers for out-
ing color. Both, plastic
doors is a small bucket
containers and glass jars
that can be hung on the Art supply stores carry
will do. Although plastic
easel by its handle. This small cups especially made
is unbreakable, some
lessens the risk of it
for dissolving the paint in
artists prefer glass. Select
spilling. water in order to obtain
containers that hold from
16 ounces to 1 quart
the desired tones.You can
(500-1000 ml); in lesser also use any container
quantities the paint dirt-
you may have at home,
however. The store con-
ies the water too quickly.
tainers can be bought as
Jars with a wide mouth
a single unit or in a tray.
are better for wetting and
cleaning the brushes. Art
supply stores offer an alu-
minum container with a This practical tray
spring de\ice to suspend combines round and
rectangular compartments
the brushes so that the and is useful for experi-
fibers are not squashed menting with different
densities of paint. The
when the brushes are left
round wells can be used
in the water. These con- for more watery paints
tainers are intended more and the rectangular
ones for thicker,
for other techniques such
pastier mixtures.
as oil painting and have
less capacity than that re-
quired for watercolors.
For outdoor painting,
plastic containers are
preferable as they are
lighter and will not break.
Some watercolorists use
kitchen jars that can be
Even
hermetically closed. Various types of receptacles
if you work with
prefer to for holding the water for
dissolving the paint and
undiluted colors, you
cleaning the brushes.
 Containers, Cups, and Palettes

PALETTES
A large palette like tin me shown hen- make) it easier to O
work if you art going to use many afferent colon or tones. O
The thumb hole lets you hold the palette comfortably in your h
hand. It has a large number of compartments for arranging Q
Palettes are used by
the colors and the mixing area is divided into different Z
the artist to mix colors. sections. This is ideal when working with both cool and
<
They generally have small warm colors that you do not want to mix. _i

compartments, (used in
<
the same way as cups),
and large ones appropri-
ate for mixing. Many
types are available, so you
have to decide which one
suits your style and serves
your needs.
Intended for mixing
and diluting colors, pal- Round palettes with round wells leave a space
in the center for mixing the paint. The
ettes for watercolors are aluminum finish of this example could
made from or are coated interfere with your judgment of the tones.

with impermeable materi-

als that allow the paint to
run easily.

A few palettes may

have a thumb hole for
holding them or a ring,
as some boxes do. Often,
they are made of enam-
eled metal, ceramic, or This large box divides the compartments and
plastic. They are usually the mixing area of the palette into
ttvo entirely separate sections to prevent
white so the colors can be
unwanted mixtures. It also has a thumb hole.
seen as thev really are.

This palette has the traditional shape that makes it easy

to hold and handle. It is quite complete with small
compartments for the paint, notches to squeeze out
rrrrr rrr r rr n
the brush, and a central section for mixing.

PALETTE BOXES

Palette boxes are used

when painting with tubes
of creamy paint. They are
made of metal, enameled
in white, and usually have
a ring for holding them.
One section is divided Tins box also has a
into compartments to sufficient number of
compartments and the lids
hold the paint. serve to mix the paint.
These palette boxes It is a handy size that

come has a good capacity.

in many different
It is fitted with a ring
types and sizes; some to hold the palette.
designs givemore promi-
nence to the box, others
allow more space for the
palette.

They are very portable

and practical for protect-
If you do not have a
ing from dust any paint palette, there are many
objects at home that can
left over from a painting
serve the same purpose. A
session and for keeping porcelain plate is suitable
the colors in perfect for holding the paints Humble plastic egg
and mixing. The lip of containers can be turned
order. into practical trays with
the plate is ideal for
squeezing out the brush. compartments.
 —
Other Materials .md Accessories

Other Materials
and Accessories
Apart from the materials discussed in the previous chapters,
other accessories also form part of a watercolorist's equip-
ment. Some are used for drawing or for preparing the paper,
many are particular tools an individual artist may use for applying
Bamboo sketching
the paint, others are substances that alter the natural condition pais.

of the paint to adapt it to the requirements of the work.

lines dissolve with the Bamboo sketching • Pen-shaped soft eraser. be used gendy so as not
OTHER MATERIALS pens
moisture of the paint and It is very soft and practi- to spoil the size of the
totally disappear. Bamboo pens are used cal because it is protected paper.
When sketching, never the same way as ballpoint and cannot be dirtied. • Kneaded eraser. It is
use a greasy medium Charcoal and felt-tip pens. The This prevents it from the softest eraser and the
such as wax because such With charcoal, you lines are much stronger, smudging the paper. one that will least spoil
materials are incompati- must be careful not to but you need to be con- • Soft pencil eraser. This the size of the paper. Ideal
ble with watercolors. As draw lines too thickly stantly dipping this pen eraser is mainly used for for erasing on watercolor
regards other media nor put in shadows or do See page 90.
in ink. removing masking fluid. paper that does not have
amenable to watercolors, any blending. The paper
Nibs Although designed to hard sizing on its surface.
artists have their own needs cleaning with a
Nibs hold more ink erase pencil lines, it should
preferences among the cloth before painting to
usual choices described in
than reed pens and are
stop the charcoal particles
the following paragraphs.
available in many tvpes.
from mixing with the
Some can produce
paints and muddying the
Pencils lines of varying width.
colors.
Generally, soft lead Others have a sharp
number 2, HB, orB side for scraping back dry
Felt-tip and
pencils are used. Some paint to out whites on
ballpoint pens lift

however, prefer
artists, the paper. See pages 70
Although felt-tip and
hard lead because it and 87.
ballpoint pens can be
makes a less visible line.
used for sketching, you Erasers
Others, to avoid this
must remember that the Erasers are a tool for
problem, half erase the
lines will show through getting rid of sketch
drawing before beginning
the watercolors. Their lines in a drawing
to paint.
main purpose is to outline and for removing
Watercolor pencils forms that have already masking fluid
Different types of erasers: (a) pen-
The advantage ofwater- been painted or flesh out (see page 63). There are
shaped soft eraser; (b) soft pencil
color pencils is that dieir the details. See page 90. different kinds of erasers. erasers, (c) kneaded eraser.

Lead pencils (a),

watercolor
pencils (b),
charcoal (c),
felt-tip and
ballpoint pens (d).

Tlrick nib (a)

and nibs for
scraping back
dry paint to
open up whites
on the paper (b).
 Other Materials and Accessories

Ruler and drawing Clips o

triangles
o
Paper can be secured I

Artists need drawing with clips. See page 37. Q

triangles and rulers for trac- <
Scissors
ing parallel lines and de- c/j
Sharp scissors with _i
termining perspective and <
long blades facilitate con
other common angles.
tinuous cuts and make
LL
LU
Some inexperienced be-
cutting the paper easier.
ginners use triangles to
draw a grid when copying Craft knives
photograph. The Craft knives are also
a fol- Triangles, with 45-degree angle (a) and Different types of thumbtacks.
lowing three are basic tools with 30; 60-, and 90-degree angles (b); useful for cutting paper
and ruler (c).
and opening up whites.
of die trade:
• Drawing triangle Various types of absorbent paper. Blotting paper. Blades
with two 45 -degree angles Razor and knife blades
Drawing triangle
• can be used to open whites
with 30, 60, and 90- and create effects. Sec-

degree angles pages 70 and 87.

• Metal ruler essential Cotton swabs
for drawing straight lines
Ordinary cotton swabs
and for cutting die paper
are ideal for making
Cotton rags corrections, openingup
Cotton rags —the best whites, and even for
as they are the most ab- painting itself. See pages
sorbent — are used for 68 and 85.
blotting off exeess liquid tape are available for • Masking tape of the Thumbtacks Wax
from brushes, drying stretching the paper (see type employed by house Attaching die paper to
Watercolorists employ
hands, and even for page 36). painters to protect certain the board or stretching it
wax crayons or household
making corrections. See • Gummed tape is the areas from the paint can can be done with diumb-
candles in a wax resist
page 67. type most commonly be used. tacks as well. See page 37.
technique used for open-
Paper towels used with watercolor • Self-adhesive cloth
Staples and stapler ing up whites, creating
Kitchen paper towels
paper. It damp-
requires tape, die kind commonly Staples applied with a effects, and suggesting
or paper tissues are nec-
ening prior to its use. Can used m framing the paper stapler are used in the shadows. See page 64.
be a little awkward to use and for masking, is also
essary for removing paint same way as diumbtacks.
from brushes, making but is the only tape that good because it pulls away See page 37. ( 'ottou swabs.
adheres to the wet paper. from the paper easily
corrections, and absorb-
ing excess moisture. See Three types of Several kinds of clips for securing
adhesive tape. the paper.
pages 68 and 69.

Blotting paper
Blotting paper is basi-
callyused for absorbing
excess moisture on the
paper, making correc-
tions, and creating
effects. See page 68.

Adhesd/e tapes
Different types and
thicknesses of adhesive

Scissors in various designs.

L
 Other Materials and Accessories

We recommend apply-
ing masking fluid with an
old brush as it can spoil
the bristles. You can also
use a nib pen to apply the
fluid when the area you
want to reserve is a fine
line or small detail.

Masking fluid is sold as

a transparent or colored
solution. See page 62.

Different forms of India ink.

India ink Masking fluid

India ink comes in two Masking fluid is a
Fixative of various kinds.
forms: as a stick for paint- creamy, gummy sub-
ing with brushes and a stance that forms an im-
liquid for working with permeable film when
nibs. In watercolor work, applied to die paper and
ink is used for oudining protects it from the paint.
shapes before and after Artists use masking fluid
painting. See pages 90 to reserve areas of the
and 91. paper they want to keep
white to suggest high-
Fixative lights or white-colored
After the work is dry,
objects. This way, artists
fixative is used for fixing need not worry if they
the colors.
paint over these areas
because the details are
Roller
protected by the gum.
A small paint roller can
This fluid can be easily
be useful for painting
removed from the paper
backgrounds and creat-
by rubbing gently with
ing special effects. See
a finger or, preferably, an
page 86.
eraser. Nevertheless, it is

Sponge not advisable to leave the

As a watercolor tool, gum adhered to the paper
a sponge has many pur- for toolong because it Above, sponges (a) and roller (b). Bottle ofgum arabic.

poses: Artists use it as becomes hard to remove

an adjunct to the brush and you risk damaging
for wetting the paper, the paper when peeling
Gum Arabic arabic directiy to the paint

absorbing any excess it off.

Gum arabic is one of will thicken the paint, al-

the main ingredients in though too much gum

water, and opening up
watercolor paints and may cause it to crack later.
white areas. See page 88.
acts as a binder for the You can also use gum
pigments. arabic for making reserves
Art supply stores sell because it reduces the

OTHER gum arabic in liquid adhesiveness of the paint.

ACCESSORIES form. This gum can be Another use of gum
used for different pur- arabic is to liven up colors
Several other products poses. If a gum in a dead area of a paint-

$*
little

are not essential for water- arabic added to the

is ing. Because the gum
color painting but can water used for paint- turns shiny when dry, it

simplify the painter's job. ing, the paint will be will add brilliance to drab
These are substances, a little thicker and have colors. See page 75.
some of which are added more consistency and
to the painting water or body; the gum will
are used to treat the paint also increase the shine
itself, to mask areas of die and transparency of
paper, or to fix the paint. Bottle of masking fluid. Adding gum
the colors.
 '

Other Materials and Accessories

Watercolor medium Alcohol more abrupt. The results, o

o
Watercolor medium is Alcohol accelerates the when the paint dries, arc- h
a mixture of gum arabic, evaporation of water unpredictable. o
acetic acid, and water. when added to watcrcol- Alcohol is useful for 5
This medium is dis- ors, so the paint dries painting outdoors at 1< (W CO

solved in the painting quicker and requires temperatures as it pre- <

water—adding few a slightly different han- vents the paint from
drops to (500 ml)
a pint dling. Fast evaporation freezing.
ofwater—to remove any makes the paint seem less
traces of grease; increase on the brush or
plentiful Glycerin
the intensity, shine, and makes the paper seem Glycerin is a moistur-
transparency of the col- more absorbent. The izing agent, or humectant,
ors; and give better ad- paint, therefore, is more that prolongs the drying
herence to the paint. difficult to control, is less time. (Watercolor paint
The use of watercolor workable, spreads out already contains a small
medium is advised when more over the wet surface amount of this substance
repeated drawing and of the paper, and accu- for the same reason.) In
Watercolor medium.
handling may leave greasy mulates less at the sides. addition, it helps the pig-
Bottle ofglycerin.
spots on die paper. Water with alcohol added ment to dissolve in the
It can also be mixed It is mixed in equal does not produce as good water. Varnishes can be pur-
direcdy with the paint to proportion to the paint a result as pure water Adding glycerin to the chased in liquid form for
thicken it. and is good for creat- when blending colors be- painting water, therefore, applying with a brush
ing impasto effects and cause tonal transitions are increases these effects. when the watercolor is
Oxgall making the brushstrokes It ismost advisable to completely dry. You must
Purified oxgall is a wet- visible. use glycerin when work- amount
take care with die

ting agent. It reduces the ing slowly or in the open of varnish you apply as
surface tension ofwater, air in warm, dry condi- too much will lend the
causing the paint to flow tions. work an excessively shiny

more and evenly. It

freely Itshould not be ap- effect and make it look as

can be added to the water plied undiluted as this if it has a plastic coating.
or mixed direcdy with the would stop the pigments Pay attention also to the
paint. Synthetic wetting from dissolving. pressureyou apply to the
agents are also available. brush; moreover, try to
Varnishes avoid repeated strokes on
Aquapasto Varnishes are used as a a particular area, because
Aquapasto is a mixuire fixative to protect the col- the paint could smudge
of gum arabic and silicon. ors,though in many cases and dirty adjacent colors.
It has the consistency of they add a certain gloss. Varnishes also come in
gel, is transparent, and is
ALCO Many watercolorists ob- sprays. These are perhaps
PRODUCTO CO 5 "
used for applying thick Uso exlerno ject to this as the work the most practical. With
layers of paint. Unlike then loses the character- sprays, easier to con-
500 Ml. it is

gum arabic, aquapasto is istic matte appearance of trol the amount applied
resistant to cracking. watercolor paintings. and to avoid any exces-
Some artists useit only sivelv shinv areas.
Bottle of alcohol.
Bottle of oxgall. in certain parts of die
painting, for exam-
ple in dark areas to
soften die contrasts.

Tube of aquapasto Various types

of varnish.

%CTLNG
SPRAY

'

75 ml
;jn.°t-. ..,.cHe

f
 )

I Stretching Paper

can wet it with paint knowing artists prefer coarse, wavy paper
that it will not warp a\il\ that and do not stretch it first; or they

Stretching Paper when

will
the paint dries the paper
become smooth again.
use handmade paper
already slightly misshapen
'
that
when
is

Paper is generally stretched sold.

or insufficient moisture in watercolor paint- over a rigid surface such as a There are three steps in the
Excess piece of plywood or any other stretching procedure: 1 wet-
( )

ing has a considerable effect on how the pigments kind of board. This board ting the paper, (2) attaching it

dissolve and on the final result of the work. The should be slightly larger than the to a support with gummed tape,
paper to allow tor taping. Some (3) drying and removing it.
moisture that is basic to this painting technique also

affects the paper.

WHY STRETCH formats usually return to their

THE PAPER? original shape, but light papers
of less than 140 pounds 300 g (

Paper expands when wet and

wrinkle and warp with die mois-
shrinks when dry. After this wet-
ture of the paint. The way to
dry process, the paper does not preyent these distortions from Wet paper that has
not been stretched
always retain its flat, smooth spoiling a painting is to stretch will usually curl
shape; sometimes it warps. Small the paper. This way, the artist as it dries.

FIRST STEP Wetting and flattening the paper

First, the paper needs to be For more control, you can use a
sponge apply only the desired
to
dampened so that the fibers will
amount of water on the paper.
swell up; this makes the paper Take care not to rub the paper too
increase in size. Some papers hard with the sponge as this would
remove the size from the paper
expand almost one-half inch surface.
Place the wet paper on the board,
(1 cm Here we show two of the
). Watercolorists vary in the degree
smooth it out well, squeezing out
yarious ways to wet die paper; of moisture they prefer to work with.
excess water and trapped air by
Some artists wait until the paper is
whatever method you use, always running your hand on the paper
completely dry after stretching it.
Others start to paint when from the center outward. Tour
use cold water because hot water
touch will tell you if the paper is
the paper is still wet and retains
could spoil the size of the paper. evenly wet (areas with a lot of
just the amount of moisture they
water feel smooth and slippery;
prefer. Tliere are also those who
One way of wetting the paper is to TIjc paper can also be placed dry parts are rough to the touch).
wet the paper only on the reverse,
totally immerse it in water. The under an open faucet; the longer Before stretching the paper, give it
then stretch it and draw on the
paper can be left in the tray for a you hold it there, the more water a couple of minutes to expand.
dry side. Wetting the reverse of
few minutes until properly soaked. it will soak up.
the paper enables you to apply
paint more insistently because
the size remains intact.

SECOND STEP Taping the paper

Gummed tape is used on all

four sides of the sheet to attach

the paper to the board. When
taping the paper to the support,
be careful to keep the tape paral-

lel to the edge of the paper.

Otherwise, when you remove
the tape, the painted edges will
not be properly aligned with the For very wet paper, you will need To make the paper equally taut on Masking tape is easier to use, but

borders of the paper; this may
give your painting a crooked
effect that will require
the borders to correct
to usegummed tape because it
the only one that will stick to a
wet surface. Precisely been use it
trimming needs to be dampened, this kind
it. of tape is more troublesome to use.
is all four sides, attach one side and itwill not stick to wet paper. It
then the opposite one; repent this works when the paper hns been
procedure with the remaining dampened only on the reverse side.
two sides.
 .

Stretching Paper

FINAL STEP Drying the paper and G THE TAPE

Ifyou have soaked the paper the board and paper out in the Ifyou used gummed tape to Adhesive tapes used for masktuii
attach the paper to the hoard, can be easily peeled off but gently
under the faucet or by sub sim; heat makes the gum soften,
you will need to CUt around it SO tU not to tear the paper You
merging it in water, it will take- however, and the tape nun- peel with a knife to remove the tape. should never leave them on the
four or five hours to dry out en gum may stick to the
off or die Alternatively, the tape can be paper for more than a couple of
CO
much that you tear the moistened before removing it daw I/name they lould leave gum
Drying can be speeded up
tirelv. paper so
from the paper; otherwise, the residue that is impossible to D
with a hair dryer or by setting paper when trying to rem< >ve it paper will tear Gummed tape remove. Masking tape also creates a
usually leaves some traces ofgutn. a white border around a painting.
DON'T... o
LU
• Wet the paper with hot I-
water as the heat would ruin

the size on the surface.

• Rub too hard with the
sponge when wetting the
paper for the same reasor i.

ALTERNATIVES Other ways of stretching the paper

No one system is better than The paper can be stretched on

one you prefer or theboard by taking a piece of
the rest; seleet
paper larger than the board and
feel is best suited to your style attaching it with thumbtacks or
or requirements. staples to the back of the board.
The edges of the paper must be
carefully folded over the board,
especially at the corners so that the
paper fits tautly. Ton can remove
NOTE the paper by cutting it or pulling

Wet paper can also be out the thumbtacks or staples.

stretched using staples or Paper can also be stretched over

a frame, like canvas. This method
thumbtacks They are not as does not leave a white border
effective as tape but hold well around the painting. Tlje
enough if the paper weighs stretching procedure is the same,
but remember that you cannot
up to 140 pounds (300 g).
press hard on the paper because
there is no backing in the center
and it could give way or tear.

paper has
DRY STRETCHING

Wetting and stretching the

then wetting
become less popular
as it requires time and prepara-

tion. Many artists prefer to work

with the hea\ier papers, stretch-

ing them without wetting and
them a little. The
procedure for stretching dry
paper is the same as that for wet
paper.

TREATING THE PAPER

pnnn
Other methods

Masking tape can also be

used for stretching dry
paper but may release
its grip when the paper
is

Gesso
wet.
Stapling the paper to the
board is an easy and
quick stretching method,
though it does leave
unsightly holes in
the paper.
Many artists like to use
thumbtacks for attaching
the paper to a support,
though they, too, make
holes in the paper.
For thick paper or small
formats, clips are more
than adequate and have
theadvantage that no
marks are left on the
paper.

Gesso is a white, synthetic Gesso is applied to the surface of

emulsion that reduces the ab- the paper with a spatula or a
hog s hair brush and is allowed
sorbency of the paper and to dry.
increases
adherence.
as a
its

It is
whiteness and
generally used
primer for unsized paper
or for creating special effects.
How paint
looks.
on paper treated with gesso
Because the surface hardly absorbs
any paint, the brush slides over it and
the paint collects in droplets, taking
longer to dry.
-^
 Using the Brush
DC
O
_j
Individual painters have their manipulations of the hand to
o
u own way of holding the brush achieve exactly the results we

Using the Brush

cc
LU to achieve just the right result. want no easy task, but, next
is

£ Artists have a surpnsing number are some suggestions that may

ofdifferent ways of gripping and help.

brush the instrument used for applying using the brush. Although an
The is
ideal way of holding a brush
the paint to the paper. Its performance greatly does exist, artists end up adopt-
depends on how well you handle it, understand its ing their own personal style.
Making the brush respond to
versatility, and maintain it.

THE BRUSH HOW TO HOLD IT

Artists generally
brush as you would
Unlike in writing, however, the
movements of the hand are freer
and more fluid when painting;
moreover, the hand moves in all
directions.
hold the Unless you are painting details, do
not hold the brush by the ferrule
a pencil.
as this constrains the hand.
Grasp it near the end of
the handle for freer,
faster movement.
Another way to hold the brush is
as if it were a stick of charcoal.
Tins is a typical position for artists
used to painting large formats
on easels. It is very practical for
drawing vertical and horizontal
lines and facilitates manipulation
of the brush.

Watcrcolor painting requires a spontaneous style that calls for the brush
to be handled delicately. Tour hand must grasp the brush firmly but
loosely and touch the paper with it lightly. Never press the brush down
so hard as to squash the hairs against the paper. Maintain good
control on the pressure you exert on the brush as the force
will determine the thickness of the brushstroke and the
amount of paint applied with each one.

ACCURACY The maulstick

Apart from the spontaneous, The photograph, at left, shows a maulstick in use. This tool was designed
for painting details that require firm and steady control of the hand; it
flowing brushstrokes associated
has been used by most of the great masters of painting. This small stick,
with watercolor painting, in which has a ball at one end, is rested on the frame of the board and
every work there are usually held with the free hand. The hand holding the brush, then, has a
point on which to rest and accurately paint in small details.
small details that require a steady
hand for accuracy. As an aid,
artists have invented a tool called
a maulstick. However, it is not
essential because the artist's non-
painting hand can serve the
same purpose. In fact, few artists
today use a maulstick as many
find it cumbersome.

\
Ton can also use your free hand to steady the brush. Just rest your index
finger on the paper to control the brushwork. It may seem difficult
at the beginning but with a little practice you will incorporate
this technique automatically into your painting.

Another method, which is especially useful when working quickly,

is to use the painting hand as a resting point. Just press your
little finger against a dry part of the paper and use it to
steady your hand for detailed painting or retouching.
 Using the Brush
rx

MOISTURE Squeezing out paint O

u
It is advisable to have a piece of cloth handy to squeeze vtttt
Unless you arc
>

a skilled
out from the brush before painting so as not to drench the
vvatercolorist, it is difficult to paper. Remember that cotti»i cloth u more ecologically-sound I
judge exacdy how much paint than paper towels, and it does not break up when vet

or excess water is absorbed by CO

LU
the brush. So as not to flood
D
the paper or dilute the colors g
too much, paint or water is
I
squeezed out of the brush on U
an absorbent cloth such as
cotton or on paper towels.
For removing excess water
from the brush after it is rinsed,
something the artist does con-
tinuously, a piece of cloth is the
tool most useful to the painter.
If it is paint you wish to extract,
however, do it on a piece of
paper toweling, which allows
you to see exactly what the Before paintinjj with a new color, it is a good
idea to test it on a piece of the same paper
tone is.
you are using, because a different texture
or weight would change the results.

HOW MANY BRUSHES TO BUY

The number of brushes an a. Aflat, wide brush for washes for opening up white areas. Useful d. A round, medium-size brush,
and for painting large areas. for filling in areas that need a numbers 12 and 14 are the most
artist will need depends entirely
Tour preferences will dictate sharp outline. popular for painting. If you have
on his or her preferences. Profes- whether to buy hair or bristle. decided on small formats, a
sional painters usually work with Treated Chinese bristle is very c. A thick, number 18 brush. For smaller brush will also be handy —
practical and economical; it is painting skies and working with a number 8, for instance. As
only a few brushes as a good also soft and can absorb large sweeping brushstrokes, this is a regards the type of hair, the best
brush is versatile and can serve amounts of paint. Synthetic hau- good size; not excessively large is sable, followed by ox hair,

many different purposes.

ls practical, too, but absorbs less. and can be also used for small especially when dealing with
formats. If you are new to brushes in the high numbers.
A set of five brushes ismore b. A flat-tipped brush with syn- watercolor painting, this brush
than enough to start. The aim thetic hair and a beveled handle will be very helpful as it cannot e. A round, number 2 brush.
be used for detailed work and will For details and retouching, you
is to select an assortment that
encourage you to handle it more can choose between a 0, 1, or 2,
will let you work in any freely in your treatment offorms. according to the format you
format. A possible selection This is a sable-hair brush, but yon are working in. For the small
can also use ox or synthetic hair numbers, sable hair is best as
is illustrated here. it has a better point and absorbs
which are less expensive.
more paint. If it is too expensive,
you can substitute synthetic hair.

NOTE
Tastes and approaches vary
widely among artists. Conse-
quently,you need to experi-
ment with brushes of various
types and with different hairs
until you find those that best
suit your style and require-
ments. An artist who works
with small brushstrokes and in

great detail will not use the

same brushes as one who
prefers large, flowing, sponta-
neous brushstrokes.
 7j Using the Brush
cc
O
_j

U CARE OF BRUSHES HOW TO CLEAN THEM

cc
UJ
Always wash your brushes 2. Swirl the brush softly in the

after finishing a painting session

palm ofyour hand until the soap
I suds and penetrates the hairs.
to keep the hairs from losing
their shape or deteriorating.
CO
Because watcrcolor paint dis

a solves easily in water, no chem-

ical products or solvents are
x needed tor cleaning die brushes.
CJ
Simply dip the brush in plenty
of clean water or rinse it under I. Gently, rub tin-

brush mi the bar

an open faucet; using a little soap
of the soap.
is recommended.
Hand soap or washing soap
are the most suitable. Stores
do sell a type of soap especially
designed for cleaning brushes.

NOTE 3. Rinse the brush well under the

After washing a brush, it is faucet. A

brush is not completely
clean until the suds arc clear
essential to restore and pro-
of color. Repeat the cleaning
tect the original shape of its procedure as many times as is
hairs. You can reshape the necessary. Use lukewarm water to

with wash the brush; hot water could

hairs your fingers,
you can gently press them
between your lips to smooth
them into the proper shape.
or
soften the gumthat holds the hairs
inside the ferrule, causing them
to fallout and rum the brush.
To dry the brush, squeeze the hairs
betweeti your fingers or blot them
on a cloth; you can also strike the
brush against your hand softly.

MAINTENANCE HOW TO STORE BRUSHES

To keep your brushes handy for regular use, after you have
cleaned, reshaped, and dried them, set them an open jar,
in
hair-side-up. Do not dry them in an upright position, however,
because water will get trapped within the ferrule and eventually ^
cause damage. It is best to store brushes either flat position in a
box or upright inside a sealed jar. If you have been painting
outdoors, make sure you protect them during your trip home. Art
supply stores sell cases specially designed for earning brushes safely.

If you are not going to use your

brushes, put them away dry so
that they do not get moldy and
in a flat or upright position to
preserve their shape; the hairs
should not touch anything. To
store them for a long time, you
can place them in a covered glass
jar or any other container that
guards them from dust, and add
a few mothballs to discourage
moths from eating the hairs.

A safe way to carry your brushes is

wrapped within a protective piece
of cloth or cardboard and secured
with a rubber band. Remember
that giving your brushes the
proper care will make them
last many years.
 I [sing the Brush

BAD HABITS Things not to do

In painting there are certain

NOTE
habits, especially among begin-
need correcting The habit of leaving a brush
ners, that
on a table without paying
to avoid encountering t

attention to whether the hairs

problems later.
are hitting some other object
is the most common cause of
bent and misshapen brushes.

Do not leave the brushes in the

jar of water for hours, not even
while you are painting. We have
already discussed the importance
of maintaining the integrity of
the shape and point of a brush.
leaving the brush resting on its
hairs is the best way to render it
useless as this spoils its point and
affects its precision. It is possible Do not allow the paint to dry on the Do not dry the hairs of a brush
to buy aluminum spirals (see page brush. Even though watercolor paint without restoring their original
30) to fit the mouth of the water is easy to dilute, when it dries on the shape, ('airless drying with a
jar for keeping the brushes hair it behaves like any other type of cloth can sometimes cause the
suspended by the handle, with paint and tends to clump near the hairs to splay
the hairs in the water but not ferrule, separating the hairs and
touching the bottom. ruining the shape of the brush.

VERSATILITY Brushstrokes

All these brushstrokes have been

Round brushes are extremely painted with a number- Its sable
versatile. Here is just a small brush but their size has been
sample ofwhat can be done with reduced to fit the page. Ton can
see how versatile the round
one. With the tip of a round brush is, especially when
brush, fine lines are possible; equipped with resilient
sable hair that holds a
at the same time, its main body
good point and enables
allows painting thicker lines; the artist to paint fine
absorbency lines as well as thick
additionally, its
lines by simph
and loading capacity yield a varying the
surprisingly long brushstroke. pressure on
Ql the brush.

A small dot is

produced by
barely touching
the brush to the
paper The widest
possible circle
is painted by
rotatinj
entire handle
of hairs

Sable is the most

absorbent of hairs.
Lengthy brushstrokes
are possible without
having to reload
the brush.

irk it obtained
Tins is the mark the brush leaves
when it is 'imply rested on the
•ud not moved.
 One Color

with this medium, therefore, it is best you set aside

One Color the problems of color and focus

technique itself and on how
on the painting
to achieve consistent

Watercolor painting is one of the most diffi- overall tonal values.

cult techniques because, although it can be re-

LU
3 touched and corrected, there are mistakes that cannot Although a wash looks
flat

g HOW TO deceptively simple on the paper,

z possibly be eliminated. This is why learning to paint APPLY A perfect one is quite
x creating a
u in watercolor can be troublesome. UNIFORM WASH a challenge.

If the overall color of the work is unbalanced and You can lay a wash on wet
Wash is the term given to the or dry paper. The advantage of
the artist has used too many dark tones, the painting doing it on damp paper is that
technique of applying a fine layer
may have to be discarded. of paint diluted with water to the moisture prevents color
breaks from happening; also, die
The transparency of this medium does not allow both large and small surfaces,
paint will take longer to dry. For
though it more commonly refers
reducing the intensity of a dark tone by painting over the beginner, it is advisable to
to painting large areas.
it with a lighter one, nor does it permit concealing a A flat wash
obtained by
is
experiment with dry and wet
washes to gain experience with
mistake with white paint and then laying a new color applying only the same tone; it
results in an even layer of paint
both types.
on top. In such a case, the most common manipula- with no tonal variations and no
tions possible with watercolors are lifting out color trace of brushmarks.

and repainting. But paper
that dyes easily
repeated corrections.
is an absorbent material Flat washes are applied to vary
the white of the paper, to create
and has too delicate a surface to bear
backgrounds such as skies, or to
To begin familiarizing yourself cover a broad area of the paper.

IN PREPARATION Mixing the color

Before starting you will need to prepare the paint Place a small amount
of paint in the mixing
in a cup. Be sure to mix a sufficient amount that will
container.
cover the entire area you have chosen. You do not want
Dilute the paint with water and stir it with the
brush to mix it thoroughly. Remember that washes
require light tones that allow the white of the paper
to show through to begin building up the tonal

the paint to run out halfway through your work as variations of the light areas. A dark background
would yield a limited number of possible tones, and,
this will require you to stop painting to pre-
except for the reserved areas, these tones
pare more paint; this interruption is very likely would inevitably be darker than the
to result in breaks. It may even be impossible preliminary tone of the wash.

to obtain exactly the same tone as before.

Do not forget that watercolors lose their in-
tensity as they dry. So test a color first on a sep-
arate piece of paper until you have the desired tone
Moreover, you need to bear in mind that when
apphing a plain wash there is no opportunity to retouch
or repaint it.

THE WASH Applying the paint

To prepare a wash, use a gen-

erous amount of water for dis-
solving the paint, which needs
to be in an extremely fluid state
for its application. It is preferable
0b \

1. With the board slightly tilted and with sweeping brushstrokes, paint a
for the paper to be stretched as
horizontal stripe across the upper part of the paper. Notice how the incli-
the moisture in the paint could nation of the board causes the paint to accumulate in the lower part of
cause it to warp and make the To acquire practice with the the painted line, stopping the edge from drying and preventing the color

painting difficult. In addition, from breaking when applying the next brushstroke. Work quickly to keep
brush and paint, as well as with the accumulated paint at the bottom of the strokes from running down
the paint would gather in the keeping the color within certain the paper. Otherwise, the brushstrokes will not blend and will show visible

wrinkles caused by the warp- streaks when dry that will be very difficult to remove or disguise. It is
limits, it is agood idea to draw
important to keep the brush loaded so it will not run out of paint
ing and not produce a uniform a rectangle on the paper and lay halfivay through a stroke. If the brush you are using is not very
'

color over the entire area. a wash inside it. absorbent, reload it with paint for each stroke.
 One Color

2. Make the second stroke in the opposite direction,

drawing the accumulated paint across the paper.
Alternate the direction of your strokes as you continue.

3. When you
"S reach the bottom edge, dry the brush on a cloth and use it
to absorb any paint that has accumulated at the bottom.

NOTE
The type of brush needed for applying a wash will depend on the
size of the surface to be painted. Regardless of size, it is always best
to use a brush with the capacity for retaining the necessary paint
that will enable you to comfortably produce lengthy brushstrokes.
For covering extremely large areas, we advise using a Japanese
hake brush. A sponge is also a good washes
tool for applying
4. When paint dries, the tone over the entire surface of the wash
the because its great absorbency makes easy to cover large sections
it

should be uniform. Although some beginners may think that they will
of a painting. Sponges are used in much the same way as brushes;
never need to apply a flat wash, it is important to learn how to achieve
this degree of control over your work, so practice until you have mastered
the difference is that with a sponge it is not necessary to take up
it. Another way of applying a wash is to draw the paint downwards, in fresh paint as often as with a brush. A sponge also allows you more
vertical brushstrokes instead of horizontal ones. Neither system is better control of the amounts of paint that can be released or absorbed
than the other; it is simply a case of testing each method and using
the one that gives you the best results.
when pressing it against the paper.

WRONG TONE Correcting a wash

As already mentioned, washes the color already on the paper Washes that have not produced
that are to serve asbackground willdarken or modify the new can be corrected
the desired tone
by removing some of the paint
for a painting need to be in light wash. So for this second wash it with a damp sponge.
tones. Because each color reacts is advisable to dilute the paint
in a particular way
and paper, the
with the water
results may some-
times be surprising to the unini-
tiated artist.
If you have failed to control
well
tone.
and try to obtain a very pale

NOTE
^fc

the intensity of a tone and it has

Before applying a wash,
dried excessively dark, you can
you must prepare sufficient Washes can also be
try to salvage the paper by wash- rinsed off by washing
paint to avoid interrupting your
ing out the color, holding the the paper under a faucet.
work and risking breaks in the
paper under the stream of a paint.
faucet, or by lifting out the color
If the paint runs out in the
with a sponge. Remember, how- middle of a wash, it will be
ever, that certain pigments have very difficult to obtain exactly
greater dyeing capacity than the same tone again.
others, in which case the paper Washes must be done with
is unlikely to return to its orig- pale colors to allow superim-
inal color. After rinsing off the posing all the other colors in

wash, you will probably obtain the entire tonal range planned
a tone that can be used for a for the painting.

you will need to

painting. If not, Flat washes cannot be
apply another wash on the same retouched or repainted.
paper, but take into account that
 One Color
QC
O
—i
in the lower part where it stretch the paper and tilt the To succeed, gradated washes
O
u GRADATED merges with the color of the board about 30 degrees, the should be done quickly and
en
WASHES paper. same as for a tlat wash. Gra- decidedly. Avoid the temptation
Gradated washes have many dating can be difficult, so it is of retouching with the brush
uses, the basicone being to rep- best to experiment first on a so as not to alter the tone.
In a gradated wash, the
resent die background or sky in piece of scrap paper before Proper dilution of the paint is
color gradually pales from a
C/3 landscapes. attempting it on your final also important because too
dark value, usually in the upper There two methods of
are sheet. Testing lets you work much or too little water can
part of the paper, to the mer- gradating: on dry or on wet. more freely and saves on need- change the tone and produce
est expression of the same color In both cases it is advisable to less expenses. a grainy effect.

Gradations on dry paper yield

brilliant areas of crisp color.
Although the following proce-
dure is generally used for
making on-dry gradations, it can
also be employed for working
on paper that has been damp- 1. Apply the color on the paper as if yon were
painting a flat wash.
ened beforehand.
Paint is applied to the upper 4. Drag the paint
part of the paper. Then, instead accumulated on the
edge to paint another
of loading the brush with paint line. Notice how the
for the strokes that follow, clean color has paled a little.

water is used. The brush, there-

fore, carries less and less pigment
with each succeeding brush-
stroke, and the tone gradually
pales until it blends with the
color of the paper.
2. Load the brush with
a little clean water.
NOTE
Although the on-dry tech-
nique appears very simple, it

is not as easy as you might

3. Repeat this operation
imagine. The limitations of the every time you add a new
area to be covered with the band of color. Tin proportion
gradated wash make it neces- of water in relation to
pigment increases each time
sary to calculate the speed at the brush is dipped in clean
which the color needs to be water. Thus, the tone
gradually loses intensity.
diluted with water so that
when you reach the bottom
boundary of the paper or area
the tone will

color of the paper

merge with the
itself.

A GRADATED WASH ON WET PAPER

5. This operation is repeated
until the color merges with
that of the paper. *
Laying a gradated wash on dampened paper produces a soft, 1. First, dampen the paper.
According of the
to the size
uniform gradation of color that has no breaks. This method requires
area to be painted, this
you to first wet the paper. Next, load a lot of paint on the brush and can be done with a brush
spread on the paper from top to bottom so that the color pales as
it
or sponge.

the brush works its way down the paper.

The amount of water necessary for this technique depends on

the type of paper you are using and external factors that can speed
up or slow down the drying time.
 One ( )olor k
rx

4. \\ vim progress, the brush carries less and less 3

o
.

color, so the tone gradually becomes pain: Apply more

a pressure on the brush to control the amount of
u
rx
paint released onto the paper I he eater the m LU
pressure, the more intense is the color The amount
pressure yOU apply must be slowly reduced
Of
that when the tone merges with the color
so
I
of the paper, the hairs of the brush
barely touch the surface of the paper. CO
2. Start the gradated wash by painting LU
a dark line of color at the top.
NOTE g
important to remember not to go back over
z
spread the paint down the paper
It is
I
3. Slowly,
with sweeping horizontal brushstrokes.
previous strokes with the brush when you gradate U
because subsequent areas decrease in intensity
given that the brush carries less pigment and
returning it to a dark area would, then, create abrupt
openings in the tone. Additionally, the brush would
also pick up more pigment from the dark area, there-
by altering the tone when applying a new stroke
fartherdown. A gradation must be done gradually
and successively, from beginning to end.

forms where each tone repre- different manner. This way be-
WHAT IS TONE? BUILDING TONES
sents a degree of light for each ginners can discover for them-
area. selves that opaque colors, such
A tone is each degree of in- Proper control of the tonal
Two basic systems exist for
aschrome oxide, for instance,
tensity in a value scale that is creating a range of tones from a
potential of each color is essen- can never become as transpar-
applicable to any color. This scale single color. They are quite dif-
tial for building up the overall ent as sap green, however much
ranges from light to dark. That ferent but can produce die same
tonal balance of the work. Tonal the tone is lightened.
is,each color has an entire results. One is to dilute die paint
values mark the difference be- Additionally, the difference
spectrum of tones that ranges and the other, to superimpose
tween a weak, lifeless painting between the various tones of the
from minimum to maximum and a strong, vibrant work.
glazes.
same watercolor can be so great
intensity. It is advisable to create value
that they can appear to be two
The various intensities of a scales using different colors of
entirely different colors.
work in
color allow us to build a the palette as each has special
monochromatic tones to create characteristics and reacts in a

Lightening values by diluting the paint

To create a scale or range of tones in most pictorial techniques, 2. Add a little water
to the paint.
the color white is used. White is mixed into a pure color to re-
duce its intensity. The greater the amount of white, the lighter
the tone.
White is never used for this purpose in watercolor painting.
1. Paint any shape yon want
In watercolor, a color is lightened by simply adding water. The the paper in a given tone.
.
greater the proportion of water contained in the paint, the more
transparent it becomes and the color appears less intense.
Thus, a scale is constructed from dark to light, as the most
3. Paint another figure next to the
intense tone is that with the largest proportion of pigment, or the using the second tone. Note
first

least amount of water. The lightest tone is obtained when the paint the difference in intensity between the
first and the second figures. This operation is
has been diluted as much as is possible.
repeated until you have a tone that barely shows
The procedure is simply to gradually add more water until you on the paper. Always add the same amount
have achieved the palest tone possible. of water to the paint so that the gradation
is even and continuous.

4. Here, different
value ot Hooker's
green have been
obtained, although
this color could
produce many
more than these.
 One Color

Creating a tonal scale by superimposing glazes

If bv diluting the paint, uc can create a series of tones ranging For a successful glaze, it is essential to wait until each layer is

from dark to light, the opposite is true when we apply gla/es. In dry before applying the next.
glazing, we work from light to dark.

CO Ajjlazf is a layer of transparent color. As watercolor is a trans-

LU
parent technique by definition, it is easy to understand that a 1. Prepare the paint in a
Z>
g of this technique consists of superimposing glazes. Apply-
large part container. The paint should NOTE
z ing one glaze over another of the same color changes the color,
be fairly well diluted to
X lighten the tone as we are To change tones using
u
LU
increasing die intensity of die tone. going to work from glazes, it is essential to wait
Although the principle of glazes is simple and easy to understand, light to dark.
r- for each layer to dry before
it is advisable to do
few exercises for painting tonal scales so as
a painting the next. When creat-
to familiarize yourself with glazes. This way you can discover the ing tones by diluting the paint,
potential of each color and will realize that transparent colors you begin with a mixture that
have a wider variety of tones than opaque ones. contains a large proportion of
Before starting this exercise on glazes, take into account that the pigment. With glazes, the paint
quality of the paper plays an important role as too many layers of is highly diluted and the pig-

paint can lead to catastrophic results if the paper is not suited to ment builds up on the paper
repeated wettings. with each succeeding layer

3. Once it is dry, load the brush again with the

paint and superimpose a second layer of paint
2. Lay a fairly long brushstroke over the first, but leave a small section of the 4. Continue superimposing glazes until your
offlat wash. first wash uncovered. range of tones.
scale resembles this attractive

the importance of tonal values The application of washes is creating a wider range of tonal
PAINTING WITH a basic skill you must acquire variations.
before starting to apply colors.
WASHES Poor use of tones or insuffi- with practice if you wish to mas- The various tones are ob-

cient planning before starting to ter the technique of watercolor. tained by diluting the paint.
The wash method of paint- A painting executed with this Remember that the greater the
paint usually leads the artist to
ing involves using watercolor technique is usually monochro- proportion of water, the less
paint excessively dark areas.
paint or diluted ink on paper. It matic and forces the artist to use intense is the tone.
Consequendy, it becomes nec-
generally employs only one or the tonal values of the model,
essary for the painter to darken
two colors. So a form in this style translate color into tones, and use
of painting is developed using the rest of the painting to main-
these tones to build up the form.
the white of the paper and the tain the same tonal relationship.
Based on the classic water-
tonal range of the color. A beginner may try to avoid color procedure, the wash
The beginner needs to under- risking this mistake by using method of painting builds color
stand how the lack of white only intermediate tones, but this from light tones to dark ones.
paint affects watercolor work. strategy will result in a plain, It is ad%isable to use dark col-
It is the only way of seeing dull, and unexpressive painting. ors as thev are more suitable for

ONE COLOR Smoke black

When painting from nature, We are going to create a monochromatic-

important to make sketches
it is
wash painting in smoke black, using this
landscape as a model.
as the light can change, or the
clouds in the sky can change
shape or position. Sketches en-
able you to decide the compo-
sition and the tonal balance of
the subject. Take care not to be-
come too involved with details
at this stage; simply reduce the
model to a series of light, dark,
and intermediate tones.
 One Color

7. Light gray is used for the sky. 2.A fairly dark value is used to paint the 3. A mediumvalue is used for painting the
shadow area that sets off the horizon. field, letting the directionof the brushstrokes
suggest the furrows in the plowed field.

4.Using a value similar to that of the horizon 5. Light tones are then used for suggesting the 6. The road is added reserving the white to

we set down the limits of the road ditch

line, foliage of the trees and for the patch that indicate the broken line, and the tree trunks
and of the trees on the left. represents the mountain in the background. are developed.

NOTE
Buildingup values by superimposing
glazes should not be used as the main

7. We finish by painting the details

method of painting as too many glazes
of the branches on the trees and the can rob a painting of the sparkle and
shadows on the road, and we add transparency that are characteristics of
the dark point at the end of the road watercolor.
that produces an interesting contrast.

Underpainting

Underpainting is a term that

describes the monochromatic
painting used as a base for a
definitive work.
It is a sketch painted in a sin-
gle color that forms the basis
for the tonal balance of the final

work. This preliminary sketch 1. We first paint the sky using a 2. With a permanent pale green 3. A mixture of ochre and burnt
gradated wash in cerulean blue we suggest the color of the grass sienna gives an earthy color to the
prevents irreversible errors and soil; notice that the transparency
and cobalt blue. in the field.
avoids needless corrections. of the paint allows you to see
the furrows painted in gray from
An underpainting is generally monochromatic-wash stage.
This sketching method is a For this exercise we are going the
done in a pale, neutral tone that The tree foliage receives a blend
good alternative to making a to use the previous monochro- burnt sienna and vermilion.
will not alter the colors that are of
pencil drawing as pencil lines matic-wash painting as an un-
to be applied as glazes later. Pale
can darken when color is applied derpainting.
gray would be good, or blue,
over them.
which in the case of a landscape
would be more suitable.
4.We add the grass at the side of
This preliminary painting de- theroad and suggest the shadows
termines the shadows, because and textures of the field using a
more intense tone.
watercolor paints are transpar-
ent and the darker areas of the
underpainting will show through 5. A few last touches complete the
foliage and the mountain
the colors applied subsequently. in the background
 Two Colors

WHAT IS A For variegated washes it is

VARIEGATED WASH?
Two Colors A variegated wash is one that
essential to

that the
easily
wet the paper

and the colors blend

first

pigment diffuses more

so

blends different colors.

K igcthcr smoothly. The mixture
mentioned earlier, washes are usually applied to
Ascreate backgrounds. So far we have referred to many
Variegated washes have as
uses as the artist's imagi-
of colors in a variegated wash
C/5
LU
and the final result are unpre-
nation can devise and are a
plain and gradated washes, but another kind of wash dictable and only become ap-
g commonly used technique.
parent after the paint has dried.
z can be obtained by mixing more than one color on Generally, however, they are re-
X In gradations using two col-
CJ the paper, that is, a variegated wash. This is a wash sorted to when the background
LU ors, die change from one to the
r- is, say, a multicolored sky at
with a vast, almost infinite number of applications. dusk, or a stretch of beach with
other must be very gradual.

wet sand that carries reflections

of neighboring colors.

EXERCISE HOW TO PAINT A GRADATED, VARIEGATED WASH

To two
paint a gradation in
colors so that one merges with
die other, the lighter tone must
first be gradated on wet paper

and the other, darker color im-

mediately gradated until both
blend in the area where both
tones are lightest.
1. First dampen the paper.

2. Apply the lightest color and

gradate it.
NOTE
So

abrupt.
that both colors gently
merge together
you wet the paper
wise the
it

transition
color to the other
is important
first.

would be too
Other-
from one
& 3. Apply the darker tone and
gradate this too. (This may be
easier if you turn the board
upside down.)
4. The little paint left in the
brush insist be gently dragged
over the paper to blend the colors.

ANOTHER METHOD A WASH WITH SEVERAL COLORS

Another way of obtaining a 1. TIjc background is painted

wash with more than one color with the paler tone.

is to apply a wash with the first

color and paint the other color

over it. For this method it is not
necessary to wet the paper first 3. More
colors can be added to
background, even, as shown
this
because the first wash already
here, with suggestive brushstrokes.
provides sufficient moisture for
both colors to smoothly blend
together without breaks.
When
wash
that
painting a variegated
in this way,
it is
do not
best to apply die palest
forget
2. Another color is applied on top of the first.
\ Variegated washes can take
numerous forms. The artist can
either blend them smoothly together
or create sharp contrasts of color.

tone first because both colors

will blend at dieir boundaries to
create new hues.

VflT
 Two Colors
rx
O
_i
TWO COLORS Orange and black o
o
rx

We referred to the wash

method of painting in the pre- NOTE I
vious chapter. As we explained, Painting a wash in two col-
this type of work is not always ors is a good exercise for
CO
done merely in monochrome; experimenting with tonal bal- LU

nevertheless, die best examples ance and with contrasts not

g
are paintings that contain a In this exercise only of tone but also of color. z
minimum range of colors. we mil use medium orange Playing with this combination
I
and smoke black.
u
LU
In this exercise we are going of warm and cool tones to
to paint a tuna fish salad with produce quick paintings or
two contrasting colors which, sketches is an important pre-

when mixed, will produce a «* T liminary step before entering

the world of color. Colors can
surprising and attractive tonal
range. .l complicate matters and
tract the artist's attention
dis-

from
The subject has a wide
other basic features of the
chromatic variety that
should be represented work.
using only two colors.

1. Lay a pale wash for the background; 2. To paint the peas, mix the Wo colors to
\use a darker tone for the shadow of the plate obtain a tone with a hint ofgreen. Use a
and pure orange for the carrot and pepper. similar tone to suggest the curved shadow
of the plate, reserving the white in certain
areas. With a lighter orange, outline the
tuna. Pure black is used for the olive and
the handle of the fork.
3.Add the other olive and use intermediate
tones to suggest the mound offood in the center
of the plate. Ton can define the peas using
small, contrasting shadows. Also, retouch the
plate and shadow.

6. Finally, define the peas on the left and add more detail on the tuna to fully develop
its texture. Draw a fine line to indicate the thickness of the plate. Notice how we have
concentrated on the darkest section of the painting throughout the entire process: the
shadow of the plate. This gradual intensification allows you to experiment with
the overall tonal impression without making it too dark from the beginning.
Ton only darken a tone when the motif calls for it.

I With a light tone, develop the shape of the

piece of tuna in the foreground; once more,
rtouch the shadow of the plate to increase
he contrast.

5.We now have completed the main shapes of

he food on the plate and have set down the
Predominant tones. TJje shadow of the plate
igain needs retouching to make it more intense.
 Three Colors
cc

O mixing pale colors produces

PIGMENT-COLORS
o darker ones. So when we blend
LT
LU Three Colors Pigment-colors arc those the
pigment-colors we are using
mbtractive synthesis.
artist uses; because they are not
The mixture of the three

CO
LU
D
w
we
ithout light, color cannot exist.
object is the color of the light
refer to colors, we must
it
The
reflects.

distinguish between
color of an
When
composed of light, combining
them produces a totally oppo-
site phenomenon to that of die
primary pigment-colors
in black,
oflight.
results
or the total absence

additive synthesis of light-col-

g
z light-colors and pigment-colors as they react in ors.When dealing with pig-
X ments, mixing colors signifies
u totally opposite ways.
subtracting light as pale colors
cannot be obtained by mixing
dark colors. Quite the contrary,

Combining primary light-

LIGHT-COLORS
colors produces the secondary
light-colors: yellow, cyan, and
White light comprises the
magenta. Superimposing beams
three primary light-colors: of the three primary light-colors
green, red, and blue violet.
results in light's maximum
As these
are
three primary colors
composed of light, not
brightness —white light. This
phenomenon is called additive
pigment, mixing them pro- synthesis.
duces more light; that is,
other, brighter light-colors.

Additive synthesis: This color wheel shows the three primary pigment-colors: blue, red, and
superimposing yellow.Mixing these colors produces the secondary colors: green, orange,
beams of the and Combining the primary and the secondary colors produces the
violet.
three primary tertiary colors. The colors of this wheel are not exactly the same as those
colors produces of watercolor paints so the tones are slightly different. Pigment-color
the maximum designations may vary from manufacturer to manufacturer —
brightness of light. as well as from the name used in this book.

PRIMARY COLORS Watercolors

Primary colors are the three YELLOW

BLUE RED
mixed
basic colors that can be
to obtain the entire range of
colors that are visible to the
human eye. White cannot be
produced by mixing because
the mixture of pigment-colors
acts by subtractive synthesis
and produces darker colors.
The primary pigment-colors
and yellow. The
are blue, red,
most similar watercolors to
these are cerulean blue, alizarin
crimson, and medium cadmium
yellow.
CERULEAN BLUE ALIZARIN CRIMSON MEDIUM CADMIUM YELLOW
 Three ( olors
cr
O
—i
SECONDARY COLORS A MIXTURE OF PRIMARY COLORS O
O
en

+ #
The secondary pigment
colors, green, orange, and vio- NOTE
let, are produced by mixing the The result of a color mix-
primaries. + ture depends on the propor- W
In theory, the resulting sec tions used. Adding a larger

ondarv colors are obtained by quantity of one color than o

adding each color in the same RED YELLOW ORANGE another will produce a con-
proportion. In other words, diis siderably different result.

orange has been obtained by Remember also that the more

mixing 50 percent alizarin crim-
son and 50 percent medium
cadmium yellow. This is an im-
portant tact to remember as dif-
ferent proportions will naturally YELLOW
# BLUE GREEN
a paint
is
is diluted, the lighter

the resulting tone.

result in different tones.

Bear in mind diat the degree
to which die paint has been di-
advisable to experiment with
It ts
luted w ill change the intensity these mixtures before Starting to
of the tone, so a highly diluted paint in watereolors as they will
provide von with important
color may appear to have information on how these
BLUE RED VIOLET
different hues. colors behave.

TERTIARY COLORS A MIXTURE OF PRIMARY AND SECONDARY COLORS

The six tertiary colors are

obtained by combining the NOTE
three primary and secondary
If you study the colors used
colors; the tertiary colors are:
for these blends, you will
yellow-green, blue-green, blue- combina-
notice that certain
violet, red-violet, red-orange, tions are missing. These are
and yellow-orange. the complementary colors
In this way, all the colors pre- that, when mixed, produce
sent in nature can be obtained gray tones. There is more
by mixing the three primary information about these colors
pigment-colors. on the next page.

GREEN BLUE BLUE-GREEN

Tljcse tiro tertiary greens have different tendencies. The yellow-green is

somewhat warm because it contains yellow. The blue-green has a cool

tendency produced by the blue.

Tertiary red-orange and yellow-orange are the warm colors in this group
as they are the result of mixing other warm colors.

BLUE VIOLET BLUE-VIOLET +

+
#» RED-VIOLET
RED ORANGE RED-ORANG1

VIOLET RED
The cool tertiary colors are blue-violet and red-violet, although the latter
is considered neutral because it has a proportion of red, a basically
warm color. ORV.NGE YELLOW YELLOW-ORANGE
 Three Colors

CONTRAST Complementary colors

Complementary colors, or complements, arc those that, when

ORANGE (Secondary)
juxtaposed, instead of reducing their shine and intensity, mutu-
ally intensify each other to produce maximum contrast.

W All colors haw a complementary color, which is the one posi-

UJ tioned directly opposite the first color, and is always composed of
D
g a primary color or colors die first one lacks.
z If you kx>k at the color wheel you will see diat each of die primary

colors has a complement and complementary color is

that this
LU
the result of mixing the other two That is to say, the
primaries.
complementary color of a primary color is a secondary color. So
when two complements are mixed in equal parts, the result is black.
It is worth knowing how to use the complementary colors to

achieve the maximum degree of contrast when juxtaposing them

and to build a range of neutral colors obtained by mixing unequal
proportions of complementary colors.

BLUE (Primary)
GREEN (Secondary)
VIOLET (Secondary)

YELLOW (Primary) RED (Primary)

In mixing, artists discover how- learning how* to create other

REMEMBER THAT...
each color behaves in relation to mixtures is to develop a range of
• Mixing light-colors means adding light.
the others, how unimagined colors using the three primary
• Additive synthesis is the sum of the light produced when mix-
new tones can be attained, how colors. As previously mentioned,
ing beams of light-colors.
to arrive at a unique palette of in watercolor painting the col-
• Mixing pigment-colors means subtracting light in a phenome-
non known as subtractive synthesis. colors that will become a per- ors that correspond to the three

• White reflects all the light that strikes it and is the sum of all the sonal characteristic of each primary colors aremedium cad-
light-colors. artist's work. mium yellow, cerulean blue, and
• Black absorbs all the light that strikes it and is the total absence It is important to be able to alizarin crimson.
of light. mix colors confidently when As it is always easier to darken
• Juxtaposed complementary colors create the maximum con- painting with watercolors. The a color than to lighten it ( light-
trast of color.
medium demands that a paint- ening it is often impossible),
• The complementary color of yellow is violet; of red, green; and
ing be completed quickly and before starting remember that
of blue, orange.
with the right degree of mois- to mix the colors successfully,
• Only practice will enable you to master the use of color.
ture; the artist, therefore, must the paint should be added a lit-
• It is easier to darken a color than to lighten it, so color should be
added very gradually when mixing. know what to expect of a color tle at a time. Otherwise, you risk

• In watercolors, the primary colors are: medium cadmium yellow, mixture and not lose time with oversaturating the color, a mis-
cerulean blue, and alizarin crimson. too much testing for the work take that can result in an un-
to progress. Do not forget that wanted neutral tone. Gradual
color can only be mastered additions will also help you
hues to reproduce the subject through constant practice; control the intensity of die color
ALL THE COLORS accurately. mixing colors must become and the tonal potential of the
Apart from being an in- something you can do almost mixture.
We have already said that it is evitable part of the technique of instinctively. A good exercise for

essential to mix colors ifwe wish painting, mixing colors is also beginning to understand how
to work with a w ide range of a highly enriching experience. pigment-colors work and for
 Three Colors
rx
O
Cool colors o
u
Colors arc said to have a tem-
This cool green
perature. This temperature is a
Thii medium
has been NOTE
cadmium yellow obtained by
value derivedfrom natural light. has cool Yellow-green and red-violet
mixing equal
To understand what this means, characteristics also fall into the range of
because it
parts of
m
simply imagine a landscape at cerulean blue warm colors because both are
has been and medium
different times of the day. A highly diluted. neutral and, according to the
cadmium
beach at dawn has a cool light, yellow.
influence of other colors pre-

whereas the same beach at noon sent in the painting, may be

will have a warm light.
warm or cool.

Cool colors create a sensation To obtain tins

green, medium
of coldness, openness, lightness,
cadmium yellow Intense blue
and distance. has been is created

Cool colors make up half of mixed with a by mixing

slightly greater
This is pure cerulean blue
the color wheel and are basically
proportion of cerulean blue. with a little
those widi a blue tendency. cerulean blue. magenta or
alizarin

This gray has This brown is the

Mixing equal been obtained same mixture
parts of with a highly as the violet
cerulean blue diluted mixture (equal parts of
and alizarin of the three cerulean blue
''crimson creates primary colors, and alizarin
this violet. with a crimson) but
predominance with a touch
of cerulean blue. of yellow.

Warm colors

Warm colors, as their name Greens and violets that have iswhy yellow and red, are the Using die three primary col-
implies, are those that transmit the same proportion of cool main primary colors found in ors we show here a small range
a sensationof warmth, weight, tones as warm ones appear neu- die range of warm colors; other- of warm colors where the domi-
and nearness. They are the and their tendency will de-
tral wise, the color would be neutral nant tone is medium cadmium
colors of sunlight and of the pend on the surrounding colors. or have a cool tendency. vellow.
light in enclosed, intimate Of the three primary colors,
spaces. Warm colors make up two are warm: red and yellow.
the other half of the color wheel The color that contains most Adding a
This is pure touch of
and they have either red or light is yellow; red, as far as tem-
medium alizarin
vellow in them. perature is concerned, is situated cadmium crimson
between yellow and blue. This yellow. produces this
brilliant
orange.

NOTE
For this red,
Red-violet, gray, and brown Increasing the Increasing the equal parts
into the proportion of proportion of
fall category of cool ofyellow
alizarin alizarin and alizarin
colors but can also be consid-
crimson we crimson gives crimson were
ered neutral as they contain obtain this orange a mixed.
the three primary colors. vermilion. darker tone.

Ochre is the
Olive green is
This burnt Tins brown is
result of
obtained by umber the result of
mixing the is

three primary simply mixing the

colors. It is orange three colors
the same
as darkened in almost
the vermilion, with blue. equal parts
above, with a
little blue.
 Thrcc Colors

Neutral colors
Ibis ochre was This brown

m
Neutral colors arc created by obtained by Slightly
was obtained
mixing two complementary mixing the three using /hi tamt increasing the
complementary mixture n\ proportion 0]
colors in unequal parts. They,
colors. In fact, it
the ::-_hi
blue in
f::r
CO
therefore, contain all three is tame ochre
the but with a the previous
LU primary colors. Neutral colors as that shown in predominance mixture
D the warm colors
of cerulean
produces this
g are a little difficult to define, but on page 53, but blue. green.
z are constantly present in nature. move diluted.
X
o
LU
If instead
h- This neutral
of increasing
the proportion gray was
We obtained
of blue in obtained by
this sienna
the previous mixing the
by mixing
mixture we three primary
orange and
increase that of colors in
cerulean blue.
the alizarin similar
NOTE crimson, we proportions.
obtain this tone.
Ochre, olive green, burnt
umber, and brown are warm
colors because of the greater This tone was
created using the The three
presence of yellow; yet, they
same mixture as primary colors
also fall into the group of neu- for the previous mixed in
tral colors as they are pro- color but slightly the same
increasing the proportion
duced by mixing together the
amount of produce this
three primary colors. violet.
alizarin crimson.

Mixing colors

In watercolor painting, the way that the tone of a color is in-

colors can be mixed in different tensified by applying a glaze of

ways. The first, most common the same color on top, a new
method, and also the most likely color can also be created by
to produce successful results, super-imposing a glaze of a dif-

is that of mixing colors on the ferent color on the painted

palette. This way allows you to background. This, too, is a
obtain the right tone without widely used technique, but it

running any risks. If the right does have its dangers if you

color does not result from a mix, are not sufficiently familiar
you need simply clean the with it. Before starting, it is

palette and try again. Always, essential that the background

first test the suitability of a mixed color be dry prior to applying
color on a piece of scrap paper. the glaze as otherwise the col-
Mixing colors direcdy on die ors would mix on the paper the
paper is a second method, al- same as on the palette. In ad-
though an extremely risk)' one, dition, you have to know the
of arrhing at a desired color. We colors well to foresee the final
must emphasize that to do this results. Moreover, do not forget
successful}' you need to have that the beauty of watercolor
great mastery of the technique is the sparkle of its transparent
and know the correct propor- colors and too many layers of
tions of each color in the mix- paint would detract from this
tures or you might ruin your effect.

work or alter its overall tonal Mixing colors by applying

balance. glazes is a technique that can
A third method for mixing gready enhance your work, but
colors is to use the traditional it should not be overused.
glazing technique. In the same
Tins light burnt sienna was
obtained by applying fairly
diluted alizarin crimson over
permanent light green.
 Three Colors
or
O
—i
SUPERIMPOSING O
NOTE o
As we mentioned earlier, in CE
UJ
In using glazes for mixing
watercolor painting you can-
colors, remember that to
not superimpose a light color I
obtain an even tone it is
over a dark one to lighten it.
essential to let the first layer
This technique, however, is
dry completely before apply-
employed to obtain a third LU

color or modify the tones of

ing a second. Otherwise, the D
colors would mix on the paper g
the two colors.
and probably result in a small
z
x
tonal range. u
An olive greenis achieved by

superimposing yellow
over Payne's gray.

A glaze of medium yellow over cerulean blue creates A dark sienna can be obtained by
this permanent green tone. superimposing yellow over mauve.

Cerulean blue over

alizarin crimson
produces this violet.
This vermilion
was obtained by
superimposing yellow
over alizarin crimson
 Three Colors

FIFTEEN COLORS Suggested palette

As mentioned earlier, in

theory you can obtain any color

using die three primary colors.
Artists do not, of course, limit
their palette to these three col-
ors as this would only compli-
cate their work. On the other
hand, a palette with too many
colors is not practical for several
reasons. An artist usually works
with a certain number of colors LEMON YELLOW MEDIUM YELLOW ORANGE
and those he or she does not use
take up space in the paint box
and can lead to confusion. In
addition, there is no range of
colors on the market that in-
cludes the infinite number of
tones existing in nature. So the
artist is eventually forced to
resort to mixing for obtaining a
given tone.
It is advisable for you to se-
CADMIUM RED ALIZARIN CRIMSON YELLOW OCHRE
lect a collection of colors that
without being too extensive will

permit you to develop a wide

range of tones.
Later, as you gain practice
and establish your own work-
ing style you can enlarge your
palette or substitute certain
colors with others.
We recommend you start
with a palette of fifteen basic col-
ors that will enable you to paint
virtually any subject. A typical BURNT UMBER EARTH SEPIA CERULEAN BLUE
choice of colors is illustrated on
this page.

COBALT BLUE ULTRAMARINE BLUE PERMANENT GREEN

NOTE
A great many of the col-
ors — for instance, orange — in

this palette can be obtained

with simple mixtures. Never-
theless, because they are
commonly used, buying them
already mixed will save you
time and palette space.

EMERALD GREEN OLIVE GREEN IVORY BLACK

irt
 Three Colors

PRIMARY COLORS Exercise in three colors

As stated earlier, no artist

paints using only the three pri-
mary colors; artists need a palette

of about fifteen colors. Never-

theless, next, we are going to do
a step-by-step exercise using the
three primary colors because this
is excellent practice for control-
ing the mixtures and learning
how colors behave. In addition
to medium cadmium yellow,
cerulean blue, and alizarin crim-
son we are also going to use
Tljis pastry will serve as a model with an 1. Paint the background in black and reserve the
smoke black. You may wonder interesting variety of colors. outline of the pastry in white. Add the small
why we are not mixing our own shadows of the whipped cream with highly diluted
black color in this exercise. The gray and neutral green, mix both colors from the
three primaries. The ochre in the pastry can also
reason we are using smoke black
be mixed from the three colors.
for the background is that, con-
trary to theory, mixing die three
primary colors in equal propor-
tions usually results in a dark
brown color that is interesting
but not purely black.
Pay attention to how the
background develops through-
out the painting process.

2. Use the same ochre, but more 3. Retouch the shadows on the
dense and with a touch more NOTE body and the cream of the pastry
magenta, for the shadowy area lightly intensifying the tones. For
of the pastry. Paint the cherries It is advisable to practice painting the chocolate curls, mix
and the small central flower in using only the three primary the three primary colors with a
veil-diluted alizarin crimson. predominance of magenta
colors so as to get into the
For the medium green of the
leaf, mixblue and yellow. habit of mixing colors to
become familiar with them.

Our artist used this plate as

a palette. You can still
see the three clean
primary colors
around the
4. Continue to work on the
border of the
shadows to develop the shape
plate and
and add the third cherry.
the smoke
black that
was used
exclusively
for the
background.

5. Complete the painting

by retouching the darkest
shadows and putting in details
such as the blue spot in the flowei
at the center of the pastry.
 Wet >\nd Dry
cr
O
_i
o HOW TO CORRECT
HARD EDGES
(J

Wet and Dry Correcting hard edges in dry

watercolor is not always p<>sii

ble. The procedure is simple but

Although watercolor is a wet technique by nature the right amount of paint with
CO cannot guarantee success be-
the brush. If you are preparing
LU
D because the paint is diluted in water, we should cause die result depends on how
die colors in cups, make sure to
O distinguish between wet-on-dry and wet-on-wet wet the paint is when correct-
prepare enough to cover the
ing, the type of pigment used,
I watercolor techniques. The first consists of applying entire area you wish to paint.
CJ and the quality of the paper. As
LU It is preferable to prepare more
new washes over previous ones after they have dried;
paint than is necessary, because
we mentioned in an earlier chap-
ter, there are certain pigments
and the second, of applying new colors before the if you mix too little paint, you
with a great dyeing capacity as
will have to stop to make more.
previously laid ones have dried. These two techniques well as watercolor papers on
During this interruption, the
produce very different results and each can be painted area will undoubtedly
which it is not easy to make cor-
rections. In any case, there is
adapted to different subjects in such a way that both dry and when you resume paint-
always a chance of smoothing
ing you will create hard edges.
can be used within the same work. out a hard edge.

WET-ON-DRY WHAT ARE HARD EDGES?

WATERCOLOR 2. After the
In watercolor painting, a hard paint has
softened, spread
Wet-on-dry technique is the edge may form when a brush-
the color evenly
classic way of building up tones stroke of the same color, or a over the area by
in watercolor. The dry method different one, is applied over a rubbing the edge
of painting yields well-defined 1. One way of correcting a gently with a
pre\iously painted area that has
hard edge is to wet the moist sponge or
and precise contours and sharply already dried. The result may be area slightly with water, brush until it
edged color boundaries. Forms an intensification of the color or preferably before it disappears.
has dried, and wait
appear clearly oudined and the an abrupt variation of the tone. for the paint to
brushstrokes and changes of A hard edge is really an un- loosen up.

tone are quite visible with this wanted glaze that breaks up the
technique. gradual transition of a
Do not forget that watercolor tone. At times, hard edges
is a water- based medium and can suggest unintended
any excess or lack of moisture contours. An artist, how-
can play an important role in the ever, may purposely use
final result of a watercolor paint- this effect to insinuate vol-
ing. The artist must, therefore, ume, shadows, or irregu-
maintain constant control of the lar surfaces.

dampness of the paper not only To avoid unwanted hard

in the wet-on-wet but on the
dry method as well.
Painting wet-on-dry, the
paper absorbs the paint
edges in your work, it is neces-
sary to paint quickly and pick up 3. The result of this correction will not be apparent
until the paint has dried. In the illustration, the
hard edge has virtually disappeared; nevertheless, you
easily, is A hard edge is an abrupt change in tone. When not will notice how the paint has collected around the

impregnated with it, and dries intended, this effect generally occurs when the first outline of the patch due to the moisture. To prevent
brushstroke is allowed to dry before applying the this from happening, take up the accumulated
quickly. This is why gradations second one. paint with the brush before it dries.
on dry paper are more difficult

to achieve as hard edges may

appear. On the other hand,
watercolor paint is easier to
control on a dry than on a wet
surface.

-
 Wet and Dry

WET-OIM-DRY Painting on dry paper

WATERCOLOR
Here is a wet-on-dry exercise
that will let you see how sharply
NOTE
the forms are outlined, how- For superimposing glazes,

intense the colors are, and how it is essential to use the wet-
O)
glazes can build up the darker on-dry technique; otherwise, a

tones. wet surface would cause the

two colors to merge on the
paper yielding quite different
results. See Wet-on-Wet Water-
color, page 60.
1. Fust, apply the darkest colors to
the dry paper. Note that the paint
stays where applied because the dry We are going to paint this simple
surface does not allow the pigment of a tangerine and an egg-
still life

to spread. plant with the wet-on-dry technique.

MORE

2. Paint the tangerine and apply

Another method for erasing

a glaze with a darker tone for the hard edges is to remove all the
shaded area of the fruit. With paint from the area and wait
glazings in darker tones also
for it to dry before repainting it.
suggest the texture in the stem of
the eggplant and the part of the For how to remove color from
fruit that is shaded. Notice how dry paper, see pages 69 and
the colors do not blend together
70.
and are abruptly divided.

3. Detail of the

4. To finish, paint the remaining details: the cast shadows of the superimposed glazes
WET AREAS tangerine and eggplant on the surface and the shaded areas of the fruits. used to intensify ^' c tones.
(Work on these areas before the paint dries to blend and soften the color
When painting wet-on-dry, edges so the subjects look more realistic.)
there may be parts of the sub-
ject that need to be painted
wet in wet —such as a group
of trees enveloped in mist, a
cloud, or reflections in water.
To combine both these tech-
niques, simply wet the paper
on the areas to be painted wet-
on-wet and leave the rest dry.

To wet small or intricately

shaped areas, it is best to use
a clean, finely pointed brush
and clean water.
 jm Wet and Dry
EC
o
o WET-ON-WET DEGREE OF MOISTURE Naturally, the degree < )l ni( >is values of dry and wd paint and
U tine is not constant but de- only experience will enable you
DC WATERCOLOR creases as the water e\ ap< (rates. to foresee the result ol 'a color
The amount of moisture pre-
Wet-onipetis the technique External light sources such as after it dries.
sent in the paper that is to re-
sunlight or a powerful spodight Wet-on-wet technique is ideal
of painting with watercolors on ceive the paint is an important
a support dampened with water.
can speed up die drying process. for painting skies and for recre-
CO
factor that can change the result
So when pointing on wet paper ating the volume and vaporous
That is, paint is applied to a completely.
it is necessary to continually quality of clouds; gradations are
painted surface that has not The paper can be dampened
yet dried or to blank paper diat its dampness and add or
assess also more easily attained.
slightly widi a sponge or brush,
has been dampened prior to remove water in accordance Some work may require a
or thoroughly soaked under a
with die desired effect. combination of the wct-on-dry
painting. faucet. The method you use will
To add moisture while paint- and wet-on-wet methods. Say
The results of tiiis wet tech- depend on the desired degree of
ing, a clean brush generally the overall effect of a given paint-
nique are quite different from moisture. Remember that the
is

those obtained using the dry used as it is more precise than ing demands working on wet
wetter the paper, the more the
paper, yet there are certain areas
method. On
a wet surface the pigment will spread and result
a sponge. It is important to use
brush slides easily and the paint clean water and a brush that is
that need well-defined outlines.
in larger patches of color with
runs and spreads out freely in completely free of paint to main- To achieve this effect, simply
vague and fuzzy outlines.
tain the purity of the colors.
maintain these areas dry or wait
all directions. Unpredictability, The appropriate degree of
for them to dry before working
to a certain extent, is a built-in moisture for the wet-on wet Only practice will enable you
feature. As the pigment spreads, to control the amount of water on them.
method, therefore, depends en-
the color fades and the outlines tirely on the individual prefer- that best suits your style. To be-
of the baishstroke become fuzzy ences of the artists and the come more familiar with this
and unclear. This produces a results they want to achieve. technique and better understand
vaporous effect in which the Some painters feel that paper how it works, we suggest you try
forms are not clearly separated that shines, when you look at it out on a piece of scrap paper
because the colors merge into its surface from an angle that ( use paper you have discarded
each other. catches the light, is too wet. By but still has one side unpainted,
comparison, other artists prefer for example). Until you gain ex-

to soak the paper. perience with how watercolor

Additionally, the type of paper paint behaves on wet paper, the
used and environmental factors, results will always be uncertain.
such as the light source and the Another aspect of wet-on-wet
heat, have a direct effect on the results requires practice. You will
amount of water required for notice that the diffusion of the
working wet in wet and on the pigment diminishes the inten-
length of time the paper will sityof the color. There is a
retain the moisture. marked difference between the
If there is too much water
present, you can wait until

some of it evaporates. To save

time, however, many water-
colonsts remove the excess
water with a brush that has
been dried on a cloth, with a
sponge, with paper towels, or
with blotting paper, etc. — in

other words, the same instru-

ments used for removing color

from wet paper. See pages 67
and 68.

Applying a brushstroke to a
predampened piece of paper will
let yon feci the paint glide easily
on the surface and show you how
the pigment continues to spread
out on the paper after removing
the brush from the surface. The
color will stop running as the
paper dries with the evaporation
of the water, which is what
allows the pigment to diffuse.
 Wet and Dry
a
WET-ON-WET O
—i
WATERCOLOR Painting on dampened paper o
u
or
Next, you are going to paint the same still life as before hut
with the wet-on-wet technique. You will see that, in this case, tones i
cannot be intensified by applying glazes.

NOTE
With the wet-on-dry method 1. First, wet the paper. Here, we o
bare used a brush for this, but
you need to work quickly and
you can also use a sponge. Ifyou
prepare enough paint so as want to soak the paper thoroughly,
to avoid hard edges. bold it under the open faucet.

By comparison, when apply-

ing paint to a wet surface, the
results will always be unpre-
dictable, although experience
will let you gain some control
over the process. When paint-
ing wet-on-wet, you must try

to foresee how the pigment

will spread. The damper the
surface of the paper, the more
the pigment will spread out.
3. Now add the tangerine as well
Both, wet and dry, meth- as the stem of the eggplant. Has
ods of painting can be com- the paint of the eggplant diffused

bined in the same work. on your paper? Here, it has

made this patch of color
considerably larger.

2.Apply the darkest tones first.

Note bow the brush slides easily
over the surface due to the
moisture, and the paint begins
to spread out on its own.

4. Last, paint the cast shadows

and retouch the shaded areas of
both forms to give them volume.
If you look at the illustrations
in quick sequence, you will see
bow the stain of color for the
eggplant has continued to spread
out to the very last image. This
occurred because this part was
damper than the rest of the
paper. IJje tangerine, although
also slightly enlarged, is not
as exaggerated.
 —
White

Creating white areas by

TWO METHODS lilt

ing out color requires rubbing

the paper. It tins technique is to
two methods exist
Basically,
work, therefore, it is important
for using the color of the paper.
k use quality paper with a goi
already mentioned, in watercolor technique you ) >d

Asbuild tones from light to dark. The layers of paint

One is to mask certain areas; die
other, to open white areas in the
size diat will not deteriorate din-

ing the process. The artist can

paint you have already applied
are superimposed starting with the palest colors that then retouch, and even repaint,
a by lifting out some of the color. the work if necessary.
can later be darkened as necessary. This requires The first method produces the
x
u planning your work in advance —knowing what you purest, cleanest, and most in-
RESERVES
tense white because preserves
are going to do and how and where you are going to it

die color of die paper itself. The

begin. The lightest and most delicate color of all is
second can be used to correct In watercolor painting, a re-

white, and it should be the first one you take into mistakes and create effects. serve is an area of die paper left

The white of the paper can be unpainted to use the white of

account.
used to suggest the color of a the paper as a color in itself.
As a transparent medium, watercolor does not wall or of die petals of a flower, Reserving involves deciding
generally use white paint as it is not a pure color. In for example; reserving white
which areas of the painting are
way to retain the color of the
place, traditional watercolorists use the white of areas is also a to create ef-
its
fects such as highlights on sea-
paper — say, for creating high-
the paper. This is why it is necessary to plan and
water, on a bottle, on a piece
lights or the wall of a house
before you start work. Reserves
organize the work before you actually start. of fruit, wet skin, and so on.
can be realized in different ways.

RESERVES During painting

A large part of a good water-

colorist's skill lies in his or her
ability forplanning the work
in advance and for painting
around the reserved white areas,
giving them shape as the work
progresses.
1. Paint carefully
around the areas you
want to reserve.

RESERVES Using masking fluid

Some reserved areas, how- paint from coloring the paper in If the area has been well Use an old brush or an in-

ever, may be so complicated or the areas protected by it. masked, you can paint safely on expensive synthetic one for ap-
restricted —long fines lines, for Generally, masking fluid is top of this substance because plying the masking fluid because

instance — they may prevent

that applied with a brush and is either it repels water and the paint can- small particles of dry fluid always

artists from painting quickly allowed to dry naturally or is dried not filter through. Moreover, remain in the hairs of the brush
and freely for fear of "invading"
with a hair dryer to save time. the area you have treated will be and can accumulate around
The fluid is usually gray or cream clearly visible. the ferrule, thereby spoiling it.
the spaces they need to leave
colored. Although transparent Masking fluid can also be used Otherwise, protect your brushes:
white. Such cases, call for the use
masking fluid is sold, it is not on already painted areas, but the Beforehand, rub the hairs on a
of masking fluid.
commonly used because it is hard paint needs to be completely dry. bar of soap; then, wash them
Maskingfluid is a liquid sub-
to see. Take into account that, Even so, there is a risk of the fluid as soon as you finish using tepid
stance you can apply to the paper whatever color the mask will remo\ing some of the color. You water and more soap. Never let
is, it

to protect the reserves, and you interfere with the tonal balance can paint safely on any area that a brush soaked in masking fluid
can easily remove it after it has of the watercolor, so you need to has been masked with fluid. dry. Even when you use an old
dried. Because it is impermeable, remember what the true color Bear in mind that, depending brush you must wash it between
masking fluid will prevent the of the reserved shape will be. on the quality of the paper, you applications.
can damage it when removing
This is what a brush ruined by
masking fluid looks like after the the dry fluid. It is best to remove
fluid has dried on the hairs. the fluid as soon as the paint is
dry because if it is left on the
paper for days it can be extremely
difficult to remove.
 White

^ M. f% '^.
*

1. Dip an old brush into the 2.Apply it over the area to be masked shaping the 3. Now you can paint freely as the impermeable mask
masking fluid. whites as if you were painting. Then wait for it to will not let the wet paint through in the reserved
dry or speed up the process with a hair dryer. areas.

4. After the paint has dried, it is best to wait until the last
moment to remove the dry mask so as not to spoil the white.
Ton can simply rub off the mask, gently, with an eraser taking
care not to erase the adjacent colors. If there are any, you may
also remove the pencil lines at the same time.

5. With the mask removed, you can see how the color of
thepaper remains intact. In applying the masking liquid,
you can let an odd brushstroke break up a straight line or
leave hair marks. Brushmarks made with masking fluid
can be as expressive as those done with paint.

A very fluid wash can sometimes

formpools around the masked
area or in other places; it can
be interesting to let these denser
areas of paint dry to sharpen
the contrast and outline the
masked area.

RESERVES Using a nib

When the outline of the area to be masked is too convoluted

NOTE
3. Paint over the area.
for using a brush, a nib can be ideal for masking fine or intricate Remember that the color of
lines. The brush can then be used to fill in the larger areas with the masking fluid can tem-
masking fluid. porarily alter the overall tonal
balance of the work.
Do not remove the dry fluid
1. Dip the nib
in the masking
before you have finished
liquid as if it painting or you may dirty the
were ink. masked area; neither should
2. Draw the details with the nib you leave the dry masking
as you normally would. Bear in
fluid on the paper for too long
mind that the mask is a thick
substance and the nib will not as it can become difficult to

glide as smoothly as it would remove.

with ink. Use gentle pressure to take
mask to avoid spoil-
off the dry
ing your work or damaging
the paper.

4. Wait for the paint to dry.

After, you can rub off the mask

gently with an eraser. Note that,
here, the masked area is free from
paint and has sharp and perfectly
defined Hues.
 White
if
cc
O
_l
O RESERVES Using wax on fine-grain paper
o
DC
LU
As wax is an oily substance
that repels water, it can be use
I
Mil for masking reserved areas.
This wax resist technique, Ik >\v
ever, is mainly employed to cre-
ate texture, pattern, and other
imaginative effects.
You can use anything from
a wax candle to special wax pen-
cils of the color you think most
suitable. For white areas you
should, of course, use a white
pencil or crayon.
1. First, draw on the fine-grain paper with the wax. 2. Thi napply the paint as usual,
The procedure involves, first, without repenting your strokes excessively.
covering the area to be masked
with a wax pencil and, then,
applying the watercolor wash.
Wax is difficult to remove once
it has been applied so it is impor-
3. Ton can see, here, how
tant to plan where you are going
the wax repels the
to use it and draw- the lines accu- moisture although some
rately. The effects produced by tiny droplets of paint do
remain on the surface.
wax vary according to the grain Tljese lines are well
of the paper and the pressure defined because they
you apply when drawing with it. hare been drawn by
bearing down on the
Areas masked with wax on
wax and also because
fine -grain paper are better de- the surface of the
fined and more compact. paper is smooth.

RESERVES Using wax on coarse-grain paper

On coarse-grain paper wax

deposits only on the ridges of
the grain, giving you the option
of filling the unwaxed troughs
of the surface with watercolor.
When masking with colored
wax, you need to remember that
watercolor paint is transparent;
it will, therefore, allow the wax
color to show through when
applied. Nevertheless, this effect
*/ is V
can actually be used to advan-
tage in painting such things as
shadows or blades of grass and 7. Draw your lines with colored wax on the 2. Paint over the waxed area as you normally would.
coarse-grain paper.
of any
in suggesting the texture
rough surface.
3. Tlie transparency of
the watercolor and the
repellent feature of
the wax allow the wax
NOTE colors to emerge. Note
Wax does repel water, but how rough surface
the
of the paper results
use it with caution. After
in wax tines that
repeated washes, the wax are broken and
can absorb part or even all of interspersed with
watercolor.
the paint.
Wax requires that you plan
your reserves beforehand Unlike masking fluid, wax
4.
cannot be removed once it has
because it can be difficult to
been applied. The most yon can do
remove after it is applied is try to scrape it off the surface
to the paper. with a razor blade; even then,
some wax will always remain.
 White

Using gouache

Gouache or tempera can be

used instead of masking fluid,
although it is more laborious
and cumbersome to apply. The
results are also slighdy different.

Paint the areas you want to

reserve with gouache. It is best
to use white gouache or a color
similar to that of the paper be-
cause small traces of this paint
usually remain after removing it.
1.Dip the brush into white, or 2. Paint the required shape with 3. When the masked area has
Chinese white, gouache. the gouache and wait for it to dry. dried, you can begin to paint
carefully so as not to displace
the gouache and stain other
parts of the paper.

NOTE
When applying the water-
color paint over the gouache,
be careful not to press too
hard with the brush, other-
wise the gouache will dissolve
and muddy the color. Also,
take into account that the
sponge used in removing the
gouache will also rub off part
4. Wet the sponge slightly before 5. When the watercolor has dried, 6. The result is a perfect outline
using remove the gouache. remove the gouache with the damp of the watercolor paint so
it to of the masked shape.
sponge. With this step, it is apply a more intense tone
inevitable that you will drag some
than you actually need.
of the paint surrounding the
reserve.

Using masking tape

Masking tape can help enor-

mously when reserving areas
with straight
wall

of a
lines,

of a building or the sidewalk

street, especially
such

when
as the

the
Do

sunlight
lights
not
tape to heat sources

— because
NOTE

or
expose masking

strong
the glue
— such as
artificial

will
yf
unmasked area is to be painted stick to the paper and traces

in a series

washes. The only

of darkly toned
trouble with
will remain
removed.
When i
when the tape

working with wet-

is

^»
this tape is that its color is dis- on-wet watercolor, wait until

tracting when assessing the over- the paper has absorbed the
1. Use the masking tape to outline 2. Paint as you normally would,
moisture before taking off the the desired shape on the paper. and wait for the paint to dry
all tonal balance of the painting.
tape; if the tape is removed a little.
This tape can be removed as any earlier, the paint is free to 3.Remove the tape carefully 4. Now you have well-defined,
soon as you have finished, but expand over the masked area. making sure not to tear the paper. straight lines.

oe careful. When the barrier is

-emoved, wet watercolor may

>pread into the reserved areas.

Masking tape can tear poor-

i
quality paper if it has adhered
oo firmly. Even if the paper is

)f good quality, do not leave the

ape for longer than is necessary
5 it could leave traces of glue.

..:
 White

RESERVES Using paper

A plain piece of paper can be

used tor masking, especially it

the area to be covered is a large

one.
(A
The paper can be cut to ob-
tain well-defined forms or torn
to produce irregular shapes such
I as the horizon of a landscape,
U
for example.

1. Place the paper you are using as a mask, or stencil, 2. Be careful when painting to avoid displacing the
on top of the water color paper. stencil.

NOTE
When working with large
formats, attach one piece of
paper on top of another with
adhesive tape to fix it in place.
Any type of paper can be
used for this masking method,
but the paper should resist

water well and not disinte-

grate.

3. Tl)eirregular outline of the paper has produced some highly

evocative forms. In this case they suggest a mountainous horizon.

RESERVES Using gum Arabic

Gum arabic dissolved in an 1. Dip the brush into 2. Next, dip it into the desired

equal part of water or applied di-

a little gum ^^^ m color.
arabic. ^^r
rectly with the paint reduces the \
adherence of the paint. This char-
acteristic of gum arabic makes
it suitable for the removal of paint
already applied to an area.
This method for lifting
paint to create highlights or other
light effects involves

arabic to the paint

adding gum
you intend to
out

T &%mm
remove or modify'. (When dry, 3. Paint the area that will
later be lightened.
a layer of this mixture of gum and
paint is slighdy shiny; this gloss
After the paint has dried,
5.
produced by the gum arabic.)
is
dampen the parts where the color
To remove paint that has dried is to be removed. The water

partially dilutes the paint on

on the paper, rewet a small area
the paper and loosens up
with a brush clipped in water (a the pigment particles.
damp sponge may be better for
paint out of large areas).
lifting

Then, with a paper towel lift the

water along with the loosened
particles of paint off the surface.
6. Wait a few seconds for the
This technique is useful for water to soften the paint and
creating effects of light and absorb the moisture with a

shadow — for example, to sug-

paper towel.

gest the dappled light in the fo- 7.Here, this technique opened up
liage of a tree. small areas that let the white of
the paper show through.
 -

White
CE
O
—I
The success of this method the paper. This, however, not the techniques described here
OUT PAINT
is
o
LIFTING depends on the quality of the usually what the artist wants can be used loi obtaining gra- o
IX
paper and the color to be re- from this method; the whites dations and producing different LLI

Lifting out color means re moved because there are pig- and highlights obtained by lift tones.
moving paint in an attempt to ments (almost every type of ing out color are softer ,\nd Obviously, clean water dnd I
open up areas that let die color of green, for example) with a great more subtle than the effect dean brushes are essential for the
the paper show through. Unlike staining capacity that are achieved widi masks. Whites can success of this technique.
reserves made with masking fluid difficult toremove. If you use- be opened up as you work, with
that preserves the purity of the quality paper and follow the the paint either wet or dry.
color, in this technique, the paper procedure properly, you can ob- Aside from being a good I
is first painted and dien cleaned. tain a white as pure as that of method for making corrections,
u

LIFTING OUT WET PAINT With a clean brush

Opening whites on wet paint 1.After paint nig

the area, wash the
isbasically accomplished by
brush in water.
NOTE
absorbing some of the paint be- Do not use a dirty brush for
fore it has dried. Different tools lifting out paint because you

can be used for this, from the would obtain the opposite
brush itself to a piece of blotting effect. A dirty brush could only
paper. stain the paper.

You need a clean brush to lift

out the paint; it can be the brush

you are already using, but rinsed
in clean water and blot-dried on
2. Use a piece of cloth to blot
a piece of cloth. This method the water from the brush.
is always more effective on fine-

grain paper because on coarse 4. Here, the white of the paper shows through the

grain paper the paint collects paint, although with a soft hint of the color that
covered it before removal.
in the surface's small troughs
and is more difficult to lift out.

3. Next, use the brush to retouch

thepainted area trying to lift
out some of the paint. If you
want remove more color, wash
to
the brush again and repeat the
process as often as necessary. With
sufficient effort, you can obtain
an almost perfect white.

LIFTING OUT WET PAINT With a sponge

You can obtain similar results 1. Dampen the sponge to make 2. Lift out the paint,
it pliable. giving the area the
by removing the paint with a
desired shape.
natural or synthetic sponge. The
difference between using a
sponge and a brush is that the
sponge leaves a different mark on
the paper and the outlines are not
as well defined as with the brush.
In addition, it is not easy to use
and is not suitable for detailed
work, but it is highly practical
when dealing with large areas.
The sponge should be free of
all paint before starting work 3. A
sponge makes it possible to obtain
whites as pure as the one shown here
and should be rinsed out each
because you can press it down gently
time you repeat the process. against the paper to remove the pigment.
 White
cc
O
_j
O LIFTING OUT WET PAINT With a cotton swab
u>
cc
LU
A cotton swab can be used 1. Gently rub the cotton
swab over the surface
I like a brush and blotting paper
of the paper to lift out
at the same time. Always try to the west paint and at
keep some swabs handy for the same time create
CO
the desired shape.
UJ making corrections and for
3
detailed work. They can only be
g Removing paint with
z used once because they cannot 2.
X a cotton swab will not
o be cleaned. If you need to use usually produce a
repeated strokes on a certain pure white out rather
a white with a hint
area of the paper you will, there-
of the previously
fore, need several. applied pigment.

LIFTING OUT WET PAINT With absorbent paper and blotting paper

—
Absorbent paper in the form 1. Press a
crumpled piece of
of disposable paper towels and
absorbent paper
tissues —
and blotting paper are against the wet
both useful for removing paint paint.

from the surface of a painting.

Blotting paper is more absorbent
but both can be used imagina-
tively to create different effects.

Paper towels and tissues are

soft and can be easily
or folded to create a handy tool
of a desired shape and size.
Blotting paper is tougher and
draws more moisture but is
not as flexible nor as easy to
handle as absorbent paper.
crumpled
2.This type of paper creates a textural effect that
can suggest certain vegetation or, in a blue
background, clouds.
1. With blotting paper, you need 2. The result you obtain will depend on the degree of
pressure you apply and the shape of the piece of paper
toapply some pressure to make it
absorb the wet paint. you use to remove the paint.

NOTE
To create textural effects do
not press down too hard on
the paper or you will be remov-
ing all the paint and be left

with the white of the paper.

The same cotton cloth you
use for wiping brushes can
serve as a tool for this purpose.

LIFTING OUT WET PAINT With a credit card

A credit card or any similar 2. A

card is useful for creating geometrical patterns
consisting of straight lines. The texture obtained here
hard and rigid plastic card can
might suggest the trunk of a palm tree.
be used to drag the paint across
the paper as with a squeegee.
With it, you can slide
the paint horizontally
and vertically or draw
lines, circles, and semi-
circles. For instance, a 1. Rest the
card on the
landscape of tilled
paper and
fields is easily created drag it across
with this instrument. the painted
surface to
create different
effects.
 White

O
_j
LIFTING OUT WET PAINT With other objects O
a
rx
Any object —your fingernail, the handle of a brush, a toothpick, 2. Note the difference in the UJ

a comb —can be used for removing wet paint from the surface of lines illustrated here. The
darkest ones were made I
the paper. when the paint was too wet
so the color spread over the
1. A brush with a beveled-edge line again; also, because c/j
LU
handle has been designed to the size of the surface was
scraped off by the brush
3
remove paint when wet; the
hanale, the paint soaked
a
handle of any other type of
into the paper and
brush could also be used i
for this work, however. darkened the tone. The u
lighter lines were made UJ
with just the right
NOTE amount of moisture.

When lifting out color by 1. When you do not have

scraping a line on the wet the right object athand, or
when you are working in
paint, wait a short time to allow
a hurry, use a fingernail
the moisture to evaporate a to draw lines on the wet

little. If you scrape off the paint.

color while the paint is still

fluid, it will be able to spread

over the area again. Moreover,
because your scraping will A fingernail will give
2.

have also removed the size on you the same effect as a

brush handle. According to
the surface of the paper, the
the degree of moisture in
color will be able to penetrate the paint, the result will be
deeper. a lighter or darker line
than the surrounding tone.

LIFTING OUT DRY PAINT With brush and absorbent paper

With watercolor paint, it is 2. Wet the area

with the brush
better to make corrections or
to dilute the
color modifications while the paint; dampen-
paint is still wet. Otherwise, cre- ing will make
the paint easier
ating a gradated effect can be
to remove from
much more complicated. After the paper.
the paint has dried, however, ob-
taining different hues, reducing
the intensity of the colors, and
even opening up pure whites are
not such difficult tasks. Never-
theless, the technique of lifting
4. The result will depend on the number of times you repeat the process
out paint when dry does require
and the staining capacity of the pigment you used.
a lot of care.
Success depends to a large
extent on the type of paper you
1. Dip the brush into
are using. Paper of poor quality clean water.
could easily disintegrate dur-
ing the process.
For opening up white areas
on dry paint, dampen the sur-
face with a brush _
and then remove
the paint with
absorbent or blot-
ting paper.

3. Lift out the paint

with absorbent or
blotting paper and
repeat the procedure
until you obtain the
right tone.
 White

LIFTING OUT DRY PAINT With a brush

You can also lift out paint using only a brush. The procedure is 1. Load a clean brush

with clean water.

similar to the previous one, but here you do not use absorbent paper.
You simply wet the area, wait tor a tew seconds and remove the wet
paint. With this method it is best to use a synthetic-hair or bristle
CO
LU brush as they are tougher and more effective at removing die paint.
Z>
g
z Rub off tbf paint with
i .?.

o
LU
the brush. Repeat Steps 1 to 3
until \on have the desired tone.
r-
2. Dampen the area and wait
a few seconds until the
paint softens.

4. If you arc careful with your

brushwork, you can create shapes
with a clear outline.

NOTE
5. To achieve an even purer white
Of course, lifting out paint you can add an equal part of
when dry with only a brush is bleach to the water used for
removing the paint; however, it
more work than doing it with
will be more difficult to create
the help of absorbent paper. gradated transitions because the
Additionally, using paper also bleach will produce a hard edge.
Additionally, it is preferable to use
results in a purer white.
a synthetic-hair brush as bleach
can damage natural hair.

LIFTING OUT DRY PAINT Scraping with a blade

Removing paint by scraping inevitably involves spoiling the

surface of the paper, if only slightly. It is, however, an excellent
method for creating certain effects when the paint is dry. It also
allows you to paint over the scratched areas to alter the white.
You can use a knife, blade, or even a nib to scrape the surface and
remove the paint.

1.Begin scraping the surface of 2. Whites created with a blade

thepaper gently, until you find can be used for many purposes:
removing the
the right pressure for ofgrass, for
to create the effect
paint down to white without example, or suggest the structure
damaging the paper. of a window.

2. The result is similar to that

1. Tou can obtain an interesting obtained with sandpaper. Coarse-
effect by scraping the surface with grain paper yields the best results
the entire edge of a blade. with this method.

1. A knife can also be used to 2. If you are careful and patient,

gently remove small areas of the results will be satisfactory
paint to let the white of the and the correction will not
paper show through. be apparent.
 White

LIFTING OUT DRY PAINT Using sandpaper

By scraping the watercolor 1. On fine-grain paper, rub gently and control the degree

ofpressure you apply until yon obtain the desired effect.

paper gently with sandpaper,
you can remove the color when
dry or lighten the tone to paint
over it. This technique lets you
create effects such as the reflec-
tions of light on water. The tex-
ture of the paper is important

here because with coarse-grain

paper, the paint will remain in
the troughs and you will only
be able to remove from the it

ridges. The result also depends

on the type of sandpaper you are
using. Fine sandpaper will pro-
duce an even effect, whereas
coarser sandpaper will remove 2. Here, the paint has been removed from the

more paint and leave more paper ridges of the fine grain; the coarseness of the
sandpaper has produced small lines and gashes.
visible. Remember to control
the amount of pressure you
apply on the sandpaper; if you
rub too hard, you could dam-
age the paper and, therefore, the
painting.

•*. *''
' /.'V'.'v V.". y '

1. Coarse-grain paper is more resistant than fine-grain, 2. The result is a textured which can be used
effect,
so you can rub with a little more pressure. to suggest light reflecting on water, for example.

WHITE BY Gouache or Chinese white

OTHER TECHNIQUES

You can also use other tech-
niques to create whites and
highlights. In theory,
painting in watercolors, these
methods should only be used
a last resort. We are referring to
using gouache, white watercolor
1. Load the brush with a little
gouache or Chinese white.
when
NOTE
as
Large areas should not be
treated with white paint or
other opaque media as it

pencils, pastel, and any other would create too great a

material similar to watercolor to contrast with the transpar-
add small touches of white to ency of the watercolors and
the work once it is almost fin- unbalance the entire work
ished. We say "small touches"
because these other media are
opaque, and when you are
working with transparent wa- 2. Paint in the small
tercolor, the contrasting densi- white areas or highlights.

ties would be too noticeable and

3. It is best to use these
could spoil the overall balance additional techniques
ot the work if too much is used. in only small spots such as thest
 Tricks of the Trade

Tricks of the Trade Water is, of course, basic to

watercolor painting. The con-
dition of it, the substances added
Many professional watercolorists simply use paint, to it, the excess or lack of it — all
a couple of brushes, and a jar of water. This is
these are factors that affect the
because they have mastered this technique, work result of each brushstroke. This
characteristic can be used by the
quickly, and prefer to work in an orthodox manner.
artist to create effects.
Purists aside, a series of tricks exists that can be Adding a spoonful of sugar to the
Some artists are scrupulous
painting water will extend the
very interesting to the beginner because they provide about the purity of the water drying time.
they use as it relates to the con-
great potential for creating interesting textures. preference and the desired tonal
servation of their paintings; they
effect. (The same applies to the
prefer to work with distilled
palette; some artists clean theirs
water. To notice the difference
several times during a session
requires an excellent knowledge
whereas others can go years
of watercolors. It becomes more
without cleaning theirs.)
apparent over time because paint
USING UNTRADITIONAL Although most commercial
mixed with water that is free
TECHNIQUES watercolors already contain
from impurities lessens the risk
humectants, sometimes it is a
Besides enabling that the work will deteriorate.
good idea to dissolve about half
us to experiment Most painters use ordinary water
a teaspoonful of sugar in the
with the paint and from the faucet, but be aware
painting water. This delays the
create effects, that too much chlorine can rob
drying time and prevents hard
experimental paint of its color.
edges and irregularities in un-
techniques can Opinions vary regarding the
of moisture, and derpaintings, flat washes, and
often help us frequency for changing the
so on. water and the number of jars
gradations. A couple of lumps
to correct parts of sugar can also be added to
Nevertheless, a
of a watercolor needed for maintaining clean
do not fear glass of water for dampening the
we are not colors. Some artists dip their
surprises; paper, especially in the summer
satisfied
brushes into a single water con-
they are, or in heated places that will
with — say,
after all, char-
tainer both for loading and
cause the water to evaporate
that corner cleaning them; they believe this
acteristic of more quickly. Do bear in mind
that requires method allows all their colors
the medium that sugar can make the paint
more light, or to blend a little for an overall,
and part of its a little shiny.
the other that is
homogeneous tone in their
appeal. If, for example, you pro- work. Others have one water jar
too shiny and does not blend
duce a wash that is not entirely for loading and another for
into the overall effect of the
flat or use too much salt that
cleaning the brushes. Still others
work. The fact that some artists Other substances that can
results in excessive texture, do change the water constantly to
resort to these methods of paint- be added to the water are dis-
not despair and throw the work maintain the purity of the colors.
ing does not necessarily mean cussed on pages 34 and 35.
away; if you study your mistake
they have not mastered the A few even use separate rins-
carefully, you will probably see
ing containers for cool and for It is advisable to use one jar for
traditional technique of pure
that you have created a new, spe- warm colors. In any case, it is cleaning the brushes and another
watercolor, even though these for dampening them if you
cial effect that can be used to
were frowned upon for
tricks mostly a matter of personal want to keep the colors pure.
advantage in another painting.
many years by watercolor
In any case, the element of
purists.Nowadays, they are
surprise is also a good reason to
commonly used because when
approach these techniques
it comes to increasing the ex-
slowly; experiment before using
pressiveness of a work, any
any of these procedures in a
means is valid. So experiment
painting as there is always the
with all of these methods and do
risk of spoiling your work.
not hesitate to invent new ones.
Before you start to put these
you must take
ideas into practice
into account that most of them
produce uncontrollable effects
so the results are usually un-
predictable and will depend on
the type and quality of your ma-
terials as well as on the degree
 Tricks of the Trade

Lifting out color

If clean water is applied to a painted area that is almost dry, the

paint particles will separate and collect at the edges.

UJ
D
z
i
u

1. Dip the brush into 2. Let a drop of water fall on the 3. The color fades as the pigment spreads out and
clean water. painted area when the paint is the particles of color will collect around the edge
almost dry. of the wet spot forming a halo.

Retouching with water

Loading the brush with water

and working it over painted
'^weas where the paint is still
wet is a retouching technique
for manipulating the paint to
obtain a given texture or other
suggestive effect.

NOTE
Remember that when two
painted areas have the same
degree of moisture, the pig-

ment will tend to mix with the

1. Load a clean brush with clean 2. It is important to clean the 3. The pigment particles collect
water and work on the wet paint brush as you work and use clean around the edges of the dampest
water. You will not see the removing the color until you water. Otherwise the paint may parts, creating a more intense
final result until the paint has have obtained the desired mix with the water and the tone.

dried.
tone and shape. two areas would end up
having the same tone.

COMPLICATED EDGES A PENCIL LINE AS A BARRIER

To avoid the use of masks,

there are other methods to stop
the paint from running beyond
desired limits.
You can stop the paint from
spreading by keeping adjacent 1. Draw a line
areas dry as the paint will expand with a pencil.
into anywet paper surfaces.
Another way to stop the paint
from spreading over a wet area
is to mark the limits in pencil.
4. The pencil line acts like a barrier, preventing the pigment from
The graphite and the pressure spreading. Here, the ends of the painted red stripe have spread out
applied when drawing
NOTE as they normally would.
the line
alters the state of the fibers and Bear in mind that if the area

a small barrier to be painted is too damp, the

is created that
excess water can cross the
stops the paint from spreading
graphite barrier carrying the
across it.
pigment along with it.
 fm Tricks t>t the Trade

COMPLICATED EDGES Outlining the edge

When you arc painting large areas and want to avoid painting
over others you have already completed, you can use the
following method.

LU

O
z
I
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LU

1. Once you have painted the 2. Then you can work without worrying about painting 3. Ton have succeeded if
shape you wish to protect, outline over that certain shape; be quick, however, because if the your background wash is
the area with the background thin outline were to dry before you were done, hard edges without hard edges as the
color using a small brush. would appear when painting with the thicker brush. one illustrated here.

COMPLICATED EDGES Painting upside down

If you are working with a tilted board, when laying a wash on 2. Even if the paint runs down 3. The paint has run down to the
the paper it does not matter as edge of the paper. This works in
the upper part of the paper the paint may trickle down and muddy there is nothing painted in the artist's favor as the area over
the lower half. this lower half. the horizon has a lighter tone and
the sky itself takes on a stronger
tone due to the accumulation
of pigment. To finish, he simply
absorbs any excess water gently,
with the brush.

1. In this example, the artist paint

ed the land before the sky.

So he turns the board around
and works first on the area
touching the painted section,
that is, the horizon.

COMPLICATED EDGES Straight lines

To draw a straight line of 1. We recommend holding the ruler 2.Tou can paint over the line
at a slight angle to the paper. again freehand to make it
color, you can use a ruler or any appear less rigid.
long, straight object. If your
hand is not very steady we rec-
ommend you tilt the ruler at an
angle so that the edge sening as
NOTE
a drawing guide is lifted away If you do not want to hold
from the paper; otherwise paint the ruler at an angle, be sure

may seep between the ruler and to keep the hairs of the brush

the paper and create a smudge from touching it. In the event

when removing the ruler. the paint comes in contact

with the edge of the ruler, try
You can make the line appear
not to slide the ruler over the
by painting over it
less rigid
paper because it would then
mind
again freehand, but bear in
smear the paint.
that the tone will probably
become stronger.
 Tricks of the Trade

O
_i
COMPLICATED EDGES Softening edges with a brush o
o
DC
UJ
After the paint dries, edges
that are too sharply defined can
%
be softened with a brush. This
technique is handy for blending
CO
the tones when continuing later
with a painting that had been set q
aside half-finished.
i
o
1. Wet a clean brush in
clean water.

2. Gently rub the edges to soften

the paint and reduce the contrast
between the colors.

COMPLICATED EDGES Softening edges with a cotton swab

Complicated hard edges can

2.Gently rub the edge to
also be softened using some- remove part of the paint.
NOTE
thing as simple as a cotton swab.
As the illustration shows,
if you are not careful with
1. Wet the cotton swab in
the cotton swab, you could
clean water.
smudge unpainted parts of
the paper. If you are going to
paint over such areas right
away there is no problem; if

not, make sure not to stray

over the edge with the swab.
This can also happen when
using a brush.

GUM ARABIC Intensifying colors

As it is an ingredient of water- Gum arabic can put back

color paint, we have already dis- some of the sparkle in an area
cussed gum arabic on page 34. dulled by too many glazes. Just
This substance can be very apply a fine layer of gum over
useful when doing detailed the chosen spot.
work and laying paint in small
brushstrokes because it prevents
7. Dip the brush into a
the colors from mixing together; little gum arabic and apply
it directly over the dry paint.
it also intensifies them.

3. little gum arabic

Adding a to 2.As you can see in the photo-
thewater will lend body to the graph, the right half of each
paint and make it more fluid color strip has been treated with
and easier to use and control, gum arabic and is slightly
especially at the edges. more vivid and glossy.

NOTE
In the gum arabic mixture used for intensifying the color, the pro-

portion of water must be far greater. Take into account that the
larger the proportion of gum arabic, the shinier the results. You need
to experiment to obtain the desired effects. Dissolving a few drops
of gum arabic in 1 pint (500 ml) of water will produce almost
unnoticeable effects, so calculate the amount carefully.
 Tricks of the Trade
K
5
_i
Q GUM ARABIC Defined brushstrokes
Q
K
LU
To keep the brushstrokes sharp and make them more
I consistent, you can use gum arabic to stop the pigment from
spreading.

LU
3
g
z
X
This example was painted without
adding gum arabic. Compare the
previous example. The brushstrokes
1. Dip the brush into aunt arabic. 2. Next, dip the gum-loaded 3.Paint several lines with different are not as sharp and well defined,
You can dilute it slightly with brush into the paint, from either colors.Note that brushstrokes do not the pigment spreads and the colors
water if you want. the pan or the palette. blend together nor do the colors. mix together creating smudges.

GUM ARABIC Body and consistency

When it is applied directly to the color, gum arabic thickens

the paint without making it less transparent. Additionally, lines take NOTE
on more volume and brushmarks are more apparent. This effect Undissolved gum arabic
enables the artists to suggest textures. may cause the paint to crack
when dry.

4. By
painting
over the brush-
stroke youcan remove
some brushmarks. Here,
the gum has caused the paint to
3. Paint as you normally accumulate in certain areas and
1. Dip the brush into 2. Now load it with paint from would. Observe how the hairs spread out in others yielding an
gum arabic. your palette. make a visible mark in the effect that combines both intense
brushstroke. and weak tones.

Textures

A mixture of soap and paint produces effects similar to those 3. Apply the paint by rubbing the paper
of gum arabic; soap lends body and consistency to the paint, though gently with the brush in a circle. This
produces bubbles of varying sizes that
not luster. As the paint becomes less liquid, the brushmarks remain
/(M
when dry create interesting,
\isible so thev can be used to imitate textures. though unpredictable, ringlike
effects. Liquid soap is not recom-
mended because it makes excessive

1. Load up A? suds, but you may want precisely

that for a certain result. The color
the brush with will collect where there is most
paint from pan foam. The interesting patterns
or palette. obtained with this technique do
2. Next, take up a not become apparent until the
little soap from a bar. paint dries.

OPAQUE COLOR Effects

Opaque white gouache or of the colors, remove excess paint,

Chinese white are paints that are or soften a color.
also diluted in water but lack the The proportions of opaque
fresh appearance of watercolor. medium to use will depend on
Due to the binders that are added the desired effect.
to them, they are more dense and
1. Dip the brush into the paint.
become opaque when dry. An
opaque color can therefore be ob- NOTE 2. Add a little white gouache
to the brush.
tained by mixing one of these Remember that excessive
paints with a watercolor. This use of this technique can des- 3. Paint and blend the
technique can be used to obtain troy the inherent transparency colors on the paper. The density
effects such as mist in landscapes of watercolor paint and spoil of the gouache enables you to
paint over an already painted
or the texture of velvet. It can also the colors. area without the background color
be used to reduce the luminosity affecting the superimposed color.
 Tricks of the Trade
BE
o
_l
Using turpentine as resist o
Q
CL
Wood turpentine and pure gum spirits of turpentine contain oils
that repel water. These solvents can produce interesting effects when
I
combined with watercolor paint. You can brush them on the paper
z
before starting to paint. After the paper has dried and you paint
CO
on it, the turpentine resists the paint, which takes on a marbled LU
appearance.
D
g
1. Damfen the brush with 2. Paint the area you wish to z
turpentine. texturize. X
u

3. There is no need to wait for the turpentine to dry before you start
painting. Note how the oil from the solvent repels water and causes the
paint to accumulate in droplets on the area you have treated. It also
prevents the pigment from spreading.

Opening up colors

Another way of experimenting with both varieties of turpen- 2. Dip the brush in turpentine 4. To get the full effect, you
must wait a while because the
tineis to apply them to a painted surface. They can be used to
turpentine will continue to work
suggest textures like that of wood or of a rough wall or to « 3. Apply a brushstroke on the on the patch of color after you
produce sweeps of color. These areas can then be painted \ wet paint. The turpen-
tine opens up the color
remove the brush.

over easily.
by separating the paint.

NOTE
It is advisable to use an old
brush or one with synthetic
hairs when applying turpen-
tine solvents because they
could damage natural hair
brushes. Never leave a brush
immersed in these substances
for hours as the hairs would
be destroyed entirely. I. Paint the area you want

Different textures

Salt is used in watercolor painting to achieve textures similar to

the four examples shown here. More complex textures can be
created by repeating the process twice.

If a few grains of salt are
sprinkled on top of the wet paint
they absorb it as it dries creating
intriguing shapes that suggest
snowflakes. The result will vary
depending on the amount of salt
you apply and the proximity of
the salt grains.
Moisture also plays an important
part. The more moist the paint,
the larger will be the patches
produced by each gram. This
example was created on a
very wet surface.
A large amount of salt will
produce effects that imitate the
texture of a porous rock or of
certain types of vegetation.
In this example we have used a lot
of salt on a fairly dry surface; most
of the salt remains on the surface.
Removing it is only a matter of
rubbing the grains offgently with
a finger. For those cases where you
would want to keep the grainy
you can apply gum arabic
texture,
over the salt.
 Tricks of the Trade
DC
O
_j
o SPATTERING SplashejS OF COLOR
u
DC
LU
Results of spattering depend
on several factors: the consis- NOTE
I
tency of the pamt, the distance In spattering paint, bear in mind that you
of brush from paper at the time cannot fully control the size of the drops
00
ofsplashing die paint, the tilt of that fall on the paper; this factor will largely
3 depend on the thickness of the brush.
O the paper, the steadiness of the
artist's hand, and the presence
X or absence of moisture in the
u
paper. This technique can be
very useful for creating floral
effects and suggesting the tex-
To achieve this effect, simply tap the hand
ture of a tree, a pebbled ground,
holding the brush. Here, these small splashes
a porous rock, or a surface cor- have been used to suggest the explosive force
roded bv rust. of a small volcano and the debris it spews up.

LARGE SPATTERS Mouth-blowing method

The unpredictable technique 2. You can 3. Through a straw, blow a puff of air on top of the
of spattering the paint can give combine different paint to spread it out in all directions. The differently
colors, but colored droplets will blend together. You can blow
rise to spontaneous shapes that plan how to without using a straw, but a straw does help you to
are very suggestive. Here, how- distribute them control how the paint spreads. These blots of color
on the paper. can be used to suggest marine vegetation
ever, is a blowing method that
or a rugged landscape.
allows you a certain degree of
control over the effects achieved.

1. Squeeze paint

from the brush

onto the paper
until you have
a drop of the
NOTE
desired size. It is essential to wait for
one tone to dry before apply-
ing another if you do not want
them to mix. The blotting
effect can also be obtained
with a hair dryer.

LARGE SPATTERS Hair dryer method

Many artists use a hair dryer,

or even a butane lighter, to
speed up the drying process of
certain areas or the entire paint-
ing. A hair dryer can also be 1. Paint a patch offluid color
used, however, to blow the paint so the paint will run easily
over the paper.
over the paper.

2. Apply the
stream of air in
the direction you want
the color to spatter. This illus-
tration shows lighter tones where the paint has
dried sooner as these areas were closer to the
NOTE dryer. You can also see irregular Directing the dryer

\
3.

\
You need to control the lines within the painted patch that toward a drop of paint
have resulted from accumula- causes it to run over
direction and the force of the
tions of pigment as the paint the paper.
hot air from a blow dryer, moved with the force of the
because, if you overdo it, the airstream.

paint will spread out in

unwanted directions. 4. Here, the drops that collected in the upper part have split into two,
creating ftvo thin lines. This method can be used for painting a sky,
a surface of water, or the damp sand of a beach.
 '

Tricks of the 1 r.ulc

SPATTERING With a toothbrush

Spattering minute tlecks of 1. Touwill need to prepare a stencil to mask any areas 2. Load the toothbrush with
you want to protect from the paint. Here, a white paint, either by dipping it
paint on die paper can be an aid
stencil covers a small area that will retain the into the [mint itself or by
in creating an infinite number of original color. applying the paint with
textural effects. This is also used another brush. The artist
in the photograph has
to apply a darker color to areas method
chosen the latter
that appear radier thin so as to because it enable* the
of contrast. control of the amount of
create the sensation
paint used.
If, on die other hand, the area is

too dark, you can balance it by

applying a lighter color to unify
the tones. This method consists
of applying paint to a tooth-
brush and then flicking the hairs
with your finger, a knife, or any
other object. A comb can be
used in the same way. This will
deliver countless tiny droplets of
paint to the surface of die paper.
Sprays can also be used for the
same purpose.

NOTE
Flecking is unpredictable
and can result in unwanted
blobs of paint. To succeed,
use paint with a slightly thick

consistency, though it should

not be so thick that it sticks to
the brush. Of course, you will

need to practice first on a

piece of scrap paper to avoid
the risk of ruining your work. 3. Use a knife or any other suitable object to flick 4. Apart from the porous texture we have obtained,
the hairs on the brush. you can see the difference in tone between the
spattered area and the spot protected by the stencil.

POINTILLISM Color impressions

The technique of painting

small dots with the tip of the
brush is called pointillism and
was developed by Georges
Seurat. Based on the Impres- *
^ V
:

s
/afc*
&rfifM»L
: "* **'**'

]*&)lP*it&&j?
'

sionist theory, it has been used

>'•
^iSSL^
to produce effects unlike diose tf^B
of any other technique. If you ' •"Jsral
* *' •

closely examine any advertis-

ing billboard, or the illustrations *» "
1*
in this book, you will realize that

images are printed following the

same principle underlying this
1. Outline the form working with 2. Next, apply the intermediate 3. Finish with the darker tones
technique: The colors come the lighter tones and, at the same tones. and paint more dots in the areas
together in the eye of the viewer, time, assessing the general tonal that are still too light.
not on the paper itself. As with range of the object.

traditional watercolor painting,

in pointillism you work from that requires patience, a great NOTE
light to dark, beginning with the capacity for observation, and a Results using the pointillist technique depend on the size of the
lightest tones and then adding keen sense of color., dots and the distance between them. When painting in this style,

the darker ones. It is a method you must remember that the color of the paper is an additional color.
 a

Tricks of the Trade

O
_i
o TRANSFERS Transferring textures
u
BE
Transfers are a simple method die pattern of its texture on the
of creating different textures. paper. Almost any object NOTE
This is done by applying paint can create interesting In this example, the paint is

to a highly textured object — and surprising results not very dilute. Paint thickness
IXI piece of cloth or the leaf of a using this simple should be appropriate for the
D example —and using texture you want to transfer
a tree, for technique.
z this painted object to imprint and for the tone and intensity
i you want to achieve.
CJ
LU

1. First you apply paint, prefer-

ably thick patnt, to the surface
to be transferred. Here we have
used a piece of burlap.
2. Place the textured object on the paper, painted side down, and press
down gently but firmly. Be sure not to move the object or you will
smudge the paint and the image will be blurred. 3. Remove the textured object.

\9+

is •Bar-1 <p

TRANSFERS Transferring color

Transfers can also be used to

carr\ the imprint
r
of a wet, freshly

painted subject from one surface

to another.

1, Paint the desired shape using

fairly thick paint. You can dilute

the paint a little more if the
receiving surface
enough and
surface
is absorbent
the size on the
is not too thick. 68\>^H 2. Place the other paper over the painted area and
press down with both hands.

#% # NOTE
When not enough pressure
or paint has been used or
when the surface of the paper

OoO
3. Separate the two

f% pieces of paper. In
the illustration, the
designs have not
transferred completely
is too hard, the forms trans-
ferred by this
be perfect.
method will not

because too little

pressure was used.
 Tricks of the Trade

TRANSFERS Distorting the image

As with textures, moving the

paper that contains the image
during the transfer will distort
die form. Some artists move the
CO
paper deliberately in order to LU

obtain smudged outlines and O

undefined forms. z
I
o
LU
r-

2. Place the receiving paper over

the image to be transferred. Press
down. Hold down the lower piece
of paper and slightly shift the
upper piece of paper.

3. Tin- illustrationsshow that the

paint has shifted on both pieces
of paper, distorting the original
image. Unlike the previous
example, this design has been
entirely transferred because
sufficient pressure was applied
all over the paper.

DRY BRUSH Lacelike glazes

Painting with a brush that is

almost dry is anodier technique

for creating imitative texture,
such as the roughness of tree
bark, or graininess of stone. Dry
paint can be applied directly to
the paper, allowing the paper to
2. Gently rub the
"breathe," or to a painted area color on the surface
as a glaze that lets the underly- of the paper. As
you can see, paint
ing color show through, creat-
applied with a dry
ing a lacelike texture. brush remains on
the high ridges of
the surface so the
underlying color
is still visible.

DRY BRUSH Fanning out the hairs

Painting with a dry brush with its

tip squeezed between the fingers to splay

the hairs, will produce a series of parallel NOTE
lines that suggest hair or grass. Do not It is unwise to use a sable-
use too much paint or paint that is too hair brush for dry painting as it

thick because you will only get a solid is too soft and, besides dam-
patch of color. If you do not use enough, aging it, you would not obtain
the brush will leave no marks on the paper. the desired results. Use one
So experiment first in the margin or on with fairly tough bristles. The
;
A fan brush
loaded with a best results can be obtained
piece of blotting paper before you start.
little paint will using coarse-grain paper as
give you a similar the rough surface allows the
effect without dirtying
your fingers. If several color of the paper to show
tones are superimposed, through the paint.
the resulting texture
creates a sensation of depth
 Tricks of the Trade
DC
O
_l
o Ink and color
u
An enormous variety of ef- 2. After the pa tut 3. Extend the ink over the paper.
has dried, apply Do thiswith great care so that
fects can be obtained using the the ink. Heir, a the underlying watercolors do
washing technique. It is rather dropper comes in not run and slain unwanted
handy. areas. The photograph show) the
tn slow, tedious, and highly unpre-
ink breaking away from the areas
dictable yet the results are truly that contain color paint.
O and attractive.
interesting

x Washing consists of applying

u impermeable ink over painted
paper and then washing it off
under a faucet. The ink will ad-
here to the unpainted part of the
paper and rinse off the painted
areas. It is important you use 1. Paint the colored designs on
the paper. Use fairly thick paint
good quality paper, preferably
because it will dissolve in the
coarse-grain, that can resist water and some of it will be lost.

In addition, ink will be less likely

being washed under the faucet.
to penetrate a layer of thick paint
Make several experiments before To prevent paint from being
lost, you can add oxgall, which
using this technique in your
increases the paint's adherence.
work. Remember that the inked Even so, when the paper is washed
NOTE
part of the paper cannot be the colors always fade slightly. Remember that when the

altered later. If you are in a hurry, ink is washed off, the water-

you can use a hair dryer to dry colors will lose intensity. 5. Allow the paper to dry, but take
into account that when wet paper
both the paint and the ink.
dries it can curl if not stretched.

4. When the ink is

dry, wet the paper

under the faucet,
preferably with
warm or hot
water. Ton can
also rub gently
with a sponge
or your fingers
at the same time,
but take care not
to rub away
the watercolors.

PAINTING WITH Blotting paper

There are many kinds of 2. Then, press it on

the paper to imprint
everyday objects that can be
the image.
used to apply paint to paper.
There are as many such items
as the artist can imagine. Some
are particularly suited to paint-
ing backgrounds or imprinting
designs.
A piece of blotting paper can
be usedas a stamp for creating
symmetrical forms such as a
group of houses or the move-
ment of a kite.

1. Shape the tip of the blotting

paper and dip it into the
liquid paint.
 Tricks of the Trade

Handy painting instruments

can also be improvised from a
piece ofwatercolor paper or
cardboard with which you can
easily paint straight lines that
could represent a fence or an
area paved with stone.

1. Dtp the edge of the applicator

into the paint.
u>
2. Paint lines oh the paper with
the applicator
NOTE
Remember that moisture
softens paper. If a single piece

By experimenting with the same of it is used repeatedly to apply

piece of cardboard you can create paint, it will probably lose its
many designs. On the left, one shape; a makeshift paper appli-
comer of the applicator was kept
against the paper and the free
cator, therefore, works best
edge was pivoted and brought when painting small areas. For
into contact with the paper at more extensive work you will
intervals to draw the lines in
need to prepare several differ-
the first half of the arc. For the
second half the entire edge of ent paper applicators before
the cardboard was kept against starting.
the paper as it was rotated.

PAINTING WITH A POTATO

Something as common
potato can provide you with
an endless number of designs.
Simply carve the potato into
different shapes and use it as a
stamp.
as a
2. Press the
painted side of the potato
down on the paper. Here, several
imprints were made with varying
pressures and amounts of paint to
show that the same shape can yield
1. Cut a potato into halves.
different designs by modifying the procedure
Dip the cut side of one half
in the paint.

1. Carve a star in the other half

of the potato, then dip this design
into the paint.

2. Press it down onto

thepaper as before. Here
both forms have been
combined; the first
design was not completely
dry when the star was
imprinted on it.
 Tricks of the Trade

PAINTING WITH Your fingers

The artist's lingers can play 2. Press down on paper to leave your
the
fingerprints. This one way ofpainting
is
an important part when it
the pebbles in n stream or a

comes to painting. Whether it

bunch of grapes.

be DO stop a drop of paint from

running down the paper or to
actually do some painting, you
should not be afraid to use your
hands to create effects. Your fin-

gers are like any other instru-

ment and the mark they leave
will depend on the surface and
the movements vou make.

1. With your index finger, take a dab of paint

from the pan or the palette.

3. Why use only one finger? Dtp several fingers

into diluted paint at the same time.

4. After fingerprinting an area with color, try dragging your

paint-moistened fingers on the paper to draw a few lines.

NOTE
When using the finger-
painting technique, remember
that, unlike the bristles of a
brush, fingers do not absorb
paint; consequently, you will
have to continuously dip them
in the paint.

PAINTING WITH A TOOTHPICK

A toothpick and paint can be
3. Putin some
used to produce broken lines. NOTE precise shading
The same effect can be achieved A similar effect can be with the darker
tones.
with the handle of a brush obtained by shredding the tip

sharpened or cut to size on pur- of a toothpick and using it like

pose. This kind of line is ideal a rudimentary brush.

for imitating rough surfaces
such as the bark of a tree or
uneven ground.

1. Load the tip of a toothpick with

paint from the pan or the palette.
 Tricks of the Trade

PAINTING WITH A STRIP OF WOOD

Strips of wood can also pro- 1. Dip the strip of

wood in liquid water

duce useful effects. Patterns will

depend on the size of the

and how roughly it is
Prepare a sufficient
paint if you are
amount of
going to cover a
strip

cut.
color In this case, the
edge of the wood has
been cleanly cut with
a knife. ^
large area because wood is

porous and it will absorb more <0<r*

paint than it will release. Con-
sequently, you
have to dip

»
will

the wood strip

in the color
repeatedly.

NOTE
With a strip of wood as a
tool, you can apply any kind of 2. Experiment with as many different marks as you can
watercolor paint, not only the possibly create. With a corner, you can paint thin lines;
with the entire edge, thick, broken stripes. Tou can even
liquid type.
recreate the textural effect of a dry brush by rubbing the
with the flat side of the strip after lightly loading it with

1. Now try painting with a strip

of wood that has a rough edge.

Again, moisten it with liquid
paint.

2. Experiment with the amount of

paint to create different effects. In
the illustration, thesemarks are
more irregular in width.

PAINTING WITH Cotton swabs

A cotton swab can be used in 1. Load the cotton tip

with paint.
the same way as a brush or a
thick felt-tip pen. It can also be
MORE . . .

employed for making correc-

tions or for absorbing excess Cotton swabs have many
paint. Always keep some swabs uses in watercolor painting.
handy as they are an excellent See Whites, page 68.
aid in creating certain effects.

2. Draw the desired lines.

NOTE
Cotton swabs absorb more
paint than they release. Do
not expect them to function
as brushes. You should also
remember that the cotton tip
can easily lose its shape when
you press down on it.
 Tricks of the Trade

O
—i
O PAINTING WITH A ROM K
u
I

DC

Rollers arc a tool tor coloring /. Load a roller with 2. Run it over the paper surface, Ifyou apph
liquid paint. adequate and constant pressure, you will oliitun
backgrounds, but painting a
mi effect similar to the fust hand oj n it olor
i <

stripe of color is also possible tbown below. The second exampL is the result
.

CO
with this instrument. As always, of using too little pressure.
results vary according to the
amount of paint and the pres-
sure that are used. Though less

versatile than a brush, a roller

can be used to paint an entire-

work in a large format.

A roller overloaded with

paint has produced
this evocative trail
of blue tones.

NOTE
Rollers absorb a lot of paint
and release their load easily
with little pressure, so be
careful not to flood the paper
with paint by bearing down
too hard on the roller.

This design has been created with the

rollerloaded with as little paint as in
the photograph above.

PAINTING WITH A COMB

A comb is another everyday object that enables an artist to
create effects. The teeth of the comb leave regular marks in the 1. Cover an area with
thick paint.
paint that can imitate the texture of hair, grass, or fabric.

2. Run the comb over the painted

surface in one direction.
NOTE
By thickening the paint
with gum arabic, you can
achieve a certain degree of
high relief with the use of the
comb. If the paint is not suffi-
ciently thick, however, the lines

the comb opens up in the

paint will later reclose. To suc-
ceed, remove some of the
paint or wait until the paint
dries a little. A similar line pat-
tern can be made using a fork.
 Tricks of the Trade W!

PAINTING WITH A TOOTHBRUSH

A toothbrush can also be 2. In this photograph, the serrated
bristles of the brush made these
used to suggest the texture of irregular marks.
vegetation or hair and the force
of the wind, or to create a sen-
sation of speed. 3
1. Load the
a
toothbrush with
diluted paint.

A toothbrush is easy to manipulate and Light pressure on the toothbrush leaves a trail of parallel lines from the
allows you to paint in all directions. pointed bristles, whereas more pressure produces a patch of color.

PAINTING WITH A KNIFE

Surprising though it may

seem, a small knife can also be
used to paint. Scratching a pat-
tern in the uppermost layer of
the paper with the sharp point
of a knife will allow the paint
to penetrate the paper to the
core and intensify die tone. The
cutting can be done both before
and after painting.
2. Scratch the lines of your design while the paint
damp. TJje pattern will begin to show
is still

right away.

1. Scratch your design on the

paper before painting.

NOTE
Using a knife for painting
requires a steady and delicate
hand as there is a risk of ruin-
ing the paper. The aim is
merely to scratch it. The tone

of the scratched lines will

2. Apply paint over the cuts and
gradually deepen within a few the marks will appear
minutes. immediately as the
paint penetrates them.
 The Sponge

o
—1
o To serve these various pur
u
DC

1
The Sponge A sponge has practically the
I*
>scs, Ik rwever,
your sponges are cleaned
fully as your brushes!
it is essential that

as cue

same utility as a brush. It can be

With its great capacity for absorbing and releasing used tor applying washes, paint
paint, the sponge is an essential accessory in ing designs, suggesting textures, MORE . . .

creating effects, dampening the

D watercolor painting because it serves many functions. Sponges can replace brushes
O paper, absorbing water, correct-
or absorbent paper in most of
z It can be used for dampening the paper and is also ing, and removing paint.
x the exercises under "Whites."
u
LU
practical for lifting out paint and for removing excess It can also replace a cloth for
See page 67.
drying the brush and can even
moisture.
be used instead of blotting
Natural sponges are preferable to synthetic ones as paper, if necessary.

they are softer, more absorbent Any kind of sponge can be used
for watercolor painting, although
and dieir irregular surface
we do recommend natural sponges
as they are more flexible and
produces more interesting
produce more interesting effects.
textures and patterns. Select a size for the sponge that
will match the job you plan for it.
For painting, it is best In any case, it is a good idea to
have several different ones. Tiny
to have several sponges sponges for detailed work can be
cut from a larger one.
of different sizes and
roughness.

I
PAINTING LARGE AREAS Applying a wash with a sponge

A sponge is more practical 1. Dip

the sponge into diluted paint. This instrument
you control the amount of paint it absorbs. By
lets
than a brush when it comes to
squeezing it you can unload any excess or even most
painting large surfaces because of the paint. The sponge should be fairly damp but
it can hold more paint. Addi- not soaking wet.

sponge can cover

tionally, a large

the paper with paint in just a few*

strokes.
To apply a wash with a
sponge, first prepare sufficiently
diluted paint in a container.
2. Lay your wash on the paper, working from top to
Remember that it is better to bottom the same as you would with a brush. The
prepare more paint than is nec- amount of paint the sponge dispenses will depend
on the degree of pressure you apply. Use only
essary rather than less. Stopping
gentle pressure to avoid creating puddles.
to prepare more paint would in-

terfere with the uniformity of

the wash because the interrup-
tionwould give the paint time
to dry on the paper and cause
hard edges when you resumed
painting. If, in addition, the di-
luted paint was a mixture of NOTE
colors, could be difficult to
it
The only trouble with apply-
obtain exactly the same tone
ing washes with a sponge is
again. You can apply this wash
that it stains your hands. The
directly or wet the paper first
advantage is that you can
with the same sponge. work much more quickly. On
Always wash the sponge thor- page 42 we describe how to
oughly with soap after each use apply a wash with a brush.
to remove any traces of color that
could leave stains on the paper.
 The Sponge

Suggesting forms and textures

Given their shape, sponges are not suited for outlining forms Dabbing the paint on gently
or doing detailed work. They are, however, excellent for creating proauea a mottled
effect that can be
textures and can be used to represent different kinds ofvegetation. useful. The
,

You can paint an entire work widi diem or use diem only for adding result} will depend
mi the thickness CO
touches of color or suggesting forms. LU
of the paint, the
turface of the sponge, o
u >id the Jut nun
Each type of sponge produces a different effect. Natural sponges you use.Here, you can -L
have an irregular texture, so look for the side or edge that see differences between the u
best suits your purpose. marks painted on predampaud
parts of the paper and thou
that were painted on
dry areas.

Ton can combine

several colors. If
you want the
sponge to mark the
paper with its
particular texture,
however, you need
to wait for the first
color to dry or the
paints will blend.
Ton can dilute the
paints in containers
or wet the sponge
and rub it on the
undiluted paint from
a pan or a palette.

Ton can create a vast number of

combining different
effects by
textures.

This pattern
was obtained
by using a
rolled-up sponge.
 Line Drawing

Line Drawing
Drawing not only is the fundamental part of a

<X) painting that arranges the forms on the paper but

also has its own, incomparable expressive strength
and value. That is why so many artists employ it in
I
u their works either as the major element or as a way of
complementing the colors. A simple line can appear
out of place and ruin an entire work. That same sim-
plicity, however, can, on other occasions, cause the
line to be forceful and full of expression. The artist

uses lines to define the basic structure of the subject,

outlining the forms or suggesting them. An artist

who combines the technique of watercolor with

drawing can make use of the best each medium offers.
You can use anything from a thick felt-tip pen to a fine nib for
drawing lines, not forgetting the pencil, of course.

you find the one that best suits colors because they actually want
MATERIALS TECHNIQUE
your work. the lines to merge, so they take
If you have decided on a reed advantage of the moisture in the
Lines are usually drawn using Drawing lines in ink freehand
or bamboo pen and cannot find paint.
India ink diluted with water or requires considerable mastery
anything suitable in the stores, Applied as a finishing detail,
colored inks, although any and fluency.
you can always make one your- a line may be used, for example,
medium can be used. Some It can be done before, during,
self. Before drawing with this to reinforce the steps up to a
artists use a felt-tip pen, diluted or after painting the colors on
pen, it is best to check the thick- house or of railings. On
a set
watercolor, or even a ballpoint the paper.
ness of the lines by testing with occasions, the line drawing is
pen. Most inks are impermeable; it
When the drawing is done
ink on a piece of paper. When ink not a complement to the paint-
that is, if they are applied before first, the aim is to either set
applied to a dry surface the lines
ing but the main element of
the paint, they remain unaltered. is
down small shadow areas or out-
the work. Once the paint is dry,
There are others that fade with are broken and appear darker. line shapes. Lines that are drawn
A fountain pen that uses India you can draw over it with any
the moisture, the outlines pal- before laying down the water-
kind of ink without worrying
ing as they are painted. ink can also be used for drawing colors always run the risk of fad-
about the ink diffusing.
For apphing ink you can use lines and is particularly useful ing with the moisture, thereby
steel nibs, reed, or bamboo pens, for straight lines. losing their sharpness. Even
which improve with use. Both pens and ballpoint
Felt-tip more risky is todraw the lines in
instruments come in different pens are handy because you do watercolor as too much water
types and the basic difference not have to lift them from the could make them merge with
among them is the thickness of paper to refill them. They can the paint and disappear entirely.
the lines they draw. They are draw continuous lines and are Artists sometimes develop the
inexpensive, so try several until easv to handle. lines at the same time as the

AFTER PAINTING Drawing over the painting

A way to integrate the line This challenging exercise

entails reproducing a
drawing with the watercolor detail of the work
painting is to add it after the Regency House in
I item. Tunbndge Wells, by
paint dries on the paper.
George W. Hooper.
With this method the artist
need only suggest the forms
with the tones because the de- 1. Begin by painting
the background and
finition of the outlines will be applying lighter colored
done later with pen and ink. washes to the house.
 —
Line Drawing

2. Lay the last washes of color on

the bouse, develop the bricks of the
chimney, and reserve the white
area of the window frame. As
illustrated here, your brnshwork
must be flowing and need not be
precise, wit will develop the details
later using ink and nib.

3.Begin by defining the

chimney in ink, let your
lines suggest the two sides.

4. Keep fleshing out the details.

Here, a few trial lines have been
drawn on the roof and others have
strengthened the structure of the
window frame and the balcony.
The tone of the window panes
has also been built up a little.

5. Complete detailing the

lines on the roof and the
balcony on the right.

BEFORE PAINTING Painting over the drawing

To use a drawing as the basic

component or the work, you can
reverse the previous process
that is, draw first and paint later.

Nevertheless, it is important to
be aware that it is a matter of
painting over die drawing, not
coloring the oudined spaces as
this would give a wooden rigid- For this exercise, the model is the 1. Make a preliminary drawing

ity to the work. image of the boy sitting on of the model in pencil and then
the cart. develop it using ink and nib.

2.Draw only those lines you consider necessary, ignore any details
you feel are superfluous. Put in some of the shadows. Here several
shadows are suggested, such as those
cast by the cart on the ground.

3. Start painting the background

and the ground without
concerning yourself with the
figure for the moment.

4. Now, paint the figure of the boy,

developing the tones of his
skin and bathing trunks. At
the same time, set down the
preliminary tones of the cart.

5. Add the necessary finishing dark tones to finalize the shadows on tin-

body of the boy the wrinkles on the bathing trunks; also, balance
and
the overall tones of the cart. In the illustration, you can see that
part of the cast shadow under the cart has been developed with
ink and the other with paint, obtaining fivo different intensities.
 Shadows

A shadow almost always it is best lor the beginner to leavt

contains a slight tone of the the shailows to the i:\k\ as they
color of the object that produces are the darkest parts of a paint
it, although it is not always ing ^\nd il they are introduceid
necessarily a darker tone of the too early in the process, the
Shadows are the dark images that bodies east onto
same color. A shadow may have overall tonal balance ol the work
a surface, and they are an effect of light. Shadows gray tones or cool or warm ones, could be spoiled.
3 arc simply a lack or a lessening of the light that it may be
bluish or violet and Shadows can be used to cre-
g c.\neven contain a tone com- ate strikingly different effects.
strikes a body. The direction and the color of a
i plementary to the color of the Darkened areas can serve to
u
LU
shadow depend on the body that casts it and the object that casts it. heighten the luminosity of those

color and the direction of the light received. There are several methods for parts ofthe subject on which the
painting shadows and all are light falls. Conversely, a dark-
valid.Whether you choose one ened area can itself serve as a
or another depends on your skill focus into which the viewer is
and preferences. impelled to peer to discover
To paint shadows in water- details that arc just barely
color, some artists resort to an discernablc.
CHARACTERISTICS TECHNIQUE underpainting, which is simply
a sketch of the future work (see
Subjects bathed in bright As with light, the artist uses
page 47). hi this sketch the artist
light will cast a dark or intense color to represent shadows. sets down the areas of shadow
shadow. The brighter the light There is no single color for
work and,
in the as watercolor
the darker are the shadows. painting shadows as their tone is a transparent medium, the
Under a powerful light source is dictated by the light and the
darker areas are still visible after
or the midday sun, the shadows color of the object that produces they are painted over.
cast by an object are darker than them. That is why using only Another way of painting small
those it would castunder either black to paint shadows makes shadows before you start paint- A discussion of shadows
the soft light of a small lamp or them appear unreal. In addition,
ing is to draw them in ink and necessarily involves light. You
themorning sun. Additionally, black tends to cancel out objects then paint over them. In this will find more information on
shadows follow the direction of rather than darken them. way, the darker areas will appear this subject in the chapter
an object
light. If light strikes Although almost all shadows well defined. If the paint is
entitled "Light" on page 96.
from the right the shadow will have some blue in them, when applied while the ink is still
be cast to the and several
left, the light is a warm color, the wet, the ink will diffuse and
light sources will, of course, shadows usually have cool hues. create a vague patch of color.
produce several shadows in And when the light is a cool Generally, however, shadows
In this watercolor you can see
the appropriate direction. With tone, the shadows usually have are painted at the same time as all the tones ranging from the
multiple light sources, shad- a warm component. the rest of the work. Even so, highlights, the lightest areas,

ows are usually soft and some- to the darkest shadows.

times hardly visible. It is thanks

to the interplay of light and
shadow in painting that a sen-
sation of volume and three
dimensionality can be created. area bathed in
light, true color
All objects produce two kinds
of the object
of shadows: those of their own
shaded areas where the light
does not strike them and the
shadow they cast on other ob-
jects. Every object that receives
highlight
light presents a range of values.
These vary from the most lu-
minous, where the light strikes
the object directly, to the dark-
est hues in the object's shaded
areas. There is an entire range of
intermediate tones between
these two extremes.

cast shadow
 SHADOWS Light without shadow

The light of a fluorescent

lamp or of a cloudy day spreads
out in all directions and cre-
ates weak and poorly defined
shadows that are hardly visi-
ble. Painting an object without
shadows is difficult as it is the
shadows that transmit the sen-
sation of volume; moreover,
an object that does not cast a
As you can see in the photograph 1. First, paint the background, 2. Next, paint the shoes and the
shadow on the ground will
this exercise using as a model, reserving the areas for the legs. remaining
is details of the pants.
appear to be Boating in space. the gray day in which the photo Then use a blue wash and dilute
was taken hardly produced any the paint accordingly to achieve the
shadows at all. different tonal values in the legs.

3. While the paint is still wet,

touch up tl/c wrinkles in the pants
and some details in the shoes.

NOTE 4. Last, add

the lines of the bricks
Shadows on an object usu- and small details, including
the
a small shadow that is hardly
ally contain some of the color
visible behind the first shoe Here, .

of the object, but in a darker the artist has succeeded in

tone Shadows cast by the grounding the shoes to the
floor with the merest hint of a
object also have a tinge of the
shadow, avoiding that floating
color of the object that creates sensation that is usual when the
them. shadows are completely missing
in this type of light.

SHADOWS Shadows at sunset

Light at the start and close of 1. Paint the background, reserving

warm color and pro- the figure in white; then, start
the day is a
painting the shadows in the
duces long shadows that have lightest color, the yellow that will
a cool tone. The light at sunrise suggest the material the statue
is made of and the color of the
and sunset is interesting as it
indirect light that bathes it.
usually badies objects widi warm
tones and, unexpectedly, pro-
duces shadows in cool or neutral
tones such as violet. For this exercise you will reproduce
a detail of the work by Sargent
Villa di Marlia, The Balustrade.

NOTE
Clouds act as a filter that

can change the intensity of

the shadows entirely as well

as the overall atmosphere of

the space, turning warm ten-
dencies into cool.

4. Darken parts of the back

2. Spread out the yellow to soften 3. Develop the darkest parts of the slightly and soften the shadows
the tone and add shadows inthe arm and leg. Be sure to reserve of the leg and arm to balance
blue, which, when
mixes with it the white for the areas that the tones. To finish, add the
the yellow, will acquire a subtle receive the light directly. vegetation with a few
violet tint. quick strokes.
 Shadows
IX

—i
o SHADOWS Sketching the shadows before BUmTNG
u
cc

One way ot painting shadows 1. After drawing your sketch in

pencil, use a bamboo pen and
is to sketch them before you India ink to set down the
actually start to paint. This can darkest shadows.
be done with watercolor paint
in
UJ itself, with ink, or with the
D pencil you used to make the
g
z preliminary drawing. The trans-
X parency of watercolors will
u
allow the sketch of the shadow s
to show through the subsequent
applications of paint.

TIk subject, here, is a beach at sunset.

2. Lay a wash of burnt sienna

for the background.
NOTE
If you use watercolor to
sketch the shadows first,

keep in mind that wetting

the paper excessively with
the additional washes could
cause the sketched lines to
3. Suggest the warm color of the diffuse as in the wet-on-wet
sky reflecting in the water and
technique.
reserve the area for the boats. In
the illustration, you can already
contrast building in the
see the
shadows created with the ink.

4. Add the
lower part of
the boats and
the reflections
in the water.

5.Finish your
work adding
some general
touches of detail
and painting
the upper part
of the boats.
 Shadows

SHADOWS Developing the shadows along with the form

Each artist has his or her own method for painting shadows; ]. Fust, apply some light washes to the background ami to
the darker parts oj the trunk
nevertheless, the best way of doing this task is to develop the
shadows at die same time as die painting itself. This allows you to
evaluate the tones and correct mistakes as vou construct the work.

For this exercise, you art going to use the twisted trunk of this olive tree
as a subject.

2. Diffuse and gradate the dark color of the first shadow. Lay a light
wash for the entire trunk and suggest the shadows of the tree. Partially
paint the shadows the tree easts on the ground. As here, reserve
the areas on the branches that will have foliage over them.

3. Continue building the tones to

suggest the texture of the trunk
and begin adding the foliage.

4. Continue painting the foliage

NOTE of the branches, the other part of
the gray cast shadow, and add a
As you cannot lighten tones few small shadows to the lower
in watercolor painting by part of the trunk.

superimposing glazes, do not

paint the shadows too dark
until the rest of the painting
is balanced. We recommend
gradually darkening the shad-
ows with washes as the other
tones of the work are built up.

This method makes timely cor-

rections possible and allows
intensifying the shadows with 5. Last, complete the shadows in
additional washes the work
if the lowerpart of the trunk and
calls for it.
paint the cast shadow on the rear
part using a diluted blue hue as
it needs to be lighter.
 —

small points where bright re great deal in paintings with .1

Elections, or highlights, occur. religious theme. By comparison,

The artist employs the reserv to create .1 sensation ol freshness
ing technique to maintain the mk\ purity, fiont lighting is used.
purity of the white paper that In this case the shadows are not
Light is what gives objects their volume and color.
will represent these highlights, visible .md there is no interplay
Everything you see depends on light. The color of which will be the lightest areas of contrasts. Lighting a figure
an object is also affected by the light that illuminates of die entire painting. from below creates an eerie,
It is impossible to discuss light mysterious effect. Backlighting
it. Light establishes the atmosphere of a work and the
I without mentioning its color an object or a figure can also
o sensations that this atmosphere, through its colors, and the shadows it produces. produce striking effects. The
will stimulate in a viewer. For example, who can recreate parts of die subject that are dense
the brightness of a sunny scene and solid will appear dark
The color of light can infuse a landscape with warm without warm colors and the perhaps even in silhouette. Light
or cool tones. The direction and intensity of the light contrast of dark and well-defined will glow softiy through diin or
shadows. The subdued light of translucent areas; and will
can make a subject appear mysterious, dramatic, or it

a cloud)- day, on the other hand, stream around the opaque

innocent. would best be represented by edges of die subject, sometimes
cool, bluish gray colors and the creating a halo or aura that
for the most illuminated areas complete absence or a mere hint focuses the viewer's attention as
TECHNIQUE
and the darker tones for the less of shadows. effectively as a spotlight.
illuminated ones.
Without light, there is only
As explained previously, die
the black of darkness; forms, THE DIRECTION OF LIGHT EXERCISES
color white does not exist in
colors, and the sensation of
watercolor paints, instead, the
space do not exist. Light, by its effect on colors hi the following exercises you
white of the paper is used. Never-
Before starting to paint, an and the direction from which will see how the impression
theless, remember that although
artist must study the light to it comes, can gain an important produced by the same object
an object may actually be white,
evaluate tones correcdy, to posi- psychological component. The can change depending on the
it will not generally appear to
tion the shadows properly, and light of a powerful spotlight, angle of the lighting. You will
have a purely white color, because
to observe the effect light has when placed overhead, produces construct an image step by step
all objects are affected by the
on the colors. color of the light striking them dark shadows that create con- and will experience how the

To capture both the brilliance and that of other surrounding trasts and can give the work dra- treatment of a subject changes
and dimness of light, the water- objects.The areas of maximum matic overtones. It is a type of in accordance with the lighting
colorist uses the lighter colors intensity, therefore, are usually lighting that has been used a used.

Front lighting

Frontal lighting casts shad-

ows behind the subject. The \ir-
tual absence of shadows when
this type of lighting is used
means that there is little tonal
contrast, so volume is created by
the color, not by the shadows.
This kind of lighting is, there-
empha-
fore, highly suitable for
sizing the color. The lack of
contrast also produces a psy-
chological sense of innocence.
Front lighting allows you to see
the forms just as they are, with-
The subject is illuminated from 1. Before starting to paint, 2. Color the outlined shape
out any type of distortion. This
the front. partially erase the pencil lines of with a wash in a medium
is why it is particularly suited the preliminary drawing. tone and reserve the highlight
to portrait painting and has been areas. Slightly deepen the tone
in the darkest areas. Use a
used throughout the history of
NOTE dark tone for the hair and
art to represent, for example, the try to suggest the texture with
As frontal lighting does not create dark shadows, avoid including win- brushstrokes; reserve the
purity of virgins.
them in the drawing. It is also advisable to erase any pencil lines hair 's highlights.
before you start to paint because you cannot conceal them later

with dark tones.

 —
Light
a:
O
_i
o
u
en
LU

I J9

3. Finish the hair giving the
highlights a yellow wast). Paint
the eyes and mouth, and outline
the forms with the small shadows
on the neck and stomach.
{
4. Continue developing the shadows with
washes that build up the underlying tone,
each time making the direction of the light
more evident.
5. Apply the last touches to the darkest tones
in the small shadows that suggest the volume
of the figure.With this procedure, the areas
that were reserved at the beginning are still
unchanged; the tones have been developed
from light to dark.

Side lighting

Light bathes the subject from The subject has been illuminated
one side, leaving the other side from the side using a fairly
powerful light that produces
in shadow. Side lighting suggests sharper contrasts with
volume through the shadows darker shadows.

it creates. Although it is not

commonly used in studio light-

ing, this type of light source is

frequendy found in daily life

for example, seated figures
bathed in the light of a table
lamp —so it is worth studying its 1. Apply a light-toned wash and
effects. Side lighting is very suit- reserve the whites for the
highlights on the stomach.
able for rendering the volume of
a subjectthrough die interplay
of light and shadow and for
experimenting with chiaroscuro. 4. To finish, apply a dark wash to the hair, using the yellow
background and irregular brushstrokes to indicate the
highlights. Paint the details of the face, eyes, nose, and
2. With a few darker washes build up the 3. Paint the shadows mouth and create the volume of the left check. With a light
tone to suggest the position, shape, and on the legs and add wash suggest the shape of the chest and define the little fingers
direction of the shadows on both the a yellow wash for with several dark lines. As a last step, paint the shadows the
body and face. the hair. doll casts on the surface to ground the figure.
 Light
CO
O
_l
O MYSTICISM Overhead lighting
u
Overhead lighting usually
produces strong contrasts that
distort the forms and features

CO
of a subject. This is why it is un-
suitable for portrait painting or
O for representing forms. It can
be used for painting distorted
X
u volumes or for creating certain
kinds of atmosphere. Overhead
lighting has been widely used
in religious paintings to impart
a sensation of spirituality and
divine influence.

In this case, the subject has 1. Paintthe shadows of the face and neck
been illuminated from above; using a dark wash, and reserve the
rather than giving a mystical highlight on the cheek.
aura to this nonreligious
theme, the lighting here
creates an effect similar to NOTE
that of the midday sun.
Overhead lighting and lighting from below are not
suitable for portraits because the shadows they cre-
ate distort the features of a subject. These types of
lighting create opposing atmospheres and sensations.

2. Lay a light-tone wash

in the area of the stomach
9MM9Hna*MMaM8£i*aEaaK and over the entire body.

3. Add the color of the

hair and begin to flesh
out the facial features. At
the same time, develop the
principal shaded areas of
the body with washes in
various tones.

Give the final touches to

4.
the hair and mouth.
Define the shadows on
the left arm to lend it
shape and volume. Finish
the feet and the cast shadow.
 Light

Lighting from below

As with an overhead source,

lightingfrom below produces
long, sharp shadows that distort
the features. Illuminating a sub-
jectfrom below can give it an
eerieand mysterious quality.
Therefore this type of lighting
has been used to represent Hell
and sinister, decadent atmos-
~ y+
pheres. On the other hand, this
type of lighting is similar to that
produced by a fire in a hearth or
on the ground and is also ideal
for working in chiaroscuro and
for conveying a sensation of
intimacy.

The subject has been illuminated
from below using a light that
and makes
creates sharp contrasts
the areas in shadow virtually
blend into the background.
1. Paint the top part of the hair using a dark tone
and reserving part of this area for the lighter tones.
Add a light wash for the overall tone of the body and
suggest the shadows on the face.

NOTE
The background has not been painted in this exer-
cise so you can easily see the pattern of the shad-
ows. Otherwise these shadows would blend into the
background, distorting the forms and increasing the
eerie effect produced by the image.

2. Develop the darker parts

of the body, reserving the
first wash for the areas
of light.

3.Apply a yellow wash to

^**&
:
thepart of the hair that
you reserved and develop
the dark tones of the legs.

*+

4. All that remains for you

to do are the details of the
hair, the eyes, and the small
mouth. Finally, outline the
arms, hands, fingers, and
legs; also add a small cast
shadow to avoid that
floating sensation produced
by a body that casts
no shadows.
 1 Atmosphere

KEYS TO PAINTING
THE ATMOSPHERE NOTE
Atmosphere The atmosphere is something
The atmosphere, laden with
moisture and dust particles,
real that can be perceived in the
always intervenes between
painting, atmosphere refers to the representation color <uk\ the definition of the
In forms. To
spectators and the scene or
ca of air. The atmosphere greatly affects how an object successfully paint
objects they are observing; it

the effect of the atmosphere on then, a reality that cannot

that comes between a viewer and
is,
is perceived; the air
O different objects, the following be ignored in painting
an object makes the latter lose definition as the dis- three key points must be con

U sidered. 2. Objects that recede into

tance between the two increases. For the same reason,
1. The foreground of the the backgound should turn a
such an object also loses color and contrast. When w ( >rk sh< mid contain the strong- grayish tone and gradually
observing objects situated nearby, or in the fore- est contrasts as this will create become a more neutral bluish
a sensation of proximity and, color. Contrasts should also be
ground, they appear perfecdy sharp and possess all
at the same time, make the other gradually softened as the objects
the tonal contrasts of light and shadow and all their planes appear more distant. To move to the back planes of die

color. As the observer moves away, the intervening obtain these contrasts the artist painting.
needs to experiment with the 3. In the background, the
atmosphere causes the objects to gradually lose their
values and the interplay of light objects' outlines should become
color and take on overall neutral tones, generally and shadow. Color contrast can indistinct as this is the true effect

grays and blues. The oudines become more hazy and be achieved by using the com-
plementary colors. In addition,
the forms barely have any contrast of tone or color.
the objects in the foreground
must have clearly defined out-
lines; a wet-on-dry approach is
ideal for this purpose.
of the atmosphere. The wet-on-
wet technique can aid you in
achieving this impression; if you
are working on dry paper, how-
ever, dilute the edges with the
brush.

GLAZES Representing the atmosphere by superimposing tones

Glazes are the main tech-

nique in watercolor painting;
consequently, using them to
create an atmospheric effect is

quite common among water-

colorists. By superimposing
glazes, the tones in a painting
deepen as they do in real life in

the eyes of an observer.

To achieve the best results
with glazes, it is essential that
the first layer of paint be dry
before you apply the next.
In painting this detail of the work by Winslow Homer, 1. Suggest the mountain in the background with a
Two Men in a Canoe (1895), you are going to create fairly diluted ochre glaze.
the atmosphere by superimposing increasingly intense
glazes.
4. Last, paint the closest trees. Here, note how the
3.Paint the vegetation on dry, artist, while superimposing layers, has also introduced
2. Next, lay a glaze to hint at the group of trees superimposing a color on the the reflections in the water using the same tone,
on the right. previous group of trees. but a little more diluted.
 Atmosphere
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5. Retouch the reflections, deepening the tones slightly to balance

the overall values.

6. To finish, complete the darker group of trees and their reflection in

the water Ton can see here how each layer is darker and more
contrasting than the previous one. The lines also become
more defined as they approach the observer.

CONTRASTS Painting the atmosphere with a single glaze

In this exercise, you are going

to paint a city's atmosphere,
which is usually denser than that
of die countryside or die seaside,

by covering the work with a

glaze. This will allow you to
differentiate the contrast bet-
ween one plane and another and
create an overall impression of
amiospherc. At die end, you will
need to retouch die foreground
to add emphasis to the forms
The atmosphere in cities is usually more visible due 1. As usual, start with a soft blue wash for the sky and
and the intensity of die colors. to the pollution. a cool blue tone for the most distant part.
Over this you apply a neutral gray wash to create
2. Add the foliage a second plane. In this way you have already
of the trees in the created a sense of atmosphere.
foreground.

3. Apply a light,
cream colored
glaze on dry.

4. Cover the entire

surface of the paper
with this glaze,
even the trees in the
foreground, to create
a definite sense
of atmosphere.

5. Next, retouch the

foliage to create
contrasts and define
the outlines.

6. Develop the foreground

until it results in a
clea rly defin ed plane
that heightens the
sensation ofdista u cc
between it and the other,
more distant planes.
 Given the endless variety of it may well become the easiest
conditions the sky can present, partof the work. Depending on
creating one in watercolors can the type of sky, you will have-
be easy or difficult. The com- to continually gradate the col
plexity of the task is related to ore, reserve whites, absorb paint
Watercolor is the ideal medium for reproducing the light and cloud cover that with paper or with a brush, lift

the soft transparency of the sky, the fluffy and exist at die time of painting it. out color, and so on. In short,

vaporous qualities of the clouds, the magical effect

A quick sketch will help you you must know all the secrets of
capture the shape of die clouds, watercolor painting as you will
of the beams of light between storm clouds, or the their position, and even the need to work quickly, without
moisture saturated atmosphere of a rainy morning. shadows they cast on the hesitation, and without pausing.
ground as they move. This is how you can capture the
Skies can be easy to paint, with only a simple wash
freshness of the atmosphere, the
if it is a clear sky, or rather complicated, if it is an sparkle of natural light, and the
TECHNIQUE
overcast sky through which the sun's rays filter. spontaneity of a cloud at a par-
ticular moment. Do not be dis-
Consequentiy, each type of sky requires a different The variable character of the couraged if your first attempts
approach. sky makes it essential to study are less than satisfactory. Practice
it carefully before starting to will increaseyour confidence
paint. In the watercolor tech- and your speed.
nique, as in all styles of painting,
observation is basic to die suc-
to be used in the painting be-
SKIES AND LIGHT
cause the landscape or seascape
cessful execution of a work.
Even a clear sky carries many CLEAR SKIES
takes on all the hues of the sky.
In watercolor paintings the different hues that cannot be
Accordingly, a sky at sunset will
sky usually takesup a large part appreciated at first sight. It
ine\itably imbue the natural set- Clear skies are the easiest to
of the paper. This makes them is especially useful to make
ting and all objects under this paint because a simple wash
into the main feature of land- sketches of the subject, noting is all

light with its range of orange takes to suggest a clear morn-

scapes and seascapes as they the position of the sun, the di- it

and violet hues, especially ob-

rection of the light, and the ing sky.
create the predominating at-
jects in the more distant planes.
colors and tones. For In any case, painting a cloud-
mosphere of the work and fickle

decide the tonality of the light.

A few hours beforehand, under and the sea,
subjects like the sky less sky in watercolor involves
a brilliant sun, the same land- important to summarize gradating as the intensity of the
Changes in weather direcdy it is
scape was full of life and its col- what you are going to paint. color varies near the horizon
affect the sky and therefore
everything under it. These ors shone in all their intensity.
Watercolor skies can be line. The blue of the sky gen-

changes can be surprisingly The same day, but under an painted using the dry or wet erally loses intensity as it reaches

quick and can alter the overall same landscape

overcast sky, the technique, depending on what
down to the earth and begins to

tones of the landscape and the has cool tones and all the colors you prefer. Even so, many wa- take on grayish tones. As a gen-
become grayish and lose their eral rule, a sky should not be
colors in a few minutes. tercolorists use the wet water-
The sky and the earth are \i\idness. color technique for skies because
painted with a flat wash in a
Artists should never ignore single color because it would
closely related and you cannot colors are easier to gradate, and
the character and impact that the appear less realistic.
paint a landscape or seascape the moisture creates soft edges
in watercolor successfully if you sky can lend to their work; the Although clear skies are not
and spongy textures that are
are not aware of this. combination of the sun's rays as difficult as cloudy ones to
ideal for suggesting clouds.
paint, rendering a cloudless sky
When painting nature, the with a fluffs' mass of clouds can Painting a sky may seem dif-
in watercolor requires a certain
sky is the light source; therefore, create truly dramatic scenes that ficult at first; as you begin to
mastery of the wash technique
it determines the colors that are are a work of art in themselves. master this technique, however,
because on many occasions a sky
of this kind contains numerous
NOTE tones that gendy merge into one
another. The best example is
Skies can be painted
the sky at dawn and at dusk
before or after the landscape
or seascape. On many occa-
when blues are mixed with
grays, pinks, \iolets, and oranges.
sions, however, when the sky
is the main element of the
Gradated skies are usually

work, it is painted before painted using the wet watercolor

because it usually has a very technique, which allows die pig-

light base tone over which ment to diffuse and the colors
other glazes are added to to blend together imperceptibly.
produce the horizon.
 Skies

CLEAR SKIES Sunset

You are going to paint a

cloudless sky at sunset with a
light mist. This is a quick exer-
cise that is not particularly dif-

ficult but can be used to good

effect.

1. Paint the center using a

medium yellow wash containing
a touch of cerulean blue,
reserving a round area
for the disk of the sun.
2. Complete the wash, gradating the color as it approaches the
horizon line. Here, in the upper part of the sky more cerulean
blue has been added to create this greenish tone.

3. Paint the land; also

intensify the yellow tone
around the sun and 4. Tour result should resemble this
soften the edges using a clear sky in which the disk of the sun
clean, damp brush. is the only part that is still white.

cast. Remember that clouds, Apart from the color of the sky Clouds do not always form
CLOUDY SKIES even though they are not solid, you must also note the clouds' high in the atmosphere and in a
are also affected by sunlight. color, which can vary according floating mass with a definite out-
Some allow the sun's rays to to the predominant tones of the They are often ill -defined
line.
Clouds and sunlight are the
penetrate them while others are atmosphere and also affect the and can sometimes be found
two factors that endow the sky
so dense they can block the sun- color of the sun's rays. Clouds atground level as mist.
with the strength to set the tone
lightand take on a darker tone can have an number of
infinite Using a palette of soft tones,
for the work. Clouds can appear
on the side not reached by the colors from pale pink at dawn to watercolors are probably the
to be small balls of cotton float-
light. This is the area in shadow, a pure white at other times of day, ideal medium for suggesting the
ing in space; they may form long
the cloud's own shadow. not forgetting the many differ- softnessof a mist and the light
sweeping ribbons that stretch
Clouds, like any other mass, ent tones of blue they acquire of sunbeams radiating through
across the entire sky; or they may
a foe.
become a gray, rain-laden, have their own shadows and the at night, under the moonlight.
threatening mass. The many shadows they cast on the earth In addition to beautiful hues,

changes a clear sky undergoes
with the various positions of the
sun seem minimal
pared to the almost infinite
variations of a cloudy sky; the
and on other clouds. These clouds can also present a wide
shadow variations continuously range of grays, usually neutral
when com- alter the tones of the sky and the grays.Moreover, a stormy af-
earth. ternoon can produce groups
Before you start painting, of clouds that display a surpris-

clouds, driven by the wind, are therefore, it is important to make ingly wide spectrum of tones,
continually changing their form sketches of the position in the sky ranging from the dark gray tones
and position. of the clouds, their shape, and in the density of the clouds to
Of course, as the clouds the shadows they cast on each much lighter tones where the
change, so do the shadows they other and on the ground. sunlight strikes them.

I
73 Skies

CLOUDY SKIES Clouds and sunlight

Although not simple to
achieve, the effect of sunlight
breaking through the clouds
splendorous beams can give
in
a highly interesting and dramatic
note to anv work.
Ton are going to paint part of a I. After suggesting the clouds on
watercolov by Stanley Roy Badmin, the leftand applying a gentle
wash on the right with a mixture
entitled Bolton Abbey, Wharfcdale
(1906). The meticulous style of of burnt sienna and cobalt blue,
the age required slow, detailed paint the mountain top. Before
work. In this exercise, you will be the paint dries, lift out the
eventing the same detail quickly. whites for the sun 's rays
using a clean brush.

4. To finish, clean up the white of

the sun's rays, which was painted
2. Continue to work on the over with the yellow wash, and
clouds, opening up more add the green notes that suggest
whites for the rays. the trees on the ground.

3. Apply a yellow wash to achieve

this creamy effect.

CLOUDY SKIES Low-hanging clouds

In this exercise, you are going corner

2. Fill the left

to paint a sky with a low cover with a mixture of

cobalt blue and
of large clouds that are extremely ultramarine blue.
expressive. This subject presents With a clean, dry
voluptuous forms and a variety brush absorb any
paint that has
of color. spread beyond
the outline.

1. Paint the first patch of color

3. Paint the patch of color in the with a gray obtained by mixing

center mixing cadmium orange
with ochre and cobalt blue. In this
illustration, the areas where the
three colors have mixed perfectly
have produced an almost black
color; in other areas almost pure
colors have been used to obtain
these interesting contrasts.
1
burnt sienna and cobalt blue.
While the first wash is still wet,
add the brushstroke in the lower
part with cerulean blue and
touches of yellow ochre.

4. Extend the dark cloud toward

the left and fill
in the area that
was still As you paint, be
white.
sure to reserve the white for the
highlights, lo finish, suggest the
land and paint the water,
adding the reflection. Here, the
long reflection was created by
lifting out the paint and
then brushing on a very
diluted yellow tint.
 Skies 177

u
CLOUDY SKIES Rain clouds LU
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Watercolor is the most suitable l. Hegni by applying a highly

3
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medium for representing the ef- diluted cerulean butt wash over tin' rr

fect of rain in die air and a dark.

entire area of the sky. The excess O
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moisture in the paint mil dampen
Stormy sky such as this one. The the paper sufficiently for receiving
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example illustrated on this page the subsequent brushstrokes, which cc
should follow immediately. LU
was painted using the wet-on-wet
watercolor technique, which re-
NOTE
quires that an artist work fast to A sky full of rain clouds is

control the diffusion of the pig- painted on dampened paper; it

ment and the direction of the must be completed quickly and

brushstrokes. For this reason, requires maintaining control of
Study each step in this exercise be- the dispersion of the pigment.
fore starting to copy this image.

2. Set down the basic shape of the storm cloud using a mixture of 3. With a little cobalt blue added to the mixture, vary the tones in the
Vandyke brown and ultramarine blue. contours of the cloud and add an elongated wisp below the cloud mass.
Dilute this color further and draw a few diagonal brushstrokes; these
will suggest the falling rain after the paint has spread out over the
surface of the paper.
4. Xext, clean and blot-dry the brush to absorb some of the paint that has
spread out to the areas that must remain white where the cloud separates.
5. To finish, add a few touches using a mixture of cerulean blue and the
tone used in Step 3, and then paint the ground. In your work, as in this
illustration, you should see that the diagonal brushstrokes have softened
with the expansion of the paint and have created a spontaneous and
realistic impression of rain falling from the cloud.
7l Skies

sarily
CLOUDY SKIES

A cloudy sky does not neces-

mean
ing. Often, the

a bright
the sun is not shin-
sun appears
over an intensely blue sky that
contains clouds. Against such
background, the clouds
look dazzlingly white. In this
exercise you are going to por-
Fast-moving clouds

y *^
T *-*0k
tray a windy day with a bril-
liant blue sky punctuated with
billowy clouds.

This photograph was taken on a sunny day, with a

strong wind driving the clouds speedily across the sky.

1. Before starting to paint, use a pencil to sketch the

NOTE position of the clouds on the paper. Create a gray by
mixing burnt sienna and cobalt blue, then use it to
In watercolor painting, skies paint the shaded area of the cloud to suggest its
with white clouds should be volume. To paint the most intense blue parts
thought of as a "negative behind the cloud, make a mixture of
ultramarine blue and indigo.
image" because what you are
really painting is the sky that
outlines the clouds, which are
2. Proceed with the background, but lighten the
left unpainted to maintain the
blue tone by adding cerulean blue and cobalt blue.
pure white color of the paper. Carefully paint around the areas reserved for
the clouds, applying the deepest colors around
their outline.

4. Finally, add the land and give

the final touches to the sky.
3. Continue painting to
complete the sky.

striking moon is present, or sky displays throughout the day. sents a sky in plain neutral gray,
NIGHT SKIES when the moonlight casts a To render the glow of a full with hardly any gradation;
magical atmosphere upon the moon in a painting, an artist will forms appear as little more than
landscape. need the same soft blue tones silhouettes cut out of the back-
Night skies have never been
The colors of a night sky can that are commonly used to paint ground and yield few oppor-
as popular a watercolor theme
tunities for creating a sense of
as daytime skies because the
vary a great deal more than a daytime scene. Illuminated
volume.
darkness of night does not allow those of a daytime sky; at night by moonlight, forms are dis-
painting from nature and robs the clouds take on dark tones cernible and cast shadows that
the landscape of its color. Even and the sky is virtually black. make their volume easy to
so, a night sky can have special Night, however, does not limit suggest in the work. A moon-
charm — for example when a the variability of forms that the less night, by comparison, pre-
 >

Skies

NIGHT SKIES Night over a marsh LU

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Here is an example In this exercise, you are CO

of a sky with a full

going to reproduce NOTE DC
a detail of a
A
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moon from which James Hamilton night scene has dark _l
work, Moonlight o
you can see the
(1864), which
tones and strong contrasts u
that are more DC
great amount of shows a surpris-
difficult to
LU
light it presents ingly light sky achieve than those of a day-
illuminated by time landscape.
and the gentle
the mist -diffused
atmosphere the light of a full
moon. 1. Reserving a white area for the moon, cover the surface of the paper
moonlight creates.
with a wash of cerulean blue and a little yellow. Before this first wash
dries out entirely, deepen the tone of the horizon by adding more
cerulean blue to the mixture to suggest a denser mist. Use the

V same tone to create the wavy line of the mist.

v.

i- **i
3. Apply a soft, highly diluted
2. Moisten the color stripe over the wash of medium yellow over the
moon to make it appear more white of the moon. Then, paint
nebulous. Then, with the same the entire sky again with a

blue, but adding a touch of glaze of cobalt blue.

ultramarine blue, suggest the
plants of the marshland. Paint 4.To finish this work, retouch the
the birds in burnt sienna, and perimeter of the moon and paint
erase the pencil line around the bird on the right and
the moon. complete the vegetation.

NIGHT SKIES A FIERY SKY

The rays of the sun in die sky

at dusk can display a surprising

range of colors that is enhanced
by the beautiful interplay of the
light and dark areas.

This work by Winslow Homer,

entitled Gloucester Sunset (1880),
features an attractive sky, 1. First, paint the diagonal brushstrokes in medium yellow and
2. Paint the areas of light in pure full of color, strength, and
and a touch of vermilion.
cobalt blue those of shadow drama. It is the subject for
with a mixture of this color and
our next exercise.
burnt sienna. This illustration 4. Add the finishing touches to the sky, retouch the outline of the
shows, in certain parts of the sky,
moon, and sweep the horizon with a few vermilion brushstrokes.
the cerulean blue that is in the
mixture. Before the paint dries,
use a clean brush to lift out the
color for the white of the moon. 3. Drag the color to the horizon
line and paint the dark stripe of
the land, but reserve the white
where you are going to paint
the boats' sails.
 I a

m Water
to

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LU To maintain the characteris- NOTE
— freshness of this subject in
CD
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Water tic

your painting, we recommend

working with definitive tones
Use definitive colors to paint

water and avoid building up the

tone with repeated washes,
O and avoiding an excess of glazes which would detract from the
_j
O Water presents an extremely complex appearance or repeated brushwork. Even spontaneity of the work.
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because its surface is constantly changing and though renderings of this sub-
there is no definite shape or color an artist can use as ject generally need a great deal
of work (often requiring that
a point of reference in painting it.
objects could be anything, a
they be finished in the studio),
A large body of water is in continuous movement; the impression they must con- rocky cliff, a group of houses,
clouds, a boat floating on the
for this reason, its shape varies from one moment to vey should be exactly the oppo-
Images of seas, water, or even people strolling
site. lakes, rivers,
the next. Water also reflects light, which endows it
and waterfalls should seem on a waterside path. When
with many highlights. These fluctuations, force all spontaneous and flowing. painting these reflections in the
water, you need to remember
who wish to paint water to resort to their
artists
that they should more or less
memory or to quick sketches before starting to paint. match the object that produces

Water also acts like a mirror and reflects a distorted them, so it is best to leave them

until you have defined the ob-

image of any solid objects on its surface. Depending jects diemselves.

on the light, water can appear transparent or opaque, Before painting reflections

or even both at the same time.

STILL WATERS it is also important to observe
them closely. You will notice that
reflections become less defined
The sea outside a harbor is
die farther the object that casts
usually calm at dawn and at
them is from the water that re-
Only close study of the
sketch. dusk, although on certain days
TECHNIQUE flects them. That is, the greater
moving body and its shimmery it remains calm all day long. A the distance between the reflec-
perfectly still sea seems as solid
light reflections will give you tion and the object reflected, the
You cannot expect to recre- and reflective as a mirror.
sufficient knowledge to translate more indistinct appear
ate water in a painting precisely
its fluidity into a static image.
Other bodies of water — in the water. The
it will
reflected image
and at the same time capture its puddle in the street, a lake, the
Watercolor's transparency must be simplified, because too
spontaneity. Water's constant liquid inside a container, for
would cause
transformation forces the artist
makes it one of the best media
for capturing the crystalline
example —can also behave like
accurate a reflection
the work to appear artificial.
to summarize the impressions it the sea. When water is calm it
quality and tenuous of Additionally, keep in mind that
evokes in its viewer. Moreover, solidity not only reflects light but also
large bodies of water are never
it demands careful observation water, as well as the sparkle of the images of the objects that are
entirely calm and cause waver-
even before starting to make a its highlights. on or above its surface. These
ing outlines in the reflections.
One last point you need to
observe is that the color of the
reflections is always a little darker
than that of the objects reflected.

The water's appearance is

dependent on the light and the
color of the skv, and on the presence
or lack of movement on the
surface of the water.
r Water 177
in
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STILL WATERS Calm water without reflections LU

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Still waters that have no re- t/j

flections may appear easy to en

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paint and often are. However, _j
O
you should not forget that this u
type of water usually has an
K
opaque, yet vibrant appearance,
and these are the qualities you
must capture. Ton ongoing to reproduce a
detail of the work Bermuda (1901)
by Window Homer, in which the
water is a flat, opaque surface
that produces no reflections.

THE COLOR OF THE SEA

The color of the sea reflects the color of the sky. On a sunny day, 1. Using a mixture of cerulean blue and cobalt blue, apply a wash that
therefore, the sea takes on an intense blue luster, whereas on over- covers the entire surface of the water. Tlien, using a deeper tone of the
same color, start painting the lower half.
cast days it looks leaden.

3. Deepen the bine of the thin stripe that crosses

the water to balance the overall tones.

2. Suggest a change of current

in the middle using the same
mixture as before with a touch
of medium yellow added. Increase
the proportion of cerulean blue in
the mixture and paint the upper
part of the water. Before these last
brushstrokes dry, absorb part of
the paint with the brush to lighten
the tone (do not forget to first
clean the brush and blot it dry).

4. This illustration shows how

with only two blue hues and a
touch of yellow it is possible to
suggest all the tonal variations
of the mass of water.
 Water
CO

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LU
—> STILL WATERS Reflections in the water
CD
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00 Still waters act like a reflective surface in which you cm clearly
DC distinguish the images of objects. A puddle of still water reflects
o
_J images almost as if it were a mirror, though there is often a slight
O movement in the water that breaks up the image into tiny fragments.
CJ
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In this exercise, you are going

topaint a detail of the work
NOTE
The Blue Boat (1892), by Water that is not entirely
Winslow Homer, which contains
calm usually breaks up the
images reflected in the water.
reflections as they recede
from the object reflected. An
example of this can be found

*#-* in this exercise in

hull of the boat is

which the
reflected in
1. To begin painting the water, lay a soft wash of extremely diluted
cerulean blue that will merely leave a hint of color on the white surface
fairly good detail while the of the paper. Paint the reflection of the hull with a mixture of cobalt
blue, olive green, and burnt sienna. Add the reflection of the grass using
reflection of the angler ap-
permanent green light for the light tones and olive green with a touch
pears distorted because he is
of cobalt blue for the dark tones.
farther away from the water.

2. Reserve the highlights of 3. With a mixture of cobalt blue

the water and continue with the and burnt sienna, finish the
reflection of the figure; use grayer parts of the water
a mixture of ochre and and add some last touches
medium orange. to the grass and the figure.

THE COLOR OF
REFLECTIONS
Although reflections are
usually of the same color as
the objects that cause them,
they generally are a darker
tone than the model. For this
4. In this illustration of the
reason, whites are rarely pure
finished exercise, note that
but slightly neutral, unless the the whites have been reserved
surface of the water is shiny. to suggest not only the light

In this case the white of the reflecting on the water but also
the oar. Additionally, you can see
paper is usually reserved to
the reflections becoming more
represent the maximum inten- distorted the farther away they are
sity of white light. from the object or person reflected.
 Water

STILL WATERS Reflections at night

Tou are going to use this work by

Window Homer, entitled Eastern
1. Ton are only going to paint the detail of the water. 2. Paint the water using a wash with different
Point Light (1880), as your model.
Use a sheet of rough paper that will let the white intensities, but barely touching the paper in the area
of the paper show through. Apply a wash using a of the light. The roughness of the paper will create
Because large masses of water mixture of ultramarine blue, olive green, and burnt the mottled effect shown here. Then, add the
take their color from the sky, sienna. Reserve a white area for the reflection of sailing ship and the shadow it casts in
the moonlight. the water using a dark glaze.
at night water can seem dark and
impenetrable unless the moon
or any other light source pierces
the blackness with a trail of shiny
reflections.

3. Touch up the water with some

darker brushstrokes to suggest its
volume. Using a tnixture of ochre
and cadmium orange, apply
a few touches of color to
the reflection of the light.

4. In this illustration you can see that the color of the water and the
highlights at night have been created using tones that are quite different
from those you would use to represent water illuminated by daylight.

STILL WATERS Calm water at sunset

At sunset, the tones and re-

flections in the water are in the

middle of the range of colors

evident between day and night.

This work by Thomas Girtin, The

White House at Chelsea (1800),
deals with the subject of
water at sunset.

1. With a wash of varying intensity paint the water,

2. To paint the dark stripe of
using a mixture of cerulean blue, cooalt blue, and a
the horizon, use a mixture of
touch of yellow. Before this preliminary wash dries,
ultramarine blue and alizarin
use a clean, blot-dried brush to lift out the paint
crimson, reserving the white for
to open up the white of the house's reflection.
the house. With the same mixture,
paint the boat and its reflection
in the water. Add more cobalt
blue to the mixture used for the
first wash and put in a few
horizontal strokes on the left of
the painting.

3. Immediately, drag the paint

across the bottom part of the paper.

4. After this final glaze has dried

'
you will see how in the finished
work the brushstrokes suggest the
variations in the characteristics
of the water.
 Water
10

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forms, color, and highlights important contrasts in color as ot .1 waterfall. The density of the
—>
change continuously. Even when the changing forms ol the waves loam also varies -from a line,
CD MOVING WATER
D painting images such as a rolling on the surface produce areas barely perceptible mist to the
W of intense brightness adjoined
sea from a photograph, artists still dense mass Of a surging torrent.
OC
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Water motion has a fasci-
in need to simplify the movement by dark areas of shadow. On a Frequently, a range of these ef
o nating spontaneity due to the or risk losing all spontaneity by cloudy day, these contrasts are fects must be combined in one
u attempting to copy the sea considerably less sharp. painting. This a detail to bear
en rapid succession ofimpressions it faith- is
LU
causes. This instantaneous qual- fully.Generally, the results of Moving water also produces in mind when planning white
5 ity is what makes moving water mere copying are an unrealistic foam. For example, waves break- areas.

so hard to capture. Artists paint- and artificial image. ing against the shore, die churn-
ing from nature need to exercise A moving mass of water ing water of the high seas on a
their \isual memory because the under die sun usually presents windy day, die tumbling cascade

MOVING WATER Gentle waves along the shore

Even when calm, a large body

of water always produces small
waves or ripples where it meets
the shore. The contrast of light
and shadow in diese small waves
allow the artist to give them
shape and volume to create in-
terest. John Marin's treatment

of water in the work used for this

exercise is especially attractive
thanks to the spontaneous and
seemingly effortless brushwork.

This work by John Marin, entitled Maine Coast 1. Tint the area of water with a light wash made
(1914), is particularly interesting in the way the from burnt sienna and cobalt blue with a touch of
artist has dealt with the color of the water and the carmine. With a purplish tone obtained by mixing
NOTE movement of the small waves breaking on the shore. cobalt blue and alizarin crimson, apply a glaze of
varying intensity to suggest the movement of the
Remember that the waves current toward the shore.
on the surface of moving water 2. Let your brushstrokes, as
give rise to great tonal con- Marin V painting does,
because some parts of
trasts
show the current that impels
the water toward the shoreline
the water reflect light and where the surface of the water
others remain in shadow. continuously changes form.

3.Suggest the waves

near the rocks with
irregular dots of the
same color, only denser.

4. Correct the brush-

strokes that suggest
the movement of the
water and continue
developing the waves
toward the left.

5. To finish, deepen
the tone on the upper
left part of the
painting and finish
the ripples near
the shore with an
almost-dry brush.
 Water
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trasts of light and shadow.
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Window Homer, in bis BW&Tynemouth Returning Fishing Boats 1883), 1

1. After painting the hull of the
shows the gentle waves out at sea with an interesting use of tonal and boat to use it as a reference for
color contrasts that effectively represent the interplay of light the tones of the water, apply a
and shadow on the changing surface. Ton are going to make pale yellow wash with just a
a study of the detail of the water under the boat. touch of turquoise to the area of
the water. Over this, lay a glaze
consisting of a mixture of sienna,
alizarin crimson, and turquoise
to suggest the shadow under
the boat.
3. Continue developing the shadows of the waves,
still in bottle green and working downward.
2.Paint the water that is behind the
boat at the horizon line in turquoise
with a touch of yellow. Use pure
orange to suggest some of the waves,
dragging the paint across the paper
with the brush. Use indigo blue to
begin suggesting the large wave in
the foreground. To indicate all the
areas in shadow, use bottle green
and begin at the area nearest
the hull of the boat.

4. Tou can consider your study

finished after applying a gentle
wash of highly diluted indigo
blue in the middle part of the
water, taking advantage of the
brushstroke to shape the waves
and darken the tone of the
wave in the foreground.
Finally, intersperse a
few wave shadows in this
color with those already
painted in bottle green.

MOVING WATER A WAVE BREAKING

One of the most impressive and the water in the background,

images water can offer is
powerful waves breaking against
the shore and sending sprays
of brilliant white foam up into
the air. These images last only
use cerulean blue with a tinge of
that of
permanent green; to deepen the
shadows in the lower parts, mix
ultramarine blue with Vandyke
brown. As you work, keep the
brightest whites to represent the
areas of maximum light. In this

a fractionof a second so artists illustration, the artist has been a

little heavy handed and is forced
often have to resort to a photo- to lift out some of the paint to
Color the sky with a gray wash
graph to capture the moment. '±?**i**k 1.

mixed from cobalt blue, burnt retain the white of the paper
sienna, and
alizarin crimson. in these areas.
In you are going
this exercise,
Reserve the white for the outline
to produce a study of part of
of the foam. To create the shadows
the work Caribbean Surf by
Karl G. Evers.
2. Paint the dark part on the left 4. To achieve the final result shown here, carefully
with Hooker's green and begin open up some whites in the orange-ochre area of the
suggesting the undercurrent of painting and add a few touches with highly diluted
the wave with a mixture of ochre Hooker's green; also, give the foam a few touches
and cadmium orange. 3. Drag the green and orange tones to the left. of cerulean blue.
 THE COLOR OF
VEGETATION TREES
Vegetation is predominantly
green. Of course, here, green Painting trees in watercolor
is intended in the widest when
nless you are rendering a polar ice field or a dry can be easy they are sim-
o word because
u
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u desert, when painting a landscape there is always
sense of the
nature this color is found
in

in all
ply suggested with patches of
color, or it can become a more
vegetation. Vegetation can assume many sizes, its varieties. Tones range from
involved task if a detailed ren-
light, acid yellow greens to the
shapes, and colors. When painting a landscape, the dark and almost black greens
dering is necessary. The diffi-

culty of painting trees lies in the

artist has to represent everything from a grassy seen on certain types of trees
intricate network of branches
or in areas of shadow. Another
meadow to a leafy tree, including all kinds of bushes
tonal range that is always pre-
and leaves that form the foliage.
also to be found All trees have a structure con-
and shrubbery. Vegetation is in city sent is that of ochres, browns,
and yellows; these are usually sisting of the trunk, branches,
streets, a garden, or a vase of flowers on a table. and foliage. The leaves often
found on the trunks and
branches or are visible on the conceal the position of the
foliage at certain times of the branches and make the general
year. During the hot season in structure difficult to see. For this

TECHNIQUE the fields, this range usually reason, it is useful to make

DIVERSITY
replaces the green hues. But sketches of trees throughout the
apart from the green and different seasons of the year.
As previously explained, to To paint vegetation —be it
ochre tones, vegetation can Winter is a particularly good
paint anything, including veg- trees, bushes, grasses, or flow-
display any other color found time to observe deciduous
etation, careful observation and ers — it is important to begin by in nature because this ample they shed their foliage
trees;

at that
study is essential. Every kind defining form and propor-
its
theme includes the flowers time and allow easy study of
of tree, plant, and flower has tions. That is, in the case of a and fruits that appear in spring
their trunks and branches. With
its own shape that is different tree, set down the shape of the not only on trees but also on
close observation you will see
from the rest. The artist, how- trunk relative to its branches or, meadows and gardens.
that most trees do not grow
ever, rarely encounters a single in the case of a flower, the The opportunities offered
straight; consequently, the trunk
specimen; more common to
it is bloom relative to its stem. by fruits and flowers have
usually has a slight bend. You
find several kinds of plants and In view of the complex shapes long been exploited by artists
will also realize that the complex
trees mixed together forming and a large variety of tones who have chosen to study
network of branches and twigs
different shapes, textures, and found in vegetation, it is impor- these subjects in isolation.
spreads out in all directions. This
colors. The approach in this case tant to simplify the images and Known as "still life" or "nature
morte," the careful arrange-
knowledge will let you avoid the
is to consider such a group of capture the forms as they appear
ment of vegetation in the stu- common mistake of painting all
objects as a whole and paint within the group, trying to
dio has evolved as a separate the branches in the same direc-
them as such. This entails sim- avoid detailed work that would
genre. (See page 122.) tion, an error that weakens the
plifying the images, without get- make the result seem broken
rendering of the tree's structure.
ting lost in details, to emphasize and wooden.
Except for cypresses and a few
the shapes and the most impor- Remember that the same
others, most trees do not have a
tant colors. type of tree will have different The roughness of a tree trunk
compact foliage; rather, the
The appearance of a land- colors depending on whether it can easily be obtained by using
branches and leaves form gaps
scape varies enormously ac- is in the foreground or the back- the dry-brush technique, and
that allow some light to filter
cording to the seasons and ground, and that if trees in both a toothpick can be used for
through and also make it
weather conditions. For exam- locations were treated in the texturizing the twigs.
possible to see some interior
ple, in winter, a snowfall may same manner, the illusion of per- Natural sponges are one of
branches and the background.
blanket the landscape with spective could easily be ruined. the most widely used tools for
The foliage of a tree creates a
white; in spring, sprouting and The same applies to a tree's suggesting vegetation, especially
complicated interplay of light
blooming plants flood the land- foliage; if trees include detail, foliage, in watercolor painting
and shadow. The position and
scape with vivid greens, bright keep in mind that those nearest as their shape usually leaves a
the angle of the light that falls
yellows, and other colors; the fo- the observer are more distinct mark that is very similar to the
on the leaves makes some areas
liage of the trees, in fall, sets the than those that are more distant. fragmented effect of contrasting
look light and others dark, cre-
woods ablaze with red and It is common practice to sug- leaves.
ating a wide variety of contrast-
ochre hues. gest the foliage of a tree or the
ing values. Again, the painter
In all forms of vegetation, tonal variations in the petals of MORE . . .
is forced to simplify the forms
however, green is the color that a flower by starting with washes
and the overall tones of the sub-
predominates, and it is not un- and then
in the lightest color On page 88 you will find
ject because painting the foliage
common to find several differ- adding darker glazes. To add more information on how to
in every detail would probably
ent tones of green in a single points of brightness in the fo- use sponges. Note the differ-
result in a fragmented series of
plant. Consequently, it would be liage of a tree or to represent a ent marks natural sponges
create that are ideal for repre- broken colors that would not
a mistake to try to paint any kind gap between the leaves, you can
senting vegetation. recreate the foliage as a whole.
of plant using a single green. remove paint with the brush.
 Vegetation
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Cypress "5
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1. Begin by establishing the CO

Cvpress trees are relatively
darkest shadows on the right cc
simple to paint as their dense dypress trees have a
in Hooker's green with a o
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form that is easy o
the structure of the branches. to draw. cc
Because an evergreen, the
it is
LU

enure tree has a uniform color

with little variation.

2. Next, paint the

lighter foliage in the
top half of the tree
using the same
mixture as before
but lightening the
tone with a little
permanent green light.
Develop the shadow
' at the bottom of the
foliage by adding
cobalt blue to
the mixture.

3. Apply darker glazes over

the previous layers of paint 4. Complete the
with small anddetailed foliageand paint
brushstrokes to imitate the the trunk using a
texture of the foliage and its mixture of mauve
undulating surface. and carmine.

Fig tree

A fig tree, unlike the cypress, 1. The irregular structure of the

branches and its twigs spreading
has scant foliage; its gnarled out in all directions require a
branches are the most visible preliminary drawing to faithfully
reflect themodel. Make your sketch
feature and, thus, characterize
with thick pencil lines that will
this tree's appearance. serve to suggest some of the darker
areas of the branches.

Ton arc going to paint this fig

Although
tree. it has many leaves,
its branches are the main focus
of attention.
2. Use a mixture of cobalt blue
and carmine to obtain the mauve
tone of the tree trunk, varying the
4. Develop the
proportions of the two colors to
foliage fit rther
create different hues. Add a touch
adding more green
of ochre to the middle of the trunk.
to the previous
'mixture Complete
.

the trunk by drawing out the

3. Continue working on the
branches on the left, adding a
little ultramarine blue to the
mixture. Start suggesting the
first leaves using medium
tinged with permanent green.
brushstrokes to suggest the
texture. To finish, rework the
main branches and add small
twigs in all directions to create
yellow
the typically chaotic effect produced
by this tree.
 1 Vegetation
CO

A PINE TREE
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they do not always grow straight had to grow
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and
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and the trunk, is often bent or tall.

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1. Begin by painting the foliage

5 cally upward and has branches of the right half using a mixture
that radiate uniformly around of permanent green liaht, olive
green, and yellow ochre. Here,
the trunk, creating a treetop that note how the artist has used
can be abstracted as a sphere. the color to create the spongy
appearance of the foliage,
suggesting the areas of light
and shadow with different colors.
For the dark area on the left,
add a little Hooker's green and
ultramarine blue to the previous
mixture. Paint the branches
with cadmium orange.

3. Finish the dark part on the left wet-on-wet, and

with several small touches suggestHhe small shadows
between the leaves. Paint the rough texture of the
trunk with a mixture of burnt sienna and carmine
over the previous wash.

2. Continue work on the foliage

to
and paint trunk using a
the tree
mixture of cobalt blue and burnt
sienna. To highlight the palest
greens of the foliage, cover the
background with a light wash
of the same mixture used for
the trunk, but with more cobalt.
4. Finish the exercise by finalizing the form of the
leaves on the left and adding small touches ofgreen
all over the treetop to represent the areas of light and
shadow. Paint the trunk and add several branches
among the leaves on the right. This step-by-step exercise
allows you to experience the process of constructing
the entire image at the same time without separating
the foliage from the trunk. With this method, both
elements blend together to form an integrated whole.

Magnolia

The magnolia is a tree with

a short trunk and branches that
reach up in the form of an in-
verted cone. Because its leaves
are fairly large, a rendering must
include suggestions of their
shape in certain places.

1.After covering the background with a light wash, begin to paint

downward from the top. The lighter areas are painted in a mixture of
The magnolia in the sun presents permanent green and lemon yellow. Before continuing farther down,
and values you
a variety of colors paint the adjacent colors in permanent green and cerulean blue to
will need to suggest. establish the tonal values.
 Vegetation
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2. Continue to work on this area, adding cadmium

orange to the previous mixture for the dry leaves and
NOTE using small brushstrokes that suggest the form of the
leaves either bunched together or separate.
Remember that each kind
of tree has its own particular
3. Paint the remaining leaves in the same way
shape and color that distin- varying the proportions of the color combination. For
guish it from the rest, so the the darkest notes, use a mixture of Hooker's green
and ultramarine blue. Develop the trunk with
mixture of colors and different
burnt sienna and ultramarine blue.
hues is basic when it comes
to painting them.

4. Complete the trunk using a mixture of

Vandyke brown and cobalt blue. End with
the darkest touches to the foliage.

Weeping willow

The appearance of a weeping

willow is quite different from
that of a magnolia. The mag-
nolia stretches its branches sky-
ward, whereas die willow droops
its branches to the ground, pro-
ducing a sense of sadness and
melancholy.

The foliage of the

weeping willow looks more
like ribbons than leaves.

2. Paint the trunk with a mixture 3. Continue developing the

of Hooker's green and Vandyke leaves by superimposing tones to
brown. For the lighter foliage mix gradually increase their intensity.
cadmium yellow and lemon yellow Use downward brushstrokes to
with permanent green light. produce the drooping sensation.

4. To finish, add all the necessary details that will make your final work
appreciably different from the previous step: paint the branches that are
visible between the leaves and develop the shadows in the foliage with
Hooker's green and a touch of brown, drawing the paint downward
with the dry-brush technique. For the darkest shadows, add a
touch of ultramarine blue to the mixture.
 1 Vegetation
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Palm tree
CD
3 I. Paint iln trunk minga
CO Palm trees can be found all
cc mixture of cadmium orange and
over the world, both in nature
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burnt sienna. Add a little mort
and as a decoration in gardens orange to paint the knot. Tor
O the lujht areas of the fronds use
(J and streets.
cr permanent green light mixed
LJJ The shape of a palm bears a with cerulean blue; then, develop
certain similarity to that of the the shadows by superimposing a
deeper glaze over them in the
pine: it has a long trunk with an
same mixture, but with a
explosion of leaves at the top. little cobalt blue added.

The technique for painting the

palm, however, is substantially
different.

This palm tree has been pruned

back, leaving only the fronds
at the top; thus, it creates the
interesting impression of
a plumed hat.

3. Keep adding leaves and cover

the lower half of the trunk with
a light cobalt blue glaze.

4. Use the tip of the brush to

2. Continue to work on the palm
draw the trunk, and add the
fronds shaping them with short
remaining palm fronds to finish
brushstrokes that suggest their
this exercise. This may seem a
form. Add the ridges on the
relatively easy tree to paint.
trunk with a mixture of
However, the position of the leaves
Vandyke brown and carmine.
and their fringed edges require
close study before starting to paint.

A TREE IN FULL BLOOM

A tree in bloom, such as this

almond tree, looks dramatically
different during the rest of the
year. In the picture, the tree is

covered in white flowers; there-

fore, to paint it, you will have to
reserve the white of the paper
and use the background colors The white of this almond tree 1. Mix a little cobalt blue and 2. Use olive green and burnt
to create the form. contrasts with the green of the alizarin crimson to paint certain sienna to paint the background
surrounding vegetation. branches and the areas in shadow. which, as you can see, is essential to
outline the form of the tree
3. Using a slightly more intense and create contrast.
mauve than the previous one, add
a few touches to the foliage; also,
paint the trunk adding a touch of
cobalt blue. The form of the tree
should begin to take shape as you
paint the grass on the ground and
the surrounding vegetation.

4. In finishing, apply the last,

more intense touches to the tree.
But keep in mind that, above all,
the tonal contrast of this work is
achieved more by the paint applied
to the background than that used
on the tree itself. Here, the artist
has developed the background
as if it were the main subject.
Note also the importance of the
final patch of Hooker's green
in the lower right corner.
 Vegetation
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that can make them no less at- them becomes more difficult the cool freshness of the fields LU
MEADOWS tractive a subject for watercolor as there is a greater diversity during the spring, the heat and
—>
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AND FIELDS painting than a natural meadow. of color, forms, and sizes that dust of summer, the changing D
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Fallow fields contain different the artist needs to reproduce. colors of autumn, and the cc
A meadow can be created forms of vegetation; in them The changing seasons pre- somber chill of winter. O
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with a simple wash. Plowed grasses grow alongside tall weeds sent additional challenges to the O
fields have symmetrical furrows and wild flowers. Representing painter who wishes to convey
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MEADOWS AND FIELDS A PLOWED FIELD

I
Plowed fields present a regular pattern that may be separated 1.To reproduce this detail, first
lay a highly diluted wash of
into areas.
Vandyke brown and burnt
sienna and reserve the shape
of the farmhouse. A slightly
In the work by Kenneth Rowntree, deeper tone of this color is used
Underbank Farm (1940), the to paint the field on the right.
artist captures thesymmetrical The space in the foreground
beauty of the furrows in a has been covered with a
plowed field. yellow ochre wash.

3. While assessing the overal tonal

value, continue to develop the
values of the furrows and the land,
darkening certain areas such as
the one behind the farmhouse.
Paint the furrows on the right
of the middle plane only halfway
across the field.

2. Paint the small fields using the 4. Now finish painting the

same colors, but somewhat diluted. furrows you left incomplete

Also, begin suggesting the shadows in the previous step; the pause

between the furrows with Vandyke will allow you to capture the slightly wavy form of the ground and the
brown. change in tone. Add a little cadmium orange to a few of the furrows, and
paint the silhouette of the tree with Vandyke brown.

MEADOWS AND FIELDS An unplowed field

Fields that have not been 1.Cover the field area with a
wash of cadmium yellow with
plowed allow all kinds of plants
touches of orange at the top,
to grow freely in an array of dif- burnt sienna in the middle,
ferent forms, sizes, and colors. and permanent green light
at the bottom.

Ton are going to reproduce part of

the work Great Wheal Prosper by
Ruskin Spear. $

3. Add some dark tones made

2.Paint a few first brushstrokes
in emerald green over this wash.
Continue with horizontal, slightly
curved brushstrokes in olive green,
burnt sienna, and a mixture of
burnt sienna and Hooker's green.
from burnt sienna and cobalt
blue.After the paint has dried
on the paper, with a fine brush
draw a few small lines to
suggest the grass.
4. To finish, paint the last blades of
grass and add a few touches
to the small grassy area in
the foreground.
 I

1 Vegetation

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— MEADOWS AND FIELDS Field of poppies
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ted with the colors of flowers
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LU more than a series of green
washes.

This exercise consists of painting
part of this poppy field employing
a masking technique.
1. Before starting to paint,
the areas where the poppies will
appear using masking fluid.
mask 2. After the fluid has dried, begin
painting. For the light areas of the
field, mix permanent green with
lemon yellow. Paint the shadow
area on the other side of the path
with permanent green and cobalt
blue, and use the same colors to
suggest the grass in the foreground
with short brushstrokes.

3. Add the shadows of the trees

along the path using a mixture of
carmine and cobalt blue. Paint
the grass of the field in permanent
green with a little cerulean blue.
Once the paint is dry, remove
the masking fluid and paint the 4.Give some finishing touches of
poppies using vermilion for some carmine to the poppies and other
and cadmium orange for others. darker notes of Hooker's green
mixed with cobalt blue to make
the flowers recede into the grass.

painting, although it does appear more detail to give the work the apparent. Grasses display an as-
GRASS in many themes. A meadow in sense of depth or texture that tonishing range of different
the distance can be painted using this part of a scene demands. greens, which of course, blend
In general, grass is seldom the a simple wash, but grasses and Careful observation will re- into a wide range of ochres as
main element in a watercolor weeds in the foreground need veal subdeties that are not at first the season progresses.

Tall grass

You will often see wide ex- 1. Using a mixture of permanent

green and lemon yellow, lay the
panses of grass, either planted
tone for the light areas. Apply
or wild. the wash to the upper part of the
paper and reserve the white in
the lower-right part, but adding
You are going to paint a detail
some vertical brushstrokes that
of this field that has a fairly
suggest the grass.
uniform green color but may,
nevertheless, seem difficult
to paint.

3. Over the base color, use a fine brush to

suggest the grass using the previous tones.

2. Add cobalt blue to the previous

mixture and paint the lower-left As a final step,
4. develop the shadows between
corner. Re sure to reserve the area
the blades ofgrass with the previous
of tall grass and flowers by mixture, but intensified with more
painting around it with this cobalt blue. Let the reserved whites
mixture and a little carmine. represent tin flowering weeds.
 Vegetation

Cut grass

The lawn of a garden or, in 1. Apply a wash

to the Background
this case, a cemetery looks in burnt sieinia
slightly different from the grass for the soil and
that grows wild in the fields. permanent green
with yellow for tin-
Among other things, lawns are light part of
mowed regularly and the uni- the grass. Paint
the dark area
them
formity in length gives a
in permanent
homogeneous appearance. green and
Ton are going to paint a detail Hooker's green.

of the work The Livermore Tombs

by Kenneth Rowntree, that
features a lawn.

2. After the previous colors have

dried, suggest the grass using the
tip of a flat brush loaded with
3. Continue to paint the grass and add the cast 4.To finish this exercise, you need little more
Hooker s green.
shadows of the tombstones. Assess the tonal key and than continue working on the grass with the
deepen the foreground a little more. flat -tipped brush.

Dry grass

In the warm months or dry

periods, grass can look very
different from what you have
seen in previous exercises.
changes color and takes on
ochre and yellow tones.
It

W^:
1. Before starting to paint, use
wax to mask the parts where
the grass appears white.

2. For the walls of the church, apply a yellow ochre wash mixed with a
littleorange. Add a little cobalt to the previous mixture for the darker
In this exercise, you are wall. Paint the grass area by mixing burnt sienna, cadmium orange,
going to reproduce part of and a touch of lemon yellow directly on the paper. Tlie lines you
thework SS Peter and Paul, painted with the wax resist should now appear white.
by Kenneth Rowntree, which
includes tall, dry arass.

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3.Paint the trees in the

background to balance the values;
also,suggest the grass with long,
vertical brushstrokes in a
mixture of lemon yellow and
cadmium orange.

4. Continue to paint the grass

using darker tones such as olive
green. Additionally, darken the
tone between the masked areas
to heighten the contrast.
 Vegetation
00
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challenge of capturing this on Studio work, however, forces of flowers with detail. Reniem
—>
02
FLOWERS paper. Because die stems, leaves, the artist to study the subject ber that too much reworking
D and of a bunch of flowers
petals very closely. Bear in mind that a causes the colors to lose their
CO
With in a vaseform a pattern similar watercolor painting of a simple- sparkle and transparency. You
DC their delicate and beauri-
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—I ful shapes and colors, flowers to what can be found in nature, vase of flowers can be magnifi- must simplify and capture the
c have long appealed to artists of painting flowers is a good exer- cent or terribly boring depend- overall impression so that the
u
x all techniques. cise for gaining skill at simpli- ing on how well the artist has painting is spontaneous and
Flowers can be painted in fying forms, lines, and colors. arranged the final composition. natural.

their natural context or out of it. Painting flowers in the studio To create excitement in a bunch
Many artists become fond of offers certain advantages that are of flowers, contrast is necessary.

flowers as a subject because,
apart from being highly attrac-
tive, they are an alternative to
painting vegetation with no
need to leave the studio.
Fresh flowers are full of life
and the watercolorist faces the
not available in nature. Apart
from comfort and convenience,
working inside gives artists full
control of the composition.
are free to choose the type of flow-
ers, the amount, the position, the
lighting, and the background.
You can, for example, situate dark
flowers against the light areas
of a background and flowers with
They light-colored petals against the
dark areas of leaves and stems.
As with any kind of vegetation,
avoid overloading a rendering

A GLADIOLUS
The petals of a gladiolus have Against a white background, you 1. Over the preliminary drawing, start painting the
arc going to paint this beautiful light petals in cadmium orange, deepening the tone
a highly interesting range of
gladiolus. later with vermilion. After setting down the
tones that contrasts sharply with position of the three flowers, paint the stem
the green hues of the stem. using three different tones ofgreen:
permanent green, olive green, and
a mixture of both these colors.

2. Continue developing the three flowers and paint

the petals that emerge from the buds.

3. Next, begin to work on the

detail using a little carmine
over the vermilion.

NOTE
4. To finish, add more detail to the
Flowers are living organ- shadows of the flowers and the stem
isms. To capture their fresh- using carmine mixed with a touch of
ness, you need to avoid green. Have you achieved a fresh
semblance of the subject?
making too much use of
detailsand repeated glazes,
which can only serve to flatten
the colors.
 Vegetation
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Tfcit exercise entails reproducing 1. Apply a wash to the background 2. Suggest the small flowers at the
Enul Nolde's work, entitled with a mixture of orange and top on-wet in ultramarine blue,
Blue Bells, i!'/;n7; contains this cobalt blue, and reserve the white olive green, and yellow. Also
small but vibrant bouquet for the flowers. Paint the blue bells paint the flowers on the right
offlowers. with a mixture of carmine and on -wet. To achieve the vague,
turquoise, then add a few touches blurred effect of the model,
of rose. Use a mixture of apply a diluted carmine glaze
ultramarine blue and yellow first and then a brushstroke of
Flowers grouped in a bunch for the first green brushstrokes. vermilion on top. Use indigo blue
usually display a variety of colors to outline the form.

and shapes; therefore, diey are

more difficult to paint. The artist
needs to sort out the pattern
of the stems and position the 3. With the previous tones, continue developing
the flowers and the stems.
varying colors of the flowers
over it. 4. To finish, add several ochre notes to the background and
outline the flowers in the middle using a
mixture of carmine and mauve.

FLOWERS Sunflowers

Flowers in dieir natural con- distantpart to create a greenish

text are particularly beautiful, tone. The most intense tones
are obtained by adding burnt
but when painting them, you sienna to the yellow. With small
need to take into account every- dots of paint, suggest the position

thing that surrounds diem. of the flowers on the paper. The

sunflowers in the foreground are
the most complicated to paint
because you must outline their
shape with the background colors.
For the center of the flowers, use
Next, you are going to paint this
a mixture of vermilion, mauve,
field of sunflowers, in which some
and yellow.
1. Use medium yellow to suggest
blooms partly conceal others and the overall mass offlowers. Add
the leaves on the stems form a a little turquoise in the more
complicated pattern.

4. Continue paint in the same way, working outward from the center.
to
Use simple dots of colorto suggest the more distant flowers. Have you
found this exercise to be more difficult than you first realized?

2. Begin developing the first

flowers, use a mixture of 3. Continue working as before
permanent green and turquoise and, with the same green, begin
to outline the lower part of the
outlining the flowers in the upper
petals. At the same time, make part of the painting. With a
a few crisscross brushstrokes to darker tone of the previous color
suggest the leaves attached and stems by
define the flowers
to the stems.
painting the shadows around them.
 I

Flesh Tones
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hesitate to attempt to begin y< >ur different tonalities evideni on
— figure studies without any spe- the human form in order to
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Flesh Tones cial preparation. suggest its

and to develop
texture and
its
shadows
contours and
DC
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_) term used to describe all the colors and different
volume.
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U A hues that the skin can have is flesh tones. Water-
color is an excellent medium for suggesting the THE COLOR OF FLESH
forms of the human body, the silklike suppleness of TECHNIQUE
As everyone knows, human
skin, and natural attitude of a gesture. Flesh tones skin does not have a single, set

can be found in any kind of painting as it is not nec- it displays a wide range of
color; The technique for painting

hues and textures, from the flesh tones in watercolor is sim-

essary for the figure to be the major element in the ilar to that used for painting any
white, almost transparent skin
painting. Neither is it necessary to paint nudes to of an albino to the dark tones of other subject.
a black person. Flesh tones vary The artist must reserve the
study these tones; a woman's legs as she walks along
not only among people of dif- highlights; start with the light
the street, a rower's torso or bathers in a swimming ferent origins, but among peo- tones, and gradually superim-
pool are all opportunities to introduce this feature in pleof the same race, and even pose glazes over the areas in
within one individual. Among shadow or those with the dark
your work. Remember that figures are closely re-
other things, age and continu- colors. As is generally the case,
lated to the context in which you find them and this
ous exposure to sunlight, can try not to use too many glazes

relationship should be maintained in the final work. give a person's skin several dif- as this will dull the paint and

ferent tonalities. Parts, such as deprive the flesh tones of the

the face and hands, that are not liveliness you are attempting
protected by clothing can have to capture on paper.
a darker tone and show more In assessing the tonal values
wear than the rest of the body. of a subject's flesh tones, keep in

Additionally, skin will also reflect mind that form is often denned

WATERCOLOR AND most characteristic features, you the colors in the surrounding by a subde contrast of tones. To
THE FIGURE can start to paint human figures environment. capture these slight tonal vari-

in watercolor prelude to
as a Some manufacturers sell paints ations, closely observe the model
When discussing flesh tones
progressing further with this with your eyes half-closed; nar-
in flesh tones, however, artists
it is impossible not to discuss the
subject. usually prefer to mix their own rowing your sight allows you to
human figure too. Perhaps wa-
obscure unnecessary details
In time, you may wish to to arrive at the correct hues in
tercolor is not the ideal tech-
learn the basics of human each case as they do with other and focus on the small tonal
nique for detailed studies of
figures, but it is excellent for
anatomy — indeed, you may be subjects. When painting flesh contrasts.

challenged to do so by the sub- tones, therefore, the water-

painting them quickly and cap-
jects you select. But do not colorist must develop the many
turing their spontaneity and
naturalness.
As the medium demands
speed, it forces the artist to sim-
plify the form and define its

colors and values confidently

and decisively.
Undoubtedly, knowledge of
human anatomy is a great ad-
when painting figures,
vantage
but a study of the skeleton and
muscles is not essential for deal-
ing with this subject in water-
color. If you are capable of
closely observing die figure of a
model and distinguishing its

The human figure with its

subtleties of tone is an ideal
subject for painting in watercolor
as this medium allows you to
capture the freshness in the skin
and the spontaneity in the
gesture of a subject.
 Flesh Tones

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FLESH TONES Painting skin in special tones ->
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Painting tlesh tones docs not CO
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always mean using colors that
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resemble those of the skin. The
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delicate texture of the skin and u
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die contours of die body can be
suggested using a substantially

different paiette.

In tins exercise you are going to

reproduce a detail of Georges
Roualt's work Girl (1906), in
r
which the paleness of the flesh is
suggested by the contrast and
influence of the violet tones
of the shadows.

1.
>
Paint the background and at the same time
outline the figure with a mixture of cobalt blue and
2.
mixture
Next, add a little Vandyke brown to the same
to outline the shadows under the right arm
burnt sienna. Using this same mixture, but with and below both breasts. Clean the brush and drag the
minor changes in the proportions, quickly set down paint to blur the edges of these shadows to soften
the first shadows. Suggest the curves of the breasts, the color boundaries.
first adding more burnt sienna to the mixture.

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:

3. Continue extending the shadow on the left downward with slightly diluted
Vandyke brown; with a denser brushstroke of this color, suggest the region of the
pubis. At the same time, darken the background tone to balance the work. Using
the first mixture, paint the soft vertical line that travels the abdomen.

4. To finish, paint the shadow of the left leg with parallel brushstrokes, softening
the edges of the colors with a blot-dried brush. Add the nipples with a touch of
vermilion. You will note that even the reserved areas appear to be bathed in a
pale color. Note, in this illustration, how the colors are interrelated and
to what extent one color affects an adjacent color.
 1 Flesh Tones
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—> FLESH TONES Delicate skin

CO The color of human skin can

ai possess many hues and tonal
O
_i variations. Next, you are going
O woman's hand with
U to paint a
its white, delicate, almost trans-
parent skin.

The model for the work The New

Noble, (1877) by Winslow Homer, 1. Paint the whole surface of the hand and forearm 2. Give the wash time to dry, then apply a second

like most of the women of a certain using an even vermilion wash diluted as much as glaze of highly diluted permanent green to the arm.
social position at that time, had possible.Because of the paleness of the girl's skin, you Tins tone will create a sense of the transparency
white, well-cared for skin. need to paint the background at the same time to help and delicacy that a skin that is seldom exposed
you understand the tonal interplay so you can arrive to sunlight conveys.
at the correct values.
4. Tou may think that the hand and arm are now
complete. However, as the artist did here, intensify the
tone of the sleeve. The additional contrast provided by
3. Use a third glaze of burnt sienna to suggest the the deeper tone is necessary to suggest the fragility
darker parts and the small lines of shadow between of the skin, as you can appreciate by comparing
the fingers. Paint the knuckles with a touch of this illustration with that of Step 3. This exercise
carmine, and slightly retouch the background to emphasizes the importance of tonal balance and
balance the tones. color interaction for achieving the desired effects.

FLESH TONES Weathered skin

Skin exposed to the sun over
many years generally turns dark,
becomes wrinkled, and acquires
a leather)' texture that
harder than that of normal skin.
NOTE
Now you are going to try your
hand at capturing the weathered
skin of this shepherd who spends a
large part of his time outdoors.
appears The painting illustrated here has
been developed to this stage by
superimposing glazes, as in the
previous examples, to obtain the
ideal tones for the light and dark
areas. The general color of the face
is a mixture of carmine with a

little green. Olive green has been

The rendering of the skin in
used for the hair. Prepare your
a portrait is much more com- own painting up to this point.
plex than that in a figure. Then, you can proceed with the
detailed work to capture the most
Artists must also capture a
apparent feature of this type of
likeness and the expression of
skin, its roughness.
their subject as well as facial
details such as wrinkles, hair,
1. Paint the wrinkles on the
subtle changes of color, and a
forehead and the eyes using
host of tiny shadows. a mixture of carmine and
burnt sienna.
 Flesh Tones

2. Use the same tone to intensify the cheekbone 3. With mixture you used on the cheekbone,
the 4. Continue retouching the areas in shadow
and the darker parts of the nose. Paint the go add a little cobalt blue to
to the ear; then, and defining the wrinkles until you achieve the
wrinkles around the eye in Vandyke brown the mixture and apply a glaze to the chin. desired effect. This is a difficult exercise that
with a touch of carmine. requires you to work with the tip of your brush,
so take your time and exercise great care to
complete your painting.

FLESH TONES Wet skin

Wet skin has a texture dif- 1. Cover the area with a highly
diluted wash of medium yellow
ferent from
of dry skin as
that
mixed with vermilion and a
the moisture produces small, touch of carmine, to keep it
shiny areas, intensifies the color, from turning orange. When the
glaze has dried, use masking
and forms tiny droplets on the fluid to reserve the spots that
skin surface. will suggest the drops of water
and the shiny patches.

Next, you are going to paint this

wet, female breast; the droplets on
the surface give it agranular
texture that differs from the
usual silkiness offeminine skin.

3.Begin defining the shape of

the breast with a mixture of
vermilion and carmine. Retouch
the tones throughout where
the work calls for it, using the mix-
ture proper to the particular areas
but less diluted. This last glaze will
probably cover the
highlights you had reserved.
To restore the white in the
more prominent water droplets,
remove the paint with a clean,
blot-dried brush.

2. Allowthe masking fluid to dry and apply another glaze of the same 4. To complete your work, add
tone, though less diluted. To create the shadow of the breast, add a detail to the nipple and extend the
littleburnt sienna to the mixture; for the area under the neck, add shadow that lies between the breast
a little carmine with a touch of vermilion. When these areas are dry, and the arm. Additionally,
remove the masking fluid by rubbing gently with your finger. The darken the shadow underneath the breast. Deepen the tones to suggest the
masking fluid is removed at this point, and not when the work is dark parts of the arm and upper part of the breast; in a deeper tone
finished, to avoid an excess of contrast between the masked areas and also outline the bone structure. To give prominence to the droplets
the rest of the painting and to prevent hard edges from forming. of water, increase the contrast of the highlights by adding
a small touch of color next to each one.
 3 Flesh Tones

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—> FLESH TONES Wet skin under the sun
DQ

W Wet skin under a strong light

such as that of die sun contains
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u light; its usual velvety surface
oc
also takes on a smooth polished
appearance.

NOTE
Dark, wet skin is more diffi-

cult to render in watercolor

than light skin because this
medium involves working
Ton are going to reproduce a detail of the work by 1. First, set down the areas of light and shadow with
from light to dark. Additionally,
Winslow Homer, The Sponge Diver (1898-99), in a mixture of burnt sienna and cadmium orange on
as the colors intensify with which this dark-skinned man appears under the the back and the left arm. The forearm resting on the
each progressive wash, it brilliant sunlight. 11k flesh tone is obtained by boat, takes the same mixture with a little cobalt blue
gradually superimposing increasingly deeper glazes. added. Use this tone also to suggest the reflections
becomes harder to obtain
of the body on the surface of the water. Paint
tonal variations at the dark end the head with a touch of Vandyke brown
of the range. and reserve the highlights.

2. Now, darken the tone of the 3. With the previous tone, continue working on the 4. Last, darken the skin tone even more using a burnt
hair andbegin building up back and part of the arms. The cast shadow of sienna and vermilion glaze, and retain
the tone in the dark areas of the right arm on the boat is a mixture of cobalt certain reserved whites as you lightly tint part of
the back using a mixture of blue and a little sienna. the highlights. Add a blend of Vandyke brown and
Vandyke brown, burnt sienna, cobalt blue in the darker areas and in the
and a touch of carmine. reflections in the water.

FLESH TONES Hair

Human skin is rarely smooth.

It often contains features that
alter its overall color or texture.
The body of a subject may show
moles, freckles, scars, blemishes,
and, especially in the case of
men, an abundance of hair.

NOTE
The color of human skin is
In this exercise, you are going to paint the
hair-covered torso of a man.
never uniform; from one part
of the body to another there
are always major variations in
1. Apply a light wash of carmine and cadmium
tone. yellow. Over this, outline the areas of light and
shadow with burnt sienna.
 Flesh Tones

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add a touch of carmine to paint

2. .Voir,
dark area of the arm. Benin sngnesting
the mats of hair with a mixture of burnt
sienna and a little olive green using the
dry-brush techu ique.
the 3. Continue to balance the tones and darken
the shadows by adding a touch of Vandyke
brown to the previous mixture. With a fine
brush loaded with Vandyke brown, paint
the small hairs on the entire chest area
and then blend them using a dry brush.
4. To finish, paint the right nipple with a mixture
of sienna, cadmium orange, and a little carmine.
Retouch the shadows on the arm, tOO. If you find
that the hairy area in your paiutin/t still lacks
detail, add it now. The fine brushworh makes
this a painstaking exercise, but thoroughness
will yield a more satisfactory result.

FLESH TONES A GROUP

In painting, a group of people must be treated as a whole; artists, 2. With carmine, paint the right
of die people and pay more
thus, usually avoid detailing the features
arm of this last figure, as well as
the face of the woman seated
attention to the balanced composition of the group. If you make to the right.Cover the face of
the mistake of treating each fig- the woman wearing glasses
with diluted orange.
ure individually, the result will
seem artificial and fragmented.
Mistakes of proportion or scale
may even creep into the paint-
ing if this method is used.
Remember that the figures in
a group are interrelated and
share the same space and often
the same activity. When ap-
proaching the work, the artist

must plan to convey the con-

nection thev share.
1. Paint the skin of the figure in
the upper-left comer using highly
diluted vermilion. Tlie tone of
Ton arc going to reproduce a
the figure below takes the same
detail of the work O Sole Mio!
mixture and a touch of orange.
by Lorna Rinns.

3. Paint the dark hair of two of

the women in deep indigo, and
apply a light carmine glaze to
the right arm and face of the
figure in the lower left to vary
the orange time used earlier.
Paint the lips with a touch of
carmine and start to detail
the clothes. In this case, the
flesh tones are light and need
thesurrounding colors to set
them off.

4. Last, paint the left arm of the

woman in blue and her glasses.
Lightly, add the features to the
face of the woman in red and
give some finishing touches to her
clothes. With a fine brush, paint
"X_,\ the tattoo on the arm of the
woman in white. In the finished
work, here, you can see the
tonal difference betiveen one
figure and another, and betiveen
the orange and carmine tones
in the right and left sides of
the woman in white.
 J Animal Textures
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b NOTE
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Animal Textures Under the skin, hair, feath-

ers or scales, the bony struc-

CO ture of the animal determines
O
_i human skin varies in color and texture, the world of animals presents far more its form and volume and must
O If be taken into consideration
u differences in these features.
DC when painting.
LL
From small domestic animals to large ones in the wild, painting the skin of an
animal in watercolor is an interesting challenge that provides material for the
artist to develop different skills and innovative techniques. Animals insinuate
themselves into many paintings dealing with other subjects: a still life where SKIN
vegetables and fruits are featured alongside game such as rabbit and pheasant;
Animal skins have a great
a home scene that shows a fish swimming in its tank, or a cat curled up on a
many different colors, textures,
soft chair. Even if an animal is not the major element in a painting, artists will and qualities. It may be shiny,
eventually find themselves obliged to paint the hair of a dog, the feathers of a wet, fragile, and with striking
colors as in the case of a frog;
sparrow, or the scaly skin of a sardine. Consequently, it is important to learn how or matte, rough, and dark as in
to handle this subject. After all, the method is the same for painting textures as the case of an elephant. Each

of an elephant; the circumstance requires that the

dissimilar as the rough, thick skin fine, shiny skin of a frog;
subject be treated differendy.
the long hair of the llama; or the feathers of a parakeet. Nevertheless, the results
must obviously be different.

Bat's wings

The membrane that joins the 1. To obtain this dark tone, mix
toes of a bat is soft, thin, shiny, indigo, burnt sienna, and
Vandyke brown; use this color to
and flexible; all these qualities apply a wash over the surface
must be represented in your intended for the wings. Note
that the wash is not uniform,
rendering.
you must deepen it to suggest the
shadow areas. Before the paint
out the highlights
dries, lift
This exercise consists of painting
with a brush and blot dry.
in watercolor the wings of the
bat illustrated here.

2. Complete the wash, leaving the

highlights unpainted. Deepen
the color used for the background
and begin to outline the
shadows and the folds.

3. Soften the first brushtrokes with a damp brush and build up the
darker areas with a deeper glaze. To contrast the highlights, add
a few small touches in a dark tone.

4. Finish this exercise by completely developing the shadows and other

details of contrast, being careful to maintain the highlights; use a few
touches of ochre, as shown here, on the tips of the wings and throughout.
 Animal Textures
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Elephant hide
c2

'una a mixture of burnt tft

An elephant's skin has an 1. I

sienna and vermilion, apph a DC

opaque color that combines wash that definei the thaaotv and o
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several gray and brown hues; highlight areas Drag this color
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or, lln in a
i an 03 and add u
capturing its thick, rough, and
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some cerulean bine. Give the kg a:

wrinkled texture can be a chal- LU
a Uight touch of cobalt blue.

lenge. Before the wash dries, open up

the whites on the back with
the brush, rinse and bint dry.

Ton are going to paint part of

the elephant's back with its

great many wrinkles.

3.Continue to paint the wrinkles

with the previous tone, lightening
or darkening the paint as required.

4. As in the illustration, finish

2. In indigo arid Vandyke brown, suggesting the rugosity of the
begin painting the lines to elephant's hide with lines,
represent the wrinkles. varying their intensity,
direction, and sharpness.

A shark's belly

A shark is a scaleless fish with

a thick, rough skin. The light
color of the belly wraps around
the animal and darkens at the
back, where it presents a bluish,
leaden hue.

1. Paint the boat in burnt sienna

to add contrast, and cover the

surface of the shark 's body in a
Ton are going to reproduce a highly diluted cerulean blue wash
detail of the work Shark Fishing with a touch of sienna and yellow.
(1895), by Winslow Homer.

2. When the preliminary wash is

dry, paint the water in cerulean
blue with touches of cobalt blue-
dilute the color to a soft tint where
the water touches the
shark s body.

4. Last, cover the fin with a

sienna glaze, and complete the
details of the mouth, eve, and
body under the water. In this
illustration, note that the artist
suggests the texture of the shark
with the soft tones of the first
wash because the rest of the
3. Using highly diluted indigo. exercise is directed toward
suggest the fin and the mouth; developing the tones in the
paint the lines of the gills in water to outline the shark's body,
burnt sienna. without retouching the skin.
 Animal Textures

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separate at the end, whereas the tiom m\ overall even tone to
—5
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HAIR body hair of a certain type of colors that vary according to
D zebra is short and dense, mak- the part of the body they
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Hair is common to many dif- ing die animal lcx>k like a felt toy. cover. Colors sometimes form
cc
O
_j ferent species. Each has its own The hair of some animals surprising patterns such as the
O characteristics that distinguish glistens in the light, yet that of dark patches on the giraffe.
u others is always dull. The col Animal hair, then, has to be
cc it from the rest: color, length,
LU
quality, and quantity. The hairs oration of the hair is also not rendered in accordance to
of a horse's tail are very long and the same in all; colors range each case.

A GIRAFFE
A girafte has very short, dense 1. To bring out the contrast, apply
a soft wash to the background.
hair, though its texture is hard
Paint the head and neck with a
to see at first glance. The pig- brown glaze in different tones,
mentation of the skin forms using a mixture of cobalt blue
and burnt sienna with a little
curious yet beautiful, almost ochre for the shadows. Add the
geometrical patches of color that mane in cadmium orange toned
make it an interesting surface down with yellow, and darken
the base of it while the paint
to paint in watercolor. is still wet.

/;/ painting the head and neck of

dealing
this giraffe, you will be 2. Paint the first few patches
not only with the animals fur, with a mixture of burnt sienna
but also with its mane. and Vandyke brown. Then, with
the aid of a flat-tipped brush
and the dry-brush technique,
suggest the texture if the mane,
using the tone of the first glaze
though somewhat deeper.

3. After completing the mane, continue to paint the color patches,

building the pattern from the other side to avoid mistakes. Paint some
patches lighter than others and vary the tonal intensity within each
to suggest the texture of the short, soft hair.

4. With all the finishing touches in place, as here, does your work
show the texture of the mane and the feltlike softness of
the rest of the giraffe's body'':

A ZEBRA
This type of zebra has thick,
soft hair that gives its texture
the appearance of a sponge; at
the same time, its stripes form
an attractive pattern with a
strong contrast that is exciting
to render in a painting.

Ton are going to paint this
back; because the sun that illuminates
it is at a low angle, the light brings
out the texture and bathes the
surface in rich ochre hues.
zebra 's 1. To start, paint the background green to set off the white areas.
Cover the zebra's body with a soft, gray wash obtained by mixing
burnt sienna, cobalt blue, and cerulean blue; be sure to set
down the areas of shadow. Over this, paint the first stripes
in ochre mixed with orange.
 Animal Textures
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2. For the areas in shadow, use
Vandyke brown mixed with
carmine. As the artist has done
here, drag the color over the white
stripes that fall in the shadows.
3. Continue to develop the 4. Compare your work with this illustration. Add whatever detail is
shadows, softening the edges necessary to succeed in conveying the spongy appearance of the hair.
after each brushstroke. Here, you can see that the artist has avoided hard edges and obvious
brushstrokes and has suggested minor shadows on the stripes with
small notes of color. Note also the tonal variation in the stripes
on the right. Tins has been achieved by adding a little
ultramarine blue to the mixture.

A BEAR
Bears' ftir consists of dense, 1. Cover the entire surface
of
the bear's body with a wash
long hair. Although a bear does
containing cadmium orange
not usually present strong con- and cobalt blue, but increase the
trasts in color, it does display proportion of orange for the paws.

strong tonal contrast. This,

therefore, is the feature artists
employ to suggest die texture of NOTE
the coat. Additionally, the con- In a watercolor painting,

tours of this large animal pro- short suggested by

hair is

imitating the spongy effect it

vide vast areas of light and For paint most of
this exercise,
bears body; excluding the face produces. Long hair, on the
shadow, apart from die contrast this
will allow you to concentrate on other hand, can be rendered
in the small shadows found the back and paws. through light brushstrokes
between the tufts of hair. direc-
that reveal its length,
tion, and thickness.

2. Paint
the background in indigo 3. Continue to work on the texture of the hair in
and sienna to add contrast; in brown, and use short brushstrokes that follow the
outlining the form, use irregular direction of the hair.
brushmarks in imitation of the
hair. Using burnt sienna and
a touch of cobalt blue, paint the
darker areas and, at the same
time, reserve several highlights.
4. In this illustration of the final result, you can see
that the hair has been given different intensities of
Vandyke brown used for the
is
the same color, in accordance with the light that falls
hairs around the ear and the face.
on them. Note also that the edges of the dark tones
have been softened; this was done with a wet brush.
 Animal Textures

( )n the body of one of these In the case < >f fish, their scales Obtaining gixnl results with ihis
SCALES cold-blooded animals, n is pos- are usually transparent. ( misc medium can make painting an
sible to find scales of different quently, in a painting, they can exhilarating experience.

Scales arc another type of sizes, thickness, and shapes that only be suggested by means of
skin cover that can be found on blend on the surface of the skin their pattern and highlights.
numerous sea and land animals. to present a beautiful mosaic Rendering the texture of
The scaly skin of these creatures of forms and colors; the scales scales in watercolor is a fairly

usually seems cold and frag- may sometimes be shiny, espe- difficult task; it is no less chal-

mented but also displays a rich cially in manne animals, or com- lenging than capturing die silk-

variety of" colors. pletely dull. iness of human skin or hair.

SCALES An alligator

Alligator hide is very attrac- 1. Use a mixture of burnt

sienna and cobalt blue to
tive because it is covered with paint the space around
numerous scales that \'ary in size the body of the alligator,

and shape, according to their leaving the shape of the

animal white. Add a
placement in the body, and form little orange to certain

a beautiful partem. areas to enliven the ochre,

especially on the ground.

Of the several alligators that

2. Begin by painting the toothed appear in John Singer Sargent's
ridges that form the curve at the work, Muddy Alligators (1917),
top of the back with a mauve you are going to reproduce only
mixed from cobalt blue and part of one.
carmine. Tlien, paint the shadows
that define the foot. With short 3. Continue to work on the texture 4. To finish, add the final contrasting touches
brushtrokes, start painting of the scales with the same mauve in a deeper mauve to the foot and
the first scales. color used earlier. certain points on the side.

- -
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An iguana

The iguana is another animal Ton are going to paint this 1. First, apply a base
head of an iguana
detail of the color over which the
with scales on its skin; the dif-
the scales of which offer an pattern of scales will be
ferences in size and structure, as interesting variety ofform, painted. This consists of
well as the changes in color its color, and size. a greenish wash made
by mixing turquoise
scales display make this reptile
with a little medium
interesting. yellow. For the chin,
To capture the texture of this use ochre and yellow,
and paint the jagged
creature's skin, artists suggest
skin on the chin in
the scales through the color and cerulean blue.
line patterns the scales present.
 Animal Textures
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4. Observe tins completed illustration. Tou inn tee tluil a grid U
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pattern has been used to suggest the mall, fun tcales ninLi -
the chin; the rest has been painted using olive green and CO
indigo blue where necessary. Note the orange note on the 3
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snout of the animal that highlights tin tliromutit
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variety of the animal and onti tuts the olors.
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2. Use Vandyke brown and burnt

sienna for the eves; paint the ear
in dense indigo blue, then use it
highly diluted for the lines that
pattern the chin area.

3.Paint the area over the eve

with a mixture of olive green
and cobalt blue, but leave some
spots without color to suggest some
of the scales; you can suggest
other scales with small colored
dots. This illustration shows the
artist drawing the line pattern
on the chin in indigo blue
with a fine brush.

A RED MULLET

Among the scaly creatures 7. Apply the base tone

that humans often encounter that will determine the pre-

are fish. Finding a subject
scales for a painting, therefore,
can be as easy as looking in the
bins of a fish market or in the
refrigerator at home. The red
mullet in diis exercise has trans-
parent scales diat will have to be
suggested by the underlying
color and the highlights they
produce.
dominant tones of
with the fish. Use vermilion
for the back with a small
touch of yellow to represent
the highlighted area. Form
the head with smalf pink
brushstrokes, and paint
the belly in a mixture
of turquoise and yellow.
Tins mullet is a good example of
a scaly skin that is full of highlights
where the scales are so thin and
transparent that they are barely
visible at first glance.

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3. Add the cast shadow to create contrast and
define the form, and continue to work on
the structure of the head and the scales
using short brushstrokes.

2. With pink dots, suggest the scaly texture of

the back, at the same time adding small lines
along the side.

4. In the finished work, here,

you can see how the intensity
of the tone varies. This
is because several small,

contrasting touches of
alizarin crimson and
cobalt blue were added.
 Animal Textures

u .\nd long in others. The plumage create strong, even sinking con
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FEATHERS can vary even on the same trasts. Some feathers are similar
D individual. For example, a bird to a certain type of long, dense
CO
Like hair, feathers vary enor- can have densely grouped feath- hair, such as the plumage of the
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mously according to the species ers on its head and a row of long, rooster illustrated in this page.
O of die bird diat produces diem. separated feathers on its tail. In any case, the feathers on a bird
cr. It is not only a question of As regards color, most birds can virtually conceal the body of
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feather size or color hut also possess a wide variety of colors the animal.
5 of shape; feathers can be short, that may all same
be in the
almost circular in certain birds range or, on the odier hand, may

A ROOSTER

Even though they are farm

birds, roosters have beautiful
plumage with a strongly con-
trasted varietv of colors.

1. Paint the first patches of color to use as a base for 2. Paint the tail with indigo blue, and with the
constructing the texture of the plumage. Color the dampened brush soften the lines that are painted
We are going to faint the part neck in ochre, with the darker part in a mixture of over the reserved white. Begin suggesting
of the rooster's body that has the indigo blue and sonic Vandyke brown. Use vermilion the first feathers on the neck
most varied feathers as regards for the wing, and paint the background with a with burnt sienna.
color and size. mixture of turquoise and yellow to
define the form of the bird. Add
several lines, in a mixture of
brown and alizarin crimson, to
indicate the feathers.

3. Continue outlining the texture

of the plumage over all the
patches of different colors.

4. Here, the finished illustration

lets you see the long, flowing
brushstrokes the artist used to
paint the texture of the feathers.
The color that has been used for
outlining the plumage is a deeper
version of the base color, which in
some cases contained a touch of
the surrounding colors.

FEATHERS A PARAKEET
A parakeet is a pet that can be <\<

found in many homes. It has NOTE

The long feathers of the tail
short, soft feathers on its breast
should be treated differently
and abdomen that contrast with
the long feathers
tiny white feathers
may seem difficult to
on

but they can be rendered quite

its tail.

on its
The
head
represent
s

We are going to paint the blue

K from the small feathers most
birds have on their breasts.

1. The preliminary colors are a

easily. parakeet, a small common pet
with an interesting plumage.
mixture of cobalt blue and burnt
sienna with a predominantly
blue tone for the abdomen. Apply
a few touches of color on the
wing to suggest the feathers.
 Animal Textures
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2. Use cadmium
orange for the beak;
paint the eye with a
3. Paint background to increase the contrast. That
the
black dot, but reserve
leaves only theminor details to work out, such as the
a tiny spot for the highlight.
head feathers that are painted using a mixture of
Detail the feathers on the
Vandyke brown and indigo blue.
wing using a mixture of
indigo blue, ultramarine
blue, and burnt sienna 4. In the finished illustration you can see that the tail

in different tones. Also, feathers are suggested in an interplay of blue tones with
modify the initial tones by fresh, long brushstrokes. Additionally, note that a touch
adding cerulean blue to of the color used for the small head feathers has been
certain areas. added to the wings to bring together all
the tonalities of the body.

A MACAW
The macaw is an exotic bird;
its multicolored plumage has NOTE
attracted the interest of painters Birds may move, spread
and bird fanciers since the nine- their wings, and ruffle their

teenth century. feathers. For this reason, it is a

good idea to make a few

sketches before painting them.

Ton are going to paint this

macaw in its entirety as it has
certain similarities with the
parakeet. Nevertheless, it has a
different plumage with more
intense coloring.

2. Over the vermilion, give form

to the plumage in pure alizarin
crimson; add darker touches to
suggest shadows with ultramarine
blue and lemon yellow.

1. Apply the initial definitive colors

3. Use ultramarine blue for the
tail,adding a touch of alizarin
crimson to certain feathers.
with texturizing brushstrokes: first,
lemon yellow as it is the lightest
color; then, vermilion obtained
by mixing the previous yellow
with alizarin crimson.

4. In the finished illustration you

can see that vermilion has been
used for the long tail feathers.
Observe the yellow feathers; the
artist has used too much red and
has had to remove paint before
enlarging the yellow area of the
feathers. Some of the red pigment
still shows through the yellow, but

blends with the long and short

brushstrokes in different tones that
are used there and throughout to
paint the texture of the feathers.
 Glass

and colorless, These qualities are

CHARACTERISTICS
what make difficult to paint.

Glass
it
03
Z> Some artists have said that when
CO A glass ofwater, a Sower vase,
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painting a glass object, what you
die window of a building, a per-
O really have to paint is not the
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glass but what stands behind
u lenge to the inexperienced painter. Glass is a sub- glass windows of a church, or
This statement
it. is correct as
the face cover of a watch all are
stance that, if not transparent, is always at least regards colorless glass, but when
glass objects diat arc commonly
die die glass is colored or reflects
translucent. That is, it allows light to pass through it, encountered. It is, therefore, im-
what is in front of it, it must
portant to understand the way
making it possible to discern the objects behind it. It be painted with a different
glass behaves to learn how to
also produces highlights and can reflect the objects approach.
paint it. Many glass objects are
near it. Glass may behave like a perfect mirror or both transparent and colored.
Generally, however, glass is clear
distort the images it reflects.

Colored glass

Stained glass maintains its 2. Paint the

transparency but alters the foreground bottle

in lemon yellow,
colors of the objects behind it.
reserving the
As it is colored, stained glass highlights. Note
also projects its color onto the how the color of
the part of the
objects that surround it and mauve bottle
onto its own shadow. visible through
the yellow one
changes when a
glaze is applied.

Ton are going to paint these 1. Cover the background with a soft gray tint, made
colored-glass bottles, which clearly by mixing turquoise and burnt sienna to make the
show the characteristics discussed, highlights on the glass stand out. Taint the rear
in the text. mauve; this tone can be obtained by
bottle in
mixing turquoise and alizarin crimson.

3. The middle bottle is pa hi ted in

medium cadmium red, with a
touch of carmine added to the
bottom to darken it. Use the
same tone, only more diluted,
to paint the cast shadow.

NOTE
Colored glass changes the
color of any object that is seen
through it. A shadow cast by a
colored-glass object will also 4. In the completed illustration, at right, the detail
be tinged with its color as will that has been added and the areas of shadow that
have been darkened show the interplay in the tones of
any surrounding objects.
the three types ofglass; the intensity of these areas
serves as a contrast to the highlights.
 I

Glass

6
A VASE LU
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Not all glass objects are 1. Using a mixture of CO

smooth and totally transpar-
ent. Often, they are patterned
and may distort die
dirough it.
This transparent glass vase allows
itscontents to show through; the
ridges on its surface, however,
distort the shapes.
ultramarine blue and burnt DC
sienna, paint the background, O
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which is visible through the vase.
With very diluted indigo, suggest o
images seen u
the cast shadow; with lemon yellow
and orange, the liquid; with
ochre, the stirring stick. Over
these preliminary patches of color,
outline the shape and highlights
that form the ridges of the glass
with a mixture of turquoise and
lemon yellow.

2. Paint the shadow on the stick

with Vandyke brown and
shadows of the lines with a
mixture of cerulean blue and
permanent green.
the
3. After working on the lines in
the upper part, begin suggesting
the broken shape of the stick
inside the vase with a diluted
brown.

4. As in this finished illustration,

gradually complete the detail of
the entire vase, working from
top to bottom.

Mirrorlike windows

Another characteristic of a
certain t\pe of glass is its capac-
ity to reflect objects that stand
before it. Rendering this mir-
rorlike glass in a picture entails
painting the reflections in the A
glass, though often, such as in
this case, the image reflected is a
distortion. For this exercise, you are going to 1. Apply a gray wash, obtained by

paint part of the front of this mixing burnt sienna and cobalt
building; it has windows that blue; over this wash suggest the
reflect the street, although first reflections in Payne's gray.
the image is distorted.

3.Add a last touch of

neutralized orange.
2. Paint the distorted image of
the building in front usinga
mixture of Payne's gray and
Vandyke brown.

NOTE
Painting glass that acts like
a mirror involves painting what
it reflects.

4. Note that you have not used

a wide range of colors to produce
these reflections, and what may
have seemed complicated at first
sight is one of the simplest of
exercises.
 U Metals
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As always, careful obscn atti >n resenting those of gold, silver, or
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of the subject before painting copper in a painting l\.u h of
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D isparamount as you must paint these metals has its own color
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what you see, not what you sup- and characteristics, yet the range
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pose is there. Some metals have ofwatcrcolors in the stoics does
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M etal

manv
copper pan,
is

objects
a kitchen knife,
commonly used
is in

in daily

gold jewelry, and a

life;

lamp
a
no shine at all, perhaps due to
poor illumination or because
they are rusty or covered in dust;
not match any of them
Artistscannot hope to imitate
the exact color; the most they
exactly.

others, however, can act like can do is suggest it. Moreover,

all are examples of metal objects that an artist is likely
mirrors. Often, a combination they need to bear in mind that
to encounter when painting subjects from life. Metal of effects will be necessary to die color of the light falling on
capture a single subject. Silver the metal surface and the sur-
can be found even in a landscape or outdoor scene,
objects, for example, frequently rounding objects will affect the
for example a steel fence, the doors of a building, cars reveal both highly polished and tones of die metal.
in the street, the portholes of a ship, and so on. Metal heavilv tarnished areas. As to the second problem of
when polished, but in reflections, these mainly involve
presents a shiny appearance
small highlights where the pol-
old objects it can be dull and covered with rust.
ished metal surface reflects the
POLISHED METALS light falling upon it or reflec-
of the polished blade of a sword, tions of images of nearby objects.
CHARACTERISTICS even though both are made of Polished metal that has not The highlights can be achieved
metal. In the same way, the sur- been painted poses two prob- by reserving small white areas;
Principally, metal is hard and face of painted metal — as in a lems when it comes to paint- reflections, on the other hand,
cold to the touch; these quali- car — will present highlights and ing it in watercolor: the color and can be a little more complicated
ties, however, are not always the other features more characteris- the reflections it presents. to render as they must corres-
characteristics from which a tic of the paint than of the metal The first problem arises be- pond in form, color, and size
metal surface derives its appear- itself. Painting metals in water- fore starting to paint. You may with the object reflected. Also,
ance. The surface of a rusty hull colors, therefore, requires that look at your palette and wonder metal generally distorts any im-
of a ship looks different from that each case be treated individually. what colors to choose for rep- ages it reflects.

POLISHED METALS A SILVER RING

Silver is a cold metal, and this

characteristic is apparent in its

color, which has a cool tendency.

\
This silver ring is a representative 1. Apply a mixture of burnt sienna and cobalt blue, 2. Paint the shape of the oval strands in gray; for
example of a metal surface; its reserving the white for the bright areas that reflect the skin showing between the ovals, use an
interesting design of concentric the light. Set down the areas of shadow over this intense color to increase the contrast.
ovals shows many highlights. first wash using a deeper tone of the same color.

3. Continue working in this way on the design of the ring.

4. After fully developing the shape, finish this exercise b\ building up

the tones as necessary to create the contrast that will mr kt the
highlights sta
 Metal?

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weather conditions is completely capturing the diverse tones and presents the reddish color and LU
RUSTY AND different from that of a shiny texture of such a porous and un texture produced by the oxi
5
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UNPOLISHED METALS ring. When you paint rusty metal even surface can be a challenge. dation process D
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or metal that has not been pol- Rusty metal, apart from its DC

The appearance or an iron ished, you need not worry about own color or the color of the o
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plate exposed to outdoor highlights; on the other hand, paint may be coated with, also o
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RUSTY AND I
UNPOLISHED METALS Aged brass

This exercise involves Here, you 1. Paint the top of the can in

painting an aged, unpolished must try to burnt sienna with a little

suggest the vermilion. Using a mixture of
metal surface diat has acquired color and yellow ochre and permanent green
a dull but variously toned patina texture of apply a wash to the side of the
tinsold brass can; before the paint dries, lift out
color for the highlighted areas by
using a blot-dried brush.

3. Darken the top part, and add

the small patches of color with the
same mixture used for the handle
of the can.
2. Use Vandyke brown and
emerald green to paint the
handle; add a little lemon yellow 4. Finish the exercise by adding tin-
to this mixture to suggest the last touches to the darkest
ridges. Then, use brown mixed areas and painting the
with burnt sienna for the shadows. smaller details.

RUSTY AND Rusty metal

UNPOLISHED METALS

Metal that is left outdoors

is bound to show rust in some
areas; in time, this rust will alter
the metal's color and texture.

You are going to paint the

foreground edge of this metal
container where you can clearly
see the effects of the rust.

1. Apply a soft, gray wash over
entire sheet of paper. Develop the
colors in wet to allow the pigment
to spread; use a mixture of
cerulean blue, burnt sienna,
and a touch of vermilion. Paint
the small dots and straight lines
in burnt sienna and alizarin
crimson.
the 2. Mix turquoise with burnt
sienna to produce a gray for the
front of the container. Then,
paint the shadow on the right
in burnt sienna with a little
cobalt blue.

3. Paint the darkest parts of the edge using a mixture of

indigo and Vandyke brown, and continue to work on
the stains with rust red.

4. This final illustration shows that you need to make some small
adjustments and paint a few of the larger rust stains with
a highly diluted brown glaze.
 Topic Finder

Other Materials and

Accessories 32
Other Materials 32
• Pencils 32
• Watercolor Pencils 32
- MATERIALS AND TOOLS • Unsized Paper 17 • Charcoal 32
Recycled Paper 17 • Felt-tip and Ballpoint Pens ... 32
Paint 6 Wrapping Paper 17 • Bamboo Sketching Pens .... 32
Components 6 Newsprint Paper 17 • Nibs 32
Pigments 6 • Board 17 • Erasers 32
Characteristics 6 • Colored Paper 17 • Ruler and Drawing Triangles . . 33
Binders • Cotton Rags 33
Paints on the Market Brushes 18 • Paper Towels 33
• Tubes 7 Parts of a Brush 18 • Blotting Paper 33
• Pans 8 • The Handle 18 • Adhesive Tapes 33
• Liquid Watercolors 8 What Is a Brush? 18 • Thumbtacks 33
• Dry Pans 8 How does a Brush Work? 19 • Staples and Stapler 33
• Quality 8 • The Ferrule 19 • Clips 33
Color Chart 9 A Little History 19 • Scissors 33
Tubes or Pans? 9 • The Hairs 19 • Craft Knives 33
Types of Fibers 20 • Blades 33
Paper 10
• Sable 20 • Cotton Swabs 33
Composition 10 Which Type of Hair? .... 20 • Wax 33
Weight 1
• Squirrel 20
• India Ink 34
Qualities 1
• Mongoose 20
• Goat 20
• Fixative 34
• Student Grade 1 • Roller 34
• Medium Grade 1
• Ox Hair 20
• Imitation Sable Hair 21
• Sponge 34
• Top Grade 1
Other Accessories 34
• Hair Blend 21
• Other Papers 1
• Masking Fluid 34
Characteristics 1
• Synthetic Hair 21
Natural Hair and • Gum Arabic 34
Commercial Presentations .... 12
Synthetic Hair 21 • Watercolor Medium 35
• Sheets 12
• Pony Hair 21 • Oxgall 35
• Rolls 12
• Bristle 21 • Aquapasto 35
• Pads 12
• Blocks 12 Types of Brushes 22 • Alcohol 35
• Round Brushes 22 • Glycerin 35
• Postcards 12
Types of Paper 12
• Flat Brushes 22 • Varnishes 35
• Satiny Paper 12
• Flat-tipped Brushes 22
Formats 12
• Fan Brushes 23
• Flat Wash Brushes 23
Geler, Satiny 12
Arches, Satiny 12
• Filbert Brushes 23 TECHNIQUES IN WATERCO-
• Fine-grain Paper 12
• Japanese Brushes 23 LOR
Size 13
• Bell-shaped Brushes 23
• Absorbent Brushes 23
Arches 13 Stretching Paper 36
Fontenay (Canson) 13 Brush Numbering System .... 24 Why Stretch the Paper? 36
Guarro 13 Thin vs. Thick 24 First Step: Wetting and Flattening
(Winsor
Artists' & Newton) 13 Why so Many Thicknesses? . . 25
.
the Paper 36
Fabriano 13 Second Step: Taping the Paper . . 36
Types of Texture 13 Boards, Easels, and Cases . . 26
Final Step: Drying the Paper and
Suggestions 14 Boards 26
Removing the Tape 37
Whatman Fine-grain 14 Boards and Easels 26
Alternatives: Other Ways of
• Medium-grain Paper 14 Easels 26
Stretching the Paper 37
Montval (Canson) 14 • Table-top Easel 27
• Portable Metal Easel 27 Dry Stretching: Other Methods 37
Guarro 14
• Sketch Box 27 Treating the Paper: Gesso .... 37
Schoeller 14
• Portable Wooden Easel 27
Whatman 15
• Coarse-grain Paper 15 Paint Boxes and Cases 28 Using the Brush 38
Arches 15 Large and Small Boxes ... 28 The Brush: How to Hold It ... 38
Fontenay (Canson) 15 Folding Seats 29 Accuracy: The Maulstick 38
Guarro 15 Print Rack 29 Moisture: Squeezing Out Paint . 39
(Winsor
Artists' & Newton) . 15 Advice: How Many Brushes to Buy 39
Fabriano 15 Containers, Cups, Care of Brushes: How to Clean
Schoeller 16 and Palettes 30 Them 40
Whatman 16 Containers 30 Maintenance: How to Store
• Handmade Paper 16 Cups 30 Brushes 40
Other Tapers 16 Palettes 31 Bad Habits: Things Not to Do . . 41
• Japanese Paper 17 • Palette Boxes 31 Versatility: Brushstrokes 41
 Topic Finder

o
One Color 42 Reserves 62 Pointillism: Color Impressions . . 79 ^
Reserves: During Painting .... 62 Transfers: Transferring Textures 80 o
How to Apply a Uniform Wash 42 Reserves: Using Masking Fluid . . 62 Transfers: Transferring Color ... 80 qj
Mixing the Color
In Preparation: 42 .81
Reserves: Using a Nib 63 Transfers: Distorting the Image ^
The Wash: Applying the Paint . . 42 Reserves: Using Wax on Fine-grain Dry Brush: Lacelike Glazes .... 81 £
Wrong Tone: Correcting a Wash . 43 Paper 64 Dry Brush: Fanning Out the Hairs 81 ^
Gradated Washes 44 Reserves: Using Wax on Washing: Ink and Color 82 ~
On Drv: Steps for a Gradated Coarse -grain Paper 64 Painting with Blotting Paper
. . . . 82 lu

Wash Reserves: Using Gouache 65 Painting with ... A Potato .... 83 q

on Dry Paper 44 Reserves: Using Masking Tape . . 65 Painting with Your Fingers
. . . . . 84 2
On Wet: A Gradated Wash on Reserves: Using Paper 66 Painting with ... A Toothpick . . 84 I
Wet Paper 44 Reserves: Using Gum Arabic ... 66 Painting with ... A Strip of Wood 85 lu
Painting with Cotton Swabs 85
What Tone? 45 Lifting Out Paint 67
. . . .

Is
Lifting Out Wet Paint: With a
Painting with ... A Roller .... 86 3
Building Tones 45
Clean Brush 67
Painting with ... A Comb .... 86 O
Tones: Lightening Values by Painting with ... A Toothbrush 87 <
Diluting the Paint 45 Lifting Out Wet Paint: With a
Sponge 67
Painting with ... A Knife .... 87 -i
Tones: Creating a Tonal Scale by
Superimposing Glazes 46 Lifting Out Wet Paint: With a
The Sponge 88
Cotton Swab 68
46 Uses 88
Painting with Washes Lifting Out Wet Paint: With
Painting Large Areas: Applying a
One Color: Smoke Black 46 Absorbent Paper and
Color: Underpainting 47 Wash with a Sponge 88
Blotting Paper 68
Effects:Suggesting Forms and
Lifting Out Wet Paint: With a
Textures 89
Two Colors 48 Credit Card 68
What Is a Variegated Wash? ... 48 Lifting Out Wet Paint: With Other Line Drawing 90
Exercise: How to Paint a Gradated, Objects 69 Materials 90
Variegated Wash 48 Lifting Out Dry Paint: With a
Technique 90
Another Method: A Wash with Brush and Absorbent Paper . . 69 After Painting: Drawing over the
Several Colors 48 Lifting Out Dry Paint: With Painting 90
Two Colors: a Brush 70 Before Painting: Painting over the
Orange and Black 49 Lifting Out Drv Paint: Scraping
Drawing 91
'
with a Blade 70
Three Colors 50 LiftingOut Dry Paint: Using Shadows 92
Light-Colors 50 Sandpaper 71 Characteristics 92
Pigment-Colors 50 White by Other Techniques: Technique 92
Primary Colors: Watercolors ... 50 Gouache or Chinese White ... 71 Shadows: Light without Shadow . 93
Secondary Colors: A Mixture of Shadows: Shadows at Sunset ... 93
Primary Colors 51 Tricks of the Trade 72 Shadows: Sketching the Shadows
Tertiary Colors: A Mixture of Using Untraditional Techniques . 72 Before Painting 94
Primary and Secondary Colors . 51 Water 72 Shadows: Developing the Shadows
Contrast: Complementary Colors 52 Water: Lifting Out Color 73 Along with the Form 95
Water: Retouching with Water . . 73
All the Colors 53 Light
Complicated Edges: A Pencil Line 96
Range: Cool Colors 53 Technique 96
as a Barrier 73
Range: Warm Colors 53 The Direction of the Light .... 96
Complicated Edges: Outlining the
Range: Neutral Colors 54 96
Edge 74 Exercises
Glazes: Mixing Colors 54 Color: Front Lighting 96
Complicated Edges: Painting
Superimposing 55
Upside Down 74 Volume: Side Lighting 97
Fifteen Colors: Suggested Palette 56 Complicated Edges: Straight Lines . 74 Mysticism: Overhead Lighting . . 98
Primary Colors: Exercise in Three Mystery: Lighting from Below 99
Complicated Edges: Softening Edges . .

Colors 57 with a Brush 75

Complicated Edges: Softening Edges Atmosphere 100
Wet and Dry 58 with a Cotton Swab 75 The Keys to Painting the
Gum Arabic: Intensifying Colors 75 Atmosphere 100
Wet-on-Drv Watercolor 58 .

Gum Arabic: Defined Brushstrokes 76 Glazes: Representing the Atmosphere

What Are Hard Edges? 58
Gum Arabic: Body and Consistency 76 by Superimposing Tones .100
How to Correct Hard Edges ... 58
. . .

Soap: Textures 76 Contrasts: Painting the Atmosphere

Wet-on-Dry Watercolor: Painting
Opaque Color: Effects 76 with a Single Glaze 101
on Dry Paper 59
Solvents: Using Turpentine as
Wet Areas 59
Wet-on-Wet Watercolor 60
Resist 77 WATERCOLOR SUBJECTS
Solvents: Opening ColorsUp . . 77
Degree of Moisture 60 Salt: Different Textures 78
Wet-on-Wet Watercolor: Painting on Skies 102
Spattering: Splashes of Color ... 78
Dampened Paper Skiesand Light 102
61 Large Spatters: Mouth-blowing
Technique 102
Method 78
White 62 Large Spatters: Hair Dryer Method 78 Clear Skies 102
Two Methods 62 Spattering: With a Toothbrush . . 79 Clear Skies: Sunset 103
 Topic Finder

Cloudy Skies 103 Trees: A Pine Tree 116 Animal Textures 130
Cloudy Skies: Clouds and Sunlight 104 Trees: Magnolia 116
Skin 130
Cloudy Skies: Low-hanging Clouds 104 Trees: Weeping Willow 117
Skin: Bat's Wings 130
Cloudy Skies: Rain Clouds .105
. . . Trees: Palm Tree 118
Skin: Elephant Hide 131
Cloudy Skies: Fast-moving Clouds 106 Trees: A Tree in Full Bloom ... 1 18
Skin: A Shark's Belly 131
Night Skies 106 Meadows and Fields 119
Hair 132
CO Night Skies: Night over a Marsh . 107 Meadows and Fields: A Plowed
A
LU Hair: Giraffe 132
D Night Skies: A Fiery Sky 107 Field 119
Hair: A Zebra 132
g Meadows and Fields: An Hair: A Bear 133
z Water 108 Unplowed Field 119
X
u Technique 108 Meadows and Fields: Field of Scales 134
Poppies 120 Scales: An Alligator 134
Still Waters 108
Scales: An Iguana 134
Still Waters: Calm Water Without Grass 120 A Red Mullet
Scales: 135
Reflections 109 Grass: Tall Grass 120
The Color of the Sea 109 Grass: Cut Grass 121 Feathers 136
Still Waters: Reflections in the Grass: Dry Grass 121 Feathers: A Rooster 1 36

Water 110 Feathers: A Parakeet 136

Flowers 122 A Macaw 137
The Color of Reflections ... 110 Feathers:
Still Waters: Reflections at Night .111 Flowers: A Gladiolus 122
Still Waters: Calm Water at Sunset 111 Flowers: A Bouquet 123
Glass 138
Flowers: Sunflowers 123
Characteristics 138
Moving Water 112
Glass: Colored Glass 138
Moving Water: Gentle Waves Flesh Tones 124
Along the Shore 112
Glass: A Vase 139
Watercolor and the Figure .... 124' Glass: Mirrorlike Windows .... 139
Moving Water: Waves in the
The Color of Flesh 124
High Sea 113
Technique 124
A Wave Breaking .113
Metals 140
Moving Water: Flesh Tones: Flesh Skin in Characteristics 140
Special Tones 125
Vegetation 114 Flesh Tones: Delicate Skin .... 126 Polished Metals 140
Diversity 114
Flesh Tones: Weathered Skin ... 126
Polished Metals: A Silver Ring . . 140
Technique 114 Wet Skin 127
Flesh Tones: Rusty and Unpolished Metals . 141
The Color of Vegetation ... 114
Flesh Tones: Wet Skin under the Rusty and Unpolished Metals:
Trees 114 Sun 128 Aged Brass 141
Trees: Cypress 115 Flesh Tones: Hair 128 Rusty and Unpolished Metals:
Trees: Fig Tree 115 Flesh Tones: A Group 129 Rusty Metal 141

Original title of the book in Spanish: Todo sobrc la tecnica de la Library of Congress Cataloging-in-Publication Data
Acuarela.
© Copyright Parramon Ediciones, S.A. 1997 World Rights — Todo sobre
la tecnica de la acuarela. English.
Published by Parramon Ediciones, S.A., Barcelona, Spain. Allabout techniques in watercolor / [author, Parramon's
Author: Parramon's Editorial Team Editorial Team ; illustrators, Parramon's Editorial Team].
Illustrators: Parramon's Editorial Team p. cm.
ISBN 0-7641-5046-4
© Copyright of the English edition 1997 by 1. Watercolor painting —Technique. I. Parramon Ediciones.
Barron's Educational Series, Inc. Editorial Team. II. Tide.
ND2420.T6413 1997
All rights reserved. 751.42'2—dc21 97-21750
No part of this book may be reproducedany form in CIP
by photostat, microfilm, xerography, or any other means,
or incorporated into any information retrieval system,
electronic or mechanical, without the written permission
of the copyright owner.

All inquiries should be addressed to:

Barron's Educational Series, Inc.
250 Wireless Boulevard
Hauppauge, New York 1 1788

International Standard Book No. 0-7641-5046-4

Printed in Spain
Library of Congress Catalog Card No. 97-21750 987654321
 WIH|§if N
MmNo mKpeopwfo of ttit
Boston Public Library.
Sale of this material benefited the Library
ft
if.

GAYLORD F
 ooks in Barron's All About
v Techniques series have been

^ ^ mitten for advanced art

students and experienced amateurs. Tlicy

explain the fundamentals of art theory,

then proceed to give step-by-step advice

on the methods you must master to create

complete, highly finished artworks.

-

All About Techniques in Watercolor

explains the paints, papers, brushes and

other materials. You are given a compre-

hensive art course, starting with basic

instructions for preparing paper, brush-

work technique, and color theory. The

ABOUT
advice and exercises that Jol low will carry

you to the point where you'll be able to techniques in

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instructions are given for handling specific

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