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This distinctive medium is not without its share of challenges. Many find
watercolors difficult to control, and if your first experience with painting
was with an opaque medium (oils, acrylics, or tempera), the process of
watercolor painting can feel "backwards".
Quality matters. The materials that you use greatly influence the results
that you can expect. Many artists decide to purchase cheaper brands in
order to "see if they like it", before committing a few more dollars to
higher quality paints. While this is a good approach to some mediums,
watercolor is different. There is a broad spectrum of quality.
The weight of the paper refers to the weight of one ream of paper (500
sheets). The heavier the paper, the better suited it is for watercolor
applications. I recommend using paper that is at least 140 lb. (300 gms).
You can usually find this information clearly labeled on the front page of a
pad.
Individual sheets of paper are also available and are usually watermarked.
While some argue which side of the paper is best for use, I have found
that it really is a personal choice and either side will produce quality
results.
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Watercolor papers are produced as cold press, hot press, or rough. These
designations refer to the process used to make the paper. Cold press
papers are pressed on cold cylinders. Hot press papers are pressed on hot
cylinders. Rough papers are pressed without the use of cylinders.
The texture or tooth of the paper is affected by the process. Hot press
papers are smooth, while cold press papers have a well-defined tooth.
Rough papers, as the name implies, feature the strongest texture.
If the wrong paper is used, buckling can occur. While many manufacturers
produce papers that are labeled as "watercolor paper", using this paper
does not guarantee that the paper will not buckle. The best indicator is the
weight of the paper. The paper pictured below is labeled as "watercolor
paper", but will buckle when watercolor is applied. As you can see, the
weight of the paper is only 108.1 lbs. (160 gms).
More on watercolor papers can be found here.
In order to ensure that graphite marks are hidden, sketch lightly with an
"HB" pencil. Avoid shading and concentrate on developing the contour
lines. Softer pencils (2B, 4B, etc.) will produce lines that may be too dark,
while harder pencils (2H, 4H, etc.) may create grooves in the surface of the
paper.
Graphite applications can be gently lifted with a kneaded eraser before
painting begins. But once watercolor has been added, it is virtually
impossible to remove graphite marks from the surface.
Brushes for watercolor panting are varied and there are no clear rules for
which brush you should use. However, brushes with softer bristles are
typically preferred. I prefer to use synthetic brushes that are soft, yet
springy enough to provide control. My personal favorite are Grumbacher
Golden Edge watercolor brushes.
Experimentation will often lead to finding the right brush that fits with
your style, but synthetic brushes are good place to start. They are
inexpensive compared to many natural hair brushes like sable.
Stiffer brushes, like hog bristle, are generally reserved for textural effects
and are not used for general applications.
#6 - Loosen Up
Because the vehicle for applying pigment is water, colors will naturally
flow and form interesting shapes. It is often best not to fight this and
instead exploit it. Subjects do not need to be described completely.
Shapes of color and value can be loosely applied, implying the subject.
Allow the paint to "do what it wants" in areas and loosen up with your
applications. While watercolor can be used with a great deal of control, it's
often at its most attractive when used loosely.
As is the case with any painting, or drawing for that matter, color theory
should be considered. While it may be tempting to use every color that is
available to you, it's often best to limit your palette. Look for subjects that
already have a defined color relationship (ie. complementary, analogous,
etc.), or simplify the colors that are observed.
#8 - Layer Washes
While colors can be mixed on the palette before application, optical color
mixing is also an option. One example is to layer a translucent application
of blue over a translucent application of red. The resulting color would
appear violet since the red and blue mix optically.
Once dry, masking fluid can be easily removed by rubbing with a finger or
removing with an eraser. Masking fluid has a nasty habit of ruining
brushes, so it is advisable to use an old brush when applying it to the
surface.
Creating a full range of value means that we should include the full
spectrum of darks and lights in a painting. With a color painting, this
means that we should be sure to use darker values of colors as well as
lighter versions.