INTRODUCTION

Watercolor

LEC 0.1
LECTURE CONTENTS
1. Introduction

2. Materials

3. Watercolor Techniques
INTRODUCTION
 Watercolor was used in the past by the
Egyptians on papyrus and by the Chinese on
silk, it gradually evolved to become an important
medium on paper.
INTRODUCTION
 Winslow Homer
-it was during his time that watercolor became a
medium to be handled directly on the spot in a
broad manner.
Winslow Homer 
(February 24, 1836 – September 29, 1910)

-was an American landscape painter and printmaker,

best known for his marine subjects.

-He is considered one of the foremost painters in

19th-century America and a preeminent figure in
American art.
MATERIALS
WATERCOLOR
PAINT

PAPER

BRUSHES
WATERCOLOR PAINT

HALF-PAN
can be bought individually or
in paint boxes. They are small
and portable, so useful for
painting outdoors
WATERCOLOR PAINT

TUBE PAINTS
Tubes of paint are usually
stronger than pans. They
squeeze easily onto a palette
and are quick to mix, making
them good for large washes.
WATERCOLOR PAINT

PAINT BOXES
are a convenient way of
storing and transporting half-
pans or pans. The lids can be
used as palettes.
 PAPER
 Paper is made from
linen or cotton fibers
or wood pulp.

 Lighter weight papers

have less size so may
need to be stretched
first to keep them
from buckling.
TYPES OF PAPER

ROUGH PAPER
 has a heavy
texture. It is very
versatile and good
for a wide range of
effects.
TYPES OF PAPER

HOT PRESSED PAPER

 is smoother than
rough paper but is
still textured. It is
the best paper for
general use.
TYPES OF PAPER

COLD PRESSED PAPER

 is very smooth. It
is good for detail
but is best avoided
by beginners.
TYPES OF PAPER
TONED PAPER
 As watercolors are
transparent, they
work best on white
paper, although most
papers have a slight
tint. Toned papers
affect the color of the
paint.
TYPES OF PAPER
WATERCOLOR BLOCKS
 Blocks of paper are
good for using on
location, as you do not
need a drawing board.
They are glued on all
four sides, so do not
require stretching.
PAINT ON PAPER
COLD PRESSED PAPER
 Washes are difficult to
control on this paper
and tend to dry with
hard edges on the top
of the slippery
surface. This paper is
better for a more
linear subject.
PAINT ON PAPER
HOT PRESSED PAPER
 This is the easiest
paper to use as the
surface is good for
broad, even washes.
This type of paper is
also suitable for
paintings with fine
detail and brushwork
PAINT ON PAPER
ROUGH PAPER
 This paper can be
quite difficult to use
but reacts well to a
bold approach.
Washes are often
broken by the paper’s
surface, which is
useful when a
textured effect is
desired.
STRETCHING PAPER
Lay the paper, right side up,
on a strong wooden board.

Squeeze clean water from a

sponge onto the paper so
that it is thoroughly wet.

Tip the board to let any

excess water run off.
STRETCHING PAPER
Stick each side of the paper
down with damp gummed
tape, overlapping it at the
corners. Smooth the tape
with a sponge. Let the
paper dry naturally so it
becomes flat. Keep the
paper on the board until
your painting is finished. .
BRUSHES
1. Round brushes are
conical and can be
shaped into a fine point.

They are numbered: the

larger the brush, the
higher its number.
BRUSHES

2. Flat brushes are wide

and have straight ends.

Their size is given by an

imperial or metric
measurement.
 BRUSH STROKES
Try holding your brushes at different angles and varying the
speed and pressure of your brushstrokes to create a variety
of marks, as below.
 TECHNIQUES

The most basic water color technique is the

wash.
1. FLAT WASH
It is produced by first wetting the area of
paper to be covered by the wash, then mixing
sufficient pigment easily fill the entire area.
 TECHNIQUES

2. GRADED WASH
A Variation on the basic wash is the graded
wash. This technique requires the pigment to be
diluted slightly with more water for each
horizontal stroke.
 TECHNIQUES

3. WET IN WET
Is the process of applying pigment on wet
paper.
- The results vary from soft undefined shapes
slightly blurred marks, depending on how wet
the paper is.
- The wet in wet technique can be applied over
existing washes provided thoroughly dry.
 TECHNIQUES

4. GLAZING
is a similar water color technique to wash -,
but uses thin, transparent pigment applied over
existing washes.

-its purpose is to adjust the color and tone of

the underlying wash.
 TECHNIQUES

5. DRY BRUSH
this process needs a brush loaded with
pigment with not too much water.

the brush is then dragged over completely dry

paper
 TECHNIQUES

6. BLOTTING/LIFTING
As an area dries, you can use your brush to
blot areas back to white by making the paint
spread away
 TECHNIQUES

7. LIFTING OFF
The process of lifting off is- wet the area to
be removed with a brush with clean water and
the blot the pigment away with tissue.
 TECHNIQUES

8. DRIPPING COLOR
This technique is the process of introducing a
color to wet region of the painting and allowing
it to blend bleed and feather without
interruption.
 TECHNIQUES

9. RUBBING ALCOHOL
This technique is the process or dripping some
alcohol on the painted area and the paint will
separate from the area. The dryer the paint the
darker and crisper the edges of the separated
area of white will be.
 TECHNIQUES

9. SALT
Sprinkling salt on the paint creates a sandy
texture. The longer you leave the salt there as it
dries, the more the paint will spread but this
works best the more semi dry the area is.
 END

REFERENCES
WEBSOURCES - PICTURES AND TEXT :
www.watercolour-paintings.me.uk
www.richmond-holidays.com
www.walterfoster.com
www.messersmith.name
www.antique-fine-art.com
www.wetcanvas.com/