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TheEssenceofWatercolour

Belonging33x25cm(13x10in)Watercolouristheperfectmediumforcapturingmomentsintime.

RipeninginTuscany30x30cm(12x12in)Theorganiccoloursandoverlappingtintsofwatercolourbreathelifeintotheapricotsripeningonthetree.

TheEssenceofWatercolour

HazelSoan

Dedication:Toallmyreaders.

Acknowledgements:HugethanksgotoCathyGoslingforherfaithinmywritingandtoKristyRichardsonwhohasbeenajoytoworkwith.ThanksgotoWinsor&Newtonforrespondingtomyquestionssoeffectively.ThankyoualsotoAngelaandJanicefortheirhelpandtoLorraineMcCreeryforthephotoreferenceonhere.Aspecialthankyoutomyhusbandandsonfortheirlove.

Contents

TheAppealofWatercolour

1BeingTransparent

2TheFusionofColour

3TheWayoftheBrush

4PlayingtheRightNote

5PaintingtheLight

6OpenForManipulation

7TheKissofSimplicity

8LearningtoSee

Gallery

WildIntervals25x102cm(10x40in)Watercolourcansuggestsomuchwithinitsgentleevocativeblends.

TheAppealofWatercolour

SunlightbathestheCloisters35.5x51cm(14x20in)Thetransparent,radianttintsofwatercolourconveylightwithamysteryhardtoemulateinotherpaintingmedia.

Itiseasytoseewhywatercolourissoappealing.Thebrillianceofthepigments,thetransparencyofthecolours,theirexoticnames,andtheinfinitevarietyofradiantblends,combinetoofferamediumofunsurpassedquality.Mixedwithwater,laidonpaper,easytocarry,andquicktoapply,watercolourissupremelypracticalforanyonewantingtopaint.Shimmeringlightanddeliciousdarksaretheprovinceofwatercolour,addingtothejoyofworkingwithsuchasatisfyingmedium.Allthesequalitiesarethedistinctivecharacteristicsofthisversatilemedium.Theygiveitauniqueidentityandaretheessenceofwatercolour.

ACaptivatingMedium

ThemoreIpaintwithwatercolourthemoreimpressedIbecomewiththemedium.Itsintrinsicbeauty,andthebrilliance,radianceandtransparencyofitspigments,seemtooffermorethantheopportunitytomakepaintingsofbreathtakingbeauty.Choosingthepigments,brushesandpaperisanaestheticexperienceinitself;mixingcoloursinthepaletteisimmenselysatisfying;makingbrushmarksisathrill;andevenwatchingpaintdrybecomesafascinationastheflowingcoloursblend.Researchingthescienceofwatercolour’sactiononpaperforthisbookhasmademefallinlovewiththemediumevenmore!Soperfectlysuitedtoitspurpose,thelessyouorderitaroundthemoreablyitperforms,andthemoreyouputyourtrustinthematerialsthefinerthereward.

ShoesWithAttitude51x51cm(20x20in)Watercolourhastheabilitytotransformsomethingordinary–eventheseshoes–intosomethingmagical.Thetransparent,fresh,brilliantcoloursmakesthislovelymediumsoappealing.

ABigHatinOxfordStreet15x15cm(6x6in)Thegentlediffusionofcolours,theuntouchedwhitepaperforthehighlights,andtheirregularedgetothebrushstroke,arethreeofwatercolour’smost-lovedcharacteristics.

LayitandLeaveitYet,withallthesebenefitswatercolourremainsaverychallengingmedium.Whenconfrontedwithasheetofwhitepaperthereisoftenfearinthefirstbrushstroke,theadrenalinepumps,thestomachchurns,anxietyishigh.Why?Unlikeoilsoracrylics,watercolourisessentiallyakineticmedium–thewet

pigmentsmoveonthepaper.Thismeansthepaintermaynotalwaysfeel,orbe,incontrolofthemediumandthiscanbeintimidating.Onceyouunderstandwhatmighthappen,however,youcanharnessthisactionandencourageittoheadinthedirectionyoudesire.Soonyouwilltrusttheperfectedpigments,silkysablesandtactilepaperstoupholdtheirpromise,andtheresultsreflectedinyourpaintingswillincreaseyourconfidence.Watercolourwelcomesdecisiveness,itdoesnotreallylikeprevarication.My

mottohasbecome‘Layitandleaveit’.Planthepainting,mixthepigment,laythebrushstrokesandthenleavethewatercolourtoworkitsownmagiconthepaper.

Thisistheessenceandartofwatercolourpainting.

CastlesintheSand13x18cm(5x7in)Manyofthedelightfuleffectsofwatercolouroccurafterthebrushhasleftthepaper.

FullofSurprisesWatercolouroftensurprises.Itisnotanexactscience.Theartistsetsthepaintinginmotion,buttheoutcomeisnotcertain.Thewatercolourtakesonalifeofitsownandanythingcanhappen.Sometimestheresultsurpassestheartist’shopes,butthereisalsotheriskoffailure–thisisallpartofthethrill.Theaimofthisbookistohelpyougainconfidencethroughgreaterknowledgeofwhatyoucanexpectfromthisremarkablemedium.Toencourageyoutoexploitthepropertiesofwatercolourtothefullandtomakeyoulessafraidofstrengthofcolourandbrazenbrushstroke,practisethetechniquesusingthe‘Explore’spreadsattheendofeachchapter.Knowinghowtoachieveclarity,transparencyandradiancewillputyouinthedrivingseat.

Fynbos(detail)7.5x10cm(3x4in)Saltdroppedintoawashcreatesdelightfulpatternsasthewaterevaporates.

TheThrilloftheChaseMyunderstandingofhowwatercolourbehavesisgleanedthroughmanyyearsofpractice,andIamstilllearning.IdonotbelieveIcanconquerthismediumanditisthatchallengethatkeepsmyadrenalinerunninghighwhenfacedwithasheetofwhitepaper.AlmosteverypaintingImakeisanexperiment,achancetofindoutsomethingmoreaboutwatercolour.Ilovethismedium.Ilovetheintenseconcentrationitdemands,theblissofbeingtotallycaughtupinthepainting,thelureofsuchbeautifulcolours,suchsensuousbrushes,suchtemptingpaper.Formethetimespentmixinginthepalette,waitingfortherightmomenttoaddeventhetiniesttouchofpigmentisjustasexcitingasmakingthebrushstrokesonthepaper.Thefinishedresultisnomoreimportantthanthejoyofthepaintingprocess.

Valetta25x35.5cm(10x14in)Theimmediacyofblendedcolourscouldberuinedifthispaintingwastakenanyfurther,eventhoughinmyplanningithadonlyjustbegun!Themediumofwatercolourissodynamicthatapaintingcanbeconsidered‘finished’atanystage.

1BeingTransparent

SleepingLions56x76cm(22x30in)Transparentwatercolourbestowsawarmglowontheselionessesdozingintheshade.

Thetransparencyofwatercolourisitsmostintriguingasset.Rich,exoticpigments,dilutedwithwaterandlaidonpaper,glowasiflightitselfemanatedfromthemyriadhues.Therearedozensofjewel-likecolourstochoosefrom,eachwithdifferentlevelsoftransparency,andthewhiteofthepaperoffersalight-reflectingbackgroundtoaddtotheirbrilliance.Thesheervarietyisatreasure-trovefortheartist,butcanalsoleadtomisapplicationandconfusion.Learninghowtousethesepropertiestoyouradvantageistheintendedaimofthischapter–tomaketransparency,transparent!

ResonantPigments

Watercoloursaremadebycombiningfinelygroundpigmentwithabinder,usuallygumArabicfromtheacaciatreesofAfrica.Whentheartistaddswaterthebinderdissolves,carryingtheparticlesofpigmentinsuspensionandenablingthepaintertospreadcolourfreelyacrossthepaper.Thewaterevaporatesandthegumdries,providingadhesionforthepigmentuponthesurfaceandallowingtheartisttoapplylayeruponlayerofresonatingcolourswithoutdisturbingthecoloursunderneath.Lightshinesthroughthepigmentlayersandisreflectedbackfromthewhitepaper,creatinganextraordinaryanduniqueradiance.Someofthepigmentparticlesalsocauserefractionofthelight,addingtotheluminosity.

Theradianceofwatercolourisapparenteveninthepalette.HerethetransparentcoloursPrussianBlue,IndianYellow,Aureolin,PermanentRoseandWinsorVioletmingletogethertomakeawealthofsecondaryhues.

ThetransparentcoloursUltramarineBlue,PermanentRoseandAureolincanbeoverlaidandcontinuetomaintaintransparency.

Manyofthevibrantpigmentsmadefrommetalparticles–forexample,CadmiumsRed,OrangeandYellow,CobaltBlue,CeruleanBlueandManganeseBlue–areopaque.

TransparentorOpaqueAllwatercoloursaretransparentwhendilutedwithwater,butsomearelesstransparentorevenopaqueintheirconcentratedform.Thetransparentpigmentsremaintransparenthoweverthicklytheyaremixed.Theyarebrightandclearandcanbeoverlaidinsuccessiveglazeswithoutlosingtransparency.Theycanbemixedtogetherwithoutlosingclarityand,inconcentration,formdeep,cleardarks.Theopaquecoloursarestrongorbrilliantinhueandhavegreatcoveringpower.

Theycanbeusedtoaddbrilliancetoawashorchangethetoneofapicture.Theiropacityinadenseformmeanstheycanoverridedarksandrestoreareasoflight.Becausetheyareopaquetheywilllessenthetransparencyofamixandreducetransparencyinlayering,soifmisusedtheycancausedullormuddycolour.Togettoknowthepropertiesofacolour,rinseoffsmallamountsfromthe

brushinajarofcleanwater–transparentpigmentswilltintthewater,opaquepigmentswillturnitcloudy.

BrillianceandRadianceRadiancerequiresthegleamofreflectedlight,soatransparentcolourisbetterabletodeliverthemostradianthues.Theopaquecolours,especiallytheCadmiumcolours,arerenownedfortheirbrillianceandbrightnessofcolourand

thereforesupplythemostbrillianthues.Sinceallcoloursintheirdiluteformaretransparentitisonlywhenitcomestotintingandlayeringthatyouhavetobeawareoftransparencyoropacity.Goodqualityartists’watercoloursusealettercodetoindicatehowacolourwillperform:T(Transparent),ST(SemiTransparent),SO(SemiOpaque),O(Opaque).

ByAnyOtherName15x20cm(6x8in)Theradianceofafragileroseismatchedbytheradianceofthreetransparentwatercolours,IndianYellow,PermanentRoseandPrussianBlue.

TheRaceIsOn40.5x35.5cm(16x14in)TheopaquecoloursCadmiumRed,CadmiumYellowandCobaltBluedeliverbrillianthues.

LayeringColourWatercolourscanbemadeupofsuccessivelayersoftransparentcolour,creatingawidervarietyoftonesandhuesfromveryfewcolours.Subtleandvibrantsecondaryandtertiarycoloursarecreatedfromoverlappinglayers,oftenhavingamoreluminousappearancethanifthecoloursweremixedtogetherinthepalette.Theamountofwaterandthetransparencyoropacityoftheoverlayingcolour

determineshowmuchitalterstheundertone.Theorderofapplicationalsovariestheresultingcolour–thusagreencreatedfromablueoverayellowwilldifferinhuefromthesameyellowpaintedoverthesameblue.Thisdifferenceisevenmorenoticeablewhenlayeringwithopaquesastheyhavemorecoveringpower.

InAdvanceofaVegetableSoup35.5x46cm(14x18in)Radianceinthefirstlayersofawatercolourisaportentforthesuccessofthefinishedpainting.Justafewcolourswerechosentomakethepainting,buttheoverlappingwashesmakemanymorehuesandtones.

MyriadHuesandTonesBuildingintransparentlayerscreatesamyriadofsubtlehuesandtonesacrossthepainting:ideallynolayercoverstheexactsameareaasapreviousoneandsomecharmingeffectsarecreatedbyleavingcertainpartsofaprecedingwashuntouchedbythenext.Ifyourfirstwashturnsouttobeatimidversionofanintendedcolour,leave

somethingoftheundertoneuntouchedbythenextanditwillnotbewasted.

StainingThepigmentsofmanywatercoloursstainthepaperandcannotbeliftedoff.Theseareparticularlygoodformakingtransparenttintsastheircolourcannotbedisturbedbysuccessivelayering.StainingcoloursareratedwiththecodeST,andincludemodernorganiccoloursandtraditionalpigmentssuchasPrussianBlue,AlizarinCrimson,AureolinandPermanentRose.

TheHillsAreAlive10x20cm(4x8in)ThestainingpropertyofPrussianBluemakesitanidealchoiceforsuccessivelayersofcolourinthissketchofrecedinghillsbesideanItalianlake.

WatchingPaintDryToensureunsulliedtransparencytheunderlyingcolourmustbecompletelydrybeforeanotherlayerisbrushedoverthetop.Thisisofparamountimportanceandmayrequiretheutmostpatience.Thispointcannotbeemphasizedenough;impatiencehasruinedmanypromisingwatercolours.Thebestwaytocheckpaintisdryistoviewthepaperfromananglewherethe

lightshinesonthesurface–ifitisdampitwillshine,ifitisdryitwillbematt.Ifthepaperisbuckledthenthewatercolourisalsoprobablystilldrying.Avoidthetemptationtotouchyourpapertocheckhowdryitis;firstlyyouwilldisturbthesettlingpigmentifitisnot,andsecondly,ifitis,youwillbetransferringgreasefromyourfingertothepaper.Besurethepaintisdryandthenwaitalittlelonger:muchofawatercolourist’s

lifeistrulyspentwatchingpaintdry!

Slumber30x40.5cm(12x16in)Thelioness’sheadisconstructedwithlayersoftransparentcolours.SuccessivebrushmarksofdiluteYellowOchreandPrussianBluewereonlyappliedwhenpreviouslayersweredry,thuskeepingthewashesundisturbedandthecoloursclean.

RegentStreet30x30cm(12x12in)InthisstreetsceneIndigo,Sepia,CadmiumRed,IndianRedandCeruleanBlue,allopaquepigments,remainvibrantandtransparentinasinglelayeringofthecolours.

MaintainingTransparencyToomanylayersofpaintwilleventuallykillofftransparency,aslightnolongerpermeates,soitpaystospendtimemixingcoloursinthepaletteandtobedecisive.Avoidthetendencytostrengthenordarkenatonebyapplyingrepetitivelayersofdilutepaintasthishastheeffectofdeadeningcolourratherthandeepeningit.Thevibranttransparencyoftheinitialwashonthewhitepaperisusedtogreatadvantagebythewet–in-wettechniqueofaddingcolourstothewetpaintandallowingthemtomingleinasinglelayeronthepaper.Thistechniqueisdiscussedindepthinthenextchapter.

Red,YellowandBlueUsingafewcoloursisthesurestwaytolearnaboutcolourandguaranteesharmonyinapainting.IntheWinsor&Newtonrangethethree‘primaries’are

classedasWinsorLemon(ST),WinsorBlue(T)andPermanentRose(T).Thistrioincludestwotransparentpaintsandasemitransparent/opaqueone,whichisagoodruleofthumbforathreesome.Chooseanythreecoloursthatleantowardsared,blueandyellowtomakeversatilecolourcombinations.Overlayorblendthetransparenttintstomakeinterestingsecondaryandtertiarycolours.Donotbeafraidtousetransparentcoloursbrazenly;ifyouendupwithgarishcolouryoucaneasilymuteitbyapplyingatintoftheoppositecolour.

ChoosingYourPaletteToensuretransparencyinyourwatercolourserronthesideofusingthetransparentcolours.Forexample,ifyounormallyuseLemonYellow(O)andCadmiumYellow(O)swapthemforAureolin(T)andIndianYellow(T)tomaketransparentfoliagegreens.Savetheopaquesforpullingpunchesofbrilliantcolour,blendthemwet-in-wet,orusethemforaddinghighlights.Familiaritywiththecoloursisanintegralpartofpainting.Limityourchoicetoaroundtwelvecoloursandgettoknowthemwell.

BrolliesattheBank30x30cm(12x12in)Versionsofablue,redandyellow–here,PrussianBlue(T),CadmiumRed(O)andRawUmber(T)–makeahappycombinationofthreecolours.Theblueandredmixtogethertomakealovelyblack.

SplashingOut76x56cm(30x22in)Flowersareagreatsubjectforgettingtoknowyourcolours.ThisdisplayofferedthechancetocomparetransparentWarmOrange(T)withopaqueCadmiumOrange(O),andtheopportunitytotrydifferentviolets:CaputMortuumViolet(O),UltramarineViolet(T)CobaltViolet(ST)andPermanentMauve(T).

BigHippo56x71cm(22x28in)Totraptheheatinthispaintingthehippowaspaintedwithwarmandcoolreds,plusawarmblueandwarmbrown.ThecolourswereCadmiumRed,AlizarinCrimson,UltramarineBlueandBurntUmber.

TailsintheAir23x30cm(9x12in)Thewarthogs,withtheirpredominanceofPrussianBlue,appearmuchcoolerincolourtemperaturethanthehippointhepaintingopposite.

TheTemperatureofColourColoursareaffectedbytheircolourbias,knownascolourtemperature–warmcoloursveertored,coolcoloursleantoblue,orred’soppositecolour,green.Thewaycoloursaredescribedindicatestheirhueandtheircolourbias,soAlizarinCrimsonisdeemedacoolredbecauseitisaredhueveeringtowardsblue.UltramarineBlueisawarmbluebecauseitleanstowardsred.Tomakethebrightestmixturesandtoproducetheclearestlayeringof

transparenttints,combinecoloursofthesametemperature.Thusabrightorangecouldbemadewithawarmred(CadmiumRed)andawarmyellow(IndianYellow).Abrightgreencouldbemadefromacoolyellow(Aureolin)andacoolblue(PrussianBlue).Sincemixingoroverlayingcoloursoflikebiasgivesyouthebrightestversionof

acolour,soitfollowsthatmoresubtlecoloursareachievedbymixingoroverlayingcoloursofoppositebias.Acombinationofacoolandawarmcolourmeansameasureofeachofthethreeprimarieshasbeenincludedinthemix.Thisisespeciallyhelpfulwhenmixingfoliagegreens–forinstance,PrussianBlue(cool)andBurntSienna(warm)makeadelicious,non-garish,transparentgreen.ThecoloursIuseregularlyarelistedbelow.Mostofthemaretransparentand

thereisacoolandwarmversionofeachoftheprimarycolours.

COOLCOLOURSAureolin(T)AlizarinCrimson(T)PrussianBlue(T)PermanentRose(T)WinsorViolet(T)Indigo(O)Sepia(O)

WARMCOLOURSIndianYellow(T)CadmiumRed(O)UltramarineBlue(T)YellowOchre(SO)BurntSienna(T)RawUmber(T)BurntUmber(T)

2TheFusionofColour

VibrantCity23x30cm(9x12in)Herethecolourswereaddedintheorderofthespectrum,creatingotherhuesandshadesastheymingled.

Watercolourisrenownedforitsdeliciouspassagesofblendedcolours.Astwocoloursmeetandmergenewcoloursarebornandthedividinglinebetweenthemblurs.Mysteryliesintheseblends–theartistmaylayonthecolours,butasthecoloursminglethereisalwaysanelementofsurprise,andgloriousthingscanhappen.Hereinliescreation:thatwhichtheartistsetsinmotiontakesonalifeofitsownandproducessomethingunexpected.Itisthisthatmakeswatercoloursuchanexcitingandtrulycreativemediumtouseandtobehold.

BlendingColoursTheactionofblendingwatercolouronpaperistermedwet-in-wettechnique.

Beautifuleffectsarecreatedasdifferentpigmentsintermingle.Coloursmustbewellmixedinthepaletteandnottoowatery.Thefirstcolourislaidandtheothercolourorcoloursareaddedbesideorintoitwhilethefirstisstillwet.Thisresultsinthepigmentsblendingonthepaper,creatingnewandundeterminedcolourswherethetwomeetandmerge.

YoungOnes56x76cm(22x30in)Lovelyblendsareachievedwithwet-in-wettechniqueashigherconcentrationsofBurntSiennaandWinsorVioletdiffuseintothelowerconcentrationsofdiluteYellowOchreandPrussianBlue.

WildClash51x76cm(20x30in)VerywetwashesofRawUmber,BurntUmberandPrussianBluewereblendedtogetheronroughkhadipapertodescribetheroundedformsofthesparringelephants.WinsorVioletwasadded,undiluted,forthedarks.

TakingControlImaginewhatisphysicallyhappeninghere.ThepigmentgrainssuspendedinthesolutionofgumArabicandwaterspreadoutwardsintothefirstwash,minglingtogetherwheretheymeettocreateathirdcolour.Theamountofwatermixedwiththepigmentdetermineshowfaronecolourtravelsintotheother–plentyofwaterandthecolourwillrunalongwayintothefirstwash;littlewateranditwillbarelymove.Thisiswherethecontroloftheartistcomesin.Ifyouwanttheaddedcolourtospreadalongwayintothefirstwashmakeawetmixture;ifyouwishtopreventspreadinguselittleornowater.Youhavecontroloverthedistancetheaddedwashwilltravelsimplybyalteringtheamountofwaterinyourmix.

Poise56x76cm(22x30in)ThespotsonthecheetahwereaddedintothewetwashwithneatSepia,straightfromthetube.Thepigmentpicksupthewaterintheexistingwashandisdilutedonthepaper,thuspreventingthepigmentspreadingoutuncontrollablyintomisshapenspots.

TimingTimingiseverything.Ifthefirstwashisverywetthenewwashwillspreadfarintothefirst;ifitisalmostdryitwillnotmoveoutatall.OncedryingoccursthepigmentgranulessettleevenlyintothetopmostlayerofthepaperandarefixedinplacebythegumArabicsothatblendingcannolongeroccur.Disturbingthepigmentgrainsastheyareabouttodrywillresultinunevenwashes,and…mud.Thinkofthepigmentparticlesaspixels,allsettlingneatlyonthepaperinrandombutorderlyspacing.Ifyougoinanddisturbthemastheyaredryingtheywillbunchupintoclumpsandlosetheirevenlie.

JesusBird20x28cm(8x11in)Theundersideofthebird’sbellywastouchedintothedampBurntSiennawashwithveryconcentrated,almostdry,pigmenttoensurethecolourremainedstrongasitpickedupwaterfromthepreviouswash.

IntensityThesecretofblendingcoloursistogoinearlywiththesecondwashorcolourassoonasyoucan,beforedryingcantakeplace,andcontroltheoutwardspreadbylimitingtheamountofwaterintheaddedwash.Thereisalreadywateronthepaperoncethefirstwashislaid,soyouneedless

waterinthesecondwash.Addthesecondwashwhilethefirstwashiswet,usingamixofdrier,moreconcentratedcolour.Itwillbecomemorediluteasitabsorbsthewaterfromthefirstwash.Toomuchwaterinthesecondwashanditwillfloodintothefirstwashandpush

thepigmentgrainsaway,thuscreatingabackrun.Toolittleandthepigmentswillnotmix.Boththesesituationscanberemediedifyouactquickly:addmorepigmentintoawaterywash,andaddmorewaterintodrypigment.Butinbothinstancesdothiscarefully,andbydroppingin,ortouchingin,thewaterorcolour,ratherthanbrushingiton,soasnottodisturbthesettlingpigmentgrains.Thecolourmaylookdarkonthepalette,especiallyonaplasticpalette,sotestitonapieceofpaperfirstbeforeriskingitonthepainting.Rememberthatitistheblendingofdifferentpigmentsthatlookslovely,notthemergingoftintedwater.

AShiftintheLight51x63cm(20x25in)Timingandjudgementareessential.Tocreatethedelicatedarkershadesoftheskintonesrequiredthegentlebrushinginofadrier,darkerversionofthefirstwashwhileitwasstilldamp.Theaimistobrushinthecolourwithonestroketoavoiddisturbingthelieofthewash.

HumidityOnnotwodaysarehumidityortemperatureexactlythesame,soitisimpossibletoofferanexactsciencerelatingtohowmuchpigmenttowateryouneedtomixforanygivenwashorblend.Inhighhumidity,damp,coldorstillweather,paintingstakelongertodrythanonhotandsunnyorwindydays.HencethereasontheEnglishbecamemastersofwatercolour!Inthemorningandevening,thecoolertimesoftheday,evaporationisslower.Ofcourseitispossibletopaintwet-in-wetinallweathersandatanytime,butyouhavetobebetterprepared,abletoworkmorequicklyandpossiblyonasmallerformatonfast-dryingdays.Thisdoesnotmeanitismoredifficult:fastdryingandfastdecisionsoftenmakethebestwatercolours.Thepaperyouusewillalsoaffectdryingtimesandtheamountofwateryoucansafelyplaywithinawashyetstillhavecontrol.Roughpaperstendtodrymoreslowlyandcantakemorewaterthansmoothpapers,

whileheavypapersdrymoreslowlyandcantakemorewaterthanlightpapers.Muchofpaintingisabouttrialanderror.Dryingtimescanonlybeascertainedwhenyoustartpainting.Bepreparedtopractise.

OkavangoDawn20x28cm(8x11in)Thesethreewatercolourswerepaintedunderconditionsofdifferenthumidity.Lookcloselyatthetreesalongthebanksineachpicture.Bythespreadofthepigmentyouwillbeabletotellhowdamp(ordry)theskywashwaswhenthetreesweretouchedinwet-in-wet.

OntheOtherBank20x28cm(8x11in)

TheRiverSeldomWaits20x28cm(8x11in)

SeanandYassenWeathertheStorm33x30cm(13x12in)Thepaperistilteddownwardtodirectthecoloursinthesky.

GravityGravityplaysamajorpartinpaintingwithwatercolour.Ifyouworkflatthepigmentinawashcanspreadevenlyandequallyoutwards;ifyouworkonaslopeorataverticalangle,thewashwillrundownwards.Ifthepaperbucklesthewetcolourwillfollowthedirectionofthedipsandwillpoolinthevalleys,sotakecarehowmuchwateryouuse.Thenatureofwatermakesitpossibletoworkwithwatercolouratanear-

verticalangle.Thewetpigmentflowsdownwards,sodryingoccursfasteratthetopofawashwhilepigmentlevelsincreaseorpoolatthebottom,thuscreatinggradualvariationsoftonewithinonewash.Usegravitytoyouradvantage:tilttheeaselorboardtodirecttheflowof

blendingpaint.

Tiltthepaperbackandforthtoencouragetheminglingofcolours.

Forconcentricshapeskeepyourboardflattoavoidtheactionofgravity.

BlueIstheSky40.5x51cm(16x20in)Theeaselwasangledmoresteeplywhenpaintingthesky,butlaidalmostflatwhentheSepiacentrewasaddedtothesunflower,toavoidmisshapingthepetals.

BackrunsBackrunsarebeautifulwhenyouwantthemandhighlyannoyingwhenyoudonot.Understandwhatcreatesthemandyoucanusethemtoyouradvantageandavoidthemhappeningbymistake.Backrunsoccurwhentoomuchwaterisaddedintoapreviouswash,orexcesswaterpoolsattheedgeofawashandpushesthepigmentbackintothedryingwash.Waterinanaddedwashwillspreadoutintothefirstwash,pushingthepigmentawaywithit,devoidingtheareaofmuchofthecolouredpigment.Beguilingpatternsoftenoccurattheedgeofthebackrun,suchasfeatheredfansordelicatespreadinglinearfingers,patternsyoucouldneverengineer,butlessattractivebackrunscanalsoresultandthesearehardtoobliterate.Ifyoudonotwantabackruntohappen,liftouttheexcessorpooledwaterwiththetipofthebrushorthecornerofasheetofkitchenroll.Soakupthewaterwithoutdisturbingthedryingpaint.Donotpatdry;youwilldisturbthedryingwash.Youcancontroltheextenttowhichabackrunwillspreadbythe

amountofwateryouallowtopoolandbytiltingthepaper.

IntheFootstepsoftheFauves,Collioure20x28cm(8x11in)Thedarkwashoverthesilhouettedtowerwasquitewetandpooledatthebase,formingabackrunabovethelineofthesand.Ifindbackrunsattractive,butiftheyforminadvertentlyleavethemuntilcompletelydryandtrytodisguisethemlater.Messingwiththemwillonlymakethemmorenoticeable.

ExplosioninaPot30x20cm(12x8in)Youcancreatethelookofabackrunbythrowingsaltintoaverywet,pigment-richwash.Thesaltdrawsinthepigment,leavinglighterareasarounditwithafeatheryedge.

3TheWayoftheBrush

TakingFlight56x76cm(22x30in)Theactionofthebrushstrokeenhancestheimpressionoftheswiftmovementofthefleeinggiraffe.

Thetransparencyandradianceofwatercolourisapparenteveninthepalette,butitisonlywhenthepigmentsarebrushedontopaperthattheycanliterallyshowtheircolours.Thefinestinstrumentforlayingwatercolouronpaperisthesablebrush.Whenyoubecomedeeplyinvolvedinapaintingthebrushbecomesanextensionoftheeye,linkedtothesoulthroughthedexterityofthehand.Likefavouritefountainpens,artistsbecomefondoftheirbrushes,trustingthemtodeliverthemarkstheydesire.

TheBrushstrokeTheaimofgoodbrushworkistoputmeaningintothebrushmarksandwashesandhenceintotheentirewatercolour.Skilfulbrushstrokesrequiredecentinstrumentsandalthoughsablebrushesaremoreexpensivethantheirsynthetic

counterpartsthedifferenceincostisworthwhile.Sablebrushesaremadeofnaturalhair,whichhastinybarbsalongitsstrands.Thesebarbstrapwateralongthelengthofthehair,andbetweenthehairs,sothebrushcanholdalotmorepigmentthanitsnylonbrother.Thetaperofnaturalhairbringsevenalargebrushtoafinepointatitstip.Thismeansthatapaintercanmakebroadwashesandfinelineswithjustonebrush,endowingmeaningintoeachshapelystroke.

Variegatedleavesarepaintedbybrushingcolourintodamppaint.

Thetipoftheroundsablebrushtouchesthepaperfirstandisthenpresseddowntopaintthewiderpartoftheleafandliftedoff,withatwist,tobringthetipbacktoapointreadyforthenextleaf.

Broaderleavesaremadewith‘joined-up’strokes.

ReleasingthePigmentSablebrushesgivethepaintermorecontroloverthereleaseofpaintonpaperthansyntheticbrushes.Thenaturalhairsgripthewetpigmentmixturesoitcanonlybereleasedwithpressure.Totestthedifference,loadanylonbrushwithwetpigmentandholdittipdownabovethepaper:thewetpaintwillflowdownthesmoothsyntheticfilamentswiththepullofgravityandeventuallydripontothepaper.Loadasablebrushwiththesamepigmentandthepaintwillstaywithinthebodyofthebrush;itcanonlybereleasedbyshakingorbypressingthebrushonthepaper.Thisisveryimportantinpaintingasitmeansthatsimplybyalternatingthepressureonthebrush,thepaintercanprohibitorenablethereleaseofpaintandtherebycreatevarietywithinasinglestroke.Topractisethis,pressdowntomakeasolid,flatwashandlightlyliftthebrushtobreakupthestroke.

ShapingtheStroke

Thewayyoumakeyourbrushstrokesiscrucialtothesuccessofawatercolour.Shapethebrushasyouload,bytwistingandturningitinthecolourmixedonthepalettetobringitsheadandtipintoshape.Holdthebrushlightlybetweenthefingersasyoupaint,twiddleitbetweenthethumbandforefinger,rollitontotheindexfinger.Asyoupaintbrushstrokesonpaperthebrushshouldberollingaroundcontinuallyinthesefingersandchangingitsangletothepaper,sometimesuprightsometimesleaning,bothforwardsandbackwards.Usethetipandbodyofthebrushtomakeapreciseshapewithonestroke.Avoidthetemptationtomakemeaninglessdabsandrepetitivemarks.Practisethisdexteritybyusingonebrushloadtomakemanydifferentshapes,

alternatingbetweenthetipofthebrushforafine,narrowlineandpressingdownthebodyofthebrushtogetthewidestmarkpossible.Createlargershapeswith‘joined-up’paintedareasratherthanoutliningandfillingin.

AutumnIsUponUs35.5x53cm(14x21in)Althoughalltheleavesaresimilaronthebranchtheyprojectatdifferentanglesandpresentavarietyofshapes.Twistandturnthebrushinyourhandtoparticularizethebrushmarkstohelpreflectthisvariety.

SizeMattersThefreshnessinawatercolourderivesfromtheleastnumberofbrushstrokesneededtomakeashapeorwash,sousethelargestbrushyoucanmanageforthesizeofimagechosen.Witharoundsable,size12–16,youcancreateanunblemishedwashmoreeasilyandinfewerstrokesthanwithasmallersize6.Mopsmadeofhairorflatbrushesarelessexpensivealternativestolargeroundsablesandallowyoutocoverlargeareasquicklyandsuccessfully.Largeflatbrushesareparticularlyversatile.Theymakeneat,straightedgesand

attractivebrokenbackstrokes.Theycanbeusedontheirsidestomakedynamicstreaksandcarrylesswaterthanaroundbrushsoareeasiertocontrol.In

watercolour,thelesstimesyoutouchthepaperwiththebrushthebetterthepaintingislikelytobe.Imagineyouareonlyallowed50brushstrokestomakeapainting–youwouldmakeeachbrushstrokecount!

Aroundsable,size6or8,istheperfectbrushformakingasketchthissize.

Incoming36x28cm(14x11in)Theelephant’scharacteristicsarepaintedwithpertinentmarksmadebylargebrushes–asize12roundsableanda25mm(1in)flat.Theelephantisthereforecompletedinveryfewbrushstrokes,encapsulatingenergywithinthepainting.

TheEdgeoftheStrokeEverymarkonapaintingcountstowardthewhole.Theboundariesofthebrushstrokeandthebordersofthewasharebrimmingwithvitality.Wetwashesonsmoothpapersgivecleanedges,whiledrierwashesandroughpaperscreateirregularity.Watercolourlovestoentertaintheeyewiththisvariety.Makestrokesthatdifferoneithersidebyvaryingthepressureontheheadandheelofthebrushasyoulaythestroke.Workingonaroughpaperhelpsthiseffectaspaintcatchesonthehillsandmissesthevalleysofthetexturedsurface.

Thesmoothandraggededgestothebrushstrokesthatmakeupthesepenguinsarefashionedbyholdingthebrushatanacuteangletothepaperandpressingmorefirmlyonthetipthantheheel.

SidebySide18x28cm(7x11in)Thefragmentingeffectofthedrybrushstrokeisperfectforthesparkleoflightonwater.

DryBrushmarks‘Drybrush’isanunevenbrushmarkthatlaysadelightfulfragmentedpatinaofpaintonthesurfaceofthepaper.Itisbeautifulasbothasinglelayeronwhitepaperandasaglazethatallowstheundertonetoshimmerthrough.Despiteitsname,itisnotmadewitheitheradrybrushordrypaint.Itiscreatedbylightlybrushingthepaperwiththesideofathinlyloadedbrush–thelesspressureused,thelesspaintisreleased,andtherougherthepaperthemorefragmentedthestrokewillappear.

LayingWashesLayingtransparentwashesofuniformorgraduallychangingcolourisoneofthemostthrillingtasksinwatercolourpainting.Sweepthepaintontothepaperinonedirection,withaslargeabrushaspossible,andthepigmentparticleswillsettleinanimmediate,spontaneous,well-balanceddistribution,creatingaclean,cleartransparentwash.Layingawashrequiresseveraladjoiningoroverlapping

brushstrokes.Workfromthemostconcentratedcolourtotheleastintense,evenifitmeansworkingupsidedown,andonceanareaiscovereddonotgobackoverit;thecolourislaid,leavewellalone.

Atwo-colourblendedwashAlargebrushaidstheblendingofcolours.Onlysweepinonedirectionforaperfectwash.

Amulti-colouredblendedwashSeveralcolourscanbeblended,onebelowtheother.Preparetheminthepalettesotheycanbeappliedwetbesidewet.

AgraduatedskywashClearskiescanbepaintedwithgraduatedwashes.Startwiththemostconcentratedpaintfirstandgraduallydilute.

AvariegatedwashAvariegatedwashismadeupofseveralcolours.Paintthepalestcoloursfirst,thenaddthedarkerhueswet-in-wet.

TheedgeofawashTheborderofawashisimportant.Theraggededgeatthebaseofthedunewashmakesamoreinterestingboundarywiththeforegroundthananevenline.

LeaveWellAloneItfeelsgoodtobrushpaintonpaperanditishardtoresistaddingmore

brushstrokes,butrepeatedlypaintinganareawillnotimproveit.Ifyoupaintbydraggingyourbrushbackandforth,overandoverthesamespot,youwillpreventthenaturalsettlementofthepigmentandlosethechanceofoptimumclarity.Watercolourissotolerantthatitwilloftenletyougetawaywiththis,but

bewareifyouthenbrushyetmoredilutedcolouroveradryingwash:youwilldisturbthegrains,pushingthepigmentintoclumps,andthusthedreadedmudisborn!Yourjobisdoneoncethebrushstrokeismade.Leavetherestuptothe

watercolouranditwilllookfreshandshimmering.

TakeTwo(AfricanSunsets)12.5x18cm(5x7in)Brushingintheskyforasunsettakesonlyafewsecondsandthetemptationistokeeponbrushing,especiallyasittakesawhiletodry.Haveasparesketchpadreadysoyoucanstartanotherpaintingratherthanwreckthefreshnessofthefirst.

IntheMoment46x66cm(18x26in)Somecolourshaveatendencytogranulateonthepaper,givinganaturaltexturetoawash.Ifleftalonetosettleadelightfulpatinaemerges.HereyoucanseethegranulationofRawUmberacrossthebackground,inthehair,andonthejersey.

VenetianDusk,SantaMariadellaSalute25x20cm(10x8in)Thepaperwaswettedbeforelayingapaleyellowskywashtoensureitstayeddamplongenoughfortheintroductionofthedarkstreaksfortheclouds.

TheGlowofAureolinintheMorning35.5x46cm(14x18in)Inthispreliminarysketchthebackgroundareahasbeenwettedpriortolayingthevariegatedwashtoencourageagentleminglingofthedarkcoloursandtoavoid‘seams’whenreloadingthebrush.

WettingPaperForalargewashitdefinitelyhelpstowetthepaperbeforeyoustartasthisgreatlyassiststheflowofthepaintandencouragesthemergingofbrushstrokes.Whenyoudampenthepaperbeawarehowmuchwateryouarelaying,knowingthattheamountofwateronthepaperwillfurtherdilutethepaint.Wettingthepaperbeforeapplyinganindividualbrushstrokeensuresasoft

gentleedgetoastroke.Ifyouwanttheedgeofastroketodisappearaltogether,wetthepaperbeyondwheretheappliedpaintcanflow(thismaymeanwettingtoafullerextentthanyouexpectuntilyougetusedtowatchingpaintonthemove).Aspaintcreepstowardstheedgeofthewettedareausegravitytotiltitbacktothesource.Donotbetemptedtoincreasethewettedareaoncethepigmentisadded–thenewlyaddedwaterwillmovebacktowardstheadvancingpigmentanddisrupttheevenflow.

TheFirstWashIstheFreshestThemostappealing,vibrantpassagesofwatercolourarethosethataredirectandimmediate.Aimtoachievethemostyoucanassoonasyoucanandwiththeminimumofmeans.Takeyourtime,donotrush,butdonotvacillateeither.Sinceasinglelayerofwatercolourwithasubtlechangeofhueortonewithinitsspanisasourceofbeguilingradiance,whynotputallyourenergyintomakingthatonestroke,thatonewash,work.Spendyourtimeinthepalettemixingtotherightconsistency,hueandtone,thenyouwillbereadytoputfullconcentrationintolayingthepaint.Themostdirectwaytoachievethisistoworkwet-in-wet,addingdarkertoneorchangeofhueintothefreshlylaidbrushstrokeorwashsotheblendisachievedwithinthesinglelayerofpaint.

Theinterminglingofcoloursthatoccursinafreshwet-in-wetbrushstrokehasdirectappeal.

Braids40.5x30cm(16x12in)Byworkingwet-in-wetthispaintingofaHimbagirlwasmadeprimarilywithasinglelayerofdiluteLightRedintowhichsubtleanddramaticchangesofhueandtonewereadded–asaresult,freshnessprevails.

4PlayingtheRightNote

ThePope’sDoor,Pienza40.5x51cm(16x20in)Three-dimensionalformisconveyedbythevariousdifferenttonesthatplayacrosstheangledsurfaces.

Successinfigurativepaintingisinextricablylinkedtotonalvalue.Thehueofacolourmayleadtheheart,butthemindispersuadedbytone.Toneisthelanguageofform,spaceanddepth.Balanceoflightandshadecreatestheillusionthatthreedimensionsexistwithinthetwo-dimensionalexpanseofpaper,drawingtheviewerintothepainter’sworld.Thehuesofwatercolourpigmentsaresuchbeguilingsirensthattheyoftendistracttheunwarypainterfromtheprimacyoftoneandmanyalovelypassageofpainthastobesacrificedwhentoneisnothonouredfromthestart.

TonalValues

Tone,ortonalvalue,representsthepalenessordarknessofacolouranddescribestherelativeamountoflightanobjectisreceiving.Alighttonesuggestssomethingislit,whileadarktonesuggestsitisinshadow.Infigurativepaintinganinterestingcompositionisusuallymadeupofasatisfying,orconvincing,balanceoflight,darkandmidtones.Acolourismadeupofbothhueandtone.Theactualcolourofapigmentis

calleditshue;theshadefrompaletodarkiscalleditstone.Confusionoftenariseswhenadarkhueislit,orwhenalighthueisinshadow:insteadofassessingthetoneofthecolourthehueisseentodominate,especiallyifitisstrong,andthetonalvaluesofthepaintingbecomemuddled.

Aquicktonalsketchsimplifiedthedinghyonthewaterintothreemaintones:thelightanddarktonesoneithersideofthehullandthemidtoneofthewater.

Inthecolouredsketchthetonalbalanceismaintained,buttheaddedhuesintroduceanincreasedrange.

MyFather46x30cm(18x12in)Toneisclearlyvisibleinablack-and-whiteworld.Paintingafaceinmonochromeallowstheeyetoconcentrateonthetoneswithoutthedistractionofcolour.

SeeingtheTonesWhenyouobserveyoursubjectlookfortherangeoftonesfromlighttodark.Inpaintingtoneisalwaysrelative,ratherthanabsolute,soyouwillbethinkingintermsof‘lighterthan’or‘darkerthan’.Beawarethatthelightesttonemaynotbewhite,northedarkesttoneblack.Determinethestrengthofeachtoneinrelationtoanotherandinrelationtothewhole.Theeasiestwaytoassesstoneistoscrewupyoureyesuntilthehuesofthe

coloursdiminishandthelightsandshadesprevail.Thisvisualreductionisthekeytotheinformationyouneedforawatercolour–thehighlightsanddarksremainvisible,butareasofsimilartoneuniteandnon-essentialdetailsvanishorblur.Trytosimplifythesubjectintothreemaintonalvalues–thehighlights,thedarksandthemidtones.

LightCastsaGlance76x56cm(30x22in)Aharmonyofdeepeningtonesgentlybuildstheformofthisgracefulnude.PaleYellowOchreistheundertone,followedbyBurntSiennaforthewarmmidtodarktonesandadashofmauveforthecoolershadows.

RisingDust(detail)10x15cm(4x6in)Theaugmentationoftheinnatetonesofyellow,redandblue(light,mediumanddark),appliedinsequence,constructsthebulkyformsoftheelephants,whiletheblendingofthethreehuesonthepapermakesthelivelygrey.

BuildingToneTheeaseofdilutionwithwaterandthetransparentnatureofwatercolourpigmentsmakesiteasytobuilduparangeoftonesfromlighttodarkbothinthepaletteanddirectlyonthepaper.Earlypaleundertonescanbeusedtoestablishthelayoutofyourcomposition,

leavingareasofuntouchedwhitepaperforthehighlights.Themidtonesarebuiltontop,overlappingtomakemore,andthedarktonesarestrucklast.Thebeautyofatransparentmediumisthatyoucanworkinanyorder,andwithanumberoflayers,tocreatethetonalstructureofthepainting.Thismeansyoucanadaptthemethodtothecircumstances.Forexample,ifyouwereworkingoutsideonasunnydaythepositionsoftheshadowscouldberecordedintransparentbluesorvioletsrightatthestart,orlaidasglazesattheend,orbrusheddirectlyinasinglelayer,wet-in-wet,mergingwiththeobjectsthatcastthem.

SurrenderDetailThedetailsthatbecomeindistinguishablewhenyouhalfcloseyoureyestojudgetonalvaluesaremostlythosethatareunnecessaryinthewatercolour.Thereisnoneedtotelltheviewereverything;weknowhowtheworldlooks,butwehave

neverseenyourpaintingbefore.Yourvision,yourinterpretation,istheappeal;thewayyouusewatercolouristheattraction.Decideyourfocus,concentrateyourenergyintothatandlettherestofthepaintingserveassupport.Sacrificeirrelevantdetailtotheoveralltonalbalance.

CapriviKraals18x30cm(7x12in)Thereweremanymorefenceposts,roofsupports,bushesandothersuperfluousdetailsinthisscene,butthemainlightsandshadesareallthatwereneededtoevokethisfragmentofAfricanliving.

VanGogh’sSunflowers,Cézanne’sTable,Uzès20x28cm(8x11in)Theshapeofthesunflowerbloomsfacingthelighthaveacrisp‘found’edgeagainstthedarkbackground,whereastheflowersfacingawayfromthelightaresoft,‘lost’inthebackgroundwash.

LostandFoundSimplifyingthetonalvaluesmeansjoiningupareasofsimilartone.Thisisespeciallytruewhenpaintingshadowsanddarks,andthismethodoftenhelpscreateamarvelloussenseofmystery.AllowareasinshadowtodissolveIntooneanother,sothatdistinctionis

blurred.Anyshape,lineorforminthedarknessthatneedsemphasiscanbesuggestedwet-in-wetwithmoreconcentratedpigment.Thiswillsuggestdetailexistswithoutalteringtheoveralltone.Highlightsbycontrastbenefitfromcrispedgesand,justasdetailsdissolvein

thedarks,soextremelightalsobleachesoutdetail.Highlightsmayalsobelinkedinashapethatincludesseveralitems.

Themidtoneofthebackgroundbringsthehighlightsandshadowsintoplayontheseside-litfigures.Theslightlydarkerwallhelpsthedarkertonesblendwithoutcompetingwiththem,settingupanattractivecounterchangeoftone.

CounterchangeVariety,bothsubtleandblatant,isanimportantingredientinwatercolourpainting.Therelativecontrastoflightanddarktonesisthelifebloodofawatercolour.Ifyourpaintinglooksdullthefirstpointtocheckisthatthereisasufficientlyinterestingtonalrangethroughoutthepainting.Confirmthatdarkerandlightertonesalternateacrossthepaintedsurfaceandthatwithinthewashesandbrushstrokesthereissometonalvariation.Tonalcounterchangenotonlyappealstotheeyebutcreatesdepthinthe

painting.Byplacingalight-tonedfeatureinfrontofadarkerone,thepainterconvincestheviewerthatoneobjectliesinfrontoftheotherandthusalludestospace.Strongtonalcontrastandawiderangeoftonesincreasetheillusionofspaceandstrengthentheimpressionofthree-dimensionalform.

Herethecounterchangeisagainstanalternatingbackgroundtone.Thefurtherfigureisdarkagainstalightbackground,whilethenearerfigureislightintoneagainstabackgroundofdarkertrees.

Clambering20x25cm(8x10in)Beingboldkeepsthepaintingfreshandalive.Thedark-tonedrockswerepaintedwithone‘joinedup’washofastrongdarkmixofBurntUmberandUltramarineBlue.

BeBoldTheappearanceofvisualspontaneityinawatercolourarisesfromthemostimmediateapplicationofbrushstrokesandwashes.Itisthereforetoyouradvantagetolaycolourintherighttoneatfirstapplicationorasearlyaspossible.Attemptingtodarkenatonewithlayeruponlayerofsimilarlyweakcolourwillresultindullnessratherthanstrength.Donotbeafraidofthedark,butaimtobebold.Itisheartbreakingtohavepaintedsomelovelywatercolourwashesonlytofindtheyaretooweakandmustbereworkedtomakestructuralsenseinthepainting.Onceoverpaintedthesewasheslosetheirimmediateappealandtheghastlysenseofregretstartstoseepin.Thissapsconfidenceandthenetresultisafeelingoffailure.Beingboldmaynotalwaysworkbutusingstrongcoloursandmakingbravebrushstrokeshastheemotionalresultofincreasingconfidence.

5PaintingtheLight

VenetianShades,StMark’sSquare30x40.5cm(12x16in)Thewhitepaperandtransparenthuesofwatercolourareexcellentatcapturingtheeffectsofsunlight.

Watercolourisrenownedforitsabilitytoportraylightinapainting.Watercolourpaperisacreamyoff-white,andyetsuchistheluminosityofthevirginpaperthatthesegmentsleftuntouchedbetweenbrushstrokesandwithinwashesrenderthepresenceoflightperfectly.Sincelightisrepresentedbyuntouchedwhitepaperitfollowsthatitisimpossibletopaintlight.Onlybypaintingtheshadesurroundingthelightcanlightbemadevisibleinawatercolour.

Thehighlightsonthetopsofhatsandbentbacksareuntouchedwhitepaper,deliberategapsleftintheViridianwash.

ReservingWhitePaperThewhitepaperprovidesthebrightesthighlightsinwatercolour,soitisnecessarytosafeguardthoseareasfrombrushstrokesorwashes.Inasimplesketchorcompositionthisisastraightforwardmatterofleavingspacesbetweenthebrushstrokesortakingpressureoffthebrush,butinamorecomplexdesignitrequiresplanning.Apencildrawingmakesagoodguideforthebrush,totellitwhereitcanandcannotgo.Themarksshouldbefluidandlightandcanbemadewithanythingfromasoft2Bpenciltodarkgraphite.Aimtoruboutaslittleaspossibletoavoiddisturbingthepristinesurfaceofthepaperanduseaputtyrubberwhentheneedarises.Itisquiteallrighttoleavethepencilmarksshowinginawatercolourandoncecoveredwithpainttheycannotbeerased.

DuskyCanal15x35.5cm(6x14in)Becauseofthemanyhighlightsinthiscanalscene,apreliminarypencilsketchwasmadetomarkwherethewhitepapershouldbeleftuntouched.

RunninginBareFeet38x56cm(15x22in)Theshapesofthewhite-paperhighlightsontheclothingarefairlyspecificandbenefitfromtheimmediacyofthebrushstrokes.Theyareindicativeofthemovementinthefabricsasthechildrenrun.

LozengesofLightThefreshestwatercoloursarethoseinwhichtheshapesofthehighlightsaremadebythegapsbetweenthesmoothandroughedgesofthesurroundingbrushstrokes.Trynottofollowyourpencillinestoocarefully–theshapesoflightdonothavetobeexact.Ambiguityandvarietyaregreatassetsinawatercolourandoftenitisthequirkyshapesoflightthatlendthemostshimmertoapainting.

StreetArt30x25cm(12x10in)Lookingtowardsthelightsourceistermed‘contrejour’.Thisbacklitdirectionpresentsinterestingpatternsoflightandshadowstotheartist.

DirectionoftheLightItisimportanttobeconsistentwiththedirectionofthelight.PaintingoutsidewillmakeyoumoreawareofthisastheEarth’smovementchangesthedirectionofthelightandtheswiftprogressofshadowscanbeeasilyfollowed.Photographscaptureamomentintime,soworkingfromasingleimagewillgiveyouaconsistentlightsource,butifyouarepiecingtogetheracompositionfromseveralsketchesorphotosmakesureyoumaintainharmonyinthelight.Undernormaldaylight,thetopsidesofobjectswillcatchthelight.Inthemorningandafternoonthelightwillcomefromalowerangleandlightthesidesaswell.Alwaysnotethedirectionofthelight–thewhitepaperhighlightsmustbeonthelitsideofanyobject,andifyouunwittinglyleavesliversofwhitepaperontheshadedorundersidesofyoursubjectthepaintingwillnotmakesense.

MultipleHighlights

Inacomplexpaintingwithmanyhighlightsalatexliquidcalledmaskingfluidisoftenusedtopreservesmallareasofwhitepaper.Ithasatendencytomakeglobular-shapedhighlightsunlessyouapplyitwithcarefulattention,butitsusemeansyoucanfreelypaintwashesacrossthepaperwithoutfearandsogivesconfidenceandfreedomofmovementtothebrushstrokes.Useonlylight-colouredorcolourlessmaskingfluidasanythingdarkerwillmakeithardertoestablishtheothertonesinrelationtothehighlightsyouareprotecting.

TheFistoftheOcean,CapeofGoodHope25x35.5cm(10x14in)Thefinespraythrownupbywavesdashedagainsttherockswasreservedwithmaskingfluidspatteredfromthebristlesofatoothbrush.Atthisunfinishedstageitisrubbedoffbeforethefinaldetailsofthepaintingarecompleted.

BathedinLight25x20cm(10x8in)Thedirectcontrastbetweentheradiantshadesandthebrighthighlightsensuresavibrantlightglowsinthispainting.

ContrastThegreaterthecontrastoftonebetweenthehighlightanditssurroundingshadethebrighterthehighlightwillappear.Onceagainboldnessisrewarded–trytopainttherighttoneadjacenttoyourhighlightwiththefirstbrushstrokestoavoidmultipleedges.Theirregularityoftheedgeofthefreshbrushstrokeismoreappealingthanrepeatedlayers.

TintedLightLightistintedbythecolourofitssource–asettingsunwillbathethelandscapeingoldenlight,arisingsunwillthrowarosyglow.Thelightcanbetintedwithglazesofdilutedcolouroverthereservedwhitepaperhighlightsoranappropriatetintcanbelaidasanundertonebeforepaintingontop.Colourswithtransparentpropertieswillhavegreaterradiancethantheopaqueones–forexample,use

IndianYellow(T)foragoldensunratherthanCadmiumYellow(O),andformoregentletintsuseadilutesemi-opaquecoloursuchasYellowOchreorCobaltBlue.

GlidingonMirrors23x28cm(9x11in)AnundertoneofRawUmbertintsthebuildingswithawarmglowandanovertoneofRawUmberlinksthewatertothesky.

WhitePaintWhitepaintcanbeusedtocreatesmallhighlightsinapainting.Paintthemattheendsoasnottocloudthewater.Whiteglazescanalsobeusedtomutebrightness.Whitepaintneverprovidesasbrightalightasthevirginpaper,butforsmallareasofhighlight,narrowlinesandflecksoflightitisidealandsavesworryingaboutfinickydetailsduringwashes.ChineseWhiteisthemostpopularwhite;itissemi-opaqueandhasablueundertone,idealfordullingcolourmixesduringpainting.TitaniumWhiteisfullyopaqueandhasgreatercoveringpowerthanChineseWhite.

Unfurling10x10cm(4x4in)ThesmokecurlingfromthecigarwaspaintedwithChineseWhiteindifferingstrengthsofconcentration.

TheBoyintheRedSweater20x28cm(8x11in)TitaniumWhitecanbeusedtorestorehighlights,likethoseonthefountainandtreetrunksinpainting.

TheProphetsintheClouds30x35.5cm(12x14in)OpaqueCadmiumandLemonYellowbroughtbacktheeerieyellowlightunderthestormysquall,whichhasbeenlostwhenthefieldwaspaintedtoodark.

ColouredOpaquesAlltheopaquepigmentshavegoodcoveringpower,whichmeanstheycan,inconcentratedform,obliteratethecolourtheycover.Usedneatfromthetubeorpan,theycanbeusedtopaintcolouredhighlightsontodarkpassagesofcolour,forexampleinfoliage.ForwarmhighlightsuseCadmiumYellowandCadmiumOrange;forcoolhighlightsuseLemonYellowandCeruleanBlue.Youcancreateyourownopaquecoloursbymixingtransparentcolourwith

white.Toresurrectaglowinghighlightlayaglazeoverdriedwhitepaint,asifyouweretintingthevirginpaper.

6OpenforManipulation

RidersintheStorm35.5x51cm(14x20in)Thelightonthewetbeachisentirelycreatedbyscratchingoffthepigmenttorevealthewhitepaper.

Thefreshnessandimmediacyofwatercolourisitschiefappealandbecausethisaspectiseasytoloseithasearnedareputationasanunforgivingmedium.However,onceyouunderstandwhatcanandcannotbecorrectedyouwillfinditisactuallymoreforgivingthaniscommonlythought.Paintingsthatseemedlostcanoftenbemanipulatedsafelybacktosuccess.Knowingwhatconstitutesaproblem,andwhatdoesnot,isthekey–whentocorrectandwhentogiveup!Theattractionofawatercolourisinitsappearancemorethanitscontent,soalwaysputthe‘look’ofthewatercolourbeforetheaccuraterenditionofthesubject.

FreshnessMatters

Inpreviouschaptersyouhaveseenhowimportantfreshandimmediateapplicationistotheappealofawatercolourpainting–thestrengthofawatercolourisfoundintheclarityoftheinitialwashes.Themoreyoutrytocoercewatercolourthemoreitresists.Theareasofblendedpigmentaretheessenceofwatercolour;theyareitscharacteristicactionwhenlaidandallowedtoflowunmolested,soitgoeswithoutsayingthatthesearetheareashardesttoengineeriftheygowrong.Thesmallareasofapainting,ontheotherhand,whichbringtonalvarietyandvitalitycanmuchmoreeasilybetamperedwithwithoutruiningthewatercolour.Duringapaintingdonotworryaboutdetails–theycanbecorrected–butconcentrateonthewashedblendsandabovealldonotdestroyalovelypassageofwatercolourforthesakeoflikenesstothesubject.

Thefreshimmediacyofthisunfiddled-withwatercoloursketchismoreappealingthanitwouldhavebeenhadItriedtocorrecttheaccuracyoftheview.

Unintendedbackrunsendupmakingentertainingrainclouds–betterleftalonethantryingtocoercethem!

Fromthisverysimplesketchitisplaintoseehoweasilytheeyecanbedistractedfromthebackgroundlandscapebytheadditionofsomedarkerbrushstrokes,intheformofreeds,strategicallyplacedacrosstheimage.

TheArtofDistractionErrorsoraberrationsinlight-tonedearlywashesarenotaproblem.Assoonasdarkertonesareemployedtheeyeisdistractedfromthepaletones.Sothereisnoneedtoworryaboutanimperfectskywash–leavewellalone,anddonotfiddleortrytocorrectoryouwillonlydrawattentiontoit.Ifattheendofapaintingthepartthatbothersyouisstillglaring(toothers,nottoyou,sinceitwillalwaysbeobvioustoyou)youmaybeabletoliftitoutordisguiseitwiththeapplicationofopaquepaint.Oftenthesimpleuseofadark-tonedaccentnearbyisenoughtodistracttheeyeawayfromtheproblem.Ifallelsefails,resorttoaningenioustitletoguidetheviewertowardssome

philosophicalthoughtortodirectthemtosomethingyoudolikeinthepainting!

ToTouchorNottoTouchSinceyouarethecreatorofthepaintingyouwillalwaysseetheerrorsandirritations.Ihaveamottotopreventmemakingneedlessbrushstrokesandcorrections–‘ifindoubt,chickenout’.Beforeattemptingtocorrectanissue

confirmthatitisindeedcausingaproblem.Youcantrytojudgeimpartiallybyviewingthepaintinginreverseinamirror;however,youwillneedtobeverydisciplinednottohomeinontheareainquestionatfirstglance.Asympatheticcriticcanbehelpful,butthedistancecreatedbytimeisusuallythebestjudgeofall.Whenyounextviewyourpainting,iftheerrorimmediatelysticksout,youknowitneedsattentionbutifitisnotthefirstthingyounotice,leavewellalone.Youwillalwaysregretneedlessfiddling.

WildDogs35.5x99cm(14x39in)Thehindlegsofthelastwilddogwererepaintedtocorrectaninitial,impossiblystretched,pose.Thecorrectedlegsdistracttheeyefromthesponged-offlegsandthesenowservetoenhanceafeelingofmovement,asifthedoghasjustmovedforward.

ProblemorOpportunity?Anomaliesinafreshlylaidwasharebestleftaloneuntiltheendofapainting.Smallgapsinthewashorconcentrationsofunmixedpigmentcanberectifiedlater.Avoidthetemptationtofilltheminoreasethemoutwhilethewashisdrying.Sincemostlargewashesaremadeatthebeginningofapaintingthechancesarethatthe‘errors’willgoundetectedoncethedarkertonesareinplace.Sometimeswhatyoumaythinkismessyintheearlywashturnsouttobeapluslater,sodonotjudgeyourworktoosoon.Ifthe‘gaps’inawashneed‘filling’mixpigmenttothesamecolourandtoneandspot-fillthemcarefullyattheend,asifyouwererestoringapainting.ExcesspigmentmarkscanusuallybeliftedoutwiththetipofthebrushordisguisedwithapreciselyplacedtintofChineseWhite.

LiftingOutToalargedegreewatercolourpigmentcanbeliftedorwashedoffthesurfaceofthepaperwiththeuseofaclean,dampbrushoraclean,dampsponge.Many

watercolourshavestainingproperties,sotheyleavealighttraceonthepaper,butsincedarkertonesdistracttheeyefrompalertones,theremovalofexcessivepigmentinthiswaymayoftencureajarringcolourortone.Somewatercoloursarenotstainingcolours,mostnotablyUltramarineBlueandBurntSienna,andthesecanbeliftedoffintheirentiretyfromagood-qualitypaper.Ifapigmentisaliftingcolouritfollowsthatitcanalsobedisturbedby

subsequentlayersofwetpaintorbywettingwithcleanwater.Begentleandthriftywithyourbrushstrokeswhenpaintingoverliftingcolourssothatyoudonotdisturbthemandendupwithmuddiedcolour.

AspongeswipedacrossaswatchofUltramarineBlueeasilyliftsoffthecolour.

Lineardetailssuchasbranchescanbeliftedoffwiththetipofaclean,dampbrushinapatchofBurntSiennaandUltramarineBlue.

UltramarineBlue,aliftingcolour,wasusedinamixwithAlizarinCrimsonandBurntUmbertomaketheblackofthegrapes.Thisallowedtheretrievaloflightonthegrapes,lostintheinitialfast-dryingwash,byliftingoffthepaintwithaclean,dampbrushandkitchentowel.

OpaquestotheRescueOpaquecolourshavecoveringpower,sotheycanbeusedtorestorelosthighlights,orlightenpersistentdarksthatcannotbeliftedoff.TheprovocativeedgesofbackrunscanalsobecleverlydisguisedbyoverpaintingtheirregularlinewithChineseWhiteappliedwithasmallbrush.Thismaytakesometimetogettotherighttone(oftenlongerthanactuallypaintingthepaintingagain!),butitisaworthwhilerepairiftherestofthepaintingworkswell.Whitedrieslessopaquethanitlooks,soitmaytakeseveralattemptstoreachthesametoneasthesurroundingareaeithersideoftheline.Waitforeachapplicationtodrybeforeapplyingthenext.Errorsofshapecanalsobe‘re-drawn’attheendofapaintingbyobliterating

thetransgressionwithopaquecolour,particularlywhereliftingoffwouldbedangeroustothesurroundingwashes.IftheshapeisagainstwhitepapertheapplicationofconcentratedTitaniumWhiteeasilydisguisestheerrorandnoonebutyouwillnotice.Ifthebackgroundiscoloured,chooseormixamatchingopaque.

Zig-zagLight,Collioure28x35.5cm(11x14in)OpaqueWhiteandCadmiumYellowareusedneatfromthetubetoreshapethelightestpalmleaveslostamidthebackgroundwashes.

ScratchingOffOneofthewaystorestorevirginwhitepaperistoscratchoffthetopsurfacewithasharpblade,andthismethodisespeciallyeffectiveonheavypapers.Thestainofpigmentcanbecompletelyremovedanduntouchedpaperrevealed.Makesurethepaperiscompletelydrytoavoidtearinganddothisonlywhenyouhavefinishedapplyingwetpaintastheexposedareabecomeslikeblottingpaperwherethegelatinesizehasbeenscratchedaway.

ABiggerSplash46x102cm(18x40in)Severalofthewhite-paperhighlightsinthewaterbetweentheelephants’feetwereretrievedbyscratchingoffthepaintedsurfaceoftheheavykhadipaperwithasharpblade.

ColouredCrayonsTheproblemsofapaintingareoftentodowithmisjudgedtonesandthecorrect

tonemaybehardtoassess.Repeatedlyapplyinglayersoftintsinthevainhopeofreachingtherighttonalstrengthmayservetodeadenthecolour.Insteadyoucanusecolouredcrayonstofindtherighttone,thenrubthemoffandapplythesametoneinpaint.Ifthecolouredcrayondoesthejobperfectlyandthetexturelooksacceptableonthewatercolouryoucanevenleaveitinplace.Youcanalsouseacolouredcrayonorsoftpencilwhendecidingifaformneeds

adarkedgeoroutline.Ifnot,itiseasilyerased.

Feline56x76cm(22x30in)Colouredcrayonwasusedontheforemostlegtodarkenthetonegentlyandgiveittexture.

WaitTilltheEndDonotbeinahurrytocorrectyourmistakes.Mostofthemanipulationsinthischaptercanonlybedoneattheendofapainting–theearlyintroductionofconcentratedopaquecolourswouldmuddysubsequentlayers;scratchingoffcreatesblottingpaper;andtheerasureofcolouredcrayonsscuffsthesurface.Besides,howdoyouknowwhichmistakemattersuntiltheendofthepaintingisreached?Maintainingtheintegrityofthepapersurfaceiscrucialtodynamicbrushstrokesandattractivewashes,sobepatient,trustthewatercolourmediumandonlypassyourfinaljudgementwhenyoufeelyouarenearingtheconclusionofthepainting.

UndergroundMovement28x35.5cm(11x14in)Thelargebackruninthewashontherightoftheplatformseemedsohorriblywrongbeforethefigureswereadded,butitceasestomatterinthefinishedpainting.

FragmentsofaGarden30x30cm(12x12in)Eveninfailedpaintingsthereareoftenpassagesofattractivewatercolour.Puttingaselectionofthesetogetherinagroupcancreateaninterestingimage.

BeyondRedemptionSomewatercolourmistakesareirredeemable.Ifapaintingisoverworkedandtransparencylostitishardtoregainfreshness.Atothertimesitisamatterofavailabletime–itmaytakeanhourortwotopaintawatercolour,butitcantakeawholedaytoputitright.Sosometimesitisbettertoabandonapaintingandstartoveragain,towastepaperratherthantime.Thebeautyofpaperisthatitcanalsobecropped,soiftherearewatercolourpassagesinafailedpaintingthatdohavelifesimplycutawaythedrossandpreservethegoodsection.Watercolourissolovelyinitselfthatevensmallfragmentshavegreatappeal.

Workingonaheavypaperwithasharpblade,boldlyscratchoffthepaintedsurfacetosuggestsplashesofwater.

7TheKissofSimplicity

LinksofTrust38x56cm(15x22in)Themeaninginanimageisclearertoreadifthecontentandstylearekeptsimple.

Theessentialbeautyofwatercolourisfoundinthemediumitself.Adirectnessofapproachmorereadilydisplaysthequalitiesoftransparency,brillianceandradiancethanaclutteredstatement.Knowingyourfocusandselectingwhatmattersgivesclarityofpurposetothemixingandbrushwork.Watercolourpaintingischallenging,sokeepthingsassimpleaspossibleandyouwillcreatepaintingsthatallowwatercolourthechancetoshowoffallitcando.

WhiteOnWhite,Cadaqués35.5x48cm(14x19in)Withonlyanhour’spaintingtimeavailable,acomplexscenewasdistilledbychoosingthechurchasthefocalpointandworkingoutwardsfromthere.

KnowingYourFocusThefocusofapaintingisusuallywhateverattractedyoutopaintitinthefirstinstant.Itcouldbeaphysicalfeature,suchastheshapeofatree,personorobject,itcouldbethelightfallingonthefeatureorscene,oritcouldbesomethinglesstangiblesuchasatmosphereormood.Becausepaintingtakestimeitiseasytolosesightoftheoriginalfocusasthepaintingproceedsandalltoooftenthereasonforthepaintingisovertakenbyotherconcernssuchasaccuraterendition.Agoodpracticeistowritedownthefocusatthestart;thismaychangeduringthepaintingassomethingofgreaterinterestarises,buttheimportantpointistoknowwhatattractsyou.Thiswillhelpyoujudgewhenyourpaintingisfinished,whichisoneofthehardestaspectsofpainting.

Selection

Aphotographertrainsthefocusofthecameralensonthefocalpointofthecomposition.Therestoftheimagemaybeinoroutoffocusdependingonthedepthoffield.Everythingintheviewisrecorded,whetherithelpsorhindersthecomposition,andonlywithasophisticatedcameraorsoftwarecanthisbemanipulated.Thepainterhasahugeadvantageinbeingabletodirecttheeyebyemphasis,toleaveoutextraneousmaterialandtoopenorclosethespacesbetweenobjectsorfeaturestostrengthencomposition.Whenpaintingfromlife,thisselectiveprocessoccursnaturallysincethepainterisforcedtoreducetherealworldtothesizeofthepaper,andthevagariesofchanginglightputconstraintsontime.Whenphotographicreferenceisthesourceofthepaintingthedangeristoincludeeverything,soyouhavetodecidewhattoputinandwhattoleaveout.HowmanytimeshaveIheard‘well,itwasthere’astheexcusefortheinclusionofaparticularfeaturethatclearlydoesnotbenefitthepainting!

Pienza25x35.5cm(10x14in)Theattractionherewasthelightonthewhiteumbrellas.Byhominginonthesmallgroupofpeoplehavinglunch,vastlyreducingthenumberofchairsandtables,andevenlosingoneumbrella,thewatercolourbecamemuchmoremanageable.

Thisisahugelysimplifiedsketchofwhatwasactuallyacomplicated,messyscenewithmanytreesandmyriadlightsdancingongiantboughs.Lookingthroughscrewed-upeyes,themainlightsandshadowsonlywereselected,inordertomanagethecomposition.

MakingDecisionsHowdoyouselectwhatmattersandwhatcanbeleftout?Whenyourinspirationisaready-madecompositionitignitestheurgetopaintbecauseitisalreadyagoodbalanceoftone,colour,lineandshape.Youcanmaketheselectionprocessbysimplyscrewingupyoureyesandconcentratingonthemaintones–highlightsjumpout,midtonesunite,shadowsblendandirrelevantdetailsvanish.Asyoupaint,avoidbeingswampedbythedetail.Iftheinspirationisaparticularfeatureinaviewyouneedtodecidewhichpartsoftheviewservethefeatureandwhichdistractfromit.Youmayneedtogeneralizeorsimplifythebackgroundsothatitservespurelytobringtheforegroundfeatureintoexistenceonthepage.

TheFountain,Uzès20x28cm(8x11in)Thesquarewasteemingwithpeople,butdecidingononefigure,perchedontherimofthefountain,wasenough.Theadditionofmorefigureswouldhavedistractedfromthedappledshadowsontheground,whichweretheattractioninthefirstplace.

MarchofEducation23x30cm(9x12in)ThisisoneofawholeseriesofpaintingsofschoolchildreninNamibia.Ijustcouldn’tgetenoughofthejoyandhopeIwitnessedastheypouredoutofschool,liningtheroadswiththeiroptimism.

UniquelyYouBeinganartistallcomesdowntowhatexcitesyouandwhatyouwanttopaint.Yourtaskasafigurativeartististofollowtherulesthatgoverntheformalelementsofpainting–shape,lines,coloursandtones–insofarastheyserveyourpurpose.Thevisualworldisyourinspiration,notyourmaster,sotakefromthesubjectonlywhatyouwant.Awatercolourdoesnothavetohaveabackground,askydoesnothavetobe

blue,legsdonothavetohavefeet.Assoonasyourealizethatyouronlyobligationistoyourowninspirationyouarefreetoleaveoutalltherest.Oneofthejoysofwatercolourpaintingisthatyoucanproducemeaningful

paintingsatspeedandonquiteasmallscale.Thisalsoreleasesyoufromhavingtosayeverythingintheonepainting–youcanpaintthesamethingoverandoveragainwithdifferentemphases.Wecannotre-createtheworld,butwecanre-createourownimagesofit.

HeatoftheDay46x23cm(18x9in)ThesearingheatonagirlwalkinganAfricanroadisevokedbyafewsimplepatchesofcolouredtone,strungtogetherinapatternoflightandshade.Thereissolittledetailhereandyetthenarrativeisclear.Thisisthepowerofwatercolour.

Watercolourhastheabilitytosayalotwithafewstrokes.Herethebabyzebraisbarelyindicated,butweknowitistherehidingunderitsmother’sprotection.

LessIsMoreThemediumofwatercolourissolovelyinitselfthattooverworkitisawasteofitsgreatestassets.Theadage‘lessismore’isparticularlypertinentforthismedium,whereadding‘more’mayoftenmakeitlessappealing.Concentrateontransparencyofcolour,andmakeradiantblendsyourfocus.Asimplecompositionhasjustasmuchmeritasacomplexview.Learntoseefragmentsofviewsorselectsomethingfromwithinaviewthatmakesagoodcompositioninitsownright.Thensimplifyeventhat.Thinkofyourpaintingasaformofshorthandandseehowmuchyoucansuggestwithafewstrokes.Youwillbesurprisedhowlittlepaintyouneedtoconvinceaviewerofsomething’sexistence.Itisamatterofchangingyourthinkingsothatyouusethesubjecttopaintthewatercolourratherthanthewatercolourtopaintthesubject.

IncludeonlythemainshapesandtonestomakeacomplicatedsubjectlikethisVenetiancanalmanageable.

8LearningtoSee

VacantSpaces28x35.5cm(11x14in)Thesedeckchairsarepaintedbydrawingtheshapesofthespacesbetweentheframeworkratherthanthechairsthemselves.

Watercolourissuchawonderfulmediumtopaintwiththatevenbydefaultatotalbeginnercanmakedeliciousblendsofcolourandlivelybrushstrokes,andexperiencegreatsatisfactioninpainting.Thosewhohaveworkedwithitforawhileknowitisachallengingmedium,requiringthoughtandplanning.Howeverwellyoumix,layandblendit,watercolourrequiresanartist’seyetobringoutitsbestqualities.

ThePainter’sWorldIsFlatPaintingisatwo-dimensionalinterpretationofthethree-dimensionalworld.

Howeveraccuratelyanobjectisportrayed,itcanneverbethatobject;itwillalwaysbeapainting.Thisisgreatnewsbecauseasanartistyouhavenoobligationtomakealandscapelooklikealandscapeorapersonlooklikeaperson;youronlyobligationistomakeapaintinglooklikeapainting.Youarefreetotranslatethreedimensionsintotwodimensionsandgetakickoutofdoingso.Infigurativepaintingtheartistusestoneandperspectivetosuggestthatthreedimensionsexistontheflatpage,butthesearemerelytoolsofillusionandcanbemanipulatedtoenhancethepaintedsurface.Howeverdeepthemeaning,orprofoundthecontent,paintingsaremadeupofshape,colour,lineandtone,theformalelementsofpainting.Byusingperspective,contrastandmeasurementanartistplaysmake-believewithpaint.Justasmusicismadeupofmanydifferentnotesplayedsidebyside,sopaintingiscomposedofbrushstrokes,placedsidebyside,interlacedandoverlaid.Themorepertinentthestrokes,themoremeaningfultheresult.

DesertLines25x100cm(10x39in)Thispaintingofwildebeestonthemoveisreminiscentofthecavepaintingsofearlyman.Wehavealwayshadthedesiretorepresentourworldintwodimensions.

EverythingIsRelativeOnceyouareseeingtheworldthroughapainter’seyes,lookingatthethingsapaintingneeds–shape,tone,line,colour–youwillfindawholenewdelightintheperceptionofyoureyes.Everythingisonlywhatitisinrelationtoitsneighbour.Nocolourortoneisabsolute.Eachaffectsthosearounditandtheimageasawhole.Thismeansyouneedtoseetherelationshipsbetweenfeaturesandobjectsratherthanconsideringtheminisolation.Thisisthepainter’sdelightandanever-endingsourceofinspiration.

RelativeToneJustasamusiciancanhearminutechangesinthenuancesofsound,sotooanartistnotesthecountlessadjustmentsoftonethatplayacrossascene.Thebeautyofwatercolouristhatthenaturalgradationofblendingcoloursandtheassimilationofoverlappingtintscreatethesemyriadtonesfortheartist,buttheyneedtobeacknowledgedbeforetheycanbeinterpreted.Thebestwaytoteachtheeyetoreadtoneistopractisewithslicesofaview.Leadtheeyeslowlyacross

asection,assessingtherelativetonalvaluesaslighterthan,darkerthan,muchdarkerthan,lesslightthan,andsoon.Traintheeyetoberigorousinworkingoutifatoneislighterordarkerthanitsneighbour,andhalfcloseyoureyestohelpdecide.Viewascenethroughpolarizedsunglassestodefinesimilartones.Turnthisobservationintopracticebypaintingsimpleitemsontowhitepaperwithattentiontotone.Onceyoucanseetheinnumerablechanges,starttosimplifythetonesintobandsofrelativevalue–lights,midtonesanddarks.

MediterraneanGeometry,Collioure20x28cm(8x11in)ThefacetsofcuboidMediterraneanbuildingsfallintobasicgeometricshapes–squares,parallelograms,trapeziums.Thosefacinginasimilardirectionwillreceiveacomparablelightandsobeanalogousintone.

BusStop20x28cm(8x11in)Thetwoladiesmergetogetherasoneshape,settingupanattractivetonalexchangeoneitherside:lightagainstthecomparablydarkertoneoftheyellowgrassontheright,darkagainstthelightgrassontheleft.

LightAgainstDark,DarkAgainstLightAnexcitingcompositionrestsonacontrastorvarietyofrelativetone.Theeyeneedneverbebored–trywhilingawayalengthystayinawaitingroombysimplymovingyourheadupanddowntoviewawindowframeagainstanalternatingbackground.Thebarcouldbedarkagainstalightsky,butifyouloweryourheaditmaybecomelightagainstdarktrees.Thusyouwillgraduallyrealizethatalltoneisrelative;thewindowframeisneitherlightnordarkinitselfbutonlyinrelationtowhatitissetagainst.Thissimplerealizationholdstheessenceoflearningtopaintadjacenttones.Abackgroundisonlyusefulinsofarasitsustainstheforeground–ashadedsideofanobjectissetagainstalighter-tonedbackgroundandalitsideismadeapparentbyadarkertonebesideit.

TheSpacesBetween

Thepainterlearnstoseebyshapeandtone.Thespacesbetweenandaroundobjectsareasvaluabletothesuggestionofformsontheflatpaintedsurfaceastheshapesandtonesofthephysicalobjectsthemselves.Seeingthespacesbetweenobjectsisagoodwaytostartlearningtoseeasan

artist.Observeitemssuchaschairsandtablesandpaintthempurelybypaintingthespacesbetweentheirlegsandrungs.Gointotheparkandlookattheintervalsbetweenalineoftrees,andatthespacesbetweenpeopleingroups,sittingonabenchorstandingtalking.Observethetriangulargapsbetweenstridinglegs,thetrianglebelowthekneeaswalkinglegscross.Notethespacesbetweenthebodyandcrookedarms,andbetweenbranchesandfoliage.Spendyourtimelookingatthespacesbetweenthingsandwheneverpossibledrawthem,becauseyounevertrulyknowwhatsomethinglookslikeuntilyoudrawit.Oncethiswayofseeingbecomeshabitualyouwillfinditmucheasiertotranslatethethree-dimensionalworldontoflatpaper.

DiamondoftheDelta20x28cm(8x11in)InthispaintingofanOkavangolilyyoucanclearlyseethatthetriangularspacesbetweentheopeningpetalsareasimportantinmakingtheirshapesasthetriangularspacesofwhitepaperleftbetweenthem.

PositiveMarksandNegativeShapesTocreateanimageinthetransparentmediumofwatercolourtheartisthasachoicebetweenmakingpositivebrushstrokesandleavingnegativespaces–thatis,leavinggapsinawash,orpaintingaroundashape.Thetoneofthebackgrounddeterminesthischoiceofmark.Ifanobjectisdarkerthanthebackground,apositivebrushstrokewillbringtheobjectintobeing;ifthebackgroundisdarker,thentheshapeoftheobjectmustbeomittedfromthesurroundingwash,makinganegativeshape.Spacesbetweenobjectsmayberepresentedbypositiveornegativeshapes,dependingontherelativebackgroundtone.

Thebackgrounddeterminesthechoiceofpositivebrushstrokesornegativespaces.Thetophalfofthisplantstandsagainstalightbackground,sotheleavesarefashionedfrompositivebrushstrokes;lowerdownthebackgroundisdark,sotheleavesarefashionedwith‘negative’shapes.

SeeingandDrawingThevisualinformationneededforfigurativepaintingisfoundinthephysicalinspiration.Thismeansyouneedtohoneyourobservationalskills.Never

presumeyouknowwhatsomethinglookslike;youhaveneverbeforeseenitunderthisparticularlight.Thebestwaytotrainyourobservationalskillsistopractisecontourdrawing,

andtodothiswithoutlookingdownatyourpaper.Thismayseemillogicalatfirst,butyouwillbesurprisedhowwellyoucandrawsomethingifyouconcentrateontheactualsubjectratherthanthemarksonthepaper.Startontheleftifyouareright-handedanddonottakethepenciloffthepaperuntilyoureachtheendofyourchosenoutlineoryouwillloseyourwayandyoursenseofscale.Onceyoufeelmoreconfidentdroptheoddglancedowntoyourpapertocheckthepencilisintherightposition,thenyoucandomorecomplicateddrawingthatrequiresyoutoliftyourpenciloffandreposition.Soonyouwillrealizethattomakeapaintingyoumustcontinuouslyrefertothe

subject.Itisimpossiblefortheeyetoholdthenuancesoftoneandcolourneededforwatercolourpaintingforverylong,soyoumustkeepreturningyoureyestothesubjecttogaintheinformationneeded.Toanonlookeryouwilllooklikeanoddingdogonthedashboardofacar!

ThisoutlineofAvignonwasdrawnwithoutlookingdownandwithouttakingthepenoffthepaper;itissurprisinglyaccurate.

MistRisingBelowAvignon28x35.5cm(11x14in)Bykeepingtheeyeonthecity’sskylineandquicklyglancingdowntothepaper,aflatbrushcouldbeusedtopaintthesilhouettewithassuranceandwithoutanypreliminarydrawingatall.

TransferofTime(NoordhoekRocks)28x35.5cm(11x14in)Therhythmofthevariedheightsoftherocksandthebalanceofalternatinglightandshademakeasatisfyingcomposition.

RhythmLinesCompositionisthedesignofapaintingonthepaperandisusuallymadewiththeuseofdrawnlines.Therhythmsofthelinesestablishbalancewithintheboundariesofthepicturespaceanddirecttheeyetothefocusofthepainting.Asyouobserveyoursubjecttrytoseethelinesthatwouldbeusefultofulfilthesefunctions,andignorethosethatservenopurpose.Graduallyyouwillstarttorecognizewhichviewslendthemselvestopaintingcompositionsbytheleadinglinesandpatternsinherentwithinthem.Youwillrealizethatwhileeverythingcanbepainted,aviewdoesnotnecessarilymakeagoodpaintingunlessithascompositionalstrength.Donotbesurprisedtofindthatsometimesthemostpicturesquesubjectsdonotnecessarilymakegoodpaintings.

Abriefpencilsketchfindstherhythmofthecompositioninthreesimpleflowlinescomingtogetherbesidetheocean.

CrystalArchSaltcrystalstossedintowatercolourSaltcrystalsofferafunwaytooverrulethetendencyto‘copy’colours.Paintastrongmulticolouredwashandtosssaltcrystalsintothewetpaint.Letitdrycompletelyandbrushthemoff,thendrawandpaintthetonalstructureontopofthevariegatedwash,criss-crossingthepatternmadebythesalt.

ChangingColourWhileitiscrucialtogetyourrelativetonalvaluesrightitisnotnecessarytofaithfullyfollowcolours.Underanygivenlightcolourschange,sonoobjecthasasetcolour.Inapaintingthelitsideofafeaturewillbeadifferentcolourtotheshadedside,eveniftheobjectismonochromatic.Allcolourisrelative,soitisthecolourbiasthatisimportanttothepainter.Learntolookfortherelativewarmthorcoolnessofacolourinrelationtoitsneighbourandinrelationtothewhole.Whenobservingyoursubjectlookforcoloursthatpervadethewholeorthemajorityoftheview,andnotewheredarkcoloursarelitandlightcoloursareinshade.Thesearethekindsofdecisionsyouneedtopractiseforpaintingwatercolour.Learningtoseeasanartisttakestimeandpractisebuttheprocessisexcitingandrewarding.

DeepHeartofPienza35.5x51cm(14x20in)Tonesarerelativetoeachotherandtothewhole.Herethedooristhedarkestpartofthepaintingbutitneednotbepaintedasdarkasitisinreallife,itjusthastobepainteddarkerthaneverythingelseinthepainting.

IntheZone

Watercolour,withitsintrinsiccharacteristicsandtheneedfordecisiveness,istheperfectmediumforapainter.Adrenalinemaypumpinthefaceofwhitepaperandemotionscanbeonedgebutthemindiscentred,thebodyforgotten,theartistislivinginthemoment.Relax,thisisbliss.Watercolourmaybeanartbutwhatishappeningonthepaperisscience.Ifyou

canharnessthepropertiesofthiswonderfulmediumandthengivethemplentyoffreedomyouwillmastertheart.Concentrationandpatiencearecrucial,focusonplanning,mixing,layingtherightbrushstroke,attherighttime,intherightplace…andthenmagicwillhappen.

Gallery

DrunkwithColour46x56cm(18x22in)

DriftingThroughTuscany25x35.5cm(10x14in)

LazyLion43x43cm(17x17in)

SheCarriestheBreeze35.5x51cm(14x20in)

NoNextTimeAround35.5x51cm(14x20in)

FirstpublishedintheUnitedKingdomin2011byBatsfordThiseditionfirstpublishedintheUnitedKingdomin2017byBatsford43GreatOrmondStreetLondonWC1N3HZAnimprintofPavilionBooksCompanyLtd

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