Download - Watercolors3
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WatercolorsVaried Textures Through Brushwork and RESIST
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Which painting makes use of a wash?*
• How do you know?
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To get variety in texture, we need to control the water.
Wet?
Dry?
Damp?
On the Page: In the Brush:
Wet?
Dry?
Damp?
WASHCRISPEDGE
SOFT EDGE
CONTROLED EDGE
LINES
WASH
So to get varied textures…DRYING TIME, in STAGES, is needed.
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While this image has multiple washes, it’s the
combination of diffused and crisp textures that make it
interesting.*
Make a descriptive list of the order this image was
painted and condition (wet or dry) of the paper at each
stage.
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Painting Landscapes with Textures:*
Make a list the varied textures in the seascape above.
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We are going to make seascapes and a pastorals
—2 kinds of landscape paintings—using
brushwork and varied water content of the paper
to create textures.
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Crayon? Using RESIST to create more texture variety.
RESIST techniques create barriers to the paint.
Use one or two related colors to create uneven texture on the beach.
Starting a seascape:
Draw an uneven horizon line to indicate distant rolling hills.
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Rule of Distance?
• Waves are thicker and farther apart nearest to viewer.*• Waves are thinner and closer together farther from viewer.*
Use Elmer’s Glue to change the texture of the
water,indicating waves or
ripples.
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Use rubber cement to keep cloud shapes white when you paint the sky.
Cotton Balls? • Cumulous clouds tend to flatten on the bottom with weight of moisture.
• Cirrus clouds streak across the sky. *
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Starting a pastoral:
Draw an uneven horizon line to indicate distant rolling hills.
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Sophisticated Painters do not limit their trees to “ground lines.” So, how is it a problem to get trees at varied distances from viewer?
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Tape is a great resist technique to maintain crisp boundaries.• Cut thin strips to establish the trunks and main
branches of 3 to 5 trees.• Place at varied distances in the landscape.
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Use tape in the same manner to construct a
broken down fence or to cut the shapes of small
buildings in the distance.
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Beginning the painting process.
• We will work back and forth between the seascape and the landscape in order to allow drying time between layers.
• We want variety in texture—so the paper is going to have to be wet sometimes, damp sometimes and dry sometimes to accomplish that.
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Painting the Seascape Sky:
Wet Sky (stopping at the hill tops.)
Paint Sky: lighter closer to the earth.
Wet Water (stopping at the top of the crayon.)
Paint LIGHT blue-grey undertone of water.
DRY
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Painting the Pastoral Sky:
Wet Sky (stopping at the hill tops.)
Paint Sky: lighter closer to the earth.
Kleenex Clouds (3-4 quick blots.)
DRY
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Seascape Water/Land:
Wet Water and Land.
Paint Water: lighter closer to the land.
Paint Land (dirty greens).
Paint changing color of foliage/ground cover
Streak Water (more color closer to viewer.)
.
DRY
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Pastoral Fields:
DRY
Wet Fields.
Paint Dirty Green: Darker closer to viewer.
Paint shadow colors under trees.
Place plastic wrap over foreground.
.
DRY
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Seascape Final Layers:
Remove Rubber Cement.
Wash or Dry Brush Cloud Textures.
Dry Brush evergreens.
Dry brush weeds/bushes. .DRY
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Pastoral Final Layers:Remove Plastic Wrap.
Dry Brush Trees—Angel Brush.
Remove Tape--CAREFULLY.
Dry brush weeds/bushes/Textures.
.DRY