WaterPaperPaint

WATERPAPERPAINT

WATERPAPERPAINTEXPLORINGCREATIVITYWITHWATERCOLORANDMIXED

MEDIA

HEATHERSMITHJONES

Thisbookisdedicatedinmemoryofmygrandmothersandfortheirimpactonmylifeandart.Mymaternalgrandmotherhelpedsupportmethroughgraduateschool,wrotelettersofencouragement,andspreadlighttousgrandchildrenthroughherlaughter.WhenIremembermypaternalgrandmother,Ithinkaboutherwarmth,appreciationforbeauty,andloveforcolor.Shepassedawayduringthewritingofthisbook.

CONTENTS

Introduction

CHAPTERONE:BASICSPaperPaintPalettesBrushes

CHAPTERTWO:PROJECTSPROJECT1:BasicPainting:WorkingWetIntoWetPROJECT2:BasicPainting:WorkingWetOntoDryPROJECT3:TextureandPattern:DabbingwithDifferentMaterialsPROJECT4:Explorations:Dripping,Blowing,Splattering,andSquirtingPaintPROJECT5:Brushes:MakingMarkswithOneorManyPROJECT6:Palettes:UsingaColorSystemPROJECT7:Mediums:UsingSalttoMakeTexturePROJECT8:PersonalSpace:KeepingaSketchbookPROJECT9:PaintingfromLife:SettingUpaStillLifePROJECT10:Color:UsingHigh-KeyorLow-KeyColorPROJECT11:AWhitePainting:UsingtheWhiteofthePaperandLightWashesPROJECT12:ContrastingMedia:DrawingasaMainElementPROJECT13:LightandShadow:UsingValuetoOrganizeaPaintingPROJECT14:InspiredbyNature:PrintingwithLeavesPROJECT15:ExploringMedia:WatercolorPencilsandWater-SolubleCrayonsPROJECT16:MaskingandStencilProject:CreatingNegativeShapeswithTapeandStencilsPROJECT17:DeconstructandReconstruct:CutandReassembleaLargePaintingPROJECT18:ArtCardProject:MakingTinyArtPROJECT19:Collage:WorkingwithPaperEphemerainaPaintingPROJECT20:DarkSubstrates:IncorporatingOpaqueandIridescentWatercolorsPROJECT21:LandscapePainting:UsingaLimitedPaletteandaViewfinderPROJECT22:CapturedImages:WorkingfromaPhotographPROJECT23:PaintedVerse:FindingInspirationinaPoemPROJECT24:LinesandLetters:WritingwithWatercolorPROJECT25:PrintandPaint:AddingWatercolortoaMonotypePROJECT26:FoundMaterials:WorkingonanAntiquePostcardPROJECT27:StillLife:PaintinganArrangementPROJECT28:MagazineCollage:InspiringColorandCompositionforaPainting

PROJECT29:BotanicalPainting:DrawingfromNaturePROJECT30:SpecialProject:AnArtist’sBook

CHAPTERTHREE:GALLERYContributingArtistsResourcesBooks&OnlineResourcesAbouttheAuthorAcknowledgments

INTRODUCTIONWATERCOLOR:

APersonalHistoryWatercolormaybetheearliestpaintoneencountersasayoungchild.Asimplepaintsetofcolorsandasoft-hairedbrushconnectayoungpersonwithhisorherthoughtsandhelpdirectlycommunicateimpressionsofthenearbyworld.Perhapsyourecallwatchingliquidpoolsofcolorblendtogetherforthefirsttime.Workingwithwatercolorisimmediateandspontaneous,yetitisalsodramatic,abletostirwonderandmystery.

Theauthorasayounggirl

Ibegantakingwatercolorlessonsasanadolescentandremembersittingonthebeachwithawatercolorpaperblockandplasticpalettefulloftubewatercolors.Myinstructorshowedmehowtoholdtheflatbrushandglideitbackandforthtopaintthewavesastheymovedtoshore.Hemadeitlookeffortlessandcaptivating.Theblue-greenoceanseemedtowashitselfontohispaper.WhenIpaintedthesamewater,Irememberbeingfrustratedtryingtopaintlikesomeoneelseandwasprobablystrainingbeyondmyskills.

Myinterestinwatercolorwasrenewedingraduateschoolwhenourprofessordemonstratedhowtomakewatercolorpaintbyhand,grindingthepigmentsonebyonewithwaterandgumarabic.Thereissomuchroomfordiscoveryinmixingpaintsfromrawingredients.Throughthenuancesofpaint-makingprocessesandbyincorporatingdifferentmaterialsandwaysofapplyingthem,Itrytoreshapethemediumformywork.Byexperimenting,IhavelearnedthatIliketoincludelayersoftransparentcolorwithareasofopaquehandmadewatercolorinmypaintings.Itendtomixwhitewithacolortomakeatint,aswellasallowingthewhiteofthepapertoshowthroughinotherareas.Thesetechnicalaspectscanimpartandsupporttheconceptswithinthework.

Throughtheprojectsinthisbookandinpractice,trytounearthyourownstrategies.Blendtraditionwithnewmethods.Combinewhatyouknowwithazealfordiscoveryandfindnewwaystoapproachthepaintingprocess.Makethepaintworkforyouandconveyyourideassoyoucancreateyourownwork,unlikethatofanyoneelse.

CHAPTERONE:BASICS

Noteveryonehashadtheopportunitytoexperimentwithwatercolorasachildorevenasanadult.Ifyouwanttotrypaintingwithwatercolorforthefirsttimeandwonderhowtobegin,takeafewmomentsandreadthebasicschapterwhichdiscussespaper,paint,palettes,andbrushes.Becomefamiliarwiththematerialsandhowtosetupforapaintingsession.

Thepapersectiondiscussesthedifferenttypes,howitismade,andhowtopreparepaperbeforepainting.ThepaintsectioncoversthethreetypesofwatercolorusedinWaterPaperPaint,aswellashowtomakeyourownpaint.Thepalettessectioniscomprehensiveandbeginswithexamplesofpalettesupportsandendswithadiscussionaboutthecolorwheelandcolorsystems.Youwillalsolearnaboutthecharacteristicsofcolor,howmanufacturerslabelpaints,andasuggestedselectionofpaintcolorswithwhichtobeginpainting.Thebrushsectionintroducesthetypesofbrushes,howtousethem,andthenumberingsystemmanufacturersuseforsizing.Itincludesasuggestedlistofbrushestousefortheprojectschapterofthebookandsomesimpletipsforbrushcare.

PAPERTheprojectsinWaterPaperPaintusethreemaintypesofpaper:rough,cold-press,andhot-press.Thesetermsrefertothesurfacequalityorsmoothnessofthepaper.We’llreviewthesubstrateoptions,theircharacteristics,andhowtousethemonthefollowingpages.

Watercolorpapertypes(lefttoright):rough,coldpress,softpress,hotpress

PaperTypesForcenturies,finepapermakershaveusedamoldtoformthesheets.Amoldisawoodenframewithafinescreenstretchedacrossit.Itisdippedintoamixtureofcottonfibers,sizing,andwaterandwhenlifted,itholdswhatwillbethesheetofpaper.Asthefibersdrytheybindtogether.Theirregularborderofthefibersformwhatiscalledadeckleedge.Todaythescreensusedtomakepaperaremuchlonger,sooncecuttosize,watercolorpapersmayhaveacombinationofdeckled,cut,ortornedges.

Cottonfibers,orlinters,areusedinmakingwatercolorpaperinsteadoftreefibers.Treefibershavebeenfoundtoyellowovertimeasthepaperbecomesmoreacidicfromexposuretoultravioletlight.Substanceslikecalciumcarbonateareaddedtothecottonpulptomakeitmorealkalineandincreasethelifeofthepaper.

Oncethesheetsaremade,theyarerolledthroughcylinderstopressthepaperfibers.Coldcylindersproducecold-presspaper,asheetwithatexturebetweenroughandhot.Cold-presspaper(CP)isapopularchoiceamongwatercolorartists.Hotcylindersmakehot-presspaper(HP)apaperwithasmoothandsatinyfinish.Hot-presspaperisagoodchoiceforworkthatinvolvesdetaileitherindrawingorpaint.Roughpresspaperisnotpressed,givingitaverytoothygrain.Generally,roughpaperissuitedforwet-into-wettechniquessincethesurfaceishighlyabsorbent.Becauseitisalsoverydurable,itisasuitablechoiceformixed-mediawork.Inaddition,somepapermakers,suchasFabriano,makeasoftpresspaper,whichhasavelvetysurface,offeringaversionbetweenhot-pressandcold-press.

Duringthepaper-makingprocess,manufacturerssizethepapersheetswithnaturalorsyntheticgelatin.Thesizingpermeatesthepapertoallowforbetterpaintadhesionandvibrancyofcolor.Italsomakes

thepapermoredurableandlessabsorbenttoexcesswaterwhenpainting.

PreparingPaperStretchingwatercolorpaperbeforepaintingissometimesnecessarytopreventrippling.Whilesomeartistsdonotmindpaperrippling,itishelpfultoknowwhatcausesit.Twofactorshelpdetermineifstretchingisneeded:theweightorthicknessofthepaperandtheintendedpaintingprocess.Watercolorpaperisavailableinsheets,rolls,andblocksandismeasuredinpoundsperream(lb)orgramspersquaremeter(gsm).Twocommonandeasilyfoundweightsare140lb(300gsm)and300lb(640gsm).Paperof300lbormoreisverythickandgenerallysturdyenoughwithoutstretching.Forpaperthatweighslessthan300lb,suchas140lborless,theseconddeterminingfactorwarrantsconsideration.Ifyouintendtosaturatethepaperwithpaint,thenyoushouldstretchitfirst.Themorewateryouapplytothepaper,themorelikelyitistobuckle.

Ifthepaintingprocessentailsdrawingwithadditionsofwatercolororthinglazing,youmaybeabletoskipthestretchingstep.

MATERIALS

■watercolortape

■pieceofwatercolorpaper

■containerforwater

■sponge

■largeflatbrush,1″–2″(25–51mm)wide

■craftknife

■straight-edgeruler

■woodorMasonitesupport

Process1.Beforestretchingthepaperwithwatercolortape,makesuretocutortearthepaperlargerthannecessary.Allowforanadditional2″(5.1cm)ontopofyourdesiredmargininbothlengthandwidth.Totearthepaper,setitonacleanflatsurfaceandholdastraight-edgerulerdownonthelinewhereyouwanttotear.Holdtherulersteadywithonehandasyouusetheotherhandtoliftandtearthepaperagainsttheruleredge.Itwillformadeckleedgeasyoutear.

2.Laythewatercolorpaperonaworksurface.Usealargeflatbrushdippedincleanwaterandwettheentiresurfaceofthepaper.Makesurethepaperisthoroughlywetbutwithoutpuddles.Turnthepaperoverandrepeatontheotherside.Alternatively,useacleanspongeratherthanabrushtowetthepaperorsoakthesheetofpaperinalargevatofwaterforafewminutes.

3.Placethewetpaperonawooddrawingboardorfiberboard,suchasMasonite.Usecleanhandstosmoothoutanyripples,rubbingfromthecentertotheedgesofthepaper.Tearfourstripsofwatercolortape,eachslightlylongerthantheedgesofthepaper.Dipacleanspongeinfreshwaterandmoistenthegummedsideofonetapestrip.Whenitiscompletelymoist,laythestriponanedgeofthepaperwithone-thirdofthewidthofthestripsetonthepaperandtwo-thirdsadheringtotheboard.Pressitdownfirmlywithyourhands,rubbingfromthecentertotheedges.Repeatthesamestepswiththeremainingthreestrips.Waitforthepapertodrybeforepainting.

4.Afterthepaintingprocessisfinished,removethewatercolortape.Therearetwowaystoremovethetape,anddependingonthetypeofpainting,itishelpfultoknowboth.Useacleanspongetowetthetape,rubbingcarefullyalongthetapesurface.Trynottodisturbyourpaintingwithstraydropsofwatersincewatercolorremainssolubleevenwhendry.Onceastripoftapeismoistened,begintogentlyremoveitfromthepaperbypeelingandliftingacorner.Ifsomeofthetapestickstothepaperasyoupull,wetthetapealittlemoreandtryagain.Thealternativetowettingandpeelingthetapeistocutit.Useastraight-edgerulerandacraftknifetocutthetapecompletelyawayfromthepaper.Youwillbecuttingofftheextrapapermarginthatyouallowedforwhenfirstpreparingthepaper.

5.Ifyoudon’thavewatercolortape,don’tletthatpreventyoufromstretchingpaperwhenit’snecessary.Insteadyoucanuseremovableartists’stape,alow-tackpainter’stape,orstapleintoawoodenboardwithaheavy-dutystapler.Sincetheseothertypesoftapedon’tneedtobemoistened,yousimplywetthepaperassuggestedaboveandadherethepapertotheboardwiththetape.Youmayneedtoencouragethetapetosticksinceitwillwanttoresistthedamppaper.Ifusingastaplegun,placestaples2″or3″(5.1or7.6cm)apart.

ToFlattenaPaintingItispossibletoflattenabuckledorwarpedpaintingifyoudidnotstretchitfirst.Lightlywetthebacksideofthepaperwithacleanflatbrushoratomizer,makingsurenottodisturbthepaintingonthefront.PlacethepaperfacesidedownonacleanpieceofPlexiglaswhichhasafinewovenpieceofcottonfabriconit.LayanotherpieceofcottonfabricoverthepaintingandcoverwithasecondpieceofPlexiglasoraboard.Addweightontop,suchasseveralbooks,andletitrestanddryforatleastanhouroruptoadayortwo.Thepressureandweightwillhelptorestorethepapertoanearflatstate.

PAINT

Traditionally,watercolorpaintingsareadmiredforrelayingasenseoffluidityandforconveyinglightnessandcolor.Theprocessofmakingawatercolorpaintingthatevokesthosesensationstakespractice.Anumberofattemptsmaybemadebeforeonegetsthat“ah-ha”momentwhenitclicks.Perhapsthatmomenthappenswhenlayeringaparticularcombinationofcolorsturnsoutjustright,whenreservingthewhitesinthedesiredplacefinallyhappens,orwhenthecombinationoffactorsculminateinthemakingofthepaintingyouimagined.Practiceandexperimentationwithdifferenttypesofwatercolormayaidyourexplorations.

TypesandHistoryThreetypesofwatercolorareusedinWaterPaperPaint:tube,panpaint,andhandmadewatercolor.Inmostcases,anytypeiscompatiblewiththeprojects,sosimplyusewhatyouhave.Goodcommercialpaintiseasilyaccessible;yetmakingyourownpaintbyhandcanbeasimpleandgratifyingprocess.

Priortothenineteenthcentury,artistshadtomaketheirownwatercolorpaint.Itwasaverylaboriousprocesstoprepareforapaintingsession.Artistswouldhavetogrindharddryclumpsofpigmentwithwateronastoneorceramicslab,rubbingthemintoausableconsistency.Notuntilthelate18thcenturydidpaintcomeinamoresolubleform.In1766,WilliamReevesinventedcakepaint,whichofferedamuch-improvedpaintforartists.Heeventuallydevelopedtheuseofhoneyinthepaintmixturethatmadetheconsistencymoreviscousandkeptthepaintmoist.Thosecakesweresimilartothepanpaintsoftoday.Pansaretypicallysmall,square,orcircularcontainersthatholdindividualdrycolors.Theyaresettogetherinatrayandaresimplymoistenedwithwaterduringuse.Theirsizeandportabilitymakethemasuitablechoiceforworkinginthefieldorenpleinair.

Seventy-fiveyearsaftertheinventionofcakepaint,JohnGoffeRandpatentedthefirstmetalpainttubein1841.Thenfiveyearslater,in1846,Winsor&NewtondevelopedaliquidwatercolorformulaandimprovedthedesignofRand’stube.Sincethen,manymanufacturershaveadoptedthescrewtopmetaltube,andwatercolorpainthasbecomeavailabletomany.Thetubekeepsthepaintcreamyandsmooth,amuchwetterconsistencythanpanpaint.Whilethepigmenttovehicleratiocanvarytodayfrom10to50percentdependingontheparticularcolor,paintintubesprovidesfinecolorandtransparency.Becauseofthemoisturecontentintubepaint,onceitissqueezedontothepalette,aone-hourwaittimeissuggestedbeforeuse.

MATERIALS

■drypigments

■liquidgumarabic

■enamelorglasspalette

■paletteknife

■spoon

■pipetteoreyedropper

■containerforwater

■freshwater(distilledwaterispreferred)

■cottonragorpapertowel

■protectivegloves

Commerciallymadewatercolorsofferthebestqualityofpaint.Andwhilethisistrue,someartistsliketomaketheirownpaintformoreindividualreasons.Makingyourownpaintprovidestheopportunitytoinventnewcolorcombinationsandcontrolthesaturationorintensity.Someenjoythesimplicityoftherawmaterialsandbeinginvolvedinthehands-onprocess.

Watercolorismadeofthreebasicingredients:drypigment,abinder(typicallygumarabic),andwater.Drypigmentsandliquid(orpowdered)gumarabiccanbepurchasedfromartsuppliers.(See“Resources,”onpage152.)Gumarabicisasapharvestedfromtheacaciatreeandislighttomediumamberincolor.Gumarabicisthemediumthatbindsthepainttothepaper.Itcanalsobeaddedtostoreboughtwatercolortopreventcolorbleedinginwaterytechniquesandtoaddlustretothepaintsurface.

Theconsistencyofhandmadepaintissolid,similartocommercialpancolor.Additionally,ahumectantsuchascornsyruporhoneyandaplasticizerlikeglycerincanbeincorporatedtohelpretainmoistureorsoftenthepaint.Store-boughtpaintmayalsoincludeadditionalingredientsandfillerstoimprovetheviscosityofthepaint,makeitmoredurable,andprolongitsshelflife.

HowtoMakeWatercolorbyHand

Theseinstructionsareanintroductiontomakingwatercolorbyhand.TheyfollowthesimplemethodbywhichIwastaught.Ifyouwanttopursuemixingpaint,consultThePaintersHandbook:ACompleteReferencebyMarkDavidGottsegenfordetailedinformation.

Caution:

Workinadraft-freeareaanddonotbreathepigmentdustifitbecomesairborne.Itisbesttowearadustmaskwhenmixingpigments,especiallythosecontainingmetalliccompoundssuchascadmium,cobalt,zinc,nickel,manganese,orchromium.Wearingglovesisalsorecommended.

Process1.Usingaspoon,scoop1to2tablespoons(15to30ml)ofpigmentontoacleanmixingareaonthepalette.Useaneyedroppertoaddafewdropsoffreshordistilledwaterintothepigment.Grindwiththeflatsideofapaletteknifetodispersethepigmentintothewateruntilapasteforms.Somepigmentsacceptwatermorereadilythanothers.Ifthepigmentbecomestoodryduringmixing,addafewmoredropsofwater.Ifitbecomestoowet,addmorepigment(fig.A).

2.Oncethepigmentistheconsistencyoftoothpaste,adddropsofgumarabicandmixtogetherwiththepaletteknife.Alternatively,aglassmullermaybeusedformixing.Handmadewatercolorcanbeveryopaque.Testthecoloronascrapofwatercolorpaperandnoticethecolorsaturation.Increasethetransparencyifdesiredbyaddinggumarabic.Cleanthemixingareaandpaletteknifebeforemixinganewcolor(fig.B).

3.Storehandmadewatercolorinsmall,liddedcontainersoronyourpalette.Beforeapaintingsession,dampenthewatercolorsbyaddingsmalldropletsofwaterwithapipette,justasyouwouldtocommercialwatercolor.

Thissampleshowscolorsaturationwithhandmadewatercolor(top),panwatercolor(middle),andtubewatercolor(bottom).

ADJUSTINGTHERECIPE1.Ifthepaintdoesnotwanttoadheretothepaper,thennotenoughgumarabicwasused.

2.Ifthehandmadewatercoloristoohardorbrittle,tryaddingahumectant.Adroportwoofhoneyorcornsyrupduringthemixingprocesscanhelpretainmoisture.Useitsparinglybecausetoomuchwillmakethepaintstickyorcauseittomoldovertime.

3.Ifthepaintistoughtodissolve,tryaddingsmalldropsofglycerinduringthemixingprocess.

PALETTESPalettesarethesupportonwhichartistsmixpaintandtheirpreferredcombinationofcolors.Whereyoupaintcandeterminethetypeofpaletteorsupportyouchoose.Whenworkinginyourownspace,beitthestudio,craftroom,oronthediningroomtable,thereareseveraloptions.

TypesAmetalorenameltray,apieceofPlexiglas,orevenapieceofwindshieldorpictureframeglassmakegoodpalettesandareeconomical.Inyourownspace,youhavetheabilitytosetthepaletteonaworktableandnotneedtomoveitaround.Enameltrayscanbefoundfromkitchenorrestaurantsuppliersandsometimesinthriftshopsorfleamarkets.GlassandPlexiglasareeasytocomebyandgivelotsofmixingspace.Makesuretobevelortapetheglassedgestopreventinjury.Whenusingatransparentpalette,placealargesheetofwhitepaperunderneathtobetterseeyourcolors.Ifyouliketokeepcolorsseparate,tryindividualceramicdishesorramekinsforstorageandthenmixcolorsonalargeflatpalette.

Forfieldwork,somethingsmallandportableisfavorablefortotingtothelocation.Sometinsorpalettescomewiththepaintalreadysuppliedwhileothertravelcasesallowyoutoaddyourexistingtubecolors.Eitherway,apalettewithalidisnecessary.

Mostpalettesavailabletodayhavecompartmentsforindividualcolorswithseparateopenspaceformixing.Whetheryoupurchaseapaletteorutilizeasupportyoualreadyhave,thesurfaceyouchooseshouldbesmooth,sturdy,andflat.Oneofmyfavoritepalettesisanenamelbakingtraythatbelongedtomygrandmother.Iuseitforcommercialwatercoloraswellasmixingmyownpaintwithapaletteknife.Withintheopenspace,Iletmycolormixturesaccumulateovertime.YetthesurfaceiseasytocleanwhenIamreadytomixafreshpalette.

ColorandPaintLabelsPaintselectioninstorescanbebothmesmerizinganddauntingwithhundredsofcolorsfromwhichtochoose.Startingwithtoofewcolorscanlimityourmixingpossibilitieswhilechoosingtoomanyisoverwhelmingandexpensive.Sobeforeyoubuyanunnecessaryamount,itisgoodtoknowafewthingsaboutcolorandpaintcataloging.

Colorisdescribedbythreecharacteristics;color,value,andchroma.Colorreferstothehueorname,suchasred,yellow,orblue.Value,orlightness,describeshowacolorislight,dark,orsomewhereinbetweenonthevaluescale.Andchromareferstotheconcentrationorpurityofcolor,whetheritisdullorintense.Paintuseddirectlyfromthetubeismoreconcentratedthanpaintdilutedwithwaterortinted.

Eachcolorofwatercolor,andotherspaintsaswell,havenamesconceivedbymanufacturers.Nameslike“MonteAmiataNaturalSienna”and“PompeiiRed”stampedonthelabelssoundbeautifulandappealing.Yetthesetermsdonotnecessarilytellyouwhatmixtureisinside.Itishelpfultoreadtheindividualpigmentslistedonthetubeorpanlabel.Bothofthecolorsmentionedabovecontainthesamepigment,PBr7.ThatcombinationoflettersandnumbersisauniversalsystemcalledtheColourIndexInternationalandisusedbymanufacturerstoidentifycolors.Inthisexample,Pmeansitisapigmentratherthanadye,Brreferstoitsgeneralhue,whichisbrowninthiscase,and7isitsassignednumber.Withthehundredsofcolorchoicesavailable,somecolorsyoulikemaybeduplicatesindisguisethataremadefromthesamerawpigments.

Otherinformationnotedonlabelsisthelightfastnessrating.Lightfastnessreferstohowdurablethepaintisovertimewhenexposedtosunlight.Variousmanufacturershavedifferentnomenclaturetodescribetheseratings.Colorswithexcellentresistanceareextremelypermanent.Colorswithverygood

resistancearedurablewithgoodresistancetolight.Theseratingsmeanthatthesecolorshaveproventhroughtestingtobeverystrongandlonglastingandwon’tfade,discolor,orbecomeopaque.Fairorfugitiveratingsindicatethatthecolorcouldbelessstableanddeterioratewhenexposedunprotectedforlongperiodsoftimetobrightlight.Fugitivepaintcoulddeterioratewithinayear’stime.Artistorprofessionalandstudentgradepaintalikeshouldhavearatingsystemonthetubepackaging.Choosewhatyoucanaffordwithknowledgeoftheratingsandwhattheymean.

PaintColorSuggestions■QuinacridoneMagentaorAlizarinCrimson

■CadmiumRedLight

■CadmiumYellowOrange,optional

■YellowOchre

■IndianYellow

■CadmiumYellowLight

■LemonYellow

■RawUmber

■BurntSienna

■Sepia

■HookersGreen,optional

■PhthaloGreen

■UltramarineDeep

■CeruleanBlue

■PhthaloBlue

■Indigo,optional

■ChineseWhite

■NeutralTint(See“PickingandChoosing,”page27.)

ArrangingaPaletteHowmanycolorsdoyoureallyneedtosetupapalette?Selectadozenorsocolorsthatoffervarietyandabroadmixingrangewithineachhue.Arrangingthepaintcolorsonthepaletteinaparticularorderhelpsyouknowwheretheyareandfindthemeasilywhileworking.Generally,artistsarrangethecolorssotheyareinaspectrum,butyoumayfindawaythatworksbetterforyou.Havinganorganizedpalettecanhelpsomeonebeginninginwatercolorseerelationshipsbetweencolorsandvalues.Specificcolorchoicesshouldbebasedonindividualpreferencesandtraditions,buthereisasuggestedlist(shown,left)togetstarted.

ColorSystems

MONOCHROMATICAmonochromaticcolorsystemismadeofonecolor,white,andblack,withawiderangeofvaluesandintensities.Withwatercolor,valuescanbeachievedalsobylayeringthinwashesofcolortomakeitappearlightordark.

PRIMARYAprimarycolorsystemusesthethreeprimarycolorstoorganizethepainting:red,yellow,andblue.

PickingandChoosing

WhencomparingQuinacridoneMagentaandAlizarinCrimson,theformerismorelightfastbutcanbemoreexpensivethanthelatter.Ifyouwanttoincorporateasoftblue,considerCeruleanBlue.Forpurchasingonabudget,youcouldomitIndigoandusetheNeutralTintinitsstead;omitCadmiumYellowOrangeandHookersGreenandchooseeitherBurntSiennaorSepia.WhileChineseWhiteisnotabsolutelynecessaryfortintingacolor,ifyouareusedtoworkingwithoiloracrylicpaint,usingasmallbitofwhitemayeaseyouintowatercolormixingtechniques.

SECONDARYMixingtwoprimarycolorstogethermakesecondarycolors.Redandyellowmakesorange,yellowandbluemakesgreen,andblueandredmakesviolet.Asecondarycolorsystemusesorange,green,andviolet.

TERTIARYMixingaprimarycolorwithasecondarycolornexttoitmakestertiarycolors.Thetertiarycolorsarered-orange,yellow-orange,yellow-green,blue-green,blue-violet,andred-violet.

COMPLEMENTARYComplementarycolorsarethosedirectlyacrossfromoneanotheronthecolorwheel.Blueandorange,redandgreen,andyellowandvioletarecolorcomplements.Pairingacolorwithitsoppositecreatesadynamiccontrast.

SPLITCOMPLEMENTARYAsplitcomplementarysystemismadeofthreecolors:acolorplusthetwocolorsnexttoits

complement.Forinstance,yellow,blue-violet,andred-violetwouldmakeasplitcomplementarysystem.

DOUBLESPLITCOMPLEMENTARYAdoublesplitcomplementarysystemismadeoffourcolors.Itismadeoftwopairsofcolorcomplements.Blue,orange,violet,andyellowformsuchasystem.

BRUSHESThepaintbrushisanindispensabletooltodistributepainttothepaperandcommunicateyourthoughtsandideas.Thereareaboutahalfdozencommontypesavailableinsizesfromsmalltolarge.Knowingaboutbrushcomposition,types,andsizescanhelpyouchoosethebrushestosuityourneeds.

Brushtypes(lefttoright):examplesofwash,flat,angle,script,androundbrushes

BrushCompositionAbrushismadeofthreeparts;thetuft,ferrule,andhandle.Thetuft,orbristle,arethehairsthatcanbeofeithersyntheticornaturalorigin.Theyaretiedtogetherandgluedinsidethemetalferrule.Themetalferruleshapesandsupportsthetuft.Italsohelpskeepwaterfromdestroyingthegluethatholdsallthehairsinplace.Thehandleisthepartyouholdandismadeofwoodcoatedwithlacquer.Theshapeiswideneartheferruleandtaperstoapointattheend.Itismostcomfortabletoholdthebrushnearorjustbehindthethickestpartofthehandle.

Thehairsusedinbrushtuftscanbefromnaturalsourcesormadeofsyntheticmaterial.Naturalhairisharvestedfromanimalslikemongoose,squirrel,andsableorfromhairintheearsofoxandpigs.Naturalfiberbrushesholdpaintwellandmakesoftcontinuousstrokes.Forcenturies,sablebrusheshavebeenprizedbecauseoftheirfinequalityanddurability,andtheyarealsothemostexpensive.Syntheticnylonisanalternativetoanimalhair.Syntheticbrushescontinuetoimproveinqualityandofferanaffordablealternativetosable.Agoodwatercolorbrush,whethernaturalorsynthetic,needstobesoftandflexibleandabletoholdanddistributepaintfluidly.

TypesAwashbrushissimilartoaflatbrushbuthasadifferentshapehandle,resemblingsomethinglikeahardwarestore-varietyutilitybrush.Thesizesarelargerthanflatsandaremeasuredininches.Washbrushesaregoodfordistributinglargeamountsofpaintorwatertoanarea.

Aflatbrushhasferrulesthatholdthetufthorizontally,formingarowofhairs.Dependingonhowthebrushisheld,theflatsidecanmakeabroadwashandthenarrowedgeofthetuftcanmakethinorthicklines.

Ananglebrushiscomfortabletouse.Itresemblesaflatbrushinferrulestructurebutwithaslopeorangleatthetipsofthetuft.

Ascriptbrushlookslikeasmallroundbrush,butithaslongertuft.Itisusefulfordelicatelineworkorwritingwithwatercolor.Aregularroundbrushwouldmakeafinesubstitute.

Aroundbrushhasaroundferruleandbristlesthatformapointatthetip.Aroundbrushisoneofthemostflexiblewatercolorbrushesasitcanmakebroadwasheswhenthebellyofthebristlesispressedtothepaperbutalsofinelineswhenthetipdelicatelyscrapesthepaper.

BrushSuggestions

FortheprojectsinWaterPaperPaint,youwillbewellequippedwiththesefewbrushes:

■onewashbrush,1″or11/2″(25or38mm)

■oneflatbrush,3/4″or1″(19or25mm)

■oneanglebrush,3/4″(19mm)

■severalroundbrushes,sizesfromsmalltolarge:00,4,6,and14

Otherusefulbrushesthatarenotshowninthephotoonpage28aremop,filbert,fan,andacrylicbrushes.Amopbrushisasoft,natural-hairbrushandistraditionallywrappedwithwirearoundthebaseofthebristles.Mopbrushesholdalotofwaterandaregoodforwettingpaper.Afilbertbrushisflatwithhairstaperinginanovalshapeatthetuftend.Afanbrushhashairsarrangedlikeafanandisusefulformakingtexturalmarks.Anacrylicbrushisaflatbrushwithaclearacrylichandleandsyntheticbristles.Thehandlehasanangledtipthatcanbeusedtoburnishorrubpaper.

SizesBrushesaresizedwithaseriesofnumbersrangingfrom000(verysmall)to24(verylarge).Oftentimesflatbrushesandwashbrushesaremeasuredininches,11/2″(38mm),1″(25mm),3/4″(19mm),1/2″(13mm),andsoon.Withbothmeasuringsystems,thenumbersarevisiblymarkedonthebrushhandle.Artistsareinclinedtohavefavoritekindsandsizesofbrushesbasedonthescaleandapproachoftheirwork.Mypreferencesincludearangeofroundbrushesfromsizes00to14,aswellasafewflatsandalargewashbrush.Ifyouarebuyingbrushesforthefirsttime,here(shown,left)isasuggestedselectiontogetstarted.Trybothsyntheticandnaturalbristlebrushestoseewhichyouprefer.Andrememberthesizesyouneedarepartlydeterminedbythescaleofyourwork.

BrushCareFollowingafewcommonsensetipscanhelpyoumaintainthelifeofyourbrushes.Syntheticbrushesaregenerallyinexpensiveenoughthatifonebecomesruined,itiseasilyreplaced.Sablebrushes,however,cancostanywherefrom$15toover$400perbrushdependingonitssize.Nevertheless,brushesofanykindareaninvestment,andthesepracticeswillhelpprolongtheirlife.

Brushesshouldneverbeleftstandingontheirbristles,whethertheyaredryorinajarofwater.Doingsowillbendthebristlesandcausethemtobecomepermanentlywarped.Whileyouareworking,keepthebrushesyouareusingflatonthetable.

Whenaworksessionisover,rinsebrushesthoroughlyincleanwater.Thenwashinlukewarmwateranduseaglycerinormildvegetable-basedsoaptoremovepaint.Somepigmentsstainthebrusheseasily.Usingalittlesoapwillhelpremovethepaintthatgathersinthetuft.Donotusehotwaterordetergentonbrushes.

Whenrinsingbrushesinwaterduringworktimeorwhenwashing,trytolimittheamountofcontactthatwaterhasabovetheferrule.Waterdamagesthegluehingeandcancausethelacquerhandletopeel.Letcleanbrushesairdryonaflatsurfaceratherthanrubbingthemwithatowel.

Oncebrushesaredry,youcanstorethemuprightincontainers.Oncecompletelydry,naturalhairandfinesablebrushescanbestoredinasealed,plasticcontainertopreventdamagebyharmfulinsectsandmothsthateatthehairs.Nevercloseadampbrushofanykindinsideasealedcontainer.

Watercolorbrushesshouldbereservedonlyforwatercolorpaintandnotusedinotherpaintsor

mediums.Donotuseagoodbrushformaskingfluidoranylatexmaterial.Onlyuseanoldorcheapbrushforthosepurposes.

CHAPTERTWO:PROJECTS

TheprojectsinWaterPaperPaintofferideasandIhopeinspiration.Whilenotintendingtoinfluenceaparticularwayofpainting,theysuggestexamplesthatgiveevidencetothebreadthofthemedium.Theprojectsrangefromverysimpleexercisestomorecomplexcompositions,yetallareaccessible.Thematerialslistsaresuggestions,sofeelfreetoadaptthemasneededtowhatyouhaveonhand.Ifyouarepickingupthebrushforthefirsttime,wet-into-wetpaintingandwet-onto-drypaintingaresatisfyingplacestobegin.Someprojectsapproachpaintingfromlifeandimagination.Arrangeastilllife,drawfromnature,andworkfromaphotographtostrengthendrawingandcompositionalskills.Investigatenewterritoriesandexpressacreativevoice.Incorporatewater-solublepencils,dripandsquirtpaint,andaddsalttoyourwork.

Embracethepaintingprocess.Whilehavingafinalprojectyoucanbeproudofisgratifying,paintingisapracticeofdiscoveryandrealizingideas.Theexperienceofworkingwithwatercolorisfun,exploratory,andcanbeprovocative.Yetsuchartisticchallengescangiveformtoyouroriginalmarkofbeauty.Duringtheprocessofpainting,respondtothatnewbeautyandbringittolight.

PROJECT1

BASICPAINTING:WORKINGWETINTOWET

MATERIALS

■roundbrushessizes4,6,8,and10

■watercolorpaintsintubesorpans

■sheetofrough140lb(300gsm)paper,7″x7.5″(17.8x19.1cm)

■pipette

■jarsforwater

■papertowelorfabricblotter

■palette

PAINTCONCENTRICCIRCLESusinglayersofwetpainttoexperimentwithcolormixing,dilutionlevels,andsimplepatternmaking.

Thesamples(atleft)showfourdifferentcolorvariationsyoucouldtry:blue,monochromaticcolors;greenandblue,analogouscolors;greenandyellow,highintensityorbrightcolors;andredandgreen,complementarycolors.

TipConsiderthewatertopaintratio.Morewatermixedwiththecolorproducesmoretransparentwashesofcolor.Lesswaterproducesmoreintense,opaquewashes.

Process1.Beforepainting,dampenthewatercolorsbyaddingsmalldropletsofwaterwithapipette.Choosethelargestbrush,wetit,dipitinmoistenedwatercolor,andmakesimplecirclesorovalsonthepaperusingsmooth,continuousmovements.Makethebrushstrokesatleast2″to3″(5.1to7.6cm)wide,givingroomtoplay.Circlescanbeallthesamecolorordifferentcolors.Rinsethebrushandpinchbristlesgentlytoremoveexcesswater.

2.Selectasmallerbrushtousenext.Whilethecirclesarestillwet,paintlines,dots,orothermarkswithanothercolorintothosewetareas(fig.A).

3.Selectasmallerbrushandaddacontrastingcolor,stillworkingintothewetpaint.Whilepaintinginthewetareas,itisimportanttonoticethewaythecolorofeachlayerspreadsoutward,formingsmallarteriesofpaint.Alsonoticehoweachnewcolorlayermixeswiththepriorlayersofpaint.Forinstance,whathappenswhenyellowispaintedontoblue?Thetwoprimarycolorswillmakegreen;analternativetousinggreenstraightfromatube.Youmayalsodiscoverhowitiseasytomakebrownwhenredisaddedtogreenasmultiplelayersofwetpaintblend.Itmaysoundelementary,butitisgoodtoseetheprocesshappen(figs.BandC).

MakeSomething!Thisprojectcanbemadeintotagsbyusingacircularpaperpunchtocutthepaintingintocards.Loopwithastringandattachtoagift,addingapersonaltouch.

PROJECT2

BASICPAINTING:WORKINGWETONTODRY

MATERIALS

■low-tackpainterstape

■roundbrushessizes4,6,and8


■pieceof140lb(300gsm)hot-presswatercolorpaper,10″x10″(25.4x25.4cm)

■jarsforwater


■palette

PAINTAGEOMETRICSQUAREpatternandlayerbrightcolorsontoneutraltones.Thisisausefulprojectforthebeginnerwhowantstopracticecolormixingandseehowcolorschange.Itisalsoafunexplorationfortheadvancedartisttoworkwithlayersofcolorandpattern.

Process1.Cutortearthewatercolorpapertosize.Stretchandadherethepapertoawoodenorfiberboardsupportasdescribedonpage14.

2.Moistenthewatercolorsslightlybyeitherdroppingasmalldropofwateronthemwithapipetteorbydabbinggentlywithawetbrush.Selectthenumber6or8brushandstartwithaneutralcolorlikeyellowochre.Beginmixingthecoloronacleanportionofthepalettewithenoughspaceforfurthermixing.Oncetheochreismixed,saturatethebrushwiththecoloranddaboncelightlyonablottertoremoveexcesspaint.Paintarectangleapproximately1″(2.5cm)insizenearthemiddleofthepaper.Beginbypaintingtheedgesoftherectangleusingthetipofthebrush.Thenfillintheshapeevenlywiththesideofthebristlesandbymovingthebrushupanddownandbackandforth.Thebrushshouldbesaturatedenoughtopainttheentireshapewithoutrecharging(fig.A).

3.Selectanothercolorlikeyelloworgreenandaddatinyamounttotheexistingyellowochreonthepalette.Beawarethatonlyatinyamountofcolorisneededtochangethehueoftheoriginalyellowochrecolor.Withthenewcolor,paintasecondsquarenearthefirstsquare.Makesuretheedgesarenottouchingsothecolorsdon’tbleedintoeachother.Usetheblottertodabexcesspaintfromthefirstpaintedsquaretopreventpooling.

Considerations

Noticehowthecolorsvaryinintensitydependingonhowmuchcolorisaddedtotheoriginalyellowochrebasecolor.Alsonoticehowacolorcanbeneutralizedwiththeadditionofitscolorcomplementorcoloroppositeonthecolorwheel.Forinstance,yellowandvioletarecomplements,asareblueandorangeandredandgreen.

TipMakesureeachcornerofthepaintingcompositionhasadifferentsizeorcolorofsquare.Thiswillhelpcreateamoreinterestingcompositionandleadtheeyearoundthepiece.

4.Continuetheprocessofaddingafreshcolortothemixingareasothecolorisbuilding.Thechangesmaybesubtle.Beawarethatonlyatinyamountofcolorisnecessarytochangethehueoftheoriginalochrecolor.Paintanewsquareorrectanglewitheachnewcolormixture(fig.B).

5.Whilepaintingthesquares,varytheirsizeswhilealsochangingbrushsizesasneeded.Itisefficienttouseasize8brushtopaintalargesquare,andanumber4brushcanbemoreaccuratewhenpaintingasmallsquare.Painttheentirepapercompletelywithsquaresandrectangles.Theshapeswillbealmosttouching,edgetoedge.

6.Whenthepaintisdry,addanotherlayertothepainting.Whenpaintingthesecondlayerofsquares,usemorepurehuessuchasyellow,red,andblueintransparentwashes(fig.C).Noticehowtheinitialcolorsappeardarkerwhennewhuesareaddedontop(fig.D).Paintingoverallthesquaresisnotnecessary,butitisperfectlyfinetodo.Youmayalsowanttotrycombiningsquaresintolargershapesbypaintingovertheedges.Continuepaintinguntilthecolorandvalueappearsbalancedinthepainting.Whenyouarefinished,carefullyremovethetapefromthepapertoseethefinalpainting.

PROJECT3

TEXTUREANDPATTERN:DABBINGWITHDIFFERENTMATERIALS

MATERIALS

■papertowel

■cottonmuslin

■toiletpaper

■bubblewrap

■clean,cottondishrag

■paperdoily

■cottonthread

■low-tackpaintersorartiststape


■woodorfiberboard,largerthanpapersize

■roundbrushessizes0,2,4,6,and8


■scrapwatercolorpaper


■jarsforwater

■palette

PAINTANDDABdifferenthouseholdmaterialsontowetpaintandexplorehowtexturecanenlivenapainting.

Process1.Collectdifferentmaterialsfromthelisttousefortexturemakingandfeelfreetoaddmorethantheonessuggested(fig.A).Otherpossibilitiesincludeplasticmesh,bathscrubs,loofah,cottonballs,orotherabsorbentmaterials.Onthescrapwatercolorpaper,testthematerialsbeforebeginningthefinalpainting(fig.B,page42).Withalargebrushandavibrantcolor,paintasectiononthepaper.Makesurethewatercolorisneithertoowetnortoodry.Thepaintonthepapershouldhavesheenandreflectlight.Testoneofthematerialsbyplacingitontothewetpaintandpresslightly.Liftitupgentlyandseethetexture.Partofthepaintwillbeabsorbedordisplacedbythematerial.Continuetestingeachoftheothermaterialsoneatatime,determiningwhichyoulikebest.Somematerialsmakedramatictextureswhileothersaresubtle.Bothcanbeuseful.

Texturesamples(toplefttobottomright):toiletpaper,papertowel,paperdoily,cottonmuslin,cotton-wovedishtowel,thread,Styrofoam,andbubblewrap

2.Cutortearthewatercolorpapertosize.Usingaruler,measurea5″x7″(12.7x17.8cm)imageareaanddrawtheframelineslightlyonthepaperwithpencil.Uselow-tackpainter’stapetosecuretheedgesaroundtheimagearea.Thismakesacleanedgeonthefinishedpainting.

3.Beginthepiecebydrawingyourideasinpencil.Considercombiningrepresentationalobjects,

abstractideas,andwritinginallquadrantsofthepaper.Thedrawingmaybeavisibleelementinthefinalpiece.Whenyouhavefinisheddrawing,mixseveralcolorsinlightandmediumvaluesonthepalette.Paintthebackgroundinwashes(fig.C).Workquicklyandpaintseveralcolorswatchesnexttoandoverlappingoneanother.Whilethepaintiswet,chooseoneofthedabbingmaterialssuchasbubblewrap.Letthebubblewraporotherplasticsdryonthepaperbeforeliftingthemup.Ifneeded,weighttheplasticslightlywhiledrying(fig.D).Next,experimentwithapapertowelorcottondishragandpressitintothewetpaint(fig.E).Pressitdownfirmlyandliftituptomakeacleanimpression.Continuepaintingthebackground,changingcolorsanddabbingdifferentmaterialsthroughout.(Thebackgroundoftheprojectexampleonpage40usedpapertowel,toiletpaper,cottondishrag,andbubblewraptextures.)

TipIftheimpressionsarelighterthandesired,trypaintingthetexturedmaterialandpressitonthepapertohelpdarkenoraccentuatethetexture.Bubblewrapandstringprintwellusingthismethod.

4.Afterthebackgroundispaintedanddry,beginworkingonthemiddleandforeground.Trypaintingadarkarea,suchasthedarkbluesnearthetopoftheprojectexample,andpressthecottonthreadintothepaint.Ifthestringimpressiondoesn’tshowasmuchasyouwouldlike,waituntilitisdryandtrypaintinganddabbingagainusingeitheradeeperblueoradifferentcolor.Itispossibletolayercolorsbypaintinganddabbingwitheachlayer.Toachievethemostcontrast,useanewcolorontop.

5.Keepinmindthatnotallelementsofthepaintingneedtousethepaintanddabmethod.Considerincorporatingdrawingandwriting,glazinglayersofpaint,suchasintheshelloftheprojectexample,andpaintingfinelinestoadddetailandinteresttothepiece.Whenyouarefinished,carefullyremovethetapefromthepapertoseethefinalpainting.

PROJECT4

EXPLORATIONS:DRIPPING,BLOWING,SPLATTERING,ANDSQUIRTINGPAINT

MATERIALS

■pipettes

■flexibledrinkingstraw

■scrapwedgeofcardboardormatboard


■roundbrushesofanysize

■watercolorpaintsintubes

■pieceof140lb(300gsm)coldorhot-presswatercolorpaper,11″x14″(27.9x35.6cm)

■jarsforwater


■palette

EXPLOREPLAYFULWAYStoapplywatercolortopaperbydripping,blowing,splattering,squirting,andsmearingthepaint.Maketexturesandcreateinterestingsurfacequalities.Thisprojectmaymakeyoufeellikeakidagain!

Process1.Preparation:Ifdesired,stretchthepaperandadheretoawoodenorfiberboardsupportasdescribedonpage14.Whetherthepaperislooseorattached,youneedtobeabletotiltthepaperforsomeofthemethodsdiscussed.Prepareacleanspaceonthepaletteformixinglargecolorpools.

2.ScrapingPaint:Turnthepaperverticallyandusealargecleanbrushtodampentheupperthirdofthepaperwithfreshwater.Chargeasize8or6roundbrushwithcolorandmakethickverticallinesorstripeswithinthewetarea.Theprimarycolors,red,yellow,bluewillworkwell(fig.A,page46).Thenusethesideofawedgeofcardboardormatboardtoscrapeacrossthestripeshorizontally,blendingthemtogether(fig.B,page46).Moveonceacrossandbackratherthangoingoverandovertohelpkeepthecolorspure.Ifexcesspaintbuildsonthewedge,dabitonapapertowelorblotter.Beforethepaintdries,selectafewdarkercolorstorepeatthepaintingandscrapingmethod.Thepaintmayextendcompletelyfromthelefttorightsideofthepaper.Thisapproachblendscolorsandcreatestheappearanceofasmoothsurface.

3.SquirtingandDripping:Mixafewcolorsofyourchoiceormoreofwhatwasusedinthefirststep.Makeagood-sizedpuddleofthosecolorsinacleanspotonthepalette,addingwatertodiluteandgivevolume.Useapipettetodrinkupabitofoneofthecolorsandsquirtitontothepaperbelowthescrapedarea.Makeanumberofsquirtsandrepeatusingtheotherpreparedcolors.Worksomewhatquicklysothepaintremainswet.Tiltthepapersolargepaintdropswillflowdownthepaperontheirown(fig.C).

4.Squirting:Trysquirtingvariousamountsofpaint.Letthecolorsdryontheirownandmaintaintheinherentcircularshapetocontrastthedripsandlines.

5.Splatter:Makingsplattersissimpleandfun.Holdasmallnumber2or4brushchargedwithpaintinonehandandtapthehandletoreleasethepaint(fig.D).Trytakingthisonestepfurtherandmakesomelargersplatterswithalargerbrush,suchasasize6,andthenusethecardboardtoscrapeoverthesplatters.

6.SquirtingandBlowing:Makeseverallargedarkshapesandletthepaintpuddleslightlyonthepaper.Useaflexibledrinkingstrawandblowintoonepuddleatatime.Noticeyouwillbeabletoguidethedirectionofthebranchlikelinesthatformbyturningthestraw(fig.E).

7.Thispaintingcombinesmanydifferentapproachestomakingtexturesandapplyingthewatercolor.Afterexperimentingandlayeringthemall,lookatthepiecefromadistance.Decideiftherearetechniquesyouwouldliketorepeat.Whichonesmayhelpcompletethepainting?Arelargershapesneededtostabilizethepaintingcomposition?Couldaddingintenseanddarkcolorscreatedepthinthepainting?

TakingitFurtherTryaddingcollageitems,paintingboldshapes,orincorporatingdrawingtobringcontrastandinteresttothepiece.

PROJECT5

BRUSHES:MAKINGMARKSWITHONEORMANY

EXPLOREMARKMAKINGinwatercolorbyusingbrushesinarangeofsizesandbyrepeatingmarkswithonlyone.

Process1.Cutortearthewatercolorpapertosize.Ifdesired,stretchthepaperandadheretoawoodenorfiberboardsupportasdescribedonpage14.Ifyoudon’tstretchthepaperfirst,itwillbuckle;however,itcanbeflattenedoutwhenthepaintingisfinishedanddry.DirectionsforflatteningapaintingareintheBasicschapter,page15.

2.Withthenumber12brushorlargestbrushavailable,makelargeovalshapesonthepaper.Useonecoloratatimeandmakethreetofiveshapesevenlyspacedacrossthepaper.Addagoodamountofwatertothecolorsothepaintwillappearlightonthepaper.Youwillbeginwithlightcolorsandtints,andasthepieceprogresses,thecolorswillbecomedarkerandmoreintense.Next,selectanothercolorandmakeseveralmoreshapes.Continueaddingmorecolorshapeswiththesamelargebrushuntilthepaperisfilledwithshapeswithsomewhitecrevicesofpapershowing(fig.A).

MATERIALS

■roundbrushessizes2,4,6,8,10,and12


■hot-pressorcold-presswatercolorpaper,8″x11″(20.3x27.9cm)

■jarsforwater


■palette

3.Forthenextlayer,mixcolorswithinthesamehuesasthefirstshapesthatwerepainted.Varythemslightlybymakingthemdarkerorbrighter.Usingasmallerbrush,suchasasize10,paintdabs,ovals,ormarksontothepreviouscolors.Layercolorsofthesamehue;paintbrightorangesontopoflightorangesanddarkbluesontopoflightblues.Inthisprocess,youarebuildingdepthandcolorbyrepeatingmarks(fig.B).

4.Continuenextwithan8brushandthena6brush.Asinstepthree,mixcolorsofthesamehueandincreasetheintensityordeepenthevalueofthecolor.Layersmallermarksontopofthefirsttwolayers.Trytohaveatleastfourtofivelayersbeforemovingtothenextphase.

5.Withthenumber2brushandblackpaint,makeapatternofsmalldashesorlinesinthenegativespaces(fig.C).Allowthemarkstooverlaptheedgesofthecolorsifdesired.Continueacrosstheentirepainting.Noticethecontrastofthesesmallrepeatingmarksamongthelargemarksofcolor.Theremaybetimesinfutureworkswhereyoudesiretomakeapatternpaintedwithonebrush.Thisprojectorexercisewillhelpyoudeterminewhenitmaybevaluabletopaintanareawithmultiplebrushesortousejustonesize.

PROJECT6

PALETTES:USINGACOLORSYSTEM

MATERIALS

■2to3objectsforasimplestilllifesetup




■watercolorpaintsintubes

■pieceof140lb(300gsm)cold-orhot-presswatercolorpaper,10″x11″(25.4x27.9cm)

■jarsforwater


■palette

LEARNHOWacolorsystemcanhelporganizeacomposition.Unifythepaintingbycreatingcolor,harmony,orcontrast.

Process1.Cutortearthewatercolorpapertosize.Usingaruler,measurean8″x8″(20.3x20.3cm)imageareaanddrawtheframelineslightlyonthepaperwithpencil.Stretchandadherethepapertoawoodenorfiberboardsupportasinstructedonpage14.

2.Selectacolorsystem,suchasprimary,tertiary,orcomplementary,asdescribedintheBasicschapter,page27.(Theprojectexampleusescomplementarycolors.)

3.Choosetwoorthreeobjectsthatincorporatethechosencolorsandarrangeasimplestilllife.Keepthearrangementminimal:anobjectandaninterestingground,asthisismoreastudyincolorratherthanoneaboutmakinganelaboratesetup.

TipWhenchoosingstill-lifeobjects,considerchoosingonethatisinherentlywhite.Itwillhelpyouseeshadowsandcolorreflectionsfromotherobjects.

4.Onthepreparedpaper,drawthecompositionincontourlines.Notetheobjects,ground,patterns,texturechanges,andshadowshapes(fig.A).Whenyouhaveenoughinformationdrawntoknowwhereitemsarelocated,beginpreparingthepaint.Moistenthetubecolorswithapipetteoffreshwaterandmakeacleanspaceonthepaletteforcolormixing.Beginwiththegroundofthestilllifeandmixthepredominantorlargestcolorsfound(fig.B).Workacrosstheentiregroundbeforemovingtotheactualobjects.Useasize8or6brushtopainttheshapeswithseveralcolors.Makeloosebrushstrokeswithoutworryingaboutputtingeverythinginjusttherightplace.Letthepaintflow,showingtheintegrityofthebrushmarks(fig.C).

5.Oncethegroundissuggested,beginmixingthecolorsoftheobjects.Toshowhighlightsonashinysurface,remembertokeepthewhiteofthepapervisible(fig.D).Thenconsiderworkingwetondrybyglazingdilutedwashesoveroneanothertocreatetheshadows(fig.E).Trythinmixturesofneutraltint,browns,blacks,andlocalcolorstopainttheshadowsandreflections.

6.Considerthecontrastofcolorsinthisprojectandhowtopainttheobjectsindifferentways.Trypaintinganobjectwithsmallermarksandshadowstocontrastthemovementandflatnessofthecolorsintheground.Noticingthewaylightandshadowsreflectonandaroundtheobjectswillhelpmaketheobjectsappearthree-dimensional.Thenadddetailsofintensecolorandfinelinesinareastonotespecificinformationortexture(fig.F).Finally,usewhiteandtintstoreturnanylosthighlightstotheform.Whenyouarefinished,carefullyremovethetapefromthepapertoseethefinalpainting.

PROJECT7

MEDIUMS:USINGSALTTOMAKETEXTURE

MATERIALS

■tablesalt

■1″(25mm)flatbrush

■roundbrushessizes6,8,orlarger

■watercolorpaintsinpansortubes

■pieceof140lb(300gsm)cold-orhot-presswatercolorpaper,8″x9″(20.3x22.9cm)

■jarsforwater


■palette

TAKINGITSINSPIRATIONfromsaltglazinginceramics,thisprojectexploresaddingsalttowatercolortomaketexture.

Process1.Beginbydippingthe1″(25mm)flatbrushincleanwateranddampentheentirepapersurfacebymakingbroadstrokesbackandforth.Beforethepaperdries,selectadarkcolor(suchasblueintheprojectsample).Makeashapeinthemiddleofthepaperusingasize8brushorwhateversizeyouhaveonhand.Selectanothercolororadifferentbluetoaddtothefirstblue.Continuemakingsimple,loosemarks,watchinghowthepaintspreadsonthewetpaperandblendswiththepreviouscolor.Finallyaddblack,oradarkercolorofyourchoice.Painttheselayerssomewhatquicklybecausethenextsteprequiresthepainttobewet(fig.A).

2.Findingtherighttimetoaddsalttothepaintedareaiskey.Thepaintonthepapershouldbewetandhavesheentoit,butitshouldnothavepuddles.Ifthepaintonthepaperistoodryorwet,addingsalttothepaintwillnotcreatethedesiredeffect.Whenthepaintmoistureisatthemagicmoment,pinchasmallamountofsaltbetweenyourfingersandsprinkleitontothepaper(fig.B).Lesssaltisbetter.Thesaltwillvisiblyattractandabsorbsmallamountsofpaintandcreateahalooflightanddark(fig.C).

3.Now,mixacontrastingcolortopaintaroundthecentralshape.Usealargeroundbrush,suchassize8,andmakeasquareorothershapearoundthecentralshape.Addmorecolorbysplatteringdotsofcolorsintoit.Again,whenthepaintisatthemagicmoment,sprinklesaltaroundthesquare.Whenthepaintingiscompletelydry,brushthesaltaway.

4.Whilethisprojectfamiliarizesyouwiththeeffectofaddingsalttowatercolor,therearemanypossibilitiesforapplyingthistechniqueinotherwork.Tryaddingsalttomakeatexturalgroundinastilllifepaintingorinalandscape,forexample.

PROJECT8

PERSONALSPACE:KEEPINGASKETCHBOOK

MATERIALS

■sketchbook

■pencils

■roundbrushesofvarioussizes


■jarsforwater


■palette

INSPIRATIONISCAPRICIOUSandcanspringforthunpredictably.Keepingasketchbookprovidesaplacetogatherideasandalsoaplacetorevisityourthoughts,observations,andwritings.

Process1.Asketchbookcanserveanumberofpurposes:noteobservationsfoundoutsidethehomeorstudio;sketchideasforlargerwork;andaplaceforpersonalstudy,tonameafew.Sketchbookscomeinallshapes,sizes,andpapercontent.Considerthetypeofmaterialsyouwillexplore.Differentweightsofpaper,surfacetextures,andcoversworkbestwithcertainmedia.Text-weightpaperissuitableforgraphitedrawingandwritingwhilecover-weightorheavierpaperisgoodforreceivingpaint,glue,andcollage.Hardboundcoversprovideasturdysurfaceforworkingwhilesoftboundbooksworkwellforthematicstudy.Selectasketchbookthatiscomfortabletohold,hasaweightofpaperthatyoulike,andisultimatelyajournalyouwillactuallyuse.Wheneverpossibleselectonemadewithacidfreepaper.Youcanalsotrymakingyourownsketchbook.“Project30″discusseshowtomakeanartist’sbook.

2.Carryasketchbookforobservingthenaturalworld,whetherjustwalkingaroundyourneighborhoodortravelingafar.Drawthingsthatcannotbebroughtbacktothestudio.Havingasketchbookandpencilonhandwhenyou’reoutandaboutenablesyoutotakenotewheneverinspirationarises.Thesenotationsformarecordofideas,achronologicalcollectionofthoughtsovertime,andmaypossiblycontainconceptsforyourlargerwork.Thiscollectionbecomesaplaceforyoutovisitduringcreativedryspellsthatinevitablyarise.Whenyoulookbackonwhatyouhavealreadymade,itcanencourageandinspireyoutogoforward.

3.Whenworkingonlargepaintings,itishelpfultosketchideasandsolveproblemsinaplaceotherthanontheactualpiece.Testcolorpalettes,workoutcompositionalquestions,experimentwithmarksortextures,andtryvariationsoftheworkwithinyoursketchbook(fig.A).

4.Perhapsyouhaveaparticularconcepttoexploreorexamine.Theformatofasketchbookletsyouconsideranideaandbuildonitfrompagetopage.Gatherinformationandformacollectionofobservationsortopicalstudies(fig.B).

Writeaboutordescribeyourdrawingsanddiscovertherelationshipsbetweenyourwrittenandvisualcomponents(fig.C).Considerusingasketchbookasapictorialorwrittenjournal.Workinitdailyorregularlytogetthemostoutofit.Itmaytakeawhiletodevelopahabitofkeepingasketchbook,butdonotgetdiscouragedifyoudropitforawhile.Justreviewwhereyouleftoffandreturntoitwithnewinterest.Makeyoursketchbookyourownandconsideritaresourceforunderstandingyourgrowthasanartistandperson.

PROJECT9

PAINTINGFROMLIFE:SETTINGUPASTILLLIFE

MATERIALS

■objectsforastilllife

■clamplight

■viewfinder(referto“Project21″forinstructions)

■HorHBpencil

■watercolortape

■low-tackpainter’stape

■flatbrushessizes1/2″,3/4″,and1″(13,19,and25mm)


■watercolorintubesorpans

■pieceofcold-presspapercutto16″x22″(40.6x55.9cm)

■jarsforwater


■palette

WORKINGFROMACONTROLLEDSUBJECTandlightsource,astilllifeaffordsyouopportunitiestopaintoveranextendedperiodoftime.Thisprojectisalsoagoodchancetopracticepaintingwhatandhowyou“see.”

Process1.Gatheranumberofobjectsthatformavisualrelationshiporstory.Chooseinherentlylightanddarkobjects,thosewithavarietyofcolors,andincorporateitemswithdifferenttexturesandsurfacequalities.Asyouarrangetheitemsonalargetabletoporflatsurface,elevatesomeobjectstomakeadynamiccomposition.Alsotryusingfabricorpapertocoverpartsofthetableandaddmorecolor.Wheneverythingisinplace,setaclamplighttoonesidetocreateadirectlightsource(fig.A,page62).

2.Cutortearthewatercolorpapertosize.Stretchandadherethepapertoawoodenorfiberboardsupportasdescribedonpage14.Usingaruler,measurea12″x16″(30.5x40.6cm)imageareaand

drawtheframelineslightlyonthepaperwithpencil.Uselow-tackpainter’stapetosecuretheoutsideedgesaroundtheimagearea.Thismakesacleanedgeonthefinishedpainting.

TipIfyouhavetroubledrawingattentiontoacertainpartorobjectinthepainting,tryworkingaroundit.Ifthecolorsarelightorbrightinthatobject,tryaddingneutralcolorsbehindittobringtheobjectforward.Ratherthanworktheproblemspot,workinthesurroundingareas.

3.Priortopainting,thinkofaparticularchallengeyouwanttoapproachinthisproject.Forinstance,youmaywanttoworkspontaneouslywiththebrushmarksormaintainlargeportionsofthewhitepaper.Itisalsoimportanttothinkaboutwhatinspiresyouinthecompositionyouhavearranged.Whatisthebeautyorinterestthatyouwanttoportray?

4.Useaviewfinderasyousketchthecompositioninpencil.Todeterminetheplacementoftheitems,drawlightlinesconnectingtheobjectstogaugethespacebetweenpartsofthecomposition.When

workingfromlife,lookmostlyatwhatisbeforeyouratherthanatyourpaper(fig.B).Thishelpsyoutoseeandalsounderstandwhatyouareseeing,makingitlesslikelytocontrivethepainting.

5.Beginpaintingwithalargeroundbrush,suchasasize8,andalightcolor.Workquicklywiththebrushtoshowasenseofthegesture.Moveorganicallyalloverthecompositionwithadditionalcolorsandsmallerbrushes.Buildlayersinthelightareasandthenincorporatecolorsofmiddlevalue(fig.C).

6.Adddarkcolorsfordepthandbrightcolorsforemphasis.Asyouapproachdetailedareas,slowdownforaccuracybuttrynottomaketensebrushstrokes(fig.D).

PROJECT10

COLOR:USINGHIGH-KEYORLOW-KEYCOLOR

MATERIALS

■painter’stape

■flatbrushessizes1/4″and1/2″(6and13mm)



■handmadewatercolor(RefertotheBasicschapterforrecipeandinstructions.)

■1to2piecescold-presspaper,11″x16″(27.9x40.6cm)

■jarsforwater


■palette

PAINTWITHDIFFERENTLEVELSofcolorbrightnessandsaturationandpracticeusingopaquehandmadewatercolorinthisproject.

Process1.Cutortearthewatercolorpapertosize.Stretchthepaperandadherethepapertoawoodenorfiberboardsupportasdescribedonpage14.Usingaruler,measurea6″x9″(15.2x22.9cm)imageareaanddrawtheframelineslightlyonthepaperwithpencil.Uselow-tackpainter’stapetosecurethe

outsideedgesaroundtheimagearea.Thismakesacleanedgeonthefinishedpainting.

Considerations

Emphasizethemovementoftheshapesbybalancingtheamountandplacementoflowandhighlysaturatedcolors.Brightcolorscanleadtheeyethroughacompositionoradda“pop”ofcolorinasmallshape.

2.Color-keyreferstobrightnessandcolorsaturation.High-keyisonthelightendofthevaluegrayscale,frommiddlegraytowhite(suchastheexampleonpage64).Low-keyisonthedarkendofthevaluegrayscale,frommiddlegraytoblack(fig.A).High-keyandlow-keypaintingscanhavelow-orhigh-colorsaturation(fig.B).

3.Usingapencil,makelargeshapesonthepreparedpaper.Drawlinesreachingfromonesideofthepapertotheoppositeside,makingshapeswithstraightandroundededges.Createmovementwiththelinesandvarythesizesoftheshapes.Youcanalsotrydrawingdesignandcolorideasfirstinyoursketchbook(fig.C).Onceyoudrawthecompositiononthepaper,decideifyouwillapproachmakingahigh-keyorlow-keypaintingorboth.

4.Flatbrushesmakecleanedgessopaintthelargestshapesusinga1/2″(13mm)flatbrush.Paintcolorsofmiddlevalueandaveragecolorsaturation.Inahigh-keypainting,forinstance,tryaddingwhitetothecolorstomakethemlighterandlessintense.Alternatively,increasetheamountofwatermixedwiththecolors.Asyouprogress,worktowardtheextremes,towardthelightestanddarkestareasaswellasthemoresaturatedcolors.Keepinmindwhenusingalowkeypalettethatthedarkestcolorsshouldbeappliedlastsinceitisdifficulttopaintoverthemorremovethem.

PROJECT11

AWHITEPAINTING:USINGTHEWHITEOFTHEPAPERANDLIGHTWASHESMAKEAPAINTINGthatevokesquietudeusingahighkeycolorpalette.Incorporatelayeringmethodssuchashatchingandcross-hatchingtogivedimensioninopenspaces.

MATERIALS

■HBorHpencils

■painter’stape

■flatbrushessizes1/2″,3/4″,1″(13,19,and25mm)



■handmadewatercolor

■pieceofhot-presspaper,17″x22″(43.2x55.9cm)

■jarsforwater


■palette

Process1.Cutortearthewatercolorpapertosize.Usingaruler,measurea12″x16″(30.5x40.6cm)imageareaanddrawtheframelineslightlyonthepaperwithpencil.Uselow-tackpainter’stapetosecuretheoutsideedgesaroundtheimagearea.Thismakesacleanedgeonthefinishedpainting.

2.Ifyoudesirespecificsubjectmatterforthispainting,althoughunnecessary,choosesomethingofinteresttoyou.Ideasincludesettingupastilllifeofwhiteobjects,workingfromaphotograph,abrightlandscapeorscene,orexperimentingwithsimpleshapes.Theprojectexampleincludesorganicandnonorganicobjectswithpredominatelylightlocalvalues(fig.A,page68).

3.Drawyourcompositionwhilekeepinginmindthatthegraphitemarkscanbeanintegralpartofthepainting.Withthelargestflatbrush,makewashesinthebackgroundusinglighttints.Tomakeatint,acolorpluswhite,eitheraddwhitetoasmallamountofcolororusethecolorwithalargeamountofwater.Covertheentiregroundwithwashes,changingcolorsandthedirectionofthebrushstrokesasyougo.Workwithcoolandwarmcolortints.Considerleavingthewhiteofthepapervisibleinnegativespaces.

4.Workobjectsorshapesintotheforegroundwhenthebackgroundisdry.Rememberthewhitestwhiteyoucanobtainisthewhiteofthepaper.Tube,pan,andevenhandmadewhitepaintwon’tbeaslight.So,ifdesired,blockouttheareasyouwanttomaintainwithmaskingfluid.Useamediumsizeroundbrush,suchasasize4or6,tomakeloosestrokesshowingthegestureoftheforms(fig.B).

5.Tryusingdifferentpaintingtechniquesintheforegroundspaces.Makehatchandcrosshatchmarkswithshortstrokesusingsmallsize0and2brushes(fig.C).Layermarksoftintedcolorstoshowdimensionintheobjectsorshapes.Ortryapplyingmediumtodarkcolorsfirstandthenglazethewhitetintsontop,asintheoystershell(fig.D).Applyingwhitesandtintsoverthedarklayersshowsdensityandsoftensvalueedges.Allowthepainttodrybetweencoats.

6.Finally,experimentwithaddinggraphitedrawingontopofthepaintingorincorporatingwatercolorcrayonsandpencils(fig.E).

PROJECT12

CONTRASTINGMEDIA:DRAWINGASAMAINELEMENT

FINECONTOURLINES,pattern,andlustrousdetailfocustheattentionondrawing.

Process1.Cutortearthewatercolorpapertosize.Usingaruler,measurean81/2″x111/2″(21.6x29.2cm)imageareaanddrawtheframelineslightlyonthepaperwithpencil.Uselow-tackpainter’stapetosecuretheoutsideedgesaroundtheimagearea.Thismakesacleanedgeonthefinishedpainting.

2.Gatherinspirationfromdifferentsources.Considerimageryfromarthistory,fabricpatterns,anddrawingfromlifetocomposethepiece.Decideonalayoutbymovingthelooseitemsaround.UseanHorHBpenciltodrawthecompositiononthepaper,beginningwiththecentralorlargestelement.Continuewiththebackgroundpatternsandthentheforegrounddetails.Allowampletimetorendertheentirecompositiontothebestofyourability.Varythelinequality,consideringdelicacyandlinepressuretoshowweight,depth,oraddemphasis(fig.A).

MATERIALS

■HorHBpencil

■woodorfiberboardboard,largerthanpapersize



■pieceof140lb(300gsm)soft-orhot-presswatercolorpaper,11″x14″(27.9x35.6cm)

■jarsforwater

■palette

3.Firstpaintthebackgroundimagery,patterns,orothermaterial.Usesoftcolorstocreatelightoratmosphere(fig.B).Intensecolorswillmakeanactiveorcontrastingbackgroundwhiledarkcolorscangiveasenseofdepth.

4.Painttheforegroundareasyouwanttorenderinfullcoloranddetail.Useglazingandwetondrypaintingwithsmallbrushes.Aimforaccuracyandlustrouscolorandenjoytakingyourtimewiththedetails(fig.C).

5.Doesthepiecefeelbalancedwithbothpaintedanddrawnareas?Dosomeofthecontourlinesneedtobeemphasizedwithmorepencilpressure?Doyouwanttoaddlightwashesofcolorintheforeground?Continueaskingyourselfquestionstoreachyourdesiredresult.

PROJECT13

LIGHTANDSHADOW:USINGVALUETOORGANIZEAPAINTING

MATERIALS

■HorHBpencil

■magazineimageforinspiration




■pieceofrough-presspapercuttosize

■jarsforwater


■palette

PAINTINGACOMPLETERANGEofvaluescanbeachallenge.Weareeasilyalluredbycolorbeforeunderstandingthevaluesinherentwithinthecolor.Thisprojecthelpsusthinkaboutandseevalueasawaytoanchorapieceandgiveitstrength.

Process1.Selectamagazineimagefromwhichtowork.Chooseonethathasvaluesfromlighttodark.Cutortearthewatercolorpapertoasizethatcorrespondswiththefoundimage.

2.Sketchthecompositioninpencil,notingtheplacementofessentialshapes.Drawthenegativeshapesandshadowsastheyareimportantin“holdingup”thepositiveareas.Forinstance,inapredominatelylow-keyimage,thelightvaluescanleadtheeyethroughthepieceinarhythmicway,creatingdepth.Theplacementofthedarkvaluesformsapatternoflightandshadow,organizingthecomposition.

3.Begintopaintthedarkareaswithinthecompositionusinganeutraltint.Retainthelightestareasbypaintingaroundthem(fig.A).Whenyousuggestthedarkareas,youwillpromptlyseethevaluestructureforminginthepainting(fig.B).Buildthedeepestvaluesbyglazingwetondry.

4.Paintthelargesectionsofmiddleandlightvalueswhilestillkeepingthelightestwhites.Continuetopaintinthepositiveandnegativeshapes,decreasingthesizeofyourbrushtoworkintosmallersections.Finallyaddlineardetailandsubtlecolor(fig.C).

PROJECT14

INSPIREDBYNATURE:PRINTINGWITHLEAVES

MATERIALS

■leaves

■scrappaper

■envelopes,ifdesiredforpracticalapplication

■140lb(300gsm)paper,6.5″x10.5″(16.5x26.7cm)

■watercolorpaintsinpans

■roundbrushsize6

■jarsforwater


■palette

AVARIETYOFFOUNDNATURALMATERIALSareusedtomakeabeautifulpatternoffallenleaves.Thisprojectexplorestheconceptsofrepetitionandoverlappingshapes.

Process1.Selectavarietyoffresh,dried,orpre-pressedleavestouseasprintingmaterial.Chooseleavesofdifferentsizesandshapes,withpronouncededgesandlines.

2.Usingthescrappaper,testeachleaffirsttoseewhichonesprintbest(fig.A,page75).Todothetest,selectthesideoftheleafwiththemostrelief,keepinginminditmaybetheback.Laytheleafonapapertowelorblotterandpainttheentiresideoftheleaf.Saturatethebrushsoithasahigherratioofpaintthanwater(fig.B).Ifthepaintistoowatery,itmaynotshowthedetailsoftheveins.Someleavesarewaxierthanothers,sotheymayresistthepaintatfirst.Oncealeafisevenlycovered,liftitcarefullyandplaceitpaintedsidedownontothepaper.Withonefingerholdingitinplace,usetheotherhandtoplaceacleanblotterontopoftheleaf(fig.C).Nowpresstheleaftothepaperandrubfirmly.Theblotterwillhelppreventtheleaffromshifting.Oncerubbedentirely,lifttheblotterandleaftoseetheprint(fig.D).

3.Selectthebestprintingleavestouseonthewatercolorpaper.Beginwithalightcolorsuchasyelloworyellowochreandoneofthelargeleaves.Paintandprinttheleaffollowingthemethodinsteptwo.Paintandprintthelargeleaves,severaltimes,consideringthenegativespace,orspacebetweenthem.

4.Nextchooseasmallerleaftoprintusingadarkercolor,suchassiennaorrawumber.Continuepaintingandprinting,movingfromlargetosmallleavesandfromlighttodarkcolors.Allowtheprintstolayerandoverlap,formingapattern.

MakeSomething!Cutthepaperintofourthsanduseasannouncement-sizedflatcards,ordivideinhalfforafoldedcard.

PROJECT15

EXPLORINGMEDIA:WATERCOLORPENCILSANDWATER-SOLUBLECRAYONS

MATERIALS

■water-solublecoloredpencils

■water-solublewaxcrayons

■scrapwatercolorpaper




■pieceof140lb(300gsm)soft-orcold-presswatercolorpaper,6″x6″(15.2x15.2cm)

■jarsforwater

■palette

USINGWATERCOLORPENCILSandcrayonswithwatercolorcanbeafunwaytofusedrawingandpainting.

Process1.Cutortearthewatercolorpapertosize.Ifdesired,makethepaperlargerthansuggestedandtapetheedgestoaboard.Otherwise,thedrawingandpaintingcanextendtotheedgesasintheprojectexample.

2.Watercolorpencilsandcrayonscanbeusedformostanytypeofpainting.Theycanbeusedinlandscape,abstract,andlarge-andsmall-scalework.Theyarealsofuntouseformakingcards.Forthispiece,decideonadirectiontotry.Itmaybeinterestingtoworkfromlifeorhavesomesubjectmatterinfrontofyou(fig.A).Wetthepaperwithfreshwaterandalargebrush.Begindrawingthesubjectlooselywithaneutralordarkwatercolorpenciltoshowcontrastingedges.Thepencilshouldglidesmoothlyonthewetpaper(fig.B).Drawtheentirecompositionandifdesired,incorporateotherpencilcolorsaswell.

3.Whenthecompositionisdrawn,usetubeorpanwatercolorsandamediumsize4or6brushtowashinthelargestforegroundshapes(fig.C).Beginwiththelightcolorsandthenmovetodarkercolors.Addvividcolorstoaddcontrast.Whilethepaintiswet,drawlineswiththewatercolorpencilsorcrayonstoshowsurfacedirection,tomassanarea,oraddtexture(fig.D).

4.Oncetheforegroundhasafewlayers,beginworkinginthebackground.Thecolorsandmarksinthebackgroundwillalterthewaytheforegroundlooks,sodon’texpecttofinishtheforegroundcompletelyyet.Considerusingthebrushasadrawingtoolinthebackgroundtomakelargehatchingorcrosshatchstrokes.Remembertoreservethewhiteofthepaperforthelightestareas.Chooseamid-valuecolorand

beginpaintingaroundtheforegroundshapes.Thebrushmarkscangoinmultipledirectionsanddonotneedtofollowthecontoursoftheactualimagery.Worktheentirebackgroundwithavarietyofcolors.Usethepencilsandcrayonstoaddmoredrawingifdesired.

5.Oncethebackgroundiscomplete,theremaybeareasintheforegroundimagerythatneedtobedarkerorpartswherethecolorneedstopopwithhitsofvibrantcolor(right).

PROJECT16

MASKINGANDSTENCILPROJECT:CREATINGNEGATIVESHAPESWITHTAPEANDSTENCILS

MATERIALS


■ready-madepaperalphabetstencils

■contactpaper

■scissors

■craftknife

■finetippermanentmarker



■flatbrushsize1″(25mm)



■jarsforwater


■palette

USETAPE,READY-MADESTENCILS,andhandmadecontact-paperstencilstocreatearichlylayeredpaintingfullofshapeandcolor.

Process1.Cutortearthewatercolorpapertosize.Stretchandadherethepapertoawoodenorfiberboardsupportasdescribedonpage14.

2.Cutthreetofivegeometricshapesoutofthecontactpaper.Thepositiveandnegativepartsofthestencilcanbeused.Removetheadhesivebackingandspacethestencilsonthefreshwatercolorpaper.Makewashesofcoloracrosstheentirepaperusingalargeroundorflatbrush,beingsuretopaintoverthestencils(fig.A).

3.Oncethepaintisdrytothetouch,removethestencils(fig.B,page84).Toaddmorelayers,applythesamestencilsinnewlocationsonthepaper(fig.C,page84).Washthepaperagainwithanothercolor(fig.D,page84).

Considerations

Stencilsmadefromcontactpapercanbereusedwithinthepainting.Theywillstillmaskanarea,yetthepaintmayseepundertheedges.Theseepingmightcreateirregularedgesthatcanbevisuallyinteresting.Seesamplestencilsshownatright.

4.Selectletterstencils,likethoseusedforsignpainting,commonlyfoundathardwareorofficesupplystores.Chooseanareaofthepiecetorepeatapatternoflettershapes,perhapsnearthebottomortopofthepaper.Holdthestencildownsecurely.Useasmallsyntheticbrush,suchasanumber4,todabbrightcolorthroughthestencil(fig.E).Then,liftthestencilandplaceitinanearbyspot.Continuepaintingwiththestenciltomakearepeatingpattern.

Considerations

Arethereareasthatneeddarkervalues?Aremoreintenseorbrightcolorsneededtounifythepainting?Perhapssomesimplebrushstrokescandefinetheexistingshapes.Whenyouhavedecideditiscomplete,carefullyremovethetapefromtheedgesofpaper(right).

5.Withafinetippermanentmarker,drawaspecificshapeonthebackofapieceofcontactpaper.Makethreetofiveshapesinvarioussizesorformsandadherethemtothepainting(fig.F).Thistimeselectadarkcolorsuchasadeepblue,green,orblacktoadddepthandcontrasttothepreviouslayers(fig.G).Useasmallerbrushtopaintoverandaroundthestencils.Oncedry,removethestencils.

6.Finishthepaintingbyaddingdetailsandsmallshapes.Trytinycirclestencils,addmorehand-cutstencils,orpaintoverstripsofmaskingtapetoincorporatelines.Maskingtapemakesagoodcoveringtool,resistsbleeding,andoffersasmoothedge.

PROJECT17

DECONSTRUCTANDRECONSTRUCT:CUTANDREASSEMBLEALARGEPAINTING

MATERIALS


■craftknife


■coloredpencils(optional)

■watercolorcrayons(optional)

■watercolorpencils(optional)




■pieceof140lb(300gsm)coldpressorroughwatercolorpaper,8″x11″(20.3x27.9cm)orlarger

■jarsforwater


■palette

THISTWO-PARTPAINTINGPROCESSembracesplayfulnessandcanalsopromoteconfidence.Exploreusingvibrantcolorandexperimentcuttingthepaintingintosmallpieces.Arrangetheworkintoadifferentsequenceandmakenewformations.

Process1.Cutortearthewatercolorpapertosize.Stretchandadherethepapertoawoodenorfiberboardsupportasdescribedonpage14.Letthepaperdrybeforepainting.

2.Moistenandmixyourfavoritecolorsonthepalette.Uselargeroundbrushessuchas10,12,and14tomakelargefree-formmarksacrossthepaper(fig.A,page88).Paintbroadwashesortrymakingloopshapes,zigzaglines,andlargeareasofcolor.Covertheentirepaperwithdifferentshapesandcolors.Ifdesired,dabthepapertoremoveexcesspaintbetweenlayers(fig.B,page88).Trynottooveranalyzewhatyouarepainting.Havefunandexplore.

3.Withsmallerbrushesandthedrawingmaterials,makedistinctshapesandlinesinavarietyofsizeswithinthepiece.Drawsmallsquares,ovals,orothershapeswithpencil(fig.C).Trypaintingoverlappingcirclesordotsincontrastingcolors(fig.D).Makealltheareasofthepaintinginteresting;considerthecolors,values,shapes,andlineswithineachspace.

4.Whenyouarefinishedpainting,carefullyremovethetapefromtheedgesofthepaper.Useacraftknifetocutoffthewhiteedgesleftbythetape.Thenusingeitheracraftknifeandarulerorapapercutter,cutthewholepaintinginto21/2″x31/2″(6.3x8.9cm)pieces(fig.E).Dissectingtheoriginalpiecewillalleviatethetendencytoconsidertheworkprecious.

5.Contemplatearrangingthepaintingsinagridpattern.Lookattheindividualpiecesindifferentdirectionsandmovethemaround,tryingseveralarrangements(fig.F).Noticethespacebetweentheedgesandwhethertheshapes,colors,andlinesvisuallyconnectfrompiecetopiece.Ratherthanonevibrantpainting,younowhavemanysmalleronesthatwhenviewedtogethergainnewvitality(fig.G).

PROJECT18

ARTCARDPROJECT:MAKINGTINYART

MATERIALS



■oneormorepiecesofwatercolorpaper,21/2″x31/2″(6.4x8.9cm)

■jarsforwater


■palette

OPENTOVARIOUSapproachesfromrepresentationaltoabstract,thisprojectembracesmakingtinyart.Theartisttradingcard(orATC)iscollectableamongartistsandafunwaytousescrappaperfrom

otherprojects.

Process1.Usepaperremnantsfromotherprojectsfortheartcardortryworkingintooneofthepiecesfrom“Project17.”Dependingontheamountofdrawingyouplantodo,determinethebestsurfacepaperaccordingly.Thesmootherpapersallowformoredetail.Cutortearthepaperremnantsto21/2″x31/2″(6.3x8.9cm)piecesandkeepthemonhandtomaketinypaintingsasyourscheduleallows.

2.Onepossiblewaytoapproachtheartcardistobeginwithasinglethoughtoridea.Theideacanbeimaginedoravisibleobjectinfrontofyoufromwhichtodraw.Beginwithanimageanddrawitonthepaper(fig.A).Then,addsomewatercolortothedrawing.

3.Whatstorybeginstoemergeasyouaredrawing?Writeafewwords,apoem,orasimpledescriptiontoillustratethethoughtsthatcometomind.Thehandwritingisavisualpartoftheentirepiece.Youcouldalsotryusingsmallletterstampsorstencilstoincorporatetext.

4.Addmorecolor,shapes,orpatternstothepainting(fig.B).Considertherelationshipofthepartstooneanother.Whatelementsshouldbelargerthanothers?Howmuchspaceisbetweentheobjects,shapes,writing,andpatterns?Thinkabouthowthecompositionevolvesonthissmallscaleandenvisionhowyoucouldtranslateittoalargerscale(fig.C).

5.Ifnewideasarisewhileworkingonthispiece,considerjottingthemdowninasketchbookorbeginninganewartcard.Sincetheseworksaresmall,theyallowforfastflowingideas.

PROJECT19

COLLAGE:WORKINGWITHPAPEREPHEMERAINAPAINTING

MATERIALS

■paperephemera

■acid-freeglue

■scissors

■craftknife

■roundbrushesofvarioussizes


■pieceof140lb(300gsm)cold-presswatercolorpaper,11″x15″(27.9x38.1cm)

■jarsforwater


■palette

USINGFOUNDPAPERCANbringforthnewideasandwaysofapplyingmaterials.

1.Gathertogetherpaperephemeraorbitsoffoundpaper.Considerusingantiquebookpageswithtextorphotos,dress-makingpatterns,recipecards,maps,notebookpaper,oldfoodcanlabels,musicsheets,photocopies,etc.Therearemanypossibilities,soselectitemsthatinspireyou.Thepiecescanbeusedasabackgroundforthepaintingoraselementsaddedtothepainting(fig.A).

2.Selectandmovealargepieceoffoundpaperaroundonthewatercolorpapertobeginthinkingaboutthecomposition.Ifbothsidesofthefoundpaperareinteresting,tryfoldingitinsomewaytorevealthefrontandback(fig.B).Setanotherlargepieceofephemeranearthefirst.Cutandarrangeitindifferentways.Noticehowwhenonethingisnexttoanotheritcanchangetheentirethoughtprocessandhowyouperceivetheelements.Useanacid-freegluetoadherethepiecestothewatercolorpaper.

3.Workingwithfoundmaterialscanencourageyoutothinkinventivelyandconstructively.Whatimages,writing,shapes,orstoriescouldtiethesedisparatebitstogether?Thisproject,likeothers,isaboutproblemsolvingratherthanonlylearningacertainpaintingtechnique.Whilethinkingofconceptstorelateinthepiece,rememberthebasicbuildingblocksofline,shape,color,texture,form,value,andspace.Trydrawinglinesoroverlappingshapesthatgrowoutfromthefoundpapers.Ortrypaintingshapesorimagesdirectlyonthefoundmaterialincontrastingcolorstoaddvariety.

4.Createemphasisbyaddingsmallareasoffocuseitherbycuttingandattachingmorefoundpaperelementsordrawingonthepainting(fig.C).Thebeeontheprojectexamplewasdrawnbyobservingaphotocopyedimage,yetthecopycouldhavealsobeengluedtothepiece.Thewayyouarrangetheelementsorcomposemutedorbrightcolorswithinthespacecanhelpcreateapaintingthatisbalancedinastableorasymmetricalway.Sometimesturningthepaintingaroundwhileworkingonitwillhelpyoudeterminethebestorientation.

PROJECT20

DARKSUBSTRATES:INCORPORATINGOPAQUEANDIRIDESCENTWATERCOLORS

MATERIALS



■iridescentwatercolors

■pieceofblackpaper,12″x14″(30.5x35.6cm)

■jarsforwater


■palette

COMBINEPATTERN,depictedimagery,andopaquewashesusingwatercolorondarkerpapers.Addsubtleemphasisbyincorporatingiridescentpaints.

Process1.Whenblackpaperisn’treadilyavailable,primethepaperwithamatteblackacrylicpaint(fig.A,page96).Prepareascrappieceofpaperaswelltotestcolorsandideas(figs.BandC,pages96and97).

2.Oncethepaperisprepared,thinkabouthowtoapproachthepiece.Doyouwantittobeimage-based,fullofpattern,orincorporatewritingorstencils?Choosethesubjectorfollowafewsuggestions.Tryselectingaswatchoffabricthathasalargerepeatingpattern.Usethepatternasinspirationanddrawthedesignonthepaperinpencil.Thegraphitelineswillreflectonthedarksurfaceasyoudraw.Useasmallbrushtohighlightsomelineswithalightcolorofpaint,suchasyellowochre.Thenfillotherpartsofthepatternwithcolortoemphasizetheshapes.Noticetheblackpaperabsorbspaintquickly,sodependingonthedensityofcolor,youmaydesiremultiplecoatsofpaint.Yet,becausehandmadewatercolorcanhaveahigherpigment-to-mediumratiothantubeorpanwatercolor,youcanbuildopaquelayersontopofpreviouscolors.

3.Ifyouwanttomakepartofthepatternvisuallyrecede,usealargebrushchargedwithblackpaintandquicklywashoverthecolors.Dabexcesspaintwithatowel.Theblackwashconceals,actingasan“eraser”andimbedspartoftheimageintothepaper.Allowpartsofthepatterntoremainvisible.Thisunderpaintingcanbecomethebackgroundofthepiece.

Considerations

Considerusinghandmadewatercoloronthedarkpaper.Mixingyourownpaintallowsyoutocontrolthepigmentdensityandmakeheavier-bodiedpaint.Asyoumix,makesometintedcolorsorcolorsmixedwithwhitepigment.Commercialwatercolorwillalsoworkinthisproject;itmayjustbehardertobuildlightcolors.Inaddition,transparentlayersappeardarkerontheblackpaperthanonwhitepaper.

4.Contrastthedarkwithwhiteoratintbyusingasmallbrush,suchasasize2or0,topaintalargeimageorpattern,(fig.D).Continueaddingimagerysuchaslargebotanicalimages,seeds,lines,andsmallscenesaroundthem.Combineitemsofdifferentsizesfloatingnearoneanother.Incorporatecolorwashesortrydrybrushinglargeareasofthepiece.Noticetheedgesofthebrushstrokes.Makesomestrokeshaveclearorhardedgesandsomewithsoftordiffusededges.Whilelayeringtheimagery,rememberyoucandabthepainttoremoveexcessorusetheblack“eraser”colorasnecessary(fig.E).

5.Finally,usetheiridescentwatercolortohighlightspecificelementsthatyouwanttoemphasizeordrawattentiontointhepainting.Trymakingiridescentcolorwashesontheblackpaperandadddetailtothecolorlayers.Whenlightreflectsonthesurface,theiridescentpaintwillshimmerandcontrastthematteoropaquehandmadewatercolor.

PROJECT21

LANDSCAPEPAINTING:USINGALIMITEDPALETTEANDAVIEWFINDER

MATERIALS

■viewfinderorheavypapertomakeaview-finder

■Contécrayonsorpencil


■watercolortape

■rulerorsquare

■craftknife


■fold-upchair

■fieldeasel,ifavailable



■watercolorpaint

■pieceofcold-presspaper,10″x15″(25.4x38.1cm)

■jarwithalidforwater


■smalltowel

CAPTURINGALLTHEMINUTEDETAILSofalandscapecanbemind-boggling.Instead,selectafewdetailsthatyoufeelaremostimportanttocapture.Practiceusingaviewfindertofocusonaselectedareaand“see”whatisbeforeyou.

Process1.Cutortearthewatercolorpapertosize.Stretchandadherethepapertoawoodenorfiberboardsupportasdescribedonpage14.Usearulertomeasurea6″x10″(15.2x25.4cm)imagearea,anddrawtheframelineslightlyonthepaperwithpencil.Uselow-tackpainter’stapetotapetheoutsideedgesaroundtheimagearea.

2.Aviewfinderhelpsisolateandselectacomposition.Tomakeaviewfinder,cuttwoL-shapepiecesfromapieceofheavypaper,chipboard,ormatboardusingasquareandcraftknife.Overlaptheshapesinthedesiredformat,rectangleorsquare,andsecurethemtogetherwithremovabletape(fig.A).

3.Prepareyoursuppliesfortravel.Wrapbrushesinacanvasbrushcarrierorsimplywraparubberbandaroundthebrushhandlesandrollthemupinasmalltowel.Carrywaterinaliddedjarandusealargeplasticjugifmorewaterisneeded.Thelimitedpaletteofasimplewatercolorsetissuitableforthisproject.Afieldeaselandfold-upchairareconvenient,butiftheyaren’tavailable,justsitwiththedrawingboardrestingonyourlap(fig.B).

4.Setupacomfortableworkspaceoutdoors.Lookthroughtheviewfinderwithoneeyeshuttofindaninterestingcomposition.Usingtheviewfinderissimilartolookingthroughacameralensandhelpsyouselectinformationwhileblockingoutdistractions.Onceyouhavedecidedonalocation,usetheContécrayonsorpenciltosketchyourcompositionlightly.TheContécrayonsarewater-soluble,soifyoudon’twantthecolortoblendwiththewatercolor,usepencilorwatercolorpencilinstead.

5.Beginpaintingwithalargeflatbrushandbroadstrokes.Chooseaneutralcolorpredominantinthe

landscapeforthefirstwashes,suchasasepiaoryellowochreintheexample(fig.C).Remembertoreservethewhiteofthepaperforthelightestareas.Toremovepaintthatistoodark,simplywettheareaanddabwithatoweltoliftthepaintandlightenthevalue.Lookconstantlyatthesceneandthenquicklybacktoyourpaperasyouareworking,focusingmostlyonwhatisbeforeyou.Itisimportanttoworkfastsincethelightshiftsquickly,changingtheshadowsandcolors.Continuetousetheviewfinderduringtheinitialstagesofdrawingandpaintinguntiltheinformationisinplaceonyourpaper.

6.Asyoupaint,seethevaluesinthelandscape.Wherearethelargestdarkareas,andwheredoesthelighthit?Alsothinkaboutthetemperatureofcolors.Forinstance,doesthelightreflectingfromcertainforegroundelementsmakethemappearwarmincolor?Doesthebackgroundrecedeintoacoolblue?Neutraltonesmaybemoredifficulttodetermine.Trytoseethewarmandcoolwithinthetonestorelayasenseofspaceinyourpainting.

PROJECT22

CAPTUREDIMAGES:WORKINGFROMAPHOTOGRAPH

MATERIALS

■photograph

■Hpencil

■painter’stape

■rulerorsquare

■flatbrushessizes1/2″,3/4″,1″(13,19,25mm)



■pieceofcold-presspaper,11″x9″(27.9x22.9cm)

■jarsforwater


■palette

THEEYEOFTHECAMERAseesinanonobjectiveway,capturinglightandthesubjectdifferentlythanthewayweperceiveoursurroundings.Paintfromaphotographyouhavetakenandfindinspirationinthewayacamerasees.

Process1.Cutortearthewatercolorpapertosize.Theformatofyourphotographdeterminesthepaperdimensionsandimagearea.IfyouworkfromaPolaroid,measurea6″x61/4″(15.2x15.8cm)imageareawitharuleranddrawtheframelineslightlyonthewatercolorpaper.Uselow-tackpainter’stapetotapetheoutsideedgesaroundtheimagearea.Thismakesacleanedgeonthefinishedpainting.

2.Forpreciseimageplacement,makeagridforthephotographandoneforthewatercolorpaper.Drawagridontracingpaperusingasquareorrulerandplaceitoverthephotograph.Thenlightlydrawacorrespondinggridina1:2ratio(orlargerdependingonpapersize)onthewatercolorpaperusinganHpencil(fig.A).Forinstance,a1/2″(1.3cm)squareonthephotoisequalto1″(2.5cm)onthepaper.Makingandusingagridisoptional.

3.Sketchthecompositionlightlyinpencil.Drawthemainshapesanddivisionsoflightanddark.

4.Usealargeflatbrushandbroadstrokestopaintthemainsectionofthepiece(fig.B).Followthe

directionofyourdrawnshapes.Asyoupaint,focusonseeingvalue,light,andshaperatherthanobjectsorsubjectmatter.Insteadofthinkingofwhatisdepictedinthephotograph,thinkintermsof“thereisalighthorizontalshapethatreachesacrossthepaperhereandadarkshapethatanglesthisway”andsoon.Furthermore,treesmaynotlookliketreesinthephotobutperhapslikeadiminishingbandofshapesthatareamiddlevalueandgreen(fig.C).Ifyoucantrytothinkaboutelementsratherthantheactualthings,thefinalpiecemaydepictthedesiredillusion.

PROJECT23

PAINTEDVERSE:FINDINGINSPIRATIONINAPOEM

“wintercomesinwhispers.frostetchingsdecoratewindowpanes.thecrowsgatherongnarledbranches,theirwingscreatinginkypaintingsinthecoldair.”—ShariAltman

MATERIALS

■poemorprose



■pieceof140lb(300gsm)hot-presswatercolorpaper,whiteorneutralincolor,5″x7″(12.7x17.8cm)orlarger

■jarsforwater


■palette

THEWRITTENWORDcaninspirethevisualartmakingprocess.Usingapoemasinspiration,thisprojectexploreshowtogetfromthetexttotheimage.Italsodiscusseshowthepaintingcanevokeanemotionalresponsethroughthetellingofastory.

Process1.Selectaninterestingpoemthatbringsimagesorpicturestomind.Theprojectpieceisinspiredbytheprosewrittenbywriterandfriend,ShariAltman.

Considerations

Contemplateincorporatingmixedmediaandapproachesinthispainting.Arethereideasyouwouldliketopaintandonesyoumayprefertodraw?Whatimageswouldbeinterestingpaintedrealisticallyandwhatideasdoyouwanttoconveyasareasofcolororpattern?

2.Withthepoeminfrontofyou,makeabrainstormlistofideasinasketchbook(fig.A).Writedownthewordsorphrasesinthepoemthatstandoutbynotingthewordandtheimageitinspires.Selectatleastfivewordsorphrasestothinkaboutusingintheartpieceanddrawsmallthumbnailsketchesofyourideas.Theideaofthepoemthatismostprominentorinterestingtoyoucanbethefocus.Ifnecessary,selectsourcematerialsuchasphotographsorobjects.Havingconcreteitemstodrawfrommayhelpintheprocess.

3.Cutortearthewatercolorpaperto5″x7″(12.7x17.8cm)orlarger.Withyourideasandsketchonhand,beginworkingonthepainting.Firstdraworpaintthelargestobjectsorpatterns(fig.B).Thenaddinotherimagery,keepinginmindtheycanbesmalleroralightercolorthanthemainidea.

Sometimes,whenworkingonasubjectiveprojectlikethis,theartistencountersaproblem.Thepaintingdoesn’talwaysprogressthewayweimagine,nomatterhowweplanorprepare.Ratherthanabandonthepiece,workwiththefrustration.Serendipitously,theprocessofworkingthroughaproblemmayrevealsurprisesandnewmeanings(fig.C).

4.Asthepaintingproceeds,considerwaystousepattern,texture,ornonobjectiveshapestorepresenttheideasofthepoem.Forinstance,theprojectexamplehasafloatingpatternofwhiteovalshapesnearthebottomtoconveyhowthe“frostetchingsdecoratewindowpanes.”Inaddition,theremaybeareastodrawinarepresentationalorrealisticway.

PROJECT24

LINESANDLETTERS:WRITINGWITHWATERCOLOR

MATERIALS

■colorlessartmaskingfluid

■rubbercementeraser

■oldbrushforusewithmaskingfluid


■scriptbrushsizes0or2


■pieceof140lb(300gsm)cold-presswatercolorpaper,11″x15″(27.9x38.1cm)

■jarsforwater


■palette

Tip

Useonlyanoldorinexpensivebrushwithmaskingfluid.Donotuseagoodbrushbecausethelatexinthefluidcanruinthebristlesofabrush.Washthebrushpromptlyandthoroughlyafteruse.

EXPLOREWRITINGwithwatercolor,additiveandsubtractivepaintingprocesses,andpaperetching,allwithinabroadsideformat.

Process1.Abroadsideistraditionallyaballadprintedononesideofasheetofpaper.Todayprintmakersandartistsusethisformatforpoetryandcreativewriting.Selectapoemorotherpieceyouorafriendhavewrittentofeatureinthepainting.

Considerations

Tryaddingtexturetothepaperbyscratchingintowetpaintwitheitheranailorstickpin.Thewatercolorwillappeardarkerintheetchedareas(fig.B).

2.Withanoldbrushdippedinthemaskingfluid,makeorganicshapesorlinesacrossthewatercolorpaperfromtoptobottom.Whilethemaskingfluidisdrying,mixthecolorpaletteindicativeoftheimageryinthewriting.Whenthemaskingfluidisdry,usealargebrush,size10or8,tomakecolorwashes.Paintoverandaroundthemaskedareas(fig.A).Whenthepaintisdry,eitheraddmorecolorwashesorremovethemaskingfluidwitharubbercementeraser.

3.Useasmallroundbrush,size0or2,orasmallscriptbrushtowritethetext(fig.C).Considerwritingindifferentformatsandcombiningthemwithinthepiece.Trywritingincursive,inallcapitaloralllowercasescript,calligraphy,orevenusestencils.Changecolors,ifdesired,asyouwork.Ifyouwantthefinishedpiecetobepreciseandorganized,measureguidelinesonthepaper.Otherwise,allowthewritingtoflownaturally.

4.Whenallthewritingiscomplete,usethemaskingfluidtocovercertainareasyouwanttokeep;letdry.Thenusethesamecolorpalettetopaintmoreshapes,balancingthecolorsthroughoutthepiece.Removethemaskingfluidwiththerubbercementeraserwhenthepaintisdry.Atthispoint,theremaybewordstostressbydarkeningtheircolororemphasizingthecoloraroundtheword.Alternatively,trydisguisingwordsbywettingtheareaandremovingpaintwithablotter.Thissubtractivemethodwillvisuallyembedthewritingintothepaper(fig.D).

5.Finally,consideraddinganimageorrecognizablepatternthatexpressesthewrittenconcepts.Anotheroptionistodraworpaintaborderaroundtheedgeofthepapertofinishthepiece.

PROJECT25

PRINTANDPAINT:ADDINGWATERCOLORTOAMONOTYPE

MATERIALS

■pieceofwindshield-gradeglass,largerthanpapersize

■etchingorreliefink,oilorwater-based

■brayer

■painter’stape


■large,flatbrush


■printmakingpaper,suchasRivesheavyweight175gsm,10″x11″(25.4x27.9cm)

■jarsforwater


■palette

THISPROJECTEXPLORESusingdeliberateandunexpectedmodesofworking.Exploretheelementofsurprisethroughprintmakingandpainting.Createamulti-layeredpieceandexperimentwithasimplemonotypemethodcalleddirect-tracedrawing.

Process1.Usinglightcolorsandlargetomediumsizedbrushes,makewashes,shapes,andmarksonthepaper(fig.A,page110).Thesenonobjectivemarkswillbethepaintingbackgroundandwillbevisibleinthefinallayers.

2.Thenextstepinvolvesamonotypemethodcalleddirect-tracedrawing.Prepareaworksurfaceforprintingbyarrangingtheglass,ink,brayer,andpaper.Usepainter’stapetoframeanimageareaontheglassthatissmallerthanthepapersize.Withinthetapeframe,placeapea-sizeamountofinkontheglass(fig.B,page110).Rolltheinkwiththebrayerinathinevenlayer(fig.C,page110).Theinkshouldmakeaslighttackysoundwhenrollingbutshouldnotlookgummy;lessinkisbetter.Ifyoufeelyouhavetoomuchink,scrapesomeawaywithapaletteknifeandthensmooththeremaininginkwiththebrayer.Removethetapewhentheinkisthinandevenlyspread.

TipIfyoudon’thavethesuggestedpaperonhand,tryusingalightweightwatercolorpaper,suchas90lb(190gsm)orless.Thepaperneedstobesmooth,eitherhotorsoftpress.Aheavierweightorroughtexturedpapermaynotaccepttheprintingprocess.

3.Withthepaintedsidedown,carefullysetthepaperontotheinkedglass,beingsurenottopressitintotheinkwithyourhand;handlethepaperonlyaroundtheedges.Usesmallpiecesoftapetoholdthepaperinplaceandpreventmovement.Useapencilorotherinstrumenttodrawyourdesignonthebacksideofthepaper(fig.D)ordrawyourimageonthebackofthepaperbeforesettingovertheink,andsimplytracethelineswheninplace.Thestressofthepencilwillpresstheinktothepaper,makingaprint(fig.E).Whiledrawing,trynottorestyourhandonthepaper,makinganunintendedimpression.Whenfinisheddrawing,gentlyliftthepaper,turningitovertoseetheprint(fig.F).

4.Ifyouusedwater-basedink,waitatleastanhourtolettheinkset.Thenaddpainteddetailswithbrightcolorsandsmallbrushes.Tryemphasizingsomeexistingcolorshapesbyglazingcolorsontop(fig.G).Iusedoil-basedink,andwhileIallowednowaittime,Iusedthinlayersofpaint,dabbedexcesspaintwithablotter,andworkedcarefullyaroundtheprintedareas.Ifyounoticethewatercolorpullingtheink,simplylettheinkdry.

PROJECT26

FOUNDMATERIALS:WORKINGONANANTIQUEPOSTCARD

MATERIALS

■antiquepostcard

■HBpencils

■tracingpaper




■jarsforwater


■palette

INTEGRATINGYOURARTWORKwithexistingimageryandtextonalternativesurfacescanprovidenewwaysoflookingatandunderstandingyourwork.Antiquepostcardsofferasmall-scaleformataswellastwosidestoexplore.

Process1.Vintagepostcardscanusuallybefoundinantiqueshopsandfleamarkets.Lookatthefontstyles,postagestamps,images,slogans,andhandwritingonthecardsasyouchoose.Selectoneortwomade

ofheavypaperstock.Youcanpaintonthefront,back,orbothsidesofthecard.

TipAgedpapercanbefragile.Usethinpaintapplicationsandallowpainttodrybetweenlayerstokeepthepaperfrombecomingtoowet.

Considerations

Doyouwantyourpaintingtoimitateorstandoutagainsttheimageryonthecard?Inotherwords,doyouwantyouradditionstobeseamlesslypartoftheoriginalmaterialordynamicallydifferent?

2.Drawyourideas,images,shapes,andpatternsontracingpaper(fig.A).Cuteachelementfromthepapersoyoucanmovethedrawingsaboutindependently.Tracingpaperisausefultooltohelpyouarrangeyourcompositionandvisualizehowyourartwillintegratewiththefoundelementsbeforepaintingtheminplace.Onceyouhavedecidedwhattoinclude,eitherdrawdirectlyontothecardorturnthetracingpaperimageintographitetransferpaper.Tomakethetransferpaper,rubthebackofthetracingpaperwiththesideofyourpencil,coveringtheimageareacompletely.Thenwiththeimagesidefacingup,placethetransferpaperoverthedesiredlocationonthecard.Traceoveryourinitiallines,transferringyourdrawingtothepostcard(fig.B).

3.Whenalltheinformationisdrawninplace,decidehowtopaintthepiece.Tubeandpanwatercolorsaresuitableforlineworkandtransparentlayering.Ifyouwanttobuildopacityincertainareasofthepainting,tryusinghandmadewatercolor.Paintthetransparentandbackgroundpartsbeforethedetailedandopaqueareas(fig.C).

PROJECT27

STILLLIFE:PAINTINGANARRANGEMENT

MATERIALS

■selectedobjects

■whiteboardforarrangingitems,10″x12″(25.4x30.5cm)

■HorHBpencil

■gumarabic


■watercolorpanpaintand/orhandmadewatercolor

■sheetof140lb(300gsm)hot-presspaper,10″x12″(25.4x30.5cm)

■waterjars

■blotter

■palette

PAINTINGFROMARRANGEDOBJECTSencouragestheexplorationofplacementonawhiteground.Drawfromlifeandpracticewaysofrepresentingvarioussurfacesandtextures.

Process1.Choosethreetofiveobjectsofinterestforthesubjectmatterofthepainting.Consideritemsthatsharesimilaritiesorofferdifferencesinsize,color,texture,surfacequalities,andsoon.Thearrangementcancontainobjectsofcontrastingtextures,likealeaf,afeather,andsomethingmetal.Ortheycantellastorythroughthesimilaritiesandshareacommonshapeorcolor.

2.Movetheobjectsaroundonawhiteboardbeforecommittingtoacomposition.Sincetheboardisthesamesizeasthepaper,itwillhelptovisualizethespacebetweenandaroundtheobjects.Flipthepiecesaround,lookatthemnearandfarfromoneanother,considertheundersides,andtrytheminanoverlappingconfiguration.Decidehowtheyformthemostsuccessfulandinterestingarrangement(fig.A).

3.Usethepenciltolightlydrawthearrangementonthewatercolorpaper,beginningwiththelargestobject.Itishelpfultorenderenoughinformationtoshowtheforms,textures,color,shapes,anddetails

beforepainting.Keepinmindthatsomepencillinesmaybevisibleandevendesirableinthefinishedpiece.Proceedtodrawalltheobjectsinplaceonthepaper(fig.B).

4.Beginpaintingthelargestobjectwithalargebrush,orsize6.Makewaterywasheswithlightvaluesandcolors,reservingthewhiteofthepaperforthelightestareasorhighlights.Considerworkingwetinwetinsomeareas.Forinstance,theinitiallayersoftheshellusewetinwetpaintingwithlargebrushstrokes(fig.C).

TipIndarkobjectsliketheblackfeather,luminositycanbeenhancedbyaddingsmalldropsofliquidgumarabictothepaintcolorswhilemixingonthepalette.Thegumarabiccreatesaslightsheen,makescolorsmoretranslucent,andwillhelpthedarktonestoappearlessflatonthepaper(Seethefeatherdetail,page114).

5.Addthemediumvaluesbylayeringwetpaintontodrywithsmallerbrushesandshorterbrushstrokes.Continuetobuildtonallayerstoshowtheformoftheobjects.Beforepaintingthedarkestareas,repeatthesepaintingstepswithinthesmallerobjectsuntilallpartsarepaintedinlighttomediumvalues.

6.Aftereachobjecthasbeenpainted,lookatthepaintingasawholeandworkinthedarkestvaluesmovingfromoneobjecttoanother.Usingthe00,orsmallestbrush,addpertinentdetailssuchaswispsonafeather,tinyperforationmarksontheedgeofastamp,orcurvedlinesontheshell(fig.D).Then,ifnecessary,reinforcehighlightsusingheavy-bodiedwhitewatercolor.

PROJECT28

MAGAZINECOLLAGE:INSPIRINGCOLORANDCOMPOSITIONFORAPAINTING

MATERIALS

■oldmagazines

■pieceofmatboardorotherstiffpaperboard

■craftknifeandscissors

■low-tackpainter’sorartist’stape

■double-sidedadhesivetabsorglue



■sheetofhot-press140lb(300gsm)paper,11″x13″(27.9x33cm)

■jarsforwater


■palette

TipWhilelookingforsourcematerial,turnthemagazineupsidedown.Thiswillhelpyouseeshapeandtexturemorereadilyinsteadofselectingpiecesbasedsimplyonwhattheimagedepicts.Viewingfromadifferentperspectivewillhelpyounoticedifferentelements.

CREATEAPAINTINGinspiredbyacollageofinterestingshapes,textures,andcolorsgleanedfrommagazineimages.

Process1.Gathermagazinestocutoutpicturesorsectionsthatareinterestingtoyou.Lookforimageswithtexturalareasandphotoswithappealingcolorpatternsanddifferentvalues.Tearorcutoutatleastadozendifferentpagesorsections,keepinginmindthattheycanbepartsofapageinsteadofthewholepage(fig.A,page120).Selectpiecesintuitively,orifyoupreferorderinyoursearch,choosepieceswithcertaincolorsornarrativeinmind.Forinstance,selectimagesthatbalancelightanddarkvalues,

haveheavyanddelicatelines,orincorporateatactileappearance.

2.Afterselectingthemagazineimages,movethemaroundonthematboard(fig.B).Tryoverlappingsomeofthepiecesandcuttingotherpartsout.Arrangethepiecesandremembertolookattheentirecompositionasawhole.Useglueordouble-sidedtapetoadherethepaperstotheboard.

3.Cutortearthewatercolorpaperto11″x13″(27.9x33cm).Usingapencil,lightlydrawthe7″x9″(17.8x22.9cm)imageframeonthepaper,whichwillleaveawhiteframearoundthepaintingwhenfinished.Tapetheedgesusinglow-tacktape.Pressthetapefirmlytothepaperbyrunningyourfingernailacrossthesurfaceorusethesideofabonefolder.Securingittothepaperinthiswaywillhelppreventpaintfrombleedingundertheedges.

4.Sketchthecompositiononthepaperwhilelookingatthemagazinecollage.Drawthemainsectionsandkeyelements,includingprominentlines,colors,andvaluechanges(fig.C).

5.Chooseoneofthelargesectionstobeginpaintingthemainvaluesandshapes.Usealargebrush,suchasanumber8,tomakefree-formwashes,keepingthemarksloose(fig.D).Presswiththesideofthebristlestomakebroadshapesandusethebrushtiptomarktheshapeedges.Continuetopaintlooselywithineachsection,movingfromcolortocolor,untiltheentirepaintinghassomedescriptiveinformation.Thepaintingmaybealivelycolorortonalsketch.

TipCreatelightwithindarkpaintlayersbyremovingorsubtractingpaint.Makesmalldabsinthedarklayerswithawetbrush.Thenremoveorliftthedarkpaintbypressingthedampenedareagentlywithablottertorevealthelightunderpainting.

6.Fromthispoint,thepaintingcantakeondifferentdirectionsbasedonthewayyouwanttopaint.Howdoyouwanttopaintcertainareasofthecollage?Tryusingawetonwettechniquetocreateasenseofatmosphere.Formoredescriptiveanddetailedareas,paintingwetondryiseffective.Buildupthepaintinginsectionsandremembertolookatthepieceasanentirety.

7.Tocompletethepainting,decidewhichareasneedfurtherdetailorrealism(fig.E).Incontrast,arethereareasthataresuccessfulastheyare?Balancethepaintingwithavarietyoftextures,detail,andrangeofvalues.

PROJECT29

BOTANICALPAINTING:DRAWINGFROMNATURE

MATERIALS

■florafromwhichtodraw

■HBorHpencils



■pieceofhot-presspaper101/2″x17″(26.7x43.2cm)

■jarsforwater


■palette

INSPIREDBYBOTANICALART,observethenaturalworldasastartingpointinwhichtoaddareasofinventedimagery.

Process1.Gatherorpurchaseaflowerstem,bulb,orawildplantfromtheyardtouseasthesubject.Whetherinavaseorsetonthetablenexttoyou,makesuretohavetheobjectcloseforcarefulstudy(fig.A,page124).BegindrawingonthewatercolorpaperwithanHorHBpencilunderstandingtheentiregestureandform.Drawthelargestshapesandlines,savingthetinydetailsforlater.Toshowbroadsurfacesandshadows,usehatching(parallellines)andcross-hatching(linesatanangletooneanother)marks(fig.B,page124).Payattentiontoproximityofthelinesandchangetheirdirectionasformschangetoshowvolume.Makelinesclosertogetherandoverlaplinestoshowdarkareasandgiveasenseofdepth.Themoreyoulookatandstudytheflora,themoreyouwillactuallysee.Whentheformsareperceptibleandaccurate,incorporatecharacteristicdetailswithfinelines(fig.C,page124).

TipTocreateadrybrusheffect,wipethepaint-saturatedbrushonablotterbeforebrushingonthepaper.Thepaintshouldnotpoolorlookwet.Rather,itwillcreateatexturalstrokewithslightlyevidentbristlemarks(fig.F).

2.Drawnewinformation,realandinvented,aroundthemainsubject.Recallinghistoricalbotanicalstudiesandbookplateengravings,consideraddingaribbonoftext,geometricforms,seedstudies,ornotationsontheflora’senvironment(fig.D).

3.Whenyoubeginpainting,testcolormixturesinyoursketchbook,onascrapofpaper,oralongthepaintingedgetohelpachievenaturalisticcolor(fig.E).Withthepredominantcolor,painttheformofthelargestshape.Whilethepaintiswet,incorporatethevaluechangesandothercolorswithinit.Workwetintowettogiveasenseofformwithoutcreatingharshedges.

4.Whenthepaintdries,buildlayersofcolorusingsmallbrushesandrepetitivedabsofpaint.Usedilutedwashesofcoloronthehatchandcross-hatchedareassothedrawnlineswillbevisiblethroughthepaint.Layeringpaintatopthedrawingwilladddepth.

PROJECT30

SPECIALPROJECT:ANARTIST’SBOOK

MATERIALS


■bonefolder

■needleandthread

■pencilandcoloredpencils


■watercolorpaintsintubesorpans,orhandmadewatercolor

■twopiecesof140lb(300gsm)hot-presspaper,3″x6″(7.6x15.2cm)

■jarsforwater


■palette

Considerations

Approachthisprojectasaminijournal.Considerusingastoryornarrativetolinkwrittenthoughtswithabstractandpictorialimagery.Letthesourcematerialbefamiliar,somethingfoundinyournearbysurroundingsorinspiredbyeventsfromtheday.

THISPROJECTEXPLOREStheideaofhand-heldart.Usemixedmediaandarangeofstylestomakeanoriginalartist’sbook.

Process1.Cutorteartwopiecesofpaper3″x6″(7.6x15.2cm)orusestripsofpaperremainingfromotherprojects.

2.Begintwopageswithwatercolorwashesfortheinitiallayersinanarrayofcolors.Trymakinglarge,fullovalshapes,rowsofdots,smalldashes,circles,andotherorganicformswithwatercolor(fig.A,page128).Incorporatehandwrittentextdescribingyourthoughtsandideas.

TipFillthepageswithcolorfulimageryandtextusingpencil,coloredpencil,andwatercolor.Buildbothsidesofthepaperwiththoughtsandinterestingelementsfromnearbysurroundings(Seepage129,bottom).

3.Oncethosepagesaredry,beginworkingonthereversesidesbydrawingandwritinginpencil.Trydrawingitemsfromnature,likeanacorn,leaf,ordriedflowerstem.Drawabstractshapesorpatternsandwritenexttotheimages(fig.B).

4.Whenyouhaveworkedoneachside,continuetoworkintuitivelyonallsides,movingfluidlyasyougo.Workwithvariousbrushesandmovebetweenbrush,pencil,andcoloredpencil.Turnthepaperaroundtolookatyourprogressandmakemarksinnewdirections.Considerrepetition,pattern,markmaking,andnarrativeaswaystounifyeachpage.Contrastlargeandsmallshapesandfullydevelopedsectionsversusoutlinedareas.Keepinmindthatthepaperwillbefoldedinhalf,somakesureeachhalfofthepaperisinteresting.

5.Tobindthepagestogetherintoabook,scoreacenterlinecreaseonthepapersusingthestraight-edgeofarulerandabonefolder.Scoringhelpsthepaperfoldeasily.Stackthetwoscoredsheetsontopofoneanotherandthenuseapintopiercethreeequallyspacedandcenteredholesalongthecrease.Withneedleandthread,bindthepagesusingasaddlestitch(fig.C).Alternatively,useastaplertoattachthepages.

CHAPTERTHREE:GALLERY

THEARTISTSSELECTEDfortheWaterPaperPaintGallerycollectivelycapturetheinimitablenatureofwatercolor.Each,throughinsightandtalent,conveyshisorherideaswithbeauty,tenacity,mystery,andingenuity.SomeoftheartistsIknewpriortowritingthisbookandotherswerediscoveredintheprocess.EachwaschosenbecauseIrespectandadmirehisorherconceptandaesthetic.Theseartistsincorporatenewmedia,collaboratewithotherartists,considertheirpaintingsonagrandscale,andevendevelopnewprintmakingtechniquestousewithwatercolor.Theimagery,whetherfigurativeornonobjective,issometimesfamiliarandyetunexpected.Watercoloritselfisliterallyandmetaphoricallyatransparentmedium.Astheviewer,weareatonceawareofthepaint’sbeautybutalsotransportedbytheartists’handlingandoverallarrangement.Whenyounoticethetactilityofthematerialsandthenfindyourselfinthemindoftheartist,beyondthetoolsthemselves,these,tome,aresignsthatyouareinpresenceofthefinestkindsofpaintings.

DavidWilson,inhisgestural,free-formrepresentationsofnature,isconcernedwiththenotionofcapturingandpreservingfleetingmoments.Floatingsmallelementswithinapage,suchasbutterfliesoradiminutivelandscape,seemtobeanactofpreservingthepassingofthings.WhereWilson’sworkisaboutcapturingtheessenceofsomething,AndyFarkasseemsintentondiscovery.Farkasconsidershimselftobeastorytellerandhisworktobeabouttheprocessoffindingandtellinglife’sstories.Heuseswaterysweepsofcolor,writtennotations,andwood-blockprintingprocessestoweavetogetherhisideas.

ManyofGeninneZlatkis’swell-knownpiecesincludebirdimagery,paintedinprofile,withdelineatedwingsandfeathers,andmingledwithfloraallabout.Yettome,it’sherjournalsthatbearwitnesstoherartistry.Therichlylayeredpagesembedlifeexperienceineverymarkandwordwithdepictionsofthenaturalworldattheheart.WhileZlatkis’sworkisillustrativeandfullofpattern,MargieKuhnpaintsobjects,manmadeandfromnature,indetailedlikeness,inawaythatfoolstheeye.Inherpaintings,she

removesitemsfromcontexttoexaminetheobjectsontheirownandinrelationtootherelementsandenvironments.Leaves,postagestamps,postcards,oldphotographs,clippings,andevenbitsoftapebecometransformedthroughherbrushandareglimpsesintoaworldwhichseemsmuchmorevast.

AnnaHeplerandChristineKeslerpursueartmakingindifferentmedia,includingthree-dimensionsandonabroadscale.Heplerbuildssculpturalformsfromwireandfrompiecesofsheetplastic.Sheinflatestheplasticformsandthenwatchesthemslowlydeflateovertime.Shedrawsfromthoseforms,whetherwireorplastic,intheirvariousstatesoftransformation.Herdrawnworkshowsanunderstandingoflight,shadow,andperceivedspace,asinformedbyhersculptures.ChristineKeslertakesherpaintingsandconsidersthemwithinalargerscale.Sheusesaregenerativeprocessofworkingintoherpreviouspaintingsanddrawingsinordertodestroyandrebuildthemintosomethingnew.Shearrangesandinstallsthepiecesalloverthewalls,allowsthemtounfoldinacorner,ortouchthefloor.Theseinstallationsformassociationsandultimatelyblurboundariesofaoncechronologicalprocess.

SelectedWorksAfewofthechosenartistscollaboratewithotherartists.CarrieWalkergathersthediscardeddrawingsofunspecifiedartists;somefromthenineteenthcentury.Shepaintscreaturesintothefoundanddesolatescenes,bringinglifetopiecesofartthatwereotherwiseoverlooked.ThecollaborativeduoofGraciaHaby,(acollageartist)andLouiseJennison,(awatercolorist),knownasGracia&Louise,createworksofart,artists’books,andzines.Lightlypaintedwatercolorsofjewelssurrounddepictedimagessaturatedwithcolor,asifunearthedfromhistory.Togethertheyrelaynarrativesofnewandinventedworlds.Alloftheartistsdelveintotheirimaginationinonewayoranother,includingKyleField,whothroughhisimageryandcolor,revealstheinnerworkingsofhismind.Itishere,throughhisexplorations,wherewemeettheunexpectedandperhapstheunknown.Hismeanderinglinesfeelatonceautomaticandlyricalandseemtomarrytheactofdrawingwithpaintingintoonesymbioticprocess.

DavidWilsonMothMarkings,(detail),watercoloronpaper,51/4″x8″(13.3x20.3cm).

AndyFarkasRefresh,watercolorwoodcut,7″x13″(17.8x33cm).

“Eachcolorintheprintisaseparatecarvedblockandeachisregisteredandprintedusingwatercolorpigmentsandricepasteratherthanoil-basedinks.”

RiverStudy5,graphiteandwatercolor,6″x6″(15.2x15.2cm).

RiverStudy6,graphiteandwatercolor,7″x11″(17.8x27.2cm).

CarrieWalkerToWhileAwaytheTime,watercolorandpencilonfounddrawing,61/2″x93/8″(16.5x23.8cm),2008.

NoDominanceExistsintheCoterie,watercoloronfoundpainting,31/2″x5″(8.9x12.7cm),2008.

“Forthisseries,IhavebeencollectingoldlandscapedrawingsandwatercolorpaintingsfromvarioussourcessuchaseBayandthriftstores.Ithencarefullydraworpaintanimalsintothelandscape.TheanimalsIinsertareoutofcontextandoutofscalewiththeirenvironment,resultinginafantasticalnarrative,astoryhalf-told.Iconsidertheworktobecollaborative,albeitone-sided.Thisserieswasinitiallyconceivedafterbuyingasketchbookfulloflandscapedrawingsfortwenty-fivecentsinathriftstoreinChilliwack,BritishColumbia.”

MargieKuhnAmericanSublime(detail),watercolorandgouacheonpaper,23″x30″(58.4x76.2cm).

CourseoftheEmpire:Comanche,watercoloronpaper,30″x22″(76.2x55.9cm).

GeninneD.ZlatkisSeptemberPages,watercolorandacrylicinkonthepagesoftheartist’spersonaljournal.

ThreeLittleBirds,watercolorandacrylicinkonFabrianopaper.

ChristineKeslerIGotLost,gouache,acrylic,watercolor,ink,andgraphiteonpaper,21″x30″(53.3x76.2cm),2009.

TheConstructionoftheWorld,acrylic,watercolor,andgouacheonpaper,6″x9″(15.2x22.9cm),2008.

Consonant,Installationdetailshot.Mixedmediaonpaper,panel,andcanvas;site-specificinstallation,dimensionsvariable,2009.

AnnaHeplerSmallCyprusDrawing,009.

SmallCyprusDrawing,021.

SmallCyprusDrawing,023.

“Smallwatercolorandgouachestudiesonpaper,looselydescribingwiresculpturalmodelsfrommystudio,from2007.”

GraciaHabyandLouiseJennisonDetailfromtheartists’book,ThisEvening,However,IamThinkingofThingsPast;Twelve-pageconcertina,four-colorlithographicoffsetprintandcolorpencilonFabrianobrightwhite300gsmpaper;Titlepage,watercolorandpencilonFabrianobrightwhite640gsmpaper.housedina11″x95/8″x1″(28cmx24.5cmx2.5cm)balsawoodcasewithbindingclothboundbyLouiseJennison;printedbyRedwoodPrints,editionoftwelve,2009.

PodlikeVessels,AbandonedButwithRecentModifications;detailfromtheartists’bookAndWeStoodAloneintheSilentNight;Afull-colordigitalprintA5,perfectboundartists’book;50pagesinlength;81/4″x53/4″(21x14.7cm);printedbyDocumentsonCall,editionoffifty,2008.

KyleField,inkandwatercoloronpaper,28″x36″(71.1x91.4cm),2008.

Hood’sMemory(MemoryofaHood),inkandwatercoloronpaper,81/2″x11″.(21.6x27.9cm),2008.

HeatherSmithJonesIntheSweetByandBy,graphiteandhandmadewatercoloronpaper,imagesize33/4″x5″(9.5x12.7cm),papersize10″x11″.(25.4x27.9cm).

7.11,graphite,handmadewatercolor,acrylic,decalsonpaper,imagesize63/4″x9″(17.1x22.9cm),papersize11″x15″(27.9x38.1cm).

CONTRIBUTINGARTISTS

Imagescourtesyoftheindividualartists,unlessotherwisenoted.

Altman,ShariContributedashortpieceofwritingasinspirationforProject23:PaintedVerse:FindingInspirationinaPoem.

Farkas,[email protected]

Field,[email protected]’simagescourtesyofKyleFieldandTaylordeCordoba,LosAngeles.

Haby,Graciawww.gracialouise.com

Hepler,Annawww.annahepler.com

Jennison,Louisewww.gracialouise.com

Kesler,Christinewww.christinekesler.com

Kuhn,[email protected]

Walker,Carriewww.carriewalker.ca

Wilson,David

Zlatkis,[email protected]

http://www.fablewood.com

http://www.kyledraws.com

http://www.gracialouise.com

http://www.annahepler.com

http://www.gracialouise.com

http://www.christinekesler.com

http://www.carriewalker.ca

http://www.geninne.com

RESOURCES

AUSTRALIA

Eckersley’sArts,Crafts,andImagination(storelocationsinNewSouthWales,Queensland,SouthAustralia,andVictoria)www.eckersleys.com.au

CANADA

Curry’sArtStoreOntario,Canadawww.Currys.com

KamaPigmentsQuebec,Canadawww.kamapigment.com

FRANCE

GraphigroParis,Francewww.graphigro.com

ITALY

VertecchiRome,Italywww.vertecchi.com

NEWZEALAND

LittlejohnsArt&GraphicSuppliesLtd.Wellington,NewZealandTel:043852099

UNITEDKINGDOM

TNLawrence&[email protected]

UNITEDSTATES

http://www.eckersleys.com.au

http://www.Currys.com

http://www.kamapigment.com

http://www.graphigro.com

http://www.vertecchi.com

http://www.lawrence.co.uk

ArtSupplliesOnlinewww.artsuppliesonline.com

CheapJoe’sArtStuffwww.cheapjoes.com

Creative-ColdsnowArtistMaterialsandFramingwww.creativecoldsnow.com

DanielSmithArtists’Materialswww.danielsmith.com

DickBlickArtMaterialswww.dickblick.com

TheEarthPigmentsCompanywww.earthpigments.com

Jerry’sArtaramawww.jerrysartarama.com

KremerPigmentsIncwww.kremerpigments.com

SinopiaPigments&Materialswww.sinopia.com

Utrecht,CranburyArtSupplieswww.utrechtart.com

WilliamsburgArtistMaterialswww.williamsburgoils.com

http://www.artsuppliesonline.com

http://www.cheapjoes.com

http://www.creativecoldsnow.com

http://www.danielsmith.com

http://www.dickblick.com

http://www.earthpigments.com

http://www.jerrysartarama.com

http://www.kremerpigments.com

http://www.sinopia.com

http://www.utrechtart.com

http://www.williamsburgoils.com

BOOKS&ONLINERESOURCES

ArchesWatercolourandDrawingPaperswww.arches-papers.com

TheArtist’sHandbook:Equipment,Materials,Procedures,TechniquesRayCampbellSmith,(DKPublishing,2009)

ThePainter’sHandbookMarkDavidGottsegen,(Watson-Guptill,2006)thepaintershandbook.comwww.amien.org(forums)

Handprint.comBruceMacEvoywww.handprint.com

PaintMaking.comTonyJohansenwww.paintmaking.com

Reeves,since1766www.reeves-art.com

http://www.arches-papers.com

http://www.amien.org

http://www.handprint.com

http://www.paintmaking.com

http://www.reeves-art.com

ABOUTTHEAUTHOR

HeatherSmithJonesisastudioartistandinstructorwhoearnedherMFAfromTheUniversityofKansasin2001andherBFAfromEastCarolinaUniversityin1996.SmithJonesisrepresentedbygalleriesnationwideandhascompletedresidenciesatArrowmontSchoolofArtsandCraftsandVirginiaCenterfortheCreativeArts.HerworkisinthepubliccollectionsoftheSprintCorporationandEmpriseFinancialCorporationandinmanyprivatecollections.SmithJonesalsocollaborateswithotherartistsinphotographyandmulti-mediaprojects.ShelivesinLawrence,Kansas,withherhusband.

www.heathersmithjones.com

http://www.heathersmithjones.com

(Right)Layers,(detail),watercoloronpaper,10″x11″(25.4x27.9cm).

Acknowledgments

ToMaryAnnHall,myeditorwhofirstcontactedmewiththeideaandwasamazingthroughtheentireprocess;foransweringendlessquestionsandrespondingsograciously;forhercontinuousencouragementandreaffirmation—Thankyou,MaryAnn.

ToRachelSaldaña,photographeranddearfriend—forthetalentshebroughttothisproject,forworkinglongphoto-shootweekends,“campingout,”andforgettinginmyfaceandmakinguslaugh.

ToallthehandsatQuarrythathelpedputthepiecesofthisbookintoonebeautifulentiretyincludingBetsyGammonsforherprojectmanagement,DavidMartinellforhisartdirection,andtothedesigner,NancyBradham.

Totheartistswhocontributedtheirwonderfulworktothegallery—Thankyou!

Tothereadersofmyblog,fortheirloyaltyandkindness.

Todearfriends:Shari,forherlettersfullofpoetryandinspirationthathelpedspurmeon.ToAlica,forherfriendshipandenthusiasm.ToAlicia,forcheckinginandnoticing.ToEmily,forsilentlycheeringinmycorner.

Tomyco-teachersatTheLawrenceArtsCenterfortheirmoralsupport.

ToG.Webb,myfirstwatercolorinstructor.

ToPaulHartley(1943–2009)anamazingpainterandprofessor,forteachingmeaboutcomposition,waysofcombiningimagery,andforinspiringProject12inthisbook.

ToTanyaHartman,mygraduateschoolprofessorwhotaughtmeaboutmakingpaintbyhand,tomakeeverypartofthepaintinginteresting,andthatwithoutfullnessoflife,thereisnoart.

Tomysister,forbeingwhosheis:lovely.

Tomyparentsforsearchingandsearchingtofindthephoto,forgivingmemyfirstboxofpaints,yearsofendlessencouragement,andsomuchmore.

Tomyhusbandforcontinuallybelievinginme,foralwayslistening,andforhelpingmesincethedaywemet.

©2011byQuarryBooks

Allrightsreserved.Nopartofthisbookmaybereproducedinanyformwithoutwrittenpermissionofthecopyrightowners.Allimagesinthisbookhavebeenreproducedwiththeknowledgeandpriorconsentoftheartistsconcerned,andnoresponsibilityisacceptedbytheproducer,publisher,orprinterforanyinfringementofcopyrightorotherwise,arisingfromthecontentsofthispublication.Everyefforthasbeenmadetoensurethatcreditsaccuratelycomplywithinformationsupplied.Weapologizeforanyinaccuraciesthatmayhaveoccurredandwillresolveinaccurateormissinginformationinasubsequentreprintingofthebook.

FirstpublishedintheUnitedStatesofAmericaby

QuarryBooks,amemberofQuaysidePublishingGroup100CummingsCenterSuite406-LBeverly,Massachusetts01915-6101Telephone:(978)282-9590Fax:(978)283-2742www.quarrybooks.comVisitwww.Craftside.Typepad.comforabehind-the-scenespeekatourcraftyworld!

Digitaledition:978-1-61059-483-7Softcoveredition:978-1-59253-655-9

LibraryofCongressCataloging-in-PublicationDataSmithJones,Heather.Water,paper,paint:exploringcreativitywithwatercolorandmixedmedia/HeatherSmithJones.p.cm.Includesbibliographicalreferences.ISBN-13:978-1-59253-655-9ISBN-10:1-59253-655-71.Watercolorpainting--Technique.2.Mixedmediapainting--Technique.I.Title.II.Title:Exploringcreativitywithwatercolorandmixedmedia.ND2422.J662011751.42’2--dc22

2010031920CIP

ISBN-13:978-1-59253-655-9ISBN-10:1-59253-655-7

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Coverartwork:HeatherSmithJonesDesign:NancyIdeBradham,bradhamdesign.comPhotography:RachelSaldaña,buttonsmagee.com

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