edited from original post 011214 WP
The superbly cool thing about watercolour is, once you've done all your research and preparatory drawings, design etc and you're hitting paper with water ... it's all on ... right now!!
The difficult thing about watercolour is that once you're hitting the paper with water, it's all on ... very scary ... right now!!
ooohhh ... what to do?
here are 7 things i'm thinking while i'm painting ...
Watercolour painting demands your complete attention, keep focussed while you are painting and stay in the zone.
edited from my original post 070115
It’s really hard to create a painting about a subject I have no interest in, having said that, I can make myself want to paint a particular subject simply by working through a research process and getting to know and appreciate the subject.
Imagine what it would be like for me to be told Country & Western theme ... ?**$#@!!**^??
Guess what? You can get fired up about any subject too!!
While I was still working in the corporate world but dabbling in watercolour painting, I was thrilled that my tutor would supply the subject matter. It meant one less thing for me to worry about, all I had to do was turn up every week and she'd have an amazing array of cool stuff she had pulled together for us. Barbara was a tremendous creative facilitator.
Another upside to this was that I learned to accept what was in front me, whether I liked it or not, this was no time to be fussing and complaining, I had 3 hours of painting time in front me, better get to it quick!
In writing this post I realise too, part of my inspiration for a subject came from our group discussion about the subject and everyone's ideas. Some of my best painting experiences have been painting in a group.
The more research I do about a particular subject the more passionate and determined I become to paint it. I fall in love with the subject ... it could be something as simple (?) as a brick wall or the way the light falls on a glass and the shapes and colours it creates. The intricacies of a subject become fascinating, although I don’t paint a lot of detail (this must have been written a while back!), I go through a process of studying the detail and deciding what I will leave out, what to include and which details describe my message best for that piece of art.
Typically my research might include a small sketch or two on site as well as a bigger more formed sketch I call a plein air painting. When I’m in my studio, if I’m painting from my imagination, I create lots of doodles and lots of composition thumbnails. I’m reluctant to paint scenes from a photo preferring to paint en plein air, not always possible and although I’m wary, I’m very happy with a lot of them.
For me, there is a driving force to create and always has been. Among other creative endeavours, I’ve always drawn and painted. It seems stronger now than ever and I think this may be, in part, because I work as a professional artist creating and painting most days - total immersion is good!
My brain is more switched on to looking for subject matter and planning my next work – everywhere I see a painting waiting to be painted. The more I look for subjects the sooner they appear - the more I paint the more ideas I get.
I know many creatives and many of them never finish a work. The same work is done and re-done and done again because it’s never right. There’s always something out of place, a comma, an invisible brush mark, a chord that seems not right – not perfect = imperfect! We do it again and hope it will be better next time.
And so now, this work gets put aside in the hope (read dread) the next one will be better.
What people don’t realise is, there’s no such thing as mistakes. What happens is, we get a different result from what we expect, we don’t know what to do with it.
This is often the result with watercolour, we have a vision and an eye on our goal – but something happens or we return from a cup of tea to find our painting looks different from just 10 minutes ago.
We’ve become so results driven we’re forgotten to enjoy the process, play to our medium’s strengths and just have fun playing with the paint. Don’t get me wrong, I’m not saying don’t attempt specific subjects, what I’m saying is have fun along the way. Explore your paint and ask yourself “What would happen if …?” or tell yourself “I’m just going to have a play with this and see what happens!” - my favourite way to start new work! It banishes fears and performance anxiety and sets up an easier happy attitude!!
happy painting dear friends!!
I'm still in my self-imposed "lockdown" with my continuing knee problem, It's a lot better but not better enough .. thwarted by my feeble attempts to "keep calm and carry on".
Something that’s really bugging me is my studio clear-out/tidy up/re-shuffle/reorganise started before Christmas. It was a good idea at the time but now I have 2 piles on the floor that are attempting to morph into 3 and I can’t get down there to do much about it. It’s making me crazy! PLUS while I’m nursing my poor wee ginocchio Dennis has now gone back to work, Amy’s back to work and there’s no-one here to entertain me!! YIKES!!
So now I find myself in this temporary situation of cabin fever - I'm desperate to get out and paint/sketch, so I've made myself a new plan for my coming escapades. in a feeble attempt to get back to normal, i went for a walk with Amy and the dog. I trailed far behind them, it was so nice to be out and hearing the birds and children playing, families and their picnics but, I have to say, I paid for it the next day ... mamma mia!!
It reminded me how dependent I am on my walking, it's my chief thinking time, my meditation and quiet time that allows my thoughts and ideas to run and play out. Another purpose for me is exploration, this is when I see things that inspire me, a fleeting light, shapes interlocking and overlapping, colours or some other interesting and diverting sights.
To get out of the house, I've been for a few outings in the car (bicycle is a no-go atm) to scope out some sketching locations but of course, even here in Auckland it's almost impossible to park close enough. So I've decided to go to cafes again, they have to be in the right place, scenic and comfy.
There are so many ways to enjoy sketching out, for me, its a totally absorbing experience. Although I love my little value thumbnail sketches, I learn a lot about a scene using this process, I feel the need to change things up a little, expand my sketching and bring more of it into my life. So!! I bought a new sketchbook and made a sketch kit that's always with me.
My new sketchbook has a soft cover, so a little lighter than a hard cover but I found an old light but rigid clipboard. My backpack is pretty old, so old it doesn't have a smart phone size pocket - urk! It has a great "book" pocket but without an easy small pocket, pretty much everything falls to the bottom. In my bag I also have a wee first-aid kit, a small professional pan-set, tramper's collapsible water cup, pencil case and a few other weird sketch tools to fun things up a bit!
In my pencil case, I have my standard soft pencils, a sharpener and eraser, tombow value brushpens, general’s sketching pencil, small view finder, calligraphy sketch pen, pastel and watercolour pencil, travel brush, small flat brush, water spritzer.
To protect pencil tips and brush points, I always place them in the case in the same direction and then “up” in my bag.
In Sketch class last week, Mary said “I can’t see enough detail, I’m too far away”. I agree, I need to see exactly what goes on, this helps me to build my story. Go for a walk to understand the lay of the land, what makes this place tick? How do those elements look close up? Always have your camera charged and set to hi-resolution and use a view finder to isolate your scene and cut out the overwhelming and extraneous, then you can just focus on what you want today.
To be truthful, for me, grey is the most frightening colour – I don’t wear grey, I don’t like looking at it, I don’t have it in my house and I HATE grey cloudy days! So when I was told recently that my “greys” were greatly admired I was quite floored, this started a renewed process of investigation, what greys do I create and how do I use them?
Firstly, good quality watercolours are made from natural minerals (pigments) and due to these natural qualities, react and bounce off each other, quite fun to watch and experiment with. Manufactured blacks and greys are mostly made from a kiln firing process therefore they contain soot - for large washes they can be lifeless and dull and often dry substantially lighter than expected.
Secondly, in watercolour, our staples are our complementaries (red vs green, purple vs yellow etc). For example, to neutralise red, I add a little green, a secondary colour containing blue and yellow. When I add green to red I have 3 primaries which means the greying process is started.
I paint with tube paints and carefully select transparent watercolours, mostly I use Winsor & Newton pigments and then I add opaque or earth pigments for accents.
My favourite palette includes winsor blue (red shade), permanent alizarin crimson and burnt sienna. Sometimes I swap the blue for winsor blue (green) or French ultramarine and alizarin for permanent rose or another transparent “pink” like permanent magenta. I choose this palette because each of these colours have good tinting strength, therefore this palette, with just enough water to mix, will make an exciting and fresh dark and, with diluting, will create fantastic luminous greys. I start by making a violet, for shadow areas a cool violet (ie more blue, less red) and depending on the palette of the day, I may add burnt sienna.
For silvery greys try cobalt blue and permanent alizarin for a gorgeous violet then add just a wee touch of raw sienna or try winsor green and permanent alizarin or rose. Cerulean blue or cobalt blue plus burnt sienna, for darker greys try french ultramarine or indigo with burnt sienna. As you can see the sky’s the limit but of course this all depends on the pigments in your palette and what you can do with them – a matter of experimentation.
To start with, I mix light value greys in my palette but I make sure I can still see little pockets of the ingredient colours; in other words, sloppy, inefficient colour mixing is best, partly because it ensures there is no accidental overmixing and further, it allows the poetry of watercolour to show. After washing in a light value Grey around whites, I mix a stronger grey with the same pigments but in different ratios so that, for example, I wash a warm grey over a cool grey. I then select one of my accent colours and charge it in and then spatter some of the other colours while it’s still damp.
For me watercolour is about poetry, creating beauty and light and life. As Delacroix said 'Colour is the fruit of life' and developing a repertoire of greys will only enhance your colour work.
why do we need to learn to mix greys?
Mixed greys are often fresher, they’re more exciting and luminous, especially if you choose transparent pigments with which to mix your colour.
Bought greys (blacks) tend to be warm shades and can be quite dull, further warm greys advance and may confuse your message.
Greys, in realism, are needed to highlight and let saturate colours attract attention. If a painting consists of all saturate colours, it may be difficult for the viewer to understand your message, further, it could be too much for viewers. Most paintings require some sort of quiet, neutral space, to rest the viewers eye.
Often your palette’s left over paint (aka palette gunge) will have created a beautiful grey all by itself, a little water and a bold, damp brush swish through your palette will give you a great “dirty tea” that will knock back any excess whites or elements that need a little pushing into the background.
A light value greenish grey will complement a bright red or pink beautifully, as will a light value orange-grey bring some magic next to a deep blue.
do I use blacks?
I enjoy painting monotone paintings in black and then I add a pop of opaque colour like cad red or yellow.
A simple, monotone black sketch is a great design tool in preparation for a larger work.
Sometimes I add a tiny bit of black (neutral tint) to push a dark even darker.
One of the reasons I love watercolour painting is the speed at which I can achieve a painting. If and when I'm clever, I can have a painting today! It took me a long time to get to this point - I've been painting watercolour close to 30 years - it's not an overnight process!!
A huge obstacle for watercolour newbies is allowing the watercolour to have it's way. There's a saying "before I paint, I'm in control, once I put that brush down the watercolour takes over". The secret is, until you get a really good feel for water balance in your brushes, paint and paper, you need to let go and stop trying to control the uncontrollable. Watercolour, as it should be painted, will be difficult for you.
Embrace "mistakes" and "accidents", runs and bleeds and allow the painting to speak to you and tell you what it wants.
Have another read of my webpage "About Me" and note the last sentence - "I love watching paint dry!"
Stop fiddling and controlling and start watching what the paint does and note that where the water goes the paint will follow. You'll start to notice the really cool effects and passages - watercolours will paint themselves if we let them and they'll certainly do it much better than we can!
When we're painting watercolour it's time to stop and smell the roses!
The scary secret is, you might not get the results you wanted or expected and you certainly might not know what to do next - that's the shock of it!! Use your artist's sense of composition, value structure and design to decide next steps - does it need more darks or lights? are the shapes correct? is it balanced and unified, etc etc.
Make a cuppa and watch the paint dry!!
ciao i miei belli amici!!
PaintBox Tips, secrets, random thoughts,
There is no ONE WAY to paint a watercolour - Amanda Brett
Inspiration exists, but it has to find you working - Pablo Picasso
There are no mistakes in watercolour, just some extra surprises!!