Learning to Watercolor - Preferred Tools of a Watercolorist

Sketchbook, Drawing Paper and Drawing Pencils

To plan a painting composition, an artist usually begins by sketching the subject on drawing paper or a sketchbook using drawing pencils. When satisfied with the composition, the artist can then transfer it onto a sheet of watercolor paper before beginning the painting. The outline drawing is then used as a guide for the composition.

Something as simple as newsprint paper and a standard lead pencil is sufficient for this purpose.

Watercolor Paper

Watercolor paper comes in a variety of shapes, sizes and paper qualities. Paper most preferred by watercolorists includes:
Watercolor pads of cold-pressed 90-lb or 140-lb 100% cotton, acid-free
Full or half sheets of cold-pressed 140-lb or 300-lb 100% cotton, acid-free
Optional: Watercolor paper blocks the same quality as watercolor sheets in a variety of standard sizes from 3.9 x 9.8 inches to 18 x 24 inches

Tools Used For Stretching Watercolor Paper
There are a variety of methods for stretching watercolor paper. But, the basic tools include a heavy board to paste, or tape and staple, a wet sheet of watercolor paper on to and allowing it to dry flat. The preferred tools include:
Drawing board or heavy "gator" boards
Glue paste or glue tape, stapler and staples or thumb tacks
Paste brushes
Blotters for absorbing excess water from the paper

Watercolor Paints

Artists quality watercolor paint, packaged in 5 ml or 14 ml tubes, is most commonly used by watercolorists.

A basic color palette contains one cool and one warm hue for each of the primary, secondary and tertiary colors in the color wheel.

Each artist over time develops a preference of color hues to use as their basic color palette.

Palette Tray, Plate or Cups, and Water Containers

These items are used to hold and mix watercolor paints and water to dilute the paints and for cleaning watercolor brushes.

Watercolor Brushes

The standard watercolor brush is made of natural animal hair. Pure red sable is the most popular choice because it handles paint well and retains its shape for many years. Watercolor brushes are also made of camel hair, pony hair, ox hair and synthetic hair.

Brush shapes used by watercolorist include:
Round: This is the 'all purpose' brush shape used for large washes to small fine strokes.
Flat: This brush shape is used for laying straight-edged shapes such as buildings and landscape horizons.
Wash: This wide-shaped brush makes laying large background areas quick and easy.

Masking Fluid

Masking fluid is a white or pastel tinted liquid that is used to coat and protect areas of white on the watercolor paper for creating highlights. After the masking application dries and the painting is finished and completely dry, the masking fluid is rubbed off to expose the highlights.

Watercolor Easel, Table Easel or Drawing Table

A watercolor easel or drawing table allows for working on a flat surface while painting wet-in-wet. It also has the ability to adjust the painting angle from horizontal to a slanting tilt for laying washes and painting in an upright position.

The alternative work surface can be a kitchen table, desk or any table-height flat surface and a table easel with adjustable tilting angles.

Vanissa James is a visual artist working in watercolor painting and mixed-media. Vanissa's website, the Art Easel Guide provides easel price comparisons and easel reviews to help artists find the best art easels at the lowest prices online. For more info visit... http://www.arteaselguide.com/

Original article

How to Paint Snow With Watercolor

Painting winter scenes with watercolor can be an enjoyable experience once you know how. The light shining on pure snow and the shadows, both form and cast shadows, give the painting a sense of depth and clarity. There are several ways to achieve a beautiful, snowy landscape.

To begin, wet both sides of your watercolor paper. (If you do not wet the back, your paper will curl when you paint the front.) Some artists prefer to soak the paper then tape it to a board when dry. Consider your light source and be consistent with it throughout your painting. Lightly sketch your scene on your dry watercolor paper. I find 140 lb. cold-pressed paper works well. You will need to spritz the back of you paper every so often as you proceed.

Determine where your form shadows; those found on an object itself, and your cast shadows; those cast beneath your object, will be placed in your watercolor composition. Allow for both hard and soft edges for interest.

Preserve some pure white paper for your brightest snow. The eye goes to white first. Make a light wash of Aureolin Yellow and paint some of your sunlit areas in your foreground with this. Keep it very light. Next paint a sunny section towards the middle with a light wash of Rose Madder Genuine. Light washes of pure transparent color may be added after these have dried. Let your painting help you to decide what it needs.

Drop in some cooler colors such as Cobalt Blue into your shadow areas. Mix some Rose Madder Genuine and Cobalt Blue together for a soft violet color. Add this to your shadow. Allow it to run and blend into your blues.

Now consider some options for making your snow sparkle. These include techniques such as spattering masking fluid, dropping in salt, and using a light-grade sandpaper. You may want to select just one of these, to avoid "over doing it." Although these techniques can enhance your watercolor, you will want your snow to appear natural. I will describe how to use each of these, and after practicing with them you decide which you prefer.

To mask out small specs of white in your snow, dip the ends of the bristles of an old toothbrush into masking fluid and flick with your thumb onto your paper. Practice this first on a piece of scrap paper to get a feel for it. Once your masking dots have dried they can be painted over. Once the paint has dried the masking fluid can be removed with an eraser or rubbing with your finger.

To give your snow sparkle with salt, experiment with the following. Paint an area of snow with a violet color and drop in some table salt while it is still wet. Allow this to dry then brush off the excess salt. See how you like the result of using this technique.

To use sandpaper as a tool, choose one area of your completed watercolor and firmly move the sandpaper across this section with one motion. Do not go back and forth with the sandpaper, as this can ruin the effect.

Practice these techniques and decide which works best for you. I think you'll enjoy painting snow!

Sue Doucette, Author/Artist

I have been painting with watercolor for many years and am happy to share with you what I have learned. Please visit my website page "hints for painters" for more helpful watercolor tips. http://www.CapeCodWatercolor.com/Hints-For-Painters.html.

To see more watercolor paintings, http://www.CapeCodWatercolor.com/portfolio.html.

Original article

Tips For Painting Buildings in Watercolor

Painting buildings with watercolor can be both fun and challenging. Getting the perspective correct is very important. If it is off, everyone will notice. If it is just right, it will be taken for granted... but that's ok!

A good way to see the angles of your subject, is to refer to the large hand of your watch. Try corresponding the roofline of your building with the similar looking "time" on your watch. For example the pitch of the roof may look like "twenty past" the hour. In other words the angle made by the large hand at twenty past the hour, resembles that of the roof. If the large hand of the watch points at the number five on your watch, or twenty-five past the hour, it would correspond with a steeper pitched roof. A nearly flat roof would resemble the hand of your watch pointing at the number three. This is a very useful tool when painting plein air. It's helpful in approximating the angles of a building, then transferring this information to your paper.

When adding windows and doors to you building, make sure they follow the angle of your roof and foundation exactly. If the perspective is off, it will be very apparent. When painting buildings in watercolor, perspective is key. Try using the "watch hand" technique for accuracy.

Another tool when preparing to paint a building, is your camera. A grid can be drawn over your photograph, and a corresponding grid is very lightly drawn on your paper. Block off squares of equal size on both. The ratio could be 1:3, 1:5 etc., depending on the size you plan your painting to be. You may want to number your blocks lightly in pencil to make transferring your drawing easier. Making a black and white copy of your photograph can be helpful in two ways. First, you can make your grid on this, preserving your actual photograph. Secondly, the back-white-gray copy can help with your preliminary value sketch.

Once you have made your value sketch to refer to when painting, and have your building accurately drawn on your paper, you will be ready to paint. Remember to use the same palette throughout your watercolor. For instance, if you are painting a red schoolhouse, be sure to use red in at least two other places in your composition. Red flowers (which you may add if none are present) and the red stripes of a flag are two good possibilities. Never use a color only once in a watercolor painting; in at least three places is the "rule." For more interest, add reflections in the windows. This will give your painting a more realistic feeling, as well as adding depth to your composition. If you paint the reflection of the sky, make it a shade or two darker than the actual sky.

Experiment, and enjoy painting buildings!

Sue Doucette, Author/Artist

I have been painting with watercolor for many years, and am happy to share with you what I have learned.
For more watercolor painting tips, please visit http://www.CapeCodWatercolor.com/Hints-For-Painters.html.

To see more watercolors, http://www.CapeCodWatercolor.com/portfolio.html.

I welcome commissions and can paint from your photograph.

Original article

Watercolor Painting - How to Use Masking Fluid

When painting a watercolor, it is important to plan your white spaces ahead of time. These areas will be left white; the white of the watercolor paper. Unlike oil painting, where the whites are added at the end, watercolor requires the artist to plan ahead and "save" them from the start. Often, large white areas can be painted around, thus preserving the white of the paper. This becomes more difficult with smaller areas.

At times "saving" your whites isn't easy to do. For instance if painting a white bird in the sky, it is nearly impossible to paint around the bird and have the sky look natural. Often times the sky is painted with layers of washes going horizontally across the paper. This makes it very difficult to "save" the small area of white for the bird. This is where masking fluid comes in to play. It is applied to the paper to block out this area, and painted over. I suggest practicing before applying the masking fluid to your painting so you will be familiar with its qualities.

An important tip when using masking fluid is to first wet your brush, then coat it with soap. (preferably from a bar. I keep a bar of soap with my painting supplies for this purpose.) Without the soap, the masking fluid will adhere to the bristles of the brush and ruin it! After coating the brush with soap, dip it in the masking fluid. Now carefully cover the area you would like to preserve as white. Don't dip your brush back into the fluid without repeating the addition of soap to the bristles. Once you are satisfied that your area is totally covered, let it dry completely!

Once dry, you can paint your masked area. After your paint has dried the piece of masking fluid can be rubbed off with your finger or an eraser, revealing the white of the paper. At times, you may not be pleased with the result. The edges may not be as crisp as you intended, or the shape may not be quite right. This is why it is important to apply the masking fluid with great care. Even so, the result may lack the precision needed.

A word about masking products: In addition to white, masking fluids now come in colors as well. Some include an applicator or brush, and fine point tips are also available. There are translucent masking fluids, which allow you to see through to your paper, giving you a more complete look at what has been masked.

Experiment with this watercolor tool. You will soon decide whether or not you want to include it with your watercolor supplies.

Sue Doucette, Author/Artist

I have been painting with watercolor for many years and am happy to share with you what I have learned along the way. I write a monthly page which is posted on my website featuring helpful tips for painting with watercolor.
To read more, please visit http://www.CapeCodWatercolor.com/Hints-For-Painters.html.

To see more watercolors, http://www.CapeCodWatercolor.com/portfolio.html.

Original article

Watercolor brushes - who are the best?

Watercolor paint can be fun and exciting. One of the questions I often hear is, "the brushes is the best, and should I buy those with natural or synthetic filament brushes." There are many brands of brushes watercolor on the market, and the choices can seem endless. I will be summarized some of what I learned on the subject, but there are many books and articles on the topic if you want to go further in detail. A trick is to buy the best brushes, you can afford. The easiest way to become familiar with those that you select is the painting of practice with them!

Watercolour of natural hair brushes are often made by hand and the most profitable. They have ridges in the filaments (hair) which hold more than painting. This allows less than traits that tends to produce a clearer, more fresh paint. These brushes are made from the hair of the Kolinsky Sable, Camel, red sand, to name a few and can be very expensive. Others are made of a mixture of hair natural and synthetic and work very well. These brushes are strictly synthetic may function correctly, and I suggest that you buy some of each category if you can afford to do so.

As you select your brushes, it is important to purchase those manufactured specially for the watercolour. They will be rounded or flat. My suggestion is to start with a tour # 12, # 8 round, # 5 rounds and a Tower # 2. The number is small, small brush. (The range of numbers between # 1 and # 24). There are also brushes still more small ranging from 0 to 000 which I would not recommend. They are the smallest details, which you can achieve very well with a good quality brush towers, which comes at a time, size 2.

Some watercolorists do not use one of the smaller round brushes and paint well without them. I personally use a brush of # 1 and # 2 in addition to the larger mentioned, because I paint a lot of small details.

I also suggest that you buy a 1/2 inch flat, a flat of 1 inch and a two-inch plate (used for egg laying of large laundry/glazes). Smaller flat brushes are useful for the manufacture of straight lines and small washes.

There are many sets of "beginner" Watercolor Brush, and art supply stores are happy to help with your selection as well. A last word on the care of your brushes. Wash in warm soapy water, then reshape boards by hand. The improvement of the care they receive, longer they will last.

Sue Doucette, author / artist

http://www.CapeCodWatercolor.com.

I have been painting in watercolour for twenty-five years, and I would like to share with you what I learned. Many artists want to keep their secret "tricks of the trade", fearing, you become a painter better than they are. I am happy to share what I know. My hope is that you get to enjoy painting in watercolour as much as I do!

Visit my website http://www.capecodwatercolor.com/ and read my monthly "tips for artists". Please do not hesitate to contact me. Also, I am pleased of commissions and can paint your photo.

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