Watercolor

Watercolor 103 - More Advanced Techniques

As one grows more confident and accomplished in dealing with watercolor painting and all the delightful challenges it presents, there may come a time when even more testing and demanding methods are sought.  In the following paragraphs we’ll examine and discuss some elevated difficulty factors in the application of watercolor paints.

The subject of brushes comes first. That may seem very basic, but many are the artists who select a tiny group of brushes and never explore possibilities past these.  Different brushes can offer changes in the way paint is applied, either in pattern or intensity.  Also the makeup of the brush bristles can make a huge difference in the way it performs.  Soft, flexible, yet resilient bristles can hold a lot more pigment than those that are simply soft.  Some rigidity helps the brush create an expected result and maintain that result for greater amounts of “line.”

An example is the script brush.  For an artist unfamiliar with this brush, the script brush is one that helps create long, slender lines of remarkable length.  It has long bristles sometimes made from natural animal hair.  They are known to hold and then distribute a surprising amount of line.  Fan brushes, again made of natural animal hair, are soft with a spread or “fan” shape to draw color away from an applied line into a feathery, fur-like look.  Both are specific in their original use, but can be employed in many other applications once the artist is familiar with their qualities and strengths.

Working and exploration of pigments can be very interesting.  It doesn’t take a watercolor artist very long to discover that some pigments hold their colors vividly, even when diluted heavily.  Others wimp out and almost vanish.  But these qualities can be very helpful once you know which pigments do what.

Switching brands of paint can also help you explore textural differences between colors given the same name or near the same color.  Some are “heavier” and often leave actual minute chunks of dark color when swished across the paper.  Some simply dilute to a fine, soft tone that is extremely useful for less defined backgrounds.  And when combined, dark over light, most unusual things can happen.  The pigments can pool in unusual ways.  Perhaps the light undertones shimmer along the edges of the darker patterns.  Or the tiny, darker sediments collect in unexpected patterns.  Either can add dimension to your work if you learn ways to control the effects you like.  Although you won’t find a manufacturer who recommends it, combining different brands of paints can cause some pigmentation changes and interesting interactions, too.  Try some new combos and see what you can come up with.

Normally, anything past combining more than two or three colors creates muddy, unusable colors.  But sometimes playing with multiple colors can help you create new shadow tones, grays and other darks.  Combinations that you are already accustomed to, when tried in new brands of paint, might give entirely different results.  When multi-pigment combinations are used as a wash, you might create a completely new palette.

Using solid shapes of paint-resistant material can help you create new and exciting effects in your work.  For instance, using mat fall-out shapes (circles, ovals, rectangles) or hand cut shapes you make and over which you splatter or spatter watercolor tones can create very unique backgrounds for impressionistic or abstract scenes.  These irregular or unusual shapes can draw attention to your work and give you a signature effect.  Stiff brushes (old toothbrushes) can help you splatter very easily.  The resulting droplet size is similar to airbrush work and is very visually appealing.

Glazing is a tricky method for watercolor artists.  One color laid over another is a recipe for disappointment unless it is done very carefully.  The bottom color is applied and allowed to completely dry. It should be applied in a tone slightly lighter than what the artist desires.  As you add another tone, it too is applied slightly lighter or more dilute so that the combination of both gives a moderate tone.  Tests are required to master this method, but it is very useful to the landscape or portrait artist.  More glazes can be applied to build up a richness of tone.

Use of glazing mediums can also change the effects you have in your paintings.  These coatings darken and make richer the tones in your work.  Darks take on a deeper hue and bright colors seem to pop.  And glazing/painting medium can create a harder, more resilient surface.  This means that if you transport your works to shows and fairs, they are less likely to become damaged.

Copyright ARTtalk Vol. 19 No. 4 — February 2009