Ref 1008.-Watercolor // Brush Selection for a sea reflection Project

Following is the result of this process;

You do not need a large selection of brushes, if you choose the right one, you will often find you can complete a entire work with 2 or 3, The most versatile are those know as rounds, the following painting was made with 2 main watercolors (Payne´s Grey & Prussian Blue) and a bit of Crimson red, and 3 brushes ( Round, Angle and Fan) over cold press paper 220 gr roughest side masking fluid & absorbent paper

 

Stage 1.- I start by letting pale colors blend on the paper to identify my main references and cover the White of the paper in most of the áreas to work with, once it drys // stage 2.- I masking main reflections from the center of the paper towards the sides and from small sizes to biger in accordance light reflection idea

(I use fan brush in a horizontal way with diluted masking fluid 1:1)

 

 

 

 

Stage 3.- Palette mixing .- I start by dilute prussian blue with wáter  for the sea and same color plus paýne´s grey for the sky.- with just the side of the round brush, from the side of the paper  toward the center with almost no wáter and with the help of the rough side paper the marks will appear discontinue as you can see in the image, "dry brush technic" given the suggestion of light reflections do not overdue and practice in a scrap paper Stage 4.- same round brush I did use for  the sky "wet in wet technic" the clouds are easy form with the help of paper draggin it while the paper still is wet, I also reserve some White paper withou touch it, at all .- Note at the horizon I added a bit of crimson which I fade away accordingly

 

 

 

Stage 5.- Now with the angle brush I did all the dark figures with just Payne´s Grey

 

 

Stage 6.-  Final touches.- I removed the masking fluid and again with a pale color around I reinforced the lightest zones

 

                                        " Come With Me "

 

 

 

 

Ref 1007.- Gouache // Gouache over colored paper

Reproduction with opaque watercolor (gouache);  from a pastel similar painting

                                       "Meowwwww"

Ref 1006.- Watercolor // Double wet paper process

In searching and experimenting different technics I discover a way to
paint which allows me to lift and define colors in a easy expressionist approach

This is the result to follow this process;

This process requires keeping paper moist so it is recomendable to strech it first
Stage 1.1.- I like the texture given by diluted graphite so I applied with brush just over the dress of the subject previously sketched in a loose way (no definition at all); 1.2.- Apply fixative just over the dress to avoid to dirt the rest of the painting with that graphite; 1.3.- mask the dress and additional points according your sketch; 1.4.- I applied a selective wash of yellow for  light purposes; 1.5 Let to dry completely
Note.- points  1.1; 1.2 are optional and I did because I like graphite texturing

 

Stage 2.-  I start painting in abstract approach without preconceived idea in a first wet on wet condition, dealing with warm and cool - ligth and dark values

Stage 3.- When I am satisfied with the abstract background I add permanent White (gouache) to highlight some áreas as sections, this is important for following stages and let it dry completely one day

Stage 4 Second wet paper process .- I´ll take the masking away from the painting and put the paint down a water tap with running water (second total wet) where enough paint maintainig are kept with soft edges and unified background  and let id dry again

Stage 5.-  Now I further develop the overall painting  colors and values relationships and define all details adjusting the composition accordingly


         "A painter paints over a canvas but musicians paint over the silence"

Ref 1005.- Watercolor Creating and transfer and exact shape to watercolor

I wanted to re-créate  a exact "shape" from an airplane photograph --- however "the lesson learnt during this process is what I really like to share with you this time"
This is the original photo reference and the painting result of this process
over cold press paper

First I made a scan of the figure I wanted to paint; most of my past painting are not concerned with details or fine accuracy so I didn´t have experience in transfer exact "outlines scale" onto the paper, (but a plane like this needs to be accurate at least in the contourn and then make FreeHand in inside details ) my mistake it was to use plain carbón paper to do it, and after I masked light border lines and Little details; here and there .- following is what happens when I start to work with wáter
I couldn´t get rid of the lines and at the sea started to dirt the paper

This is not what I expected but I tried to take advantage of the dark colors to start from there

(Most colors used are cerulean, ochre & Payne´s grey at the sea, but I added some touches of viridian and sepia and at the end after taking away the masking I added and integrate the foam with  permanent White (gouache)

 

 

Then I tried to take advantage of the few main lines I did at the airplane,(with carbón paper)  which were mixed in some way when I start to add the watercolor, finally some of the fine lines (rigs and another small details) were made with ink previously diluted

 

The point I wanted to share is that base on this issue, I start to check in the best way to transfer a image onto a paper, and following are some of the main methods I found:

1.- Made your own graphite paper.-  rub the back of your paper drawing with a very soft pencil, like 4B or softer, then dip in alcohol, remove some of the excess, then gently rub the back of the drawing with it, wait a couple of minutes for the alcohol to dry and its ready.-The advantage of this method is that you can adjust the drawing if you're not happy with it because unlike carbon paper, you can erase easily with this stuff.

2.-Use the computer bright screen and/or your window  if the paper is not so thick taping the drawing and the watercolor paper so you can see and transfer the main referece lines and/or contourn

3.- Trace by placing your printed image over your final paper and drwing over the main lines, pressing indents into the watercolor paper underneath

 

Probably there are many ways --- I like drawing so I usually sketch out a few of the main structural lines and go from there. If I'm doing something really complex or realistic, then I take my time to get proportions correctly established, perspective worked out and so on. I personally think that by drawing the subject you learn how it works; shapes, forms and values. I always feel that if I can draw something ,I can paint it too. So, if there are another easy way to transfer please share with us

 

 

 

 

 

 

Ref. 1004.- Watercolor // Working with modeling paste over canvas

I use to work this process with acrylic, but now I´m trying instead to use watercolor, The final result due paint transparency had to be reinforced, so did not work at all, I´m posting the different steps just for reference, but I´ll try a different approach next time

The Rooster Final result;

Graphical steps:

 

 

Lesson learnt

With acrylic painting the next step would be the last one, but with watercolor, I had to repeat color definition several times so this process didn´t work as I expected -  the result it is not clean

 

 

Ref 1003.- Watercolor // Variegated washes
A graded wash is one that becomes lighter as it progress down the paper, while a variegated one contains more than one color ideal for sunset effects and also for the background of this storm

This is the result of this process: ( Ref Carl G. Evers original painting)

Stage 1 Materials; round brushes several sizes

           color .- (watercolors) chrome yellow; ochre, ultramarine, Payne´s grey,

                       Viridian, burnt sienna ; phtalo Green

                      (gouache) permanent White

                               paper 190 gr

The sketch it was made with pencil just to indicate main forms location

 

Stage 2.- you need to work fast with variegated washes, so its important to mix the colors in advance, lay the colors in even or random band, depending in the effect you want to acchieve, and do not try to work back onto the paint while is drying

Background.- From top to bottom yellow chrome; ultramarine blue, some alizarim and finally viridiam I lifted paint near to the ocean with a wet tissue to represent foam waves

Tip as it dry the best way to add paint (if needed is from the sides toward the center tilting the paper accordingly)

 

 

Stage 3.-  I didn´t add so much pigment into the background because I want to represent windy and rainy effect, Then I start deciding the palm refference at the frontground with payne´s grey

 

Stage 4.- Add colors in a loose but happy way (no remorse) feel the scene

Stage 5.- Negative painting into the ocean.- Begin to paint the sea, starting at the horizon (the atmosphere and see are viridan so with more viridian you start to define the horizon )working gradually forward, great care take to reserve the highlights the tip of the brush is used to make calligraphic marks (tip-- be sure the first layer of paint is dry before next is applied)

Stage 6 Highligths and shadows .- final contrast.- Directional brushstrokes are key element, to provide color contrast include some color branches,feeding into the foliage masses and add dark accents, dry paint spread a Little into the sky at the edge of clumps to suggest feathery texture
I had to apply permanent White  again into the oscean waves to suggest foam formation and spray wáter and use tissue until be satisfied with bottom right side, finally with a great movement of my forearm and with a fine brush I did some lines into dark spots to suggest rain into the wind

                          "Even in the midst of the storm, the sun is still shining"

Ref 1002.- // Watercolor; How to make raindrops

This is the final result of this process;   (ref. photograph)

Stage 1 Preparation;
Cold press paper 190 gr
Watercolor.- Turquoise; Ivory Black; Ochre; White; Vandyke Brown
Gouache.- Permanent White
Brushes No 1,2,6,7 round sable
old bristle brush for lifting paint
Other materials.- clutch pencil B; Tissues; Kitchen roll, Brown Gummed tape
                          Masking fluid

Stage 2.-  Composition;
Pencil guidance,

Stage 3.-  First wash & masking 
As I want my leaf to pop up from the paper I decided a dark background
I used same color of the leaf (turquoise -  but mixed with ivory black )
I did not worry to much about even coverage, this is the first of several washes
Note it is better to use neutral tint mixed with turquoise, because results shown better transparencies into the dark background

Stage 4.- Second wash
After first has been dried I painted another wet wash of same mix and in the leave continue adding masking after some pale color added to avoid whites too bright at the end (Tip. into the small drops the masking is the trick, I added with a toothpick traying to gain high in some way against the paper surface)

Stage 5.- I starting lying down washes on the leaves, using predominantly turquoise and being careful to leave áreas of White paper for highlights to shine through, then I applied the final background wash, increasing the amount of pigment, (Tip I use gravity for paint my leave, in order color goes downwards the masking Works as a barrier for this painting wash going around the small dots)

Stage 6 Wait for dry and turn around 180 degrees and again pour color paint but now more concentrated because the color needs to have a gradient of intensity base for the dew drops, The masking is doing its job as color protection but also as barriers to define small dew drops at the end
I repeated this process twice until be satisfied with colors

Stage 7 Dewdrops and veins.- loosening áreas with a wet brush and lifting the color with tissues, I began to depict drops and veins (main veins are still masked) I added some dark color for shadows of big drops blending with wáter into the lighter áreas, and a darker mix underneath the dewdrops

Additional tip,.- Just after add color paint if you add with care a drop of alcohol the effect for the bid drops looks in some way more natural and integrated and do not forget to tilt the paper accordingly so the gravity also Works for you

Stage 8 highlights at first I use transparent White, but the real whites needs to be with gouache "permanent White" as you advance to reinforce it, I did by working each section of the leaf until be satisfied,

 

Stage 9 Final touchs.- you need to work in each of those drops so I took away the masking but I left some of them, if the appearance looks well and again hihlight first the selective required shadows with same turquoise color and again with just White (gouache) highlight accordingly

 

Stage 10 Once the painting was completed I increase the intensity of some shadows with additional glazes ochre and turquoise and with some tissues at hand

Ref 1000.- Watercolor // Nocturnal Scene

Final result for this process (over hot press paper):

Sequence;

 

 Use of diluted graphite applied with sponge brush (I masked just some Little áreas )

                   Wait for particles to settle and keep adding main features for shadows

 

Wait for particles to settle and then wáter spray to just left the impregnated color on paper

then again wait till completely dry

 

 

Apply loose watercolor to integrate main idea

 

 

As this is hot press paper you need to wait for dry several times to avoid wrinkles

then apply True Film fixer over it and again wait for dry (now you have the underpainting to start applying watercolor glazes and painting feature definitions)

 

Trying to add some additional texture into the dark área I trow a Little salt while painting was wet

 

Final free and loosy details to complement

 

"Enjoying an evening shopping"

 

 

Bonus:

Ref 1038.- Another nocturnal scene I did but now over cold press paper which I reinforced with watercolor markers