Ref 1001.- Watercolor // watercolor powder to finish a painting

This is the final result, after complete this process: (ref photograph)

 

Main steps;.- For this Project I did use wáter-soluble graphitone from Derwent (6B dark wash) sketching main features as detailed as posible, over cold press paper,. the idea is to make shadows with a clear guidance lines to work with

 

 

Planing the painting in advance we can mask to reserve whites

 

 

After complete these stages we need to fix the graphite to the paper (now we have our underpainting)

now we start to apply watercolors over it, without disturb main tones undernith but be sure underpainting is completely dry <TIP.- it is easy to conform fine lines in watercolor, after apply the paint onto the paper and make those with a toothpick.- try it >

 

 

 

color is less intense when it dries, so after these stages I apply again the fixer and add another layer above, however the paint retains much of the translucency.- ideal for the butterfly wings for the darker zones I mix 1:1 White gouche and White watercolor to also reproduce  granular effects and make a kind of clear color but bright wash

 

Now the new technic; with a lime I make watercolor dust (powder) of a silver color pan and add above the painting after take away the masking to cover all the wings to do so , previously I sprayed wáter on the wings so the color will settle down on it

 

 

The appearance will be totally improved with this step

 

 

Lets wait for dry and make final touches -- basically highlights

 

 

 

Ref 999.- Watercolor .--- "Hello Spring"

This is the final result of this process:  (ref. similar painting)

After draw the composition (made in this case from a painting similar reference)
I applied a lot of masking fluid to reserve whites, basically with a fan brush .- washing the brush out a regular intervals to prevent the fluid from dryingout and clogging the hairs, I did use also a toothpick at the details foreground, and then I prepared pools of color for the initial wet on semiwet spot washes, leaving small áreas of drypaper for the upper sunlit side

Afer wait and allow the first washes to dry, then use the same colors again to reinforce them and continue to build up the painting

 

Remove the masking fluid and erase some of the pencil lines if any, glaze over the more distant object to make it recede into the distance, glaze over some highlights that appear to glaring, because too much pure White looks unnatural in a landscape

 

In the final stage all that is needed is a Little more detail and definition. painting in a small branches using a small brush

 

 

 

 

Ref 998;- Watercolor.- Painting with soapy wáter (ref. photograph)

There are several different ways to paint with soap., So I´m going to take advantage of the soap in the following way for this particular painting as first stage:
A). - Spatter soap onto a wet wash. Where ever the soap lands, it will push the paint away.
 B). - Drop soapy water onto a wash and then paint across it with a brush. The soap will disperse the paint and stop it from flowing back into the área.
 C). - Mix the soap and paint so there are lots of bubbles. Paint with this bubbly mixture. When the bubbles pop, they create additional texture. (If you want to avoid the effect of bubbles, mix the soap gently or allow it to stand until all the bubbles have burst before you paint.

This is the result through out this process:

                        

Main stages; With grey´s Payne in a loose way I start to indicate main features, ans also with Thalo blue where the shadows will be and then with pale red troley shape, The paper, it is still soaked with soapy wáter, this stage is then, wet on wet

As this paper gets dry, I reinforce main shapes still in a loose way

I´m adding also White color while paper gets dry, the effect with soap make painting lumps, making the rain effect more realistic

Into this stage I start to paint lines (because there are many buildings and Windows - urban scene), trying to fade them - paper need to be still soaked otherwise lines will difficult to integrate

Once completely dry - nest steps will be made "wet on dry" to start detailing and add additional color pigmentation from darker to light

Final stage. for additional brightess I use to work with opaque White (gouache) to highlight rainy drops, lights etc.

                                    "Travel is the only thing you buy and make you richer"

Ref 997 Watercolor highlighted with water based ink
             (ref. photographs)

Once paint has been applied to the paper, it can be manipulated in many ways to create a variety of textures. The paint can be pulled out, moved around, partially removed, and/or mixed with other chemicals, as in this case, -- Rainbow it was highlighted and integrated with "foray highlighters- wáter base"


         "Traveling – it leaves you speechless, then turns you into a storyteller.”

 

 

Main steps.- airplane silhuette

Filled with pencil 2B, basically edges then mask it, the idea is to have a contour shade for final detailed stage

I prepare and poured paint tilting the painting accordingly, to prepare my color references

 

 

 

The idea is to integrate watercolors as underpainting base

 

I start to reinforce color´s rainbow with watercolor pencil, red, orange,yellow,green blue, indigo, violet, and with a sponge brush damp it out, to integrate rainbow´s colors among them - (I lifted out some excessive color from it)

 

 

As you can see  the rainbow´s colors are still so pale, but will be the base for next steps as now a complete underpainting

 

 

I start to use my "Forey highlighter wáter base colors" accordingly

and with a flat brush I added wáter over them .- the color became more vivid as you apply them

 

 

The sky around then was integrated with darker hues

The masking in the plane was taked away

and all details added (White color is gouache)

Finally, I made a cut closer

 

 

 

 

 

 

Ref 996.- Watercolor.- Mixed with Iridescent Médium

Contains fine particles that add texture to the watercolor. It can be applied directly onto the paper or mixed with watercolors first.
Iridescent medium give pearlescent or glitter effects to watercolors. It is particularly effective when mixed with transparent colors over dark backgrounds.

This is the result of this process;

                     Taken with and without flash

 

 

Main steps;

Is a decorative watercolor medium that doesn't get much use, but works pretty good  . When mixed with paint or applied on top, it creates a pearlescent effect. This can be fun to experiment with, but be careful you don't contaminate your watercolor pans. I´m diluting with wáter and dark color paint to use basically for shadows spots to give a brigth and dynamic atmosphere into the painting.-- Be careful to stirring before brush and/or sponge application  due those particles  are heavy and also mask some of your areas before painting

 

 

                                              iridiscent particles on painting solution

 

 

                                           (close-up) iridiscent médium deposited on paper

 

After iridiscent paint solution application it is better to fix the paper, in order to avoid to reactivate it and left as it is.- Then you can start to watercoloring as you use to

 

 

Take away the masking zones and as final touch I did a yellowish glaze

 

                "Plant a seed of friendship: reap a bouquet of happiness"

 

 

 

Ref 995.- Watercolor .-  Modeling paste as underpainting (selectively in darker spots)

Modeling Paste can be used to create a textured ground for painting, for collage, for relief sculpture, etc. It dries opaque white, hard, and stiff. If its applied on paper might be in a thin layers to avoid cracking, in the following painting I used in a selective way and basically to créate the dark-spots background
This is the final result of this process

                       
                         "The greatest power is often simple patience"

Main steps; Base on the topic, we need to planning, which will be our darkest colors
and mix them accordingly with an spatula, Mix those colors with modeling paste

 



Once colors ready spray slightly the paper to have a better adhesión (paper needs to be over a stiff surface)

 

The thickness of painting should be mínimum (because we are working with paper, in a canvas there is no issue with the thickness) therefore with and old and worn brush, we cover the assigned dark áreas mainly, as this is our background before modeling paste dries I added with plastic sponges different textures for rocks and brushes Note.- the color should be not so dark in order to later on paint over it and have different random colors, depending on the brush pressure

After application is dry you colors will be permanent it does not matter how much dampen again the paper surface on those painted spots, that´s why I like this technique
Now you can paint watercolor as you use to; im my case above the worked underpainting I add light colors to combine with color underpainted, and I like to lift color with absorbent paper to give many gradual colors regarding the mist on this scene, and of course you can re-define as much posible with darker tones

 

Wait to dry and in order to make it better I add additional modeling paste (natural color) to créate wáter texture as foam or other áreas you want to enhance for 3D likeness within this proportions,

 

Finally I´m layering a Green viridian glaze to uniform the whole painting keeping White tones in just some áreas to represent the light

 

 

Ref 994.- Watercolor / Double masking layer within the painting process

This is the final result of this process:

                                   "Windy and rainy Sunday"

To get the most out of masking fluid, it should be considered very carefully at the planning stage of a painting. In most cases it is applied before any paint comes into contact with the paper
I have learnt that sometimes masking fluid can be too thick if used straight from the bottle. I often water it down to aid the flow of the masking fluid onto the paper
To planning masking fluid lines and saving lights I sketched with watercolor pencil main reference lines, I added masking fluid with fan brush, with the edge of the spatule, and with an old round brush "thick and diluted" accordingly

Masking fluid can be painted, drawn, spattered, dabbed or flicked on to your painting surface. Spend some time experimenting with some of the effects and marks that you can make with the different tools that you have at your disposal. then; I start to pour painting with the help of a sponge basically with colors I´d like for background, I lifted paint also to achieve different color grades
When assessing the application of the masking fluid, don’t keep the brush resting on a saucer or on the table – pop it back into the soapy water solution to prevent it drying out.

For this particular proces I´m spraying wáter right after and take away part of the masking fluid basically where there is dark color background.---Always leave the masking fluid to dry fully before over-painting too. To check this, carefully touch the masking fluid with your finger tip. If some comes away, then leave it for a few minutes and re check.

There is still several lines of thicker masking fluid on the paper which I left for the end
at this stage I start to add deep color to conform the shape ideas take form

 

After dark tones, and shadows are painted, I´m taking away the last lines of thicker masking

Some artists use a soft rubber to remove the masking fluid from the paper. I remove it by gently rubbing with my fingertips, but only when I have checked that the paint and paper are both completely dry

 

 

Finally Masking fluid can leave hard-edged marks on your work. If the wash painted over a masked area is not a staining colour, then once the masking fluid is removed the edges of these marks can, if desired, be softened by gently lifting out with a damp brush.