I started by copying in pencil the most successfull drawing from the preliminary studies. I put masking fluid over the drawing of cage and swirls. I paint a tonally graded wash to represent the sea at the bottom. When dry I did the same for the sky. When still wet, I used a sponge to create a simple sky with some tone variations across, with the darker tone remaining at the bottom(horizontal line). I left it to dry and then I used masking fluid to isolate the shapes of the birds so as to paint them in another colour, but their edges to remain sharp. I needed to put more than one layers of colour for the birds to achieve a dark opaque tone. After completely dry I removed the masking fluid and the final piece is revealed! Not many techniques used, but I think I made a successful combination for that composition.
Assignment 1(page 45) Your first watercolour painting
I came up with an idea for a simple dreamscape. I decided for a simple composition because I didn’t want to make it very complicated and end up with something confusing and flooded at this point. I started with a few pencil drawings in my sketchbook to put my idea down on paper. Once decide on the composition I did a tonal study. I continued with a colour study. I used masking fluid for the lines to be left white. Then I covered the bottom area in a blue fading tone to represent the sea. I left it to dry and turned the paper upside down to make the same for the upper part to represent the sky. Now I have a clear idea of what the final piece will be.
Preliminary studies
Project 4: Making marks in different ways
Exercise: Unusual brush marks (page 39)
Exercise: Using various brushes (page 41)
My notes/observations:
Rough brushes, hard brushes, soft hair, metallic hair, compact or sparse…you can ascribe so many marks. Such exersises help you make a list of marks to come back to when making paintings later on. Brush marks that resemble a shape an object or an effect could be exploited for that reason.
Exercise: Other tools for watercolour
Blotting and wiping: (page 42)
My notes/observations:
Blotting is a very important element of watercolour painting. It could be used for creating an interesting blending of colours one within another. You can remove colour for specific outcomes as well.
Surfaces and textures: (page 43)
Clingfilm salt crystals bubble wrap
Scarifying, scrapping and texturing
Paint laid on:
first after first after
Futhter experiments…..
Watercolour over different surfaces
My notes/observations:
Not only you can use these effects in pictorial or descriptive paintings, but also these effects could be the main or only element of a painting for expressive or other kind of abstract paintings.
Project 3: Resist techniques
Wax Exercises: (pages 33-34)
Reserved shapes from resists
Plain areas with wax
Patterns with wax
Exercise: Lines with wax
My notes/observations:
Very interesting!
You need to control how much wax or other resist materials to use.
Working negatively i.e. cover with wax the light areas.
The areas with the resist are not only to leave light areas, but also the texture/patterns created add to a painting and could be used for paintings with various pictorial elements.
Masking Fluid
Exercises: Techniques (page 36)
Plain areas
Textures or patterns with masking fluid
Line drawings
My notes/observations:
It’s becoming more and more interesting!
Watercolour can be used along with so many media and gives you the opportunity to experiment and create interesting pictures.
Be careful when removing masking fluid. It can be removed easier from the smooth paper.
Project 2: Laying washes
Exercise: Plain washes (page 30)
My notes/observations:
It is easier to make a plain wash if it is of a lighter tone.
You should be careful when you apply the first patch with a loaded brush. Do not overload brush.
Exercise: Tonally graded washes (page 30)
My notes/observations:
Make the first wash thick enough.
Be careful around the middle where tones look about the same.
Exercise: Mixed-colour washes (page 31)
My notes/observations:
For more intense results, at the point that blend make the wash watery.
New tones at blending are created.
Try to manage how smooth or intense blending you want to achieve by the amount of paint and by the tonal differences of the colors used.
Exercise: Fish and leaves
(pages 25-27)
My notes/observations:
I think my first problem is to make the paint thick enough. It might be easier if I worked with tubes instead of pans. Maybe this is also due to the quality of my pans. I realize a difference between the two brands I have.
It needs practice to manage the flow of paint and create shapes.
The movement of the brush guides the paint to create a shape.
Sometimes I end up with a small round patch of colour where the brush stops. Maybe I should lift it up.
Accidental effects help you understand what to expect in analogous movements and brush loading. You can use this for specific results. You gain experience!
As for the washing off: I thought much more colour would be removed with water. I needed to brush out to make the shapes fade.
The wash layer adds depth to the picture.
I need to practice in creating a wash of a single evenly distributed colour.
Exercise: Random marks
My notes/observations:
It takes a long time for the paint to dry.
The colour moves around while drying and fades out.
Many tones and hues are created.
Post navigation
Part 1: Making a start
Project 1 Mixing and applying
Watercolour
26/3/2014
Exercise: Loading the brush
My notes/ observations:
Don’t put much water from the beginning, because you need some time to make an opaque/dark tone if you are using pans.
A dripping brush may not be easily controlled. It depends on the result you want though!
If you are working expressively you may need a dripping brush for specific outcomes.
A brush that has paint but holds its point, could be used for more detailed and controlled results. Is more controllable.
Exercise: Fading tones
My notes/observations:
The patches of colour are more faded when the paint dries.
A drier brush don’t necessarily makes more faded marks. It depends on how diluted the colour is in the palette.
Accuracy comes as you progress!
At the last stage of the more faded tones you need to add more and more water, but also at the very beginning (dark tones) you need to add more water than you expect.
An underlying mark shows through a top mark or wash.
Some colors need more paint in the mix.
Watercolour Practice OCA 