Advancing with Watercolor

Transcription

1 Advancing with Watercolor Thinking like a Watercolorist A watercolor plan for the improvisation of the Ponte Vecchio BUILDING THE PICTURE - THE WATERCOLOR PLAN 1

2 The Watercolor Plan Until this point we have been talking about building blocks of making a painting. These blocks include shape, total values, edges. We have also been painting our image several times and I ve begun to internalize the components or pieces of the image. As craftsman we have to understand and follow the nature of our media which is in this case watercolor. Watercolor has been called the masters media and I would support that idea. The reason I have such a high regard is because of its nature or the nature of water. Watercolor artist sacrifices control in the painting to achieve spontaneity interpretation within the painting. The internship is long and challenging but the rewards are well worth the investment. With watercolor The artist needs to consider many things before applying the brush to the paper we have talked about some of these things which fall in the domain of design. The technical aspect of watercolor also requires thought. Making a watercolor plan before you start your painting helps to achieve the image you have inside of you, it also helps to keep you out of trouble and give you a stage-based approach so that you can manage the painting. Your watercolor plan and your technique will evolve together.. As you were forming your plan it helps a great deal to think of your painting in terms of sections for example; the background, the foreground the middle ground. If you can paint the sections have sections it will be easier to manage. Watercolor also requires us to think and plan for our lights and how to best preserve those. In thinking about any one section it helps to strategize where you will use soft edges, hard edges, lost and found edges. It helps to think about where you were use a graded wash and how you will affect that wash before it dries. It helps to envision what will follow on top of the section once it has dried, for example: painting with Drybrush on top of a graded wash can live in up in the area and bring depth to the painting. Developing the watercolor plan surprisingly also allows for spontaneity and improvisation. As you were working on a section you may notice in your painting that the edges look better undeveloped and rather than force your original intention onto the painting respond to what s happening on the paper, You can do this more easily if you have a plan in place. Thinking about the progress of the watercolor also helps you to identify problem areas or areas that require more attention than other areas. You can accommodate for this as you form in your plan. For example if you are using lighter tones do the painting it s wise to state your lightest tone first and then to key off that first tone BUILDING THE PICTURE - THE WATERCOLOR PLAN 2

3 After painting a couple of paintings of the Ponte Vecchio I had a relatively good understanding of the structure and I felt more able to improvise. I chose a smaller sheet of paper and put away the photo - I did keep my previous sketches for a reference but seldom used them. I start the process of this quick improvisation by sketching the light buildings with a brush and yellow ochre. I noticed that I was more aware of the overall shape - on an abstract level - of the city itself hmmm interesting lets move onto the sky and shadows. Basically the same color a purer blue to complement the yellow ochre..i am careful with the tone keeping it close to the light side. Gradually the city emerges BUILDING THE PICTURE - THE WATERCOLOR PLAN 3

4 The trees rise up in front of the city pointed cypress distinct to the area. Their greens are warm and heavy but I work to harmonize this tone with the rest. Using pointed strokes with a mixture of the previous blue with some orange and davy s grey added. It seems a little dark but I continue believing that my choice is right. I believe that I am right even though I am not sure.. red roofs - a mixture of cad red light and some orange painted into a still wet area. BUILDING THE PICTURE - THE WATERCOLOR PLAN 4

5 The city gains some forms and a feeling of tiles and stucco. The light is shimmering so I move onto the Arno. I use a purer blues but still into a wet area. I am working hard to refrain from using lines and instead use edges of shapes against edges. It s starting to have a finish to it and whether exactly what I want or not I will try to finish the painting based on this state BUILDING THE PICTURE - THE WATERCOLOR PLAN 5

6 Some details and lines towards the center of interest - to hold the eye. The amount of detail is challenging. To much defeats the effect - not enough leaves an empty feeling. So I step back often and opt to sleep on it before I finish it BUILDING THE PICTURE - THE WATERCOLOR PLAN 6

7 The photo, the first painting and below the improvisation. I hope the process is clear and that you can see the value of both the first work and the second. It is a complex image simplified around the idea of morning light. If nothing else a GREAT experience that will play into future paintings BUILDING THE PICTURE - THE WATERCOLOR PLAN 7