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Watercolor

Watercolor. Carty Visual Art I 2013. Terms. Transparent: can be seen through- allows the penetration of light Opaque: cannot be seen through- prohibits the penetration of light. Terms continued. Charged Brush: brush is holding full capacity of paint- strokes look juicy

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Watercolor

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  1. Watercolor Carty Visual Art I 2013

  2. Terms • Transparent: can be seen through- allows the penetration of light • Opaque: cannot be seen through- prohibits the penetration of light

  3. Terms continued • Charged Brush: brush is holding full capacity of paint- strokes look juicy • Dry Brush: brush has been wiped repeatedly leaving only small amount of paint- strokes look streaked and dry

  4. Techniques • Wet-on-wet: wet paper, charged brush • Wet-on-dry: dry paper, charged brush • Dry-on-wet: wet paper, dry brush • Dry-on-dry: dry paper, dry brush

  5. Resists • Resists are used to preserve the white of the paper- they are substances which resist the paint and cause it to not adhere to the painting surface

  6. Types of Resists • Wax paper • Parafin • White wax crayon or candle • Masking tape • Rubber cement • Maskoid or other commercial resist product

  7. Parts of a brush

  8. Types and Shapes of Brushes • Flat: bristle, hair, or nylon • Flat end (chisel point) • Long belly • Flay ferrule

  9. Types and Shapes of Brushes • Bright • Flat end • Short belly • Flat ferrule

  10. Types and Shapes of Brushes • Filberts: bristle • Oval point • Flat ferrule

  11. Types and Shapes of Brushes • Oval wash (mop): hair • Oval point • Flattened ferrule

  12. Types and Shapes of Brushes • Rounds: bristle, hair, nylon • Pointed tip • Round ferrule

  13. Types and Shapes of Brushes • Fan blenders: bristle (and hair) • Fan shaped • Rounded, flattened heel on ferrule

  14. Types and Shapes of Brushes • Hake: Japanese wash brush, soft hair • Slightly fanned • Stitching to hold hair • No ferrule

  15. Types and Shapes of Brushes • Lettering brush • Flat point • Very long hair

  16. Types and Shapes of Brushes • Dagger: (bristle), hair • Dagger or sword type point • Very long hair • Round ferrule

  17. Types and Shapes of Brushes • Hardware utility brush: bristle or nylon (large washes) • Flat • Short handle

  18. Composition of Brushes • Bristle: stiff, hog’s hair, “boar” • Nylon: plastic, synthetic • Hair • Red sable: the best, actually made from hair of the Kolinsky or Tartar Martin from Siberia • Sabeline: dyed ox hair • Camel: squirrel hair

  19. Sizes of Brushes • Round Brushes- “0000” smallest, 12 is usually largest available • Flats and Brights- ¼ smallest, 1 usually largest (occasionally up to 2)

  20. Paper • Basic Composition • Rag: ph balanced, long lasting, highest quality, often hand made • Sulfite: wood pulp, non ph balance leading to decomposition, yellowing, brittleness, much less expensive, machine made

  21. Parts of Paper

  22. Weight of Paper • Determined by “ream weight” or weight of 500 sheets of that paper in standard size • Ex. 350 lb. paper means that 500 sheets of that paper weigh 350 lbs • Standard weighs run 80 to 400 pounds • In watercolor, it is considered best to stretch all but heaviest papers of the aquarium papers • Paper is sized with glue which is usually removed by moistening when watercolor painting. Blotters are made from unsized paper

  23. Special Effects • Salt- sprinkled into wet paint causing granulated, textured, starburst effect

  24. Special Effects • Sponges (natural are preferable)- can be used to lift or add color, create textured effects

  25. Special Effects • Tissue paper- used to lift color

  26. Special Effects • Razors, knife blades- used to pick out of lift small areas of color, or scratch out white lines

  27. Special Effects • Sticks, pallete knives etc.- used to apply paint of texture

  28. Special Effects • Splatter effects- using stiff tooth brush or atomizer

  29. Watercolor Paints • Types • Pan colors: pigments are often inferior, less intense (just dyes) • Tube colors: preferable, more versatile, more intense, more permanent

  30. Watercolor Paints • Composition: pigment + gum arabic + (glycerin) + water • Gum arabic is the binder • Pigment is the colorant

  31. Watercolor Paints • Pigment Sources • Inorganic • Synthetic mineral- chemical • Natural mineral- “earth colors” • Organic • Animal • Vegetable • Synthetic organic colors

  32. Watercolor Paints • Pigment Types • Opaque • Transparent • Staining (light) • Non-staining (heavy)

  33. Granulation Theory of Watercolor • Stain: fine particles, sink slowly because they are light enough to stay suspended or float- they spread or diffuse- they will penetrate into pores of paper- create permanent stain • Ex. Thalo Colors

  34. Granulation Theory of Watercolor • Semi-Staining: go down less slowly- particles are less fine so they do not penetrate as rapidly into pores of paper

  35. Granulation Theory of Watercolor • Non-Staining: particles are heavy and sink faster because they are larger they do not penetrate pores of paper

  36. Granulation Theory of Watercolor • Granulation is created by a combination of thick (heavy) with a thin (light) Pigment • Light pigment will diffuse on the damp paper creating a “halo” stain around the heavier pigment • Pigments separate on the paper and to not stay well-blended • Ex. Thalo Blue and Burnt Sienna, or Thalo Green and Vermillion

  37. Transparent Pigments • Stains Light Pigments • Sap green • Brown madder • Rosemadder • Alizarin crimson • New gamboge yellow • Sepia • Semi-Stains Heavy Pigments • Hooker’s green(light and dark values) • Anthwerp blue • Payne’s Gray • Aureolin yellow • Lemon yellow • Yellow ochre • Burnt Sienna

  38. Opaque Pigments • Semi-Staining Light Pigments • Cadmium red • Cadmium orange • Cadmium yellow • Raw sienna • Naples yellow • Indian red • Windsor emerald • Cadmium scarlet • Non-staining Heavy Pigments • Vermillion • Manganese blue • Ultramarine blue • Cobalt blue • Cerulin blue • Chromium oxide green • Chinese white • Ivory black

  39. What not to do… • Muddy colors- created by mixing or over-layering heavy opaque colors • Balloons- hard edges created by uneven drying (use a hairdryer!) • Overworking

  40. Additional Information • Glazing- applying a wash over dry paint • Different meanings of “pallette” • Surface used for mixing paint • The selection of colors used in a painting • The selection of colors generally used by an artist in his or her work • Paint the essential, paint broadly, paint details last

  41. Sequences of Painting • Three approaches to establishing a composition • Paint center of interest first, progress to least important last (difficult to do in watercolor) • Dark to Light: lay in darks first to achieve unity quickly, dangerous but effective • Light to Dark: lay in light values first, progress to darkest last, a safe conventional approach

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