Académique Documents
Professionnel Documents
Culture Documents
PAINTING
....\.
Jean-Louis Morelle
atercolour
PAINTING
Jean-louis Morelle
NEW HOLLAND
Foreword
The world
of colour
Colour classification
elsaac Newton's classification
8
10
10
11
magenta
,.
11
Arranging colours
24
Darkening colours
25
26
produced colours
26
27
Forming a palett e
28
Complementary colours
28
e Strong shadows
29
30
Trichromatic greys
31
32
Application to painting
12
13
14
14
,,
24
18th century
Shadows
The colour of shadows
Painting outdoors
When shadows became blue
eAn expanded palette
Complementary co lou rs
The discoveries of Chevreul
What is an optica I mix?
16
18
35
36
37
Conclusion
37
~
./(
Gallery
.,,"'~
Gottfried Salzmann,
New York, Towards the North
41
Preparinwthe p,c{per
41
44
45
1.. -
Colour de~sit/
How to control the halo effect
76
"'
W~t;bn-wet te~hni1q e ~
~~~~icj'of brysh
J
I
46
48
51
52
54
77
Dan iel Estrade, Reliquary for Exchange
Currency, Spirit Mortar
78
Ewa Karpinska, Quinces on Red Cloth 79
Gerard Leserre, Morning by the Pond 80
t An nick Berteaux, Cape Coz
81
83
84
85
56
58
Achieving fluidity
61
62
64
64
66
De pigmented brushwork
66
Denser brushstrokes
68
68
Edge darkening
Style and approach
71
73
Where to start
74
Step by step
The Green Door, Gerard Leserr.e ~
;;: .~. Boats on a Pond, Gerard
Peaceful Street, Phili ppe
Butterfly Nude, Jean-Louis
Young Girl Sleeping,
Jean-Louis Morelle
Rosehips, Ewa Karpir\ska
The Lost Rosebush, Ewa Karpir\ska
Redcurrants, Ewa Karpir\ska
Poppies, Ewa Karpinska
86
To my father
I be wo
mlour
Wa
t c r
c o 1 o t:t__r___P_a_Ln ling
olour classification
The watercolour painter works with three elements: water, pigments and
the light reflected by the paper. The way in which light works is of
particular importance when using this method. This is why knowledge of
physical phenomena can have a tremendous influence on your working
methods. You need to be able to distinguish the fundamental colours of the
additive system (light waves) from the primary colours of the subtractive
system (pigments).
In nature, light waves of all kinds
are mixed together at random.lf
we observe the line of the rays
refracted by a prism, we will see
a continuous strip of colou rs. We
pass imperceptibly from dark
Isaac Newton's
classification
10
Classification using
three colours: blue,
green and red
Von
two thirds.
What happens, however, in
physiologist
Hermann
fundamental colours?
The last
classification: cyan,
yellow and magenta
11
_ __
\VatercoloJJr
Pain..t..i_n_g
+
fundamental blue
green
cyan
+
green
fundamental red
yellow
palette.
fundamental red
fundamental blue
magenta
Application to
painting
considerably.
them
12
I b e w o r 1 d o Lc_a_L..,_...__..___ _ __
beginning
work, you
wil l
magenta-red
pigment
will
for
example,
do
retain
complete
mixing);
- light and luminous;
- highly reflective in all three
areas of the colour spectrum.
13
\Va I e r co 1 o u r P a l n 1 j n
An explanation of the
terminology
of t he journey of an artistic
creation ...
referring to pigments.
approximation of fu ndamental
use of terminology.
t he understandi ng of colours
stem
from green.
t he
confusion
colours
the
14
according
to
15
\Ya
c rc
10
II
r p aiJ.l. t.iJl g
Trichromatic printing
of the 18th century
Jacques-Fabien Gautier-Dagoty,
1725.)
was
_ __ __1..u6_
these
responsible
f or
\\ial(rcolo u r Pa i nting
hadows
If you were to go into space as an astronaut, the sky would be of the deepest darkness imaginable. Far beyond Earth, in a place where no stars shine,
black becomes absolute. Our earthly atmosphere, filled with gas and steam
molecules, hides the relentless black of the sidereal void. These very diverse
molecules reflect light waves and diffuse them in all directions. Short waves,
converted into blue, are much more spread out and are refracted more
sharply than long waves, which are converted into red.
The colour of
shadows
-4 Alexandrelsodore Leroy de
Barde (1777-1828),
_ _ _ ___._.18_
T he wor l d of c o l o11r
Painting outdoors
reds
that
it
reflects
f rom
its
An expanded palette
When shadows
became blue
of depth, created
no longer predominant.
geometric perspective.
(fundamental
blue;
diffused
than
long
waves
by th e
Paul Cezanne,
following
the
example
of
19
Complementary colours in
additive system.
Fundamental green (F(;I
mixed w ith fundamental red
(FRI results in primary
yellow (PVI . Mixing this
yellow with fundamental
blue (FBI will result in
white light (WI. Primary
yellow and fundamental
blue are complementary to
one another.
Complementary
colours
Using the addit ive system (that is
light waves), if we were to
remove fundamental blue from
t he spectrum, itscomplementary
would appear, t he synthesis of
the mixt ure ofthe red and green
bands. We have seen t hat t his
synthesis
produces
primary
20
The discoveries of
Chevreul
One man was more capable than
any other of examining two or
more colours together: Eugene
Chevreu l (1786- 1889). A chemist
by train ing, he was appointed
director of the Gobel ins Tapestry
Works in 1826. Responsible for
listing wool dyes, he discovered
Complementary colours in
the subtractive system.
Cyan-blue (C) mixed wltll
primary yellow (PV),
results in mid green (M<i)
which, when mixed with
magenta-red (M) results
in a dark colour close to
black (B). Mid-green and
magenta-red are
complementary to one
another.
brightness.
t heories
on
He
t hese
21
_ _ __
____cW._._'_.._a_._
l uco l on r
Painting
neo-impressionists at t he end of
breaking
through mixing.
the
colou r t ones
What is an optical
mix?
our understanding.
22
,. Focus on t he left
chromatic circle opposit e
for a few seconds in
daylight. Then t ransfer
your gaze to t he white
centre of the sheet, giving
t he ret ina time to adjust,
and little by little, a
yell ow, pink and bluish
brightness will appear. It is
your brain t hat produces
the complementaries of
the colours violet- blue,
yellow-green and
orange-red t hat were
initially percei ved. Repeat
t he experiment with t he
right chromatic circle in
cyan-blue, yellow and
magenta. Once your gaze
has shifted, an orange
brightness (complementary of cyan), t hen
mauve (complementary of
ye llow} and lastly green
(complementary of
magenta} will appear. This
is what biologists call an
after-image or post-image.
Two complementary
colours look more vivid
when juxtaposed with one
anot her than when placed
aga inst a neutral
background. Once again,
it is our bra in t hat is
responsible fo r t his
phenomenon, as it
accentuates the
differences and thus
enables us to gain a
sharper perception of the
elements that form our
environment.
23
he colour triangle
.- Each of the 31
numbers on the
triangle corresponds
t o a colour
Arranging colours
colours,
including triangles,
mixtures.
modern
engraving
triangle: a visual
calibration and
reference tool.
.. Tr iangle with 12
colours : 3 primaries
(1 , 2 and 3), 3
secondaries and
compleme ntaries (4, 5
and 6) and 6 tertiary
compounds (7, 8, 9 ,
10, 11 and 12)
photo
f rom mixing.
24
darken colours.
~o1ld
Darkening colours
of co l o u r
Positions of
~- ) '--
y~
/:X
, 4
25
(5~-~
;;) ~I
cfo;;
thus by a green.
27
primaries
t hat
make
up
developing mixes.
25
Watt' r c
0] 0
II
paj
11
I'
i n ..g
pure logic.
on page 36.
- Compare t he complemen-
complementaries provided by
increase as a result.
.._
'
Theoretical colours
and commercially
produced colours
you r purposes.
few precautions:
26_
requirements:
Lh..e...JY.nr l d o f colo ur
27
_ _ _ _ _\nV'-<~a.J.tkcLrc'-'<tl_o_u.r__l'_a_Ln Ling
Supplementary colours
commercially
manufactured
"'~
:.
the
yellow
to
create
Complementary
colours
Forming a palette
let's
highlight
t he
mate
complementaries:
Base colours
the
1998
page 13).
black.
28
ofdeepeningashadeissimplyto
evenly
mid-green
balanced
added,
the
complementary
I> An example of a
yellow darkened to
make it cooler:
aureolin and
gamboge yellow made
green by ultramarine
blue.
Rowney.
permanent magenta.
"" An example of
an orange-red
darkened by its
complementary
colour, a phthalo
blue.
Strong shadows
By adding black to a colour you
_.2.9 '---
--
t riangle.
1, 2 and 3.
For
.. Palette with
thirteen
colours
the
complementary
rine in position 6.
position 18.
twe nty
colours
position 5.
in 5 as the
maroon
(23)
with
Blockx
in position 1 is a phthalo, it is
position
30
15.
Mixing
equal
cerulean
blue
position 13.
(phthalo) in
The complementaries: an
alizarin green in position 4, a
phthalo green in position 7, a
position 5.
The darkened primaries: a
usually be enough. As
a last step, a few
in position 19.
traces of yellow
will tip the violet
The
compound
colours:
towards grey.
Remember
that it is easier
to warm a colour
position 24.
colours.
..
;
Tri~hromati~ greys
naturally pulsate with
shades that are beyond
II>
~omparison .
7, 18 and 3.
,: ,,
Trichromatic greys
Producing greys from the three
primary colours can often work
well. The colour tone created
almost always contains a slight
''
... .....
..:
31
-----~r alercolour
Painting
How to define a
colour
include:
decodes them;
- Its intensity, which is depen-
l~
I
~ Primaries and
complementaries
in black and
white-
A=1+3
8=2+3+5
C=2+4+5
2
Permanent
Aureolin
Gamboge
Blockx blue
32_
rose
T h e
,v or 1 d
o f c o 1o
11
A partial drawing in a very low value with the tip of the brush. It
thus avoids any clashes between the harshness of the penci l and
the gentle shades of the watercolour.
33
Wa 1 erc<)IO JJr
Painting
Offset printers commonly measure colour saturation by screen percentage. If cyan is screened at 50 per cent on a 1 centimetre square,
this means that the uniformly spaced dots cover half the surface of
the square.lf it is screened at 10 per cent, the dots will only cover one
the entire corresponding segment of the circle in the proportions triangle. Because there is no yellow or magenta their respective areas
Thisis the realm of the visual. Rather than indicate the trichromatic
composition of the 31 hues in figures, we have decided to
divide the surface of each circle into three equal segments,
which represent the three primary colours: cyan,
magenta and yellow. Each of these segments is divided
aid green or phthalo green, blue is at 80 per cent (which is four fifths
of a third of the circle) and yellow at 40 per cent (which is two
fifths of a third of the circle). By comparing the colour triangle with the proportions triangle you can thus break
down each shade. Or, conversely, train yourself to recre-
----~
3..4_
of your own palette, which will act as a model colour triangle. These
to phthalo and cerulean blue, the yellow to aureolin, lemon and trans-
__3_5c..___
Wa l f rroloHr
Painti n g
Manufactured colours
that equate to those on
the model triangle
Approximations to
base primary blue
Approximations to
base primary yellow
Approximations to
base primary red
Primaries
Position 1
Position 2
Position3
Blockx blue
Ceru lean blue phthalo
(Rembrandt, transparent but
with mild staining properties)
Phtalo blue green (Rembrandt)
Cinereous blue (Sennelier)
Hortensia blue (Line I)
Winsor blue green shade
(Winsor & Newton)
Darkened primaries
Positions 1315
Positions 1618
Positions 1921
Magenta (Biockx)
Purple magenta or brilliant
purple (Schmincke)
Quinacridone purple (Sennelier)
Permanent red-violet
(Rembrandt)
Permanent magenta
(Daler-Rowney)
Position 6
Position 4
Position 5
Position 11
Position 7
Position 9
Complementaries
Compound colours
Position 12
Cobalt blues (all brands, but
they are semi-opaque)
Phthalo blue red (Rembrandt)
Position 8
Position 10
Please be aware that for the majority of brandsthe denomination 'magenta' does not correspond to the magenta used in printing, which will
continue to be our visual point of reference. In comparison the magentas that are available commercially are often too dark and too violet.
36
T h e world of co l o .u_...__
Building on
experience
Conclusion
_. Jean-Louis Morelle,
Landais Road in Shower
~\
vermilion). On the
37
_ _ __
38
39
\Vatercolour Painrin g
et-on-wet technique
..
,,
, . ....
. ' I
We will go straight into~tp~- most complex, but also the most basic, of all
'the technjques of wate:icolbur painting. This technique requires a calm
mirtld, spontaneous I~ovements 'and vigilance at every moment. It unites all
the qu~lities that watercolotir .deniands. This chapter aims to throw new
light on to the phenomena thatcome into play when the water on the paper
meets the watt~{on the brush.
Stretch yo~r paper tightly over a board or frame. Using a thick brush, spread
plenty of '*ater over the whole surface of the paper. Clear any surplus water
and admire the sheen of your wet paper: the adventure is about to begin ...
~:::;;;:; :!5
40
'
)~-2.
Techniques
Choice of brush
41
EJ
A Example of partial colour
blending on a flower petal. The
area that has been wet
beforehand is identifiable by a
blue shade.
.....1
\\ ~Front
'\
\\
Back _~ \\
\~
\\
\ '\.
42
Iec hn j qn es
_43
___
Y\1 a t e r co l o u r Pa i n tin g
,. Drawing on a semi-wet
background. The blending is
less pronounced.
,t_'.
44
<11
45
_ __ _ _vv a_Lcrco l o u r
paj n!jn g
Colour density
Now observe how the load of water and pigment balances itself out in your brush. You
should not, in theory, run into any difficulties when blending large areas of colour.
Before beginning, use your squirrel hair
brush to place a drop of your mixture on to
a piece of dry paper. This should run
smoothly, without catching, releasing a
truly brilliant colour. When your brush-
10 Ewa Karpinska
Chinese Lanterns
The tip of the brush, loaded in a
thick pigment, grazes the matt
surface of the paper.
' '"'"',
.l
~--
... ~
Merging a gouache-like
46
stroke encounters the water-saturated surface of the paper, it will spread out over a
wide area. Your painting results, in effect,
from the meeting of brush with paper, the
state of both being determining factors.
The less moist your paper, the more visible your brushwork will become. If you
wish to paint on a partially wet or matt support, but still want your strokes to be
blurred, prepare a colour using a small
amount of water, in such a way that its consistency is reminiscent of gouache. Do not
10 Ewa Karpinska
Red Flowers in Glass Bottle
47
_. V a.t e LC_o__l_o_u r p a
j n t j n
The wonderful
feathered edges of
the halo.
48
L~~~~~--------
-11
dry halo.
1. A very obvious edge.
2. Wetting the edge completely
and lifting out its pigment
along with the excess water.
3. A subdued edge.
49
\Vaterco lou r
Pajntiug
Ewa Karpiiiska
Cabbages in an Autumn Garden
50
<C
geometric shape.
51
----------~~L'~au
l c~ruCJOLUI~t~g
52
I e c b n i q ll r s
!'.
_1. ,:-.~
""._~-~-~~~~l:
'-r
._ . r
A\
~~
J'
e)J:Al
wet-on-wet technique it
'"'~
"
-_
,t;
_5-3~---
\Vatcrcolour Painting
by reproducing
halos in
54
Te c hn i qu es
"
f,
.1',
WaLCrc.CLLo_ur Paintin g
.~ :"- .. Now that you have lost your fear of using too much water, your
-~
,(,/
Philippe Mothe
56
Some recommendations
TechniqBes
57
\Vatereolonr Paintin g
58
Technique s
59
60
Achieving fluidity
When you begin to paint on dry paper, keep
another piece of paper, identical to that you
are painting on, close to your palette. This
will be your means of testing both your
colour and the balance of the water/pigment
mix, which is contained on the brush.
The first brushstroke should glide across
the paper without catching and its surface
should be shiny When you are familiar with
this technique, you will know how to prepare the correct proportions of water so that
your brushstrokes will not dry before you
have finished working.
To sum up, a single brushstroke should
not dry immediately. You can work on your
stroke by removing and adding pigment or
by blending colours on the paper.
.-
_- .r'}
.-'
11.
...
\.,
...
61
VYatcrcolour
.t.
Painting
-(
_ _ _____,62_______
-------
I.e.c h nl q u e_s
~ Jean-Louis Morelle
Naked Shoulder
63c___ __
\Yalercolour
Pa i ntin g
Tc:. ch n iq u es
~ Cerard Leserre
'.
.,
"
..
""I
i\i
'tt
l
:f
l.f~
'./ v .
Jean-Louis Morelle
November Street
65
A Philippe Mothe
Example of depigmentation.
The bluish shadow applied to
the yellow of the mountain is
lifted out with the tip of the
brush, in such a way tha t it
becomes no more than a gentle
mist. On the other hand, a very
dense pigment has been
applied close to the
rudimentarily depicted lake.
66
Depigmented brushwork
Those who look a little more closely into
the background of certain watercolour
paintings by j. M.W. Turner (1 775-1 851)
are often surprised by the small amount of
pigment that has been applied to the paper.
The significance of these extremely weak
value colours is revealed when the watercolour is observed from a distance. Contrary to all expectations, these subtly
present colours do not at all escape our
notice and really bring the paper to life. We
know little of Turner's techniqu es, other
than that he completely saturated his paper
when commencing a piece of work.
-""-\..
'
.l Jean-Louis Morelle
Portrait of Laura
67
Denser brushstrokes
Edge darkening
If we transfer a surplus of water to a pigmented brushstroke that is still wet, we may
flood it completely. Suspended pigments are
then carried to the edges in accordance with
the theory of halo formation. The result is
edge darkening, which is well known to
watercolour painters. Such accumulations
of pigment can have interesting graphical
effects, and are, moreover, often retained by
artists. If, however, you do not wish to keep
these darkened edges, you can wet them
once again after drying (which stabilizes
the stroke) by applying a few large drops of
water. Afterwards, lift out this water with
the tip of the brush. The darkened edge will
disappear with the water.
68
Ie c b n i q .lli."-'>-
-4 Philippe Mothe
Snow on the Edge of the Marne
]?
f .
~
-
,,
;
, ,_,.. --
---
W a LCJ co [ o u r_RaiJLLi..n_g
70
Tr (' h a i qu e s
paper
deal of depigmentation of
.
"I
-4
1>
paper - Little
71
_____7. . . .2_
L~-~-~---------
A Philippe Mothe
Roll of Kraft on a Box
7...3'----- -
V./atercolou r
Paintjno
((/,,;:X: i ATof..Citt
'
A.
-..
Philippe Mothe
Summit of La Torche
The sketchbook can buy the
painter freedom. It is a useful
74
Where to start
The irreversibility of watercolour brushstrokes will obviously have a great
influence on the way in which you set about
painting a picture. The first actions cause
the second, the third follows on from those
before, and so it goes on. If things go \vrong
whilst produ cing a piece, it will be
impossible to go back, to modify or to
correct your painting. Nevertheless, do not
tear up your work too hastily. Rather begin
your composition on a new sheet of paper
so tha t you can compare it with the first.
You can approach your picture in two
different ways:
-The first involves applying the lightest
shades initially and then organising your
work so that you proceed from the palest
colours to the darkest. Successive washes
are a fundamental element of this approach,
Techniques
75
Gallery
Both skilful amateur painters and professionals of a high
standard feature in this book. Watercolour painting is practised
very widely despite its difficulties and a real void as far as
teaching is concerned. This book is intended not only to be
a tool, but also a testimony to the diversity of watercolour
styles and individual artists.
Gottfried Salzmann,
76
Ga l lery
77
Painljng
Wa!crcolonr
....-.:. :.'.-.
,;..
-...
__ ,.,
ljl
'l, ,_
~ -\-'--.
1> Reliquary
-~
78
Spirit Mortar
- ,
Gall e r y
Ewa Karpiriska,
79
YVatcJcolour Painting
A Gerard Leserre
time to painting.
_ __j8jl__
Ga ller y
Anni'k Berteaux,
Cape Coz
81
YVatercolonr Painting
-~
-:fill'- -- __
...;J: ~ .
A. Pierre Bergonhe
Saint-Martin Canal
_ _ _ __,82_
G..a.lLt:.L-- - --
A.
Philippe Mothe
Road Signs
8_3c___
Red Knot
Born in Khouribga,
Morocco in 1938,
Lelie Abadie chose
watercolour
painting because of
its transparency
and spontaneity.
The in-depth work
that precedes the
production of a
piece and the
different
preparatory
sketches fascinate
her as much as the
speed at which a
painting is created.
Her favourite
subjects are
imaginary scenes,
gardens and,
in particular,
portraits. She lives,
works and
organizes training
courses at
Biscarosse in the
Landes region of
France.
.. JeaaLouls Morelle
Nape of a Woman
84
Ga l lery
85
W atercolour painting is
not an art that is often
pursued by forgers. It is
easy to understand their
reasoning. The very difficulty of managing
water, of imitating the original
instantaneous script produced by the
actions of the artist, means that the work
is unique and difficult to recreate. To
reproduce pictures 'in the style of...' is no
mean feat. Every painter who features in
this chapter has taken pains to precisely
describe the different stages of the
development of a watercolour painting.
Having said that, reproducing their work
faithfully is a challenge that is not easily
met. Do not always try to create a perfect
copy of the suggested model. No pool of
water is like any other, no two pigment
densities are exactly the same, and each
halo maps out its own style. Gaining an
understanding of the suggested steps is
the only thing that matters. Make this the
object of a study, of a number of attempts
to grasp the essence of the picture. If you
fall short at any stage, start again and,
without any feelings of failure, examine
your actions, as the artists in this chapter
have had the patience to examine theirs.
86
87
Materials:
2B pencil
<'
paper
.l.
...
!'
Colo.urs: gamboge
newspapers
attract
our attention becaustt'oftheir .
.
.
yellow, Winsor's
perylene maroon,
\'.'
Blockx magenta,
Blockx blue
~:co ,
..._~.
.-
,- v ery weak values, and the sketches aredrawnon
r;
dry paper. The painting brings a series of very differe-n t ~ctions into play - a true apprenticeship for
.:
'
--
!' '"
88
S r ep b y s r ep
.A. Wet the surface of your paper generously and then apply
your background, using a rather cool shade in a medium
\\Tatercolo!!r Painting
.6. Now add detail to the pages of the newspaper on the ground. The
grey tones of the texts and the photos are applied to a dry surface.
90
5...Le..p b y
s tep
9..:1 _ _ __
l.
W;' .
.
Arches paper
,
., . Brushes: medium and la~ge .-.--- """.
*d .
.!
f ;;-
.~
~~-,..~
_
. ..
Materials:
'
. o
' :
-~..
.
.
_,
....... ...:' ,.
.
.
'.
'~!,;.
"
,"
:.
permanent rq~genta,
Rembrand~(s tr'anspar~pi
red ox ide, Winso~ gree'n,
.
RembraJ1dt's cerulean
~
\ .l:>~tie phthalo .
. drawing~.
4'
'
-.
"
'
'
S1ep b y s r ep
..
.,
93
---------"'~ Iercolonr
Painling
_ _ __
9,A .__
S t ep b y s t ep
Boats on a Pond
Materials: :
Arches paper
HB pencil
Brushes: medium and large
permanent magenta,
Rembrandt's transparent
magenta
....u~
R.l.,.,.....
.
lt
' ,,
"' ~
"t
{.
is'-t(sing
:"\~ ~~:::~-
.::
'
~.
.~:.. ~:.~:.~
..
,~.
96
&
S l ep b y S I C
.,_ With a shade of terre-verte made from red oxide, cerulean blue
phthalo and a touch of magenta, paint the background vegetation and
the upper part of the pond using large strokes. Do not show the boundary between the trees and the water. Vary brush size to accommodate
the different levels of intensity, reserving some of the pink background.
Keep the colour tones close to the boats very soft.
"
97
.$_t_e. p
b y st e p
_ 99.__ _ _
Painting
Peaceful Street
. Materials;
. ~~-s:.~:. ~-:>~-<
'
, '.
..
....
Rembrandt's transparent
red oxide, Winsor's
permanent rose, Blockx
:vista.
.,
,i
I.
100
S t ep by s t e p
_1_0c..o.
1 _ _ __
Waterco l our
Painting
T If need be, dry the surface with a hair dryer. Apply a very liquid
mixture of blue and red oxide to the roof of the house. With the help
of a second brush that is full of water, sweep across the surface above
the roof until you come into contact wi th the blue and red oxide mixture whilst it is still wet. This blend of colours should be extensive
and the pigment will bleed upwards. Draw in the softer lights above
the house, producing two halos on the surface whilst it is still damp .
Hint at the buildings in the background and the left pavement. Paint
in the cars. Keep a firm eye on the elements that are meant to remain
distinct and those that are meant to be blurred.
102
St.e p by s e p
Wa
c r co I o u r
P a i..u..Li.n..g
Butterfly Nude
Materials:
Fabriano paper
HB pencil
Brushes: small, medium and
.,
. I.": ' .
gamboge yellow,
Rembrandt's transparent
red oxide
'
'
104
S t e p b y st c
.. .
.. . . . ,..
....'
.~
.,.
~-~
~~.:~]:._...:.
...
'
.
. -.,
' !'. :
...
/'
,.... ... _
_
..\,
a 1e r c o
lo
11
I? a i n l i_n_g
_ _.....J1u..06...._:
S 1ep b y s 1ep
107
Watercolonr
Painting
. Young Girl
Sleeping
\.)~'
.
~
'
. \\', ~ \7
' .,_ . -,
'
light~ned
. _,,......
~ -
_ _ _ _10_
_._, 8_
S 1ep b y sle p
~ Using an HB
..,
.. .
... For the hair, which is painted on to a matt surface using a brush
containing very little water, mix perylene maroon into some magenta.
Add sufficient sap green so that the shade can develop, from broken
green to purple, after this adding some Blockx blue for the deepest
shades. Lighten certain strands by causing halos to form. Absorb
the vvater and then repeat the operation several times, shaping the
halos. Allow to dry.
__1_Q9_
\Val e rcolour
Paint i n g
<I The abundant water causes edge darkening around the small patches of white.
Dampen the edges with large drops of water.
Wait for a few seconds and then, after rub-
SJ......phys 1e p
\Vat e r co 1 n
u r
P_a..llui_n_g
Rosehips
Materials:
Fabriano paper
Brushes: small and large
squirre l hair
of the
S t ep b y ste p
... Paint the leaves in quite dense shades (orange and green),
allowing the colours to blend into the wet brushstrokes. Draw
the veins whilst the surface is still partially wet using
concentrated gamboge yellow. Remove pigment from the veins
of the lowest leaf with the slightly moistened tip of the brush.
If there is excess water, lift it out immediately, having pinched
the tip of the brush beforehand.
114
5_u:p by s1ep
115
Watercolour Pajnl'ing
The Lost
Rosebush
.,.
Materials:
Fabriano pap~r
Brushes: squirrel hair
brushes of different sizes
Colours: sap gr.een, Naples
yellow, Winsor green,
phthalo blue, gamboge
yellow, quinacridone 'rose,
perylene maroon
.. aJ.?.,pl,i ed alin,o st
"'. ' It" displays the light filtering through the foliage
. water.
and,~catching on the 'Yire of the fence and the delic~te
.petals of the lost rosebush.
~-,
....
SLe p by
S I P
11 7
\Vaserco]o,,r Painlin g
118
~~~
sutc~pL-_____
119
W a tercolour
Painting
Red currants
~he
a.more ies;tricted,area
120
Step b y step
121
_ _ __ _w
""-"a--'-'
t c...LC...o_Lo_u
E-a Ln Li rlg
_ _ _ _122
S tep b y s tep
- 123._ _ _ _
"\Varcrca lou r
PaLnli.ng
Poppies
Materials:
Fabriano paper
Brushes: large and small
squirrel hair brushes
'
124
I'
5 Ie p by
S..lc.q < -- - --
125
\V a t e r c o I o u r P ., j n
l j
n..g
_ __..
12_,6_
S u p b y s 1ep
..;~
......... . .
...
_~
l
~
127