What IS it? Examples and techniques of working in watercolors, Page 2

Subheading - Watercolors

ANOTHER COMMENTARY ON WATERCOLORS
Watercolor is perhaps one of the oldest art forms. Since ancient times pigments have been mixed with water to color just about anything imaginable. For a long time watercolor was relegated to a secondary place in the world of art. Even though Albrecht Durer and other artists of the Renaissance did astonishing watercolors, it was not until the English movement in the late 1700's and early 1800's that the art world took some notice of watercolors as a primary medium, not secondary to oil paint. Artists such as John Constable and John Cotman help establish watercolor as a force in art. Many American artists also became known for their prowess in watercolors: Thomas Eakins, Winslow Homer, John Singer Sargent, and in more modern times, Edward Hopper.

Watercolor probably has more variations in technique than any other medium. Some artists paint with a hard-edged method, where a large area (or wash) is laid down and pools, then let dry. Smaller areas are laid down in the same manner on the top of the larger area, creating a sparkling layer of broken lines and colors. Others use wet techniques, working on moistened paper or laying a wash on dry paper and then moistening it for a soft edge. Most, but not all, artists use combinations of both along with many other things. Watercolors can be used with a dry brush, where almost all the water is squeezed from the brush and the paint is put down very dry. Watercolor can be used in combination with pencil, pen and ink, block printing, crayons and on, or with, nearly any other medium, or on nearly any base. Most artists use watercolor paper and many use Arches (established in 1492). It is a very tough paper that can be sanded, scraped with knives, wrinkled and ironed out, washed out, and painted over for effect. Many artists use a combination of flat brushes, fan brushes, rounds and liners (especially good for tree branches, being long and flexible). There are three types of paper in general: Rough, Cold press, and Hot press, varying in roughness in that order. Palettes vary and some artists use and/or mix nearly primary colors, while others use many premixed colors. Many quality lines of paint are available in both tubes and pans. Paints of the more established lines do not fade as much as the cheaper paints, especially the reds and violets.

Many artists who paint realistic or semi-realistic scenes work from combinations of photos, sketches, and open-air painting (less popular since it is hard to do in Wisconsin winters). Usually they lay down a sketch, then paint the areas they would like to leave lighter with liquid frisket or mastic. These areas can then be finished later. Washes are laid down and then, depending on their style, they develop the detail. Some artists use squiggly brush lines, some use a lot of darks for contrast, while others use a stipple effect. In other words, you can do about anything to get the effect you or your style demands. Watercolor is also a very intuitive medium. One never knows where the water will go or exactly what it will look like when dry. It is fun, but the fun is in the unpredictable nature of the medium and the harnessing of that very unpredictability, to create effects possible with no other medium.
Barri Olson

Here are some more artists, their techniques, and the materials they use. Contact with each artist can be made through this website or by visiting their websites, as noted.

Farm in Winter Wind
Barri Olson, Madison

Barn at the End of Charlie Grimm Road
Barri Olson, Madison

Road Side #7
Barri Olson, Madison

Barri Olson

iiiiiiiiiiiiiii"The first and sometimes hardest part, for me, is to select a subject matter. Usually I take alot of photos and do alot of sketches of various scenes that seem interesting, to obtain an idea for a painting.

When I find something that seems to have the right mood, interest, and atmosphere, I do a rough pencil drawing on Arches watercolor paper ( having experimented with several brands, Arches still seems the toughest for my paper-abusive style ) and when needed, masking what will be the lighter areas with liquid mastic. Then the fun part comes, no one ever knows where watercolor will go on the paper, if it will pool, streak or whatever, when laying down preliminary washes.

Sometimes one has to tip the paper up to induce runs of color, sometimes tip the other way and reduce (especially when doing skies). I usually put on several washes of paint to obtain a color that is needed, with a very large flat brush ( 2 inches). Flat brushes of various sizes are amazingly versatile, I use them alot now.

After having obtained a basic painting, I then go into detail with other types of brushes such as smaller flats, fans, rounds, and liners. Liners are especially good for tree branches and fan brushes for grass. Somewhere along the way I rub the mastic off where needed.

iiiii

If certain areas need texture, sandpaper, knives, erasers, water, can be used. In many styles watercolor is a very intuitive medium, although you can plan the basics it still is somewhat unpredictable, you have to go with the flow. In my style I use both transparent lights and very opaque darks, to create as much contrast as possible. One has to be careful by creating variation within the dark areas, otherwise they look flat and unnatural...as one of my instructors once said "think in black and white and paint in color". So there are my views on technique, and they are by no means rigid. Watercolor is only fun if a person tries to explore, like any form of art or creation."

Twilight Branches
Connie Glowacki, Janesville

Walk with Me
Connie Glowacki, Janesville

Last Rose of Summer
Connie Glowacki, Janesville

Connie Glowacki

iiiiiiiiiiiiiii"Working from my own slides, I compose images often combining, eliminating, changing subjects. I do not trace because as I draw, the images pass through my mind and out of the pencil or paintbrush in my own style. After working for a while, the painting leads me to its completion.
I use many techniques in painting, Hard edges are created by painting with a medium dry brush on dry paper. Other times you want the edges to flow together so you paint wet in wet. There are all different variations from these 2 basics and you are justified in moving the paint around any way you want to get the desired effect. In watercolor you will hear the term "happy accidents" and, if you are smart, you leave them alone because they are better than what you planned. But you have to give up control and, of course, that is a difficult thing for many of us to do.

I use Winsor-Newton, Daniel Smith, and Holbein pigments of the most light-fast kind. I paint on D'arches 300 lb. press rough paper most of the time because it lends itself to a scrumbling technique. I like sable brushes of all sizes because they hold the most paint, are flexible, and are most reliable. Winsor Newton, Daniel Smith and Holbein transparent pigments are my favorites. Many lifting, scraping, glazing techniques give me nearly photographic realism in my work."

Click HERE to see more of
Connie's work on her website.

Sherwood Point Lighthouse
Kathy Glasnap, Fish Creek

Evening on the Farm
Kathy Glasnap, Fish Creek

Clinton Mill
Kathy Glasnap, Fish Creek

Kathy Glasnap

iiiiiiiiiiiiiii"I have been painting watercolors for over 30 years. Where did the time go? When I started out, I did primarily transparent watercolors. I gradually added white opaque to the mix on some paintings. I do realistic buildings and impressionistic landscapes, basically.

When I began painting, I did more somber paintings with not much color. But my palette has grown over the years. I still like to do minimal color watercolors, sometimes, but I am still trying to learn to use more color. I have a long way to go.

When I paint buildings, I block out the building with frisket and paint the sky and background. Then I remove the frisket, paint the building, and then the foreground. I usually paint on Crescent watercolor board and use primarily Winsor Newton Watercolors. I do like a few colors from other brands of paint.

With landscapes, I usually don't draw very much, except an occasional tree. Landscapes are a much looser type of painting, and this is when I usually use white opaque. I like the way it reacts with the watercolors, becoming soft and misty, which is great for my winter scenes. Since I moved to Door County and opened a gallery, I find that I take more from the surrounding Door County scenery to paint.
Click HERE to see more of
Kathy's work on her website.

Picatso Parrot
Don Nedobeck, Milwaukee

Fourbears
Don Nedobeck, Milwaukee

The Architect
Don Nedobeck, Milwaukee

Beatitude Etude
Don Nedobeck, Milwaukee

Don Nedobeck

iiiiiiiiiiiiiii"Watercolor: love its 'full of surprises.' Flip some alcohol while it is still wet and see what happens (to the painting not down your throat). Will it crystalize if you run it outside in Milwaukee at 20 below? Maybe. Let's try it and see what happens. Dab a crushed Kleenex on a heavily saturated blotch of color and look what a full-of-wonder design appears. What can we do with it? An accidental puddle of color, now what? Flip the paper, watch it run. Oh, look! It's forming a flower, and look how natural the stem looks. Couldn't have made it happen any better... WATERCOLOR! If you're a control freak, it's not your medium, and it's a happy medium at that. However, if you love surprise or like to transform a "mistake" into an intriguing segment, if you enjoy letting one thing lead to another, then watercolor is for you. Along with classes, instructional videos, and "how-to" watercolor books, I've developed a watercolor attitude, by listening to my watercolor guardian angel. Splash, spray, scratch, then slant the paper and wait to see what will happen. Sometimes, it will take a minute, or a day and sometimes, months before my angel tells me that what appeared to be a few abstract forms are now, by adding ears, a smile, and a few connection lines, three bears waiting for Goldie to deliver the bagels and lox. What a pleasant surprise. Now practically speaking, I use the best materials. It does make a difference, especially with art supplies. You really get what you pay for. In the distant past my frugality kept me from improving. A greater range of flexibility and a wider range of hues are possible with the best quality paint, paper, and brushes. Along with materials, technique, and know-how, I love the surprise of the watercolor medium. I do rely heavily on my watercolor angel to help me though. I paint whether I feel like it or not, then let the water and the color and my angel do the work."
Click HERE to see more of
Don's work on his website.

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