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    Watercolor Techniques: Painting Light and Color in Landscapes and Cityscapes
    Watercolor Techniques: Painting Light and Color in Landscapes and Cityscapes
    Watercolor Techniques: Painting Light and Color in Landscapes and Cityscapes
    Ebook435 pages1 hour

    Watercolor Techniques: Painting Light and Color in Landscapes and Cityscapes

    By Michael Reardon

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    About this ebook

    "No other medium is as magical and enjoyable as watercolor."

    So says artist and author Michael Reardon. In Watercolor Techniques: Painting Light and Color in Landscapes and Cityscapes, Reardon covers it all, from answers to beginners' most vexing problems (What is the proper ratio of pigment and water? How do I lay down an even wash? Why do my paintings look so washed out?) to understanding the trifecta of perspective, value, and color. He shows how to paint whites that sparkle and shadows that glow and how to conjure the atmosphere of a particular place and time. Painters of all skill levels will see--and feel--the difference in their work.

       • Packed with expert advice for infusing scenes with light and color
       • Includes special tips and techniques for painting architectural subjects
       • Illustrated with inspiring paintings of scenes from around the world
       • 8 start-to-finish demonstrations show key concepts in action
    "Light, as it glances off a facade, glimmers off the water or gleams off polished marble, is always inspiring. Color, with its infinite array of hues, is always irresistible. Searching for ways to make them harmonize and tell a story can last a lifetime."
    LanguageEnglish
    PublisherPenguin Publishing Group
    Release dateFeb 29, 2016
    ISBN9781440340864
    Watercolor Techniques: Painting Light and Color in Landscapes and Cityscapes

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      Book preview

      Watercolor Techniques - Michael Reardon

      Setting Up: Getting to Know Your Materials

      Because of my own disastrous first experience with watercolor, I feel it is important to use good quality materials. Since they can be costly, there is a temptation to scrimp and purchase inexpensive tools. This is what I did when I started, and take it from me: Good materials are worth every penny.

      In this chapter we will review types of paint, palettes, brushes and paper, and the best ways to set up your painting area, both indoors and out.

      RONDA

      Detail

      Paints and Palettes

      Going to the watercolor section of an art store is like going into a candy store. All of those colors look so delectable. Given the cost of good quality paint, which ones should you buy?

      Owning a large number of colors isn’t necessary. With just the three primaries—red, yellow and blue—a vast array of colors can be mixed. In fact, a limited palette often leads to harmonious color compositions.

      Professional quality paint is preferable to student grade. The main difference between the two is that student grade has more filler and less pigment per tube. A tube of professional grade will last much longer since it has more pigment in the tube.

      My palette comprises pure pigment colors, meaning I don’t use any pre-mixed colors. All the paints I use are single pigment colors. Many colors you’ll find at the store are mixtures of two or more pigments. Most manufacturers list the pigments on the tube, so you can tell if a specific color is pre-mixed.

      The chief advantage to using pure pigments is the ability to personally create vibrant color mixes. Beware of mixing too many colors. There is a rule of thumb says mixing more than three pigments can lead to flat, muddy colors. When using pre-mixed colors, each tube already has two pigments. Add one more and you are up to three. Using pure pigments allows you the freedom to develop your own mixtures and helps you maintain a fresh and lively painting.

      Here is my palette with fifteen colors arranged as I use them.

      Note how the cool colors, the blues and greens, are separated from the warm colors, the yellows, reds and oranges. Observe also how the hues are clustered, the blues, greens, reds, oranges and yellows are side by side.

      The empty wells are for specialty or experimental colors. Some of my favorites are Phthalo Blue, New Gamboge, Cobalt Violet and Neutral Tint.

      A= Full Strength; B= Diluted

      Cobalt Blue

      Cerulean Blue

      Ultramarine Blue

      Cobalt Turquoise

      Viridian

      Phthalo Green-Yellow Shade

      Cadmium Orange

      Quinacridone Gold

      Cadmium Yellow Light

      Quinacridone Burnt Scarlet

      Quinacridone Burnt Orange

      Burnt Sienna

      Quinacridone Rose

      Carmine

      Cadmium Red

      This color chart shows my go-to colors. I use these fifteen colors ninety percent of the time. I have thoroughly learned the qualities of these colors, so I can paint intuitively, without wasting time choosing colors. This is one of the main reasons that I encourage you to limit your palette. Through practice and experience you will gain a thorough knowledge of the idiosyncrasies of your pigments. The fewer the pigments, the easier it is to know them well.

      This chart also demonstrates how the values of pigments change with the amount of water used. For each color, the top rectangle shows the pigment at full strength, with little water added. The bottom rectangle depicts the same pigment diluted with a lot of water. When I was learning watercolor I made a chart like this and kept it on my bulletin board for years. I referred to it frequently until I fully understood my pigments at full strength, diluted, and every value in between.

      Over time you will develop your own palette of go-to colors, those that work best for you. In Chapter 2, we discuss pigments in more detail.

      Brushes and Paper

      BRUSHES

      You don’t have to own a lot of brushes. A couple—one large and one small—will usually suffice as long as they have a sharp point or edge.

      Watercolor brushes generally come in three categories: natural sable or squirrel hair, synthetic, and blends of natural hair and synthetic. Sables and squirrel mops hold more pigment and water than synthetic brushes. However, synthetic brushes are constantly improving and many brands now approach the quality of sable. They are also less expensive.

      Brushes are configured in different shapes: rounds, flats, riggers and so on. I have always used rounds because they suit my painting style. There is no right type, just the best one for your style and comfort.

      PAPER

      Watercolor paper is available in three surfaces: hot press, cold press and rough. Hot press has a plate surface while cold press and rough have more tooth, which makes it easier to create smooth washes. Paper also comes in different thicknesses: 90-lb., 140-lb. and 300-lb. are most commonly used.

      Buying large sheets is the most economical way to buy paper. A typical sheet is 22 × 30 (56cm × 76cm). You can cut a sheet into half sheets, quarter sheets, eighth sheets or any size you choose. For travel, watercolor blocks can be handy. Blocks usually contain 20–25 pre-stretched sheets of paper.

      I almost always use Arches 140-lb. cold-press paper. It can stand up to heavy washes and is very durable. Different brands have slightly different surfaces. It is worth experimenting with different papers to see what most appeals to you. Eventually you will find a paper that best suits your style.

      The choice of brushes and paper is very personal. Using the best brushes and paper you can afford will make your painting experience more enjoyable.

      You inevitably collect a number of brushes over time.

      This painting shows some of the brushes in my collection.

      I typically use no more than two or three brushes in a painting. I use a large brush, no. 14 or higher, to do my underpainting. For the rest of the painting I typically use a no. 10 or 12 round. I may use a smaller brush for details, but if the point is good on the larger brush, I can usually get the detail I want.

      Many artists think the brush is the most important tool, and that is often true. Combined with a good quality paper and pigments, good brushes will make your painting experience much more pleasant.

      A Few More Tools

      EASEL

      Unlike oil painting, an easel isn’t essential for watercolor. In the studio you can tape or staple paper to a board and prop it up on your table. When painting outdoors, you can use watercolor blocks or paper taped to a light board. I do use an easel most of the time, but when traveling I limit my weight by using blocks or taping loose sheets to a lightweight board.

      SKETCHBOOK AND PENCIL

      I recommend a soft pencil, like a 2B, and a sketch-book with paper that has a lot of tooth. A clutch pencil eliminates the need for sharpening.

      TAPE, STAPLES AND BOARD

      For a half sheet of watercolor paper or smaller, you can use a good quality masking tape to affix your dry paper to a board. This board should be solid cardboard, foam core or light wood. For larger sizes, I find it best to stretch the paper and staple it to a board. To stretch paper, run it under your bathtub tap for a minute or so, lay it on the board, wait five minutes, and staple the paper every 4– 6 (10–15cm). You must then let the paper dry completely, usually overnight. Stretched paper will stay flat throughout the painting process.

      SPONGES AND ERASERS

      Use either of these very sparingly because they can damage the paper.

      Contrary to popular belief, you can change watercolors

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