Painting Landscapes in Watercolor

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7 Easy-to-Follow Exerci
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200 Full-Color lllustratio.
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Step-by-step practical methods

for developing elementary skills in art
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PH BR
ND2240
.P3S13
1996
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English translation © Copyright 1996 Library of Congress Catalog Card No. 95-37534
by Barron's Educational Series, Inc.
Original title of the book in Spanish is Paisajes a la Acuarela International Standard Book No. 0-8120-9399-2
© Copyright 1995 by Parramon Ediciones, S.A..
Barcelona, Spain. Library of Congress Cataloging-in-Publication Data

Paisajes a la acuarela. English.
Author: Parramon Ediciones Editorial Team Painting landscapes in watercolors / [author, Parramon
Illustrator: Vicenc Ballestar Ediciones Editorial Team ; illustrator. Vicenc Ballestar].
p. cm. — (Easy painting and drawing)

All rights reserved. ISBN 0-8120-9399-2
No part of this book may be reproduced in any form. 1. Watercolor painting —Technique. 2. Landscape
by photostat, microfilm, xerography, or any other means, painting —Technique. I. Ballestar, Vicenc. II. Parramon
or incorporated into any information retrieval system, Ediciones Editorial Team. III. Title. IV. Series.
electronic or mechanical, without the written permission ND2240.P3513 1996

of the copyright owner. -S1.42'2-i36—dc20 95-37534
CIP
All inquiries should he addressed to:
Barron's Educational Scries. Inc.

2S0 Wireless Boulevard Printed in Spain
a York 1 1788 6789 ,., 9960 .
987654321
EASY
/Painting $f <& rawing
Painting
Landscapes
BARRON'S
PARKER HJLL k
PH BR
ND2240
.P3513
1996
CONTENTS
Introduction 5
Watercolor Materials 6
Watercolor Techniques 10
Exercises
Painting a Mountain Landscape 16

Painting a Cloudy Landscape 22
Painting Trees and a River 30
Painting a Track through a Snow-covered
Forest 36
Painting a Composition Centered on
a Tree 44
Painting Snow-covered Peaks at Dusk 50
Painting a Landscape from an Elevated
Point of View 58
Acknowledgments 64
Zandscapes have always been an appealing aha
rewarding theme for the sensitive artist. A land-
scape is always unique: The light that illuminates it
changes; it may contain clouds; sunlight may bathe it pro-
fusely; its outlines may be shrouded in mist orfog, or masked

by rain, or covered by a blanket of snow. The colors and ele-
ments also vary: In winter, the trees are bare, and gray tones going to paint in watercolors is yet
predominate; in spring, the colors are green, and in summer, another reason to take notes. Watercolor
the tones are warmer. The fall brings a great variety of col- is an appealing, exciting technique because
ors and tones (reds, browns, oranges, yellows). Even during of its freshness, looseness, and spontaneity.
a single day, the light changes constantly, from dawn to However, before embarking on any picture,
dusk. It is practically impossible to find any other subject you should have it well planned. A sketch or
matter that undergoes as many changes in appearance as a color note is the one essential aid that
landscape. We have mentioned only a few transformations, enables you to see what your painting
but if you are observant enough, you will find a whole host will be like before you start.
of tonalities and different hues related to the planes and The exercises contained in this book
atmosphere in which the elements are situated. ivill provide you with ample practice in
Since you will not always carry your brushes and easel this genre. However, do notforget that the
when you are out for a stroll in the country, make sure you most important factors for achieving a
always have a sketch pad and a soft pencil handy to draw good painting are your imagination
notes and record details that may be useful when painting. and creativity — that is, your personality.
Sketching the theme will enable you to find the appropriate We wish you the best of luck in your
composition, searching out varying points of view. Drawing endeavor and hope you will find it
notes of a single landscape on different days will enable you gratifying.
to notice a landscape's numerous aspects. This is a good exer- Jordi Vigue
cise in interpretation and synthesis that will teach you to
obsene a landscape in many ways. The fact that you are 1

PAINTING LANDSCAPES IN WATERCOLORS
WATERCOLOR
MATERIALS
ater is an indispensable element of watercolor painting. More-
over, water determines the type ofpaper and brushes used, as well
V
r V
r as the characteristic method of painting with them. A medium-
textured sheet ofpaper, a soft brush, a few colors, and water are all you require to
get going. Specially manufactured watercolor paper is available in stores. The brushes
come in a wide range of types and sizes. The same goes for the colors. It is a question of knowing
what you want. Let us now look at the characteristics of these materials.
Paper
There are several different thicknesses and textures of watercolor paper. They tend to be distinguished by weight
(measured in pounds). Medium-textured, or cold-pressed, paper is the most common type used, especially
in a painting under 20 inches in length. The quality and brand of the paper can be identified by the
watermark, which can be seen by holding the sheet up to light. Watercolor paper is sold in indi-
vidual sheets, in blocks attached to a backing, or in pads. Since pads are sturdy, there is no
need to paint with a drawing board; the sheets in a watercolor block are "bound" with
plastic glue on all four sides, and you must remove each sheet with a knife when you
have finished painting.
Brushes
Your local art store should stock a wide variety of sizes and shapes of brushes.
The best quality brushes are made of sable. They are soft and hold plenty
of water. Furthermore, they maintain their pointed tips much longer than
other brushes do and are therefore the most expensive. Cheaper quality
brushes are made of ox hair and mongoose hair. Synthetic fiber is an
economic option that provides good results in flat brushes.
CADMIUM CADMIUM YELLOW BURNT VAN DYCK CADMIUM RED CARMINE

YELLOW PALE ORANGE OCHRE SIENNA BROWN LIGHT
WATERCOLOR MATERIALS
Colors and accessories

At the bottom of these pages you can see a selection of recommended colors. There
is an almost infinite number of colors available, but no watercolor artist
uses them all. Dry colors come in pans that can be purchased individu-
ally or in palette-box sets. Watercolors are also available in tubes that must
be placed on a plastic or metal palette. You will also need large water con-
tainers with wide mouths; adhesive tape, for
attaching the paper to a drawing board; soft lead
pencils; charcoal; a rubber eraser; a knife; and a
natural sponge for dampening large areas. In
addition, it is also advisable to have a
roll of absorbent paper handy for dab-
bing or removing excess water.
YELLOWISH OLIVE SAP COBALT ULTRAAAARINE CERULEAN INDIGO

GREEN GREEN GREEN BLUE BLUE BLUE
8
Stretching the paper margin of 3 or 4 inches around the edges (B); next, fold
You can stretch a sheet of paper with adhesive tape. This each side over the frame of the stretcher (C); and finally,
will prevent the paper from forming ripples or puckers fold the corners over as if you were wrapping up the
when it is dampened by the watercolors. You can also use stretcher and attach them with drawing pins (D). Once it is
a stretcher, treating the paper as if it were a canvas. The dry, the paper should be perfectly stretched without any rip-
accompanying photographs show the process. First,

ples or puckers (E). Place some wrapping paper over the
dampen the paper with a sponge and abundant water (A);

back of the stretched paper to protect it, and stick it in place
then, place the stretcher over the paper, leaving a sufficient with adhesive tape (F).
A B
Accessories for painting outdoors

STRETCHING
Since a finequalily watercolor
Landscapes must be painted from nature. To work outdoors, you will need a few extra acces-
paper 300-pound weight is
in sories. First, it is essential to have a portable easel. The metallic ones are very light and sturdy
extremely heavy, does not it
need to be stretched and can and are easy to carry and to set up. The easel par excellence, however, is the French-style
be worked on without previous easel, with a tray for the palette and a compartment for the brushes and colors. Other impor-
preparation. However, this
type of paper may warp when tant accessories include a folder for carrying the paper (with drawing pins for attaching them ).
you are working with abun- a wooden drawing board, a sketch pad, a bottle of water, a folding stool, and a hat during
dant water. For this reason
some artists stretch their paper
the summer when the sun is high.
so that it reverts to its original

smoothness once it dries. It
must be noted, though, that the

paper's original shape is
recovered when it is framed,

no matter how many times it
has been painted over.

WATERCOLOR MATERIALS
COLOR LOSES ITS

INTENSITY
It is important to remember
that watercolors lose between
1 and 20 percent of their
intensity once they have
dried. This loss is especially
evident when the picture is
painted outdoors, in the sun.

is essential to anticipate this
and intensify the tones you
want be strongest, recogniz-
ing that they will fade slightly
after they have dried.
10
PAINTING LANDSCAPES IN WATERC0L0RS
WATERCOLOR
TECHNIQUES
"W""W"T"Tr" atercolor has its own special techniques that
\ \/ painters must employ if they are to paint suc-
V v cessful pictures. This is to say that it is essential to
exploit the possibilities of the use of water in the treatment of

color, the way the brush is employed to create forms, and the
techniques available to create the different effects that can be

achieved only with this medium. Let us examine them.
Opening up whites
You can lift out, or "open up," an area over a
previously painted area that has dried. This is
done by rubbing the surface with a clean
brush soaked in water and so dissolving the
dry color. Then use a dry brush to absorb the water,
thus opening up the white. This technique is very useful for
making corrections or for lightening color, to paint a cloud, for instance.
In the adjacent photographs you can see the process: by dampening an area and
then absorbing the moisture, you can open up a white area in a desired shape (thanks
11
WATERCOLOR TECHNIQUES
way in which the paper is rubbed with the brush). Details

can be added to this type of cloud with different hues of
the color used to give it volume and bring out the shape.
Lightening and darkening

Using the previously explained technique, we can also cre-
ate a series of light and dark gradations that can be used to
depict mountains and clouds on the horizon of the land-

scape. In this situation we gradually lift out color in strips
going from dark to light. We will start on the darker areas,
using little water, and continue with the lighter ones, gradu-
ally adding more water and also absorbing it to remove the

background color.
Gradual darkening is obtained by applying successive thin
layers over each other in increasingly greater concentrations,
always allowing one layer to dry before painting the next.
The result of these two actions is the intensification of the
planes or zones of color by working with one single tone.
THE USE OF
ABSORBENT PAPER
Absorbent paper is very useful
for lifting or lightening color.
As we mentioned before, to
open up a white area, you
first have to dampen the sur-
face of the dry color and then

absorb the water containing
the dissolved paint witha dry
brush. You can do the same
with absorbent paper; in fact,
the operation is more effec-
tive, since you can completely
dry the sheet and repeat the
process if necessary.
12
Composing a landscape
To compose is to arrange the subject matter you have before
you on the paper. We cannot take in the entire landscape,
only a part of it, and even then we have to organize it in the
most attractive way. This organization is almost always pre-
sent in nature itself —the painter has only to perceive it and

know how to represent it by emphasizing the significant
aspects and leaving out what confuses. These images are
just a few examples of what composition is all about. Next
to each one of these watercolors we have reproduced pre-

liminary sketches in which you can make out the essential
lines and masses. Before you paint the theme you have cho-
sen, you should draw a couple of these sketches to deter-
mine the landscape's structure.

13
WATERCOLOR TECHNIQUES
Notes
Drawing notes is a beneficial activity for all artists. For the
watercolor artist, the note is a way of capturing a fresh and
spontaneous representation of a theme from nature that can

be painted later in the studio. The painter cannot venture
out into the countryside loaded down with materials.We are
apt to discover an interesting landscape when we have
nothing to draw with. It is not essential to carry too many
things around with you — paper and a pencil are enough.
When we say paper, we actually mean a small sketch pad
that you can carry in your pocket. The pencil should be soft
to facilitate rapid drawing and shading.

The notes we accumulate on our strolls through the coun-
tryside are useful for suggesting a composition or point of

view; they can be combined for a painting in the studio, and
some of them may even have artistic value in themselves. It
is useful to carry a drawing pad around with you, even

when you are about to
embark on a painting, since

COLOR
NOTES it allows you to try out new
Certain watercolor manufactur- viewpoints or details while
ers sell miniature, pocket-size
sets of watercolors and a small
you are working.
brush, specially designed for
painting notes in color. They
enable us to combine our pen-

cil drawings with some color
indications. You can attach a
small plastic container to your
paint set for carrying water.
I
—
14
Color mixtures I
These are the basic color mixtures that were used to paint this page correspond with the vegetation and earth of the paini
landscape. As you can see. the blues are not the only color ing. The lesson to be learned here is to always search out the
sienna, orange, carmine, and greens all contribute to creating variety and wealth of color by mixing. Two shades of green
a range of interesting grays. The mixtures at the bottom of this are better than one.
* %-
*<ff
T* r
MAKING A
CARDBOARD FRAME
To make your own cardboard
frame, cut out two right-angle
strips of black card, about
1 /4" wide, each strip mea-
suring about 8" in length. Use
sturdy cardboard, to prevent it
from twisting. If you want to
use it to frame a composition,

simply stick the two pieces
together with adhesive tape.
The fit
To "fit," or frame, the subject is one way of

composing the motif. This gives you an idea of
what it will look like on paper. There are an infi-
nite number of different shapes, but some are more

attractive than others. The fit is always dictated by
the size and format of the paper. It is useful to make

a cardboard frame through which you can study the
framing of the subject before painting it. In this case,
make it the same size as your paper. This will give you
a general idea of what the watercolor will look like.
|
16
Painting a
mountain landscape
Our '
and
first exercise consists
fresh colors of this

of capturing the clear
marvelous mountain
scene. It is obvious that the photograph was taken
on a spring day: Everything is clean, clear, and very cold. We

will therefore have to use clearly separated clean colors,
adjusting to the limits imposed by the lines of the drawing. The
brightness of the snow on the mountains will provide us with
the opportunity to practice a common watercolor technique:

reserving the white of the paper. This is a relatively simple
method that, as you are about to see, produces very convinc-

ing results. Without further ado, let's get down to work.
MATERIALS IOur composition is iden-
• Cold-pressed 16" x 20" tical to the photograph,

watercolor paper so we have sketched in the
• Stick of charcoal .„
scene in the same propor-
• Sable or ox-hair brushes
numbers 4, 10, and 14 tions. This charcoal drawing
n
• Synthetic 3
fiber /4 -l '/V contains only the basic
brush
2"-2 3/V lines, the essential ones that
• Large synthetic
brush we will use as a guide.
• Selection of the tubes of
watercolors on the preceding
pages
• Palette box with wells for
....
holding the paints ,
L
Using an ultramarine
2 blue wash, we paint the
sky and outline it along the
ridge of the mountain

range. It should be pure
ultramarine, with no other
color added, and without

sudden light or dark grada-
tions. The sky should pos-

sess the clear bright uniform
color that is so characteristic
of this type of landscape.

17
PAINTING A MOUNTAIN LANDSCAPE
The hills in the middle ground The houses of the village were Despite then apparently i
The sky consists ol lightly
were painted with a mixture of painted with flat colors of dif- plex appearance, the mountains diluted ultramarine blue applied
sap green and a touch of burnt ferent light and dark tones, were painted very freelj run in a wash that lightens as it
sienna, a dark and very .satu- working within the same range ning the tip of the brush ovei approaches the horizon until ii
rated mix, which was applied of browns, but leaving some the lightly dampened paper, blends with the white ol the
With loose brushstrokes. areas of clean white paper. snow.
These shrubs are mixtures of The yellow flowers transform

ochre, sienna, and carmine. the top of the hillinto a mass of
The brushstrokes and the color yellow, which was painted with
mixtures are visible, as is the a large wide brush.
In the lower
darkened area at the bottom, part, the yellow alternates with
produced by the addition of green. The speckled effect of
raw umber. The trunks were the flowers was achieved by
suggested by painting several flicking the brush loaded with
brushstrokes of clean water. paint onto the paper.
We are dampening the mountains with water so that

3 when we come to paint them, the color will lighten and
blend easily. The dark mountain on the left is painted with
a mix of very diluted dark green and sienna. tv

18
4 Here you can see the clean, white paper in the form of
the houses. This white area must be outlined with great

THE DAMPNESS OF
THE PAPER 5
Using the wider brush,
we paint the open space
care, because we have to go around the shape in the same The results of working on damp in pure cadmium yellow
paper and on dry paper are
way that we would draw it. pale. The wide brush
verydifferent. On dry paper the
brushstrokes remain clearly visi- ensures that the area will

ble and unpainted white areas
appear clean and free of
are easy to leave. On damp
paper the brushstrokes blend brushstrokes.
into each other and spread
more evenly, and it is diffi-
not impossible,
At the bottom of the hill we have applied some yel- cult, if
6 lowish green unevenly diluted in water to obtain the

to leave unpainted
areas or to out-
line forms.
effect of mottled grass, which is painted in by working alter-
nately with a very dry brush and a very damp one.
We are varying the

7 green with some very
diluted yellow, which

heightens the mottled effect
and helps to suggest the
How crs. Nonetheless, the
effect must be reinforced
further still. Using a brush
loaded with green, we paint
rfT the small patches of grass
that can be seen among the
hw yellow of the flowers.

19
Let's start painting the mountain range. We moistened the paper earlier, so stil
8 retains a certain amount of dampness. This allows us to easily lighten the color
it
as it approaches the snow-capped peaks.
The mountain range finished. We have used the same technique

9 on all
is
the peaks: painting with the tip of the brush on damp

paper, leaving a few white areas to indicate the volume of the
rocky masses.
I A is easy to suggest the speckled effect of the flowers
I W in the foreground. With a brush loaded with yellow, we

flick the paint onto the paper.
of our picture is almost com-
plete. We are using a very
simple technique: Each area
is assigned its own particular
color and treatment. This
technique lends the painting
a clear and bright finish, wor-
thy of the cold atmosphere of
the day It is useful to pause
and consider such aspects so

as not to lose sight of the
work as a whole.
•^ 20
1 A Now we arc concen-
I A trating on the build-

ings. Using flat planes of
color, we build the houses
as if they were boxes, thus
giving them shape and vol-
ume. Some parts of the
paper are left white to indi-
cate the snow and sunlight
on the walls.
K A The houses are
I w painted in ochre and
siennas intensified with
bluish grays to obtain the
contrast of the shadows.

The branches of the trees
that can be seen in front of
one of the houses were

painted with strokes of
clean water over the dark
green of the mountains.
CHOOSING THE
CORRECT BRUSH
As we have seen, different
types of brushes produce dif-
ferent types of finishes.

Wide brushes cover broad
areas with a uniform color.
Round brushes are good for
washes, loose brushwork,
and details. is possible toIt
do everything with a single

brush, but the results tend to
appear monotonous.
onstrU(-"hng the houses as they were boxes and

1 M ' 5v <
-'
if
I ™ distributing the lights and shadows of the walls appro-

priately, we have managed to depict the village with relative
ease.
21
m The watercolor is finished. Our objective was a clean
I W painting with strong contrasts, an effect thai accu-
rately reflects the cold clear day of the scene.
Ml
22
Painting a cloudy
landscape
~W" ~\Tr"T' e return to the mountain theme in this second
\ \/ exercise, only this time the range is seen from a
V r distance, from a perspective that includes a wide
valley through which a river runs. The landscape is domi-

nated by the presence of low storm clouds, which tint the
entire panorama with a grayish tone. This tonality is the key
to this watercolor which we will paint on damp paper, allow-

ing the colors to spread more freely.
MATERIALS We
IWe drew the sketch in charcoal. Just as in the first exer-
6"
2 are going to paint
cise, our sketch includes only the most important lines, • Cold-pressed 1 x 20" the sky on damp paper.
watercolor paper
which situate the different planes, indicate the height of the
• Stick of charcoal
First we run the cloth over
horizon, and distribute the cloudy masses on the sky. • Sable or ox-hair brushes the surface to remove any
numbers 4, 10, and 14 excess charcoal, and then
3
• Synthetic fiber /a"-] /a"
]
brush
we lightly rub a clamp
• Large synthetic 2-2 3/4" sponge over the area of the
brush
sky. To avoid leaving any
• Tubes of watercolors in our
usual selection of colors drops of water on the paper,
• Natural sponge we must make sure that the
• Cloths or absorbent paper
sponge is only damp.
towels
holding the paints
23
PAINTING A CLOUDY LANDSCAPE
The background gray of the sky The darkest area of the mass of The sky clears and the clouds The chestnut tones of the hills
was obtained with ultramarine cloud was obtained by applying thin out in the area nearest the were applied with generously
blue and burnt sienna, applied dense sky colors over a damp horizon. This was painted with a diluted brushstrokes. In fa< I
with a wide brush on the damp base, with the gray hues brought very soft and transparent wash, entire lower part ol the v
surface of the paper, thus allow- out by rubbing with a brush. applied on wet piper, which color was painted w ith sv
ing the color to spread freely. barely tints the paper. ing brushstrokes.
The green strips that represent The peak of this mountain plays
the trees were worked over the an important role in giving the
color of the hill while it was still panorama depth. The dark and
damp. The important point is to cool shades create contrast with
ensure that these details both the sky (also cool but
"explain" the shape of the hill. lighter) and the nearer moun-
tains (painted in warm shades).
We begin by painting the sky with a mixture of blue and

3 burnt sienna, to which we add a touch of burnt umber to
gray the tone. Since the paper is damp, there is no need to
concentrate too much on ensuring that the color covers and
spreads. The dampness of the paper will provide the color
with an interesting texture. b.

24
Once we have covered the dark part of the sky, we can start to intensify
the darkest clouds by going over the painted area with a mixture of the
same color. Here we have to work over a half-dry color because we want
to avoid sharply defined limits.
Here we can see the cloudiest part of the sky completely

5 painted. The varying qualities and shades of color are visible,
thanks to the dampness of the paper and the different amounts of
water that we have used.
To paint the lower part

6 of the sky, we apply a
gray wash diluted with abun-
dant water. This will be the
base over which we will
tone and give pictorial life to
the transparencies of the
horizon.
WORKING WITH
ABUNDANT WATER
Using abundant water when
painting in watercolor, moist-
ening the paper, and apply-
ing washes and mixtures of
color is very pleasant because
appear to emerge
the effects
on own. Nonetheless,
their
do not overdo because the

it,
shapes tend to blur and is it
very difficult to predict the

final result.
L
25
mm
B
7 The work
sky must
the
in this part
be
of
deli-
cate; we have to exploit the
transparencies, with very

diluted tones and shades of
color. The blue cloud that
you can see on the right
softly highlights the clear
sky, thus lending the land-
scape depth.
L 8 We
a
paint the farthest mountains with
very dark blue-gray, which con-
trasts with the light area of the sky and

creates a visual center of interest. This
new contrast also heightens the sense
of depth. We do not paint these
A mountains
applied
until
beforehand
the
pletely dried; only in this

color
has
we
com-
way is
it possible to clearly define the
contours, which otherwise

would blend with the damp-
ness of the sky.
V
The most important
9 aspect of this exercise is
the color contrast created
between the bluish grays
(very cool colors) and the

siennas and umbers (warm
colors). The warm colors,
those in the nearest moun-

tains, are what we are going
to paint now. They will help
us to define the shape of the
mountains.
26
1 A We are usm8 the
I W warmer colors (sien-
nas and carmines) of OUT
palette to represent the fields.
The mixture of these two col-
ors produces a chestnut tone,
which we dilute with water
and apply to model the lights
and shadows of the moun-

tains. We accomplish the task
with plenty of water, allow-
ing the paint to spread, with-
out attempting details.
THE TONE OF A
LANDSCAPE
Even in the most colorful pic-
ture there a predominating
is
tone, may be cool,

which
warm, or intermixed. This does
not mean that all the colors of
the painting should resemble
one another; rather, they
should capture the climate or
atmosphere of the landscape,
which implies highlighting cer-
tain color ranges and not oth-
ers. In this case, we are using

slightly muted colors.
The volume of the

11 mountains in the
foreground, which we have

constructed with varying
densities of color, is almost
complete. We paint ochre in
the highlighted areas to sug-
gest the effect of light filter-
ing through the clouds.
1 A The entire surface of
I m the paper is now cov-
ered with paint, which

means the tone has been
established. It is an inter-
mixed tone, that is to say, a
neutral one. with a gray ten-
which depicts the
ashy luminosity of the sky

27
£1
nWe begin now to
with trees and vegetation, begin-

fill in the scene
ning with the row of trees, which we

paint in a very dense sap green. We
paint while the base color is still damp
enough for us to lightly blend the
brushstrokes into the chestnut tonality.
1 M The weather is unpredictable;
I we don't know whether the
clouds are about to unleash sheets of
rain or the sun will appear between

them. In this situation it is essential to
work quickly to capture the general
tone of the landscape. Otherwise you
may lose the atmosphere, and the

resulting watercolor will appear con-
fusing, with an unlikely mix of lights. If
we get the atmosphere on the paper in
time, everything else will be easier,
because afterward it is merely a job of

painting in the details on a correctly
harmonized background.
28
1 P We darken some of the mountain faces to intensify

I W their volume. This darkening is obtained by painting
a thin layer of sienna on a completely dry color, with a wide

synthetic brush.
BRUSHWORK
In addition 10 the color, the
brushstroke is important: its
width, its direction, its capac-

ity to suggest a shape, etc.
Brushstrokes can construct the

composition and recreate the
atmosphere. Each subject
requires individual treatment:
soft strokes, energetic strokes,
careful strokes for detailing,
etc. You can practice these
different strokes by painting
abstract lines on a sheet of
paper.
1 # We have included a
I W few trees on the hills
in the form of a number of

specks. They lend a sense
of perspective, which dis-
tances the viewer from the
landscape and the shape of
the hills and mountains.

29
1
W The breadth of the view lends the Finished watercolor a
I # monumental appearance: The mountains and hills are seen
in all their splendor thanks to the trees represented l>\ specks of

paint that scale the landscape down to size. The- dramatic quality
of the sky is balanced by the- chestnut-colored fields.

30
Painting trees
and a river
TTTT ater is a common theme in watercotor huul-
\ \/ scapes. This exercise consists ofpainting a river
V v from the bank. Although it is not colorful, this
scene is rich in nuances of color, the general intonation
being a grayish green. This exercise will deal especially with
the application of shadings and the direction of the stroke,
the latter of which is a vital factor for capturing the surface
of the river.
by drawing. As
MATERIALS IWe start
16" 20"
usual, we sketch the
• Cold-pressed x
-
watercolor paper general shapes of the most

important objects. In this
•
Sable or ox-hair brushes
numbers 4, 10, and 14 case the picture requires
• Synthetic fiber
3
//'-l '// more attention than usual
brush
due to the compositional
• Tubes of watercolors, espe-
cially siennas, ochres, umbers, importance of the tree
and greens
trunks. We create volume by
towels blending the charcoal with
• Palette box with wells for our fingers.
holding the paints
After cleaning the

2 surface of the paper
with a cloth to remove any
excess charcoal, we begin to
paint. Maybe you arc surprised by

the way we start, since first we paint the
trees that appear farthest away in the land-
scape in sienna and green. The reason tor this
is
painting.
that these two colors establish the general values in the
A
31
PAINTING TREES AND A RIVER
The light falling on one side of The wooded area on the fai The color of the sky is the The effect of the leases against
the trunk, which creates an bank has been painted directly white of tlu' paper. The day is the light was easy to a< hiese We
intense chiaroscuro, or contrast over a dry background. The overcasl and the light-colored applied Several tOU< lies ol in lne
of light and shade, was obtained three-dimensional quality oi the clouds are spread ovei the sky. ami green on the white sky with
with a long stroke of clear water treetops is achieved by superim- the lip of the brush. It was
over dark sienna and carmine. posing thick strokes of sap given essential to observe tin- [eaves
with sienna and carmine. carefully to get the effe< t right.
The dark areas of the water are Here are the mixtures of color
rich in transparencies and and transparencies, as well as
blended color. The contrast the clean white paper that rep-
between khaki or neutral ochre resents the lightest areas of the
and the dark green is one of the water, in which the sky is
keys. reflected.
We continue painting the treetops. We use ochre, over

3 which we paint sap green, creating a cold and wintery con-
trast, which begins to define the general color of the picture.
4 We are now finishing off the trees along the bank, con-
tinuing with very dark sap green and ochre. To create the
shapes of these trees is not as difficult as it seems. It is all
based on brushwork. The outline of the treetops is the result
of applying brushstrokes that create the branches and foliage-
jutting out. b.
32
There no need to change water to The shadows cast on the river by the trees are much
5 paint the
is
shadows of the trees on

6 more uniform that the trees themselves. The colors used
the surface of the water; it is enough to follow the directions for the shadows are homogeneous, just suggesting the
of the reflections marked by the still-visible strokes of the foliage, and the brushstrokes are careful and even.
original drawing, painting loose strokes, without
ing or retouching. The effect of the movement

overwork-
of the water
7 When the first color has dried,
bluish gray, a mixture of sap green

we add a few strokes of
and ultramarine blue,
is the result of light, careful brushstrokes. which suggest movement on the surface of the water and
create a horizontal plane.
The watercolor at an
8 advanced stage.
is
Here
we can see the progress we
have made in the reflections
on the water. Light grays
have been to added to har-

monize the dark areas of the
shadows with the high-
lights. They are painted

using the lines of the origi-
nal drawing as a guide.

33
The trees are painted with successive iliin layers of red-

9 dish gray, which are very light at the beginning, and then
darkened (in the tree on the left) until an almost black tone
is attained. The lighter side of the tree is obtained by running
a brush loaded with water down the side, to lift the color.
A Here we see how the trunks are worked to obtain
I w their cylindrical shape. We have intensified the color

over an area of clear water. Over the resulting dark color, we
create the highlight reflected on the trunk with a brush
loaded with clean water.
PAINTING
REFLECTIONS
Painting reflections on a river, a
lake, or a sea can be a thrilling
experience, especially if we
understand all the possibilities
that the watercolor medium has

to offer. Observation is important
in this respect: seeing and under-
standing the rhythm of the waves
and ripples on the surface of the
water. Once you have grasped
this and know what colors you
require to paint water, it is rela-
tively simple to obtain the loose

and liquid effect of the water.
34
We can see that the reflections on the water consist of
11 green-ochre, khaki, bluish green, and very light gray.
The secret lies in the gradation from dark to light, taking care
that the direction of the brushstrokes expresses the delicate
ripple movement on the surface.
1 t% Tlie onty addition here is the earth in the foreground, a
I m mix of burnt sienna and carmine. This plane plays a
vital role in defining the distance between the foreground and
the far bank of the composition, and produces a color contrast
with respect to the picture as a whole.

35
Ml
UThe treatment of the reflections has made this a partic-
ularly challenging exercise. Apart from the need to
observe and study the direction and rhythm of the ripples, you
should not find any serious problems with this watercolor.

36
Painting a track through

a snow-covered forest
S~~*y now is a subject that looks best in watercolors. As
^^ you saw in the first exercise, it is relatively easy to
K^r paint" snow by leaving the paper clean and

unpointed. Tljere is more snow in this painting than in that
of the first exercise, and most importantly, it is close to the
viewer. For this reason we are going to have to shade it and

refine it much more than on the first occasion.
MATERIALS
• Cold-pressed 16" x 20"
watercolor paper

\.
numbers 4, 10, and 14 :
• Synthetic fiber VV-I /a"

I t
brush .- y
• Large synthetic 2"-2 /4
3
n
¥
brush
j.
• Tubes of watercolors, espe- i
cially burnt sienna, raw 1

umber, ultramarine blue, 1
carmine, and ochre
1
J... >-
towels
holding the paints
First we draw a
I preliminary sketch and mark out the masses of the land-
scape. We locate the horizon line and the verticals of the
post, on the left, and the tree, on the right.
, Once the initial composition has been drawn, we rub

2 the cloth over the paper to remove any excess charcoal.
It is important not to rub too hard; just lightly run the cloth
a couple of times over the paper, as if you were dusting it
with a feather.
We are going to begin painting with the sky. Once again
3 we will paint on a dampened area with a wide brush to
the edge of the drawing, marked by the trees on the hori-
A zon. This we
dirty, gray, the definitive
will do with a very watered-down, almost
color of the sky.

37
PAINTING A TRACK THROUGH A SNOW-COVERED FOREST
The sky is almost white, since ii The leaves of the were

trees The tree Hunks and branches Mi. .
in kei bushes a .main the
was painted with a \ cr\ watery painted with brownwashes were painted with a blackish same colors as the lii
gray. The effect of the white diluted with varying amounts of lone, composed of carmine, blue, only in this case they were
clouds was created with a wash water. These leaves form a screen and raw umber. The work is in- in diluted and varied. Subtle
containing some extremely sub- of semitransparent color over more akin to drawing (using the nuances of value and 111
tle gray tones. which the branches stand out. tip of the brush) than painting. be observed.
The trees farthest away were The snow was suggested by

painted with a very transparent leaving the paper white and
gray wash, very freely, avoiding then adding washes in some
details or retouching. It is the areas. Carefully placed brush-
wash itself that defines and strokes of very diluted gray cross
determines the shape, profile, over one another and become
and volume of these trees. superimposed, creating the vol-
ume of the snow-covered earth.
correspond on
4 TheseThebrushstrokes
zon. used
color mixture is a
to the trees
of burnt sienna and

the hori-
just
a touch of raw umber to neutralize the tone. The direction

of the brushstrokes also defines the shape of the trees.
38
Painting on dampened
5 paper creates an espe-
cially soft color. The brush-
strokes blend into each
other, so the shapes come
together in masses of similar
tones that evoke mist. With
a lightly loaded brush, we

gradually construct the
trees, painting successive
layers of color, allowing the
brushstrokes to run over the
dampness of the paper.
We gradually darken the color, adding tones, painting

6 with a slightly more loaded brush. Due to their proxim-
ity, the bushes on the right appear darker, an effect obtained
by applying very lightly diluted burnt umber.
interesting to see the effects produced by the

7 It is
techniques: the trees painted on wet paper,

different
and the
ground painted on dry paper. They make the earth appear

much starker and heighten the contrast to the whiteness of the
snow on the ground. Hard and soft contrasts complement

each other, adding visual interest to watercolor paintings.
1 We reserved several
8 large areas for the snow
earlier on. Now it is time to
paint them with very diluted
brushstrokes of gray to cre-
ate relief. It is important not
to apply the strokes in a rig-
orous fashion; they must be

painted loosely and res-
olutely. It is only in this way

that we can evoke a con-
vincing suggestion of the
unevenness of the terrain.
Make sure you don't cover
the entire white surface.
because this would muddy

it. Our brushstrokes must be
viewed as white shadows.
39
H
PAINTING SNOW
In watercolor, white is pro-
vided by the white of the
paper, because there is no
white paint. Therefore, to paint
snow, we have to leave areas
of paper unpointed, and then
tone them later. These tones
must be extremely subtle so as
not to ruin the white effect. If
they are done correctly, the

while will appear as a real
color instead of as an
unpainted fragment of the
paper.
We have diluted the gray strokes over the snow by running a damp
brush over them; this action turns the grays into lighter and more
transparent tones that shade the white of the snow without spoil-
ing or lessening the strong contrast of the white paper against
„-; the dark carmine tones.
We are painting the trunk and the branches of the

10 tree with burnt sienna, using the tip of the brush. This
is more like drawing than painting, since we are using the lines of
the initial drawing as a guide, as well as our observation of the tree itself.
The shape of the tree
11 is completed. We can
appreciate the combination
of darker and lighter tones
and shades, as if the tree
were shrouded in mist. This
effect has been achieved

thanks to working on damp
paper and to the contrast of
the lines of the branches.
40
It is interesting to experiment with the effects of the
12 blurred outlines that are produced by the

dampness of the paper and the short brush-
strokes. This small tree has been painted on a
dry background. Its dark leaves stand out
against the snow and, at the same time, arc-
lost and fade into the background.
1 t% We continue highlight-
I W ing the branches,
working, as always, with the
tip of the brush. The strokes

THE USEFULNESS
OF A TOWEL should be consistent with
When you are working with the shape and disposition of

water, and the painting
the washes representing the
requires work with washes, it
is essential to have an old treetops, no matter how

clean towel handy for remov-
blended or toned down the
ing some or all of the water
from the brush. A towel is also painting may be after the
useful for removing .excess
paper has dried.
paint from a brush, as well as
for drying the paper when it is
too wet.
HThe picture is almost
finished; all that
remains to be done is to
develop the trees on the
right. With respect to har-
mony, it is interesting to note
we have obtained a consider-
able wealth of values and

tones from very few colors, in
accordance with the general

neutral apsed of the land-
scape. This is a good exercise
for working with color and
lor practice in painting on
both wet and dry paper.
41
Mi
V p Our work on the branches is ever
I w more complex, since we must inten
sify the tone with successive brushstrokes,
The objective is to obtain a strong contrast
between the trunks and brandies and the

leaves and snow in the background.
# Again we can observe the wealth of different tonal intensities. It
I w is worth mentioning the fact that these different intensities by

themselves create depth: the softer they are, the farther away the
washes appear. This is an important factor in a landscape dominated
by mist or fog.
V Another interesting
I m effect obtained in this
watercolor is the number of
small green strokes on the
left, which break the monot-

ony of the umber tones,
incorporating a cool and

dark accent that perfectly
harmonizes within the
whole. One can sense the
cold and damp atmosphere

of the scene thanks to con-
trasts such as these.

42
KNOWING WHEN
TO STOP
In watercolor paintings it is easy
to lay down washes, trans-
parencies, and strokes of color,

which are applied according to
the rhythm of the work and the

appeal of their effects. It is
important to know when to stop
and not overdo these tech-

niques, otherwise you will end
up ruining the harmony of the
painting and hardening the
shapes. It is vital to recognize
when a painting is finished,
and the moment when the effect

you are striving for is obtained.
1 A The treetops are becoming denser and richer in tone with each successive addition of
I W color. These layers are almost always the same: raw umber applied in varying degrees
of intensity and in successive transparent layers.
1 fk Over the whites and pale grays of the snow, we have applied several touches of umber
I m to suggest those parts of the ground that are not covered in snow. The small details
are the important ones because they bring the picture to life.
43
As a final touch, we blend any color that is still damp by

20 rubbing it with our fingers This should be carried out only
when the color is almost completely dry. Otherwise the shape

of the wash may be ruined and, maybe, the paper itself.
A1 The exercise is complete. It is interesting from a

mI technical point of view because of the washes and
the narrow color range. The foggy, cold, and damp winter
atmosphere has been correctly painted.
>
44
Painting a composition
centered on a tree
~W" TT7 "7r
F " e are >wu K°' u8 to l,
y a different composi- MATERIALS The sky was painted with a very
6" 20" diluted blue wash. We painted
1 JL / Hon. Instead of painting a panoramic scene,
• Cold-pressed 1 x
from top to bottom, gradually
it
watercolor paper _
V r we are going to concentrate on just one element • Stick of charcoal adding more water. For this rea-
son the top pan of the sky is
of a landscape: a tree. A theme like this should be treated the darker than the lower part.
numbers 4, 10, and 14
same way as you would treat a figure — that is to say, it • Synthetic fiber
3
/a"-] /a"
brush
should be painted on a vertical format. This exercise will
• Tubes of watercolors, es-
how pecially greens, yellows,

demonstrate it is possible to paint a less conventional
oranges, carmine, and siennas
The crown of this pine tree was
landscape with a monumental effect and a centralized • Cloths or absorbent paper
treated with strong contrasts of
towels
shape, two relatively rare aspects in this genre. green, which were obtained by
• Palette box with wells for superimposing several layers
holding the paints while working with very thick
color. The darkest washes con-
tain carmine, which turns them
First we make a com- almost black.
1
plete and detailed draw-
ing of the subject. Pay special attention to the curves and
bends of the branches from the very start because they are
This small tree was done in the
important aspects of this tree.
negative, painting around the
edge with a very dark tone (a
mix of sap green and carmine)
We apply the shades of green, in this case a yellowish
2 green, which we
first
use to paint large areas of the background.

to make the treetop stand out
clearly against the darkness of
the trees in the background.
Then, using a blue wash, we paint the sky in the same way.
\ our*
sF r -'
.
v YJ '
"
5
V!
J",;?-;
*
If !
s
.
.- •
'"V
.
b.
45
PAINTING A COMPOSITION CENTERED ON A TREE
We obtain this greenish yellow ochre from a mixture of yellow and a touch of green,
3 which we use to paint the light areas of the leaves and the tree trunk. Hen we
1
an- work-
ing on dry paper but with enough water to allow the brushstrokes to flow freely.
The trunk and the branches were

painted with a rather light yellow
wash as a base, over which we
added several dark strokes and
touches of a mix of orange and
carmine to represent the bark.
The resulting reddish tone cre-
ates a light contrast with the basi-
cally green tone of the painting.
The contrast between the ground

and the background of the forest
is represented here by a line that
cuts the continuity of the color.
The tone was darkened consider-
ably above this line to create a
visual effect of distance between
the two planes.
The road provides a powerful

perspective that leads the fore-
ground into the background. The
areas without grass were painted
with a wash; the
violet-gray
curved shape of the tracks of the
road also suggests the shape of a
hill that gives way to the middle
ground of the composition.

46
We apply new washes of green over the

4 wash and partially blend them in. The shape
firsl
and volume begin to emerge thanks to the first
touches. The contrast of light and dark that we

are creating also accentuates the shape of the
tree trunk.
The darkest details of the branches and

5 leaves are depicted with washes and
strokes of uniform color. The unevenness
of the washes (seen in the lower right-
hand part of the crown of the pine tree)
is interpreted by the viewer as details.
Instead of copying them, it is sufficient
to suggest them in such a simple and

effective way as this.
This is the negative treatment of the small pine tree. We

6 paint around the tree with a very dark mixture of
carmine and sap green. Once the outer shape is defined, we

can paint the interior with a lighter color.
We advancing
are quickly, creating a feeling of three
7 dimensions an abundance
with of green contrasts. The low
ire represented with brushstrokes in different directions. h.

47
By holding the brush

8 at
HOLDING THE
the end, with the wrist BRUSH
slightly twisted, we obtain The most common way to
hold the brush is just like a
loose brushstrokes that are
pencil, only farther from the
particularly suitable for brush end, making it easy to
depicting
control movement and
the
the lightest
allowing a certain amount of
branches, working with very freedom. To paint sweeping
and more undefined brush-
diluted color,
strokes, the brush should be
held far from the brush end,
painting with a slack wrist.
Holding the brush too near to
the hairs reduces manual
dexterity.
The sensation of distance between the central pine tree 1 fk The day is gray but bright. It is a pleasure to paint on
9 and the trees in the background has been achieved, and I V days like this because there are no changes in light
the only job remaining is to finish the foreground. intensity, the tones do not alter, and the contrasts between
light and shadow are constant and stable, thus enabling us
to work calmly.
48
The curved brushstroktes in the Foreground follow the
11 shape of the road This series of curves creates the hill
in the foreground and, ai the same time, creates the effecl
of perspective, since instead of being parallel, the curves
converge.
1 J% The darkening tones of the road and the low hill over
I Ml which it runs also reinforee the sensation of distance
from the area where the pine tree stands, which is much
lighter in comparison.
UOur picture is almost
complete. Note how

the contrasts between the
tones of green suggest the
shapes and create the effect

HThe exercise is com-
of their advancing or reced- plete. This is a fine
ing in space according to the demonstration of how a
rhythm of the composition landscape containing one

and the direction of the light. single element can possess
its own artistic merit, with-
out the necessity of integrat-
ing it into a more complex

composition. A tree, as you
can see. is a world in itself
of tones and lights that
deserve to he treated with

the same care as the most
beautiful of panoramas.
49
6
50
Painting snow-covered
peaks at dusk
f*) now is once again the subject of our exercise, this
^^ time with a marvelous pink and blue tonality. As you

K^J can see, snow has an infinite number ofpictorial pos-
sibilities, especially in watercolor. Snow is the white surface
of the paper, and the subtle tonalities of a snowy-covered

landscape can be represented by transparencies that are
best achieved with watercolor. This landscape comprises
chromatic colors that cannot escape the watercolor artist
unnoticed. Let's get down to work and see if we can reflect
the special charm of these colors.
MATERIALS
• Cold-pressed 1
20"
IThe composition is extremely simple —the range of
watercolor paper
mountains crosses the paper horizontally in a soft wavy
line. The peaks separate the three main planes: The fore-
numbers 4, 10, and 4 ground is the rocks, the middle ground is the snow-covered
• Synthetic 3
fiber /4"-l '/V mountains, and the background is the sky.
brush
• Tubes of watercolors, espe-
cially yellows, siennas, oranges,
blues, and carmines
towels
We are including a few details in the first sketch, such as
• Palette box with wells
holding the paints
for 2 the snow caps, some jutting edges of rocks, and the
unevenness of the lower area of the mountain range. As
usual, after finishing the charcoal sketch, we remove the
dust and clean the paper with a clovh.
->•'
A.
-*.V,::, "v "•"" 1
-•". ...
•
\
A K \.
•f -f?
51
PAINTING SNOW-COVERED PEAKS AT DUSK
The clouds were painted wet The quality of the light at this The shadows cast on the snow The blue-of the sky is a wash ol
on wet applying very
paper, time of the afternoon gives a are transparent. The} wen- inn!* iim intensity, worked with
diluted carmine and a touch of yellow hue to the illuminated painted with a very diluted wide sweeping strokes, blend
grayish blue to obtain the soft part of the snow. It is precisely wash, without any sharp con- ing one into another, using a
cottony effect. this quality that lends the tones trasts or abrupt endings. We wide synthetic brush on damp
a pinkish transparent tendency. used free brushwork to create paper.
these shadow: .
This is the contrast necessary to This strip of snow in shadow

pull all the tones of the picture was neutralized by grays
together. A very* dark umber applied on dry paper, with a
was applied in broad strokes, color diluted with only a small
with the brush abundantly- amount of water. Since we
loaded with water and paint. worked with dry brushstrokes,
This wash contains no details the grain of the paper remains
but is not a smooth surface visible, creating an expressive
either: since it presents different texture of a snowy quality.
intensities within the same hue.
Let's begin with the clouds. With our brush abundantly
3 loaded with water and very diluted carmine, we paint
several soft forms with diffuse contours. few

52
an impor-
4 Watertant
plays
role in the first
stages of the work, and all
the colors of the sky are
heavily diluted. To keep con-

trol of these damp areas, we --**
**"*!
have to work slowly, without
blending all the colors.
L
SOnce the blues and the
pinks have been applied
in their appropriate places,
we can soften their edges

with a damp brush and cre-
ate blended areas.
Now we are painting

6 the illuminated faces of
the mountains. Continuing

with the soft warm tonality,
we apply several areas of
very transparent yellow

containing a lot of water.
The sky appears to be com-

plete and its brightness has
to be continued in the
ll
mountains.
CREATING
TONALITIES
Working within a warm range
does not necessarily mean
that you have to make use of
warm colors in all their intensi-
ties. We can create varying

warm tonalitiesby working
with very diluted colors, creat-
ing contrasts, blends, trans-
parencies, and so on. The

addition of a cool color helps
to give relief and life to the
I
warmth of the whole.
A
53
%tif .
SbHB
..
This large area of paint defines the area of snow in

7 shadow. It is neither a uniform color nor a series of tones:
Carmine and blue make up the general color, lightened with
water. The darkest area of shadow is represented by medium

blue blended into areas as a whole.
Having painted the faces of the mountain in shadow, we begin to

8 construct the huge contrasting shadow toward the bottom of the picture,
where we paint a thick
application of dark umber,

mixed with carmine, over
the pink area (allowing the
pink to dry first in order to
avoid having the colors run
and become muddy).

d
We have kept the lower

9 part of the paper clean,
working around it with great
precision. It outlines the
shape of the mountain in the
foreground. It is essential to
allow the first washes on the

sky and mountains to dry
thoroughly before painting
the foreground so that we can
avoid blurring the contours. b.

54
1 A We are painting the mountain face in shadow with a
I w brush loaded with color, without too much water. We

have avoided using a lot of water in the area of snow on the
right, since its relative dryness has left the texture of the
grain of the paper visible.
The softness of the tonality does not mean we do not
11 use a wealth of color. This detail shows how a variety
of very different tones can be brought together in a single
harmony. The pure sienna that can be seen on the far left is
a snowless peak that is brightened by reflected sunlight.
1 A Although we have been working with abundant

I Ml water, blending colors and softening forms, we have
not lost the underlying structure. The washes are used to
represent the volume of the faces of the mountain; the sharp
contrasts of the dark umber reinforce this effect.
The contrast of the
13 foreground has been
achieved. It is thanks to this
contrast that the delicate
tones of the snow-covered
faces are highlighted and

emphasized in all their picto-
rial splendor. As you can

see, this exercise is, above
all. a lesson in color har-
mony; the drawing disap-

pears and makes way tor the
color, and it is through color
that form must be expressed.

—
55
1 A There has been a sig-
I
™ nificant change here.
The pinks and mauves that
shade the snow-covered

sides have been darkened
with a very diluted raw

umber wash, which has uni-
fied the previously applied
hues into a cooler and more

solid unit, more appropriate
to the motif.
CONSERVING
QUALITIES
When we work with abun-
dant water, creating blends
and transparencies, mixing
directly on the paper, acci-
dents can and do happen
that is to say, we create
unpredicted effects and quali-
ties. These qualities can be
interesting and may even be
worth retaining. In such cases,
random chance is on our side,
creating forms and colors that
would have been difficult to
concoct deliberately.
..# M*
\
The face of the moun-

I W tain on the far right
has been treated with sev-
eral sienna washes to depict
the rocks and the crest.
These washes add interest to
the entire mountain face in
shadow, heightening the
contrast with the parts of
lighted snow. We have

applied these touches with a
very dry brush.

56
V # We now turn our attention to the rocks in the fore-
I w ground and outline them with a very thick color using
a dry brush. They had become blurred when we dampened

the dark faces with an umber-colored wash.
1 V We have added several small touches and strokes of

I m very dark umber on top of the dry wash. These appli-
cations give the panorama size and scale, creating distance
and allowing the dimensions of these great mountain faces

to be fully appreciated.
THE SCALE OF
THE WHOLE
When painting distant land-
scapes, such as mountains or
the sea, it is difficult to do jus-
tice to the dimension. The

mountains may appear to be
minute. It is essential, there-
fore, to include some small
details, such as rocks, trees,
and so on, to serve as an indi-
cation of the real scale of the
scene. This kind of work
should be left to last.
1 A This area, the most

I M complex part of the
watercolor, is now complete.
The contrast between the

foreground and the rest is
solid and well defined, and

the brightness follows a
gradual ascension, from the
very dark lower area to the
light of the sky. The lower

part of the snow-covered
peaks has volume, and we
have managed to express
the rocky outcroppings
through color.
r
57
H
/1
| fk We can feel satisfied with this watercolor. The land-
I # scape was not an easy theme; it required a delicate
adjustment of color and contrasts. As we already mentioned,
this motif could not be defined by the drawing, since it was

possible to express the crags and outcroppings of the moun-
tains only through color. Yet the color to work with was the
color of the snow, so sharp contrasts were out of the question.

After much persisting with washes and transparencies, apply-
ing details and retouching, we finally obtained what we set out
to paint and, at the same time, gained invaluable experience.

58
Painting a landscape from

an elevated point of view
be main interest of this last exercise the elei cited
rf
is
point of view chosen. The horizon is at the top edge
of the paper, and there are multiple planes between
the foreground and the distant valley, passing through a series
of hills and mounds. This is not an especially difficult theme,
but it all depends on your finding the right composition.
- -
i
/MATERIALS IThe sketch is quite
• Cold-pressed 1
6" x 20" detailed, emphasizing
- - ..--'
watercolor paper
the directional lines of the
composition. Diagonal lines
numbers 4, 10, and 14 suggest the depth of the
3
• Synthetic fiber /4-l '/V landscape. We sketched this
brush
• Tubes of watercolors, espe- drawing with simplified
cially greens, ochres, yellows, straight lines; only the trees
siennas, and blues
contain a few simple curves
towels to outline their general
shape. It is not necessary to
holding the paints
add details, since we will be
doing this as we progress.
We extend a dark blue

2 wash over the top of the
composition, although in-
stead of painting the sky, we

are actually working on the
valley in the background.
Dark blue is a useful color
for expressing depth of field
and for keeping the farthest
planes rather undefined. We

also start painting the hill
with a green that gradually
loses intensity as we work

clown the paper.
59
PAINTING A LANDSCAPE FROM AN ELEVATED POINT OF VIEW
Mi
Tin.' horizon and the sky arc vis- The mountains in the back- These trees mark the uneven The light areas of vegetation are
ible only in this comer. This ground were painted in a dark ness between the plane on Crops on tin- plain. They were
small fragment is enough to tone, although no significant which the farm buildings stand painted with heavily diluted
interpret the rest of the dark blue details were included. They and the mountains in the back- wash, without any changes of
area as fields in the distance. were not necessary, since the ground. The trees were given color or texture to break their
watercolor already has an abun- individual colors and shapes. continuity.
dance of details.
The work on this treetop was The farmhouse was painted

by alternating broad
carried out with quite a lot of detail,
washes and individual brush- emphasizing both the effect of
strokes. This gives the sensa- lightand shadow produced by
tion of movement, which the openings in the facade and
allows the effect of light the umber hues of the roof.
through the leaves.
We continue painting from top to bottom, bringing the

3 color masses down, leaving the branches of the trees
white, painting very diluted ochre washes that express the

"-•--.
horizontal breadth of the fields, always following our com-
positional lines. b.
60
s
One fragment now
4 completed.
is
We worked
quickly, alternating dark
strokes on light damp
washes. It is interesting to
note how the blurry con-
tours create a feeling of
distance.
We are now working on

5 the branches of the tree
that we left unpainted. We

paint a solid opaque area
using a rather dry brush,
leaving the grain of the
paper visible through the
color.
The work on the leaves

6 with very dense undi-
luted sap green gives the
foliage mobility and creates

a contrast with the sunlit
fields.
how
7 Note of the dark mass of the
the contrast
tree against the background

of the panorama contributes
to creating the elevated
point of view we are con-
cerned with in this exercise.
It really feels as if we are
looking down over this
landscape from the top of
one of the surrounding hills.

61
•-,-„v-- .'.••. -
Now we begin the farm buildings by painting the roofs

8 with a series of short diagonal damp strokes, alternating
between pink, ochre, and yellow.
We define the contours of the buildings by painting

9 around them with a very light yellowish green wash.
This will enable us to control the contrast of the dark walls
against the light color of the fields.
1 A We are now painting
I V the darker parts of the
farmhouse with strokes of

carmine mixed with burnt
umber. These lines perfectly
situate the plane of the roof
on the walls of the building,
and the windows appear to
have depth.
62
The contrasts of the
11 dark colors make the
buildings appear three
dimensional. Likewise, these
contrasts contribute to mak-

ing the farmhouse the com-
position's center of interest.
We are creating a series of
details (windows, adjoining
roofs, and so on) relying on

( >ur (
rather than
)bservation of the subject
on the drawing -\ -
V
DETAILS
Details are important when
they are interesting. This is not
just a play on words but a
reality. A landscape contains
attractive details that, for that

very fact, should be incorpo-
rated into the picture. In a
landscape, there is an infinite
number of details, and it
would be ridiculous to try to

paint all of them. Instead, you
should include only those that
you like or the ones that most
attract your attention.
1 A The farmhouse has
I Ml character. It is thanks
to the windows and the
shadows that we can make

out the shapes of the walls
and the different forms. The

house appears to really
stand on the terrain.
1 fk We add a few touches around the farmhouse, which

I V has already been painted in many tones and shades.
gray being just one of them, thanks to which we have been

able bring out a wealth of detail.
•
63
Hi I
T ie P icture was not was

1 A ' is finished. It difficult, but it
I ™ somewhat time-consuming. If you have followed
these exercises, we are certain that you have grasped the

techniques and art of watercolor.
RDSTON PUBLIC LIBRARY
illlilltil
19B «
3 9999 02950 fl
1 1 it
Library
Boston Public
PARKER HILL
BRANCH LIBRARY
Acknowledgments on or
cates the date to the Library,
Very often, interesting but difficult returned 1
book should be from this
projects can be achieved only througl remove cards
Please do not
the collaboration of several peopl
pocket.
This book is an example of such a c
laboration and has been possible thar

to the following people:
Jordi Vigue, director of publications at Par-
ramon Ediciones and a good friend, for his faith
and invaluable help and advice in writing this book;
Josep Guasch, for providing his knowledge and cre-
ative imagination in presenting the book in the clearest
and most attractive way;
Jordi Martinez, for his help in documenting the work and

resolving the thousand and one problems.
Finally, 1 wish to express my gratitude to Nos & Soto, for their magnificent
photography.
Vicenc Ballestar
m
EASY
fQainting gf <& rawing
\
Painting Landscapes in Watercolors is one

of eight beautifully illustrated volumes that
teach basics of drawing and painting. Subject
matter is made easy to follow for beginners,
with step-by-step directions that will help you

achieve good results.
This volume introduces you to correct use of
pigments, brushes, and other materials, demon-
strates wet-paper and dry-paper techniques, and
offers guidelines on landscape composition.
Watercolor landscape paintings are shown in
step-by-step stages of completion.
Books in this series:
• Drawing Basic Subjects

• Painting the Figure in Pastels
• Painting Flowers With Watercolors
• Painting Landscapes in Oil
• Painting Landscapes in Watercolors
• Painting Pets With Watercolors
• Painting Seascapes in Oils
• Painting Still Lifes in Oils
ISBN 0-8120-9399-2
51 295>
$12.95 Canada $16.95 BARRON'S 9"780812"093995"

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^*-

Step-by-step practical methods

by Barron's Educational Series, Inc.

Barcelona, Spain. Library of Congress Cataloging-in-Publication Data

p. cm. — (Easy painting and drawing)

electronic or mechanical, without the written permission ND2240.P3513 1996

Barron's Educational Scries. Inc.

Painting a Mountain Landscape 16

scape is always unique: The light that illuminates it

changes; it may contain clouds; sunlight may bathe it pro-

fusely; its outlines may be shrouded in mist orfog, or masked

notes of a single landscape on different days will enable you gratifying.

to notice a landscape's numerous aspects. This is a good exer- Jordi Vigue

cise in interpretation and synthesis that will teach you to

obsene a landscape in many ways. The fact that you are 1

CADMIUM CADMIUM YELLOW BURNT VAN DYCK CADMIUM RED CARMINE

Colors and accessories

tainers with wide mouths; adhesive tape, for

attaching the paper to a drawing board; soft lead

pencils; charcoal; a rubber eraser; a knife; and a

natural sponge for dampening large areas. In

addition, it is also advisable to have a

roll of absorbent paper handy for dab-

bing or removing excess water.

YELLOWISH OLIVE SAP COBALT ULTRAAAARINE CERULEAN INDIGO

accompanying photographs show the process. First,

dampen the paper with a sponge and abundant water (A);

Accessories for painting outdoors

so that it reverts to its original

must be noted, though, that the

recovered when it is framed,

has been painted over.

COLOR LOSES ITS

painted outdoors, in the sun.

\ \/ painters must employ if they are to paint suc-

V v cessful pictures. This is to say that it is essential to

exploit the possibilities of the use of water in the treatment of

techniques available to create the different effects that can be

done by rubbing the surface with a clean

brush soaked in water and so dissolving the

dry color. Then use a dry brush to absorb the water,

thus opening up the white. This technique is very useful for

making corrections or for lightening color, to paint a cloud, for instance.

way in which the paper is rubbed with the brush). Details

Lightening and darkening

ate a series of light and dark gradations that can be used to

depict mountains and clouds on the horizon of the land-

going from dark to light. We will start on the darker areas,

ally adding more water and also absorbing it to remove the

Gradual darkening is obtained by applying successive thin

layers over each other in increasingly greater concentrations,

always allowing one layer to dry before painting the next.

The result of these two actions is the intensification of the

planes or zones of color by working with one single tone.

face of the dry color and then

only a part of it, and even then we have to organize it in the

most attractive way. This organization is almost always pre-

sent in nature itself —the painter has only to perceive it and

aspects and leaving out what confuses. These images are

just a few examples of what composition is all about. Next