2.Sgraffito and Stamped Sgraffito or "scratching out" can be a precise method of putting a white hightlight in a painting. It can be used for a glint of sparkle on water, or, if the flat edge of a blade is dragged along the surface of the paper, the water's surface. Other subjects can include the hightlights on the edge of an object when viewing it in the sun, perhaps the edge of a boat, or the "silver lining" of a cloud. The shapes produced by Sgraffito generally have to be simple and easily executed.
You could use a sea sponge, or cut an old sponge that you previously used around the house.
Make textures on your watercolor paper/block with the sponge. One way of using this technique in watercolor painting is creating the illusion of trees.
There will be more technique swatches to add during the course of the workshop [alcohol texture, salt texture, splattering, etc.] Save your swatches! You can add them to a metal ring, or when you have completed all of the samples, you can tie them together with decorative yarn and an embellishment.
Block #1 Wet-on-Wet Flat Wash With this type of wash you wet the paper with water first, which makes it possible to create a seamless, perfectly uniform value without evidence of individual brushstrokes. Practice making sweeping strokes to get a flat, even tone. Lay a sheet of water color paper flat on the painting board and sponge down the surface until it is moist. Using an oval brush, pick up diluted color and apply it to the paper's surface, moving the brush smoothly back and forth from top to bottom to get an even, continuous tone. You may want to tilt the board up at a slight angle to let the paint bleed evenly. Use a primary color.
(Video 4 minutes 18 seconds) Block #3 Wet-on-Wet Graded Wash A graded wash--one that goes from dark to light--starts the same way as a flat wash, but as it progresses you add water to you paint mixture with each successive brush stroke, thereby lightening the color. Moisten the surface of your paper evenly with a sponge until it is damp to wet. With the painting board flat, and using an oval brush loaded with your wash mixture, stroke color across the top of the paper, moving quickly and smoothly back and forth two or three times. Quickly dilute the paint in the brush with water to lighten the value, then continue stroking evenly back and forth about halfway down the paper. The brush should not be too loaded or the paint will bleed evenly. Stroke the top of the surface one more time if a stronger gradation is desired. Finally, tilt the board up at a 40-degree angle and let the wet paint run downward. Sometimes it is necessary to pick up excess paint at the bottom with a brush or paper towel. Use a tertiary color analogous to the color used on block 1.
Block #4 Wet-on-Dry Graded Wash http://www.watercolorpainting.com/watercolorpainting/gradedwash.htm Block #5 Wet on Wet Variegated Wash A variegated wash is one in which two or more colors are blended together on watercolor paper that is very wet. After the paint is applied, the wet paper is tilted in a way that allows the colors to flow together, resulting in an effect that resembles a way that allows the colors to flow together, resulting in an effect that resembles a sunset. To create a variegated wash with two colors, first wet a sheet of paper witha flat brush or sponge. Make sure it is very wet. Tilt your painting board at an angle, then quickly apply the lighter color across the top ofthe paper, letting it flow down toward the middle. Next, turn the paper upside down and, with the board tilted, apply the second color across what is now the top. Let the second color run down and blend into the first. You can control the amount of blending you want by adjusting the length of time you leave the paper tilted. When you want to slow a bleed, lay the paper down flat. As long as the paper is very wet, the colors will blend. The longer you leaVe the paper tilted at an angle--the steeper the angle--the more the colors will mix together. For greater depth and luminosity, you can repeat this process by applying a second variegated wash over the first. Make sure the first wash is completely dry before you do this; then rewet the paper and apply color as before. Always let the paint moe gby itself over the wet surface. The bleed should look very free-flowing. Use two complementary colors--the hues created where the blending takes place will be of a duller intensity than the pure complementary hues.
(Video 6 minutes 59 seconds)
Block #6 Wet on Dry Variegated Wash
Block #7 Wet-on-Wet Multicolor Wash A Multicolored wash is composed of different colors here and there.
The difference between the variegated wash and multicolored wash:
The variegated wash is done with one color at one end of the swatch and another color at the other end of the swatch and then you allow the colors to mix in the center which will produce a third color. A multicolor swatch is done by dropping or swiping the colors in rather a random way and allowing the colors to spread out so that you get lots of different mixes around each color. (Explanation by ART member - Janice Bryant aka. RubberRabbit)
Block #9 Glazed Wash http://www.watercolorpainting.com/watercolorpainting/glazedwash.htm Glazing is a transparent painting technique that is often used to create luminous atmosphereic effect. A layer of transparent color is applied to a wet surface and allowed to dry. This underpainting then serves as a backdrop for shapes to be painted onto it directly with a brush, or for further transparent layers, or glazes, to be applied over it. Before applying a glaze over another layer of color, make sure the paper is absolutely dry or you will get opaque results. When you are ready to apply the glaze, rewet the paper by stroking water on with a brush using a light, quick touch so you don't saturate the surface. When the paper becomes too wet, the layers of paint are absorbed into each other, appearing dirty and overmixed, and thus opaque. Applying warm colors first will give you more luminous glazing effects, whereas using cooler colors first results in a denser, more opaque effect. Either way, for maximum transparency in glazing, use transparent and semitransparent colors. They will always give a painting greater light and depth. Create a simple landscape secne with glazes of warm colors under an element painted in a cool color.
*Definitions adapted from a book called Materials and Techniques for Today's Artist by David Dewey.
View Video Recording "The Color Wheel". Draw and Paint the color wheel in your journal. Include in this entry a journal about things learned in this lesson & any additional notes or comments.
Download Attachment: Tips for Selecting the right watercolor paper. Add the information to your notebook for the purpose of studying during the workshop and for future reference.
Check out the lettering art in Karen Blado's journal pages! http://www.kbladosdesign.com/blog/files/category-3.html ---------------------------------------------------------------------------------------------------------------
Color chart below created by Stephanie Chao (Click Thumbnail for a larger view)
Project #2Until the mixing of colors become second nature, it is advisable to make a chart of various combinations in a basic palette/kit so that you can refer to it when searching for a particular hue.
Experiment with the colors on your watercolor kit by making a color chart. Keep it to hand, as this chart will be invaluable to you when you are painting. The following links will give you examples. Create the chart according to your learning style and preference.
Information that I found from a book online. You may enjoy looking through it and finding points that may be beneficial. If you have small children, please be aware that some of the pages contain nudity in discussing how to draw the human anatomy. Though we are not studying the human anatomy at this time, the information provided in regards to sighting techniques is still beneficial for "any" type of drawing that we do. -------------------------------------------------------------------------------------------------------------------------
Viewfinders are like small windows that allow you to observe a section (small part) of a bigger picture. Viewfinders can be used with paintings, drawings or photographs.
When you use a viewfinder, you are concentrating on just one part of a picture that you can then sketch straight into your journal.
It is useful for developing your observational skills, for finding out about scale and to notice those all-important details. You can make your own viewfinder out of a thick piece of card. All you need to do is to cut a large enough hole in the card. It’s a good idea to put this viewfinder into your work journal. You can attach it to your work journal either by making two holes with a hole-puncher and then threading it into the spirals of the work journal, or just attaching it with a strip of cloth. It will then always be nearby when you need it and also becomes part of your record of work at the end.
2.Sgraffito and Stamped Sgraffito or "scratching out" can be a precise method of putting a white hightlight in a painting. It can be used for a glint of sparkle on water, or, if the flat edge of a blade is dragged along the surface of the paper, the water's surface. Other subjects can include the hightlights on the edge of an object when viewing it in the sun, perhaps the edge of a boat, or the "silver lining" of a cloud. The shapes produced by Sgraffito generally have to be simple and easily executed. Sgraffito http://www.art-cards.org/demonstration/sgraffito/ http://www.expertvillage.com/video/86173_advanced-painting-sgraffito.htm
You could use a sea sponge, or cut an old sponge that you previously used around the house.
Make textures on your watercolor paper/block with the sponge. One way of using this technique in watercolor painting is creating the illusion of trees.
