Painting Watercolour Outdoors by Hunt Geoff;

Author:Hunt, Geoff;
Language: eng
Format: epub
Publisher: The Crowood Press

‘WET IN WET’

‘Wet in wet’ is a cousin to what your oil painting colleagues are doing, and for which their smart term is alla prima, which simply means that you are painting the work in one relatively short session so that the paint stays wet the whole time. Working in watercolour outdoors, especially in this country, this is sometimes not an option you choose, but one imposed upon you because conditions are so damp or humid, time is short, and the paper never really dries. But you can exploit this state to create and model soft transitions as long as you work with the paper and paint instead of against them. You can gauge how damp the paper may be by very gently touching it with the heel of your hand – not your fingertips, which may be slightly greasy, imperceptibly to you, but enough to affect the way the watercolour wash settles. Sometimes the ‘wet in wet’ principle can produce interesting and unexpected results. The Kew Bridge example shown was done on an extremely wet day – pouring rain, in fact – and I found that the whole background stayed workable, almost like a wet oil painting. I could carry on wiping out or adding colour as long as I wished. You can produce something like these conditions, if you like them, by wetting the paper with a small handspray. The drawback of a very wet technique like this is that nothing ever dries enough to paint any hard detail (see Chapter 7, Autumn colours, Cannizaro Park), but on this occasion it dried just enough to allow me to render the barge at the right.

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