The Artist's Watercolour Problem Solver by Artist Magazine The

Author:Artist Magazine, The
Language: eng
Format: epub, pdf
Publisher: HarperCollins Publishers
Published: 2014-08-13T04:00:00+00:00

Winter Tree at Frampton upon Severn

28 × 20 cm (11 × 8 in)

This simple picture, using the direct method, was painted on a bitterly cold day when it would have been impossible to have used the wash method as the paint would not have dried. Despite its hasty appearance this painting took quite a long time to do. I was with two painting companions and despite our determination not to be the first one to give up we were eventually beaten by the cold and retired to the nearby pub! Although it may appear very unfinished (I do not believe in ‘finished’ paintings anyway!), I hope it captures the feeling of the bare branches against the building.

Some artists who use the wash method feel that the transparency of the pigments is very important. In one of the trial washes, putting a shadow across a roof as, for example, in my painting Siena, the transparency of the shadow mix is important. This is an indeterminate area though, as all watercolour pigments are transparent to some extent, depending on how much water is used in the wash.

Without going too deeply into colour mixing theory and the transparent properties of pigments, it is worth having a little knowledge when using the ‘wash’ method. Trevor Waugh achieves a remarkable effect of colour and light in his watercolours from a skilled use of this method. However, it is surprising how effective and successful washes of, for example, the earth colours can be, even though they are not known for their transparency.

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