NEW WATERCOLOURS – PART II
“EBB and FLOW” – part II
Due to ‘dogs’, ‘shopping’ and just plain ‘sitting’, I didn’t get round to painting yesterday BUT, today is another day…
Further layers and glazes have been laid down in the sea area, using watery mixes of Phthalo Blue and Sap Green. You will notice that the brush marks are made in the direction of the water – this starts to give the painting the ‘movement‘ that is so important.
This picture starts to show more detail as the layers are built up and will be easier to see as the work progresses:
I also softened some edges with a ‘thirsty’ brush as well as damp cotton wool [pop the cotton wool into clean water and make sure as much water as possible is squeezed out, otherwise you risk a ‘bloom’]. The sea area in the middle has also been underpainted with a watery Verditer Blue and Phthalo Blue mix.
The composition still looks somewhat unbalanced but, as the other rocks below the surface start to appear, things will balance out to ultimately ‘frame’ the focal point.
The first glaze has also been added on top of the under painting, over some of the rocks. I used a slightly stronger mix of Indigo and Sap Green and, while the paint was still wet, I dropped in some Burnt Umber mixed with Permanent Rose. Once the ‘shine’ left the surface [look at it against the light], I scraped into the paint with a palette knife to start indicating the ‘form’ of the rocks. If you do this too soon, the paint will simply creep back.
I have included the next two close up pictures to show the brush strokes in a little more detail. You can also see the areas which were softened with the damp cotton wool…
TIP: Damp cotton wool is the best ‘tool’ to soften edges. If you do happen to end up with a ‘bloom’ [like the small one on the rock in the pic above], simply wait for it to dry completely, then soften the hard edges again… ta-da!
“SEA PINKS” – part II:
The rock surface has been glazed again with Indigo, keeping ‘rock shapes’ in mind. Again, while the paint was still wet, I dropped in some stronger mixes of Yellow Ochre and Winsor Yellow to indicate where the lichen is growing. I can see that some of these lichens are a creamy/white colour, so, rather than try and mask them out, I used [and will use again] a ‘dry brush’ technique. That way when I lay in subsequent glazes, I can save some of these textured areas.
By the way, I forgot to mention that the paper I am using is 300lb Saunders Waterford NOT. Paper is a personal choice and very much depends upon your painting style preferences – this is my ‘paper of choice’ [sometimes I use ROUGH] plus, I hate fiddling around stretching paper.
My brand choices of watercolour paint are Winsor & Newton, Daniel Smith, Sennelier and, occasionally, M.Graham & Co.; all are artists’ quality.