Tag Archives: no drawing watercolor

Resist, Wet or Dry? – Watercolor How-to Art Tip (WHAT?)

I am going to create a series of short posts on painting in watercolor. My goal is to post something at least once a week. I hope you will join me as I learn and experiment in watercolor.

The tips will be sometimes basic, sometimes investigative, sometimes just for fun. I hope to keep the tips short and informative. They may have accompanying video, as in this post, but may also be just text and images.

Without further ado then, let’s dive in to today’s topic; working with watercolor resist. “Resist” refers to a method of preserving the white of the paper before paint application.

In this test, I have used two methods, wax resist crayon and masking fluid. My wax resist is a clear wax resist crayon, Susan Scheewe or Dick Blick brand. My crayons came in a 4-pack, but there are many options out there (especially around Easter-Egg-painting-season). My masking fluid brand of choice is Pebeo Drawing Gum. I like this fluid because of its mid-tone gray and “inky” consistency.

For this “test,” I am applying the wax resist and masking fluid both on dry and wet paper. Check out the video below to see the results of the test.

Subscribe today! You'll learn about watercolor, even have access to process videos from time-to-time. Did we mention, your subscription is FREE!


By submitting this form, you are consenting to receive marketing emails from: CRM Endeavors Exploring Watercolor, 400 W. King St, Carson City, NV, 89703, https://colleenreynolds.com. You can revoke your consent to receive emails at any time by using the SafeUnsubscribe® link, found at the bottom of every email. Emails are serviced by Constant Contact

 

Baby Ducks

Painting #10 of my Big Bird March (continuing in to April) Challenge, “Baby Ducks.”

This painting is based on some photos I took in my Utah days at Fairmont park in Salt Lake City. Momma had a lot more children, but I focused on just these three. The painting is on Arches 140lb cold press, 7.5″x11″ (or 1/8 of a full sheet). Click on images to see a larger view in a new browser tab.

I drew the value study while communing with my kitties the night before. I like to do the drawing the same size as the painting, so I can trace up my drawing outlines to the watercolor paper. I feel I do better on the painting when I have done a drawing beforehand. It helps me to know my subject when I’m in the middle of flowing paper.

This time, I painted while hanging with my Little on Google Hangouts, so it may be a “little” incomplete. Mainly I need to retrieve a highlight in Momma’s eye, so she doesn’t look blind.

Stay tuned for a video preview and other updates. I am typing this now to to test my blog software capabilities, which has been acting “fussy” – grrr.

Sun Conures Talkin’ Smack

“Sun Conures”

Painting #4 of my 15×30 Big Bird March challenge. “Sun Conures” is a 5.5″x7.5″ watercolor on 140lb Saunders Waterford cold press paper. Click on the image to see a larger view in a new browser tab.

I have had this photograph for about 10 years and have always wanted to paint it. I took the photo at the Tracy Aviary in Salt Lake City. The birds were behind a cage, and the photo had lots of cast shadows from the fence. Challenge! I wanted them to appear to be in the wild.

I painted wet-into-wet directly (no pre-drawing) using Hansa Yellow Medium, New Gamboge, Perinone Orange, by Daniel Smith as well as Sap Green by Schminke and Ultramarine light by Holbein.

See the Youtube still-shot video below for visuals of painting stages as described.

I saturated the paper front and back, then used Viva paper towels to dab up most of the loose water. I began with the Hansa Yellow Medium and New Gamboge, painting the breasts and heads of the birds, leaving the eye and beak area on the left bird untouched. I added Perinone Orange to the heads and tails. Then added the Sap Green for the wings and tails. I lifted off the light side of the branch, then painted the dark under-shadows with blue and orange, letting all the colors mix on the paper. I used the same dark tone (with Ultramarine and orange) to paint the eyes and beaks.

After the paper had dried back enough to hold an edge, I used tea- to coffee-strength pigment to hint at background foliage and branches. I tried to just hint at the talons. I had to make up an additional branch for the right bird to hold (in the photo he was holding on to a metal bar with both its talon and beak).

I love the resulting colors and gestures of the birds. I feel like they are talking smack about me?

Only $95 for this original watercolor painting! The painting is 5.5″x7.5″ in a custom white mat with a black core to fit a standard 8″x10″ frame opening. Shipping $7 (if the painting does not need to be shipped, the shipping charge will be refunded).

 

 

I hope you will consider subscribing to this blog (if you haven’t already). See the easy form below or in the right sidebar (on a computer), or below (on a mobile device).

Subscribe today! You'll learn about watercolor, even have access to process videos from time-to-time. Did we mention, your subscription is FREE!


By submitting this form, you are consenting to receive marketing emails from: CRM Endeavors Exploring Watercolor, 400 W. King St, Carson City, NV, 89703, https://colleenreynolds.com. You can revoke your consent to receive emails at any time by using the SafeUnsubscribe® link, found at the bottom of every email. Emails are serviced by Constant Contact

Baby Robin – Sold!

“Baby Robin”

Just in time for Spring. Painting #3 of my 15×30 Big Bird March challenge. Click on the image to see a larger view in a new browser tab.

This little robin had just left the nest. I had been watching the robin family grow in our front honey locust tree over the previous month or so. Momma and poppa Robin were raising three babies. This baby Robin was the first to spread his (her?) wings. Baby Robin still had trouble with flight. He/she took a respite in our Impatiens pot right in front of me. I felt badly for scaring the poor little soul, but I am not sorry I was able to capture the scene.

I used the wet-in-wet method again. This time, though, I went in DIRECT – without a preliminary drawing. Doing a painting directly surely does make one pay attention to shapes not things.

I used New Gamboge, Transparent Pyrrol Orange and Quinacridone Rose by Daniel Smith, and Ultramarine Light by Holbein throughout the painting.  For the darks, I combined the Orange and Blue. I had a dilemma on which yellow to choose. Should I have used a cooler yellow to achieve some brighter greens?  Or do you like the warmer yellows that are more analogous to the orange in the bird’s breast? I went with the warmer yellow. Maybe I’ll paint this scene again and go the other way, just to do the test?

I quite like the little painting. I wonder whatever happened to Baby Robin? Robin families continued to build nests from year to year. Some years, the nests were built on precarious limbs, and the robin babies did not survive the winds. Or the neighborhood cats. This year, though, I witnessed all three babies fly away, once they found their wings. It made me extraordinarily happy.

This painting is for sale. $95 (Original Watercolor Painting 5.5″x7.5″ in a custom white mat with a black core to fit a standard 8″x10″ frame opening). Shipping $7 if applicable (Shipping payment will be refunded if not required).

 

Golden Winter Berries

My two-step demonstration painting for the Thursday watercolor class, “Golden Winter Berries.”  I gave the class a choice of three images, chosen because of the variety of edges we needed to depict, whether lost, soft or hard. Most chose the photo with the berries. 

We began with a 7.5″x5.5″ piece of Arches140 lb cold press paper taped to a piece of gatorboard.

I wet the surface completely. While the water soaked in a bit, I prepared my colors. We used New Gamboge, Pyrrol Red (both by Daniel Smith), and Ultramarine Light (Holbein).

I created a pile of medium-strength golden yellow by using mostly Gamboge, a little red and a little blue.

I mixed another pile of medium-strength brownish-red by using mostly red, a little yellow and a little blue.

Finally, I mixed up a pile of just Ultramarine blue.

I re-wet the paper, then dropped in all three colors, leaving some areas white, but letting the paint swim together to leave a lost edge.

After drying off that layer, I moved all three colors to the mixing area, this time in thick strengths. I wiped the brush through the three pigments and painted the branches using calligraphy strokes. I painted the berries, with two short “C-strokes” reflecting each other, to create a berry with a highlight. I then added some dark shadows, especially between the berries.

I used my rigger brush to sign my painting. I decided I liked the branches growing up, rather than hanging down. I then used the rigger to add more “twiggy” branches, and few outline strokes around some of the berries, using all three colors.

The painting took about 25 minutes (It has taken me longer to prepare this blog post  <smile>).

Today, I have two more days left in February, but I have three more paintings to complete my goal. Which means, I must paint at least TWO furry critters today! Stay tuned…

Subscribe?

Subscribe today! You'll learn about watercolor, even have access to process videos from time-to-time. Did we mention, your subscription is FREE!


By submitting this form, you are consenting to receive marketing emails from: CRM Endeavors Exploring Watercolor, 400 W. King St, Carson City, NV, 89703, https://colleenreynolds.com. You can revoke your consent to receive emails at any time by using the SafeUnsubscribe® link, found at the bottom of every email. Emails are serviced by Constant Contact

I hope you will consider subscribing. You can easily sign up with the form above or in the right sidebar (on a computer) or below (on a mobile device).

Fluffy Butt & Finding Nino

Fluffy Butt

Finding Nino

Numbers 5 and 6 for my 14×28 Furry Friends of February Challenge. “Fluffy Butt” and “Finding Nino” are both transparent watercolor 11″x7.5″ on 140 lb Arches cold press. Click on the images for a larger view in new browser tabs.

I painted both by first saturating the paper completely.

For “Fluffy Butt” I sketched in a basic contour edge really lightly.

I mixed up three different strengths (tea, milk, and cream) of a gray mixture with Phthalo Blue (GS), Indanthrone Blue, and Transparent Pyrrol Orange; all by Daniel Smith.

For “Finding Nino” I mixed up the same gray tones but added some New Gamboge with a touch of Raw Sienna Light for the eyes and ground.

For both paintings, I painted with the tea strength pigment first while the paper still had a sheen of wetness. The edges diffuse most on wet paper with wet pigment. I added first the milky tones,  then the creamy pigment, still in the really wet surface, to build up value and keep the edges really soft and lost. Going in with a thick pigment even on the wet surface allowed me to hold a soft edge around the head. I sprayed the whole painting with a soft mist to create some water burst effects, then let it dry at an angle.

While “Fluffy Butt” was drying, I began painting “Finding Nino” using the same process, but this time I did not do a pre-drawing but painted directly on the paper. I lifted out pigment around the eyes and nose. After drying the paper, I painted the eyes with yellow over the top of the gray tone. I added some yellow to the supporting background, so the eye color would not be isolated in the painting.

I went back to “Fluffy…” after he was all dry, and painted in some darks on the back, head, and under the tail. I added a hint of background to give him some context.

I quite like my fluffy kitties.

Nino was (is?) a fluffy black kitty who left me long ago and broke my heart. I have always hoped he wandered off and someone adopted him. He was only a year old when he disappeared. I surely loved that boy. Sigh. Here is me “Finding Nino” again.

 

 

Sold! What Did You Say?

What Did You Say?

What Did You Say? – Final

Portrait #2 for my 14×28 Furry Friends of February Challenge. “What Did You Say?” watercolor 7.5″x11″ on 140lb Arches cold press. Click on the image for a larger view in a new browser tab.

 

I made friends with this little guy just before Christmas last year in Boise, Idaho. I wonder if he will remember me when I visit again?

I sketched in a quick outline drawing directly on the paper using my lead holder (pencil) with 2B graphite. I exaggerated the forward tilt of the left-side ear to make the dog look more inquisitive.

The painting went really quickly. I will have to check the timing on the video clip, but I think the drawing & painting process took about 30 to 40 minutes total? I was trying something a little different for me. I still saturated the paper, front and back, but this time I did not dry it back to damp; instead, I went in while the paper was still really glossy wet.

I worked the shapes from the inside out, using thick paint. Instead of working light pigment and building up the values, I wanted to do more of an “all prima” method, achieving the correct values from the start.

I used Transparent Pyrrol Orange (TPO), Raw Sienna Light (RSL), and Pyrrol Red by Daniel Smith, and Ultramarine Light by Holbein.

I began around the snout and eyes, using strong pigment. I put a base of blue for the eyes and nose, being careful to paint around the highlight on the tip of the nose. I added TPO and red, letting all three colors mix on the paper, then drew the orange, yellow and red out to the hair. It was fun to watch the paint bleed out and leave a lost edge.

I used the RSL for the light hair at the top of the head, the bottom of the chin, and tips of the ears. When calling out the background, I rewetted the paper and applied a thinner mix of all the colors, creating a diagonal flow. I just hinted at the dog’s body so the focus stays on the face. I darkened the nose, eyes, and mouth with more blue, red and TPO. After the painting had dried off a bit, I added some calligraphy strokes to imply hair. I saved some random whites around the edges to create sparkle in the painting. I may want to lift off some brighter highlights in the eyes. What do you think?

Sold! Thank you, Denise Maxwell.

Update 2/7/20! I made two changes. Can you tell where?

 

Walking Down the Street, Pretty Woman – Update

Walking Down the Street, Pretty Woman – Final

This was the 30th painting for my 30×30 Portrait Challenge for January 2020. “Walking Down the Street, Pretty Woman” watercolor 11″x7.5″ on 140 lb Arches cold press. Click on images to see a larger view in new browser tabs.

I painted it on January 30th. I have been staring at it since. The neck was originally too wide. This is the fix. I also made some minor adjustments to the shoulder, hand, and arm. It’s WAY better now, me thinks. 

Stage 1

Compare to the earlier version.

Available for purchase. $185 (plus tax or shipping). Includes a custom mat without outside edge dimensions to fit a standard 11″X14″ frame.

Buy Now $185

 

Walking Down the Street, Pretty Woman

Walking Down the Street, Pretty Woman

Portrait #30 for my 30×30 Portrait challenge. “Walking Down the Street, Pretty Woman” watercolor 11″x7.5″ on 140lb Arches Cold Press. Portrait #30 on the 30th! Whew! Click on the images for a larger view in new browser tabs.

I dashed off the sketch in the morning, then had to finish up two paintings after my watercolor class to meet the 30×30 goal, but I did it! Yay!

I saturated the paper front and back. While the paper soaked, I mixed up five “piles” of paint to a milky strength; Rose of Ultramarine, Raw Sienna Light, Pyrrol Red, Cascade Green (by Daniel Smith), and Ultramarine Blue (by Holbein). I then dried the paper back to damp.

Sketch

I started with the background, painting around the whites, letting the colors mix on the paper (rather than in the palette). I used the blue, RoU, and Cascade Green and a bit of Raw Sienna for the background colors.

For the hair, I painted the first layer with Raw Sienna Light, then moved to the skin tones, adding some Pyrrol Red to the mix. I used my S-Caress stroke to keep all the edges soft and indistinct. I fixed the shoulder width between the drawing and painting, bringing the shoulder and arm shadows in closer to the body.

I used a light layer of Cascade Green for the blouse base, then added some Ultramarine Blue and let the paint swim around to create the impression of a fabric pattern. The hardest part around the torso was the hand. Keeping it indistinct but accurate (I hope).

I mixed all the colors together to create a dark for the shadows in the hair. I used an Ultramarine base for the eye sockets and irises of the eye,  but painted the eyelashes and brows with the same murky dark. I used the Ultramarine Blue and Cascade green with some Rose of Ultramarine for the soft shadows in the face and neck. I could probably still fix some things, but I like the freshness of it as it is.

If you are interested in purchasing this painting for $185 unframed (plus tax and or shipping, where applicable). It comes with a custom mat, sized to fit in a standard 14″x11″ frame.

Just click the Buy Now button below. Easy Peasy.

Buy Now $185

 

Man in Crowd – Painting

Man in a Crowd – Painting

Portrait #29 for my 30×30 Portrait Challenge. Watercolor 7.5″x11″ on 140lb Aches Cold Press paper. Click on images for a larger view in new browser tabs.

I wanted to keep this one unrealized, like the on/off drawing sketch. I used Rose of Ultramarine, Cascade Green, Cobalt Blue Violet, Raw Sienna Light, and Transparent Pyrrol Orange all by Daniel Smith. I saturated the paper, then dried it back to damp, so I could hold an edge. I painting around the light shapes with milky strength pigment, letting the colors mix on the paper. I like the soft diagonal effect of the paint strokes in the background.

I used RoU, CBV, and Cascade Green in the background and for the grays of the hair. I used the TPO and RSL for the skin tones, adding RoU for the shadows. For the shadows in the shirt, I used the RoU and Cascade Green, then some CBV for the darker shadows.

Man in a crowd – Sketch

For ONCE, I stopped before I put in too much detail. I quite like the sketchiness of the painting. Sometimes working on a deadline makes me focus.