Start by observing the colors in the nature scene you want to paint. Notice the shades in the sky, the hues of the leaves, and the colors reflected in the water. You might be surprised by the variety! For example, greens in nature range from bright lime to deep forest—each has its place in your painting.
Mastering Watercolors : A Practical Guide
Watercolor is a magical and often challenging medium. Once mastered, it will reward you with the pleasure of creating striking works of art of infinite variety.
This book is a culmination of many years of teaching. Through it, I set out to clear up widespread misconceptions about painting with watercolors. These common confusions hold watercolor artists back from achieving their full potential.
Full of practical advice and techniques, my aim is to simplify watercolor painting to assist you in your personal watercolor adventure. Enjoy the journey!
Избранные страницы
The importance of water
The importance of time
Color mixing formula
Tone is king
Painting landscapes
Shadows vs reflections
Street scenes
Morning street demonstration
Wet weather street demonstration
Beach demonstration
Sail boats demonstration
Fixing a watercolor
En plein
Marketing your work
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Mountain vista demonstration
Country shed demonstration
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Mastering Watercolors: A Practical Guide
Joe Cartwright
Недоступно для просмотра – 2023
Mastering Watercolors: A Practical Guide
Joe Cartwright
Недоступно для просмотра – 2015
Joe Cartwright has been painting with watercolors for over twenty years.
Fourteen years ago he left a 30 year career in marketing to follow his passion of watercolor painting. For most of this time he has taught watercolor, both in classes and workshops, and gets a special thrill at seeing his students progress in this magical medium.
It was his experience with his students, learning to answer their many and varied questions in as simple a way as possible that caused him to produce his book “Mastering Watercolors – a practical guide.”
Charles Warren Eaton
Known as “the pine tree painter,” Charles Warren Eaton was a leading second-generation American tonalist known for his mastery of the watercolor medium. In 1879, Eaton left his hometown of Albany, New York and moved to New York, where he enrolled as a part-time student at both the Art Students League and the National Academy of Design. The beginning of his formal academic training coincided perfectly with the rise of American tonalism in the 1880s; he began to paint subtle, atmospheric landscape echoing the poetic approach of George Inness, and executed with a level of proficiency which secured his reputation
Known as “the pine tree painter,” Charles Warren Eaton was a leading second-generation American tonalist known for his mastery of the watercolor medium. In 1879, Eaton left his hometown of Albany, New York and moved to New York, where he enrolled as a part-time student at both the Art Students League and the National Academy of Design. The beginning of his formal academic training coincided perfectly with the rise of American tonalism in the 1880s; he began to paint subtle, atmospheric landscape echoing the poetic approach of George Inness, and executed with a level of proficiency which secured his reputation as one of the most promising American talents of the period. In 1890, Childe Hassam and Eaton became two of the founding members of the New York Water Color Club, an influential artist organization at the forefront of the tonalist movement.(1)
Tonalism peaked in popularity during the 1890s, at which point Eaton had begun to incorporate a darker, more abstracted approach to his landscape compositions. In 1900, Eaton’s style shifted and he adopted a more gestural, expressive method, which he applied to his depictions of the white pine forests in Connecticut—works which were integral to his impressive legacy in American art. Eaton went abroad during the first decade of the twentieth century, which resulted in lovely landscape scenes depicting areas throughout Belgium, Holland, and northern Italy, particularly Venice and Lake Como. He was hired by the Great Northern Railroad Company in 1921 to paint Glacier Lake in Glacier National Park—twenty-one paintings stemmed from this commission, which were among the last of his painted works.
Eaton experienced a rapid rise to artistic fame, producing award-winning oils, watercolors, and pastel works that were displayed in exhibitions including the National Academy of Design, Salmagundi Club, the 1893 World Columbian Exposition, the Exposition Universelle in Paris, and Pan-American Exposition in 1910, to name a few. Today, his works can be seen in the Brooklyn Museum of Art, Georgia Museum of Art, Indiana State Museum, Montclair Art Museum, San Diego Museum of Art, and Smithsonian American Art Museum.
David Cleveland, “The New York Water Color Club,” The Magazine Antiques CLXVIII (November 2005), 117.
Known as “the pine tree painter,” Charles Warren Eaton was a leading second-generation American tonalist known for his mastery of the watercolor medium. In 1879, Eaton left his hometown of Albany, New York and moved to New York, where he enrolled as a part-time student at both the Art Students League and the National Academy of Design. The beginning of his formal academic training coincided perfectly with the rise of American tonalism in the 1880s; he began to paint subtle, atmospheric landscape echoing the poetic approach of George Inness, and executed with a level of proficiency which secured his reputation as one of the most promising American talents of the period. In 1890, Childe Hassam and Eaton became two of the founding members of the New York Water Color Club, an influential artist organization at the forefront of the tonalist movement.(1)
Tonalism peaked in popularity during the 1890s, at which point Eaton had begun to incorporate a darker, more abstracted approach to his landscape compositions. In 1900, Eaton’s style shifted and he adopted a more gestural, expressive method, which he applied to his depictions of the white pine forests in Connecticut—works which were integral to his impressive legacy in American art. Eaton went abroad during the first decade of the twentieth century, which resulted in lovely landscape scenes depicting areas throughout Belgium, Holland, and northern Italy, particularly Venice and Lake Como. He was hired by the Great Northern Railroad Company in 1921 to paint Glacier Lake in Glacier National Park—twenty-one paintings stemmed from this commission, which were among the last of his painted works.
Eaton experienced a rapid rise to artistic fame, producing award-winning oils, watercolors, and pastel works that were displayed in exhibitions including the National Academy of Design, Salmagundi Club, the 1893 World Columbian Exposition, the Exposition Universelle in Paris, and Pan-American Exposition in 1910, to name a few. Today, his works can be seen in the Brooklyn Museum of Art, Georgia Museum of Art, Indiana State Museum, Montclair Art Museum, San Diego Museum of Art, and Smithsonian American Art Museum.
David Cleveland, “The New York Water Color Club,” The Magazine Antiques CLXVIII (November 2005), 117.
Mastering Basic Strokes
Mastering the basic strokes in watercolor is like learning the ABCs before you start reading. It sets the foundation for your painting journey. Let’s break it down into three fundamental techniques.
Wet-on-Wet Technique
Don’t let the name fool you – the wet-on-wet technique isn’t a complex secret of the art world. It’s just about applying wet paint onto a wet surface. Why do this? It allows the colors to flow into each other, creating smooth transitions and subtle gradients. This technique is perfect for painting soft, diffused effects like clouds or reflections on water.
Dry Brush Technique
On the flip side, the dry brush technique involves using a brush that is relatively dry but still holds paint. This results in a brush stroke that has a textured, scratchy appearance. It’s great for creating the illusion of detail without actually painting every leaf or blade of grass. Imagine the rugged bark of a tree or the rough texture of a rocky mountain—this is where the dry brush technique shines.
Washed-Out Technique
Ever looked at a watercolor painting and wondered how the artist achieved that faded effect? That’s the washed-out technique at work. By adding water to the paint after it’s applied or by using a very diluted paint, you can achieve a washed-out look. This technique is often used for creating the illusion of distance in landscape paintings or adding a sense of light and airiness to the scene.
Creating Textures
Textures add depth and interest to your painting, making your depiction of nature more realistic and engaging. Let’s explore some unconventional ways you can create textures in your watercolor paintings.
Using Salt
Yes, you read that right — salt isn’t just for seasoning your food. When sprinkled on wet paint, salt absorbs the water and pushes the pigment away, creating a snowflake-like pattern. Imagine using this technique to paint a starry night sky or adding texture to a sandy beach. The size of the salt grains can even affect the result: larger grains like kosher or sea salt create bigger patterns, while table salt gives you smaller, more delicate textures.
Using Alcohol
Just a few drops of rubbing alcohol can work wonders on a wet wash. Alcohol pushes the pigment away, creating areas of light amidst the color. This technique is perfect for painting nature in watercolor, especially when you’re depicting something like the dappled light in a forest or bubbles in water.
Using Tissue Paper
Who knew that tissue paper could be an artist’s tool? When pressed onto a wet wash and carefully lifted, crumpled tissue paper leaves a beautiful, textured pattern behind. This technique is useful for creating the illusion of foliage or texture in the landscape without painstakingly painting each detail.
Painting Different Elements of Nature
Now that you’ve got the basics down, let’s dive into the heart of painting nature in watercolor — tackling different elements of the great outdoors. From the sky above to the water below, we’ll cover how to bring these scenes to life.
Painting Trees and Foliage
When painting trees and foliage, think about the overall shape and volume first, not individual leaves. Start with a light wash to define the shape, then add darker tones for depth. Remember, it’s not just about green; trees and foliage encompass a wide range of colors. Fall foliage? Think oranges, reds, and yellows. A pine tree in winter? Dark greens and blues might be your go-to.
Painting Water and Reflections
Water can be tricky—it’s transparent, reflective, and constantly moving. Start with a light wash for the water, leaving some areas white to indicate light reflecting off the surface. For reflections, paint them as they are—not as a mirror image, but as colors and shapes distorted by the water’s surface. Remember, water isn’t always blue. Its color changes based on the sky, surrounding landscape, and even the time of day.
Painting Sky and Clouds
For a convincing sky, a smooth, blended wash works best. Start with a light blue at the horizon, gradually deepening the color as you move up. For clouds, remember they’re not just white puffs— they have shadows and volume. Add shades of gray and even blue for those shadows, and leave the white of the paper for the brightest parts. This approach can lead to some stunning skyscapes in your journey of painting nature in watercolor.
If you’re looking to expand your watercolor painting skills to include natural elements, don’t miss the workshop ‘How to Paint Water’ by Jauni (tofublock). This workshop will teach you essential techniques for painting realistic water, allowing you to capture the beauty of nature more effectively in your artwork.
