Watercolour Workshop: Simple Steps to Success
For those who have always wanted to paint but don't know where to start, create artworks of your own with maximum success and minimal frustration. Essential techniques are demonstrated in 12 step-by-step projects while the overview feature keeps you on track showing the entire project sequence. Written by practising artists, you will be encouraged to create your own style and develop skills that will breathe new life into your paintings.
appear to change depending on how near or far they are from you, because of atmospheric conditions. In the foreground, colours are at their warmest and strongest and have the widest range of tones. With distance, colours lose their intensity, becoming bluer and lighter with less tonal variation. To create a sense of perspective in your paintings, forget what colour you think an object is and paint it the colour you actually see. This will be determined by how near or far away the object is. Red
(1⁄2in) flat brush. 7 Field gate | 83 3 Mix French ultramarine and burnt sienna to create a warmer blue wash for the path and bring it into the foreground. Paint this colour on to slightly damp paper. 4 Add a line of burnt sienna to the edge of the road, to give it a little warmth. Using the same colour, drybrush the dry paper of the gate post. 5 Add lines of a mix of cadmium red and burnt sienna to the foliage with the No. 9 brush. Soften the lines with water, then add more details with
Portrait format Paper in the shape of a rectangle that is taller than it is wide. It was traditionally used for standing portraits. resists include masking fluid, masking tape, and wax. Rough paper Paper with a highly textured surface that has been left to dry naturally, without pressing. Rule of thirds The three colours that cannot be mixed together from other colours: red, yellow, and blue. Any two of these colours can be mixed together to make a secondary colour. An aid to composition,
to half dry. While the paper is still damp, add spots of water with the tip of a round brush. The water pushes the red paint out to create circles. Paint an orange wash and allow to half dry. Drop in a watery mix of red. The red runs back into the orange to create cauliflower-like shapes with hard edges and diluted centres that let the orange show through. wet-in-wet study As painting wet-in-wet is not predictable, it is a good idea to practise studies whenever you can. Here the method has
and green. Primary colours Neutrals Complementary secondary colours Vibrant colours | 41 harmonious paintings Colour is one of the most direct ways of expression available to you when you paint. The instant you use colours together they form an association with one another that helps to suggest the mood of the painting. Limiting colours to complementary opposites enables you to create simple, vibrant paintings with a range of harmonious tones. Red and green Yellow and purple The