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FINISHING
Acrylic varnish is the easiest way to seal and protect these paintings. Spraying is
the best method of application. If you don’t have a spray gun and compressor, use
a fine bristled nylon brush about 3 inches wide to apply the varnish. If you have
used charcoal or pastel, a light spray with fixative will save the surface from being
disturbed by the nylon brush.
Framing can be as simple or as complex as you like. The panels are extremely
rigid, so small museum moldings can be used on large works. Photographers bond
photographs to aluminum composite panel. By gluing a simple wooden frame, set in
a couple inches from the edge, to the back of the work, the image can be floated the
thickness of the frame from the wall.

Echoes Through the Fog, 57 x 76 cm (22 x 30")
300gsm hot-pressed paper was bonded to
aluminum composite panel for this painting. There
was no watercolor gesso applied to the paper prior
to painting on it. Watercolor, charcoal, gouache and
gesso were the main materials used. A protective
coating of satin acrylic varnish was built up by spray.

It is possible to take advantage of the strong, vibrant colors and fine detail available with hot pressed paper then, with a vigorous application
of watercolor gesso, build up heavy texture where required.

I have tried dozens of different papers and goes well. My advice is to find a paper that
VISIT JOHN LOVETT ONLINE
have settled on a couple of favorites, but suits your style of painting and get thoroughly VISIT JOHN LOVETT ONLINE
I still love trying out a new or unusual paper. used to it, but remain inquisitive and www.johnlovettwatercolorworkshop.com
www.johnlovett.com
Sometimes it’s a challenge, sometimes a experiment with new and different papers. www.johnlovettwatercolorworkshop.com
disaster and sometimes blissful joy when all After all, “It’s only a sheet of paper.”

1. How to Paint Landscapes
The first type of painting we will look at is the rural landscape.
JOIN JOHN LOVETT ON HIS 2016 WORKSHOP TOUR TO ITALY! What You y working your way through the demonstration painting, you will Landscapes 1
It is a great way to come to grips with a number of basic techniques:
It is a great way to come to grips with a number of basic techniques:
AVAILABLE NOW • How to create there are other techniques that you can work through in this section of
Will Learn
Blearn the WORKING PROCESS involved which is applicable to
• How to do the
basically any painting. I have listed what you will work through as part
different types
of learning this working process.
of washes
Once you have worked your way through the demonstration painting,
• How to use edge
Once you have worked your way through the demonstration painting,
treatments
there are other techniques that you can work through in this section of
painting you do.
the book as SUPPLEMENTARY PROJECTS which are relevant to any
convincing detail
• How to plan before
JOHN LOVETT’S JOHN LOVETT'S Wquickly cover large areas of your painting. These should starting point; as you react to the progress of your painting, you Thumbnail sketches Soft-edged graded wash Building up details
How to use different types of washes, understand edge treatments,
treatments,
create convincing detail and learn how to plan your painting
hat we will look at are the various methods available to
hat we will look at are the various methods available to
To understand the sequence of events and techniques involved, these next exercises
will work towards producing this simple little landscape painting
be the first marks you make after your initial drawing. They will
initial plan.
1
will probably find yourself deviating and improving upon the
Your Working Process The following demonstration takes you step-by-step through your basic watercolour working process.
The following points are a summary of what we will be doing:
establish your colour and tonal arrangements and build the
underlying foundation for your painting. Sometimes these initial
If you are working in watercolour, it is important to decide
• Map out first marks
NEW BOOK Textures, Techniques Creating the landscape painting exactly where areas of white paper must be preserved. This will From the top down • Variation in colour, tone, shape and size • Creating a band of light
areas will remain unchanged as finished areas of your painting.
• Gradation from dark to light
• Organise tonal values
• Work out major shapes
• Subject and definition –
the painting is complete.
Sometimes these areas will be worked over and modified before
Flat wash
• Preserving white paper
usually be around your centre of interest, as your major tonal
• Feathering/darkening of edges
making more sense
• Consistent tone, colour
Tree shapes
contrast will be here. The location of the white areas must be
The important thing is to have a rough overall plan for your
and texture
& Special Effects
• Focus on center of interest
Landscapes
Thumbnail Sketches
established right from the start. Acrylic paint is a little more
• Varying edges
painting - a map of the major shapes if you like. This is just a
• Spots, strokes and squiggles
• Random and naturally placed marks
down right from the start.
Variegated wash
• Using darks – pigment/water ratios
forgiving, but it still helps to have fresh, confident areas laid
A good way to organize your tonal values and map
• Contrasting light and dark
• Variation and simplicity
• Clean, sharp edges
out where your first marks should go is with a simple
thumbnail sketch. About the size of a credit card,
Graded side washes
• Controlling movement to the
• Marks for details – vary size
three or four of these sketches allow you to shuffle
20
focal point
things around to best create the feeling you are
• Side application of washes
and spacings
for Watercolor
after. Use a soft pencil and break your subject up
• Working colour toward the foreground
Wet the paper
• Focusing attention on the
Now that you have thoroughly mixed your color, the next step is
across the top with your 1” Flat brush fully loaded with paint.
into three or four different tonal values. Don’t worry
Now that you have thoroughly mixed your color, the next step is
about details - just the major shapes, and be sure
Reload your brush, then run another stroke across, just making
• Creating interest without distracting
to completely shade in each area with a selected
to wet your paper all over with clean water. Prop your board up so
to wet your paper all over with clean water. Prop your board up so
from the center of interest
the top is a couple of inches higher than the bottom. Use a clean
the top is a couple of inches higher than the bottom. Use a clean
contact with the bead on the bottom of your first stroke. Repeat
this process, carefully covering one third of your paper.
• Adding texture
1/2” bristle brush and start at the top, carefully working a bead of
tonal value. Use them as a starting point, and Wet the paper While your paper is still wet, run a bead of your mixed Cobalt Foreground features center of interest
1/2” bristle brush and start at the top, carefully working a bead of
sketch here as the basis for this painting.
water down to the bottom. Make sure you don’t miss any paper,
Loosen up your deviate as you see fit. We will use the second water down to the bottom. Make sure you don’t miss any paper, 21
particularly on the edges
particularly on the edges
paintings and turn TIP
SEE FULL DETAILS on the Inside Back Cover. them into dynamic B O N U S It is important to
completely cover the
whole width of the
works of art
paper as you work
your way down.
Don’t be tempted to
go back in and adjust
things or you will end
SECTION
colors you will need to
To order, please visit www.InternationalArtist.com/shop How To Set Up Your These are all the Flat Wash I chose this one up with a patchy mess.
complete this painting.
Studio and Optimize
Materials
A flat wash in watercolor is one of the most basic skills. We will use it here to produce
a smooth, even Cobalt sky. Our goal is to produce a flat area of consistent tone, color
Your Workspace
What If It
a smooth, even Cobalt sky. Our goal is to produce a flat area of consistent tone, color
1” flat brush A flat wash in watercolor is one of the most basic skills. We will use it here to produce All Goes Wrong?
and texture. This consistency is not often called for in a painting, as a wash with some
½” bristle brush and texture. This consistency is not often called for in a painting, as a wash with some
variation is usually more interesting. Occasionally though, a pure flat area provides an
3” Hake brush variation is usually more interesting. Occasionally though, a pure flat area provides an The only way to repair a wash
interesting relief to more dynamic areas. Once you can produce a perfectly flat wash,
like this is to work back over the
¼ sheet cold press interesting relief to more dynamic areas. Once you can produce a perfectly flat wash, entire wash and redissolve the
paper taped to a you will find it easy to move on to graded and varied washes. Use masking tape to seal the edge of the paper. pigment. Use your soft, 1” flat
backing board brush and water. Don’t scrub,
Grading out and forth over the entire wash.
but gently work the brush back
Grading out
Once you reach the one third mark, make the last stroke with a little less paint loaded
Once you reach the one third mark, make the last stroke with a little less paint loaded
on your brush. We don’t want a bead at the bottom of the final stroke. It can bleed out
into the damp paper. If need be, this bleeding out can be encouraged with your Hake
into the damp paper. If need be, this bleeding out can be encouraged with your Hake
Thoroughly mix it up on your brush. We don’t want a bead at the bottom of the final stroke. It can bleed out Once the pigment has been
loosened, work your way evenly
brush. Make sure the brush is clean and dry, then very gently and lightly feather it over
down from the top to re
brush. Make sure the brush is clean and dry, then very gently and lightly feather it over
Squeeze out a lump of Cobalt Blue about half the size of the final edge to spread the pigment. Don’t work it back up into the wash; feather it do this before the paint dries 23 23
the final edge to spread the pigment. Don’t work it back up into the wash; feather it
distribute the pigment. If you
a pea and mix it with about a desert spoon full of water.
down into the clean damp paper.
down into the clean damp paper.
The aim is to have more than you will need to cover a third of
properly it will be an
your paper. Use your 1” brush and mix thoroughly until all the
paint is completely dissolved. Check your brush from time to
22 time for any undissolved pigment.
Watercolour Workshop 105
John Lovett_110.indd 105 6/22/16 11:22 AM
John Lovett.indd 125 2/19/15 10:42 AM