Page 106 - International Artist2 110
P. 106

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
   101   102   103   104   105   106   107   108   109   110   111