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JOHN LOVETT BOOK FINAL CLEARANCE!
If you want to know how to create the textures and special
effects that will turn your watercolors into works of art,
1
this is the book that will help you do just that
1. How to Paint Landscapes 128 pages divided into 9 sections each crammed
Landscapes
The first type of painting we will look at is the rural landscape.
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:
y working your way through the demonstration painting, you will
Blearn the WORKING PROCESS involved which is applicable to full of demonstrations and step by step instructions
What You basically any painting. I have listed what you will work through as part
Once you have worked your way through the demonstration painting,
Once you have worked your way through the demonstration painting,
there are other techniques that you can work through in this section of
Will Learn of learning this working process.
there are other techniques that you can work through in this section of
• How to do the there are other techniques that you can work through in this section of
SUPPLEMENTARY PROJECTS which are relevant to any
different types the book as SUPPLEMENTARY PROJECTS which are relevant to any on how to paint
of washes
techniques involved, these next exercises
• How to use edge painting you do. To understand the sequence of events and techniques involved, these next exercises
techniques involved,
painting
painting
treatments
The following demonstration takes you step-by-step through your basic watercolour working process.
Your Working Process The following demonstration takes you step-by-step through your basic watercolour working process.
The following demonstration takes you step-by-step through your basic watercolour working process.
The following demonstration takes you step-by-step through your basic watercolour working process.
• How to create will work towards producing this simple little landscape painting • Landscapes • Boats & Water
convincing detail
• How to plan before understand edge treatments, Building up details
The following points are a summary of what we will be doing:
treatments,
How to use different types of washes, understand edge treatments, Creating the landscape painting • Subject and definition –
Soft-edged graded wash
making more sense
create convincing detail and learn how to plan your painting
plan your painting
• Focus on center of interest
• Gradation from dark to light
• Spots, strokes and squiggles
• Preserving white paper
• Map out first marks
• Feathering/darkening of edges
• Random and naturally placed marks
starting point; as you react to the progress of your painting, you
starting point; as you react to the progress of your painting, you
starting point; as you react to the progress of your painting, you
Thumbnail sketches Thumbnail Sketches
will probably find yourself deviating and improving upon the
will probably find yourself deviating and improving upon the
• Work out major shapes
Tree shapes
• Varying edges
Graded side washes
A good way to organize your tonal values and map
• Using darks – pigment/water ratios
hat we will look at are the various methods available to
• Side application of washes
Flat wash
• Consistent tone, colour
• Clean, sharp edges
out where your first marks should go is with a simple
Wquickly cover large areas of your painting. These should will probably find yourself deviating and improving upon the • Organise tonal values about details - just the major shapes, and be sure • Contrasting light and dark 21 1 • Buildings & • Still Life
If you are working in watercolour, it is important to decide
If you are working in watercolour, it is important to decide
If you are working in watercolour, it is important to decide
exactly where areas of white paper must be preserved. This will
initial plan.
• Creating a band of light
thumbnail sketch. About the size of a credit card,
• Variation in colour, tone, shape and size
exactly where areas of white paper must be preserved. This will
exactly where areas of white paper must be preserved. This will
• Focusing attention on the
be the first marks you make after your initial drawing. They will
usually be around your centre of interest, as your major tonal
three or four of these sketches allow you to shuffle
Architectural
usually be around your centre of interest, as your major tonal
usually be around your centre of interest, as your major tonal
• Marks for details – vary size
Variegated wash
establish your colour and tonal arrangements and build the
and texture things around to best create the feeling you are
center of interest
contrast will be here. The location of the white areas must be
• Working colour toward the foreground
• Variation and simplicity
and spacings
contrast will be here. The location of the white areas must be
contrast will be here. The location of the white areas must be
• Controlling movement to the
underlying foundation for your painting. Sometimes these initial
after. Use a soft pencil and break your subject up
established right from the start. Acrylic paint is a little more
established right from the start. Acrylic paint is a little more
established right from the start. Acrylic paint is a little more
areas will remain unchanged as finished areas of your painting.
into three or four different tonal values. Don’t worry
Sometimes these areas will be worked over and modified before
• Creating interest without distracting
forgiving, but it still helps to have fresh, confident areas laid
forgiving, but it still helps to have fresh, confident areas laid
from the center of interest
to completely shade in each area with a selected
deviate as you see fit. We will use the second
down right from the start.
down right from the start.
The important thing is to have a rough overall plan for your
• Adding texture
the painting is complete.
sketch here as the basis for this painting.
painting - a map of the major shapes if you like. This is just a forgiving, but it still helps to have fresh, confident areas laid focal point tonal value. Use them as a starting point, and Foreground features to wet your paper all over with clean water. Prop your board up so From the top down Landscapes Features • Birds & Animals
Wet the paper
Now that you have thoroughly mixed your color, the next step is
the top is a couple of inches higher than the bottom. Use a clean
1/2” bristle brush and start at the top, carefully working a bead of
20 These are all the particularly on the edges While your paper is still wet, run a bead of your mixed Cobalt
across the top with your 1” Flat brush fully loaded with paint.
water down to the bottom. Make sure you don’t miss any paper,
Reload your brush, then run another stroke across, just making
colors you will need to
contact with the bead on the bottom of your first stroke. Repeat
complete this painting. this process, carefully covering one third of your paper.
Materials
I chose this one
1” flat brush Flat Wash
½” bristle brush TIP
3” Hake brush
It is important to
¼ sheet cold press
completely cover the
A flat wash in watercolor is one of the most basic skills. We will use it here to produce
paper taped to a a smooth, even Cobalt sky. Our goal is to produce a flat area of consistent tone, color whole width of the
backing board paper as you work
and texture. This consistency is not often called for in a painting, as a wash with some
your way down.
variation is usually more interesting. Occasionally though, a pure flat area provides an
Don’t be tempted to
interesting relief to more dynamic areas. Once you can produce a perfectly flat wash,
you will find it easy to move on to graded and varied washes.
go back in and adjust
things or you will end
up with a patchy mess.
Thoroughly mix it up
Squeeze out a lump of Cobalt Blue about half the size of
a pea and mix it with about a desert spoon full of water.
The aim is to have more than you will need to cover a third of
What If It
What If It
22 your paper. Use your 1” brush and mix thoroughly until all the on your brush. We don’t want a bead at the bottom of the final stroke. It can bleed out brush and water. Don’t scrub,
Grading out
Grading out
All Goes Wrong?
All Goes Wrong?
All Goes Wrong?
time for any undissolved pigment.
paint is completely dissolved. Check your brush from time to
All Goes Wrong?
Use masking tape to seal the edge of the paper.
Use masking tape to seal the edge of the paper.
Use masking tape to seal the edge of the paper.
The only way to repair a wash
The only way to repair a wash
The only way to repair a wash
like this is to work back over the
like this is to work back over the
entire wash and redissolve the
entire wash and redissolve the
entire wash and redissolve the
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
pigment. Use your soft, 1” flat
pigment. Use your soft, 1” flat
on your brush. We don’t want a bead at the bottom of the final stroke. It can bleed out
brush and water. Don’t scrub,
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
down into the clean damp paper.
but gently work the brush back
but gently work the brush back
brush. Make sure the brush is clean and dry, then very gently and lightly feather it over
brush. Make sure the brush is clean and dry, then very gently and lightly feather it over
and forth over the entire wash.
and forth over the entire wash.
Once the pigment has been
Once the pigment has been
the final edge to spread the pigment. Don’t work it back up into the wash; feather it
the final edge to spread the pigment. Don’t work it back up into the wash; feather it
LISTS EVERYTHING down into the clean damp paper. properly it will be an 23 23
loosened, work your way evenly
loosened, work your way evenly
down from the top to re
down from the top to re
distribute the pigment. If you
distribute the pigment. If you
do this before the paint dries
do this before the paint dries
properly it will be an
properly it will be an
YOU’LL NEED
All the colors, brushes and
mixed media you’ll need to T Textures, Tips & Techniques s
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create the special effects
are shown so you don’t fall
into any traps
Final Clearance!
How to create Bricks for SPECIAL
Buildings, Weathered Timber
for Fences, Trees and Grass ONLINE PRICE
for Landscapes. All this and ONLY
much more is shown
EACH
CANADA
$9 £6 7 US$11
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Order on our Website
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Mini Projects are also Demonstrated in Close Up Step-by-Step
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John Lovett Book.indd 128 12/18/14 2:31 PM