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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
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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
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