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Watercolor painting

2007 Schools Wikipedia Selection. Related subjects: Art

   Carl Larsson, Crayfishing, watercolor, 1897.
   Carl Larsson, Crayfishing, watercolor, 1897.

   Watercolor (or watercolour, also known as aquarelle) is a painting
   technique using paint made of colorants suspended or dissolved in
   water. Although the grounds used in watercolor painting vary, the most
   common is paper. Others include papyrus, bark papers, plastics, vellum
   or leather, fabric, wood, and canvas.

History of watercolor painting

   Albrecht Dürer, A Young Hare, 1502, Watercolor with bodycolour,
   Albertina, Vienna.
   Albrecht Dürer, A Young Hare, 1502, Watercolor with bodycolour,
   Albertina, Vienna.

   One early form of watercolor painting, that is not normally included in
   the category, is buon fresco painting — wall-painting using pigments in
   a water medium on wet plaster , which goes back to Egyptian and Roman
   antiquity. One well-known example of buon fresco is the Sistine Chapel
   by Michelangelo, begun in 1508 and completed in 1514.

   Watercolour painting, usually referred to as brush painting in Asian
   contexts, has a long history in many parts of the world. In Chinese and
   Japanese painting it has been the dominant medium, often in monochrome
   black or brown, when it tends to be called ink. India, Ethiopia and
   other countries also have long traditions.

   Watercolour has also been used for manuscript illumination since at
   least Egyptian times, and was a major part of European manuscript
   painting on vellum (often mixed with tempera). Paper spread from the
   Islamic world, via Islamic Spain, to Europe, where it was being
   manufactured in Germany and Italy before 1400. From the introduction of
   the old master print around 1400, most prints were coloured after
   printing until at least the latter part of the century, although the
   practice continued in some cases, such as English satirical prints ,
   until the nineteenth century ( JMW Turner and Thomas Girtin were both
   employed at this as teenagers).

   Watercolor painting was also used in cartoons and large paintings. In
   Germany, Albrecht Dürer ( 1471- 1528) painted watercolors, including
   the earliest pure landscape studies. An important school of watercolor
   painting in Germany was led by Hans Bol ( 1534- 1593) as part of the
   Dürer Renaissance.
   JMW Turner, Alpine Scene, 1802, Tate Britain.
   JMW Turner, Alpine Scene, 1802, Tate Britain.

   Other famous artists have used watercolor painting, including Van Dyck,
   Claude, Giovanni Benedetto Castiglione, and many Dutch and Flemish
   artists, including several who worked in Britain, and originated the
   British school.

   From the seventeenth century to the present, the British school of
   watercolour, which especially features landscape subjects, has been
   perhaps the most continuous and widely followed tradition in Europe.
   Among the most famous of the artists are: Alexander Cozens, William
   Gilpin, Thomas Gainsborough, Francis Towne, Paul Sandby, Thomas Girtin,
   John Sell Cotman, Samuel Palmer, William Blake, John Constable , JMW
   Turner, and Richard Parkes Bonnington.

   The beginnings of the "California Style" of watercolor painting began
   in the 1920s and is described in California Watercolors 1850-1970.
   Milford Zornes is recognized as a leader in the California Style
   watercolor movement. His style differed from the traditional use of
   watercolors in which color was added to detailed pencil drawings. His
   work is characterized by the application of transparent washes of
   colour to large sheets of paper, allowing the white to show through and
   define shapes.

Watercolor paint

   A set of watercolors.
   A set of watercolors.

   The broader term for water-based painting media is watermedia. The term
   watercolor most often to refers to traditional transparent watercolor
   or gouache (an opaque form of the same paint), but also includes the
   use of thinned acrylic paint.

   Traditional watercolor paint is made of finely-ground pigment mixed
   with gum arabic for body, and glycerin or honey for viscosity and to
   bond the colorant to the painting surface. Unpigmented filler is added
   to gouache to lend opacity to the paint. Oil of clove is used to
   prevent mold.

   Watercolor paints vary in their transparency, some being less
   transparent (more covering) than others. The more transparent paints
   allow the paper (or an undercolor) to show through while others allow
   less of the undercolor to be seen.

   As there is no transparent white watercolor, the white parts of a
   watercolor painting are most often areas of the paper "reserved" (left
   unpainted) and allowed to be seen in the finished work. White paint
   might be used to indicate snow on a fence or the foam in the sea, as
   examples, by using Chinese White or White Gouache. These are not
   transparent. Traditionally, such non-transparent paint is used
   sparingly so as not to lose the light and airy look of the work.

   Some watercolor pigments are "Fugitive", meaning they fade over time
   when exposed to light. An example is Alizarin Crimson. Some paint
   makers offer a different formulation of pigment as a less-fugitive
   alternative. These often have the word "Hue" as part of the name.
   "Alizarin Crimson Hue" can be expected to be less "Fugitive" than
   "Alizarin Crimson".

   "Staining" is another characteristic of certain watercolor pigments. A
   Staining colour is difficult to remove and persists on the paper. Less
   staining colors can be lightened or removed almost entirely when wet or
   when re-wetted by "lifting" with a wet brush, paper towel, tissue,
   sponge, or similar.

   Commercial watercolor paints come in two grades: "Artist" (or
   "Professional") and "Student". Artist quality paints are usually
   formulated using a single pigment, which results in richer colour and
   vibrant mixes. Student grade paints have less pigment, and often are
   formulated using two or more less expensive pigments. Artist and
   Professional paints are more expensive but many consider the quality
   worth the higher cost.

   Paint pigments and formulation vary among manufacturers. Paints with
   the same colour name from different makers can vary in hue, staining,
   and other characteristics.

Techniques

   Traditionally, watercolor paint is applied with brushes, but it may be
   applied with other implements in experimental approaches or mixed with
   other materials (usually acrylic or collage).
   Carl Larsson, The Christmas Eve, watercolor, (1904-1905).
   Carl Larsson, The Christmas Eve, watercolor, ( 1904- 1905).

   The paint is thinned before application to allow for lighter areas
   within the painting. This transparency provides watercolor its
   characteristics of brightness, sparkle, freshness, and clarity of
   colour since light has passed through the film of paint and is
   reflected back to the viewer through the film.

   According to a tradition, dating from at least the early 20th century,
   the white of the paper is the only white used in transparent
   watercolor. Opaque paint is seldom used for whites or to overpaint.

   Watercolor techniques have the reputation of being quite demanding; it
   is more accurate to say that watercolor techniques are unique to
   watercolor. Maintaining a high quality of value differences and colour
   clarity are typically the most difficult properties to achieve and
   maintain.

   The medium is effective in portraiture, figurative art, and
   photorealism.

   Watercolor proponents prize it as a studio medium for its lack of odour
   and ease of cleanup, and also as a plein air medium for its portability
   and quick drying.

   Fingerpainting originated in China with watercolor paints.

   Washes and Glazes

   Basic watercolor technique involves washes and glazes. A wash refers to
   the application of a uniform color over an area of the painting.
   Typically this might be a light blue wash for the sky, a uniform color
   on a field or other area. Washes can be "graded" or "graduated" if they
   gradually become lighter or darker in parts such the fading of color to
   show the lighter sky near the horizon. A "variegated" wash blends more
   than one colour such as a wash with areas of blue and perhaps some red
   or orange for a sky at sunrise or sunset.

   Painting "Wet-in-Wet"

   Two methods of applying paint to the surface for special effect are
   "wet-in-wet" (or "wet-on-wet") and "dry brush". Wet-in-wet is used to
   avoid a hard edge at the margin of the paint. Wet-in-wet paint flows on
   a wet surface. The paint is wet (diluted) and the surface of the medium
   is wet.

   The surface of the paper or other medium is first "painted" with water,
   thinned paint is then dripped or lightly applied to the wet surface.
   The colour flows along the wet area. More paint can be added to
   increase the area covered.

   After the first wet application has dried, additional wet layers can be
   applied. The flow is controlled to some extent by the wetness of the
   surface; the amount, consistency, and placement of the paint; and by
   tilting the surface to encourage the paint to flow in the desired
   direction. The somewhat unpredictable results of the wet-in-wet
   technique can lead to some surprising but welcome affects.

   Dry Brush

   Dry Brush is used to obtain a rough, textured appearance for the edges
   of beach grass, a rocky exposed hill surface, tree bark, sunlight
   skipping on the surface of water, are some examples. A brush is loaded
   with relatively thick paint then lightly pulled over the dry surface of
   the medium. Some artists hold the brush with just two or three fingers
   at the very end of the handle so just the weight of the brush glides
   along the surface.

   The paint adheres and covers only the higher points and ridges of the
   surface but stays out of the deeper areas. The method is especially
   effective on Rough and Cold Press (medium rough) paper. It is not very
   useful on smooth surfaces.

   Painting Light-to-Dark

   Watercolors are typically made darker on the paper by repeated
   application of the same color. These coats of paint are called "glazes.
   A glaze of a different color can also be used to create a combined
   color. It is also possible to achieve various lightness and darkness of
   a colour (value) by diluting the paint in the mixing area before
   application.

   Limited Palette

   An artist might use a limited set of colors in his or her palette
   creating other colors by mixing two or three colors from the limited
   set. Mixing more than three colors can result in a muddy, unacceptable
   colour.

   The "Palette" refers to the array of colors used in a painting and also
   refers to the tray, dish, or other implement used to hold and mix the
   paints.

   Other Considerations

   When using watercolors it is a good idea to think of using the medium
   in the consistency as it comes from the tube. Using dried out "cake"
   watercolors will prevent the user from being able to take full
   advantage of the medium. When the colors are tube fresh one can go from
   totally thinned with water to create the most elusive effects and in an
   instant to very dense full bodied mixtures for deep dark passages. The
   best way to keep colors from drying out would be to use a covered
   palette such as the "John Pike Watercolor Palette" which has plenty of
   colors "wells" and sufficient mixing space. A great tip for squeezing
   paint from the tube is as follows: Squeeze an amount about the size of
   a lima bean or slightly larger. Don't leave the paint in a "mound" but
   rather spread it through the area of the designated color well. The
   logic behind this method is that since watercolors are resoluble with
   water, one can simply spray water on the surface of dried color to
   refresh it as it came from the tube. If the colors are left in a mound
   the water will roll off but if the colors are spread evenly the water
   has no place to go but into the color bringing it back to life. Do this
   twenty minutes or so before painting if your colors are dried out or if
   time does not allow just squeeze a little fresh color over the
   exsisting dried out color and spread. The new color will interact with
   the old making all the colour usable. Don't put a damp sponge in the
   palette for storage as this can lead to mildew and mold. The primary
   thing to remember is to take full advantage of the wide range of
   consistentcies watercolor has to offer.

   Though there seem to be endless colors available in tubes, one need
   only a very limited palette. Consider a primary color palette to
   include: Lemon Yellow; Cadmium Yellow; Cadmium Red; Alizarin Crimson;
   Cerulean Blue; French Ultramarine Blue; Phtalo Blue; and perhaps Burnt
   Sienna and Raw Sienna. These nine colors will give you the ability to
   mix virtually any color possible. A brief summary of color mixing is: A
   red and a yellow make orange; yellow and blue make green; blue and red
   make violet. A red, yellow and blue make gray and if mixed dense
   enough, black. It's simple color theory of primary color mixing.
   Primary colors being: red - yellow - blue. Secondary colors (mixing any
   two colors): orange - green - violet. and Tertiary colors (three colour
   mixes): any gray imaginable and black. When mixing three colors avoid
   muddy mixtures by "undermixing" on the palette. Pull the colors into
   the mixing space and simply "swish" the colors together. Your darkest
   darks can be very exciting so long as you are sure to not "overmix."
   Another reason for muddiness comes from excessive brushing. Apply the
   washes with conviction being sure to limit your brushstrokes.

Equipment

   Brushes for watercolor are made to hold water and softer as compared to
   the stiffer brushes used for acrylic and oil paint.

   Watercolor brushes come in various shapes including flat, round, mop,
   and fan. There are numerous specialty brushes; for example, a long thin
   brush originally designed to paint the lines of rope (rigging) on a
   seascape is called a "Rigger".

   Artists typically have a few favorites and do most work with just one
   or two brushes. A single brush can produce many lines and shapes. A
   "round" for example, can create thin and thick lines, wide or narrow
   strips, curves, and other painted effects. A flat brush when used on
   end can produce thin lines or dashes in addition to the wide swath
   typical with these brushes.

   Brush hairs come from a variety of sources including the very expensive
   hair of the Kolinsky Sable, the ear hair of the Ox or other cattle, and
   others. "Camel" is used to describe hairs from several sources, none of
   which is from a camel.

   Brush hairs can be natural, synthetic, or a combination. Brush prices
   vary considerably depending on the type of hair and the quality of the
   manufacture. A good brush will hold a fair amount of water and will
   keep and return to its original shape even after much use.

   Brushes are numbered to indicate the size of the brush, the larger
   numbers for the larger brushes. A typical manufacturer's offering of
   brushes might go from a very small "0" to the larger size "20" or more.
   Flat, wide brushes are usually described by the width of the brush such
   as "1/2 inch" or "1 inch". There are no common standards for brush
   sizes. A "10" Round from two manufacturers might be slightly different
   in size.

   Watercolor Paper is designed to properly support the paint and be
   sturdy enough to withstand the painting action. Painting on thin paper
   such as used for computer printers, for example, is possible but the
   paper will buckle (if not dissolve entirely), the paint will remain on
   the surface, running off in an uncontrolled manner.

   The surface of watercolor paper can vary in its smoothness from very
   smooth to very rough. A watercolor painting on rough paper will result
   in quite a different look than a similar painting on smoother paper.
   The artist selects paper with a finish to give the desired effect.

   Rough-surfaced paper is called "Rough", a smoother surface but still
   slightly rough is called "Cold Press" (aka "Not"), the smoothest
   surface is "Hot Press."

   Watercolor paper is typically made of 100% cotton rag. Papers of lesser
   quality might be mixtures of rag (cotton) and other materials. Some
   artists use only better grade papers to get the effects they desire.
   The quality of paper can make a significant difference in the result.

   The thickness of commercial watercolor paper varies from 90 pounds to
   300 pounds (the weight of a ream of about 500 sheets of the paper.) A
   middle weight, common thickness, is 140 pound paper. While almost any
   paper of any thickness will buckle when wet, paper less than 140 pound
   thickness will buckle severely from the water and should be "stretched"
   before using. Even 140 pound paper will show some stress when wet
   watercolor is applied over large areas. 300 pound weight paper does not
   buckle severely and does not have to be stretched.

   When using individual sheets one might consider "stretching" the paper
   to prevent severe moisture-based buckling of the paper. Using this
   method, the paper is soaked in a tub of cool water. The amount of time
   to soak will depend on the weight of the paper (fifteen minutes maximum
   for the heaviest sheet). Once the paper is at its full saturation, lay
   the sheet on a drawing board and use gummed tape or staples to secure
   the paper to the board. Be sure all air bubbles are pressed out before
   affixing to the board. Lay the board flat and let dry before the
   painting is begun. Any drawing can be done before the soaking. The term
   "stretching" is actually a little deceiving since the paper is in
   reality, "shrinking", tension applied to the paper as it dries, much
   like a drum head.

   A watercolor "block" is a pad of paper bound on all four sides, which
   prevents buckling in a similar way as stretching. There are usually 20
   sheets of paper in a block. After the top sheet is used, it is peeled
   off and the next sheet is exposed.

   Besides commerical watercolor paper, arches paper is also commonly used
   and preferred.
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