A few artists who I enjoy:
- Edward Wesson
- Michele Clamp
- Jean Haines
- Edo Hannema
- Kees Van Aalst
- Adrian Homersham
- Pol Ledent
- Tom Hoffman
- Charles Evans
- Stephie Butler
- John Lovett
- Joseph Zbukvic
- Chien Chung Wei
- Joseph Zbucvik
- Tim Wilmot
- Marc Taro Holmes
Marc Taro Holmes - author of Direct Watercolor
Cao bei An
Do you have some “must” colours in your palette?
I couldn’t paint without Cobalt Blue and Raw Sienna.
December Grasses, Expressive Watercolour Demonstration by Adrian Homersham
He had an "old school" palette of colors, with things like Cadmium Yellow, Yellow Ochre, Burnt Sienna, Cadmium Red, Cobalt Blue, and Ultramarine Blue. He also carries Neutral Tint and Cobalt Turquoise- a very green blue that he sometimes uses to make his greens. He likes to vary his colors a bit and not get too regular, so he had a purple on his palette during the workshop too, which he used to mute his green and browns. Probably Dioxazine Purple by the look of it. He definitely doesn't care for staining colors.
Of particular interest to me was an idea Joseph presented that Chien fought hard for us to learn as well- the power of abstracting objects down to their basic elements, and then using that clearer detail like a key, to make truly abstract shapes read correctly. So, for every object, there is an essential element that must be included for it to be read. Joseph called it the "eyes" of the thing, but essentially it's what makes it "it". For people it's the head and shoulders, for cars perhaps the tires and windshield, for buildings the windows and cast shadow of an overhang, etc. He suggested we figure out the rest on our own. ;) Get just a few of these right, and, like magic, other far more abstract objects will also read correctly.
Chien called it "the lazy brain." The mind seems to enjoy inferring other objects are there, instead of having you literally draw each one. Joseph has his own phrase too, of course. "Indicate, don't state." Great minds think alike.
Joseph Zbukvic - paintings - 44 min
Rural France in Watercolour by Joseph Zbukvic
Watercolour on Location: Joseph Zbukvic
So when you want to stay in harmony mix the same Blue what you used in your sky for your greens!
I shall approach it more technical, you painted the sky with Ultramarine Blue (UB) with a touch of Burnt sienna, not to make a grey, but just to grey it down a bit.
When you talk about harmony the next step is to paint the trees and the field. Normally you would go for your favorite green. But think about the filtered light and how it effects our colour, if we want more harmony in our watercolour the usual step would be to make a green from our (UB).
Since (UB) is a transparent colour we seek on our palette for a yellow that have this same quality. For Instance New Gamboge or Aureolin. So you have bright warm green, cause (UB) and yellow makes a warm green. Add a touch of Transparent Raw sienna (RS) in that mix and it gets a bit darker.
Wesson used a limited palette of eight paints: winsor blue, ultramarine, cobalt blue, burnt umber, burnt sienna, light red, raw sienna, and cadmium yellow or winsor yellow.
6 Ways to Improve Your Watercolor Paintings: What NOT to do
Watercolor Painting 1 | Painting on hand made paper
http://www.keesvanaalst.nl/wordpress/wp-content/uploads/Sunday-morning-Castlemaine1.jpg - Joseph Zbucvik painting
"He is the author of the best selling North Light book, "Creating Luminous Watercolor Landscapes, a Four Step Process" "
Finding INSPIRATION The Roses Watercolor
Edward Seago images
Watercolour Portrait by Stephie Butler ......Make A Wish
Watercolor demo Gerard Hendriks Assisi
Beginning in Watercolor- Istanbul Streetscape
How to Make a Sunset Glow in Watercolor.
Painting in the Carpathians with Eugen Chisnicean
ARE 2013 Eugen Chisnicean
Art Journaling with Prismacolor Watercolor Pencils - BCCH
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How to Unify Your Painting with Watercolor Artist Eric Wiegardt
Bird Painting With Wet in Wet Watercolor Underpainting Technique
how to do watercolours in the style of Edward Seago lovers
easy watercolours for beginners
How to paint a Lake District scene with Alan Owen
A 30 Minute Watercolour Painting, a Mountainside Lake
Successfull Summer Watercolour Landscapes With Robert Brindley RSMA
3 Mini Watercolours by Charles Evans
River Scene by Charles Evans
How to paint looser watercolors
a loose watercolour after Edward Wesson with Alan Owen
Watercolour in the style of Edward Wesson
Watercoloring dedicated to Edward Wesson
lets paint a watercolor the Wesson way with Alan
Edward Wesson books
Steve Hall writes about and paints like Edward Wesson
Alan Owen - painting like Edward Wesson
Connecting shapes in paintings is most important, afater that come tonal values. Coulour is last.
Daler Rowney Artists Watercolour : Set :18 x 1/4 pan Miniature set
https://www.amazon.com/Daler-Rowney-Artists-Watercolour-Miniature/dp/B001MS84RU - $90.04
Chung Wei Chien paintings
Variety in Watercolour: John Yardley
John Yardley paintings
Burnt Sienna is one of the most useful colours in the palette. Whether you are using a limited palette with one of each of the primaries or a split palette with a warm and a cool of each of the primaries, Burnt Sienna is fabulous addition. You can see all these swatches, along with other earth colours, on my website here.
It is possible to mix a burnt sienna hue using a yellow and a red to make an orange, then adding ultramarine to create a neutralised warm brown. But it is much quicker to use a single pigment paint.
There are a number of options. Burnt Sienna should be made from PBr7 - a natural earth pigment that is also used to make Burnt Umber, Raw Umber and Raw Sienna. Heating the Raw Sienna pigment creates the burnt Sienna. Some companies use PR101, (which is also used to make Indian and Venetian reds) to make a Burnt Sienna Hue.
My preference is for the earthy look of PBr7. Mixed with Ultramarine it creates a warm Indigo, burnt umber hues, lovely greys, stormy sky colours, shadow colours and so on. With a yellow it creates raw sienna hues. With a phthalo blue it creates cool greys and browns. With a crimson it creates earthy indian reds and burnt reds...and so on. Alone, just mixed with water, it creates a perfect skin tone.
So which is the best? That depends what you like to paint, whether you like granulation or not, whether you want a more orange colour or a more neutral burnt orange colour.
It is clear the options range from an orange through to more red-based browns with more or less granulation. Transparent Red Oxide provides a wonderfully granulating version with a definite orange hue, Hematite Burnt Scarlet is also highly granulating with wonderful colour range. Quinacridone Burnt Orange goes all the way to the orange side so will not neutralise so well, but is quite a popular option for those who don't like granulation, as is the W&N Burnt Sienna (hue).
One of the best tests though is how the colour works with Ultramarine and other blues. Here is a range of colours possible with Burnt Sienna mixed with Ultramarine, Phthalo Blue and Cerulean - classic blues in the palette. It is the deep greys and browns and blues that I am looking for with Burnt Sienna. Notice how lovely and granulating the Art Spectrum Burnt Sienna Genuine is. I loved this colour but it didn't re-wet as well in the palette as the Daniel Smith and Da Vinci so was superseded. Also notice that Burnt Umber (hue) is readily mixed by adding Ultramarine to Burnt Sienna so is not necessary in a limited palette.
Maybe I would use gouache paint on our homemade paper, since sometimes, the homemade paper leans toward a grey or darker-toned color. If it's possible to "bleach" homemade paper, then I would stick with normal watercolor paints. WN sells a six color set of gouache paints that contain red, yellow, blue, green, black, and white. That would be enough if I went down that road.
Everything I have learnt about GOUACHE so far...
Turtle Tutorial - painting with GOUACHE
The color of homemade paper can be lightened by actually using bleach.
Wash the pulp
To remove the ink from the paper we'll be washing it thoroughly. Add a bit of water to your wet pulp and a good amount of a strong soap. Regular dish soap won't cut it — something more like dishwasher or laundry detergent works much better. It needs to be harsh enough to clean the pulp really well. Mix it up and let it soak for about 20-30 minutes, then drain your pulp again using the mesh strainer. No need to remove all the water yet — just most of it. Repeat this washing step several times, letting it soak for a while each time. Each time the water will become less gray and dirty looking. The more you repeat this, the cleaner and brighter your paper will be. I usually wash it about 3 times and then rinse it once.
Bleach the Pu