Some painting teachers start students at the beginning and show them how to mix a paint puddle and how to paint a simple flat wash. Other teachers show how to do all the techniques without explaining anything. Still other teachers just set up a still life and leave students on their own, not even knowing what questions to ask. As a student, I have known ALL of these types of teachers. And I have to say, I have learned a number of things on my own that I truly wish I had been taught earlier in my painting adventures. I would like to share some of these tips with you here, in the hopes that you find them helpful.
1. Watercolor painting almost always involves layers of paint. When I began to learn, I assumed as a painter you put down everything at once, and if you didn’t get it right, you were in trouble. Not true. Often, in watercolor, painters will put down a layer of color, let it dry, and apply another layer or partial layer of color. Gradually they build up part after part of the painting, for example, varying shades of color to add interest or emphasis. Shadows would be added to a painting in this way. It is important to let layers DRY before applying the next layer – this new layer over the dry layer would be one example of glazing.
2. With watercolor, you usually paint from light to dark, leaving the white of the paper as the lightest light.That means you really have to plan ahead – you need a very clear idea in advance where those light areas will be so you can either paint around them, tape, or mask (with masking fluid) over these areas to preserve them. It does not work very well to make up a picture as you go along or to change your mind in the midst of a painting (unless your intention is to create an abstract or a picture with little realism).
3. You can fix almost any mistake in watercolor! If paint is still wet when you notice a mistake, simply blot it up with a paper towel or tissue. If paint has dried, you can carefully re-wet and with a damp “scrubber” brush gently tickle the area and blot straight up and down (never rub or you will damage your paper) with a paper towel to lift the mistake. If paint has begun to dry (it’s damp), then letting it finish drying is best before proceeding to correct a mistake (in order to avoid creating “cauliflowers” or blooms). Another correction technique that can dramatically change an area of your painting is applying another wash of color to your picture.
4. Always try to mix A LOT more of the desired color of paint than you think you need. I would encourage you to double or triple the amount that you think you need. Don’t be stingy!! There’s nothing good that happens when you need to stop in the middle of a wash to try to mix more paint of a similar concentration or color.
5. Always have “test” paper at hand to try out your mixed color and the technique you plan to use on your painting BEFORE you apply it to your painting. The color may look perfect on your palette but may look quite different when applied to watercolor paper. It’s better to check BEFORE a mistake happens.
6. There are several ways to add color to your painting – each technique creates a different effect. You can A. Mix two colors (sometimes more) on your palette before you paint, B. Mix on the paper or charge one color into another on the paper itself, or C. Glaze a second layer of color (or more) over thoroughly dried watercolor paint.
7. When mixing colors on your palette: If you intend to mix a LIGHT color, it is quicker and easier to begin by putting some water on your palette first, then gradually adding pigment to it until you reach the desired color. If, however, you wish to mix a DARK color, dip into your pigment first, only adding enough water to make your puddle of paint the desired consistency.
8. Many beginning watercolor students have quite a bit of trouble understanding how to judge wetness and its effects in watercolor painting. While experience helps you to learn how to control wetness, even experienced painters need to follow the laws of physics. If painters try to fight the law of hydrodynamics and force the water to do their bidding, they will struggle! This rule is fairly straightforward, but it is not to be ignored. Simply put, greater wetness ALWAYS flows into lesser wetness. Use this knowledge, and you become a more successful painter. Use this knowledge, and your skies will be fluid and smooth, you will avoid “cauliflowers” or blooms, and your washes and glazes will not have hard edges.
9. Some paint pigments stain your paper. Mistakes made using staining colors are NOT easily corrected or lifted off. Staining colors are often transparent, bright and strong, so they are very useful. It is probably best to take the time to learn which of the colors on your palette are staining and which are not, so that you know what the characteristics of your colors are. Common staining colors include permanent alizarin crimson, permanent rose, phthalo blue or winsor blue, phthalo green or winsor green, winsor orange, quinacridone gold, winsor red or pyrrol red, Indian yellow, and gamboge hue.
10. If an edge in a painting is sharp or well-defined, it is called a HARD edge; it attracts the eye, which will follow along its length. If an edge is fuzzy or indistinct, it is a SOFT edge; a viewer’s eye is not drawn to a soft edge. Painters tend to use hard-edged details for the center of interest in a painting – painters do NOT want detail in every part of their picture. Thus, knowing how to create soft edges when you paint is invaluable! I use this technique in almost every watercolor that I paint. The technique is called “softening an edge” or pulling out or fading out color. When softening an edge, you are not actually moving any paint. You are using water to encourage the paint to move on its own. Painters try to put just the right amount of wetness (not too much or too little) in the right spot at the right time to allow the paint to ‘sigh’ into the wetness. This approach works best if the paint area is very wet (just painted) and the brush is less wet (just damp). With the clean damp brush, try to lay a line of dampness down just barely touching the edge of the paint. Don’t go too far into the paint, or your brush will act like a sponge, soaking up and spreading the paint around – not your intention. You want to produce a smooth, graded effect – so instead, with a clean damp brush make additional damp strokes farther and farther from your initial stroke. The dampness makes a path for the paint to soften into.
11. Watercolor paint needs water in order to flow – paint will not move without the water. You can use this knowledge when painting to stop the flow of paint on your paper. In other words, dry paper creates a dam where paint stops moving (and simultaneously forms a hard edge). If you pre-wet part of your paper then apply paint to the wet area, the color will stop flowing as soon as it touches the dry paper.
12. The most realistic and interesting watercolors are not taken directly from a tube or pan! They are MIXED from a combination of other colors! Don’t try to buy every color you think you need! Many beginning painters don’t want to bother learning how to mix colors themselves. They prefer to buy already mixed colors because they don’t know where to begin to create different colors or why they should bother. That’s okay in the beginning, but as painters become more experienced, they notice how hard it is to find a tube of green paint that is not gaudy or is the right shade for their grass or tree. They start to notice how a black straight out of the tube is dead, flat, and lifeless. They come to understand that since everyone’s skin is a different color, they can’t use the same flesh tone for every person they paint. In the end, they also realize that making combinations of colors is FUN!