Category Archives: quinacridone colors
I make no excuse for the fact that at times I slow down and work very slowly. I think all of us need to find our own rhythm. Some subjects develop quickly; others need to be savored like a fine wine. At least that is my philosophy. I have been working or perhaps I should say thinking on a subject for a few years now. It is a common ordinary neighborhood street. A tree lined street that is traveled regularly by a lot of friends and neighbors. The two lane street weaves its way past a golf course on one side and a pleasant lake on the left. In the spring and summer months the lake has more visitors than in the winter. Regardless, it is a local gathering place for young and old, walkers, joggers and moms and dads with strollers. Usually they are carrying lots of stale bread for the feathered inhabitants.
Nearly 35 years ago we began to receive new neighbors….Canada geese. If you don’t live on the edge of the lake perhaps you find them more enchanting. If they are overrunning your yard and your deck you may not feel so charitable. None the less they are now permanent residents. Since their presence is firmly established they even have their own traffic signs. It seems that the local human population has learned to adapt. It is not uncommon to see joggers take to the street to avoid a collision when the local goose population calls for a congregational meeting on the side walk. At times the group will choose to slowly move across one of the streets to a feeding spot in a nearby yard or return from their foray heading back to the lake. Whenever they cross, motorists slow down or come to a complete stop to allow the feathered residents to parade across the road. To human credit I see little sign of injury to any of the feathered pedestrians.
Earlier, I mentioned tree lined streets. At the edge of the golf course there are groups of ornamental fruit trees marking the boundaries of the course. Over the years I have painted several of these trees and incorporated some of their characteristics into sketches as well as paintings. I am greatly intrigued with their shape, color and texture. They have a presence that begs to be painted. I have indulged my passion for several years in that regard. I have tons of sketches and planned paintings that have not yet matured to the point of becoming paint.
In this case the sign haunted me for several months. I had never seen such a sign warning of a Goose Crossing. I am very familiar with Deer signs and have seen my share of Elk and Moose signs in my travels. However, a Goose Crossing was a new element. I though about it. I stared at it. I would drive by slowly and just look at it. Finally, I began to sketch it and some of the local feathered actors.
It is impossible for me to separate the process of thinking and sketching. However, for clarity I have broken these two elements into preparation and sketching. Preparation= contemplation. Sketching= bringing that contemplation into form. My personal taste is drawn to more direct observation and sketching with less photography. Don’t misunderstand, I own a great Nikon and I use it. However, I am more in tune with my own perceptions. In too many cases I find the photos don’t “see” or record the subject the same way my eyes and my memory does. As I have gotten older I have become less dependent upon the photo. Naturally there are times when the camera is absolutely essential. I’m merely trying to convey that I’m more concerned with my personal vision.
I fill up a lot of sketchbooks and I must confess that I often pick up one or the other when I need one. This has resulted in a group of sketches that are in no chronological order. In some cases there may be sketches on facing pages that are years apart in execution. No doubt that will disturb the neat and orderly ones. However, it is what it is. Lately I have had a couple of art dealers who have admonished me to become more orderly. I am making progress I now have a fairly accurate inventory listing of paintings along with where they reside. At this time my sketchbooks are still a bit of a chronological disaster!
Most of the time I use a refillable TomBow pen with black ink. Several years ago a dear colleague gave me one as a present. Since that time I have gone through about three or four. I tend to lose them and later find them in a jacket or pants pocket. I also use markers of varying widths. I find pencils to be messy and somewhat wimpy when I am in the field. I do own quite a few and use them regularly in the studio. Outdoors I like an instrument that is devoid of an eraser. It helps keep me focused.
Color is personal. As I began this piece I wanted to keep it low key but I wanted color. I chose to work with complementary combinations. Red and green were the primary agents I paired colors like Perylene Maroon with Permanent Sap Green and Hookers Green. Holbein’s leaf green with American Journey Copper Kettle. Other colors included Transparent Oxide Yellow, Gamboge, Andrews Turquoise and Joe’s Blue another American Journey color.
As stated earlier, color is personal. I paint in summer as well as winter. I love the cloak of muted colors as the plant world slumbers awaiting spring. When I look at the fungus on an old growth tree I see a riot of color, I also see silvery greys and tawny muted ochres. I try to create these colors with color combinations rather than using dull faded color. Experiment with the quinacridones. They are extremely transparent and can be manipulated in mixed combinations placed directly on the paper or they can be used in glazes to create vibrant jewel tones as well as lively yet subdued winter color.
The painting Goose Xing has been recorded for instructional purposes. It is under going final editing. It will probably be several hours of demonstration. At this time the final cut is uncertain. It was painted in real time and will be available in a few weeks.
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This is a bit of a different approach to my usual way of working. I’ll explain. I usually work with large brushes only using small rounds toward the end for detail. I rarely use any sort of masking agent and prefer to control the use of color by carefully dampening some areas of the paper and leaving other areas dry. The wet areas versus the dry areas is very logical since watercolor will not usually bleed into a dry area. A little practice and a LOT of patience plus some compulsion will pull you through!
This particular work has been completed after I have had some major health setbacks. Last summer, I was the victim of a rear end collision. Today I have to walk with the aid of a cane. It limits my mobility and the ability to carry a lot of gear. This piece was done in my backyard after a rainy spell.
In this piece I shifted my approach. Working on a 300lb. Lana cold press sheet (30″ x 22″) I used round brushes to set the under painting stage, large brushes for overall washes; then small Kolinsky rounds for detail. One additional item was maskoid or frisket. A bottle of liquid maskoid will last me for years. In fact they usually dry up before I can use up the bottle. One tip: If you purchase a medium to large bottle, open it up and put a marble inside. Decant a small amount into a tight fitted film can. Work out of the small airtight container. Replenish from the larger container. EVERYDAY when you come into your studio flip the larger container over on its head or base. The marble will help agitate the mixture and keep it fluid. Merely shaking the container with agitate the air in the partially full larger container. The shaking and infusion of air will cause your supply to dry up faster.
My brushes for this painting were :
- #8 Mary Whyte Kolinsky round. (It only comes in a size 8 from Art Express.)
- #4 Winsor & Newton Series 7
- Grumbacher size 20 “Gainsborough” bristle brush
- 1″ flat sable or sable blend brush
- Winsor & Newton Perylene Maroon
- M.Graham Indian Yellow
- Holbein Marine Blue
- Holbein Yellow Green
- Winsor & Newton Emerald Green (Blue Shade)
- Winsor & Newton Permanent Sap Green
- Winsor & Newton Manganese Blue Hue
- I prefer a brand called White Mask
- In this case I wound up using a tinted Grumbacher variety
Prior to applying the first wash I made a number of preliminary sketches. I capitalized on a somewhat obscured “X” design in the basic concept. Watch of it as the work progresses. You will note that there are mixtures of Indian Yellow and Marine Blue predominating the page. Note some major leaf shapes, the branch and a few flowers have been left white with only the shadows being delineated.
After the limited under painting was dry I applied the maskoid. The pink areas denote the rubber masking fluid application. I can give you several reasons for not liking maskoid even though I use it once in a while. Primarily I find it blocks spontaneity and inhibits changing directions when “happy” accidents occur. The predominant yellow you see is the M.Graham Indian Yellow….good stuff!
The making on the flowers is straight forward. The masking of the lichens on the limb are another matter. The overall shape of the lichen mass was masked. As several layers of wash was applied I would modify the masking area. It is very simple. I would put down a wash, let it dry. Sometimes the wash was only on the lichens. After it dried I would use my fingers and rub the masked surface randomly disturbing the surface. Then I would apply another wash of another color. The final result is a random selection of colors that help create a natural texture. Experiment with it. It has many applications.
After a lot of time the painting is nearing completion. I love to get lost in the little minute areas of these sorts of studies. The colors blend and swirl over one another. I will elaborate on some of the steps when Mastering Glazing Techniques in Watercolor, Volume II is published some time in the future.
Meanwhile Mastering Glazing Techniques in Watercolor, Volume I is available direct at
Also available at Cheap Joe’s Art Stuff and other outlets.
Mastering Glazing Techniques in Watercolor
This is a new venue for me. I am more accustomed to teaching in the studio and in watercolor workshops. In 1985 Watson-Guptill Publications began publishing my books on watercolor technique. In November, 2011 I re-issued an updated, revised edition of Mastering Glazing Techniques in Watercolor and it is now available at numerous locations. If you want to buy direct you can purchase the new Volume I at Amazon.com or www.createspace.com/3657628.
The main focus of this blog is to discuss watercolor technique as well as offer suggestions about paints, brushes, paper and supplies for watercolor. I will exhibit various pieces for tutorials and try to answer any question you may have related to watercolor. I am currently working on Volume II and will share some of the elements of the new edition.
So, if you are new to watercolor or an old hand please post your comments, questions, etc. Please feel free to contact me at firstname.lastname@example.org or see content Choosing Reds at
look forward to hearing from you.
My special thanks to Gary Bolyer for his encouragement and help in getting started.