Paradise Creek , watercolor on 140lb.cold press approx 16″ x 12″
About 150 feet from my studio door lies Paradise Creek. I never have to worry about flooding because my studio is about 35-40 feet above the creek. That gives me a great vantage point. The location never really disappoints for there is always a visual delight awaiting me. The creek has been my constant neighbor for at least the past 30 years. During that time I have seen a number of changes in the creek, many of them not to my liking. The public works fellows came in to do some “improvements”. Those actions spoiled some wonderful spots. In spite of their actions the creek has survived. Like many of us it goes through seasons of change. In the spring and part of the winter it is often a raging torrent. In the fall it almost always sings a pleasant lullaby when we open the windows to enjoy its song. In the hot summer the water may slow a bit and more rocks are exposed as the fish and other creatures seek refuge in the deeper pockets.
All in all Paradise Creek has been a good neighbor and an unending source of inspiration. I have enough memories and sketches to keep me busy for another lifetime.
The power of glazing:
There are so many ways to make use of glazing. You can use it in a very controlled manner working in a traditional way with a brush or you can try other approaches. The beauty lies in versatility.
Don’t be negative:
How many times have you heard someone say something like; ” Oh watercolor is so hard, you can’t cover up your mistakes!” Think for a moment about that statement. It also means that transparent watercolor can be used in glazes or layers to create a wonderful range of colors! You can create under painting texture, wonderful color combinations and /or prepare a careful under painting likeness. (Hint: you can use splatter in one layer, let it dry and repeat or you can build color via multiple layers alternating wet ‘n wet passages or direct wash on dry paper. The possible combinations are only limited by your imagination.) The secret? Know your colors and follow a proper sequence. So what is proper? That is largely up to you. You can review the archives of my blog for some tips. Basically two rules should be at least observed. I say at least because you may find opportunity to break or severely bend them. As a general rule best results come from allowing each wash to dry thoroughly before applying another wash. Another suggestion is to use your most transparent colors FIRST.
Beginning Paradise Creek:
If your eyes are keen you will see that there are no preliminary pencil lines. My apologies but the shot is a bit blurry but hopefully you get the idea. Three colors were applied, Winsor & Newton Permanent Sap Green, M.Graham New Gamboge and American Journey Andrew’s Turquoise. I use a three inch brush on almost all pieces. I do not want the beginning to be picky and that is what beginning with a small brush tends to produce. In the words of Delacroix, “Begin with a broom and finish with a needle.” Sounds scary? Not really, try it.
Keep it simple:
These initial passages were applied to a dry piece of 140 lb. cold press D’Arches watercolor block. I find the block to be the most convenient item when I am working away from the studio. Once the washes were applied I used a bottle with a fine mist to hit some of the areas. You can see where the colors blend and you can also see where the edges of the wash are crisp. Crisp edges denote that the paper is dry soft edges tell you the surface is wet. As many of you will know this is basic watercolor; nothing fancy. The real secret here is to RELAX. Let the wet color do it thing. If you don’t like a particular run or effect, pick up the paper and rotate it and coax the color to go a different way. When you get the effect you want, let the paper lay FLAT. Watch out for puddles, blot when necessary. In this case my paper was propped up and the color ran just the way I wanted it to go. Be ready to let the unexpected happen.
See if you can see where the major light areas are going to develop. Remember the brightest bright to have is the white of the paper. Respect and reserve the white of your paper. In this case I kept the paper dry in the areas where I would later have the brightest highlights.
The darker greens in the trees are a combination of the sap green and Hookers Green. Some of the initial washes were used with the wide side of my largest flat brush. Note the wet onto wet blending in the tree on the right as it bleeds into the water. I couldn’t resist leaving it untouched. One of those wonderful accidents. I used a brush as well as a small segment of natural sponge to create the foliage effect. The limbs on the left side are a combination of scraping out and painting negative shapes. Simple sweeping washes with a one inch flat brush was used on the water. As you look you can see a mingling of color that suggest reflection and ripples in the moving body of water. Recall that negative statement? Well, I see it as opportunity! All of those wet colors blended into a soft sheen that I could have never done as well with a deliberate brush stroke. They are transparent and the colors applied over them are transparent and we get a wonderful combination. The beauty is that we get some wonderful unexpected blending of color. Take advantage of it. Don’t be afraid to fail. Jump in and give it a try!
As I looked at the almost finished piece I felt that the center area wasn’t really working for me. While I had a movement of wash going across the middle it didn’t seem to be enough to really pull the work together. So I introduced the oak tree and some other small trees to complete the effort.
Planning your composition: Notan
Ideally you are aware of the term “Notan”. It is a Japanese word that describes the relationship of light and dark. It can be a very useful tool for helping you develop your paintings. In some ways you might think of it like a large puzzle. This illustration was taken using my smartphone and choosing one of the editing features. If you are not familiar with the concept of Notan by all means study it. It will help you to see the large parts. Recall that I mentioned starting the painting with a big brush. After conquering the large elements I can settle down to refine the smaller items. As you look at your screen if you are near sighted merely take off your glasses and see the large blurry shapes. If you have regular vision merely squint your eyes. You should see how the shapes interlock with one another grays working with white and black. Plan your composition making use of Notan. It works very well with just black and white. The shot above is a camera conversion of the finished painting. However, I think it serves to make the point. Your painting needs a good frame work. This will help you see it. We all need to hone our skills to develop better paintings. This is a great tool. Use it.
Want to know more about watercolor glazing techniques? You can purchase Mastering Glazing Techniques in Watercolor, Vol I. by Dr. Don Rankin at http://www.createspace.com/3657628
Enjoy a remastered classic on DVD entitled The Antique Shop by Don Rankin http://www.createspace.com/350893
Study with Don Rankin online at your own pace at any time that fits your schedule. Over 30 tutorials on various watercolor techniques more than 2 1/2 hours of content at https://www.Udemy.com/mastering-glazing-techniques-in-watercolor
Study with Don Rankin at Artists On The Bluff, 571 Park Avenue, Bluff Park, Alabama. Classes are held from 9:00 Am- 11:30 every Thursday except holidays. Contact Ms Linda Williams at http://www.artistsonthebluff.com