Watercolor and its technical diversity (basic information). watercolor techniques

You can use one or two methods, or you can create your own page with all the options. Use your pencil and ruler to divide your watercolor paper into 8 rectangles to complete these techniques. Give each rectangle a method name, as shown in the figure below.

Note before you start A: I would recommend completely drying each rectangle before moving on to the next technique. You can use a hair dryer to speed up the drying process.

1. Salt technique

Salt is my absolute favorite for creating textured backgrounds. I keep a small container of sea salt with my supply kit. To use the salt technique, first select one or two colors and paint the first rectangle (or area) completely. Then, while the paint is still wet, sprinkle salt on top of it. Let the paint dry completely, and then remove the salt from the drawing with your fingernail.

Note: The better your area is shaded, the more the salt will spread over it. Try letting the paint dry partially (just enough for the water to be shiny but not run as you move the paper), and notice the difference in texture you're creating.

2. Tissue paper technique

Fill in the next rectangle with the color(s). For best results, you need a damp surface and rich color.

Crumple up a piece of tissue paper and place it on top of the wet paint. Gently cover the entire area, then gently press down on the paper with the palms of your hands. Let it dry a little (but not completely, otherwise the paper may stick). Then carefully lift the tissue paper off the drawing.

3. Alcohol technique

This technique is pretty funny. Paint over the next rectangle with watercolor.

While the drawing is still wet, dip a Q-tip in alcohol and dip it over the wet paint. For best results, drip alcohol from the end of the stick (instead of touching the paper with it).

4. Pastel technique

You can use pastels to create the "wax resistance" technique. First draw your design with white pastel, making sure it is firmly in contact with the paper.

Using a white pencil on white paper makes it hard to see what you're drawing. Tilt the paper to the side to get an idea of ​​your idea.

Then fill the rectangle with color. The paint will resist white pastel areas.

5. Pen and ink technique

This is another one of my favorite techniques. Using a fine-tipped ink pen, draw or sketch.

Then paint over with color, as in the coloring book. Remember to switch to a smaller round brush to paint in small areas.

6. Water drop technique

Color the next rectangle. Then dip the brush in water (or use a new color), let the paint drip onto the background while it is wet. You can give the brush a little shake to help it drip.

7. Spray technique

The method is interesting, but messy. I recommend covering all areas of the paper that you don't want to splatter. Dip the brush into the paint and then hold it over the paper. Tap the brush with your other hand to leave a splatter on the paper. Rinse the brush, choose a different color.

8. Transparency technique

Since watercolor has a transparent texture, you can create beautiful layers and thicken them in your work. To try out the transparency technique, it is best to start with a light shade and move on to a more saturated one. I decided to draw a few drops. Cover the area with shapes, using the lighter color first. Wait until completely dry, then choose a darker or more saturated color and draw more shapes, overlapping the first layer. You can repeat this process to your heart's content.

I hope this post will inspire you to use one or two new techniques. Don't be afraid to just do it and have fun!

Stay tuned for more inspirational watercolor tutorials!

Depending on the degree of paper moisture, we distinguish such watercolor techniques as "wet work"("English" watercolor) and "dry work"("Italian" watercolor). An interesting effect is obtained by working on a fragmentary moistened sheet. In addition, combinations of these techniques can also be found.

Wet work.

The essence of this technique is that the paint is applied to a sheet previously moistened with water. The degree of its moisture content depends on the creative intent of the artist, but usually they begin to work after the water on the paper ceases to “shine” in the light. With enough experience, you can control the moisture content of the sheet by hand. Depending on how filled with water the hair bundle of the brush, it is customary to conditionally distinguish between such methods of work as “wet-in-wet” and “dry-in-wet”.

Advantages of wet technique.
This way of working allows you to get light, transparent color shades with soft transitions. Especially successfully this method is used in landscape painting.

Difficulties in wet technology.
The main difficulty lies in the main advantage - this is the fluidity of watercolor. When applying paint by this method, the artist often depends on the vagaries of smears spreading over wet paper, which in the process of creativity can turn out far from what was originally intended. At the same time, it is almost impossible to correct only a single fragment without affecting the rest. In most cases, the rewritten section will be out of harmony with the general structure of the rest of the canvas. Some soiling, dirt, etc. may appear.
This way of working requires constant self-control, free use of the brush. Only considerable practice allows the artist to somehow predict the behavior of ink on wet paper and provide a sufficient level of control over its spreading. The painter must have a clear idea of ​​what he wants and how he must solve the problem.

A la Prima technique.

This is a painting in a raw style, written quickly, in one session, which creates unique effects of streaks, overflows and overflows of paint.

Advantages of the A la Prima technique.
Getting on the wet surface of the paper, the paint spreads over it in a unique way, making the picture light, airy, transparent, breathable. It is no coincidence that the work done in this technique is practically impossible to copy, since each stroke on a wet sheet is unique and unrepeatable. Combining various color combinations with a variety of tonal solutions, you can achieve amazing overflows and transitions between the subtlest shades. The a la prima method, since it does not involve multiple registrations, allows you to maintain maximum freshness and richness of colorful sounds.
In addition, an additional advantage of this technique will be a certain time saving. As a rule, the work is written “in one breath” while the sheet is wet (which is 1-3 hours), although, if necessary, you can additionally wet the paper during the creative process. In quick sketches from nature and sketches, this method is indispensable. It is also appropriate when performing landscape sketches, when fickle weather conditions oblige a quick execution technique.
When writing, it is recommended to make mixtures of two, maximum of three colors. Excess paint, as a rule, leads to clouding, to a loss of freshness, brightness, color definition. Do not get carried away by the randomness of spots, each stroke is designed to meet its purpose - to be strictly consistent with the shape and pattern.

The complexities of the A la Prima technique.
The advantage and at the same time the difficulty here is that the image that instantly appears on paper and fancifully blurs under the action of the movement of water cannot subsequently be subjected to any change. Each detail begins and ends in one step, all colors are taken at once in full force. Therefore, this method requires extraordinary concentration, sharp writing and an ideal sense of composition.
Another inconvenience can be called the limited time frame for the execution of such a watercolor, since there is no possibility of leisurely work with breaks between painting sessions (including when writing a large-format painting, by gradual execution of individual fragments). The image is written almost non-stop and, as a rule, "with one touch", i.e. the brush, if possible, touches a separate part of the paper only once or twice, no longer returning to it. This allows you to maintain absolute transparency, lightness of watercolor, to avoid dirt in your work.

Dry work.

It consists in the fact that the paint is applied to a dry sheet of paper in one or two (single-layer watercolor) or several (glazing) layers, depending on the artist's idea. This method allows you to provide good control over the flow of paint, tonality and shape of strokes.

Single-layer watercolor "dry".

As the name implies, in this case the work is written in one layer on a dry sheet and, as a rule, in one or two touches. This keeps the color purity of the image. As needed, you can "include" paint of a different shade or color in the applied, but not yet dried layer.

The dry-on-dry one-coat method is more transparent and airy than glazing, but does not have the beauty of wet overflows achieved with the A la Prima technique. However, unlike the latter, without any particular difficulties, it allows you to perform strokes of the desired shape and tone, to provide the necessary control over the paint.

The colors used in the work, in order to avoid the appearance of dirt and filthiness, it is advisable to think over and prepare in advance, at the very beginning of the painting session, so that they can be applied to the sheet without hindrance.
It is convenient to work in this technique by outlining the contours of the drawing in advance, since there is no way to make adjustments with additional layers of paint. This method is well suited for graphic images, as strokes on dry paper retain their clarity. In addition, such a watercolor can be written both in one session and in several (with fragmentary work) with breaks as needed.

Another way to perform a single-layer watercolor is wet-on-dry, lies in the fact that each stroke is applied next to the previous one, capturing it while it is still wet. Thanks to this, a natural mixture of shades and a soft transition between them is formed. To enhance the color, you can pour the necessary paint with a brush into a smear that has not yet dried. You need to work fast enough to cover the entire sheet before the previously applied strokes dry out. This allows you to create beautiful painterly overflows, and the dry surface of the paper provides sufficient control over the fluidity and outlines of the strokes.

Multi-layer watercolor (glazing).

Glazing is a method of applying watercolor with transparent strokes (as a rule, darker ones on top of lighter ones), one layer on top of another, while the bottom must always be dry. Thus, the paint in different layers does not mix, but works through the light, and the color of each fragment is made up of the colors in its layers. When working in this technique, you can see the boundaries of strokes. But, since they are transparent, this does not spoil the painting, but gives it a peculiar texture. The strokes are done carefully so as not to damage or blur the already dried picturesque areas.

Advantages of the multi-layered watercolor technique.
Perhaps the main advantage is the ability to create paintings in the style of realism, i. most accurately reproducing one or another fragment of the environment. Such works outwardly have a certain similarity, for example, with oil painting, however, unlike it, they retain transparency and sonority of colors, despite the presence of several layers of paint.
Bright, fresh glazing paints give watercolor works a special sonority of color, lightness, tenderness and radiance of color.
Glazing is a technique of saturated colors, deep shadows filled with colorful reflections, a technique of soft airy planes and endless distances. Where the task is to achieve color intensity, the multi-layer technique comes first.

Glazing is indispensable in shaded interiors and distant panorama plans. The softness of the chiaroscuro of the interior in calm diffused light with a multitude of all kinds of reflections and the complexity of the general pictorial state of the interior can only be conveyed by the glazing technique. In panoramic painting, where it is necessary to convey the most delicate aerial gradations of perspective plans, one cannot use body techniques; here you can achieve the goal only with the help of glazing.
When writing in this technique, the artist is relatively independent in terms of chronological framework: there is no need to rush, there is time to think without haste. The work on the picture can be divided into several sessions, depending on the possibilities, necessity and, in fact, the desire of the author. This is especially important when working with large format images, when it is possible to perform various fragments of the future picture separately from each other with their subsequent final merging.
Due to the fact that the glazing is carried out on dry paper, it is possible to achieve excellent control over the accuracy of strokes, which allows you to realize your plan to the maximum. By gradually applying one layer of watercolor after another, it is easier to choose the right shade for each element in the drawing and get the right color scheme.

The complexity of layered watercolor.
The main criticism directed at this technique is that, in contrast to the single-layer style of painting, which preserves the transparency of colors as much as possible, watercolor works executed with glaze lose their airiness and resemble images in oil or gouache. However, if the glazing is applied thinly and transparently, then the light falling on the picture will be able to reach the paper and be reflected from it.

It is also worth noting that the multi-layered writing often hides the texture of paper and paints or the texture of semi-dry brush strokes on a granular sheet.
Like any watercolor painting, glazing involves very careful work - strokes must be laid carefully so as not to smear the lower, already dried, layers of paint. Because the perfect mistake can not always be corrected later without consequences. If paper and a fragment of the image allow, you can blur the bad place with a hard column previously moistened in clean water, then blot it with a napkin or cloth, and then, when everything dries, carefully restore the color.

Combined (mixed) watercolor technique.
In one picture, both the “wet” and “dry” techniques are harmoniously combined. For example, the first layer of paint is placed on wet paper to create the desired blurring of the background (or/and separate fragments of the middle and foregrounds), and then, after the paper dries, additional layers of paint are placed successively while drawing the elements of the middle and foreground in detail. If desired, other combinations of raw writing and glazing are also used.

Interesting way of working on a fragmentary moistened leaf, when the latter is not completely wetted, but only in some specific places. A long stroke, covering both dry and wet areas of the paper, will take on a unique shape, combining, with its general continuity, clear contours in dry places with “spread” ones in wet ones. The tonality of such a smear will change accordingly in areas of the paper with different degrees of moisture.

According to the color palette used by the artist, we will conditionally select a monochrome watercolor - grisaille, and multicolor - classic. In the latter, there is no limit on the number of colors used and their shades, while in grisaille, different tones of the same color are used, not counting the color of the paper. Most often, sepia is used and, less often, black, ocher.

Sometimes, in relation to watercolor works, one can also come across such a term as “dichrome”. As a rule, it is used extremely rarely and refers to those images in the creation of which not one, but two colors were used.

According to the degree of humidity you can divide not only the work surface, but also the hair bundle of the brush during a painting session. Of course, this division is more than arbitrary, since, depending on the desires of the artist, the same brush can change the degree of moisture with each stroke. At the same time, we will single out the work with a dry (wrung out) brush, semi-dry and wet, since the strokes in these cases differ from each other.
A brushstroke with a pressed brush when writing "wet" provides less "fluidity", allows you to better maintain control over the paint applied to the sheet. When writing “in a dry way”, such a stroke can only partially cover the paper, “slipping” (especially for embossed paper, medium-grained and torchon), which is of particular interest for specific creative solutions.

Semi-dry brush writing versatile and well suited for writing on paper of varying degrees of humidity. Of course, each case will have its own characteristics. With a wet brush, they write, as a rule, “in a dry way”, since dotted strokes on the wet surface of the sheet give a strong “spreading” and are difficult to control. However, a wet brush is well suited for pouring, stretching, washes and other techniques when you want to keep as much water in the brush as possible.

There are techniques for watercolor mixed with other coloring materials, for example, with whitewash (gouache), watercolor pencils, ink, pastels, etc. And, although the results are also very impressive, such techniques are not “clean”.

In the case of a combination of watercolors with pencils, the latter complement the translucency of colors with their bright and clear shades. With pencils, you can either emphasize some details of the pictorial image, making them clearer, sharper, or do the whole work in mixed media, in which linear strokes, brush strokes and colorful stains are equally present.

Pastel doesn't work as well with watercolor as pencil does, but sometimes artists use pastel to apply pastel strokes on top of a finished watercolor hillshade.

ink, both black and color, can be used instead of watercolor. However, ink gives new possibilities and is usually used in brush washes or pen drawings. The combination of black ink drawing and abstract watercolor spots, merging and crossing the borders of ink objects, gives the work a freshness and looks original. The combination of watercolor and pen is very successful, for example, for book illustrations.

Usually, whitewash(opaque coloring material, such as gouache) in mixed media are used to "simplify" the painting process. Sometimes the "reserve" of individual places in the picture presents a certain difficulty, especially when these places are small and there are many of them. Therefore, some artists paint without it, and then “bleach” the right places with paint (for example, highlights on objects, snow, tree trunks, etc.).
When creating one work, it is also possible to combine different materials, for example, in addition to watercolors, white, ink and pastel are used in the process of painting, depending on the artist's creative intent.

In watercolor, one can conditionally distinguish such writing techniques as: strokes, filling, washing, stretching, reserves, “pulling” paint, etc.
smears- this is perhaps one of the most common ways of writing in painting, by the nature of which it is easy to distinguish a dynamic drawing from a boring work. The brush filled with paint, in contact with the surface of the sheet, performs one or another movement, after which it breaks away from the paper, thereby completing the stroke. It can be dotted, linear, curly, clear, blurry, solid, broken, etc.
fill- a technique performed in cases where it is required to cover a large area of ​​the picture with one color or make smooth transitions between different colors. It is performed on paper tilted at an angle, as a rule, with long horizontal strokes with a large brush, so that each next stroke flows down and “captures” part of the previous one, thereby organically merging with it into one texture. If, after filling, there is excess coloring pigment, then they can be carefully removed with a wrung out brush or napkin.
laundering- a technique of watercolor painting, in which paint heavily diluted with water is used - they begin to write transparent layers with it, repeatedly passing through those places that should be darker. The overall tone of each of the sections of the image is ultimately achieved by repeated overlays of these layers, and each of them is applied only after the previous one has completely dried, so that the colors do not mix with each other. At the same time, it is not recommended to apply more than three layers of paint so that dirt does not appear. Therefore, most often the second registration enhances the colors of the halftones, and the third saturates the color of the shadows and introduces details. In fact, washing is a multiple pouring of one tone onto another with a solution of the same concentration. Most often, this technique is used by architects and designers, since an ordinary drawing does not give the viewer a visual representation of the shape and color of the building. In addition, working with color, the architect finds the best combination of material for the perception of what was conceived, clarifies tonal relationships, and achieves an expressive silhouette and volumetric solution of the project.

gradient stretch- a series of successive strokes smoothly passing into each other, in which each subsequent one is lighter in tone than the previous one. In addition, sometimes a smooth transition from one color to another is also called.
Often in watercolor, a method such as "pulling" the paint will be used. A clean, wrung-out brush is carefully applied to the still wet painting layer, the hair of which absorbs part of the pigment from the paper, making the tone of the stroke lighter in the right place. Best of all, the paint is drawn out when writing “wet”, as the surface is still wet and the pigment does not hold well. If the smear is already dry, it can be gently moistened with a clean wet brush, and then “pull” the paint to the desired tone. However, this method is less effective on dry paper.

Reservation- this is the part of the sheet that remains white during the painting process. A real watercolorist observes the rules of purity of this technique, refusing white. Therefore, the level of the artist's skill, among other things, is determined by the ability to perform a high-quality reservation technique. There are several main ways.
"Walking"- the most complex and most "clean" reservation technique. With such a letter, the artist leaves the necessary places of the picture not painted over, carefully “bypassing” them with a brush. The method is performed both "dry" and "wet". In the latter case, you need to keep in mind that the ink applied to wet paper spreads, so the reserve should be done with some "margin".
The method often used is mechanical impact on a dry layer of paint. In the right places, it is scratched with a sharp object (for example, a razor) to the white surface of the sheet. However, such a technique requires a certain skill and violates the texture of the paper, which can eventually lead to negative consequences.
It is also possible to use various so-called "masking agents", which can be used at almost any stage of the development of the picture, preventing paint from getting into the areas covered by them.
Using these solutions, you can keep bright light accents, glare, splashes white, achieve a variety of effects with the overlay method, when masking is applied after the first wash of color is applied, and a second, darker shade is applied on top.
However, with such a reserve, sharp and contrasting borders are obtained between the paint layer and the protected area. Softening such transitions is not always successful, so it is better not to abuse the use of masking tools, using them only to create interesting and beautiful effects.

You can also create a preliminary drawing with wax crayons in the right places without covering large planes. Then moisten all the work with water and fill with paints on a still wet sheet. Places originally painted over with wax crayons will remain untouched by watercolor, because. Wax repels water.

Another way is in paint washout wet or wrung out brush. It is best done on a dry layer. However, it is no longer possible to achieve the initial whiteness of the paper, since part of the pigment still remains in the texture of the sheet. Instead of a brush, you can use a dry napkin, gently applying it to the specified places in the picture (for example, thus “creating” clouds in the sky), etc.
Sometimes there is such a technique as removing part of the semi-dry paint with a palette knife. However, it requires a certain skill and is used only in some particular solutions (for example, they can emphasize the outlines of mountains, stones, rocks, sea waves, trees, grass, etc. can be depicted).

Sometimes when creating watercolor works, some special effects.
For example, salt crystals applied over a wet ink layer absorb some of the pigment, leaving unique stains on the paper, moving tonal transitions. With the help of salt, you can get a moving air environment in the picture, decorate the meadow with flowers, and the sky with stars.

Of particular interest is watercolor, made on pre-crumpled paper, due to which the paint accumulates in a special way at the bends of the sheet, creating additional volume.

Toning leaf with black tea can contribute to the visual "aging" of the paper.

In some cases, it pays to apply the pigment to the sheet by splashing(for example, a finger from a toothbrush), because to reproduce many tiny dots with a regular brush is quite difficult and time consuming. But at the same time, it must be borne in mind that the particles of the paint solution from the hard hair of the brush “scatter” almost uncontrollably, so this technique requires a certain skill.

An interesting effect is given by the usual cling film, firmly attached to the still wet paint and then carefully removed from the sheet.

In conclusion, I would like to note that, in addition to the main ones outlined, there are many other private techniques and ways of working with watercolors.

Watercolor painting has its own history and traditions. It first appeared in China in the 12th century, although even in ancient Egypt they used opaque watercolors with the addition of white.

Interesting, because one of the characteristic features of watercolors is their transparency, and there is never white in sets. In medieval Europe, as in Russia, opaque watercolor was used for coloring church books or manuscripts, in which capital letters or ornaments were highlighted with watercolor.

water paints

Ancient Egyptian, medieval and later paints have in common that the solvent for them is water - aqua. Hence the name aquarelle, or watercolor. This term is applicable both to the actual paints and to the type of painting made by them. The main features of pure watercolor are the transparency and purity of color mentioned above. Watercolor painting is usually delicate, fragile and airy. But until the middle of the XIII century, it had a purely applied character, it was mainly used for coloring drawings, engravings, frescoes. Although such a masterpiece as "The Hare" by Albrecht Durer, which is considered a textbook work, was written as early as 1502.

From single hobbies to universal recognition

Remarkable isolated examples occurred later, but this was an exception to the rule. Such generally recognized masters of the brush as Van Dyck, Giovanni Castiglione and Claude Loren dabbled in watercolor. In England, however, she received a special development thanks to Joseph Turner. Although even before him, watercolor painting was promoted by quite venerable English artists. Under Turner, watercolor became the leading art in this country, and in 1804 the Society of Watercolorists was created in England.

Excellent foreign watercolors

Watercolor came into fashion in France, other countries of Europe and America. It can be added that with the filing of the Argentine artist Rojo, the International Day of Watercolors was declared. It was first celebrated on November 23, 2001.

In the public domain you can see the amazing watercolors of the Japanese artist Abe Toshiyuki, who achieves photographic accuracy in his extraordinary paintings.

Great Russian masters

But how did watercolor painting develop in Russia? The first major master in this art form was P. F. Sokolov (1791-1848), who is considered the founder of the Russian watercolor portrait genre. Academician of the Imperial Academy of Arts, he left to his descendants a slice of the era, as he captured contemporary Russia in his landscapes, portraits, everyday scenes. Karl Bryullov and A. A. Ivanov paid tribute to watercolor. In the XVIII-XIX centuries, she becomes very popular, especially the miniatures she made. But large works created with water colors are also remarkable. Particularly good are the paintings by Ilya Repin, Mikhail Vrubel, Valentin Serov, the artists of the World of Art. The Society of Russian Watercolorists was founded in 1887.

The beauty of watercolor landscapes

Water paints are capable of all pictorial genres, but landscapes are especially good. Watercolor can convey subtle color transitions, the saturation of space with air, the richness of each tone. That is why the flowering gardens in the landscapes made by aquarelle are so uniquely beautiful and multicolored.

Particularly good are the works of the English artist Beatrice E. Parsons (1870-1955). Landscapes in watercolor, in particular winter landscapes, made by Russian masters, are unique and unrepeatable. A selection of Russian winter landscapes created by various watercolorists is widely available.

Characteristic tricks

How are the effects inherent only in watercolor achieved? It is characterized by special techniques, it has its own rules and, of course, its own, prepared paints in a special way. Blurring and streaks are specific techniques of this genre. We must immediately make a reservation that watercolor painting is a rather complicated matter, requiring special skill.

Nowadays, with a huge number of master classes and tips on the Web on how to replace the virtuoso use of a brush with various tricks, one can come across the statement that everyone can draw. Not all. And such a technique as glazing is available only to strong professionals. And there are also such techniques as “washing”, “alla prima”, “dry brush”, “drops” and “wet”. Only virtuosos master them to perfection.

Painting on paper

In the second half of the 19th century, easel watercolor developed, the works of which are not inferior to oil painting. Their significant difference is not only in colors, but also in the material on which the works are created. In watercolor, this is paper, less often silk. And this makes watercolor painting related to graphics.

When creating paintings with water-based paints, the paper is sometimes pre-moistened (“wet” technique), while the stroke acquires a special spreading shape, and the one applied next forms, merging with the previous one, a new shade, which is sometimes even difficult to predict.

Special fixtures

Paper dries quickly and warps. Therefore, the sheet must be stretched. This is achieved in several ways. You can put a wet sheet on the glass and then in the process of working tilt it at the right angle in order to save more moisture in the right area. It is clear that this method is not available to a beginner. There are special frames for sheet tension. They are called erasers. Place damp flannel under the paper to retain moisture. It all depends on the ratio of paint and water, and completely different shades are achieved. Various aids have been created for various techniques, such as a tablet and watercolor blocks.

Tools

Each watercolorist has his own technique. It is not so easy to master watercolor, all its virtuoso techniques, you need to lime a lot of paper, which is divided by quality into several types - Bristol cardboard, Whatman paper, torchon and many other types adapted for frequent wetting. Watercolorists use brushes made from delicate squirrel hair. Such brushes are used even in forensics. Suitable hair marten, ferret and badger.

When working with water-based paints, there is a lot that is included in the concept of "technique". You can work with watercolor, as mentioned above, both on dry paper and on wet paper. In the first case, there are methods, in the second - their own. When drawing directly with paints, paper, even initially wet, is still dried. The application of several layers to obtain depth and iridescence of color (glazing) implies only dry cardboard.

The most common approach

Drawing in watercolor “on wet”, or “on wet”, or “wet on wet”, is unique and inherent only in this pictorial genre. True, the frescoes are applied to damp ground, and some experts consider them to be the forerunner of watercolors, made using the “wet” technique. A soft stroke and a one of a kind texture of the paint layer are the specifics of working with watercolors “on wet”. In addition, in these works there is an effect of trembling and mobility of the image. Then you can introduce a drawing with a pen or pencil into the dried watercolor, especially since watercolor pencils appeared not so long ago. The essence of watercolor is that a white or light tone is obtained due to cardboard appearing through a transparent layer of paint.

Actually paints

And what about paints? Their quality is achieved by a special grinding of the pigment and its quantity in the original product. To prevent the pigment from rolling into balls, ox bile, which is a surfactant that reduces tension, is added to the paint. Easily water-soluble adhesives gum arabic and dextrin (processed corn and potato starch) are incorporated into paints as binders.

To give them elasticity and plasticity, plasticizers such as glycerin are added to them, and invert sugar retains moisture well. The most important claim to water-based paint is the uniformity of the coloring pigment. Bad colors remain on paper in the form of grains of sand. This is an indication of bad paint.

Watercolor marinas

It was noted above that water colors are unusually good for depicting landscapes. The sea especially wins. With watercolors, with all the techniques and methods available only to her, you can depict all the exciting beauty of the water space. And then, maybe there is something in painting water with water colors? Maybe that's why there are so many lessons for beginners to paint with watercolors on writing exactly the sea? And how consonant with the expanse of water are such watercolor techniques as "drops" or "blowing". In addition to them, wax crayons can be used in the marina to close the cardboard in order to preserve white areas.

All sorts of different ways

Ways such as whitening, punching, spattering, using masking tape and many others used by watercolorists, especially beginners, will help not only depict the sea in watercolor, but also turn work into a fun activity, especially if you draw with a child. But in serious adult works, different techniques are also used. Sometimes, to achieve the desired effect, you can put the brush aside and try something else. To what the masters do not resort: to cling film, and to foam, and to salt, and to stamping and much more - the fantasy of a person, especially an artistically gifted one, is limitless.

In our time, when the information field is so wide, when in any genre of fine or applied art that you have never heard of before, you can not only try yourself, but also exhibit your work, a great many people have discovered talents in themselves and have decided on the direction development of own skills. Moreover, on any issue there are a lot of available tips, master classes, recommendations and opportunities to purchase the items and tools necessary for this type of creativity. Painting with watercolors for beginners does not stand aside. Dozens of lessons, step-by-step descriptions of absolutely everything related to water-based paints, are widely available.

Nevertheless, working with watercolor carries certain difficulties. Not everyone manages to cope with it; If you started your artistic journey with tempera, oils or acrylics, working with watercolor can be an unexpected challenge.

It is for these reasons that we want to help you with the successful use of watercolor. This article provides some useful tips for working with it.

1. Use quality watercolor

The quality of the paints you use has a lot to do with the final work. Some artists, before forking out for a more serious product, buy cheaper to see if it suits them. This trick works with certain paints, but not with watercolors - the quality standards are clear here.

The use of poor quality material can always spoil the final result, sometimes causing irritation and disappointment. It is a wise decision for any artist to invest a little to ensure that the first experience with watercolor is as clean and honest as possible.

2. Use the right paper

Of great importance is what kind of surface you choose to paint with watercolors. Proper paper must be able to absorb large volumes of water and withstand many layers of ink, which means it typically weighs more than regular paper.

The thicker the paper, the more suitable for watercolor. We recommend using paper with a weight of at least 300 g/m2 - clear information about this is usually printed on the front of the pack.

Sheets of paper, which can be purchased separately, are usually labeled as well. By the way, despite numerous disputes about which side of the sheet to draw on, we came to the conclusion that it depends only on the personal preferences of the artist - with sufficient skill, you can achieve a good result from either side.

Watercolor paper is produced in three ways: cold pressing, hot pressing, and rough pressing. As can be understood from the names, the first is made under a cold press, the second under a hot press, and the last is made without using a press at all.

The manufacturing process leaves its mark on the texture of the paper. Sheets from a hot press are quite smooth, while paper from a cold press has a noticeable roughness. Rough paper, which is logical, has the toughest texture.

If you're using the wrong paper, it will definitely let you know by swelling and creasing. Many manufacturers call their paper watercolor, but this does not guarantee the absence of swelling when drawing. Always judge paper quality by its weight. The paper in the picture below pretends to be watercolor, but as soon as watercolor is applied to it, it will immediately swell and become unusable for work. Which is not at all surprising, because its density is only 160 g / m2.

3. Straighten the paper

In order for watercolor paper to absorb water better, it should be straightened out. This will ensure sufficient surface tension. Larger sheets can be soaked in bath water and attached to a dense wooden surface. You can also use a stapler or wide tape to fix the paper. The paper will shrink as it dries, just giving you the tension you need.

Small sheets can simply be attached to the surface with masking tape, and then slightly moistened.

4. Draw easy

Most artists make a pencil sketch on a sheet and only then start working with paint. However, not all of them like to see traces of graphite on the completed work, so they try to completely paint over the strokes of the pencil.

Keep the sketch light so that you don't have problems with it later. No need to draw shadows with a pencil, just outline the outlines of objects. HB pencils work best for this - soft pencils (like 2B, 4B) can be too dark, while hard pencils (2H, 4H) sometimes leave nasty scratches on the paper.

Pencil marks can be carefully removed with a nag eraser before applying paint. Remember - once you start painting with watercolors, you will not be able to remove the graphite from the sheet.

5. Use the right brush

There is a huge variety of brushes for every taste and color. As a rule, softer brushes are used for watercolor. We can recommend you soft, but rather elastic synthetic brushes, in particular Grumbacher Golden Edge.

Although you will only find a brush that really suits you with experience, synthetic brushes are good for beginners. In addition, they are quite cheap compared to natural counterparts.

Hard brushes (such as bristles) are mainly used for texture work. Do not perform basic forms with them.

6. Don't hold back the paint

The water will carry the watercolor across the paper, creating whimsical silhouettes. Do not prevent it, but make it work for you - blurry shapes can also be used to indicate objects.

Let the paint loose in certain places. This will give your picture its "zest".

7. Limit your palette

As in any other case, when working with watercolors, color theory must be taken into account. Draw so that you can use matching colors, or narrow down the range you need.

When your palette is simple, the picture is harmonious and aesthetically pleasing.

8. Work with layers

Darker or more intense watercolor colors can be achieved by applying the paint multiple times. Let the layer dry before adding a new one on top of it. The underlying layers will still be visible, creating a very complex effect.

Add dark colors towards the end of the work. Light ones should not be applied a lot - the white color of the paper will still affect them in the end.

You can not only mix colors on the palette, but also use optical blending. For example, apply a translucent layer of blue to a layer of red - you get purple.

9. Use masking fluid

Camouflage fluid is a liquid material (usually latex-based) applied with a brush to places where paint should never get. This helps protect the whiteness of the paper in certain critical areas.

When dried, the masking fluid can be easily erased with an eraser or a finger. Remember, this stuff can easily ruin your brush, so use the one you don't mind.

10. Try to create a full spectrum of brightness

Luminance refers to the dark or light shade of a color. It gives the observer information about the lighting, shape and texture of the objects depicted in the picture.

To fully convey the brightness in a watercolor painting, you need to use all shades of color. Make sure you use both light and dark ones.

A common mistake beginner watercolorists make is that they paint too lightly and lightly. Do not be afraid of dark shades, because they are necessary for accurate reproduction of brightness and contrast.

11. Know when to stop

It can be very difficult for an artist to determine the very moment when it is time to finish. Sometimes inspiration draws him in so much that he cannot and does not want to stop. But if you overdo it, you can spoil the result.

When working with watercolor, you need to be extremely careful in this regard. Of course, it is difficult to answer the question of when to finish the work, but thoughts from the category of "what else can I add?" often serve as a signal of its readiness. When you paint with watercolors, don't try to mark everything down to the smallest detail in the painting.

12. Practice, practice and practice again

A skill cannot be developed without practice. Anyone can learn how to draw with enough passion and time. Speaking not only about watercolor, but also any other artistic creation, only practice will help you gain self-confidence, without which no artist will ever succeed.

There are no comrades for taste and color. Have you ever heard such a proverb? Undoubtedly. People can argue for hours about which artist is better and which is worse. However, it is difficult to find a lover of beauty who does not like watercolor.

Poetry in colors, flights of fancy, colored music - these are just some of the epithets that watercolor works deserve. Now we will try to plunge into this poetry and music in order to find out more closely what the world of watercolor is like. For beginners, this will be an unforgettable journey into the land of beautiful magic.

A bit of history

The amazing ability of watercolor to convey transparency attracted artists from all over the world. The great variability of writing techniques allows true magicians to create very cool things. Entering the museum on a hot day, you will certainly fight the temptation to throw yourself into the cool water of a lake or river painted in watercolor.

It is almost impossible to determine where and when watercolors were first used. But already in the 15th century, the outstanding German Renaissance master A. Dürer used watercolor with great success, creating amazing works.

It is not for nothing that watercolor is called color music and poetry. Airiness, brightness, mystery and some transcendent lightness, like a magnet attracts to water colors, this is how “watercolor” is translated from Greek.

Not only technical characteristics attract young painters to these paints, but also the laurels of the masters of the past induce them to personal achievements and exploits on the pictorial front. Watercolor gained particular popularity in the late 17th and early 18th centuries. The mists of London inspired many watercolor masterpieces by 19th-century English artists. One of them, W. Turner, simply sang in his works a love song to the hazy London streets.

Russia is famous for its watercolors of the century before last. K. P. Bryullov could not only create a filigree thing in oil, but the watercolor in his hands was just as flawless. A.A. Ivanov was a great master and lover of watercolor richness. His work was both simple and at the same time brilliant.

• I. E. Repin,
• V. I. Surikov,
• I. N. Kramskoy,
• M. A. Vrubel,
• V. D. Polenov,
• V. A. Serov,
• A. A. Deineka.

This list can be continued indefinitely. All the great artists of the past left their unforgettable watercolor strokes in the history of pictorial art.

In order to want to take up the brush and stir up the first watercolor, run to the museum to watch the classics! If you prefer to be inspired without leaving your home, then admire only some of the works of the masters of the past. Keep in mind that the screen does not convey the liveliness that real watercolor paintings breathe.

Watercolor basics

Where to begin? The question we ask ourselves when we really want something. Mastering watercolor is best with the acquisition of the most necessary. Here is a small list of what your future watercolor masterpiece will not take place without:

• Paints. There is a huge variety of varieties of watercolor paints, with all sorts of shades and additives. But a cool watercolorist should know that 8-10 primary colors are enough to work with. The best watercolors are produced in the glorious city of St. Petersburg. Watercolor with the addition of honey is brighter and tastier, but it is advisable not to eat it, but still use it for its intended purpose.

• brushes. Many experienced watercolor painters use just one brush. This is usually a good medium sized squirrel brush. If you like to hold different brushes in your hands, then use 8 to 16 numbers. Smaller brushes are usually used only for writing miniatures and drawing details. However, if you are a lover of impressionism, then forget about them. In addition to squirrels, kolinsky and sable are suitable. The main advantage of such brushes is the ability to absorb a lot of water.
• Paper. If you decide to practice with watercolors on notebook sheets or wrapping paper, then immediately throw this nonsense out of your head! For watercolor, you need a special thick, pimply paper of good quality. Having bought it, do not rush to immediately paint ninja turtles or a charming princess! First, let the paper rest for a few days, then check it for water absorption and how paints lie on a snow-white surface. If everything suits you, and the turtles are green and the princess is pink, run to the store and buy more good paper. It doesn't always work that way.

• Easel. The workplace also needs to be prepared in advance. Of course, you can create on the table, but you hardly need scoliosis, poor eyesight and other related products. Therefore, immediately purchase a good sketchbook with legs, then it will be equally convenient at home and in the field. If there is not enough cabbage for the easel, then a simple plywood board can be an excellent easel. The main thing is that you can attach a sheet of pimply paper to it, which you just stocked up.

Well, you are ready to paint the first picture. Just remember that when you become a great watercolorist, there will be no price for this work. At an auction at Sotheby's, even buttons from the first creation will go under the hammer. What do you need to do to learn how to paint with watercolors?

Watercolor for beginners

First, let's get acquainted with the basic techniques of watercolor painting. What and how can it be done? Of course, you remember that watercolor is a transparent paint. No matter how hard you try, the bottom layer will always be visible. Therefore, the following methods are used in working with water-based paints:

• Wet. This method is a watercolor business card. No other paint can achieve such fantastic overflows that occur when mixing paints on wet paper. Try! Wet a large area of ​​paper with a brush, and then brush one color and next to another so that the strokes touch each other. Make a rainbow like this and let it dry. Hasn't it been a miracle?

Now a little about the technique of writing. What should you remember? Watercolor is beautiful until it's turned into dirt. This results in mixing more than three colors. Don't get carried away with this! Don't forget that three layers is already at least three colors! The best option for writing in watercolor is shooting at the bull's-eye, that is, immediately getting into color and tone, preferably. Therefore, they begin to prescribe a drawing from bright places, and finish with the darkest ones. Always apply a new layer after the bottom one has dried. Do not rush!

However, after trying it for the first time, many people ask themselves: “When will fame come?” The answer is simple: study, study and study again! To do this, constantly paint with watercolors, the more often you do this, the faster you will master the skill. It's like riding a skateboard. No matter how much you look at him, you won't learn how to ride. Only by standing on a skateboard and stuffing more than one bump, you can become a cool skateboarder. So it is in painting. Drop the skate, grab the brush! You will succeed!