Going with the flow. Paying close attention to how the water is moving. The brush strokes and the white spaces indicate the movement of the water.
These rocks on the right are painted darker in value to balance the darks on the left in the background. I also did a bit of scratching to show some water flowing over the rocks.
The flow of the water is coming from the right, with some splashing over the rocks on the left. I painted the rocks and then “just at the right time” added water to make the colors flow downward.
Because I plan on adding detail in most of the water, I painted a pure blue and red where the center of interest will be.
Adding more contrast in the foreground and adjustments to the movement in the water to the center of interest completes the painting.
.The bad news! We are back in isolation once again. I had to suspend my in-person watercolor class here in Kaneville.
The good news! More time to paint!
I haven’t done a “full sheet” painting for many years. The standard size watercolor paper is 22’ x 30’. Let the fun begin!
The subject is my favorite -rocks and water..
Step #1 is the background. I plan on treating the water with a lot of detail, so the background needs to be less detailed.
I wet the area with a solution of glycerin and water. Painting it while wet, and blotting and spraying it made the pigments run and create shapes that suggest rocks.
This is the photo reference I will use for this next painting.
Before I start the painting the composition will be changed dramatically. Color, values, forms temperature and sometimes perspective adjustments are needed.
I will post the first step in my painting process tomorrow.
I had to add some opaque paint to the "problem" area which worked to unify the painting.
The process was broken down int steps for the blog. It took 4 hours of painting and 50 years of practise.
Step 6. The decisions that you make in transparent watercolor can be difficult to correct. Making something darker or larger can be done, but “erasing” something is very difficult.
I felt that I made the area in the lower right too “solid”. In the process of attempting to correct mistakes that I have made in other paintings, I found that tearing the paper can work to eliminate mistakes and keep the painting transparent. (That may sound strange, but it is intentional!)
With a sharp mat knife, I will carefully tear the paper to eliminate some of the painted areas. This area will be a different texture than the rest of the paper. To correct that, I will burnish the torn areas with a smooth stone. When I go back in and paint into the torn areas, I will have to "seal" the area with some gum arabic, which is the sizing or glue that is initially found in the paper.
Step 5. The dark foreground tree is painted next, giving the composition more depth by overlapping the background. For the same reason, I added a few trees in the background to continue that sense of depth, continuing to bring the viewer further into the scene.
Step #4 was the most difficult part of the entire painting. Because I didn’t like some areas of the photo reference, I decided to alter the composition by adding some elements that I know will add interest. I painted some rocks and weeds and will eventually paint a large tree in the area.
That area is in the foreground, so it should have more detail. However, that would take away from the center of interest. Also, it is near the “corner” of the composition, I don’t want to attract too much attention to that area, so, while it's an important addition to the overall painting, it will remain a little more subtle..