The Artist’s Watercolour Problem Solver

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The Magazine Artist. The Artist’s Watercolour Problem Solver

LANDSCAPES

STREET SCENES

INTERIORS

THE STILL LIFE

MANY POSSIBILITIES

PRE-PLAN YOUR PAINTING

LIMIT YOUR COLOURS

LIMIT TEXTURES AND TIME

USE CLEAN WATER!

FROM SKETCH TO PAINTING

WHICH SKETCHES SHOULD I USE?

HOW TO KEEP THE SKETCHBOOK FEELING’

CHOOSING THE SIZE OF THE FINISHED PAINTING

USING THE SKETCHBOOK

ACCURACY AND MOVING SUBJECTS

DO I NEED A SKETCH?

OVERALL VIEW

HEIGHTENING COLOUR

COLOUR MECHANICS

COMPLEMENTARY COLOURS

COLOUR SCHEMING

VIBRANT NEUTRALS

DRAWING BOATS

COMPOSITION

PORTRAIT FORMAT

LANDSCAPE FORMAT

SQUARE FORMAT

YOUR WATERCOLOUR BOX

REDS

USING COLOUR CHARTS

REDS AND PINKS ‘COOLED DOWN’

PINKS – DARK TO PALE

BRICK AND AUTUMNAL REDS

HOW BRIGHT OR PALE?

PRACTISE MIXING YOUR REDS

A STILL LIFE WITH PEARS

INDIVIDUAL STUDIES

BOLD EXPERIMENTS

ABSTRACT SEEING

LINE

TONE

COLOUR DYNAMICS

MOOD AND ATMOSPHERE

MIXING COLOURS

SKIES AND SEAS

RECORDING THE SCENE

LIMITED COLOURS

A BASIC SELECTION

COLOUR AND SUBJECT MATTER

PAINTING WITH FOUR COLOURS

PAINTING WITH THREE COLOURS

ONE-COLOUR WATERCOLOUR

RICH WARMTH

MIXED BROWNS

THE ‘DIRECT’ METHOD

THE ‘WASH’ METHOD

WHICH METHOD SHOULD I USE?

SETTING UP

DRAWING

ANOTHER VIEW

THE PAINTING

ASSESSMENT

ADDING A SPARKLE

COLLAGE

COLOURS AND SHAPES

PAINTING WITH PAPER

THE SUPPORT

ORANGE AND YELLOW COLOUR PALETTE

COLOUR MIXES

FIGURE DRAWING

PAINT

A MORE TRADITIONAL RESULT

BRUSHES

‘LOST AND FOUND’ EDGES IN WATERCOLOUR

‘LOST AND FOUND’ WITH HARD EDGES

ARCHITECTURAL SUBJECTS

‘LOST AND FOUND’ WITH SOFT EDGES

HARD EDGE OR SOFT EDGE?

UNDERLYING STRUCTURE

FIENDISH FOLDS

TELLING TEXTURES

COMPOSITIONAL CONUNDRUMS

Fold strokes

HOW MANY GREENS CAN YOU SEE?

USING CHARTS

HOW BRIGHT SHOULD MY GREEN BE?

TESTING

MIXING YOUR OWN DARKS

LIGHT INTO DARK

BEWARE OF OVERMIXING

MIXED MEDIA

DOUBLE GLAZING

PREPARATORY STEPS

COLOUR APPLICATION

COLOUR CHOICE

LIFE IN THE SHADE

UNDERSTATING THE FORMS

STARTING POINTS

FURTHER DEVELOPMENTS

MOVING TOWARDS ABSTRACTION

THE ARTIST’S CHOICE

UNPAINTED PAPER

OVERFINISHED PAINTINGS

REASSESSMENT

Отрывок из книги

Cover

Title Page

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51 × 30 cm (20 × 13 in)

A figure sitting against a window makes an excellent subject. A semi-silhouette like this can be easier to work on than a figure illuminated from the front or side. Here I used limited colours: mainly Yellow Ochre, French Ultramarine and Indigo. For the highlights I used white gouache.

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