Welcome back and thanks for joining me.
Today
we will unlock the techniques of wet-into-wet watercolors.
We must start by preparing our minds for understanding.
To do that, you must forget what we have heard - forget what our friends have
told us, and remember that the simple fact toward achieving success in
watercolor painting, is through its “simplicity.’’ No other medium can boast
such a claim.
Wet-Into-Wet Technique |
The
wet-into-wet technique allows for smooth color transitions
and is often used in the beginning stages of most paintings. The wet-into-wet technique
can safely be used at any stage to deliver subtly blended color effects. When
used in the beginning stages, the paper is moistened in all of the areas where
the pigments will be applied. The areas left dry will not present the same
effects. The pigment follows the water flow, and artists will use that flow
pattern in a way that best suits their image design. To do this with
wet-into-wet, the artist slants their paper in the directions they want the
pigment to flow. Again, remember, the pigment flows wherever the water flows.
This is important for creating certain patterns and designs on the paper. For
example: to create a sky using the wet-into-wet technique, you must first
determine the direction that would best illustrate the natural flow of clouds,
sun rays, and the effect of distance. It is common to create skies with the
paper slanted right-side down or left-side down. The pigment and water will
seek the path of least resistance, and that path is down.
Hot Press (Smooth-Paper) |
The
best characteristics that the wet-into-wet technique offers, is the soft-blending of colors and the soft-edges. I begin all of my paintings using
the wet-into-wet technique. I use this technique as a reference for the rest of
my painting. I first begin with a completely wet paper, the areas I want to be left dry I cover with masking fluid,
other than that, the whole paper is always wet. I always begin at the top of
the paper and work down, remember that water runs down-hill. As I move across and down the paper, I work in all of
the different colors that will serve as a guide later on. Once I have applied
my very first wet-into-wet wash I leave it to dry. When I come back, I have a
subdued smoothly blended under-layer image of my painting. During this first wash, I make sure that I apply my colors as
close to the final color darkness as possible. I also apply all of my
reflections, and shadows within this first wash. The only thing left to do
after the first wash dries, is to go back through and apply the sharp-edges, highlighted areas, and to create
the defining elements.
Starting the defining elements after the first wash |
Fun with Water/Pigment Fluidity |
Wet-into-wet
is a very fun and spontaneous technique. It can be used to make amazing images.
Because of its ability to create soft edges and color-blending, it is an ideal
technique for not over-stating things. I am a firm believer that watercolors
should be suggestive in appearance and not equal to the appearance of a
photograph. The very nature of combined water and pigment should be felt. Hard
crisp edges go against the true nature and characteristic of a medium of
fluidity.
Tilt
your papers and watch that pigment flow. Create wonderful soft edges,
reflections, and shadows. Make your work suggestive, smooth, and blended.
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