Watercolor Wet-into-Wet Technique with “Confidence”

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)

Controlling the effects of wet-into-wet techniques requires an understanding of how well water flows and saturates the particular paper you are using. Water runs faster and more freely on surfaces with less grain. Rough grained papers tend to soak up the water much faster, and also tends to pool your pigments into the valleys, leaving the raised grain (hill) portions unpigmented. Applying practice and experimentation on smaller sample pieces of paper will help you determine the overall characteristics before you begin your masterpiece. 

            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.