1. Watercolor Carty Visual Art I 2013

2. Terms Transparent: can be seen through- allows the penetration of light Opaque: cannot be seen through- prohibits the penetration of light

3. Terms continued Charged Brush: brush is holding full capacity of paint- strokes look juicy Dry Brush: brush has been wiped repeatedly leaving only small amount of paint- strokes look streaked and dry

4. Techniques Wet-on-wet: wet paper, charged brush Wet-on-dry: dry paper, charged brush Dry-on-wet: wet paper, dry brush Dry-on-dry: dry paper, dry brush

5. Resists Resists are used to preserve the white of the paper- they are substances which resist the paint and cause it to not adhere to the painting surface

6. Types of Resists Wax paper Parafin White wax crayon or candle Masking tape Rubber cement Maskoid or other commercial resist product

7. Parts of a brush

8. Types and Shapes of Brushes Flat: bristle, hair, or nylon – Flat end (chisel point) – Long belly – Flay ferrule

9. Types and Shapes of Brushes Bright – Flat end – Short belly – Flat ferrule

10. Types and Shapes of Brushes Filberts: bristle – Oval point – Flat ferrule

11. Types and Shapes of Brushes Oval wash (mop): hair – Oval point – Flattened ferrule

12. Types and Shapes of Brushes Rounds: bristle, hair, nylon – Pointed tip – Round ferrule

13. Types and Shapes of Brushes Fan blenders: bristle (and hair) – Fan shaped – Rounded, flattened heel on ferrule

14. Types and Shapes of Brushes Hake: Japanese wash brush, soft hair – Slightly fanned – Stitching to hold hair – No ferrule

15. Types and Shapes of Brushes Lettering brush – Flat point – Very long hair

16. Types and Shapes of Brushes Dagger: (bristle), hair – Dagger or sword type point – Very long hair – Round ferrule

17. Types and Shapes of Brushes Hardware utility brush: bristle or nylon (large washes) – Flat – Short handle

18. Composition of Brushes Bristle: stiff, hog’s hair, “boar” Nylon: plastic, synthetic Hair – Red sable: the best, actually made from hair of the Kolinsky or Tartar Martin from Siberia – Sabeline: dyed ox hair – Camel: squirrel hair

19. Sizes of Brushes Round Brushes- “0000” smallest, 12 is usually largest available Flats and Brights- ¼ smallest, 1 usually largest (occasionally up to 2)

20. Paper Basic Composition – Rag: ph balanced, long lasting, highest quality, often hand made – Sulfite: wood pulp, non ph balance leading to decomposition, yellowing, brittleness, much less expensive, machine made

21. Parts of Paper

22. Weight of Paper Determined by “ream weight” or weight of 500 sheets of that paper in standard size – Ex. 350 lb. paper means that 500 sheets of that paper weigh 350 lbs – Standard weighs run 80 to 400 pounds – In watercolor, it is considered best to stretch all but heaviest papers of the aquarium papers – Paper is sized with glue which is usually removed by moistening when watercolor painting. Blotters are made from unsized paper

23. Special Effects Salt- sprinkled into wet paint causing granulated, textured, starburst effect

24. Special Effects Sponges (natural are preferable)- can be used to lift or add color, create textured effects

25. Special Effects Tissue paper- used to lift color

26. Special Effects Razors, knife blades- used to pick out of lift small areas of color, or scratch out white lines

27. Special Effects Sticks, pallete knives etc.- used to apply paint of texture

28. Special Effects Splatter effects- using stiff tooth brush or atomizer

29. Watercolor Paints Types – Pan colors: pigments are often inferior, less intense (just dyes) – Tube colors: preferable, more versatile, more intense, more permanent

30. Watercolor Paints Composition: pigment + gum arabic + (glycerin) + water – Gum arabic is the binder – Pigment is the colorant

31. Watercolor Paints Pigment Sources – Inorganic Synthetic mineral- chemical Natural mineral- “earth colors” – Organic Animal Vegetable Synthetic organic colors

32. Watercolor Paints Pigment Types – Opaque – Transparent – Staining (light) – Non-staining (heavy)

33. Granulation Theory of Watercolor Stain: fine particles, sink slowly because they are light enough to stay suspended or float- they spread or diffuse- they will penetrate into pores of paper- create permanent stain – Ex. Thalo Colors

34. Granulation Theory of Watercolor Semi-Staining: go down less slowly- particles are less fine so they do not penetrate as rapidly into pores of paper

35. Granulation Theory of Watercolor Non-Staining: particles are heavy and sink faster because they are larger they do not penetrate pores of paper

36. Granulation Theory of Watercolor Granulation is created by a combination of thick (heavy) with a thin (light) Pigment – Light pigment will diffuse on the damp paper creating a “halo” stain around the heavier pigment – Pigments separate on the paper and to not stay well-blended Ex. Thalo Blue and Burnt Sienna, or Thalo Green and Vermillion

37. Transparent Pigments Stains Light Pigments – Sap green – Brown madder – Rose madder – Alizarin crimson – New gamboge yellow – Sepia Semi-Stains Heavy Pigments – Hooker’s green(light and dark values) – Anthwerp blue – Payne’s Gray – Aureolin yellow – Lemon yellow – Yellow ochre – Burnt Sienna

38. Opaque Pigments Semi-Staining Light Pigments – Cadmium red – Cadmium orange – Cadmium yellow – Raw sienna – Naples yellow – Indian red – Windsor emerald – Cadmium scarlet Non-staining Heavy Pigments – Vermillion – Manganese blue – Ultramarine blue – Cobalt blue – Cerulin blue – Chromium oxide green – Chinese white – Ivory black

39. What not to do… Muddy colors- created by mixing or over- layering heavy opaque colors Balloons- hard edges created by uneven drying (use a hairdryer!) Overworking

40. Additional Information Glazing- applying a wash over dry paint Different meanings of “pallette” – Surface used for mixing paint – The selection of colors used in a painting – The selection of colors generally used by an artist in his or her work Paint the essential, paint broadly, paint details last

41. Sequences of Painting Three approaches to establishing a composition – Paint center of interest first, progress to least important last (difficult to do in watercolor) – Dark to Light: lay in darks first to achieve unity quickly, dangerous but effective – Light to Dark: lay in light values first, progress to darkest last, a safe conventional approach