| Author | Message | ||
  Anonymous Painter Unregistered guest |
Going back for a moment to the original topic, I recently acquired a wonderful device which makes it very quick & simple to change the tilt of my support from horizontal to vertical or any angle in between. I searched this site for it, but Cheap Joe's doesn't seem to offer it yet (it's quite a new item): http://www.dickblick.com/zz502/34/ I love this easel! Weighs less than 3 lbs., holds up to 36" support.) Normally I paint on a Coroplast support, and just use soft clamps (meant to be used for resealing snack bags ) to hold the paper on the support. I vary the angle at which I paint, using horizontal for many starts or wet-in-wet stuff; vertical if I'm drawing, or painting something like a portrait where I don't want any risk of distortion caused by foreshortening; and various angles when I'm doing something somewhat wet, or a wash. Rekha, Bruce was saying to bring the brush up from below the bead to pick up the bead, at the start of the stroke. Wasn't sure that was clear -- he doesn't mean make the stroke with a gap below the bead from the earlier stroke. Marie, rather than standing or sitting, these days I'm actually lying on a tilted board most of the time when I paint! Standing is good because we tend to use freer strokes, from the shoulder; even those who normally stand sit to work on details, though. | ||
Joanna Intermediate Member Username: Joanna Post Number: 87 Registered: 10-2006 |
I hear about those mixtures, but I just make one stroke at the top and quickly stroke lower and lower with a water filled brush. But a true really beautiful graded wash has those mixes--a palette with the large saucer sections is useful to make the mixes. | ||
Rekha Senior Member Username: Rekha Post Number: 385 Registered: 8-2006 |
I look forward to it, Eugene; thanks for taking the time to enlighten me. | ||
Eugene Senior Member Username: Eugene Post Number: 386 Registered: 8-2006 |
Rekha, Busy right now, but maybe I can explain with step by step photos soon. I'll be back in a day or two. | ||
Rekha Senior Member Username: Rekha Post Number: 384 Registered: 8-2006 |
Eugene, could you please expand on your method of wet on dry graded washes | ||
Grizrev Senior Member Username: Grizrev Post Number: 424 Registered: 8-2006 |
Good words, George and Eugene. Guess it just proves that there are many ways to "skin the cat," which is what makes watercolor so much fun -- the variables in technique, materials, artist skills and approaches seem endless! | ||
George Unregistered guest |
If I have a flood running down the inclined paper I either lower the angle of the paper or use less water. However, some artists let it go and wipe up the running water with a paper towel. There is no right or proper way to do a graduated wash. That’s why one artist will tell you to use lots of water and another will tell you to use less water. The process of doing a graduated wash is the result of a combination of many possible alternative solutions for a variety of wash components (variables like type of pigment, type of paper, type and size of brush, angle of paper, speed of brush movement, amount of water used, direction of stroke, pressure of brush against the paper, amount of overlap in brushstrokes). My best advice would be to very carefully watch the water (paint) flow on the paper and make an adjustment in one of the above listed variables (for example; faster or slower brush strokes) and then determine the difference. After a number of adjustments to all of these variables you should begin to find what works best for you. I’ve emphasized, “what works best for you” because one artist can make a fast straight brushstroke while another artist can’t make a fast straight brushstroke. Both artists can do a good graduated wash by making adjustments in the way they approach the other wash components. | ||
Eugene Senior Member Username: Eugene Post Number: 385 Registered: 8-2006 |
Griz-- I nearly always do my washes wet on dry-- without sreaks. It's the way I was taught, I guess thats why. Plus I think I have more control doing it that way. | ||
Rekha Senior Member Username: Rekha Post Number: 383 Registered: 8-2006 |
Joanna, the webpage you directed me to is the nearest answer to my question, but I am baffled that so many lighter mixtures have to be prepared to complete the graded wash. That would be quite an impracticable situation in real life painting. George, thanks for the handprint webpage, I see that Bruce suggests making the second wash below the bead to maintain the surface tension. Also he suggests to let the paint finish dripping off from the brush before proceeding with the wash; when I do that I have a flood running down the inclined paper - acceptable?? | ||
Grizrev Senior Member Username: Grizrev Post Number: 423 Registered: 8-2006 |
Rekha, It's the dry paper that's absorbing too much of your initial run and causing your brush to go dry and therefore leaving streaks. Is there a particular reason your tutor wanted you to do the wash on dry paper? Is it possible that he just didn't want you to initially soak the entire sheet} -- but would not be unhappy if you began by wetting the area of the initial run with clear water before you applied your pigment in the initial stroke? | ||
Joanna Intermediate Member Username: Joanna Post Number: 86 Registered: 10-2006 |
If you are running dry, the brush is insufficiently loaded. If your brush is not able to handle enough water, this can be an issue. Robert Simmons makes a synthetic white "sky brush" that holds a lot of water. Maybe your brush is not adequate to the task. Or you may not be loading it enough. A graduated wash takes quite a bit more water than you'd expect. Here is a link to a good demo of a graduated wash (ahssuming your striping is what you are trying to do.) http://www.watercolorpainting.com/watercolorpainting/gradedwash.htm | ||
Rekha Senior Member Username: Rekha Post Number: 382 Registered: 8-2006 |
Thank you all. The tutor asked us to work wet on dry; I should have been clearer in my asking the question. How do I stop the stripes? I have loaded similar quantities of fluid each time the brush seems to run dry. The first run is loaded with pigment and the subsequent runs are loaded with water (progressively, although the only way I can establish that is by taking note of how far to dip the brush in water). | ||
Eugene Senior Member Username: Eugene Post Number: 384 Registered: 8-2006 |
I disagree with hand print when he says there is no benefit from working fast. I definitely have less streaking when I work quickly, especially with heavier pigments like ultramarine. Good wash control comes not from reading how, but from practice, practice, practice! | ||
George Unregistered guest |
The handprint information on wash components and strategies (posted below) is the best I’ve ever seen. However, I did find one mistake. The last of the six or so wash strategies reads: “Multiple Wash Layers. The final variation is to lay multiple wash solutions over the same area. This is unavoidable if you are painting multicolor gradients: a blue sky shading down to a yellow haze along the horizon (which fades gradually back up into the blue sky).” While multicolor gradients are difficult, laying multiple wash solutions over the same area is not the only solution as is suggested. With acquired skill, multicolor gradients can be done with a one-wash application. | ||
Marie Senior Member Username: Marie Post Number: 415 Registered: 8-2006 |
Rekha, using a lot of water is important. When I want a really smooth wash, I flood the paper with water and pigment and then gently rock the paper, letting the water run over the page, until the shine is gone. | ||
George Unregistered guest |
http://www.handprint.com/HP/WCL/tech24.html#strategies | ||
Eugene Senior Member Username: Eugene Post Number: 383 Registered: 8-2006 |
Tilt your board about 20%. Try using a big brush and a lot of water and work fast. | ||
Rekha Senior Member Username: Rekha Post Number: 381 Registered: 8-2006 |
My second class in the Drawing/Painting class was learning to perform graded washes. I never tried this before and am finding I repeatedly get stripes. I have tried to be consistent in loading volume of the brush without success. Detailed method would be much appreciated. | ||
Patrice |
After a lifetime of working vertically I am forced to work on a tilted surface now because I cannot hold my arm up in the air for long at the time. My work surface is tilted about 22 degrees. Washes run well enough to mix them but not so much that they often get out of control. For me personally, drawing is much harder when done on a tilted surface because it allows distortion to creep in. I check and re-check while drawing and then try to stick to my drawing when painting. HTH, Patrice | ||
marie |
Thanks for the advice. I think I'm going to continue working vertically for a while. | ||
Arnold Lowrey |
Keep with the vertical It forces you to speed up. - the washes are cleaner and the big plus- you can zoom out to take that longer look at your composition Arnold | ||
jandrle |
I move mine all around all the time. I am impatient, which isn't the best quality for a watercolor artist. There are some things that I can paint upsidedown and some that I have to be looking straight on to nail. I am not aware of what they are until I try upside down and realize a sense of discomfort. I always need to be careful though, because I tend to draw everything with a slight top left to bottom right angle which can be a real problem. I usually sit but can paint standing. I just put in such long hours standing would be hard. I become very focused when I paint, usually. Jane | ||
edejan |
I sit on the counch and hold my watercolor block on my lap and tilt it as needed. I no longer use a board and have to stick with smaller size papers. I can't seem to paint comfortably standing or sitting on a stool. But I do have to get up often to view my work at a distance and boy can I seen the "lacking" areas then! | ||
Sid |
Marie: I know of several well-known artists who paint with their paper at a very steep angle (i.e., almost vertical). They paint with brush in one hand and a paper towel permanently attached to the other to stop drips. I seem to vary my angle --sometimes almost flat, sometimes tilted up maybe 30 or 35 degrees. I use the steeper angle when running a large flat or graded wash and use lower or flat when working on details. An adjustable drafting table makes changing easy. Sid | ||
Suzy |
I tilt my board however much the rag I happen to have in my hand wads up into a ball. All very precise!! | ||
Raliegh |
tachee, 'I stand when I want looser work'; I need to stand more often, Amen to that! | ||
tachee |
Raliegh: "My biggest mistake is not taking enough breaks or moving away from my work to get a different perspective." oh my! amen to this!!!!!!!!! | ||
tachee |
drawing table here. i use wood blocks of various sizes to tilt as i wish- [big skies get bigger tilt]. i stand when i am wanting loose work, sit when i am working tight/delicate. | ||
Raliegh |
Space is a premium in my house so I use the kitchen table. Most of my work is done flat but I tape it onto boards which I slant up at different stages. My biggest mistake is not taking enough breaks or moving away from my work to get a different perspective. | ||
Robert |
I have a 23 X 31, 3/4" plywood, board I tape my taper to. I place a collegiate dictionary under the top edge to give it about 15 degree tilt. I used to use a 30 degree tilt but I get better control with this tilt. | ||
Eric |
I use a drawing table and the surface is tilted slightly. Not quite flat, and I stand when I paint. I have no idea why I stand. It just feels right. However, when I do my preliminary drawing in pencil on the watercolor paper, I prefer sitting. Again, I don't know why. | ||
marie |
I would be interested in hearing feedback and rationale about how much you tilt the paper when you are painting. Also, do you sit or stand while you are working? I tend to work almost vertically because I can draw more accurately on a vertical surface. Unfortunately, I almost always get into trouble with paint dripping and washes drying too fast. I am beginning to seriously rethink some of my work habits. |
