Many watercolorists enjoy exploring different and creative ways to bring various forms of texture to their paintings. This includes the use of the dry brush technique.
Dry brush is a versatile and creative technique that places more pigment and less water onto the surface of your paper. This technique works best on watercolor paper that has a nice texture to it, such as rough or even cold press.
Dry brushing is a fairly easy technique. To use it, the brush must be loaded with color, then blot it several times onto a paper towel. Using only the side of your brush hairs, lightly skim over the surface of the paper. To deepen the value, repeat the skimming strokes again, after the surface has been allowed to dry. This last part is very important.
When you vary the speed the brush movement you have slightly different effects. Experiment to see the differences. Varying the pressure will also create fun effects. Painting with less water will have greater variety of edges.
Dry bush marks add a great deal of energy and interest to a painting. This type of brush stroke creates a range of broken edges implying neither hard nor soft edges. It can be used to create sparkle on water in seascapes and river paintings or creating impressions of foliage on trees or creating rough bark on tree trunks. There are so many different uses for this technique.
Another variation on the application of his technique that I like to use, is to dry brush an area and then apply a spray and letting some of the edges soften and merge.
This weeks artist find is Cathy Hillegas
Have a great week
Danielle
What's your preference? painting on a flat surface or on an angled surface?
Many beginner watercolourists ask what is the ideal angle of a painting surface. This question requires a more complex answer than just to say about 20 degrees. Like many things in life, the real answer is: “It depends on .....”
Obviously, water flows faster or slower depending on the angle of the slope it is on. The speed of the flow depends on how much water is on your watercolour paper, and the smoothness of your paper. It will flow faster on hot press paper and not so fast on rough paper. If only a thin layer of water is on your paper then it will not flow very fast no matter what angle your board is set to. On the other hand, if you have a lot of water on your paper, then the steeper the angle of the surface the more your watercolours will flow. In answering the question of how much angle, you have to ask yourself if you want the paint to flow and how much control you want.
Here are some reasons for painting on a flat surface:
- you plan on using lots of water and don't want that streaky effect;
- when painting in hot weather, a flatter angle will slow down the drying time;
- may feel more natural since we are used to leaning over to read and write.
Here are some for angled surfaces:
- easier to step back to get a better perspective of your painting;
- easier to maintain a better posture (avoid leaning over with rounded shoulders) to reduced back pains;
- reduces tendency to get too close and add too many details. I think painting using an easel forces you to loosen up;
- you like the streaky effects (dribbles).
When I watch artists paint on very angled surfaces, I certainly get the impression that the artist is more proficient. Although I paint on almost flat surfaces, I have painted using my two easels. These tools requires much more practice before I become comfortable using them. If you are getting a travel easel, the ability to angle the surface is a key feature.
There is no right or wrong angle for everyone or every painting situation, it's all part of developing our style and that will change with time.
Today's artist find is Jan Comstock
Have a great week
Danielle
A few days ago, I was in Arles, in the south for France. I found out that Vincent Van Gogh arrived there in February 1888 and left in April 1889.
He was quite prolific during this period and produced more than 200 paintings. Many consider his time in Arles to be his most creative of his career since it came after some valuable learnings. Some or his best known paintings were produced in this area of Provence. These included the still life of "Vase with Fifteen Sunflowers" and his famous Sunflowers series.
Would you believe that Arles does not possess a single Van Gogh painting. Recently, the "Fondation Vincent Van Gogh Arles" was created to honour his legacy, and to celebrate his influence on artists in the 20th and 21st centuries. The foundation exhibits a dynamic collection of artworks - a collection which begun life in the 1980s - made in tribute to Van Gogh by some of the most exciting modern and contemporary artists.
In addition, many of the places that Van Gogh had visited and painted in Arles were destroyed during World War II bombing raids. Therefore, I was not able to visit any café or place where he stayed.
The south of France has a rich artistic heritage and I am enjoying visiting a number of galleries - in addition to a number of other sites of course.
Today's artist find is Michel Douillard:
Have a great week
Danielle
What's you preference for selecting paintbrushes for watercolours? It all comes down to personal preference.
Your choices are based on performance, your techniques, how much you are willing to spend and the feel of the brushes.
Many people make choices based on hair - synthetic or natural - which impact performance of the brush. A watercolour brush should be able to hold a good amount of water in its belly, be able to maintain a fine point, and distribute the water and paint smoothly and evenly on the paper surface. In addition, the brush should spring back to it's proper shape after each use and be able to maintain that shape for as long as possible. So what are the choices?
Sable
Most people agree that the best paintbrushes for watercolors are made from sable hair. The very best sable hair is called Kolinsky sable because it's sourced from a weasel (not actually a sable) living in the Siberian region of Kolinsky. Brushes made from sable should last for years Sable brushes, when properly cared for, will maintain their shape and texture for years. These are often the most expensive brushes. Some countries consider these animals as protected and therefore are now banning the import of sable brushes. Consequently, they will be more difficult to acquire.
Hog BristleHog bristles are best used in brushes for large washes. Additionally they last a long time and are very affordable. I've heard that those from China might be better.
Squirrel, Ox or Goat
Some brushes are made from a variety of these hair. When used for round brushes, they don't tend to hold their point. However, they tend to make great mop brushes. Ox hair also makes great flat brushes
Synthetic hairs (fibres)
Synthetic brushes are usually made from nylon or polyester. Often the are designed to behave like the natural hairs at much lower the cost. There is a great range in quality and performance, but in general they tend to hold a good point. Due to the nature of the fibres, they cannot hold as much water. However, some manufacturers are producing fibres that are not smooth and can hold a bit more water.
Combination Hairs
Some brushes are made with a combination of sable and synthetic fiber or sable and some other less expensive natural hair. While some of these brushes are cheap alternatives, some also have decent performance
Successful artists use all different types of brushes. Before buying one of these brushes why not try them out in the store or see how it's reviewed by other artists.
Today's art find is Sen Lacson
Have a great week
Danielle
