This wet-in-wet is drawn from imagination and inspiration by the Dutch watercolorist Edo Hannema. I just love his mastery of water and color and wet paper! There is a peaceful quality to his paintings of the Dutch landscape.
Painting like this demands thought and deliberation and patience. Timing is also critical. Painting wet-in-wet requires risks and experience. Too wet, everything just blurs. Paint wet paint which is wetter than the still damp colors result in blooms which can destroy a painting in now time. The rule is drier paint into wet paint – that on your brush must be drier than the stuff on the paper. Blot your brush if in doubt.
Oops! Just noticed that the horizon is dead center . . . compositional error! And that big green blob is also a mistake – tried to fix it – but since this is time for true confessions, I may as well own up. 😉
This is one of my more successful wet-in-wet paintings. Usually there is a big cauliflower bloom somewhere – sometimes I can hide it, but it feels really good not to have one this time! Remembering the trick of drier onto wetter was a good thing.
For the first time, I am painting on 300# paper. This is Kilimanjaro CP from Cheap Joe’s. With such a heavy paper, lots of water can be used. 140# warps but this stayed virtually flat. I like this paper a lot – certainly will be getting more of it.
Another wet-into-wet painting, but this time with more challenges and a longer painting period. As before, 140# Arches CP paper.
The goal of this painting was to get away from trees and aim for seeing how using a very wet piece of paper could be worked for skies and water along with plant life, from rushes and grasses to distant trees. The style itself lends itself more to softness in general, but with judicious brushwork and glazes, more defined areas were achieved. I also used white gouache to represent a tasseled top to the tall reeds (or whatever) in the middle right of the painting; I realized I might have achieved an airier effect by splattering some frisket in the areas I wanted white.
I painted the majority of the picture last night, working glazes over areas more defined to blend them in more harmoniously. Dry brush was used for the the foreground and in areas where a rough edge was needed to show plants.
I don’t think this painting is as good as the one I did previously. The contrast is not good enough to convey distance – too strong of colors were used to paint the reeds and trees in the horizon. I do like the colors and softness, though. Another point of focus was to create a point of focus! I tried to use birds, warm colors in the center of the painting, a bit of a vignette around the edges, and other visual tricks to lead the eye somewhere. Again, I don’t think I had much success. As well, the sky and land do not seem to match.
I did accomplish a few things I set out to do – wet-into-wet with some control for sky and plants and water. Doing it is a lesson in itself, and each painting teaches something. I worked on the painting last night and then refined it this morning. I had more patience than I usually demonstrate when painting in watercolor. Why is that? Is it because watercolor is wet and watery and seems to demand a bit of speed?
This photo is moody and mysterious, and you can certainly imagine how spooky it could be to come upon suddenly, lost in a whirl of fog on a lonely moorland. I tried to capture it in my own watercolor.
This painting is significantly different than some of my other paintings. I used the wet-in-wet technique throughout the painting, creating several layers of glazes before adding the details of grasses. These I did using negative painting over the washes. Then, more solid brushwork for the tree, branches, and scrub in the lower corners.
Still working in pastel. I cleaned up the pastels I was using yesterday by putting them in a container of corn meal and shaking them gently. It did the job. I also took a different approach to today’s painting, and the difference is evident to me (cuz I did it!).
I decided to use a piece of 7×11 Uart 800 sanded pastel paper, which is the finest grit in the Uart series. I bought a sample pack a while back, and now that I think I get how to use pastels fairly well, I thought it was time to begin. Having cleaner pastels also helped. I also decided to work from light to dark this time, like a watercolor, and it seems to have been a bit more successful. My colors were getting rather muddy in the last one. I also did not apply any fixative to the painting until it was done. In the others I had used workable fixative between layers.
Overall, rather a bit more pleased with this pastel painting than yesterday’s. It was more pleasant to do, probably in part because I simplified my approach. Working light to dark – putting in the sky and water first – may also have helped. The Uart 800 sanded pastel paper was really nice, too, and gave a nice smooth finish as the paper has a very fine tooth to it. I used a final fixative on it, but I am still unsure how many layers of final fixative are to be used.
Now, time to attach sleeves to the sweater I am knitting!