How to Paint Fur!

Mrs. Huggles - a Teddy Bear
Watercolor
9" x 12"Arches watercolor paper

 

The painting above is an example of painting fur.  Fur can be fun to paint, but very easy to overdo.  In this post, I will provide instructions on how to paint fur and the next post will provide instructions to paint the teddy bear shown above.

 

You will need the following materials:

Watercolor paper

Brushes:

• Round brush – your choice of size
• Flat brush – old and scraggly
• Liner brush or script brush
• Fan brush

Paint:  colors of your choice.  I used the following on the fur illustrated above:

• Yellow Ochre
• Burnt Umber
• Sepia
• Paynes Gray

 

Steps involved in painting fur:

Step 1:  Base coat

Using a round brush, apply a light base coat of the colors in the body of your subject.  Using my example above, notice that deeper colors were used in the shadows around the arms, under the bow, around the feet and hands and areas of the face (ears, etc.)  Look at the subject and paint in a very light wash of these colors, even leaving some of the areas unpainted.  Remember this is the base only and other paint will be applied over this.  The base will show through the fur.  Allow the base to dry. 

 

Step 2: Painting the fur

Now for the fun part!  You can use several different brushes to paint fur.   I actually use a couple of different brushes depending on the location of the fur and the need to work around certain areas.   Since this is just practice, try all three brushes on a scrap piece of watercolor paper to see which brush will be the best one for you.

 

Technique for all brush styles:

Prepare several different shades of paint for the fur.  Start with the lightest shade and work into the darker shades.  Remember to work from light to dark.  Once the dark paint is applied it cannot be removed.  So paint with a light hand adding a little at a time until you achieve the desired result. Build layer upon layer, allowing previous, lighter layers to show through. 

Using a fan brush:

I use a dry brush and lightly dip the brush into the paint.  With a light touch, pull the brush in the direction the fur grows.    Fan brushes come in all sizes.   A small fan brush works for me; however, that is simply a personal preference.

 

Using a flat brush:

A flat brush that is old with scraggy bristles is the perfect brush to use for painting fur.  The bristles should be pulled apart so that each bristle will leave a mark rather than creating a smooth, solid line. 

 

Using a liner brush or script brush:

This style of brush will require one to paint each piece of fur separately.  If you need control of placement, this is the brush of choice. 

 

I use a combination of a fan brush and a liner brush.  I paint in the majority of the fur with the fan brush and fill in with the liner brush in locations that are harder to paint or that need more control.

 

Practice and see which brush works for you!

 

Fur painting tips:

• Don’t get carried away with the fur.  I know that painting fur is so much fun that it is easy to overdo.  So, paint a little at a time.
• Get the right amount of water in the paint.  Too little water and the brush will drag across the paper and leave inconsistent marks.  Too much water and the lines will blur when the water runs.  Again, practice until you achieve the right consistency of paint. 
• Keep your brush strokes light.  A heavy hand can make the fur look too bulky.
• Work from light to dark allowing all layers to show through. 
• Look at the subject and see what kind of fur you are painting and try to match that look.  Is the fur long and silky or short and thick, etc.?

Most important – have fun and practice!

 

Remember:  Don’t worry about messing up – it’s only paper.

 

Happy Painting!

Karen

Storm Tossed Coast

Storm Tossed Coast
Acrylic
12" x 16" canvas

 

The acrylic painting above is an excellent example of a subject in which to use a palette knife instead of a brush.  The texture the palette knife provides enhances the storm tossed look of the scene.  The painting above can be painted using a brush; however, in this case, the painting instructions will be given using a palette knife. 

 

Supplies Needed:

Canvas panel – I used a stretched canvas on my painting; however, a canvas panel with a harder surface may be easier for a beginner.  A canvas will have some “give” and a canvas panel will be a hard, non-moving surface.

Palette knife:  one or more – your choice

Palette or disposable palette paper

Acrylic Paint:

• Cerulean Blue
• Cobalt Blue
• Ultramarine Blue
• White
• Orange
• Crimson
• Sepia
• Burnt Umber
• VanDyke Brown
• Sap Green
• Yellow Ochre
  

 

Painting Instructions:

Lightly sketch in the painting with very little detail.  Sketch the placement of the rocky cliffs, rocks in the foreground and the horizon.  Other details are not necessary and will be covered up when the top layer of paint is applied.

 

Sky and Clouds:

Using the palette knife, paint in the sky by spreading Cobalt Blue and Cerulean Blue across the canvas from left to right at a slight angle towards the cliffs and the horizon.  Work the colors together with the palette knife.  Allow to dry.

 

Swirl in the clouds with white paint using sweeping strokes of the palette knife.   Additional clouds will be added later.  See photo below for reference.

 

 

Cliffs:

Spread in a base coat of Burnt Umber and VanDyke Brown on the cliffs.  Pull and drag the palette knife to apply the paint.   Add Yellow Ochre on the flat area at the top of the cliffs.  Dot in some areas of green to indicate foliage.    

 

Water and Waves:

Using the same colors as the sky, work in the water using the palette knife in a pulling motion to indicate movement of the water.  Deepen the color of the water where it meets the rocks in the foreground.  Work carefully around the rocks in the water.  However, white spray will be pulled over parts of the rocks and the cliff.    Refer to photo below.  Allow water to dry.

 

Apply white paint in small amounts with the edge of the palette knife on the tops of some of the waves.  Using your finger pull some white paint up on the cliff and the rocks.  Allow the rock to show through. 

 

Add additional white to the clouds at this time as well using your finger as well as the palette knife.  See photo below.

 

 

Foreground Rocks:

Using Crimson and Orange, paint in the foreground rocks mixing with VanDyke Brown and Burnt Umber.  Ultramarine is added to deepen the color.  Allow the Crimson and Orange paint to dry, then drag the darker browns over the top scraping to allow some of the Crimson and Orange to show through.    Refer to painting above.  Allow to dry.

 

Details:

Add some spray where the water hits the rocks on the shore and in the water with white paint and your finger.  Use just a small amount of paint.  A finger is perfect for this affect as a palette knife can apply too much paint and the finger adds texture. 

 

Review your painting – step back to see the overall painting and add any additional paint as needed.

 

Sign your painting!  Congratulations!

 

Happy Painting!

Karen

Palette Knives and How to Use Them

Storm Tossed Shore
Acrylic
12" x 16" canvas

 The subject of your painting and the results you would like to achieve determine whether or not to use a palette knife or a brush to execute your painting.  If details are what you desire, than a palette knife would not be the better choice.

 

I enjoy palette knife painting because I like the Impressionist feeling a palette knife can provide.  The painting above was executed using a variety of shapes of palette knives.  In this post, I will provide the basics of using a palette knife;  and in my next post, I will provide directions to use a palette knife to paint the picture above. 

 

Painting with a knife is a lot like spreading peanut butter on bread.  A palette knife produces a much different result than a brush.  Palette knives can produce a range of different effects from textured work to sweeping areas of color to even tiny shapes, dots and straight lines. 

 

What is a palette knife or painting knife?

Palette knife and painting knife are terms often used synonymously with one another.     I will use the term in the post to mean the painting tool. 

 

Generally a palette knife is a long, straight blade or spatula used for mixing paints and scraping clean a palette – not for painting. 

 

A painting knife has a large bend in the handle to take your hand away from the painting canvas to keep your hand out of your wet paint.  The blade is somewhat flexible and can be found in various shapes; i.e. diamond shaped, pear shaped, etc. 

 

Although these tools are called knives they are not designed to have a sharp cutting edge.  It has a blunt edge with the exception of ones with a sharp point on the ends. 

 

How to paint using the palette knife:

If you are able to fix a peanut butter sandwich, you can paint with a palette knife.  There is no magic trick – only practice to learn what will work for you. 

 

Techniques involved:

• Scrap the knife across the surface of the paint on the palette so that it picks up some of the paint.
• Dip the knife into the paint to get a bit of the paint on the point or one edge. 
• Palette knife painting is easier when the paint is thick, so don’t add any water or other medium to the paint to thin it down. 
• Hold the handle firmly in a good grip.  Put your fingers on the knife where they are most comfortable for you.  However, a good way to start would be to hold the knife as if you were fencing with your thumb on top. 
• Your grip can be adjusted.
• Use your wrist to change the angle and direction of your knife in relation to your painting and your paint on the palette. 
• The knife can be used in any direction; there is no right side, wrong side or upside down. 
• Palette knife painting can feel unusual at first, as it is very different from painting with a brush.
   
  What’s next?

• Pick up some paint from your palette using the tip or the side of your knife depending on what shape is needed in your painting.
• Use the long side of the blade to spread the paint across the canvas.
• Create texture by pressing the blade into the paint on the canvas.
• The tip can be used to produce dots of various sizes.
• Use the edge of the knife to produce lines.
• Press the blade flat to make ridges.
• Scrape the blade across a dried paint surface to reveal underlying layers of paint.  (This is called sgraffito.)

 

Practice!  It is a good idea to purchase a book of inexpensive sheets of canvas paper to use to practice your technique before executing a painting for the first time with a palette knife.

 

How to clean the palette knife:

Cleaning a palette knife is so much easier than cleaning a brush!

Simply wipe the paint off of the knife with a cloth and then wipe the palette knife again with a clean cloth to remove any remaining paint.    This is usually all that will be needed and it is advisable to clean your knife when using different colors of paint to keep the paint from mixing…..unless that is your goal.

 

If the paint dries on the palette knife, it can be scraped off with no damage to the knife.  Brushes are not as forgiving. 

 

Practice your palette knife techniques and get ready for a palette knife painting in my next blog.

 

Happy Painting!

Karen

 

 

Loose Watercolor Painting

Abstract Coneflowers
Watercolor
3" x 5" bound watercolor journal

          

The painting above is another one of my paintings in my a watercolor journal.  Watercolor journals are a great way to be portable when painting or to just work on a small painting without the usual setup.   The paper in this journal is handmade paper and paints quite differently than my usual Arches watercolor paper.    This painting was done plein air on my deck overlooking  my flower garden.

 

This abstraction was executed to show the use of “loose” watercolor painting.  Loose painting can be difficult for many painters because they basically turn control of the painting over to the water.  However, the artist does still have some control…..one just has to remember how water works! 

 

Before we start painting, I wanted to provide a few tips to waiting “loose.”

 

• Prepare a simple sketch.  Draw good shapes with no detail.
• Paint from large to small areas of the painting.
• Determine where a hard edge may need to be, if any, and where your soft edges can be found.
• Paint quickly.
• Don’t overwork the painting.  Put the paint down and then stop. 
• A large brush is usually better.
• Use fewer colors.
• Use a spray bottle to keep the paint flowing.
• Pick up your paper to aid in paint movement.
• Don’t worry about messing up – it’s only paper.
• All paintings do not have to be perfect – have fun.
• Interpret what you see….don’t expect a photograph.
• Let the painting happen – let the water, the paint and the brush do the work.
• Paint the same subject numerous times – make a series.  You will get better with each painting.
• Paint and have fun…..remember, it is ONLY paper!

Supplies Needed:

Watercolor paper or watercolor journal – your choice of size. 

Masking Tape

Watercolor board

Brushes:  flat and round (large brushes work better for loose paintings)

Paint:

Yellow ocher

Sap Green

Ultramarine Blue

Medium Yellow

Burnt Umber

Crimson

Payne’s Gray

 

Painting Instructions:

I used masking tape around the outside edges of my journal to make a straight edge.  However, masking tape is not necessary in a journal.  Taping watercolor paper to a board is necessary if you are not using a journal to keep the painting flat. 

 

Lightly sketch in the shape of the flowers.  It is not necessary to sketch in the shape of the stems or leaves.    

 

Background:

Wet the sky area of the painting – approximately ¼ of the way down the piece of paper.  Using a wash of Ultramarine Blue, drop in your sky allowing the lighter shade of blue to flow into the area of your flowers.  Allow to dry.

 

Flowers:

Using Crimson, paint  the flower petals. While still wet, deepen area of the petals with a bit of Ultramarine blue.    Allow the paint to flow and the colors to mingle.    Drop in a shade of orange mixed from Crimson and yellow into the center of the flowers.  At the very center of the larger flower, drop in some Sap Green and Payne’s Gray.  Allow the colors to mix.  When dry, add a few dots of orange/crimson for the very center. 

 

Stems and Leaves:

Using a round brush and various shades of green made from Sap Green and Yellow for the lighter shades and Sap Green and Ultramarine for the deeper shades of green.  Paint the stems and leaves.  While still wet, drag in some Payne’s Gray and Burnt Umber along one side of the stems. 

 

Sign your painting!  Congratulations!

 

Is loose painting for you?  It is not for everyone, but it can be enjoyable and some beautiful paintings can be created.  Be patient and keep trying!

Happy Painting!

Karen

 

How to Paint Filtered Light

Forest Light
Watercolor
3" x 5" bound watercolor journal

The painting above is one of many that I have painted in a watercolor journal.  Watercolor journals are a great way to be portable when painting or to just work on a small painting without the usual setup.   The paper in this journal is handmade paper and paints quite differently than my usual Arches watercolor paper.    This painting was done plein air on my deck overlooking a small “forest of trees” with light filtering through. 

Supplies Needed:
Watercolor paper or watercolor journal – your choice of size. 
Masking Tape
Watercolor board
Brushes:  flat and round (size of your choice based on the size of your paper)

White wax candle or white crayon (resist)
Paint:

Yellow ocher

Sap Green

Ultramarine Blue

Medium Yellow

Sepia

Burnt Umber

Payne’s Gray

VanDyke Brown

Painting Instructions:
I used masking tape around the outside edges of my journal to make a straight edge.  However, masking tape is not necessary in a journal.  Taping watercolor paper to a board is necessary if you are not using a journal to keep the painting flat. 

Lightly sketch in the shape of the trees and the horizon. 

 

Area of filtered sunlight:

Using the white crayon or wax candle, “color” a line of light across the trees starting on the upper left side of the paper and moving diagonally cross the page to the lower right.  Refer to painting above for the location of this highlight and other highlights in the painting. 

 

Note:  The crayon or candle will act as a resist or mask to keep the paint from being absorbed by the paper.  My paper was rough and the crayon stayed on the top of the paper, not in the crevices of the rough surface.  This allowed for the filtered look of the sunlight…..most areas are light with only some of the areas being allowed to absorb the paint.    This method can be used anytime  you would like to mask some areas of a painting.  The wax from either the crayon or the candle keeps the paper from absorbing the paint.  Note:  This will NOT provide complete coverage.  If complete coverage is needed, use masking fluid or tape.

Background:
Using a wash of yellow paint across the trees.  While this is still wet, drop in varying shades of green created by adding yellow to Sap Green for the lighter areas of green and adding Ultramarine to Sap Green for the darker areas of the background.      Be certain to leave most of the background a light yellow green.  Notice how the paint is not absorbed in the areas where the wax was applied.  Allow to dry.

 

Forest Floor/Ground:

Using Burnt Umber, Payne’s Gray and VanDyke Brown and a round brush, paint in the areas of the forest floor leaving some areas lighter and/or darker than others. 

 

Trees:

Wet each tree with clean water.  While still wet paint the trees with Burnt Umber, Payne’s Gray and VanDyke Brown.  Vary the colors and keep the colors light on the left side of the tree trunks. 

Use darker shades of these colors to  paint in tree limbs using a round brush. 

 

Leaves/Shrubs and Undergrowth:

Use Sap Green deepened with Ultramarine and Burnt Umber in varying amounts to paint in the background foliage and leaves.   Allow to dry.

 

Details:

I prefer to paint with few details.  However, review the paintings and add any details you would like such as smaller branches and details on the tree trunks or ground roots.  Allow to dry.

Sign your painting!  Congratulations!

Happy Painting!
Karen

 

 

Pier Sunrise

Pier Sunrise
11" x 14" Watercolor
Karen A. Cooke

As summer is coming to a close and thoughts are turning to fall, I thought I would paint one more memory from the beach.  The above painting is a view of the sunrise at the pier looking across at the shore where the land juts out.  The fishing boats have already headed out for their day on the water, the tourists have not stirred from the hotels and it is just the sun, the ocean and the birds out this early on the pier.  So, now to capture this scene to bring back memories when the snow is falling outside. 

 

Supplies Needed:
Watercolor paper  (size of your choice)
(The watercolor above is a 11" x 14" done on Arches 140 lb. cold press paper.) 
Masking Tape
Masking Fluid with applicator or old brush
Watercolor board
Brushes:  flat and round (size of your choice based on the size of your paper)
Paint:

• Cerulean Blue
• Ultramarine Blue
• Windsor Blue
• Medium Yellow
• Light Yellow
• Cadmium Red
• Cadmium Orange
• Sap Green, if desired
• Sepia
• Paynes Gray
• Van Dyke Brown

Painting Instructions:
Sketch:
Tape the watercolor paper to your board with masking tape to prevent buckling of the paper.  This painting will use a wet on wet technique for the sky and the ocean which will get your paper extremely wet.


Sketch the painting.  Using the photo above for reference, lightly sketch the picture.  Use a ruler to draw the straight lines of the pier. 


Using the masking fluid, mask in the sun, a few of the clouds (the ones painted yellow or peach only), and the reflection of the sun on the water.  Mask the yellow light at the top of the lamp post.   Allow to dry.




Sky:
Prepare the following washes for the sky area:

• Cerulean Blue
• Peach - mixed from Cadmium Red, Cadmium Orange and Yellow

Place a small wedge under your watercolor board or prop your painting up for a slight tilt.  Wet the area of the sky from the top down to the horizon with clean water.    Starting at the top and working down use a dark Cerulean Blue wash at the top moving down without adding additional paint to the midpoint of the sky.  Dip your brush in water and paint one time across the last brush stroke of blue to lighten it.  Rinse the brush.  Using a wash of light peach work from the lightest blue down to the horizon with the deepest peach at the horizon.  Allow to dry.




Note:  You will be painting over the top of your sketch since all the other colors in this painting are darker than the sky and the sketch will be seen through the wash you have applied.    This will make for a smooth transition of color. 




Ocean:
Wet the ocean with clean water.  Using the same colors you used for the sky, apply in the reverse order:  peach at the horizon moving to darker blue at the bottom of the painting.


This can be painted in one of 2 ways:

1. Start at the horizon and work down to the bottom of the page, or
2. Turn the painting with the bottom at the top and work from the top down to the horizon.

Use which ever method works better for you. 




Note:  Increase the intensity of the peach/orange at the location of the sun - both in the sky and on the water.




Allow to dry.




Land (horizon):
Prepare a wash of a light purple using a mix of blue and Cadmium Red.  Paint the distant land mass on the left side working to the right where it meets the trees on the nearer shore.  Prepare a wash of Vandyke Brown and paint the trees on the right shore.  Allow to dry.  Prepare a wash of Sepia and apply using a dabbing stroke to indicate tree foliage on the right hand side.  Make this random and let the lighter brown wash show through in various places.  Deepen the foliage area at the base of the shoreline.    Allow to dry.




Sun and Clouds:
Sun: Remove the masking fluid from the sun and the clouds.  Wet the sun with clean water and apply the Light Yellow paint at the edges of the circle for the sun.  Note:  Leave the top center of the sun white. You can add a bit of green flash to the sun using a touch of green - wait until almost dry to add the green so that it will not spread into the entire area.  Allow to dry. 


Sun Reflection in the water:
Using light yellow drop in the sun's reflection, again leaving some of the area in the center white paper.  Allow to dry. 


Clouds:
Using peach and yellow, paint in the clouds that were masked.   Use the photo above for reference.
Paint the other clouds using the purple paint used in the previous step for the land on the horizon.  Vary the shapes of the clouds.  Allow to dry.




Pier, Posts and Light:
Pier:
Using a wash of Sepia and Paynes Gray, paint the pier in a wet on dry method.  If you feel your brush may be unsteady and your bridge lines wavy, apply masking tape on both sides of the rails of the pier to paint.  This will ensure a straight line.  Remove the masking tape immediately after painting to prevent any bleeding of paint under the tape. 


Pier Supports:
Paint the pier supports (vertical posts) in the same method as above.  However, these posts will be darker in color since they are in the shadow of the pier. 


Lamp Post:
Paint the lamp post and lantern using the same colors as the pier.  Keep the center white.  When the lamp post drives paint in the yellow light on each side of the lantern.  Leave a bit of white in the center.  Allow to dry. 




Rocks in the water:
Paint the rocks using a wash of Sepia and Paynes Gray.  Each rock is done separately.  First, wet the rock with clean water and paint the rocks with Paynes Gray and drop in Sepia and Ultramarine blue in various locations on the rocks to add texture and shadow.  Allow to dry.




Water and Pier shadows:
Water and Waves:
Prepare a wash of Cerulean Blue, Ultramarine and Windsor Blue.  Working from the bottom of the painting and from right to left, use the darkest shades of blue to paint in waves and shadows around the rocks.  The darkest colors of blue are used to paint the water under the pier in the shadowed area. 

Prepare a wash of the peach and paint the waves in the top section of the painting with the peach and the lightest blue (Cerulean).  Add a few peach waves in the darker areas of the waves to show where the sun is hitting the water.  Allow to dry.




Pier shadows:
Using a wash of the same colors used to paint the pier supports, paint in broken lines for shadows moving down toward the bottom of the paper.  Refer to photo for reference.  Allow to dry.




Details:
Look over your painting and add any details you feel are needed.




Sign your painting!  Congratulations!  You can now take a trip to the beach any time you would like.....from your nice, warm home when the weather is stormy, snowy and cold! 




Happy Painting!
Karen



It’s a Wrap! Plastic Wrap, that is!

Poolside
Watercolor Painting
9" x 12"

The watercolor painting above is painted from a little different perspective to add interest to a common swimming pool setting.    The view looks down on the pool from a higher viewpoint (bird's eye view) – from a balcony or other area above the pool. 

 

The focus is on the water in this painting.  The texture is added by a watercolor painting technique using plastic wrap.  The swimmer enjoying the pool is painted in a more impressionistic style rather than photographic.  The emphasis, again, is on the water and light reflections. 

 

Supplies needed:

Watercolor paper (140 lb. - I like Arches) Size of your choice; I used 9" x 12"

Brushes - flat brush, round brush

Masking Fluid and old brush or applicator

Masking tape

Plastic wrap

Paint: 

• Cerulean Blue
• Ultramarine
• Windsor Blue
• Burnt Umber
• Crimson
• Yellow Ochre
• Vandyke Brown
• Paynes Gray

Painting Instructions:
The sketch or setting up the painting:
Sketch the swimmer slightly to the right of center and to the upper half of the paper.  Do not make this detailed.  The shape is all that is needed.  The small amount of detail that is painted is done with shades of paint only. 

Drawn very light horizontal lines in the top third of the painting to indicate the location of the shelf at the edge of the pool.    There are three lines:  the top line indicates the top edge of the pool; the middle line is the shallow area or ledge where the swimmer's arms are resting and last line indicates the shelf where the swimmer is sitting below which is the deeper water of the pool.  These areas will be lighter or darker to indicate the depth of the water. 

Mask the swimmer including the hat.  Allow to dry.

Painting the water:
Prepare washes of the following shades of blue:

• Cerulean Blue
• Windsor Blue
• Ultramarine

Wet the painting and paint quickly in the following order:

1. Paint from bottom to top with a wash of Cerulean Blue with the deepest color at the bottom and moving to mostly white at the top.  Add clean water as you move from bottom to top.
2. Drop in deep shades of Ultramarine and Windsor Blue in random locations -  the lightest colors at the top with the exception of the deep shadow behind the swimmer.  Use deeper blues around the swimmer for shadows. 
3. While the paint is still wet, press a scrunched up piece of plastic wrap on top of the wash.  Tape in place and allow to dry. 

It will take longer than usual for the paint to dry covered with the plastic wrap.  Resist the urge to peek at the results as movement of the plastic wrap will disturb the pattern. 

When dry, remove the plastic wrap and see how the plastic wrap created your light reflections in the pool. 

Very light lines are painted across the various ledges of the pool as shown in the finished painting above.

Painting the Swimmer:
The swimmer is very impressionistic and the only parts that are seen are the legs, arms and shoulders (hands and feet are covered by water and are very blurry and indistinct).   Prepare washes of the following colors to paint flesh tones:

• Burnt Umber
• Crimson
• Yellow Ochre
• Vandyke Brown
• Paynes Gray

Using a round brush and a very light wash of Burnt Umber paint one body part at a time.  Add darker colors to indicate shape and shadows.    Refer to the painting above to contour the shape of the body using various shades of the above colors.    Allow to dry.

To indicate the water covering parts of the swimmer, add a very light wash of Cerulean Blue across random areas of the arms and legs.  Allow to dry.

Painting the Hat:
Wet the hat with clean water.  Paint the band of the hat with Cerulean Blue and allow to blur slightly.  Add shadows with Paynes Gray and a touch of Crimson as well as Cerulean Blue.  Keep the circular shape of the hat with the way the shadows are painted.  Allow to dry.  If needed, go back and repaint sections of the band to give more emphasis to the shape.  Allow to dry.

Details:
Using a wash of dark blue either Ultramarine or Windsor Blue or a combination of both, spatter the water in the pool.  Be certain to cover the swimmer with a piece of paper towel before spattering.
Allow to dry.

Using a utility knife, scratch in some white highlights, if needed. 

Deepen shadows around the swimmer with a wash of the darker blue, if needed.    Do not overwork the water in the pool or the design of the plastic wrap will be removed.

Sign your painting.  Congratulations - it's a wrap!

Happy Painting!
Karen

The Right Track

The Right Track

The Right Track
Watercolor painting
11" x 14"

I have always enjoyed old train depots and imaging the many travelers and their destinations.  One can sense the hustle and bustle and excitement in these old building.  So, when I saw this old train station when on vacation, I knew I had to paint it.  I specifically left off the name of the city as well as changing the landscape up slightly (artistic license, of course) so that this old train depot could be a depot in any town or city.....all with the same excitement and history....and melancholy of a day gone by.








The watercolor above is a 11" x 14" done on Arches 140 lb. cold press paper. 

 

Supplies Needed:
Watercolor paper  (size of your choice)
Masking Tape
Watercolor board
Brushes:  flat and round (size of your choice based on the size of your paper)
Paint:

• Cerulean Blue
• Yellow ocher
• Sap Green
• Ultramarine Blue
• Sepia
• Burnt Umber
• Burnt Sienna
• Crimson
• Paynes Gray
• Van Dyke Brown

"Kleenex" tissue or paper towels

Painting Instructions:


I sketched this drawing on my watercolor paper.  However, if you feel you may need to erase multiple times, you may want to drawn on a piece of sketch paper and transfer your completed sketch to the watercolor paper.  I discuss how this can be accomplished in my blog of May 11, 2016. 




As a reminder:   Multiple erasures can damage watercolor paper and cause pooling of water as well as differences in the way the paint is absorbed into or on the paper.   Deep sketch marks will show up in a finished painting, even if they are erased.








Correct perspective is an important part of this painting for both the tracks and the depot.  Confirm that you like the perspective that you have executed in your sketch before you start painting.  A poorly executed sketch done in a hurry cannot be overcome no matter how great a job one does with the paint. 






Let's Paint!


Sky:
Wet the sky from the top down to where the sky meets the mountains on the horizon using clean water.  Using a wash of Cerulean Blue, apply the paint working from the top of the painting down to the horizon allowing the intensity of the color to become lighter.  Using a tissue or piece of paper towel, remove some of the sky color to indicate clouds. 






While the sky is still wet, drop in a small amount of yellow ochre at the horizon and let it blend into the light area of sky.  Allow to dry.






Note:  It is not necessary to use masking fluid to mask out the telephone phone since you will be painting a darker color over the top of the light blue sky. 

Mountains/Trees and Background Foliage:
Mountains:  Prepare a wash of purple for the mountains using Ultramarine Blue and Crimson and paint the mountains. 






Trees and Background Foliage:
The taller trees were painted using Sap Green and Yellow Ochre.  The smaller trees/bushes were painted using Burnt Sienna and Yellow Ochre.  Wet this area first with clean water and paint in the trees with a round brush and allow the edges of the trees to blend together.  Drop in some Sepia to deepen the color of the tree leaves in random places.  Allow to dry.   Tree limbs and tree trunks can bee added after the foliage has dried.  The evergreen trees on the right side of the background were painted after the other trees had dried with a mix of Sap Green and Ultramarine to make a rich shade of green.    Again allow to dry. 






Train Depot:
I painted the train depot next starting with the roof and working my way down. 


Roof:  Using a wash of Paynes Gray and Ultramarine, paint each roof segment separately.  Refer to the painting above for shadows, etc.   After the initial wash drives, add a few lines to indicate shingles.  Do not paint each individual shingle.  Allow to dry.






Depot:  The depot is made of old and weathered wood.
Painting old wood is easy to do using a mix of different muted colors.



Here's how:
Wet the wood area with clean water and apply a place wash of yellow ochre, Payne's gray, and sepia. Drop in the colors in various locations. Some areas can even remain without color. Since the area was wet before the paint was applied, the color will run and blend.

Let this dry. Using a flat brush with the bristles fanned out slight, dry brush in wavy grain lines with a wash of Sepia and Payne's gray.

Let this dry and use a fine liner brush and draw in a few lines to further indicate the wood grain.

Don't forget to deepen the color in the shadows under the roof line and on the right side of the painting.




Train tracks:
Using Paynes Gray, Sepia and Burnt Umber paint the tracks in the following order:
Paint the vertical rains first, using Paynes Gray for the "silver" shine on the rail.  Allow to dry.
Using shades of Sepia and Burnt Umber, add the sides of the rails.  Allow to dry.




Tresses:
The wooden tresses are painted using a wash of Sepia and Paynes Gray.  Wet the area first and add the wash.  When the wash has almost completely dried, use the edge of your flat brush and add the darker lines of the tresses.  Keep these lines fairly straight, but do not go completely from one side to the other, leave a few gaps.  Paint these both inside and outside of the rails.  Allow to dry.




Sidewalk:
Using a wash of Paynes Gray and painting wet on wet, add the sidewalk deepening the color on the edges and where the sidewalk and building meet.  Refer to the painting above.  Allow to dry.




Foreground:
Working from back to front and left to right, wet the area with clear water.  Near the trees in the background drop in Burnt Sienna and move forward with a wash of Sepia and Paynes Gray.  Leave some areas unpainted and/or very light.  On the right side foreground paint the grasses  using Burnt Sienna and Burnt Umber near the building and drop in some Sap Green.  While still wet, add a few lines of Sepia using the edge of your flat brush. 




While this area is still wet, spatter with Paynes Gray this section.  Cover all areas of the painting except for the foreground dirt and grasses with paper towels so that the spatter of paint does not spill on the tracks or the building.  Allow to dry.




Using a wash of Sepia and Van Dyke Brown, paint in the utility pole and the wooden supports on the depot.  Allow to dry. 




Finishing touches:
Look over your painting and add any finishing details you would like to add.    Then, sign your painting!




Congratulations!




Happy Painting!
Karen

Appalachian Bald

Appalachian Bald

 

Appalachian Bald
Watercolor
5" x 7"

 

The painting above is a bald which was painted from a photo taken during a hike in the spring.  This would have been a fun one to have painted plein air; however, I did not have my painting equipment with me.....so a camera had to capture the moment for me to paint later.

 

Balds are mountain meadows covered by native grasses or shrubs occurring in areas where heavy forest growth would ordinarily be expected.  These mountain meadows are called balds in the Appalachian mountains as the one above in the Great Smoky Mountains.

 

The watercolor above is a 5" x 7" done on Arches 140 lb cold press paper. 

 

Supplies Needed:
Watercolor paper
Masking Tape
Watercolor board
Brushes:  flat and round (size of your choice based on the size of your paper)
Paint:

• Cerulean Blue
• Windsor Blue
• Yellow ocher
• Sap Green
• Ultramarine Blue
• Medium Yellow
• Sepia
• Burnt Umber
• Burnt Sienna
• Crimson

Tissue




Painting Instructions:
Sketching:  Yes or No?
This painting can be painted without sketching at all.  However, if you feel more comfortable with a sketch on your paper, make a very basic sketch of the mountains/horizon.  The tallest mountain on the right is about one third of the way down the paper and the distant mountain on the left is only slightly shorter. 




Note:  The mountain on the left side of the paper is in the distance and is lighter in color.  The mountain on the right is in the near distance and is darker in color. 


Do not sketch in the trees as they will be done after the sky and mountains have been painted.




Sky:
Using a flat brush, wet the sky area first with clean water and painting wet on wet, use Cerulean Blue to paint in the sky allowing the color to be darker at the top and become lighter as you paint down towards the mountains.  On the left side of the painting where the sky touches the mountain, drop in yellow ocher and allow the colors to blend.  While the paint is still wet, use a tissue to remove some of the paint to create clouds.  Allow to dry.




Mountains:
Using a flat brush, wet the mountain area on the left side.  Using a wash of Windsor Blue paint the mountain varying the wash from dark at the bottom of the mountain to lighter at the top.  While still wet, drop in a light wash of Crimson to mix with the blue to create purple.  At the very top, a small amount of yellow ocher can be  added as well.  Allow to dry. 




Wet the mountain on the right side.  Using Sap Green paint, the mountain from top down to the start of the meadow.  While still wet, drop in Ultramarine and Burnt Umber in various locations to add some texture to the mountains.    Allow to dry.




Bald:
The bald is painted using bands of Yellow Ocher, Medium Yellow, Burnt Sienna and Burnt Umber.  As well as bands of green grasses painted in Sap Green, Burnt Umber and Ultramarine.




Using a round brush, lay in the yellow areas first using a wet wash of Yellow Ocher and dropping in touches of Medium Yellow, Burnt Sienna and Burnt Umber.  Refer to the painting above for placement.




Then paint in the areas of green grasses using predominately Sap Green and dropping in touches of Burnt Umber and Ultramarine.




Notice a dry area of dirt is located on the lower left side at the bottom of the painting.  Using a pale wash of Burnt Umber, paint this in with a round brush leaving areas unpainted.    Allow to dry.




Note:  Leave some area unpainted in the bald for highlights.   



When the bald area grasses are dry, use the flat brush with the bristles fanned out  pull in some individual pieces of grass.  You can also use the tip of your round brush to pull in the grasses.  Allow to dry.




Trees:
Decide on placement for your evergreen trees.   Using the edge of your flat brush, paint a narrow line from the top of the trees down to the bottom with Burnt Umber.  Using a mix of the following colors, use the flat brush to randomly dab in the branches of the trees. 




Tree washes:
Sap Green
Sap Green and Ultramarine to made a dark evergreen color
Sap Green and Medium Yellow
Sap Green and Yellow Ocher


Paint each tree using the directions above varying the heights of all of the trees. 


Allow to dry.




Check your painting for any details you would like to add.




Sign your painting!  Congratulations!




Happy Painting!
Karen