Painting 101:

Different techniques in watercolour

by Tissa Hewavitarane

The watercolour is very sensitive to any alteration that is produced on its surface. This quality is an advantage when the techniques that provoke such changes are known. When using watercolours, accidents often happen, such as a scratch of the paper scraping with the brush.

There are many techniques that normally can be used to alter the surface of watercolour. One of the most usual tools in the studio of a water colourist is the hair dryer. This can speed up the water evaporating from the paper. Another tool that can modify surface of the paper is sandpaper, for instance the dark colour is painted in the used way.

Even take masking solution. Many artists use it in many of their paintings and it really does fulfill a useful purpose, like painting it on a white sails of a fishing boat. In using the sponge a little touch occasionally might be appropriate for things as light trees, but to base your painting style around it would be disastrous. There is also a little trick of flicking your fingernails into a damp wash which is useful occasionally for such things as sunlit grass against a dark tree. In water colour once put on paper is there for good and can't be altered, which is why so many would be so many water painters don't try it out. The truth is of course very different. Whole area or sometimes the whole painting can be washed off and repainted without any one being any the wiser.

Fingernails and knuckles

The occasional flick with these fingernails in a damp wash can be quite effective for sunlit grass or branches. The knuckle can create textures such as rocks.

Masking tape

This a strong adhesive tape which attaches itself to the paper but easily peeled off afterwards. It can be cut or torn to mark out uncomplicated shapes or to give you a sharp straight edge to a wash.

Candle Wax

This too can be used as a resist and gives a sort. Of batik effect. It should be used very sparingly to suggest light sparkles on a lake or to create texture. Remember the wax cannot be removed afterwards - it becomes the part of the picture itself.

Pointed sticks and cardboard strips

Pointed sticks dipped in watercolour can be used to draw branches and cracks in stone walls. You should try it on both dry and damp paper. Cut out some assorted strips of heavy cardboard from half inch into three inch in wide and long enough for you to get a good grip. Again try them in various ways.

Painting knife

Before you try this tech you must remove every trace of grease or varnish or oil paint by using a household cleaning powder, otherwise the watercolour will not stay evenly on the knife. If this doesn't do the trick, stick it in a lemon and leave it overnight. There are all sorts of ways of applying watercolour with a knife, and again experimenting will show you how. You hold it as if you were going to cut the paper with tip and produce fine lines for twigs, weeds and ships' rigging. You can use the edge of the knife laid on precisely to indicate distant walls of short sideways strokes to paint birch trees. By scraping already applied paint in a sort of spreading butter motion you can produce interesting textures. It can also be used to apply masking fluid either in precise strokes or by dipping the knife in the fluid and flicking it onto the paper with your finger. Again, this produces interesting foreground textures.

Experiment yourself

Apart from describing the main pitfalls, there's no way one can really explain the technique. You just have to experience it and experiment yourself. Try it out with just one colour first, say burnt umber and be prepared to waste a few sheets of drawing paper. Let yourself go fearlessly, don't be timid. Always have the painting on a slope and use gravity to help you, which can be rather like swimming with the current. It's so much less effort and you'll need less strokes. The technique is ideal for doing such things as cloudy skies, mists, below trees and surging surf, but don't attempt to do the whole painting in wet-in-wet, it will just look out of focus. It's much more effective when the soft edges are contrasted with sharp edged areas and calligraphy, applied after the paper has dried or almost dried. When running colours on to a saturated paper, be sure they are quite intense, since they will dry lighter. Remember that the water in the paper dilutes the colour as it flows from the brush, so the fresh colour needs to be put on relatively dry, if it's to stay in place.

Non verbal explanation can tell how it is - the process must be expressed. The wet paper is usually worked on while flat, because a slanted surface will cause colours to run toward the bottom of the sheet. This could be desirable in some cases. Rough textured paper generally work better than smooth. Do practice these techniques, although it probably won't come off at first but it will help you to improve your skill to turn out a better painting.

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