Painting 101:

To turn out a good painting in watercolour

by Tissa Hewavitharana

A successful painting is made up of beautiful arrangements of values and colour, and what helps in arranging the shapes is a knowledge of preparations. Some areas of the painting are more important than others, obviously, and are more pleasing to the eye. It is simply the means of arranging the parts of your picture so that they add up to a harmonious whole. A badly composed picture will look bitty, disjointed, and irritating, but a well composed picture fits together in a satisfying way.

Foreground

First, you must provide a way into the picture, usually at the bottom, the eye is then led. Over the foreground to the main part of the painting, resting at the centre of interest and exiting in the distance or out of the side. Secondly, division of space is important. There are many ways of doing this with triangular, circular, radiating and rectangular divisions, to mention a few. The old masters were brilliant at this and a lot can be learnt by analysing their paintings. Third, always provide a centre of interest - the most important thing and what picture is really all about. It is very important that this centre of interest should be placed correctly in the picture. The most obvious way of stressing the main centre of interest can be achieved very dramatically by putting the darkest dark in the picture against the lightest light.

The main object of interest should never be placed in the middle of the picture but set to one side. The worst part is to put two objects of equal interest in the painting. For example, if you have to show two boats or trees, make one bigger or more dominant than the other. You may observe the tall tree I have done along with the small hut by the side. You will notice that you have the power once you know how to use it, of controlling your viewers eye. Finally, keep plenty of variety in your painting. To give more life to the painting, I have introduced a bullock cart with a man seated to guide the bull on the pathway. Contrast softness and wetness with crisp, sharp strokes. Vary your textures as much as possible; but plenty of depth in your work.

Dramatic interest

Just as a play or film often has one main character and a supporting cast, so a picture should have one focal point - that is, one spot that draws the eye and which carries the main theme of the painting - supported by shapes and colours of secondary interest.

This is what gives balance and unity to the painting. Observe the painting I have done - a countryside scene. The tall tree is the focal point. Here the lightest and darkest tones in the painting are exposed and viewer's eye is attracted by such a contrast. Notice the distant trees and small huts and bushes gives a dramatic picture instead of wearing off out of the picture. The light tone of the whole picture attracts the viewer. The eye is always drawn to human figures and variety of other objects and their inclusion can turn an ordinary subject to a striking picture. The two objects, the tall tree on the left with the hut and the bullock cart form the anchoring point for the whole composition. The dark and light green bushes and a greenish turf turns and create a likely impression of the whole painting.

Note how I have used rugged brush strokes to indicate the twigs and thin branches of the tree. A light wash ultramarine blue mixed with slight wash of yellow ochore and orange bring the foreground sky closer, flatter and lighter in tone as they near the horizon. The horizon line is low, which places emphasis on the sky and increases the illusion of space. Observe the mixture of clouds, a successful painting of nature's vista depends on our knowledge and the role of the sky plays in this spectacular drama.

The appeal of this painting lies in the delicate transition from strong colours to pale, delicate transition from sober colours to pale delicate tints (soft focus) at the edges.

Learning to control water colour washes

To develop your confidence in handling paint, try working on larger sheets of paper than you might normally use; a too small painting surface is often the cause of tight constricted brush strokes. When you are learning how to handle watercolour, remember the three, P's Patience, Perseverance and Practice. You will need patience because depending on the humidity and the type of paper you are working on. Watercolour washes may dry more slowly or unevenly than you anticipate.

Perseverance will stand you in good stead because things inevitably will go wrong. But after all, the capricious nature of watercolour is part of its attraction.

If you happen to make any mistake its not the end of the world. Learn to accept it and redo the whole painting. Because in watercolour if you make any mistake you cannot erase as in oil by applying a white coat of paint.

Learn not to make mistakes and move on to the next challenge.

The need to constant practice goes without saying. It's a good idea to try out different techniques and test how they respond to each painting. Your control of the paint can be helped or hindered by the absorption of the paper - something you can discover only through practice. Constant practice is the only way to get good results and if you ever become discouraged or depressed, remember that for every masterpiece there is a stack of discarded 'fail'.

It is through our failures that we learn and discover something new and to be perfect.

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