Watercolour Flowers, Loose, Lovely and Lively
What is essential in watercolour painting is you, the artist! You are the creative behind each brushstroke, each colour choice, every decision about how the composition will evolve. It is everything. Whether you are expressing your inner calm, your soulful artistry, your joyfulness in painting, it all may be expressed in flowers that sing.
Painting together to make the essentials of watercolour painting your means of communicating you become more familiar with the use of colour mixing, colour theory and the selection of colour themes. Foundational techniques become part of each painting you do. There are many options to choose from and you become familiar with compositional styles and focal areas that are the armature of each art work you do.
The basics will become part of your toolkit: brushstrokes, blending, blotting and bleeding, shape creation, negative and positive shapes, layering of shapes and colours, lifting, loose application, clustering, connecting, shading and highlighting, where to use detail, adding leaves and stems, mixing neutral greens, and adding contrasts of colour and value. As artists, each of you are at the beginning of your personal journey. This course is a way for you to get from “here to there.” You compare yourself with where you have started to the goals you reach individually.
Whether you paint a single rose or a huge array of blossoms and blooms, your paintings will benefit by your creativity, backed up by your knowledge of how to express stunning, complex floral compositions, glorious floral inspirations, and the desire to enjoy the cherished process of painting.
Week 1: Introduction to the Watercolour Medium
We talk about what watercolour paint is and how it relates to water. We look at flat washes and gradated washes, wet-in-wet painting and wet-on-dry painting.
We look at the types of paper there are and how they might be different from each other.
Throughout the 8 weeks we share techniques, tips and hacks that are great for watercolour tool kits.
Week 2: Introduction to Composition and Focal Area.
As part of the discussion about composition and the focal area (center of interest) we take a look at where detail is important to draw the eye of the viewer and what other ways there are to get the viewer to focus in on what we want the viewer to see.
We look at 10 ways to know if you have a center of interest.
Week 3: Colour Theory – Mixing and selecting colours based on the Colour Wheel
We continuously mix and explain our colours to create the ones that we want to use.
We discuss Complementary Colours and their uses in a painting. That will include colours for colour vibrancy, how to remember them, and how to mix colours into opposites on the colour wheel to use as neutral colours. (Shades of Grey).
Watercolour painting does not include black or white paint. We talk about what colours to use for warm and cool passages. (Creating colours for sunlight and shade). We will talk about harmonious colours. (Analogous Colours)
Week 4: Using Colour Themes, Contrasts of Colour and Value
We introduce thumb nail sketches for values.
We paint using a limited palette. We discuss how to select the values we want to include.
Week 5: Brushstrokes and Blending
There are a number of handy brushstrokes that make shapes easier to paint and we see 7 types and how to produce them.
We talk about charging colour into the water and dispersion of the colour into the water. We can talk about the shine on the paint and when we can scrape and scratch and keep dropping colours into paint on the paper surface.
Week 6: Shape Creation, Negative and Positive Shapes, Layering of Shapes
Emphasizing loose application of shape is one of the ways we paint the petals and the leaves. Explanation and demonstration of negative and positive shapes.
Layering shapes is much stronger and more interesting and prevents uncomfortable “kisses” of same size and shape items on a composition. This is particularly true on florals.
Week 7: Ways of Lifting Paint, Blotting, Clustering, Connecting, Shading and Highlighting
We use various ways to lift paint from the paper for many reasons, These might be for texture, to correct errors, to create design and to weave passages in, out and through a painting.
Clustering and connecting our shapes creates much stronger composition.
For more realistic effects whether the painting is realistic or abstracted, to create the illusion of roundness we use shading and highlights.
Week 8 Mixing neutral greens, stems and leaves
Greens are very important in paintings of florals and greens can be mixed from complementary colours, can be mixed with blues and greens and yellows and in many other ways. We practice a few of the mixes to incorporate these colours on stems and leaves. We scatter greens through bouquets for colour contrast.
- Paint: A kit of 12 pan paints or a set of watercolour tubes. Please add a tube of Indigo Blue.
- Paper: Canson XL or Strathmore or Arches Pad Sizes Cold Press 9” x 12” or 11” x 15”
- Brushes: Simply Simmons Short handle: ½” flat, 1” plus Size 2, Filbert Size 10 or 11 or other as desired
- Palette: If kit does not have one. May be a foam plate or a purchased watercolour palette with large wells.
- Masking Fluid: (also known as Frisket or Misket)
- Pebeo Drawing Gum 4 oz., or other brand
- Support: foam core, a political sign (foam core), a piece of Plexiglas, or Masonite, or Cardboard or any flat, solid item
- Masking Tape: 1” roll
- Some pickling salt or large sea salt (Small amount)
- Paper towel
- Rubber cement lifter
- Samantha Perritt