TIPS FOR DEVELOPING AQUARIUS TECHNOLOGY
What does an inquisitive artist need to know in mastering the watercolor technique in order to avoid the wrong path? And are there any special secrets of watercolor craftsmanship?
The previous story about the watercolor technique, its history and material features already contained answers to some questions. Now I would like to share my own experience and skills in watercolor painting, illustrating the story with photographs of the process of creating some works. Perhaps the reader will find answers to his questions in this story.
We already know how important the right choice of materials for watercolor painting is. In addition to the basic materials, the artist may need some more in the work, and they have not yet been talked about. Here is a list of materials with short comments. Fig. 1. Materials
Watercolor paper of professional quality, preferably with a density of 300 g / m2.
Watercolor paints in cuvettes and tubes, produced for professional artists by various well-known manufacturers.
Brushes of various sizes and shapes, preferably from squirrel hair. The advantages of brushes are their softness, plasticity, good shape of the set, due to which the brush is able to carry a lot of water and which makes the brush, even a large size, suitable for working with thin elements of the image. It is desirable to have one flat, thin, small-sized bristle brush with stiff but worn hair, it is useful for working with contours and details.
Palette. It is best to buy a palette of white plastic, after treating the surface with a weak abrasive, water on its surface does not slide into drops, and dried paints on the palette are easily diluted with water and continue to be suitable for work. It is not recommended to use paper palettes, as paper absorbs water, dried paints become unsuitable for work, brushes experience additional stress, rub against the surface and wear out faster, moreover, glue is washed out of poor-quality paper and gets into the painting.
A tablet for work. It is very convenient if its working plane is covered with waterproof material, and the lateral edges of the wooden subframe reinforcing the tablet make it possible to fix the paper to glue (although it is better to use a special tablet or plywood sheet about 1 cm thick to stretch the paper with glue). A proven and very convenient material for strengthening wet and dry paper is plastic organic glass with a thickness of about 4 mm.
Adhesive paper construction tape about 4 cm wide, PVA glue (polyvinyl acetate), metal clips, buttons – these are materials for different ways of fixing paper and fixing it.
Medical gauze or thin cotton fabric larger than the size of the watercolor sheet, 1.5 cm on each side.
Natural sea sponge of medium or small size.
▫ Pencil for drawing softness HB or 2B; it should be thin, carefully sharpened and should not scratch the paper. For a thin linear drawing in watercolor it is convenient to use a mechanical pencil with a thickness of 0.5 mm.
Eraser in two parts: white soft edge and gray hard with an admixture of abrasive. For delicate paper work, it’s best to erase the pencil lines with the soft edge of the eraser. It does not spoil or stain paper. The hard part is convenient to gently erase pencil marks when the painting is completed, as graphite has the ability to leave a more durable mark on the surface of the paper after working with water.
White paper towels. They are very convenient for collecting excess moisture from the sheet and for squeezing the brush.
A ruler and scissors also need to have in your arsenal.
A container of at least 1 liter water. Water should always be sufficient to clean the paint brush clean. Water should be changed regularly and make sure that it does not become a paint solution. It is wise to have an additional container with clean water.
ORGANIZATION OF THE WORKPLACE
Due to the technological features of working with watercolors, it is necessary to organize the workplace in a special way. Materials should be located accessible and convenient. To do this, use a stool, bedside table or table of the desired height. As for the easel, it is difficult to recommend some kind of universal design, all known easels only partially meet professional requirements. The main thing for working with watercolors is the mobility of the work plane, because in the process, you may suddenly need a different tilt of the tablet with the painting. In this case, a maximum overview of the working plane should be observed without unnecessary parallaxes (perspective distortions). Probably, you can invent some special design for these purposes, but in practice it turns out to be convenient to get along with two chairs. You can sit on one chair (stool), on the second, using a removable box about 15 cm high (just above the knees), it’s quite convenient to place the tablet with the painting horizontally. It is important that when working, the hand with the brush is extended and the back is straight. In this position, the viewing angle will be maximum, and visible distortion – minimal.