Watercolor Lessons with Lisa Fertig

San Antonio, Texas

2011-07-21T20:50:00.005-05:00

Start with these reference images:

Using the reference as a guide, make a couple of reference marks as to where some of the shapes are. Starting at the top of the page, use Cerulean Blue and a touch of Cobalt Blue for the sky color, outline the shapes of the buildings and drop in some Winsor Yellow to indicate the tree areas. While the pigment is still wet, pick up some pigment with a Kleenex to indicate some cloud shapes. To indicate the building areas use Burnt Sienna, and paint the umbrellas with pure pigment, leaving white shapes for people. The water colors are Cerulean Blue and a touch of Gamboge. Let dry.

We are now focusing on our values in the middle range. Start building the palm tree with Cobalt Blue and Gamboge. Continue to build the foliage areas negatively painting the umbrellas. Show a shadow on the umbrellas. Use Cobalt Blue and Gamboge for the water area. The roof colors are Burnt Sienna with a touch of Ultramarine Blue. Let dry.

On our third wash we will be using our darker values on the value scale. Starting on the palm tree, show where your dark shapes are from your value study. Bring down that dark value onto the tree trunk. For the mass of the building use Burnt Sienna and Ultramarine Blue. When the shine is gone scratch into it with a credit card to bring out some shapes. Negatively paint the umbrellas and the white shapes of people in the foreground. Add some Ultramarine Blue and Gamboge on the tree to indicate some dark shapes. The water is Cobalt Blue and Gamboge. When almost dry use a credit card to scratch some movement into the water.

Pears

2011-03-16T19:21:00.004-05:00

Start with these reference images:

Using a wet into wet technique, apply clean water over entire page. Starting with our lightest of values, apply Cerulean Blue and Winsor Yellow on the background area. Start to drop in the local colors of the pears. The shadow color is Cerulean Blue, foreground color is a very light background color. Lift out highlights on pears with thirsty brush. Clean up any edges on the pears on the table side also. Let dry.

Our values will now be more middle values, more pigments, less water. Indicate the background with Cobalt Blue and Winsor Yellow. Add a little Burnt Sienna as you go across the page, more Burnt Sienna and Cobalt Blue on the right side of the page. Try not mixing the colors. Continue to show the local hues on the pears, lifting out the highlight. Light source on the right side of the fruit. Let dry.

Starting at the top of the page using darker values, same pigments, repeat the same wash. While the pigment is still wet, use a credit card and scratch out some foliage shapes. Add some salt for texture. Scratch out the stems also. Use sharp edges when defining the fruits. Let dry. Go back into the fruit with your darker values and shadows. On the table top show a cast shadow with cobalt blue with a little Burnt Sienna.

Ocean Sunset

2011-03-16T19:06:00.007-05:00

Start with these reference images:

Wet the entire paper with clean water, starting in the middle of the paper using Aureolin pigment with horizontal strokes. As you go up the page introduce Winsor Red. Below the horizon line or middle of the paper use Windor Red going down to the bottom of the paper. Using a thirsty brush pick up some color in the sky area. Let dry.

Using clean water brush the Aureolin area only, then apply Winsor Red, Winsor Yellow, Gamboge and Alizarin Crimson. Repeat these same colors in the foreground areas with the addition of Ultramarine Blue. Look at your value study to see where these values go. Let dry.

The last wash will consist again of the same colors, more pigment less water and trying to get as close to the values on the value study as possible. Put in far horizon line with Alizarin Crimson, Gamboge, Ultramarine Blue. For the rock shapes we will use Alizarin Crimson and Ultramarine Blue with a little Winsor Green. Carry this color out into the composition where the value study is very dark and soften the edges. Use a thirsty brush in the foreground area.

Lake Superior Rocks & Evergreen Trees

2010-11-26T07:36:00.005-06:00

Start with these reference images:

Sunflowers

2010-11-26T07:19:00.010-06:00

Start with these reference images:

Start at the top of the page with a combination of the following colors: Cerulean Blue, Cobalt Blue, Winsor Yellow and Burnt Sienna, just putting the colors down and letting them mix on the paper. As you come upon the flowers start using the local hues to shape in the flower. Use Burnt Sienna for the middle of the flowers. Alizarin Crimson and Cobalt Blue are used in the vase. Afer the shine is gone on the paper, use a credit card (the side of the card) to scratch out some petals and stem and foliage areas. Let dry.

Going in now with the middle values, using Gambage to develop some of the petals, Winsor Yellow and Winsor Red are also used. Ultramarine Blue and Burnt Sienna are used in the middle of the flowers. Darken the side of the vase with the same colors used above. Develop some foliage areas around the flowers. Let dry.

Our final wash will consist of values that are the darkest on the value scale. Using Burnt Sienna, Winsor Green and Alizarin Crimson, indicate some texture on the centers of the sunflowers. Using the same dark indicate some dark shapes around the sunflowers, using the value sparingly, painting negatively around some of the petals. I put clean water on the vase and overlaid the same colors but tried to smooth out the values. The colors around the sunflowers consist of Alizarin Crimson and Gamboge.

Bayfield, WI

2010-11-26T06:37:00.004-06:00

Start with these reference images:

Start at the top of the page with a combination of Cerulean Blue and Cobalt Blue for the sky area. Using the same blues add Winsor Yellow and make some tree shapes, sculpt out around the buildings, leaving the white of the paper. As you go down the page introduce Winsor Yellow and Winsor Red to make an array of oranges, adding Alizarin Crimson at the bottom. The water consists of Cerulean Blue and Cobalt Blue, using more pigment at the bottom of the page. Let dry.

Now using your middle values repeat the same steps as above, but use more pigments and less water to get a darker value. You are going to start giving the colors shapes, with negative painting (painting behinds the shapes). Indicate the dock area with Burnt Sienna and Ultramarine Blue. Use the side of a credit card to scratch out the posts and tires on the dock. Using Cobalt Blue and Ultramarine Blue indicate some line work in the water with smaller shapes further back and larger shapes as you come forward. Let dry.

Now using our darker values go in and define a couple of shapes in the foliage area. Using Burnt Sienna and Ultramarine Blue paint the roofs on the buildings, adding windows. Cobalt Blue is used on the boat house, painting around the white shapes. Then add Burnt Sienna and Ultramarine Blue for the window areas. I soften the edges of the water by using a large flat brush with clean water and going over the entire area a couple of times.

River Watercolor

2010-04-18T20:16:00.005-05:00

Start with these reference images:

Using some masking fluid indicate your birch trees. Indicate the local colors starting with the background foliage area, changing the colors as you go. Below the halfway mark on your paper start to show the river with blue hues. Let dry.

Go in now with middle values and start to build up the foliage shapes, keeping the yellow clean in top of the river. Show rocks by dropping burnt sienna and ultramarine blue in that area and then taking a credit card and scratching the surface. Show an island in the middle of the river with some foliage colors. Drop in some red hues to show more contrast in your colors. Using a credit card scratch out some birch trees. Let dry.

Now using our darkest values show a shadow side on the foliage, usually under the branches. Negatively paint around some of the rocks. Add a darker value blue hue on one side of the river and soften the edges. Scratch in some grasses in the middle island. I added some Gouache to my birch trees to stand out some more, or in the first step you can also use a masking fluid to save the whites. Let dry.

Fall Walking Path Watercolor

2010-04-18T19:48:00.004-05:00

Start with these reference images:

Starting at the background indicate a sky color and then start showing the foliage areas, changing the color as you go. Indicate the shape of the path by leaving the white of the paper. As you proceed show the foreground foliage. Also drop in a light shadow color on the path - by mixing the three primaries you will get a nice gray. Let dry.

Now using the same color palette as above we will proceed using our middle values on the value scale. Start to show some forms in the foliage and shapes, keeping the value darker than what you already have on the paper, trying not to cover up all of our first wash. Keep the edges of the path soft. Let dry.

Now use our dark values to show foreground trees, letting the previous colors show through. Show a darker value shadow on the path. The shadows from the trees should be connected to the shadows on the ground.

Watercolor Tulips

2010-03-15T20:21:00.009-05:00

Start with these reference images:

Wet paper with clean water, load brush with Winsor Yellow and indicate yellow tulips. Continue to add Winsor Red with the yellow to make orange and indicate the orange tulips. Clean brush and make red tulips with Winsor Red, alizarin crimson and cobalt blue will make your purple tulips. Cerulean blue and Winsor Yellow will be used to show the foliage areas around the tulips and for stem area. The background color is mixed with Winsor Yellow, Winsor Red and cobalt blue in equal amounts. With more water the value will get lighter. Let dry.

Using our middle values we will now start to define the tulip shapes, showing a shadow and light side. Indicate the stems in the vase with gamboge and cobalt blue, letting the first value show through in areas. Continue to use this green to add leaves between the tulips. Let dry.

Our last wash will consist of darker values - Winsor Green and alizarin crimson will be used to make our darkest value. See the value reference to see where those shapes should go on the stems and on the foliage. The vase is made by painting around the vase with a darker value, leaving space for the sides of the vase, to indicate a glass vase.

Snowy Trail Watercolor

2010-01-10T12:00:00.008-06:00

Start with these reference images:

Starting at the top with a graded wash, continue down the page with the sky color into foliage shapes and colors. Continue the same wash into snow and indicate the path.
Let dry. When the first wash is almost dry, go back into the foliage area and apply another layer of paint. This will cause some interesting shapes called rumbacks. Change the color also to make it interesting.

When this is dry, indicate trees, varying the color, size and shape. Once you have the trees in place, show shadow shapes from the base of the trees, with a blue and burnt sienna color. The shadows will follow the contour of the ground.
When this wash is dry, start to shade the trees, keeping in mind where your light source is coming from. Add branches onto the trees and some dead foliage in the snow.

The last step is analyzing the values. The value is darker on the path than the snow.

Sunrise Watercolor

2010-01-09T13:45:00.019-06:00

Start with these reference images:


This will be a wet into wet technique. Wet the entire paper with clean water. Starting at the top of the page use blue hues and then go into yellow. Do not mix a lot or your colors will turn green. Add red and yellow to make an orange; add a little ultramarine blue, alizeran crimson and cobalt blue to the bottom of the page. Using a paper towel, dap out the sun area. Let dry.
We are going to repeat the first process again but using more pigments, and this time your paper is dry. Go back in with a thirsty brush and pick up some colors for the reflection of the sun. Again dap out the area on the sun while the pigment is still wet. Let dry.
I wanted a little more yellow in the sky area, so I again went in and glazed over the previous wash. Let dry. Show the horizon line with a darker value, softening the edge on the bottom. Paint the trees and rocks in the foreground area, making the colors warmer near the light source (the sun). Show some motion in the water by adding darker values and keeping the edges soft. Show the tree branches on top by keeping the colors warmer near the sun and cooler as they recede. Add some foliage. Let dry.

Waterfalls Watercolor

2010-01-09T11:02:00.011-06:00

Start with these reference images:

Starting with the background and at the top of the page, use blue hues for the sky, and continue down the page into the foliage areas, using a variety of greens and yellow ochre. Start to sculpt out the shape of the waterfall, negatively. Add rock colors and while the pigments are still wet apply a piece of wax paper on top. Using a credit card scratch out some birch tree trunks in the background. Soften the edges of the rocks with clean water. Let dry.

We are not going to start the second wash with our middle values on the value scale. Start defining tree shapes, using your value study with positive and negative shapes. Leave the lights in some areas from your first wash. Put in the background evergreen trees with a lighter value to show the tree is further back in the woods. Indicate the water area. Let dry.

Our final wash will be using our dark values, putting the shadows on the trees on the bottom of the branches. Start to define the shapes in the rock forms, softening the edges as you go. Start to build up the values in the water, keeping the values on the lighter side of the value scale, with soft edges. When the waterfall hits the flat water, carry the white shapes horizontally to show it's a flat surface. Let dry.

Northern Woods Watercolor

2009-10-27T14:20:00.007-05:00

Start with these reference images:

Start at the top of the page with blue hues, adding water as you progress down the page. Indicate the horizon line with some burnt sienna and yellow ochre. Look at your value study and leave the light values by adding water in that area. Let dry.

Now add the evergreen tree, paying attention to the negative and positive shapes that you will be creating. Use yellow and blue hues: lighter values in the background, more intense as you come forward. Anchor the tree shapes with shadows. Shadows tell the viewer if the land is flat or rough. Soften edges in the background. Let dry.

Our last wash will consist of putting in the foreground trees. The trunks of the trees are thicker at the base. Then take the side of a credit card and scratch out the light side of the tree. Add branches and twigs. Darken your foreground value to lead the viewer's eye into the picture plane.

Itasca State Park Watercolor

2009-10-26T21:56:00.011-05:00

Start with these reference images:

Our first wash is going to consist of putting in the local hues in the composition. Starting with the background, indicate the sky area and continue along the foreground foliage.
Continue down the page indicating the water areas and the land areas. Using ultramarine blue and burnt sienna, show the rock area. While the pigment is still wet, lay a piece of wax paper over the pigment and let dry. When you remove the wax paper you will have some interesting textures.

Now we will be using our middle range values - same colors as above, but more pigments and less water. Show some tree forms and shapes in the background area. Paint the evergreen tree in the foreground and add some grasses. Paint negatively on some of the rock forms, softening the edges as you go. Glaze over the water while leaving some areas of your first wash showing through. Let dry.

Our last wash will consist of our darker values (use sparingly). Indicate a couple of tree forms in the far background, and show a shadow side to the evergreen tree. Use a credit card to scratch out some grasses growing in the water and on land. Using a scrubber brush, bring back some of the light on the top of the rocks. Show a reflection in the water from the evergreen tree.

Willow Tree Watercolor

2009-05-15T20:54:00.014-05:00

Start with these reference images:

Starting at the top of the page work your way down with the local hues. Indicate the water with the sky color. Keep your values light. Let dry.

Indicate the background trees with a darker value. Start to sculpt out the pine trees on the left and the willow tree on the right. Show a reflection in the water of the trunks and go over the water with a darker value, letting some of the original wash show through. Let dry.

Using your dark values now go in and accent your dark areas, referring to your value study. Show a shadow on the ground from your light source. Use a credit card to show some grassy areas in the foreground and on the pine trees. Darken your values in the water also - soften the edges.

Grand Marais Watercolor

2009-03-26T14:12:00.015-05:00

Start with these reference images:

Start painting background to foreground on the composition. Using a blue hue indicate the top of the sky. Come down adding water to your brush and a slight amount of red or pink. Come down to the horizon line. Let dry.

Start to show the tree shapes using your value study to indicate your light values. Show the local hue of the foreground with different colors. While the pigment is still wet, apply saran wrap or wax paper. Let dry.

When you remove your wax or saran paper you will see some nice textures that the papers created. Using your middle values now, indicate your shapes from your value study with mid-values hues - similar colors, but darker values. Let dry.

Show a horizon line with a darker value than the sky. Carry down that color trying not to cover up all of your first wash. Using your dark values bring out those dark shapes with a variety of colors. Using a rigger brush show some dead branches and some brush.

Roses Watercolor

2009-03-20T19:42:00.010-05:00

Start with these reference images:

For this painting we will be doing a wet into wet technique. Wet the entire paper with clean water. If you are working on a board you will have to staple, tape, or bulldog clip your piece of paper to the board.

Start to drop on local color in the areas where your roses will be placed - let your colors mingle and mix on their own. Use a variety of shapes and sizes. Show a placement of where the vase will be placed. While the pigment is still wet use a piece of a credit card and start to carve out shapes, using your value study as a reference. Let dry.

Using middle values start to build up the roses and leaves, indicating their shapes by their values. Show stems in the glass vase, soften the edges while the pigments are still wet. Let dry.

The last wash will be using our darkest values. One of the roses should be larger than the other to be the center of interest. Place your darkest dark next to your lightest value to make that flower stand out. Add some interest by adding detail to the leaves.

Winter Stream Watercolor

2009-03-14T20:45:00.013-05:00

Start with these reference images:

Begin painting the background sky area with a light value. Continue into the foliage area, watching your negative shapes (the sky) as well as your positive shapes (the trees). Make interesting shapes. Show where the bridge will go by leaving white for the snow on top of the railings. While the pigment is still wet use a credit card and scratch out some trees in the background. Indicate the area of the stream using a similar palette as the background. Start to show snow drifts.

We will now be using our middle values, similar colors but darker values. Show a shadow side of the left snow area in the foreground. Develop the bridge area. Break up the background by adding some darker shapes.

Using our darkest values on the value scale, go over the water area with darks, doing some line work on top to show some movement in the water. Put some dark trees in the background. Using a rigger brush show some branches on the trees. Soften edges where the water meets the snow.

Joe Pie Weed Watercolor

2008-10-11T14:01:00.008-05:00

Start with these reference images:

Starting at the top of the page using blue hues, continue down the page introducing greens in the foliage areas. Watching your value study to see where your lightest lights are, make the horizon line a light yellow. Indicate the pond with a cerulean blue and the foreground area with yellow ochre and burnt sienna. Show your flower shapes with a light pink hue. Add green in the foreground at the bottom of the page. Let dry.

Using mid-tone values, start to show tree shapes using your value study. At the back of the pond indicate a darker color and soften the edge as you come forward. The edge in front of the pond should be rough to indicate the foliage is in front of the pond. Drop in burnt sienna to show a value change in the foreground area. Using these same values negatively paint out the shapes of the flowers. While this pigment is still wet, use a credit card to scrape out some grasses. Paint negatively the grasses on the bottom of the page.

Using dark values - alizarin crimson and thalo green are a nice combination - put in your dark shapes. Change the color by using a little burnt sienna with ultramarine blue. Build up the flowers by showing a value change, from your light side to mid-tone to a shadow side with a darker value. Using a dark green hue show leaves on the stems. Indicate some grasses with a rigger brush.

Down the Road Watercolor

2008-10-08T19:35:00.012-05:00

Start with these reference images:

Start at the top of the page and work your way down from one color to another, working background to foreground, light values to dark values. Start to indicate the local hues of the different areas of the painting, watching your value study to keep your light shapes. Let dry.

Our second wash will consist of mid-tone values. Start to paint positively (the tree) and negatively. See our center of interest in the lower right corner, that tree was painted negatively. Show shadows on the road with a light color, keeping your strokes horizontally as to keep the road smooth. Show brush on the sides of the road with some vertical strokes, making sure your shapes are interesting and different. Let dry.

As we work our way down the value scale we are now going in with our darkest darks (look at your value study to see where these shapes are). Make your dark shapes interesting and different from each other. On the evergreen trees, your darks will be placed on the underside of the branches. Indicate some tree trunks also with the darks. Where your lightest light and darkest dark meet, this will be where you are telling the viewer that you want them to focus on that area (center of interest). Go over your shadows once again on the road with a cool color. Using a rigger brush, indicate some dead branches and some grasses along the road.

White Barn Watercolor

2008-09-28T17:33:00.013-05:00

Start with these reference images:

With blue hues paint the sky, adding water and no pigment as you go down the page. Start to indicate foliage as you sculpt out the barn shape. This painting will be a predominately warm painting with a touch of cool. Continue on down the page with local from you reference sheet. Let dry.

Start your second wash with mid-tone values. Start to make tree shapes in the background with darker values. Using the edge of a credit card, scrape out some tree trunk shapes and grasses in the foreground. Repeat with the same colors - just darker values - in the foreground. Indicate windows and doors in the barn with darker values. Refer to your value study to see the dark shapes. Let dry.

Your final wash will consist of darker values. The roof, doorway and foreground are going to be your darkest values. Make sure your vertical lines of the building are parallel with the edge of your painting. Indicate some foliage in front of the doorway on the barn, by wetting the pigment and dragging the edge of the credit card through the area. Add some dark limbs and tree trunks.

Garden Shed Watercolor

2008-09-03T17:49:00.009-05:00

Start with these reference images:

>Using the value study as a guide, leave your white shapes your lightest values. Carve out around these shapes with the different local hues from the photograph. This is done in one continuous wash. Let dry.

Drop in the local hue on the flowers. Start to build up your shapes with middle values hues, leaving your first wash to show through in some areas. Use a piece of a credit card to scratch out some grasses. While the pigment is still wet on the roses, use a credit card to show some line work and shape on the roses.

Now start to show your dark shapes from your value study. To build up the flowers, add another darker value to show a shadow side. Divide up the shape into smaller shapes with value and dark shapes. When the roof is dry, show line work which will give the roof some texture. Also show some line work in the flower stems and grasses.

Do your darks hold the painting together? Is your composition working? Do you have a full range of values?

Up North Watercolor

2008-08-30T17:12:00.016-05:00

Start with these reference images:

Using a light value and a blue hue, start at the top of the page and work down, adding colors for interest where the shapes in the reference images dictate. When you come to the rock areas, add lots of color, and while the color is still wet, add a piece of wax paper on top. Let dry. The reflections for this painting are going to be mainly green, because it will be reflecting what is above it.

Using mid-range values, start to define the tree shapes in the background. Don't cover up all of the previous washes - let some of them come through. Pick out some rock shapes where you like the texture on them. Define them by putting a dark value behind the shape and softening the edge. Drop in some of the rock colors in the reflections with a vertical stroke, then with a large, flat brush that is damp, drag the brush horizontally. Use the tip of the brush like a thirsting brush, dragging some horizontal lines to show movement in the water.

The final step in the painting will be using our darkest darks. Refer to your value study to see these shapes. Where your center of interest is your darkest and lightest light should meet. Use your darkest dark as an accessory in the painting, adding it sparingly.

Lester River Watercolor

2008-07-31T10:09:00.012-05:00

Start with these reference images:

Start at the top of the page as we paint background to foreground with a sky color and proceed into the foliage areas on each side, keeping the values light. Continue on down the page putting in the local color, leaving the water the lightest value. Cut out the shape of the bridge. Let dry.

Using the middle values, we now start to indicate more shapes, in foliage and rocks. Is your negative shape, the sky, an interesting shape? Putting down rock pigments, put a piece of wax paper over the wet pigment. Let dry. This creates wonderful texture. Bring out some rock shapes by putting a dark value behind some of the rocks, softening the edge as you go.

The final step will be going in with some dark values to bring out some of the dark shapes (refer to the value study). Scrape out some texture with a credit card while the paint is still wet. Stand back from the painting and see if your values are correct and your shapes are interesting, negative and positive.

Snowy Path Watercolor

2008-07-30T21:08:00.015-05:00

Start with these reference images:

Before you begin to paint, study the value study on this lesson and notice the white shapes. Begin painting with a sky color, adding water as you go down the page to make the value lighter. At the horizon line, start to sculpt out the white shapes with a similar color and value as the sky. Snow follows the contour of the surface that it's on.

When the first wash is dry, start to indicate the foliage area in the background, using greens to indicate evergreens and burnt sienna to show some dead foliage on the trees. Remember to leave sky holes.

Continue to work down the value scale introducing darker values to show form. Indicate tree trunks with darker values and scraping with a credit card on the lighter side of the trunks. Remember where your light source is coming from. Your cast shadows will follow the contour of the landscape.

Using your darkest values, overlay areas on the tree trunks and some foliage areas. Make twigs and branches in the snow and on some of the trees. Show some dead leaves on the path. Soften the bottom edge of your trees to make it look like it is sitting in snow. Stand back from your painting and evaluate color, values, composition, and edges.

Credit Card Sunflowers Watercolor

2008-07-29T14:26:00.039-05:00

Start with these reference images:


Starting at the top of the page, use a variety of hues, keeping the values very light. Continue on down the page until you start to indicate a vase. The light source is coming from the right side, so the left side of the vase will be a darker value. Drop in a background color. I have used contemporary colors.
While your pigment is still wet, use a credit card and scrape out shapes like petals, where the light would be hitting the flowers (refer to your value study). If you are not getting back to the white of the paper, you may not have used enough pigments, or your paint was too dry when you went back in.
Let dry. Now go in with mid-tone hues, starting to show some of the petals and foliage of the plant. Indicate a center of the flower - show a change in value. Soften the edges of the center.
The final wash will consist of dark values. Once again refer to your value study for those dark shapes. Connect the shapes in an interesting pattern. A table edge may be added and shadow from the vase on the table also.

Trees Watercolor

2008-07-03T17:16:00.018-05:00

Start with these reference images:

Starting at the top of the page using blue hues, create a graduated wash, by adding water as you go down the page. This will make the value lighter, continue down the page by introducing yellow ochre and then blue hues again for the water. The foreground color is yellow ochre. After this is completed go in with a thirsty brush (a brush with no color and very little water on it) and lift out the shapes of the birch trees. Let dry.

Start the second wash with mid-values with green hues, pay attention to your value study and the shapes. Indicate trunks on the trees and continue with the same color and value into a shadow on the foreground. In this reference the light is coming from the right. Make interesting shapes for the branches. Let dry.

The last wash consists of values 1 through 4 on the value scale. Use your reference-value study as your guide as to where your putting the dark shapes. Do not cover up all of your previous washes, only on the underneath side of the branches. With a mixture of hues indicate grasses behind the trees. Drop in some color for rocks and using a credit card scrape out on the light side of the shapes.

Finish the painting by adding some branches with a rigger brush and some grasses in front of the trees. When evaluating your painting, does it have a wide range of values? Are the negative and positive shapes interesting?

Japanese Garden Watercolor

2008-07-03T16:40:00.019-05:00

Start with these reference images:

Start with the background and work to the foreground. Work light values to dark values. The first wash will consist of all light values, starting with the sky and working your way down the page with local hues. After putting pigments on the page for the rock forms, take a credit card and scrape out the highlight side of the rock. Let this wash dry.

Start defining the foliage shapes using your value study, putting in the mid range values. Indicate some tree trunks and branches. Do some negative painting on the rocks, (painting behind the shape). Show a reflection in the water from the rocks. A reflection is a mirrored image of what is above it. Let this wash dry.

Using our darker values, start to accent your dark areas, as indicated on your value study. Darken the reflection shapes and while this is still wet use a piece of a credit card to indicate some horizontal lines in the water on the reflections. Ask yourself if you have a wide range of values, does your composition work? Stand back from your work and make adjustments as needed.