Just started this double portrait of my daughter Clara and one of our dogs, Pavlov. ( I always seem to start stuff in batches. Maybe because it’s easier than finishing!)
There was this square Frederix watercolor canvas kicking around the studio and thought I’d finally give the thing a try.
The stuff doesn’t absorb like watercolor paper, and it’s hard to get a decent depth of value. You have to paint in lots of layers. I’m finding it to be a little frustrating, since I’ve been shifting lately from a many-layers approach to a much more direct technique which seems to give me fresher, better results.
So we’ll see how it turns out. I may have to break down and finish in acrylic or oil!
I spent last week up in Michigan’s U.P. at a family reunion. My mom (a true artist on the piano) happened to mention that she’d been sketching but felt intimidated by watercolor because “if you make a mistake you can’t correct it.”
One is to move quickly. If you wipe it up right away with a clean wet brush or damp paper towel, you can usually get even the most staining colors to lift quite a lot.
The other is to know your pigments. Some hues in watercolor are a lot more forgiving than others. They’re known as “non-staining” colors, and they’re easy to remove from the paper with your damp brush or towel even after they’ve dried.
Other hues stain like crazy so you’d better move like lightning to get up as much as you can if they land somewhere unwelcome!
Non-staining colors generally have larger pigment particles which are less likely to adhere to the paper. Most of the earth tones are non- or low-staining colors. Some examples are yellow ochre, burnt sienna and cerulean blue.
Examples of staining pigments are pthalo blue (VERY staining!) and alizarin crimson.
Daniel Smith has a great line of watercolors. One of the things I really like about shopping for them is that they tell you all the characteristics of each hue right on the page. It really helps when you’re choosing paints you’ve never tried before!