Watercolour
We look at the main ways of using watercolour through the main subjects of painting; figure; object; landscape. Watercolour is an excellent medium to learn how to paint with due to the fact that paint cannot be removed from the paper effectively once applied so careful attention and analysis needs to be paid to the effects of light and shade on form.
We look at the main ways of using watercolour through the main subjects of painting; figure; object; landscape. Watercolour is an excellent medium to learn how to paint with due to the fact that paint cannot be removed from the paper effectively once applied so careful attention and analysis needs to be paid to the effects of light and shade on form.
01 Basic Watercolour Course Introduction. Overview of the concept content and subject matter in a basic watercolour course of about 5 classes.
02 Watercolour; discriminating between light and shade and local colour. A break down of the discrete effects of light and shade on form and local colour, and illustrated painting processes of considering both.
03 Watercolour Demo Of Monochrome Grisaille. Painting a watercolour in monochrome, as though the objects were made of plaster, with no local colour.
04 Watercolour Demo Using Local Colour Only. Painting a watercolour of fruit using only the local colour, with no indication of the effects of light and shade. The effect is as though the fruit is lit from all directions.
05 Watercolour Demo: Adding local colour to a monochrome underpainting. A watercolour demo showing how transparent watercolour local colours can be glazed onto a monochrome under painting.
06 Watercolour Demo Adding Light And Shade (Monochrome) To Local Colour. Reversing the process of painting a monochrome under painting, light and shade modelling is glazed on top of a local colour underpainting.
07 Watercolour Demonstration Of Direct Painting. Painting more alla prima, light and shadow and local colour are mixed and applied to the paper directly and the painting arrives at a similar conclusion to the other two approaches.
08 Light And Shade On Form Part One. (*This video handout was created for a drawing class, so it looks at the effect of light and shade on form primarily from the perspective of drawing. However, this drawing perspective is valuable, and it also contains some overarching concepts and example of how light and shade on form is used effectively). We look at some basic concepts of shading, of describing form with light and shade, and how they are applied in painting, theater, film, animation and photography. As well we look at examples of where the effects of light and shade are avoided.
09 Light And Shade On Form Part Two. (*This video handout was created for a drawing class, so it looks at the effect of light and shade on form primarily from the perspective of drawing). However, this drawing perspective is valuable, and it also contains some overarching concepts and example of how light and shade on form is used effectively. Continuing to look at concepts and examples of the use of light and shade on form in art and visual media as well as examples of it's absence.
10 Exercises In Rendering Light And Shade One. (*This video is made primarily for drawing classes, but principles apply for watercolour painting so this has been added to this page for background). We look at how to render objects in class or at home using the effects of light and shade to describe form. We also take a look at some examples of how light often, even generally, fails to illuminate the eyes, in order to emphasize the careful observation required for lighting your subjects.
11 Exercisies In Rendering Light And Shade Two. (*This video is made primarily for drawing classes, but principles apply for watercolour painting so this has been added to this page for background). More demonstrations of rendering with light and shade and example of how concepts are applied.
12 Watercolour Demo of Monochrome Grisaille of a face. A monochrome de-saturated under painting of a plaster cast is painted and in the following video has flesh tones of a pale complexion glazed on it.
13 Watercolour Demo Adding Local Colour To A Monochrome Painting Of A Face One. Having painted a plaster cast of a head local colour, a flesh tone of a person of fair complexion, is glazed on top, changing the appearance from relatively lifeless to closer to flesh and blood.
14 Watercolour Demo Of Local Colour (flesh tones) Applied To An Under Painting Two. This video repeats the procedure of the previous video but this time with flesh tones of a darker complexion. This video suggests that 'flesh tone' is not 'pink', and also highlights the importance of the lighting of the under painting regardless of the apparent albedo of the local colour.
15 Watercolour Demo, Wet on Wet Treatment of Clouds. Most of a demo painting cumulus clouds starting with wet paper gradually drying. (Didn't quite position the camera best for this, but usually you can see the painting so I'll leave this up and forego filming another for the time being).
16 Demo Of Shiny, One. A demonstration of how to straightforwardly approach painting apparently complex shiny and transparent objects; first of three videos.
17 Demo of Shiny, Two. A demonstration of how to straightforwardly approach painting apparently complex shiny and transparent objects; second of three videos.
18 Demo of Shiny Three. A demonstration of how to straightforwardly approach painting apparently complex shiny and transparent objects; third of three videos.
19 Aerial (Atmospheric) Perspective. (*This video handout is provided to both drawing and painting students as aerial perspective as a device for providing depth in the picture plane is applicable to both drawing and painting). A look at the effects of atmosphere and suspended aerosols and particulates on depth perception in observation, painting and film. Although you would not expect to see these effects in, for example, a still life arrangement, as an artist you can subtly apply this as a device to increase a sense of depth perception.
20 Watercolour Demo Atmospheric Treatment Part One. First fifteen minutes generating a watercolour sketch with strong aerial perspective.
21 Watercolour Demo Atmospheric Treatment Part Two. Final 15 minutes generating a demonstration of atmospheric effects in watercolour.