I have I thought it is once again time for a small photo tutorial for a painting what I have named “deers in winter”. If you want to own the original painting click here. At first I have searched for a nice reference photo for the deers on Pixabay. This I needed to create easily … Read moreTutorial: Deers in the winter
Es ist warm bzw. heiß und das Meer zu weit weg. Auf Freibad habe ich keine Lust. So habe ich heute im Garten ein kühles Motiv gemalt. Ich hoffe diese Tierchen in meinem Meeresurlaub nicht anzutreffen. Aber schön sind sie ja schon.
Ich habe mal wieder Cèzanne Aquarellpapier verwendet. 300g schwer und hot pressed. Als erstes habe ich meinen Block in vier Bereiche eingeteilt und mit etwas Klebeband voreinander geschützt. Die Fläche oben links habe ich dann mit reichlich Wasser befeuchtet. Gerade wenn man draußen malt trocknet alles schneller weg.
Der nächste Schritt war das Einfärben. Zunächst einmal mit türkis. Ich habe dafür einen Flachpinsel benutzt. Ich habe versucht die Mitte etwas heller zu lassen.
Da mir das Ganze doch noch was zu grün und parallel streifig war bin ich nochmals mit Ultramarin Blau in Kreisen drüber gegangen. Zwar sieh man in der Mitte immer noch Steifen aber da kommt ja gleich noch die Qualle drüber.
Den dunklen Quallenkopf habe ich mit Ultramarin Blau und Indigo gemalt. Die dickeren kräuseligen Teile nur mit Ultramarin blau.
Am Ende muss man mit lockeren Strichen nur noch die Tentakeln / Nesselfäden hinzufügen. Hier kam wieder Indigo zum Einsatz. Nachträglich habe ich in den Quallenkörper noch Violett eingesetzt da es durch das ganze Indigo etwas flach erschien.
I finally won the fight with Hahnemühle’s handmade watercolor paper (Cézanne), as I think. I have already started several times or tried to paint something on this paper, but it looked like a child spill. I used until this point rough cold-pressed watercolor paper (Britannia) made of wood fibers. This is also from Hahnemühle and it allowed me an excellent work back and forth. I was able to apply color and, to a certain extent, remove it again. The Cézanne is made of 100% cotton shades and allows removing paint very spartan. It absorbs the water damn fast. I feel like you can do a lot on it and yet it dries quickly away. My usual back and forth work is almost impossible. I was just about to throw this expensive paper in the trash or use it as craft paper.
Then I saw a video on YouTube where the artist works with similar paper. But so different from me. He wears several layers. Go over surfaces over and over again until the desired color is reached. The paper allows it, it does not matter anyway. I thought that I would also try it and I ventured to these four landscapes of the size 15 x 10 cm.
I started with this sunset. I probably went over the violet 5 times over it until I reached the right depth. What is still in need of improvement, is that the next time I use a flat larger brush. Then it will be less streaky. Down in the foreground, I was able to lift the violet even more. This works best for the paper when it is still wet with a less damp brush that you can strip and dry over and over again.
My second picture was this foggy lake. The reference photo is from Pixabay and slightly modified. Here, as usual, I did not completely paint the forest in the background until I had to remove it with a cloth. From the beginning I had to paint the frivolous edge for the mist and, when it was still damp, use a brush with only water to soften it. I then dabbed this with a cloth. But that was more a matter of habit. In this picture you can see that at the lower edge of the mist, there is still a yellow shimmer above the reflection of the forest. I stupidly (used to acrylic) painted the lake with the sky and then could not get removed the color for the fog. But still I think it looks so good in the end.
This is my third picture. This was a bit more time-consuming to paint. After every single level I had to dry the picture to get a sharp mountain line at the next front level. It was important here that the color runs down softly. The reference photo is also from Pixabay, but is currently modified in the foreground. On the original there is a street that I have omitted in artistic freedom.
Picture number four is one of my favorite motives. Sea, beach and waves. Again, I used a reference photo from Pixabay. This time I painted it almost true to the original. As a result of the paper no longer releasing the color, I was able to work out the turquoise in the foreground bit by bit. The white foam of the waves and in the sand I just left out. That always requires a high concentration. I often tend to paint white surfaces.
I hope I could make you a little taste on the Cézanne paper, if you do not already use it. I will probably not get this smooth paper again. If that’s rough, then I’ll try again, otherwise I’ll stay with my beloved Britannia. (Edit, I no longer use Britannia for watercolor paintings. I stay with Arches rough 100% cotton)
The best thing about painting is, besides painting itself, the removal of the painter crepes / tape. Then the white edges come out and it just looks good.
I painted this lavender field with the help of masking fluid. I masked the lavender flowers in the foreground and then created the background with a wet and wet technique. After drying the paper, I removed the masking fluid and painted the flowers. The release of white spots shows special accents in the picture.
I’m using a tip from a Facebook group “watercolor for beginners” the pink ribbon from Tesa.
That is incredibly gentle. And do not fray the delicate watercolor paper.