Acrylic Paintings by Flora Doehler. Silversmithing and Faceting by Larry Knox. Bear River, Nova Scotia, Canada
Sep 20, 2019
Aug 29, 2012
New Blog addresses for Flora Doehler and Larry Knox
See Flora's paintings and tutorials at http://floradoehler.ca
View Larry's enamel jewellery and silversmithing at http://larryknox.ca
Please join us there! -- Flora and Larry
Feb 17, 2012
Painting Watercolour using a Wet-in-Wet Technique
Last summer I made this time lapse video of painting a watercolour using a 'wet-in-wet' approach. That means painting onto wet, cotton paper using wet paint!
Today I added a voice-over to the video. The sound isn't great because I didn't use a microphone - just the built in one in my imac. Still, if you crank up the sound, I think you'll be able to hear it OK.
Working "wet-in-wet" is so intriguing because the dampness of the paper, which is made of cotton, creates a softness, a luminosity and an unpredictability as the paint colours mix together and change.
My inspiration came from a small monoprint I made using the watercolour on plexiglass technique that I've recently written about. I projected it onto a full sized watercolour sheet. Then I traced around the colours using a white oil pastel crayon and applying a lot of pressure on the paper. That line of oil or crayon will create a barrier for the watercolour and will work as a resist.
Using a mechanical aid and working from an existing piece of art were departures for me - it kind of felt like cheating. What I learned from it is that I could focus on the actual painting because the colours and composition were already worked out.
I'd like to try it again now during winter while I wait for flowers to grow.
Here is another example of enlarging a sketch onto watercolour paper. This is a sketch I made on location at Brier Island a few years ago.
Here is a very short video of the painting process. It works best if you paint watercolours from light to dark.
Today I added a voice-over to the video. The sound isn't great because I didn't use a microphone - just the built in one in my imac. Still, if you crank up the sound, I think you'll be able to hear it OK.
Working "wet-in-wet" is so intriguing because the dampness of the paper, which is made of cotton, creates a softness, a luminosity and an unpredictability as the paint colours mix together and change.
My inspiration came from a small monoprint I made using the watercolour on plexiglass technique that I've recently written about. I projected it onto a full sized watercolour sheet. Then I traced around the colours using a white oil pastel crayon and applying a lot of pressure on the paper. That line of oil or crayon will create a barrier for the watercolour and will work as a resist.
 |
| This is the original monoprint that I drew my inspiration from. |
Using a mechanical aid and working from an existing piece of art were departures for me - it kind of felt like cheating. What I learned from it is that I could focus on the actual painting because the colours and composition were already worked out.
I'd like to try it again now during winter while I wait for flowers to grow.
Here is another example of enlarging a sketch onto watercolour paper. This is a sketch I made on location at Brier Island a few years ago.
 |
| Brier Island's Big Pond. |
 |
| The resulting enlarged watercolour. |
Why don't you give it a try? It's interesting to work on a piece that is so much larger than the original.
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