The wet in wet technique is distinct only to water color paintings. Using this technique produces an effect that is not possible in any other medium. To do this, the entire paper is laid flat and is brushed wet with water. When the paper no longer wicks, the work begins by plunging it with a paint-saturated brush. The effect will generally be large areas with irregular color definition. The subject of the painting is then defined and sharpened as the color dries. There are different procedures of wet in wet technique that presents different characteristics.
Backruns
This effect is achieved by the natural tendency of the paint to be drawn from the wetter surfaces to the dryer surface of the paper. This is commonly referred to as the blooms, watermarks, oozles, backwash, or backruns. As the pigmented water runs from the wetter to the dryer surface, it carries along pigments leaving the wetter areas with a lighter shade and depending on how the backrun is treated; it will leave an image with a serrated edge. This effect is commonly used for lighting contour of an object and at other times simply for decorative purposes.
Salt Texture
Since the salt will absorb water, this technique is used to create snowflakes in the picture and other imperfections in the color. A salt will rot the paper overtime; a fine water spray using a spray bottle held three feet from the painting is used as a substitute with similar effect. Fine grains of sand could also be sprayed over the surface that will be brushed off later.
Dropping in Color
Here the artist dilutes a defined area with paint or water then the artist drops in color through the brush that has been loaded with paint. The added shapes are then manipulated by stroking or tilting. Backruns are induced by adding more color or clear water or lightening up the surface by wicking. This technique produces an effect that is tasselated.
Paint Diffusion
When paint is applied to a wet surface, the tendency of the paint that is applied is to be defused into the wet water that surrounds it. This creates a feathery effect in the edges of the object that is painted. The paint diffusion technique is further shaped by tilting the paper while still wet.
Pouring Color
The artist applying this technique pours quantities of paint on the different surfaces of the paper, and using brush, tilting and spraying, merges the paint together producing an area that has a profusion of different colors and color variations. When the mixture is not so wet, the colors are then manipulated by brush into the desired forms. Before this technique is applied though, predetermined white areas are covered with masking tape, a film, or a latex resist.
The Cling Film Technique
This wet in wet technique creates special effect in the painting trough the use of a kitchen cling film. The cling film is applied over the wet pigment and manipulated to form ripples and ridges. When the painting is dry, the cling film is removed revealing the effect on the painting that the film has made.
Perhaps the best challenge that a watercolor painter overcomes is not the controlling and dominating of the pigment on water as it is applied on paper but in anticipating and working with it. Not very many artists have done this to perfection but those who have, came out with the most elegant watercolor art pieces ever seen. In the US the most preeminent watercolorist who gained a masterful control of watercolor techniques includes Winslow Homer, Fidela Bridges, William Trost Richards, Thomas Moran, Henry Roderick Newman, Thomas Earkins and John La Farge.
Unlike mediums like oil and acrylic, watercolor does not essentially stay where they are placed. Aside from that, the hiding power of watercolor is not high. Unlike other mediums, when mistakes are done the errors could not be painted over, it could be blotted out but even with the best of efforts it could only be hidden partially. For this, watercolor fair or not gained a reputation for being a very demanding medium. When control is achieved though, it could be a very excellent medium to work on. Some of the watercolor techniques developed over the years includes the following examples.
Wet in Wet
There are several variations to this like back runs, paint diffusion, salt texture, cling film technique, dropping in color and pouring in color but the basic idea is to paint on a paper that is already wet either with water or paint. Depending on how wet the paper is, the wet in wet technique are applied to existing washes and are good for subtle backgrounds. The technique is to use a wide brush and wet the paper before applying watercolor into it. This will result into undefined marks depending on the absorbency of the paper used and the dampness of the paper.
Washes
The flat wash is the basic technique. To differentiate it from the wet in wet, the flat wash is wetting only the area where the pigment is to be painted. It is achieved by painting on a sloping surface in overlapping strokes working from the top downwards. To achieve a fading effect, the pigment is diluted with more water with every stroke. The common mistake to guard against is not waiting for the paper and the paint to dry out. When that is done pigments will flow to each other and the work could be ruined.
Glazing
This technique is to adjust the tone or color of an existing wash. To do this, water with very little pigment is commonly used. When the glazing technique is applied, be sure that the surface that is being glazed over is completely dry if you do not want the paint underneath to mix with the glazing. To get the best result, get a trial patch and glaze gradually. Glazing will change the value of the paint underneath but will not actually alter the pigment. Paint only one layer at a time to achieve the right color temperature that you want to achieve.
Dry Brush
Dry brush is a watercolor technique is the opposite application to the wet in wet. Here the paint is dragged across the paper without diluting it with paper. The Effect are crisp and sharp. Dry brush is applied usually to achieve the most and sharpest contrast.
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