When glazing, the main point to consider is that watercolor is not an opaque medium like oils and acrylics where the pigments stay where placed. The transparent nature of watercolor makes it harder to cover underlying pigments with a new color and even with the best effort, the color underneath will not be completely covered over. That is the main issue with watercolor. That also makes it a unique and wonderful medium to work on. That brings us now to the issue of glazing.
Glazing as it pertains to watercolor is by definition changing the color value and the temperature of the under painting to achieve a particular effect and color strength. It is a layering of color not exactly to cover the color underneath but to arrive at another color definition where the hue of the underlying pigment is seen through even as another color is laid on top of it. Because of this, using watercolor as a medium will typically start with colors of the lightest value working to the darkest. That way, undesired effects are minimized and lifting dry watercolor is limited if unnecessary.
When glazing is desired, allow the underlying paint to dry. The measure of dryness of the paper underneath will influence the intensity of the color used to glaze. A paper that is very wet will result into mixing with the layered color that will produce feathery effects, blooms and other patterns that has rough edges. A dryer paper will create better-defined lines and patterns. Often, glazing requires a color that is lighter in shade than those underneath. Sometimes, plain water is used. There is however no strict rules to go by except the effect that the artist wants produced. To approximate a result, practice glazing first on a separate patch of paper before finally applying the glazing to the work.
There are many particular tasks in watercolor painting that fast is the key. In glazing however, patience is. Work slowly. Glazing requires slight changes with each application. The changes has to be gradual until the desired glazed effect is arrived at. Allow each application to dry out as the intensity of the watercolor when wet is different than when it is dry. The success of the application could be judged correctly only when the application is dry.
To allow the paper to dry will typically use fifteen minutes. To speed up the drying process, a blow dryer could be used safely. However, do not hold the blow dryer on an area that is too damp for too long. Water on paper may produce steam when heated for a prolonged period. Speeding up the drying too much will also affect the final appearance of the painting.
It is also well to remember that since watercolor is applying sometimes very wet pigments, care must be taken that the brush does not ruin the paper. For glazing, use only brushes with very soft tufts and apply with light controlled strokes. Let the paint flow off the brush. This will reduce the possibility of disturbing the underlying pigments.
Some people are by nature, creative some are not so but want to. Either caused by genes, early childhood exposure, natural inclination, precocity, sudden inspiration, there are people who could create art better. It always will be. Whatever the cause though whether born into it or not, we learn from practice. The fact is, the best artists devoted more time to the discipline of practice. Inspiration is then sparked more because as the practice continues, the better the artist becomes. It is often said that we are not fully human until we learn to create. For the creative spark that is within each of us, here are the following drawing tips.
Practice – No matter what subject you have in mind, the important thing is to keep on practicing first. Doing so will help you to start judging proportions and translating it into paper. There is no shortcut to this. Practicing makes the hand pressure more sensitive to the paper and the hand movements more attuned to the subject that you have in mind. Only spiders are born that could immediately build a house, we alas has to keep on trudging. The more pencil shavings you have, the more you convert the ideas into the art. It does not matter what you draw because as with everything else no effort really goes to waste.
Having said that, fine artists start their composition by imagining. Look at the big picture, get the general idea, and start sketching. You can add the details later on. Often while working, the picture that we have in mind does not translate accurately on the paper. That is often the case; In fact it is good that it has to be because by then improvisation takes place which is really the beginnings of the mark of true art and individuality. Many masters agonized over that but worked through it and came up with unique pieces of art. If you work at it long enough, you will discover that not over thinking but letting yourself go with the flow of the work does it better. But of course that would come later.
In the meantime, start by drawing thumbnail sketches. When you have a good idea of the composition of the picture, start drawing. It is good though when starting to reduce the picture that you have in mind into smaller shapes. Reducing the figure into smaller simple pieces makes the canvass more manageable. Start your sketches with light strokes but keep it as detailed as you want. Always start near the center of the page.
If the main interest of the subject if not exactly at the center, it must be on a location that will immediately catch the eye but never start from a corner working your way in. The same principle applies when applying the strongest tonal contrast. This is what you call the center of interest. It is here that most details are made. Start with large and bold movements using soft pencils when starting a sketch and then proceed to drawing the fine details using finer point pencils. For finishing touches, apply small and tight strokes.
Another drawing tip that you would want to apply is to work first on large sheets of inexpensive paper. Working on inexpensive paper is a good way to gain confidence with practicing hand strokes.
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