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23 Free Watercolor
Lessons for
Portrait Painting:
Learn Watercolor
Painting Techniques
from Artist Daily
watercolor painting techniques:
by M . S t ep h e n D o h e r t y
F
lorida artist Janet Rogers makes the
process of painting figures in water-
color seem almost effortless in that she
captures the likeness and personality of her
subjects without laboring over all the details. She
incorporates gestured strokes of transparent color,
natural blends of warm and cool pigments, and
just enough detail to capture a person’s individual
appearance. Her floral paintings seem just as ap-
proachable with their combinations of wet-in-wet
blends of bright colors, well-focused accents of
white paper, and judicious use of hard edges.
Although Rogers’ techniques are not so easy
to master, her demonstrations make it clear
she can teach almost anyone to improve their
skills in watercolor paintings. She emphasizes
the need to practice, to start over when things
fail, and to develop strong drawing skills. She
connects with students by confessing that she
shares the same need to constantly remind
herself about the important
steps that must be taken Lady in
when painting. Moreover, she White—Profile
2004, watercolor,
debates the various options 27 x 22. Collection
available to her and acknowl- Gregory Valentine.
This premium has been published by Interweave Press, 201 E. Fourth St., Loveland,
CO 80537-5655; (970) 669-7672. Copyright © 2009 by Interweave Press, a divi-
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reproduced either in whole or in part without consent of the copyright owner.
Left
Below
Model in South
Dakota
2008, watercolor,
30 x 22. Private
collection.
Getting Ready:
1. Try theses warm-up exercises:
edges when she may have made the drawings and progress toward to the • Paint with only one color. Develop a
wrong choice. Students watching her application of transparent watercolor. sketch with only one tube color and
live or filmed demonstrations recognize The artist uses large golden taklon water. It will help you develop an
that although Rogers has developed ad- synthetic hair brushes on sheets instinctive sense of how much water
vanced skills, she still understands what of Arches watercolor paper or on is needed to achieve various degrees
the rest of us are trying to learn and Daler-Rowney’s new Langton Prestige of transparency and opacity. This
how much we need encouragement. paper. She recommends that students exercise should be done without draw-
Most of Rogers’ paintings start out undertake several separate kinds of ex- ing first. Another goal is to connect
with the creation of loose graphite ercises before actually beginning their shadow shapes.
Cassandra With
an Attitude
2005, watercolor,
30 x 22. Collection
the artist.
Left
Below
on the palette that of short strokes on the paper.
Victoria are similar to those 3. Don’t hold the paint brush as you
2008, watercolor,
21 x 15. Collection
an oil painter would would a pencil. Grip it so that you have
the artist. mix. Make sure those to move your entire arm in order to
“pigment puddles,” control the flow of paint.
as I call them, don’t flow together and 4. Control values with the amount of
create dull, dirty combinations. Just water you mix with the paint. One of
keep families of colors together and you the exercises (making color swatches)
won’t have to worry about what pigment is designed to help you develop an
combinations wind up on your brush. instinctive sense of how much water
2. Starting with dry paper, load a large to mix with the pigment. If you don’t
round or flat brush with pigment and yet have that subconscious knowl-
water, and react to your subject. Always edge, test out your mixtures on the
use the biggest brush you can handle same kind of paper on which you are
to avoid tightening up and making lots developing the painting. With this
eate a Treasur e
Cr
to Last Forever
3. Make quick watercolor sketches
from life or photographs, and let
them guide the development of your
final painting. Watch your paper, and
don’t rely on copying your photo or
subject. This process will help you
avoid becoming too tight and con-
cerned about small details.
Do a minimum amount of drawing,
and get right to the painting process. An-
other way of using drawing as a means,
not an end in itself, is to do a minimal
John Hulsey
Right
Left
Brittany
2007, watercolor,
30 x 22. Collection
the artist.
e a rs , W a te rc o lo r has provided
For over 20 y r a rt is ts around the
w a te rc o lo
inspiration to ti n g s w hether you
y o u r p a in
world. Perfect or landscapes.
rt ra it s , s ti ll li fe
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