Ways with Watercolor [antikvár]

INTRODUCTION Painting creditably in watercolor is not beyond the reach of the average ambitious student or amateur, whether or not he attends an art school. If he has at least a little initial competence in drawing, the ability to see colors correctly, and willingness to work, he can learn enough to develop a pleasurable hobby into a possibly profitable profession. This book is designed to help such beginners by giving them enough elementary knowledge to get them started, plus the stimulation and encouragement they can get from seeing a number of good examples in full color. I have not sought in the following pages to give an exhaustive treatment of the whole subject of watercolor, or to cover all that is known about the details of materials and technique. Rather, I have simply tried to describe and illustrate my own methods of working and to point out what I believe to be the important things to strive for in making water-color pictures. Each artist has his or her own ways of visualizing and achieving results, based on individual temperament and experience. This is as it should be, for it would be sad indeed if we all painted alike. Yet there are certain fundamentals that all must share, and I have attempted to put them down so that the beginner can build upon a base of established knowledge as he proceeds to develop understanding and confidence. The plan of the book is simple. The first chapters will acquaint the reader with the essential characteristics of the three kinds of material needed for making watercolors—the color pigments, the paper upon which they must be applied, and the equipment and tools to use in applying them. He will then be led through some elementary exercises in the laying of washes and the manipulation of the brush for special strokes. A few notes on the use of accessory implements will give him enough infor- mation so that he can quickly begin to praaice on the elements of the landscape. The object is to get him at actual painting as soon as possible, for it is only by this process that he will learn. He will spoil plenty of paper, but it is in a good cause. I have provided a graduated series of exercises in the making of complete landscape pictures; at first with a limited palette of two, three, or four pigments—then with as many as may be required by more elaborate subjects. With each example reproduced in full color, I have included the preliminary thumbnail sketch to show how I first established the arrangement and values. My own painting procedure is demonstrated by means of a black-and-white reproduction of the picture half completed. As a further exercise in each case, I have given the" student several pencil sketches from which to develop paintings at large size in watercolor. In one of these the values are indicated and he will have to make his own decisions as to the colors: another one is in outline, so that he must think out both value and color distribution. I do not wish to encourage copying so remember that these tasks are designed to help in developing independent thinking while the student is gaining proficiency. There is an old saying among painters, that you have to make a hundred watercolors before you know how to make one properly. Essentially true-but don't let it scare you. You will find, as I did, that though the work of learning is thought of as hard, it is really pleasurable; that each technical point you conquer brings its own separate satisfaction; and that the final mastery you win over the brush and color will give you the unequalled thrill of being able to paint without hesitation whatever your eye sees or your imagination can visualize. Is it a freedom worth working for? Well then, let's start to work—even though we start at the bottom!