LITMIR.BIZ

       Try to position your table near a window to get the benefit of maximum natural light.

      Practical considerations

      If you don’t have any spare cupboard space, a small trolley with several baskets designed to hold vegetables makes good (and cheap) mobile storage. You can place sheets of paper under a spare bed to keep them flat and out of harm’s way, and other items you need such as a water jar and inks, spare still-life material and books can be stored on an overhead shelf.

      When you are working for long periods of time in one spot, you may need to provide extra warmth. If you only need to keep the specific area you are sitting in warm, consider using a safe form of heating such as an oil-filled radiator which is sealed and can be wheeled to where you want it. It is not advisable to use water in close proximity to electric fires, fan heaters and convectors.

      Making space for your subject

      When you want to paint a still life or botanical subject, you will need a small table as a base so that you can position it at a suitable distance away from you. If needs be, you can make it much larger by placing a broader sheet of board on top. To cut out distractions from the rest of the room, make a still life ‘box’ from a large empty carton. This will enable you to drape material behind and create light and shadow when the subject is lit by the spotlamp. Alternatively, a shelf placed just below eye level would also make a good site.

      If all else fails, try putting the still life on the floor. I once painted a very successful group of tulips placed on a painted wooden floor. Looking down on the flowers meant I could see more of the flowers than the container, which worked well.

       SELECTING THE RIGHT MEDIUM

       Barn in Snow

      38 × 56.5 cm (15 × 22¹/₄ in)

       Salt and inks were added to watercolour to create frost and starkness in this winter scene.

      Although this book is primarily about watercolour, there are other media that you can use with it. Gouache, an opaque form of watercolour, can be employed for its thicker, impasto quality, while inks give rich, subtle, transparent colour. Both of these can also be used on their own for picture-making. Media such as coloured pencils, pastels, charcoal, wax, salt, clingfilm and paper in the form of collage can all be added to watercolour, giving a variety of textures.

      There are many other techniques you can try such as achieving texture with sponges, rough-textured hessian, watercolour sticks, oil pastels and indeed any other media or household items that catch your eye. Allow your imagination to run free, as you will learn even from experiments are not successful.

      UNDERSTANDING DIFFERENT MEDIA

      Watercolour

      The transparent, fresh quality that watercolour possesses makes it ideal for using clear, apparently simple sweeps of colour and capturing the fleeting effects of light. It relies on the use of the paper surface shining through colour washes, and to convey the lightest areas the paper is usually left untouched. Dropping one colour into another (known as painting wet-into-wet) creates melting colour effects of great beauty and subtlety.

      Watercolour can be used on specific watercolour papers with three different surfaces: Hot Pressed (HP), which is smooth; Not, a medium-textured surface; and Rough, which is heavily textured. However, it is also worth trying watercolour on stretched papers such as cartridge and pastel papers.

       Only two pigments, Cobalt Blue and Burnt Sienna, have been used to create this tower. The feeling of strong light on the building has been conveyed by leaving the paper empty.

      Line and wash

      Using pen and ink with watercolour will ‘lift’ your work and strengthen the colour as well as adding dark tones. To avoid an overworked look, keep the watercolour a little weaker than you would normally use it. Line can be used before painting (line and wash) or afterwards (wash and line).

      Try using various types of pen to achieve different effects. For example, a felt-tip pen with a broad nib will produce strong, contrasting blocks of tone, while a fine-nibbed pen adds a more linear quality to your work. You can even use a garden twig, which yields characterful lines and marks. Make sure the ink is waterproof or it will run into the watercolour.

       This study of a cat sleeping had to be made quickly, since animals will move when you least want them to. The drawing was made first and a wash of colour was added when the ink was dry.

      Gouache

      Gouache is an opaque form of watercolour. It is normally worked from dark to lighter tones, using white to lighten colours. In the past it was employed to heighten the light areas of watercolours painted on tinted paper, and was described as ‘body colour’. It was also often used to make small studies preliminary to a larger oil painting, since it can imitate the effects of oil paints.

      The textured quality of watercolour paper is not necessary for gouache, and stretched cartridge paper or thin mounting card both make ideal surfaces for this medium. It can be combined with traditional watercolour, provided great care is taken not to destroy the integrity of the latter. Used on its own, gouache is a pleasant relief from the unforgiving nature of watercolour, in that it can be built up and altered in a way that would be impossible in a medium that relies on transparent washes.

       Gouache can be applied more thickly than traditional watercolour to produce texture. Here, dense, creamy white has been used to create the surfaces of wall and steps.

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