How to overcome your fear of drawing. Are there any colors that avoid or hesitate when using when painting? Here four watercolor artists reveal the shades they once scared, feared and advice for their championship.
Kathleen Warning
I can clearly remember when I was hunting for a new orange watercolor tube a few years. I had ordered four different shades, and when they arrived, I tested them all on paper. Maybe because it was so difficult to ignore it, I decided to use it when I painted. I like to overdo the hot areas of painting with drawing ideas, and this red-orange color certainly fulfilled my criteria in this sense. I soon discovered the more I used this bright tone, the more indispensable is to my pallet.
Mixed alone or with other warm colors, Perinone will help Orange create a reflector effect in areas that I would like to illuminate and even in areas that are more interesting to me. A Light Wash brings a thin glow, while attention is attentive to the entire saturation. This color completes the different blues in my pallet complete. I often use these varieties in my position. If I would use a fat color so, you should follow with the commitment. Note: Perpignan orange mixes great with red and yellow but can be very muddy with opposite cooling shields.
Push your palette
It is easy always to be too comfortable using the same color hoses. Every year, the watercolor company from Florida Aqua color Society makes a point to buy two colors that I have never used. Some will be staples in my repertoire; others may not work on this particular moment. But never furniture, I hope you could only be what I’m looking for in the future.
Steve Rogers: Winsor & Newton
Nobody would ever charge me of living a timid purple when it comes to the use of lively colors in my watercolors. But I also hesitate to change the rather limited palette I use without a good reason. The addition of ChinaCridon gold was an eerie process and took some time to adjust. My wife, Janet Rogers, has long sung the color, but I resisted that he has replaced my Winsor & Newton Raw Sienna. Now they are also a big fan.
Ideal for dark greens
In my laboratories, I emphasize the heaviest, granulating pigments in the bright and average areas, where they still have a transparent appearance and the transparent color in dark values. The quinacridone gold is lovely to create dark greens that are perfectly clean without being green when I mix it with Prussian blue. (Of course, I will still include the Siena raw and in some parts of my dark greens because I never want a mix of static or overly simple colors.) I also use my unique famous color in dark darkness with Burning Sienna, Chinacidon Violet (Holbein), And a bit of cobalt blue.
Jaimie Cordero: Mission Gold
Since I use the masking fluid to save my white and other lighting areas than my paintings, I feel free to lay on the color when adding my dark and different colored backgrounds. In this way, I do not have to worry about the darkness ruining my painting. Position the night around my lighter values, create the jump, adds more pictures in the foreground, and add more drama to the finished product. But painting with dark and extreme colors can be rough. If I use too much, the paint could bring the upper hand in my painting or make it too dark.
I was never passionate about Ceruule Blue. Most of the brands I used before had the opposite features I searched for most watercolor pigments: very transparent colors and strong coloring quality. Blue Ceruule tends to be strongly grainy and often enough cheese and opaque apparently; Therefore, it does not grow suitable for very clean and transparent mixtures when the layers or other colors are mixed. Mission gold is not like a true blue with which I worked.
Intensively but transparent
Knowing that the brand’s watercolors have the feature to be much focused and have the potential to be very intense, I was surprised to find this color with an intensity like blue. However, it is transparent and can be very dark when used directly from the tube. It is similar to a clean, clear, and intense version of the Prussian blue but more beautiful. This blue Cerulean suits my work because it is transparent, mixed with fresh yellow to create clean green, and other transparent dark colors that I like to use for my background.
A blue brought together
Before using it in a painting, create several value samples to understand its full potential of light in the dark and dilute with water differences. Be aware of how much color your brush collects to get better intensity and value control. Do not be afraid to combine it with other colors on the color wheel (like Van Dyke Green or Viridian or Mission Gold Blue Marine) to make a wonderful assortment of greens and dark colors.
