Best Of Watercolor – Painting Texture by Betty L. Schlemm and Sara M. Doherty

085750bb962d178-261x361.jpg Author Betty L. Schlemm and Sara M. Doherty
Isbn 9781564963697
File size 31.22 Mb
Year 1998
Pages 144
Language English
File format PDF
Category art


L wam^ I . "* *».'•• ] 1 Em Am i 1 H Dv i H BEST OF WATERCOLOR MITE TEXTURE Velvet Depths-Diane J. O'Brien Copyright All rights reserved. All images is in this No part of this © 1997 by Rockport Publishers, book may be reproduced in Inc. any form without written permission of the copyright owners. book have been reproduced with the knowledge and prior consent of the artists concerned and no responsibility accepted by producer, publisher, or printer for any infringement of copyright or otherwise, arising from the contents of this publication. Every effort has been made to ensure that credits accurately comply with information supplied. First published in the United States of Quarry Books, an imprint Rockport Publishers, America by: of Inc. 33 Commercial Street Gloucester, Massachusetts 01930-5089 Telephone: (508)282-9590 Fax: Distributed to the (508)283-2742 book trade and art trade in the United States by: North Light Books, an imprint of F & W Publications 1507 Dana Avenue Cincinnati, Ohio 45207 Telephone: (800) 289-0963 Other Distribution by: Rockport Publishers, Inc. Gloucester, Massachusetts 01930-5089 ISBN 10 1-56496-369-1 987654321 Designer: Kristen Webster-Blue Sky Limited Cover Image: Back Cover Images: (left to Baskets, Judith Wengrovitz right) Retired But Willing, Vaughn L Jackson Tennessee Orchid, Stephanie Brichetto Rhapsody, Diane Jackson Manufactured in Hong Kong. BEST OF WATERCOLOR E TEXTURE selected by betty lou schlemm/edited by sara m. doherty Whiskey and Old Apples-4nn o o ^ Quarry Books Gloucester, Massachusetts Distributed by North Light Books Cincinatti, Ohio Zielinski best of watercolor-PAiNTiNG texture introduction ^^^ he importance of texture in abstract and realist, I ture I ways r realism, texture ferently to Texture is is unquestionable. The use of tex- extensive in abstract painting; there are so of achieving it is and the variety found in the each object and the space is in styles of painting, all more than merely it way is many inexhaustible. In the brush reacts dif- holds in the painting. the paint, but even in the paper —hot press, gessoed, cold rough, and extreme rough — these add the finished look itself. The varied surfaces press, to all The the painting. each artist calls for surfaces are chosen to best reflect the wishes to achieve mood and the subject or non-subject that these varied handlings. Texture can be made up of merely thick and thin ing qualities. laid of The opaque and heavy quickly over the paper. The paint- contrasts with the thin wash application of turpentine to the paper before painting adds a different look to the washes placed over it. By using such techniques crayon, and By salt, placing wire a simple mesh as resists, the use of wax or wash can become unique or lace on the paper and then running washes over them, yet another texture painting in the cold in texture. air, is produced. Merely by the freezing of the paint gives a wonder- ful effect. The artist's imagination is the most valuable tool in find- ing texture. There are so many possibilities even act of scraping the paper. Think of the different in the simple marks created merely by changing the scraper: use a piece of wood, a plastic best of watercolor-PAiNTiNG texture credit card, cardboard, and even your own used stippling with a hard, short-hair fingernails. bristle brush, or We have we dab the paint on with a sponge, or spatter with an old toothbrush. Even watermarks can become advantages and create just the right note when we need texture in its to express our subject. There are times shapes are solely used for design. Texture can take a "ho-hum" design and remake it become an to exciting piece of art. Texture effects not just our sense of sense of touch. absorbs will is When texture is by washed texture. The same and a rough surface used successfully the surfaces color on, or dry brushed, paper or rough paper, when other foreign substance is it may appear when it added nature, the trees, old walls, in the surface of rocks, and Texture is when painted on smooth to the paint. texture. We study it in way water has changed how moss and everywhere. is different is has been scraped, or when any Every surface we encounter has all but also our look and feel wet or dry, rough or smooth. Even color affected it light. A silk surface reflects light, sight, lichen play the upon them. We try with different methods to bring of this to our paintings. It is our hope that this book some obvious and some ever will so subtle, show the many ways, how the use of texture enhances our paintings. Betty Lou Schlemm, A.W.S., D.F. best of watercolor-PAiNTiNG texture BETTY CARMELL SAVENOR Out on a Limb 28" x 21" (71 cm Strathmore 140 x lb. 53 cm) illustration board Watercolor with watercolor inks Pexture of my is a necessary work; it brings component my painting beyond the two-dimensional by adding density and penetration of color, such as one sees in nature. Stalling with a limited palette, layered I my varied-color washes without any preconceived ideas. While still wet. certain areas were textured by spattering, misting, and stamping with anything that produced an unusual surface. Finishing touches included brush- work, lettering, and collage with assorted papers and silk tissue. best of watercolor-PAiNTiNG texture ROBERT SAKSON At Hartung's General Store in Secrets small girls just happened to sit 22" x 30" (56 Arches 140 lb. cm x 76 cm) had purchased. I wanted Hope, down to catch the rough aging store and chose to mix New Jersey, two to eat the rough texture of the my colors with Winsor & Newton Aquapasto watercolor medium, used this give them mixture primarily in candy they the dark a translucent gel. shadow areas a deep luminescence and lifelike effect to I best of watercolor-PAiNTiNG texture MARY LOU FERBERT Thistle 39" and Spallinq Bridge x 27.5" (100 Arches 555 lb. cm x 70 cm) rough Interpreting the concrete aggregate of the old Rocky River Bridge was the technical challenge in executing this painting. Years of heavy use left the bridge deteriorated with spalling exposing some of the substructure. Unable to find a shortcut method of interpreting the concrete, slowly, moving from cool to I painted warm, to establish the planes of the structure. Color used in the bridge remained subdued behind the more painted wild thistle. brilliantiy best of watercolor-PAiNTiNG texture ROBERT Vicki's BRAGG W. Buoys 18" x 24" (46 Arches 140 cm lb. x 61 During a vacation came upon cm) cold press in Maine, I a lobsterman's shed whose many angles and textures intrigued me. The drapery of the old softness and sail contrasted with the rough line of the silver- gray shingles and the brightly painted lobster buoys. Nets, bottles, harpoons, and other sea added to the overall interest. attribute my ability to interesting textures matter to I recognize and subject my early art-student training in realism. mementos best of watercolor-PAiNTiNG texture J : ALEX POWERS Texture 14 Million Children are Living in simplifying of shapes. Slick-surface illustration board lends is the exciting alternative to the grouping and Poverty itself 20" x 40" (51 Strathmore cm x well to creating surface variations. Since the heads 102 cm) illustration board, were not broken up enough to suit me, I forced a loaded plate finish brush of white gouache along the top of the Watercolor with gouache and charcoal causing the gouache to run and further fragment the heads. painting, best of watercolor-PAiNTiNG texture PATRICIA REYNOLDS Texture was used to create Moon and Series: Acropolis 21.5" x 29.5" (55 Arches 140 lb. cm x 75 cm) to define subjects. In interest, contrast, Moon dimension, Series: Acropolis, the sponged-out areas added to the feeling of crumbling cold press ruins and the surrounding rock masses leading up to the summit of the Acropolis. broken into Dark areas of the painting were an interesting pattern using texture created by dropping color from a brush and spattering, sponging, and misting. best of watercolor-PAiNTiNG texture ELAINE WENTWORTH The The Woodlot surrounds the snow-covered footbridge provides the 20" x 30" Waterford (51 Trail cm 300 x lb. 76 cm) cold press richly textured underbrush in the forest that strong contrast in this composition. Diagonals create movement and lead the viewer deep into the woods. Textures were created by drybrushing over washes of warm and cool tones, spattering with a brush, and by scraping dry paint. best of watercolor-PAiNTiNG texture PAT FORTUNATO To achieve Material Pleasures #/ 22" x 30" (56 cm Lanaquarelle 140 x 76 cm) lb. fabric the desired textural effect of the old, thin, soft and the slick glass required and cool tones. I cold press cast on the fabric a cobalt blue started with the repeated glazes of warm warm yellowish-pink hue by the red carnation and when wash over that. As many dry, used as seven washes of varying hues and values were applied before adding thin darker lines and rubbing out light lines to produce the creases and wrinkles. Lace was carefully painted so as not to overstate its texture and a swirl pattern in the vase created abstract shapes in the reflections. 1:1 best of watercolor-PAiNTiNG texture JIM PITTMAN Line Dancing 30" x cm 22" c76 x 56 cm) Strathmore Aquarius Watercolor with acrylic, watercolor pencil, and watercolor crayon Texture is an important element my work and was in achieved using a brush and a painting knife, besides drawing with a water-soluble crayon. Using Aquarius paper, large washes and I started with built in layers glazing, lifting, scratching, scrubbing. method final and continued using mixed I watermedia by in a push-and-pull until I was satisfied with the image. This work is loosely based on the idea of walls and the marks left by time and man, varying from ancient scratchings porary cuts, be I graffiti. visible contem- Without using short- wanted the washes to act of creation to from the beginning to the finished painting. best of watercolor-PAiNTiNG texture VAUGHN L JACKSON Retired But Willing 29" x 21" (74 Arches 140 cm lb. x 53 cm) rough Texture and the way light affects texture are important in The my work. scaling paint of the shed door required many glazes and drybrushing ered look. I delicate to achieve the weath- painted a basic red on the wall and then layered glazes, gradually working until the grain was drybrushed were built last. Many glazes up over the copper horse's basic color to reach the smooth, metallic roundness that contrasts with the door and wall. The loose, wispy grass contributes to the feeling of the horse's movement. IS 16 best of watercolor-PAiNTiNG texture TRUDY M. WHITNEY Richly textured surfaces, influenced by the ancient sur- Ashram 19" x 24" (48 faces of cm x 61 cm) I Strathmore 300 series 100 Ottoman Turkey, added sought. to the creative expression A layer of torn absorbent material on presoaked lb. paper was partially covered by pouring a thin, creamy Watercolor with gouache, acrylic, and ink gouache that left an drying each imbedded texture. Alternating layer, watercolor, inks, applied and enhanced to give the translucent markings were and and acrylics were by using water, alcohol, and bleach depth of patterning. Textured directly applied to further add mystic tone and orientation of the painting. to the

Author Betty L. Schlemm and Sara M. Doherty Isbn 9781564963697 File size 31.22 Mb Year 1998 Pages 144 Language English File format PDF Category Art Book Description: FacebookTwitterGoogle+TumblrDiggMySpaceShare This book was purchase as a new book. As I was going thru the book, I noticed several pages were dog eared. I don’t understand how a new book has dog eared pages.     Download (31.22 Mb) Art Is Fundamental Art Journey America Landscapes : 100 Painters’ Perspectives David Hockney’s Dog Days Edward Hopper – The Art and The Artist A Young Painter The Life and Paintings of Wang Yani: China’s Extraordinary Young Artist Load more posts

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