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Watercolour Fundamentals - Guidance and Demonstration with Andrew Pitt

May 30, 2021
Now the purpose of this short film and demo is to help students who have booked a residential painting holiday course and are disappointed that it has been canceled or postponed during the coronavirus lockdown. I also hope it helps students renew their enthusiasm even though they had some experience. I'll go over the way I paint and then give a brief


of a subject I've done before both outdoors and in the studio. Now before we start, I'm just going to go over my palette, I think everything. students are interested to see how their tutor paints and what colors he uses, but you have to remember that whatever it is, you are with us all are benign fanatics, we all have an opinion about what we like and the way to paint it and it is important.
watercolour fundamentals   guidance and demonstration with andrew pitt
May you also develop your own opinions about painting, but also as you learn and gain more experience, be prepared to change your opinions in light of what you learn. Here are the colors I'm currently using, essentially. I have examples of the three primaries, the Blue, the Tariffs and the Yellows and this is something worth getting used to and getting used to your palette if you are not very experienced. Here are the four blues and they are arranged so that they become lighter as you go from one end to the other in the same way that the rates go from a brown to a bright red and the yellows go from a dull yellow to a Well in fact, what is a dirty lemon?
watercolour fundamentals   guidance and demonstration with andrew pitt

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watercolour fundamentals guidance and demonstration with andrew pitt...

This is a win of blue green cobalt blue French ultramarine cerulean blue burnt amber burnt sienna light red Cadmium red and now the raw yellows Raw umber Raw sienna Aureoline yellow and cadmium lemon I have one or two details here currently they are Alizarin crimson Viridian green Cobalt Payne gray and there's a little bit of cadmium orange in there one of the things you'll find that students underestimate the size of the brush. Tutors always ask students to bring a big brush and when they talk about a big brush, we are talking about something like this or these Chinese type brushes that are a little bit sized. longer hair these types of things that are size 10 and there is no uniformity in terms of the measurement system that is not what I would consider a large brush as something medium and really of very little use and for doing large areas of skies and First of all plan now I quickly sketched a drawing of the lock keepers' cabin on a bridge.
watercolour fundamentals   guidance and demonstration with andrew pitt
Cuenca, the scene I know well and I have been painting since ours, so around ten or eleven, it is one of my favorite subjects and I have painted. several times outdoors and therefore you know approximately what the colors are. The funny thing about painting is that the longer you paint particularly repeated subjects, the more liberties and feelings you can take. Well, let's start with the sky, so a little bit of raw sienna and light red and, by the way, I should say that when you're painting try to avoid doing too much of this, painting, move the brush away from the end of the brush, don't keep rubbing nor staining like that. paint with the bottom of the brush, press the brush into the paper and if you have rough paper and this is a 140 pound thick piece of ash, then you're going to have to press the brush into the paper just to remove the paint. brush on the paper so that it's a very, very diluted red and a raw sienna, a touch of cobalt, too much red and let's start here, we're going to make it a little bit warmer, so let's go back and do another mix, a little bit of cobalt, We have a little blue because I want the Sun to shine.
watercolour fundamentals   guidance and demonstration with andrew pitt
This is fairly pure cobalt. Shake it well so you don't have any undiluted pigment forming little holes. There is a little on the central side. A little weaker. descends towards the horizon and a little cerulean and alizarin sailing a little burnt amber with that is also not too unusual if your seals are hard, it is too only reaches the bottom of the clouds and in light red for that go over the trees, but around the buildings, if you can, the less, the less paint you do the better, just a little bit of dark blue under that cloud shape, you'll get a nice variety of shapes and colors and then as we go down towards the On the horizon the clouds will get a little smaller and the buildings can go over these masts, oh this, hold it all at the same time and then play some shadows under these little cloud shapes to get a little recession of clouds in the sky and I'm carefully painting around some shapes where I want to keep the white now just take a little bit of this excess moisture just dry brush those hard edges and then stop just be careful at this stage not to come back Seriously, go back, not go back and read, we better touch it just to leave it and let it do its thing.
If you see it dry, it will dry at different speeds and consequently you will start to worry and why. It drives a different pace because there are some areas with more moisture than others, so the best thing to do once you've cleansed your palate is to just move on and do something else, so let's do something smaller and dirtier here, cobalt in the right side. It's in shadows, so there's a little dream of an orange-red, the light red with the cobalt will give me a gray that will blend very well with that blue to give me a diffuse edge and then a little light red for the background of the ship here and a A little bit of burnt umber and burnt sienna for the side that's there, it shows you that it just takes a little bit off there just to indicate that's where the light is, that fuzz is on, that doesn't matter as we do it, though let's make sure we do the cast shadow at the same time so that everything is attached at its anchors to the ship and to the ground right now that the sky is dry we can start making the slate roof of the blockkeeper's cabin, make sure you have a A good generous amount of wet paint, if you have dry paint then the image looks a little dry and also try to paint standing up if you can.
When I'm painting in the studio, I try to replicate the position I would do it in. For example, if you were painting outside, which is standing, it will give you a certain type of immediacy and you will hold the brush at the end instead of writing what is close to here because that way you will get a more painterly look. You're not writing a letter at home, you're painting and the two are quite different, so you try to avoid sitting at a desk or table because it's too high, there's a little blinking LED near the base of this fireplace, just apply it. before it starts misbehaving, we can go ahead and make the shadow under the eave in cobalt blue and it's here.
I would like to introduce a lot of different colors in these so that the shadows have a little bit of raw Sienna, which is going to turn a little greenish with that blue back to the cobalt that little angle Indy immediately indicates the angle of the Sun tighten it a little bit a little your type of room color something very strong in this room then when we get to the corner we can do it under the soffits, the ultramarine and burnt umber will give it a nice rich look, don't look and then continue, you want too much any tube in a form of hard edges in shadow areas because it draws attention to the shadow area and the people. look at the light and if you draw their attention to a shadow, they know that they are aware that it is the wrong area, there is an unnatural place to look and therefore looking at the image makes them feel a little uncomfortable, dark, their ceiling , sorry, cerulean, yes, maybe. and although I haven't actually done the grass here, I would continue with the nitrate by altering it with the projected shadow of the building from here to the other side, cut that little piece of boat off there and then while it's dry, let's get some really thick paint, ultramarine and burnt shadow. almost the consistency of toothpaste and if we put it even against these wet areas here, it absorbs the excess dark moisture there and then we can blur the windows while it's still a little bit wet, no, just darken that, we can come back once still wet without losing too much freshness and let's do the dark side of this fireplace that you want, it's not quite dry yet if we come back with very thick paint and that of course casts a shadow on this roof here and that's We can even, a Once we think about it, put only flower pots on the two fireplaces, there is one there too and then continue with a little living room with this brownie.
Here is a bit of raw shadow and making this roof is interesting as possible a bit of overseas, such a small amount of garbage that it is even a bit of cobalt violet just to change the color of the roof and Congress is stupid, just one that is drying out, we could just put, you know, some cadmium red on this life belt. a little bit of red rosehip a little bit of raw sienna pieces of wood things piled up there try to think about making a nice pictorial mark that looks like something instead of focusing too much on turning it into a board of wood that you want to read is a knife what what I would call an interesting brand of watercolor was just stopping and waiting for it to dry now you'll notice that right while I'm waiting for it to dry I always use my palette.
I think you should continue operating with our cleaner palette. as best as possible, it is the best way to keep your colors beautiful, clean and fresh. Let's do it a little from the bottom. Burnt burnt amber and cobalt. Give me the sunny side of this Tim bartsch. Just make it a little darker if it isn't. right when you put it on and it's very hard to judge how it's going to look until you have it on paper with the next shades that you've already delivered and it's not right, change it right away. I don't wait to think while I can repaint, then it's not a sensible idea, but there's a bit here, there's a nice blue boat or yacht here and there are the little portholes on the side and top of the wooden cabin, they only suggest that keep the viewer entertained and they will be able to discover what else you actually have in your image do just enough for them to identify and compensate for the rest, not so little that they get fed up and feel bewildered, but not too much that you will not force the story to be taken and the beauty of suggesting is that whatever occurs to the viewer with each individual looking at the image, regardless of how they end it in their minds, is correct now that we are while We are waiting, if we can do some of these little figures, she could have made them, they are not before, because actually, if I had been on the scene, these people would have been the first to have moved and therefore they are often the things that you would want to do to have that one in blue that this guy will have in white.
I think we just gave him the pants and tried to paint them in the same spirit as the rest of the picture so that no, you don't get too tight just because there are human beings, something big here and what's more just a big box or something, these are boats in the distance at the actual lock, now one that is dry, we can quickly put some of this on the road, many different colors, this is a gravel road, it's amazing how tonight these parts are actually and they have to the Sun, just a little more raw and pure Sienna paint around it, a little burnt shadow, that's what we draw with.
The pear brush in the perspective direction will help draw the viewers attention as they enter the image and the rough, dry brush marks, as they are called, indicate a bit of the texture of the path and as it dries. The ultramarine and light red will give me a sort of blue set for the distant shapes. Here they are just painting some of the whites that you want to preserve. Then we have some big trees here. aureoline region. Keep the brush aside. and you'll be able to get an indication of the foliage of these spring trees a little darker and more solid as we go down here and then forget about the trees and think that right now as we paint the shape of that ship there's a little bit of the top of the cabin comes together, it is very easy to exaggerate the background while doing this, you must keep in mind all the time that this is from the background to the foreground and therefore when painting it does not draw too much attention to it.
It should still look like the background when you finish the foreground, if you know what I mean, we just let it dry for a few moments and then we'll finish up here, we're going to put the grass in this foreground. a little bit of Viridian and a lot of raw Sienna. I'll give you an ending. A little halo. Give me a nice kind of sunny green starting here and work from the back towards the foreground. Don't finish one side and then do the other. keep them all at the same time make them a little richer as we lower rosianna much more.
I'll look at it in a moment to warm it up a little, even a little ecru umber. It's very hot here today, so it's drying out. real quick and there are bits of grass on this on the edge here as it dries do a little bit more in the background the darker side of you is Tim's barge ultramarine and burnt umber and of course now I'm painting the short part of that man. there, that draws it in a little bit, so every time you paint something in a certain sense, you are painting more than one thing, you are not only painting the positive form but you are also forcing to eliminate the neighboring forms.
I just made up a little bit of a diagonal shadow there that will help give a sort of sense of perspective there and just a little line of I'll love that boat there now it's cerulean blue, Chaps Lake on the other leg will be ultramarine likeit will be." more in the shade, so they use this pretty dry chippy, that's bleeding too much, just rub it in, don't keep fooling aroundOtherwise, you'll regret it. Put some shadow on the left, not the right, on the side of this chip. These pants can come together as dark right here on that side of his face, but don't put any features on it because then they turn into portraits a little bit orange, I don't know what it is, it just helps to suggest that something is. happening in your distance, read an antifouling boat right now, let's try, we can attack these trees or I need to do it just before we do it, there's a little bit of red right in the corners of this hipped roof this from the cabin here right now the trees and the ultramarine distance and the raw sienna will be a darker green now that the darkness does a lot to force the sunrise uh from the cable towards the Phrygian hut and the burnt SIA gives me a more intense dark green, probably too much for me, Too Phrygian than that.
We have some big trees here. Trond, do it with a little live brush so that the bushes spill out. the leaves are lighter and then dark again stiff and burnt sienna, a raw sienna with now a little aureoline Sienna a little lighter, they have returned to a darker green, let's say mix region and burnt sienna and a little thicker, of course now it only indicates one or two branches, but don't go overboard with the branches as they will always be the fall branch that works by catching the light, so you can scrape them with your fingernail, but again, don't go overboard with the tricks now that those trees and they cast a shadow like a dappled shadow on the roof of this Garrard shed here I just wanted the darkness here and then the cobalt and the light red make it a nice kind of dappled shadow all those trees you should have under you the channel its double shadow there and shadow Also only details are drawn in the light, so the weather coating will be more obvious in the light and then this will be in the shadow, just join us there and it will cast a little shadow, for Of course, the cross here is mainly blue.
There's going to be a bush there, well it's still wet. Let's put a darker, thicker green here, so if the paint is thick, even if it goes against a wet area, it stays where it is and that gives me a nice soft edge. Some thicker burnt umber ultramarine paint to give me the kind of gutter line along here and there's a window here and a door here, put it on while it's still damp instead of wet, little wick and stay where it is more or less where you put it. but don't make friends with the painting underneath, so look like it belongs to them at the entrance and you might have misjudged that then we can spread a little bit of light into that area and then notice that it's about getting a.
The edge will flow into another one that's going away a little bit there, so I want it to blend into that ultramarine blue with a little bit of light red and then these big trees will cast a shadow here, so I don't want to pick any holidays from that lot. so we see the sharp edge here against some of the darker tones and the lighter highlights, now as it dries we can go back and give the palette a quick mockup with a sponge, we should be able to go back and do some of the these big posts here they're pretty dark from me there's another one here that has to do with the log doors there's big lock doors here so a little bit of pain is great because pretty idiotic because they cast a shadow so put that on at the same time and just put a little more detail here.
The masts try to do them quite carefully and in a straight line if things have to be straight and I think you should paint them in a straight line, but don't do it because if you have. Work hard and you don't want to look like you're worried about making a mistake and if you don't keep correcting it it just draws even more attention to an area that isn't for the viewer to look at this is the type of spritz spritz or the sail on the barge from Tim's sprit spritz here and the crane here quite a nice little feature just a dog, won't be the first time he's done it. of changing the direction of the crane, the west leans, you know, you know, I've had it, you don't want them to be leaning unnecessarily out of the picture, so it's good to have them leaning towards the picture and there's also a telegraph pole in front . of that there is another telegraph pole here do not come heading of shadow I should make her put a in her shadow while I think about it he is a bit of rigging on the barge never do the rigging there and there are other boats here this Look where this mast is here against the rigging, so forest of masts from various boats try to make them and avoid landing on someone's head if you can, that's a bit clumsy, so don't panic if that happens, just think of water and rub it off.
Go out and come back, let's say my goal is to get a nice lively look, as if despite the conditions, it has been painted for my pleasure, if someone else gets some pleasure, that's good, it's not guaranteed that they won't be academic watercolors. They don't tend to be academic in the sense of being academically perfectly right and what they are is they have more life and guts now as we get closer to the end one or two find a little adjustment in this barge that might be a little bit darker, I think now is the time to paint small areas, but avoid planning to paint too much because I know I'm going to make mistakes anyway and again they're necessary, but if I build, you know.
After I paint, I'm still going to make mistakes, so I quickly go on three, four, five coats and that way you lose the kind of freshness and beauty of the integral part of the color wash. You want a little bit of Virgie in there, blur the In the end, it looks like she's waving in the wind and the little wires on these poles. I think we'll call it a day once you feel that whatever you do won't necessarily strengthen the image but rather weaken it, then it's probably time to stop, don't keep looking for things to add, look at the topic and ask yourself: do you have the things? main? shapes, tones and colors that attracted you to the subject in the first place and then look at your photo and ask yourself is there something really significant but that I have forgotten to include and, more specifically, is there something that you have ever done that, in some way, Sense, you've exaggerated and drawn it, draw the viewers' attention to something in the image the way you've done it?
I did it where in fact they wouldn't have done it, they wouldn't have seen it in the subject, it's not what you've seen, it's the way you've painted it that will attract people's attention. I hope you enjoyed that video. from watching myself paint so I think the most important thing during this lockdown period is to use it profitably, know your color palette and gain confidence in painting regardless of whether you have painted much before or not and then when lockdown is over and we are all able to venture outside again and maybe even go on courses and we will be able to make the most of that opportunity.
Good luck, thanks for watching and keeping us safe.

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