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SUSIE SHORT Watercolor Workshop
Susie Short is a versatile, well-rounded watercolor
artist who paints a variety of subjects. A visit to her online gallery
shows paintings of flowers, lakes, animals, landscapes, portraits, and
petroglyphs, to name a few subjects. She is sharing some of her
workshops with us here at WoW! Thank you, Susie!
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Autumn Reflections I - Painting the Trees First
Pigments are all Daniel Smith Extra
Fine Watercolors:
Quinacridone Burnt Orange, Quin. Gold, Quin Violet, New Gamboge, Perylene
Maroon, Cobalt blue, and Indanthrene Blue. (Notice that most of these are either
secondary or neutralized colors. All three of the primaries are represented-red,
yellow,
& blue. Even though I selected these colors I certainly could have painted
this with a basic palette and mixed these colors myself.)
Brush: The brush I used for this part of the painting was a 1" cutter
bristle brush. This brush carries a lot of pigment from the palette to the
paper's surface and it holds a lot of moisture in the belly of the brush which
keeps me from adding water unnecessarily that would dilute my paint. I do not
rinse my brush when I change colors (until I absolutely have to), the colors I
used are compatible, mostly analogous colors that blend together well and by not
rinsing I don't waste paint or add water to the painting that could dilute my
colors or cause "balloons or blossoms".
Paper: This demo is on an 11x15 (a quarter of a sheet) of 140# Cold Pressed
Arches paper (sheet, not block).
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| Procedure: For this demonstration I have decided to paint the top
portion of the painting first, working from top to bottom, starting left to
right. After going across the top...I will drop down and then go right to left
working the wet edges.
The method of applying the concentrated rich loads of wet pigments on dry paper
is sometimes referred to as painting wet-beside-wet. The secret to getting a
consistent look without splotches and watermarks is to be aware of the amount of
water in your brush and to "read" the water content on the paper as
you add pigment and /or make adjustments. Also, the characteristics of the
individual pigments you select will make a difference in how they interact with
each other.
I worked flat to keep the pigments from traveling. By working on dry paper,
every once in a while I had an isolated white spot that the brush skipped which
added those little sparkles and look like I might have used masking fluid.
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(c) SUSIE SHORT
11-14-2000 (used with permission)
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