![]() ![]() I wet the bottom half of the paper and started painting the reflection of the foreground tree by dropping in my greens with the bamboo brush. This is the fun part! When everything had dried. I prefer the Swordliner but whatever works best for you is fine. ![]() I painted in some thin tree branches with a Swordliner brush which is perfect for this. Watercolour painting has a lot of these seat of the pants moments, sometimes they work out in your favour, sometimes they don’t! In fact my paint was a little thinner and wetter than it should have been but I just about got away with it. If the paint is too wet or too thin, the scraped out area will just fill back in and leave a dark line. Timing is quite important when doing this and so is the consistency of the paint. ![]() I took my palette/painting knife and scraped in some thin branches. I simply dip my brush in the yellow and paint it on to the paper then I’ll go from one colour to another and allow them to blend and mix freely. I place adjacent blobs of Cadmium Yellow, Ultramarine, Prussian Blue and Burnt Umber on my palette and give them a good spray of clean water from a misting bottle. I also like to do most of the mixing on the paper rather than on my palette to create a variegated wash of green that contains a multitude of hues and tones. Mixing greens manually will generally produce a more natural looking colour than using a pre-mixed green straight from the tube. The colour green can be a bit of a problem. Wet on dry creates hard edged strokes which will contrast nicely with the soft hazy background. Because the trees in the foreground will be painted wet on dry. It’s important to allow the background to dry completely before painting the foreground. So after taking my brush and lightly washing in a pale sky with a few strokes of Cerulean Blue I’m going to quickly clean my brush and paint in the trees using Raw Sienna for a nice golden Yellow and purple ( Ultramarine and Alizarin Crimson, you could just use a premixed tube colour such as Dioxazine Violet).īecause yellow and purple are complementary colours they tend to work really well together in a painting ( For more on that, please see this post). I want to suggest hazy autumnal trees in the background. You can drag a round brush sideways for a rougher brush mark but it’s still a bit of a fight to get the kind of irregularity that a bamboo brush offers. A round brush is just a bit too springy and neat, I find. The loose floppy hair of a bamboo brush is perfect for painting loose irregular foliage. I’m using a bamboo brush for 90% of this painting. To facilitate speed, I have my initial colours already mixed and ready to go. This means working quite quickly as the paper needs to be shiny wet not just damp. I’m going to paint a the background first. I started at the top half of the paper, painting a wash of clean water with a good sized flat brush and working my way down to the line where the foliage meets the lake’s edge. This will ensure that the colour flows in a predictable direction, although, half the fun of this technique is that the results are never completely predictable. When painting wet into wet, it’s particularly important to angle the paper at about 30 degrees. Please click here for a complete list of my recommended art supplies. Swordliner Brush ( For thin tree branches etc) Buy from AmazonĪrches Watercolor Paper Block, Cold Press, 9″ x 12″, 140 pound Buy from Amazon MiscĮasy release painters masking tape Buy from Amazon Winsor & Newton No.6 Round Bamboo Brush (Great for foliage) Buy from Amazon Prussian Blue: Winsor & Newton | Daniel SmithĬadmium Yellow: Winsor & Newton | Daniel SmithĪlizarin Crimson: Winsor & Newton | Daniel Smithĭioxazine Purple: Winsor & Newton| Daniel Smith Brushes Raw Sienna: Winsor & Newton | Daniel Smith Ultramarine Blue: Winsor & Newton | Daniel Smith I’ve linked to where you can purchase the paints and the other art materials I used from Amazon.Ĭerulean Blue: Winsor & Newto n | Daniel Smith It’s possible to get a great result within a few attempts, it doesn’t require you to have superhuman drawing skills and it’s a wonderful way to explore the wet into wet technique. This kind of painting is a great one for beginners to have a go at. In this post, I’ll demonstrate step by step how to how to paint reflections in watercolour with a demonstration of a scene of trees and foliage reflected in the calm waters of a gently flowing river. Loose, spontaneous wet into wet painting. It’s a fun subject to paint and it plays to one of watercolour’s biggest strengths. Painting watercolour landscape scenes with reflections on water are fairly easy to do.
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