Preview | Linda Kemp’s Negative Painting Techniques: Watercolor

Preview | Linda Kemp’s Negative Painting Techniques: Watercolor


you fellow I want to cap and we’re in the
studio today to work on some projects together what
we’ll be doing in our in our assignment today is a watercolor
demonstration along the lines of the paintings that I
have with me the two on the back these are watercolors and
the one on this side is an acrylic so we’re going to be working on
controlling the out of control these are situations that I often see in
my workshops where people struggle away with the things that are going on in
particular were going to be working wet into wet and building multiple layers on so if I was painting in the positive the way that most of us usually work I
would be filling in my shape with color but instead of doing that because I’m
working in the negative I’m painting the space around it so I’m
just gonna glide that color over and I’m committing to memory this stroke that
I’m making and I’m gonna pull the color out wash it
away it’s a really good idea to practice this
before you get into a painting specially when you’re working what into
what so they your hand is trained to the shapes that
you’re making again I’m washing not color away what’s
try once more without drawing at and but that’s the basic concept of what
we’re after so the stroke load up this brush 12 to will fill out a little bit more so there’s my basic shape now in my sample in my photograph they have not
just cut into them so I’m going to do that with my brush I’m going to cut those in now so I’m
carving away at that shape on when you’re working with watercolors you
don’t have to just put it on with thin layers drying in between painters such fabulous stuff 0 it just spreads and it flows and move
so why not let it do its thing I’m knocking a little bit about to
turquoise in there just because I can still a little more if you like it in one spot could it in
another spot if you put it down on you don’t like it
somewhere put it in another spot anyways because if at this point if I got panicky and I grabbed a piece a tissue when I
start padding out the surface I’m going it I’m gonna disturb things
and I’m not going to be happy with the marks that are left on the paper I want this to be really wet look at
those nice stark’s in here I’m thinking about overall movement the
structure I love the plant the stems work of you know some wash my brush 0
yet wants is put some that rosy color in here first nice color even though we’ve got some pretty bright
lights on here in the studio you can see how long I have to work in
this wet no way at approach building up these
layers because first of all I wet my paper so completely to begin with and put it on this non-core surface so
it’s really just doing its own juice are and I’m using all those thick paint I’ve got my little rigor brash and I’m
wedding it down went a got some more water and I’m going
to just tickle it just like I am on my arm just
take a look across the surface above the paper just because they said
its it’s so vulnerable just a wee brushing with this little bit
of moisture on this long brush and I should get some nice little light
lines happening because what I’m doing as I’m forcing
some backruns let’s hope it works you know whenever you want to it doesn’t
but oh yeah there comes we go put some lines down in there just at break that up a bit I’m going to turn my painting as I go so
that I can get into the shapes that I want I’m comfortable handling the brush this way you’ll see I
keep my finger on my paper where I need a reminder up
here’s where I’m going to go so I have a leaf here here’s a little here’s a little less space between the
leaf the colors that I use are guided by what color is already in
the under painting it’s entirely up to you how many layers you like to build in
your painting some people want to leave it loose and diffused so you may choose to only do one or two layers and somebody else
might like to be a little bit more specific about the shapes that you’re
making and tell more provide more information so that person may choose to build a lotta
layers and we looked at building multiple layers and and that’s
exactly what you would do you just continue to do this skip stand back from time to time assess what’s happening yes I am getting
a bit over background here so dry of my brush she tease this said goodbye to the background let’s hope now the colors that are down here I’ve
got a little bit of the rosy color can’t just tent don’t need a whole lot and I’m going to drop that in to paint around I’m thinking about
the large mass form above the berries rather than individual little bear East its wash this down and decide how far do
I want to pull this color i’m looking at the shape of this branch
don’t need to define it too much Marino just carving away and then I’ll
wash it up there’s some rosy kind of color here its poll it forward get some black
cobalt turquoise late in Jan I’m just sticking with the colors
that were in my underpinning I know I’m completely safe to use the five colors that I started with I
can use them absolutely anywhere in this painting and
I won’t get into any problems it’s when you are
three quarters the way through a painting and you start searching through your
power door into your paint box think it will what colour my going to
use now that’s when we get into problems with
color harmony so if you stick with whatever you begin your painting with
Carey that theme through the whole painting you up I’m so we
guarantee yourself success as far as the color goes no matter what colors you’ve chosen to
use

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