In Your Home
Watercolor is a complex medium – one with many aspects and elements to it. Glazing is the application of a layer of color over one that has already dried. Developing skill in glazing lets you in on the secret of luminous color that is a major characteristic of watercolor.
In taking the course you will be sent a Word Document with 10 exercises, guidance, and reference to your secure-access album of examples posted on Shutterfly. Each has a discussion with it.
When you wish to post an exercise, you photograph it and enter it in your own Shutterfly album. there is a place for discussion and for Caroline’s replies.
In the glazing course, you will gain a better understanding and control of this technique which will help you accomplish your desired goal. Working on the assignments will also help you achieve a greater knowledge of watercolor in general. It will foster a greater understanding of other characteristics of watercolor such as the role of transparency and how to achieve luminosity. This course is not recommended for those totally unfamiliar with watercolor.
From the Shutterfly Album
Graded wash with red across all 4 rectangles.
When dry, the first was glazed with blue, the second with yellow, the third with lavender, and the 4th with yellow. The 4th then had a 3rd glaze of blue after the yellow was dry.
You will work on:
- Wet on wet color harmonics
- Random wet-on-wet color harmonics
- One color per glaze, wet-on-wet
- One color per glaze mist or fog painting
- One color per glaze simple sunset
- One color per glaze sunset with clouds
- One color per glaze, trying a painting
- Studying your color mixes
- Graded wash glazing
- Glazing with consideration of pigment choice
By the end of the course you will have a much greater understanding of the glazing process.
two kinds of glazing = wet-on-wet and graded wash
simple glaze paintings
D’ARCHES WATERCOLOR PAPER, cold press, 90 or 140 lb.
#2 or 2B pencil
2 pint or quart sized water containers
a roll of tissue
1″ clear-handled flat brush — such as WINSOR NEWTON or DANIEL SMITH (72-99) BRUSH
#10 pointed round brush — such as ROBERT SIMMONS #10 or Skyflow, white sable 785
LIDDED PALETTE — such as Aqua Pro, or John Pike, or Steve Quiller’s with at least:
• burnt orange or burnt sienna
• a violet
in artist grade watercolor paint such as Daniel Smith, Winsor Newton, Da Vinci, Holbein.
Arrange your paints in a color wheel (ie rainbow).
I use Daniel Smith colors. Assuming you do not want to buy them all, besides the 6 listed above, first consider the hues highlighted in bold.
pthalo green, or Winsor green
cobalt teal blue
pthalo blue, or Winsor blue
quinacridone red or perylene red
cadmium red medium
quinacridone burnt orange (or sienna)
cadmium yellow light, or Winsor yellow, or Hansa
Note: you do not want browns, blacks, white. The paper is the white and we mix luscious browns, blacks etc.
a large flat brush such as an 1 1/2″ or 2″ or larger.SKYFLOW is good but not necessary.
A lightweight board
tape or clips
CAMERA: You do need access to a digital camera! You can photograph flat on the ground in sunlight or on the floor in strong interior light.