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  37 Step-by-Step Demonstrations Using Watercolor Pencil and Paint


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Book Details
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 4.00
 Pages
 604 p
 File Size 
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 eISBN
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 Copyright©   
 2014 by Cathy Johnson 

About the Author
Cathy Johnson has written more than thirty-five books, many on art. She has
been a contributing editor, writer and illustrator for Watercolor Artist for over a
decade and has written regular columns for that magazine and The Artist’s
Magazine. She started the popular group blog Sketching in Nature
(naturesketchers.blogspot.com). She also teaches online workshops at
www.cathyjohnson.info and runs the blogs The Quicksilver Workaholic
(katequicksilvr.livejournal.com) and Cathy Johnson Fine Art Galleries
(cathyjohnsonart.blogspot.com). Johnson lives and works in Excelsior Springs,
Missouri, with her husband and cats.

Introduction
For an artist, working on the spot—in nature, en plein air, whatever you want to
call it—can be a delight, a wonderful challenge, the ultimate high. And, yes, it is
a challenge—nature sees to that! The changing light alone tests our skill and
speed and our powers of observation.
Still, there are so many reasons to work outdoors: to drink in the beauty of
nature; to find fresh, evocative, inspiring and challenging subjects; to spend time
in the quiet places; to capture the liveliness of birds or the grace of a red fox; to
learn about your environment; to perfect your skill; and just to be out where it’s
achingly beautiful. Whether you take a painting vacation, a field trip led by a
naturalist/artist, or a trip to some exotic, untouched locale, or you find painting
subjects virtually in your own backyard, you will find subjects enough for a lifetime.

Of course, it isn’t necessary to complete a whole painting outdoors. You may
prefer to sketch a variety of subjects with pencil, ink, colored or watercolor
pencils, even mixed media with quick watercolor washes, then return to the
comforts of home to do a more finished piece. You can take photos, both from a
distance and close up. I’ll show you how to put these resources to work!
We’ll discuss the various mediums and try out the techniques together, and
I’ll offer some of my favorite quick tips and hints for capturing textures. We’ll
cover some of the basics, but also explore more specific and advanced techniques.

This book is organized by habitat. Each chapter includes the variety of things
you will find in that specific habitat and hints on how best to capture these
elements in your sketches and watercolors. The forest habitat chapter, for
instance, will show you how to capture individual tree shapes, bark patterns and
leaves as well as forests from a distance and in their varied seasons. You’ll also
learn to paint the wildflowers that bloom in the spring and the birds, insects and
animals that frequent these places.

There is a bit of the naturalist in most of us. Painting and drawing this
marvelous place we inhabit allows us to slow down and learn with our own eyes,
to notice, to pay attention. The child within is still curious about that big moth or
the tiny, brightly colored mushroom that grows along a fallen log. How better to
explore than to observe and draw or paint?
Perhaps Baba Ram Dass was not thinking of artists when he said, “Be here,
now,” but that injunction certainly applies to painting in nature. We look, we
see, we pay attention, we learn … and we delight in it!

Whether you love an aromatic, crackling campfire, a mountain stream, the
robust wildflowers of summer or the calligraphy of tracks in the snow; whether
you find time for canoeing, fishing in the early morning, watching the birds that
frequent your locale or stealing silently almost within touching distance of a deer
and her fawn, you will find magic in this natural world. As an artist, getting it
down in concrete form is to capture those moments forever, golden as a fly in
amber. Your paintings and sketches will have the power to return you to that
moment in time. No matter how busy and frenetic your everyday life, these
tangible evidences of time in nature will transport you back to those magical moments.

Table of Contents
Special Offers
Introduction
MATERIALS AND SUPPLIES
Choosing the Right Watercolor Pencils
Learning How Your Watercolor Pencils Behave
Choosing the Right Brushes for Watercolor Pencil
Choosing the Right Paper
Working With Colored Papers
Prepping for Mixed Media
Working on the spot—Tools for Travel

GETTING STARTED: BASIC TECHNIQUES
Getting Familiar With Opacity
Using Saturated Colors
Values
Working Light Over Dark in Watercolor Pencil
Varying Watercolor Pencil Application
Applying Basic Pencil Techniques With Water
Playing With Pencil Pigment
Working Dry-Into-Wet in Watercolor Pencil
Dealing With Shadows
Keeping It Clean
Retaining Whites in Watercolor Pencil Paintings
Watercolor Washes
Creating Flat Tones in Watercolor Pencil
Creating a Graded Wash in Watercolor Pencil
Layering in Watercolor Pencil
Painting With Color Lifted From Your Watercolor Pencil
Using Linear Effects in Watercolor Pencil
Incorporating Elements of Design

KEEPING AN ARTIST’S SKETCH JOURNAL
How to Get Started
Creating a Field Journal
Learning From Your Own Art
Asking the Right Questions
Bird Watching With Journal in Hand
Travel Journal
Doing What You Have to Do
Field Journal

AND FORESTS
Tracking the Seasons
Leaves and Tree Bark
Painting Tree Bark
Foliage Colors and Shapes
Painting Foliage
Painting Tree Shapes
Weston Bend
Using Trees in Your Landscapes
Trees From a Distance
Painting Morning Light
Denizens of the Forest—Plants and Creatures
Painting Plants Up Close
Painting Fur and Hair
Painting an Animal’s Eye
Birds

BY THE WATER
Still Water—Lakes, Ponds, Coves, Marshes
Reflections and Wave Patterns
Painting Reflections
Maine Coast Morning
Creating Reflections in Rivers and Streams
Painting Lakes and Ponds
Fast-Moving Water—Rivers and Streams
Painting Rivers and Streams in Perspective
Painting Waterfalls
Promised Land
Ocean Habitat—Tidal Zones and the Seashore
Painting the Sea
Painting the Light of Sunrise and Sunset
Cliff House
Natural History Sketches—Plants and Wildlife
Painting Feathers
Painting Flocks of Birds
Creating a Bird’s Portrait
Painting Different Types of Clouds
Painting Snow
Painting Rain
Painting Rain Clouds

PRAIRIES, MEADOWS AND FIELDS
Trees That Follow the Watershed
Wildflowers
Painting Flowers in the Distance
Mammals of the Grasslands
Bison
Birds of the Grasslands
Painting Weeds and Grass
Painting Grass
Cultivated Fields
Painting Aerial Perspective
Limestone Fence Posts and Windmills
Painting Night
Painting Intimate Landscapes

MOUNTAINS
Trees of the Eastern and Western Mountains
Mountain Wildflowers
Birds of the Mountains
Mountain Wildlife
Mountain Sheep
Mountain Painting
Painting Rocks and Boulders
Using Rocks in Landscapes

DESERTS
Desert Wildlife
Ground Squirrel
Trying Out Desert-Toned Paper
Signs of Early Occupation
Desert Plants
Following the Rules of Perspective for Plants
Raven’s Hole

PEOPLE IN THE LANDSCAPE
Small-Scale People
Painting People in Watercolor Pencil
Creating Skin Tones
Painting Hair in Watercolor Pencil
Landscape With Figure
Going Camping
Capturing Firelight
Canoes, Kayaks, Dories and Jon Boats
Sunset Canoes
Fishing
Hiking or Walking in All Weather
Implied Humans
Variations on a Theme
Conclusion
Copyright


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North Light Books, an imprint of F+W Media, Inc., 10151 Carver Road, Suite
200, Blue Ash, OH 45242. (800) 289-0963. First Edition.

This e-book edition: April 2014 (v.1.0)

A Beginner’s Step-By-Step Guide

Birgit O’Connor


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 Pages
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 ISBN
 978-1-4403-4996-6  
 Copyright©   
 2018 by Birgit O’Connor  

Watercolor Materials You Will Need
These are the materials needed to complete the exercises and
demonstrations in this book. I noted the brand I used in
parentheses, but use any brand you prefer. For advice on
choosing materials, see Chapter 1.
Paper
Cold press (Arches), 140-lb. (300gsm) for practice and 300-lb.
(640gsm) for finished paintings
Brushes
No. 30 natural round
Nos. 8, 14 and 20 sable/synthetic blend round
No. 3 synthetic round 2" (5cm) bamboo hake
Mop or other wash brush (such as Mottler no. 60 synthetic wash brush)
Transparent Watercolors
(all by Winsor & Newton except where noted)
Burnt Sienna • Cerulean Blue • Cobalt Blue • French
Ultramarine Blue • Green Gold • Hansa Yellow Medium* •
Indanthrene Blue • Indian Yellow • Indigo • Permanent
Alizarin Crimson • Permanent Rose • Permanent Sap Green •
Quinacridone Gold • Quinacridone Magenta • Quinacridone
Pink* • Quinacridone Purple* • Transparent Yellow • Winsor
Blue (Green Shade) • Winsor Blue (Red Shade) • Winsor
Violet (Dioxazine) or Carbazole Violet*
* = Daniel Smith watercolors
Other
Large plastic paint palette (shallow wells, large mixing areas, covered)
Large wash bucket, 1–2 gallons (4–8 liters)
Small spray bottle
Terry cloth towels or paper towels
Pencil (2B)Kneaded eraser
Masking fluid or drawing gum (Pebeo)
Masking tool of choice (old brushes, Uggly Brush, Incredible Nib, etc.)
Rubber cement pickup
Original Mr. Clean Magic Eraser (generic name: melamine foam sponge)
Sketchpad/drawing paper
Graphite or transfer paper
Artist’s tape
Hair dryer (optional)

Introduction
As you look through these pages, you might, at first glance,
think this book is only about painting flowers, but it’s actually
much more than that. The floral compositions presented are
just a vehicle for freedom of expression to play with water,
color, movement and design.
For some, flowers as a subject matter can seem a little
limiting, but your perception is really all in your approach.
Exploring exciting compositions and experimenting with the
amount of water you use with your paints can dramatically
change your perspective.
In general, watercolor is the most fluid and expressive
medium. The variety of effects that can be created offer you
many ways to express yourself. It can even become an
emotional experience. Watercolor moves with or without our
help and has the ability to reflect light off the surface of the
paper, through transparent layers of paint. The luminous color
that results is well suited for the beautiful blooms we will paint.
All the techniques used throughout this book are universal
and can be applied to other subjects, such as landscapes and
still lifes. Lots of people think they can’t use watercolor or that
it’s too hard, but it really is all in how you approach it. Nothing
compares to this medium, and once you learn the techniques,
you can allow yourself the freedom to explore, have fun and
find your creative artist within.

Table of Contents

Introduction
Chapter 1
Getting Ready to Paint
Chapter 2
Basic Watercolor Techniques
Chapter 3
Understanding Color
Chapter 4
Designing Strong Compositions
Chapter 5
Lessons and Demonstrations in Watercolor
Daffodils
Orange Cactus Flowers
Hibiscus
Tree Peony
Rhododendrons
Sunflowers
Calla Lilies
Orchids
Apple Blossoms
Acknowledgments
About the Author

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Edited by Stefanie Laufersweiler
Production edited by Jennifer Zellner
Cover designed by Clare Finney
Interior designed by Nicola DosSantos
Production coordinated by Debbie Thomas

by Colette Pitcher

IN FULL COLOR!

Learn To :

• Utilize acrylics to produce different looks and textures
• Improve your technique with four-color, hands-on instruction
• Complete full-scale projects
• Discover your inner artist

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 Pages
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 File Size 
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 File Type
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 ISBN
 978-0-470-44455-9   
 Copyright©   
 2009 by Wiley Publishing, Inc 

About the Author
Growing up in Colorado, Colette Pitcher always made art — even if at first folks
weren’t convinced it was art. She majored in television communication at the
University of Northern Colorado but had enough art credits to graduate a year early
and did so. Her first job out of college was as a graphic designer for an engineering
and architectural firm. Her next job was in New York City for a Fortune 500 company,
and she later worked for a well-known children’s book author. While in New York, she
lived at West Point and attained an MBA from the University of Long Island.

She returned to Colorado in 1986 and started Art Department for companies that
didn’t have an art department in-house. In the 1990s, she founded the Showcase Art
Center in Greeley, Colorado, and filled it with other like-minded businesses and art studios.
Activities at the Showcase have included Project Ability, for developmentally
disabled artists; a workshop for blind artists to use touch in 3-D artworks; and selling
art from Mozambique to fund a kindergarten in that country. The Showcase presents
art created by youth to encourage future artists and art by seniors to encourage lifelong
creativity. It remains a great place to find art and supplies, framing, art-to-wear,
piano lessons, art classes, and art studios.

Colette also sculpts. Her husband Gary, owner of Dragon Casting (a bronze art
foundry), is also a creative resource for making the impossible come true daily.
Together the couple has installed many monumental bronze public artworks. Colette
is the author of Watercolor Painting For Dummies (Wiley) and on occasion writes for
PaintWorks magazine. She also writes and conducts demonstrations for art material
manufacturer conventions, including Loew-Cornell, Aamoco, Dynasty brushes,
Duncan, Fredrix canvas, and Speedball. She is a Rotarian, a member of Greeley Art
Association, a signature member of Colorado Watercolor Society, and an associate
member of the National Sculpture Society.

Introduction
Welcome to Acrylic Painting For Dummies! You’re about to embark on a
wonderful journey. Acrylic painting is a fun way to communicate
through art, and I love to share the “gospel” of art with others. A real dedication
to art changes your life — challenges you, inspires you, and is your companion
for as long as you let it be.
Acrylic paints are a great painting choice. They’re easy to use and simple to
clean up with soap and water, dry quickly, have no toxic fumes, allow you to
make changes quickly, and offer many surprise tricks. This book is your
ticket to exploring these and other aspects of acrylics.

About This Book
Given its title, you’re probably not surprised that this book is all about painting
using acrylic paint — painting, as in you creating paintings. Although you
may get an appreciation of the art of painting by reading this book, there’s no
substitute for doing. You must paint yourself (that is, you must paint; whether
you paint a self-portrait or paint on yourself is up to you). It can not only be
one of the most satisfying activities you ever do, but it’s also the only way to
truly appreciate others’ work. It can help you see art for the first time with a
new appreciation of what you’re looking at.

So this book helps you do just that — actually paint. Most chapters offer at
least one step-by-step project that incorporates the theory and the techniques
introduced in that chapter. After duplicating the paintings, you can try
the projects again with subjects of your choosing. Although I give you all the
instructions to be successful in painting the exercise, you can also make your
own choices at any point. Want to change the painting size, surface, or color?
Do it. I encourage you to make the projects your own.

Along with all the painting projects, I also show you how to create interesting
effects, compose a good picture, and use color to full advantage — all in an
easy-to-access and easy-to-understand format. And I don’t use art speak — I
just tell you in plain English how to plan, compose, design, and paint. That’s
what you were hoping for when you picked up this book, isn’t it?


Table of Contents
Introduction ............................................................................1
About This Book................................................................................................................1
Conventions Used in This Book ......................................................................................1
What You’re Not to Read..................................................................................................2
Foolish Assumptions ........................................................................................................2
How This Book Is Organized............................................................................................2
Part I: Getting Acquainted with Acrylics ..............................................................3
Part II: Exploring Tricks and Techniques .............................................................3
Part III: Finding the Fun in Fundamentals.............................................................3
Part IV: Acrylic’s Versatile Styles...........................................................................3
Part V: Projects for Different Surfaces ..................................................................3
Part VI: The Part of Tens ........................................................................................4
Icons Used in This Book...................................................................................................4
Where to Go from Here.....................................................................................................4
Part I: Getting Acquainted with Acrylics ...................................5
Chapter 1: Acrylics Are Awesome!.............................................................................7
What’s So Awesome About Acrylic Paint? .....................................................................7
Versatility..................................................................................................................8
Fast drying time.......................................................................................................8
Durable finish...........................................................................................................9
Resistance to cracking............................................................................................9
Nurturing and Growing the Acrylic Artist in You..........................................................9
Developing your own talents .................................................................................9
Finding and capturing inspiration.......................................................................10
Getting in the zone ................................................................................................11
Finding your style while expanding your horizons...........................................11
Project: Painting Your Sketchbook ...............................................................................14
Chapter 2: Setting Up Supplies: Brushes, Surfaces, and Palettes ......................17
Brushing Up on Brushes ................................................................................................17
Get a handle on it ..................................................................................................18
Hair today, gone tomorrow ..................................................................................18
Get in shape (shaped brushes, that is) ..............................................................19
Size matters............................................................................................................19
Brush substitutes ..................................................................................................21
Beginning your brush collection with the bare essentials...............................22
Maintaining Your Brushes..............................................................................................23
Prepping a new brush...........................................................................................23
Avoiding damage ...................................................................................................23
Washing...................................................................................................................24
Storing.....................................................................................................................24
Repairing a worn brush ........................................................................................25
Knowing when it’s time for a new brush ............................................................26
Picking and Prepping Common Paint Surfaces ...........................................................27
Canvas paper .........................................................................................................27
Canvas.....................................................................................................................27
Boards.....................................................................................................................28
Preparing boards and canvases ..........................................................................30
Thinking Outside the Canvas: Alternate Acrylic Painting Surfaces..........................31
Painting on fabrics ................................................................................................31
Working with wood surfaces................................................................................31
Taking a shine to metal.........................................................................................32
Scratching the surface of glass............................................................................32
Plastic......................................................................................................................32
Terra cotta..............................................................................................................33
Walls ........................................................................................................................33
Purchasing Palettes and Other Handy Stuff ................................................................33
Palettes ...................................................................................................................33
Other useful supplies............................................................................................34
Chapter 3: All About Paints and Mediums...............................................................35
Getting to Know the Different Properties of Acrylic Paints.......................................35
Pigments and binders ...........................................................................................36
Viscosity .................................................................................................................37
Finish.......................................................................................................................37
Drying time.............................................................................................................38
Lightfastness or fading .........................................................................................38
Compatibility .........................................................................................................39
Hues ........................................................................................................................39
Different Types of Acrylic Paint ....................................................................................39
Specialty acrylic paints ........................................................................................40
Additives, Mediums, Gels, and Pastes..........................................................................42
Acrylic medium .....................................................................................................42
Water .......................................................................................................................43
Flow enhancers......................................................................................................44
Retarders ................................................................................................................44
Glaze........................................................................................................................44
Gel mediums and paste ........................................................................................45
Specialty mediums and finishes ..........................................................................46
Part II: Exploring Tricks and Techniques ..................................47
Chapter 4: Basic Painting and Finishing Techniques............................................49
Setting Up Your Palette and Supplies ...........................................................................49
Getting a Grip on Your Brushes: Practicing Various Brush Strokes .........................51
Crisscrossing..........................................................................................................52
Scumbling...............................................................................................................53
Stippling..................................................................................................................54
Dry brushing ..........................................................................................................54
Making fine lines with liners ................................................................................55
Scratching with scraffito ......................................................................................55
Painting with a palette knife.................................................................................56
The Best Basic Painting Techniques.............................................................................57
Under painting .......................................................................................................57
Base coating ...........................................................................................................58
Wet-into-wet and blending....................................................................................59
Layering ..................................................................................................................59
Glazing ....................................................................................................................60
Finishing with Finesse ....................................................................................................61
To varnish or not to varnish ................................................................................61
Presenting your paintings: Mats and frames .....................................................63
Project: 30-Minute Artist Trading Card ........................................................................66
Chapter 5: Building Your Repertoire with Quick Tricks and Techniques ..........71
Ready, Set, Experiment...................................................................................................71
Adding Stuff to Your Paint..............................................................................................72
Salt...........................................................................................................................72
Alcohol or water ....................................................................................................73
Sand, sawdust, and beyond .................................................................................74
Thinking Outside the Brush...........................................................................................75
Sponges and rollers...............................................................................................75
Plastic wrap............................................................................................................76
Cobwebs and cheesecloth ...................................................................................78
Dripping, Spraying, and Spattering...............................................................................79
Jack the dripper.....................................................................................................79
Spray it again, Sam ................................................................................................80
Spray stenciling .....................................................................................................81
Project: Combination Technique Abstract ..................................................................82
Chapter 6: Drawn to Paint — Even if Your Drawing Skills Need Work.............85
Making Thumbnail Sketches..........................................................................................86
Enlarging Sketches ..........................................................................................................86
Eyeballing it............................................................................................................89
Gridding it...............................................................................................................89
Copying it ...............................................................................................................89
Projecting it ............................................................................................................90
Tracing Your Way to a Great Painting Sketch ..............................................................90
Finalizing your sketches with tracing paper......................................................91
Copying a photograph by using tracing paper..................................................91
Getting Your Drawing onto the Painting Surface ........................................................92
Blending with Paint.........................................................................................................93
Making a smooth transition .................................................................................93
Blending to create depth ......................................................................................94
Project: Create a Still Life ...............................................................................................96
Part III: Finding the Fun in Fundamentals .............................101
Chapter 7: Taking a Quick Color Tour .....................................................................103
Looking at Popular Colors ...........................................................................................103
Red ........................................................................................................................103
Orange...................................................................................................................104
Brown....................................................................................................................104
Yellow....................................................................................................................105
Green.....................................................................................................................106
Blue .......................................................................................................................106
Violet .....................................................................................................................107
White.....................................................................................................................107
Black......................................................................................................................108
Deciphering Paint Descriptions ..................................................................................109
Common chemicals.............................................................................................109
Common descriptors ..........................................................................................110
Hues ......................................................................................................................110
Working the Color Wheel .............................................................................................110
Primary, secondary, and tertiary colors ..........................................................111
Clear as mud: Using color bias to mix colors (or mud) .................................111
Three Color Exercises ..................................................................................................113
Exploring value with monochrome: The one-color exercise .........................113
Taking your painting’s temperature: The two-color exercise........................115
Harmonizing with primaries: The three-color exercise..................................117
A Few More Color Plans ...............................................................................................118
Complementary ...................................................................................................119
Split complementary...........................................................................................120
Analogous.............................................................................................................121
Full wheel..............................................................................................................122
Chapter 8: Design of the Times: Design Elements and Principles ....................123
Elements of Design........................................................................................................123
The Principle of Balance ..............................................................................................125
Balancing color ....................................................................................................125
Balancing value....................................................................................................126
Balancing dots .....................................................................................................126
Balancing texture.................................................................................................126
Balancing line.......................................................................................................127
Balancing shape...................................................................................................128
Balancing size ......................................................................................................128
Balancing volume ................................................................................................129
The Principle of Contrast.............................................................................................129
Contrasting color.................................................................................................129
Contrasting value ................................................................................................130
Contrasting shape ...............................................................................................131
Contrasting texture .............................................................................................131
Contrasting lines..................................................................................................131
Contrasting size ...................................................................................................132
Contrasting volume.............................................................................................132
The Principles of Repetition, Alternation, and Variation .........................................133
The Principle of Direction............................................................................................134
Direction of texture .............................................................................................136
Direction using lines ...........................................................................................136
Direction using shapes .......................................................................................137
The Principles of Emphasis and Subordination........................................................137
Dominance of color temperature ......................................................................138
Dominance of value.............................................................................................138
Dominance of dots ..............................................................................................138
Dominance of texture..........................................................................................139
Dominance of line................................................................................................139
Dominance of shape............................................................................................140
Dominance using size .........................................................................................140
Dominance using volume ...................................................................................141
Chapter 9: Putting the Pieces Together: Composition .........................................143
First Things First: Intention and Placement ..............................................................143
Determining and placing the focal point ..........................................................144
Give ’em room......................................................................................................146
Off-setting the horizon........................................................................................146
Setting the mood .................................................................................................146
Less is more .........................................................................................................148
More Composition Guidelines .....................................................................................148
Going with odd numbers....................................................................................149
Avoiding tangents................................................................................................149
Varying your edges to create depth and
to help the focal point stand out ...................................................................150
Keeping light and shadows consistent.............................................................151
Check Yourself: Analyzing and Revamping Your Composition ...............................151
Keying the painting .............................................................................................151
Thinking in threes ...............................................................................................152
Cropping ...............................................................................................................154
Implosion and other shapes ..............................................................................154
Unity: A final checklist ........................................................................................154
Part IV: Acrylic’s Versatile Styles .........................................157
Chapter 10: Letting It Flow: Creating a Watercolor-like Landscape.................159
Born to Run: Thinning Acrylic to be Like Watercolor ..............................................160
The Sky’s the Limit: Painting Translucent Skies .......................................................161
Riding off into the sunset ...................................................................................162
Raindrops keep falling on my head...................................................................163
Clouding the picture ...........................................................................................164
Getting Edgy: Defining the Edges of Landscape Objects .........................................165
Hard edges............................................................................................................166
Soft and lost edges ..............................................................................................166
Seeing the Forest for the Trees....................................................................................169
Defining tree edges by painting and spattering...............................................169
Making a tree brush out of rubber bands ........................................................171
Layering Paint for Endless Possibilities .....................................................................172
Getting a little perspective.................................................................................172
Backgrounds, middle grounds, and foregrounds ............................................172
Project: Putting Together a Watercolor-like Landscape...........................................174
Chapter 11: Laying It On Thick: Painting Like the Oil Masters ..........................179
Getting Ready to Create an “Oil” Masterpiece ..........................................................179
Extending your acrylic’s drying time to mimic oil..........................................179
Choosing and prepping a surface......................................................................180
Trying Oil-Inspired Techniques...................................................................................181
Painting backgrounds with aerial perspective ................................................181
Overlapping..........................................................................................................183
Creating texture ...................................................................................................184
Simulating depth with shadows ........................................................................188
Project: Irresistible Husky Dog....................................................................................191
Project: Fall Corn Still Life............................................................................................195
Project: Son of Corn Painting (A Sequel) ...................................................................198
Chapter 12: Thinking and Painting Abstractly ......................................................205
Cruising through Abstract Art Movements: An Overview.......................................205
Finding Abstract Ideas in the Real World...................................................................207
Creating a cropping viewfinder .........................................................................207
Pushing a shape out of shape ............................................................................209
Abstract Ways to Send a Message in Your Art ..........................................................211
Putting words in a painting ................................................................................211
Looking at what various symbols and elements can communicate .............211
Handy Products and Techniques for Abstract Art ...................................................223
Under it all: Starting with grounds and pastes ................................................223
Over the top: Using products that go on top of grounds and substrates....226
Planning Your Own Abstract Painting: A Few Questions to Consider....................229
Project: Abstract Extravaganza...................................................................................230
Part V: Projects for Different Surfaces...................................235
Chapter 13: Creating Collages and Transfers........................................................237
What You Can Use in a Collage....................................................................................237
Deciding What You Want Your Collage to Say ...........................................................238
Preparing Your Background Surface...........................................................................240
Layering Your Collage...................................................................................................241
Layering with paper ............................................................................................241
Layering in paint..................................................................................................244
Working with Images and Direct Transfers................................................................245
Making a direct transfer .....................................................................................246
Transferring drawings ........................................................................................249
Making sure your collage doesn’t infringe on copyrights..............................250
Project: Southwestern Cliffs Collage...........................................................................251
Chapter 14: Cool Projects for All Types of Surfaces ............................................255
Wild About Wildcats: Painting on Wood and Clayboard..........................................255
Wooden wildcat box............................................................................................256
Coasters................................................................................................................261
Grape Art: Painting Grapes on a Violin (Yes, Really)................................................266
Wall Art: Painting a Mural ............................................................................................269
Art to Wear and Carry: Painting Fabric and Other Materials ..................................270
Rock On: Painting on Rocks and Stone ......................................................................275
Heavy Metal: Painting on Steel ....................................................................................275
Odds and Ends: Faux Stained Glass, Bricks, and Candles .......................................277
Faux stained glass ...............................................................................................277
Painted brick........................................................................................................279
Painted candles ...................................................................................................279
Part VI: The Part of Tens ......................................................281
Chapter 15: Ten (Plus One) Genres: Figuring Out What You Want to Paint......283
Chapter 16: Ten Ways to Get the Creative Juices Flowing.................................291
Index ..................................................................................295


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Conventions Used in This Book
When writing this book, I used a few conventions to make reading easier:
 Italicized text shows up to define words or terms being used for the first time in that chapter.
 “Acrylic paints” are often described as just “acrylics”.
 “Pigments,” “paint,” and “color” are often used to mean the same thing.
 Bold text indicates keywords in bulleted lists or the main instructions in a numbered list.
 The occasional Web site or e-mail address appears in monofont to help it stand out on the page.

A Clear & Easy Guide to Successful Oil Painting 

Mark and Mary Willenbrink


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Book Details
 Price
 2.00 USD
 Pages
 364 p
 File Size
 21,707 KB
 File Type
 PDF format
 ISBN
 eISBN-13
 978-1-60061-784-3 (pbk. : alk. paper)
 978-1-44031-045-4
 Copyright   
 2010 by Mark and Mary Willenbrink 

About the Author
As a husband-and-wife team, Mark and Mary Willenbrink have been
writing together for over a decade. Mark works as a fine artist, illustrator
and art instructor. Mary is an author, literary analysis teacher and
homeschool mom. Mark and Mary's art instruction focuses on the needs
of the absolute beginner. Mark's art and teaching expertise along with
Mary's encouragement and understanding provide the perfect balance
for those just embarking on their artistic journey. Mark and Mary's other
books include Watercolor for the Absolute Beginner and Drawing for the
Absolute Beginner. Mark and Mary reside in Cincinnati, Ohio, with their
three children, two cats and Australian shepherd.
To see more of Mark's artwork, visit his website at www.shadowblaze.com.

Acknowledgments
Thank you to all of those behind the scenes at F+W Media who helped
put this beautiful book together: Guy Kelly, Mark Griffin, Jennifer Lepore,
Ric Deliantoni and Adam Hand.
We give special thanks to our editor, Mary Bostic. Because of your
editorial insights and questions, this book is just about perfect!
Thank you, Tom Post, for your encouragement and advice, and thanks
to Cheryl and Jeff Cook. We thank everyone with Heavenly C Ministries
for your encouragement and constant support.
The support of our kids as we work is absolutely amazing. With great
pride and our utmost love, we thank our three children.
Throughout the writing of this book, we constantly thanked each
other. As a husband-and-wife team, we bring out the best in each other
and can honestly say we are best friends.
Lastly, we thank the Lord for His inspiration. We are all created in our
Father's image to be creative, and with our creativity we praise Him.

Table of Contents
Dedication
Introduction

Chapter 1
Gather Your Materials
Paints
Solvents and Thinners
Palettes
Surfaces
Stretching Canvas
Brushes
Additional Supplies
Easels
Indoor Setup
Outdoor Setup
Discussing Materials

Chapter 2
Basic Art Principles
Structural Drawing
Measuring and Proportioning
Linear Perspective
Value
Color Basics
Complementary and Analogous Colors
Color Temperature
Color Intensity
Combined Perspective
Composition
Discussing Art Principles

Chapter 3
Practicing the Techniques
Mixing Paint
Loading a Brush
Cleaning Brushes
Get a Grip!
Creating Brushstrokes
Painting Techniques
Wet-Into-Wet Painting
Wet-Into-Dry Painting
Painting With a Palette Knife
Lifting and Wiping off Paint
Positive and Negative Painting
Hard and Soft Edges
Discussing Plein Air Painting

Chapter 4
Let’s Paint!
Getting Ready
Using a Ground
Underdrawing and Underpainting
Monochromatic Rocks
Sunset Beach
Mountains With Primary Colors
Pear Still Life
Sunflowers
Cloud Study
Landscape With Cottage
Painting Trees
Seascape With Boats
Springhouse in Summer
Twilight Gatehouse
Lion
Silhouettes
Drawing People
Portrait in Profile
Drawing Profiles
Girl With Flowers
Finishing Your Paintings
Conclusion
Glossary
Metric Conversion Chart
About the Authors

Acknowledgments
Copyright
Ideas. Instruction. Inspiration.

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Introduction
During an outdoor celebration our eldest daughter exclaimed, “Ooh, look
at the fireworks,” to which our youngest child gleefully replied, “Those
aren't fireworks, they're dancing bananas!” How fun! Their perceptions
are unique, yet both are filled with wonder. Wouldn't you love to see their
artistic expressions of fireworks?
Capture that feeling of curiosity and excitement as you work through
this book, using the lessons as a tool to express yourself through your
artwork. Then allow yourself to stand back from your paintings and say
something like “Ooh, I love the reflections in this pond” or “I really like
the way I painted those trees.” Don't be overly critical of your work. Note
what you like about it, and always date the painting so that you can
follow your progress.

First Things First
We suggest you go through the materials and take time to set up your
own studio. Our definition of studio is a space that transports you away
from the concept of time, responsibilities and worries. Each time you
pick up this book, prepare yourself to be an active participant. Start
reading it as if we were speaking to you directly. We hope that as you
work through these demonstrations, you will cultivate your abilities
while having fun in the process. Seriously, we want you to have fun!
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