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PAINTING WORKSHOPS
John Lovett . John Lovett is an Australian artist working in oils, watercolor and mixed media. Since commencing his career John has held over thirty five solo exhibitions and taken part in many joint ones.WATERCOLOR PAINT
White gesso is an acrylic based white paint full of calcium carbonate and marble dust. Its main use is as a primer for canvas, boards or any other painting ground. The great thing about gesso is that when it is applied as a diluted glaze it dries to a milky white permanent hazeWATERCOLOR PAPER
Watercolor paper comes in a huge variety of weights, sizes, textures and qualities. Let's cut through the confusion of selecting the paper that best suits what you want to paint. . . . Rough, Medium (Cold Pressed) and Smooth (Hot Pressed) Watercolor Paper. The best quality watercolor paper is acid free and made from 100% cotton fibre. SPLASHINGPAINT DVD SEASCAPE Use a minute amount if you are not used to it. It is easy to add a little more, but once you over do it you can be in real trouble! Preserve Whites. It is easy to get carried away while you are painting and wash completely over the white areas you want to retain. You can use masking fluid as insurance. Paint it on in slightly smallerpatches
LIMITED PALETTE
Limited Palette Painting Demos from the Workshop. . These are larger 1/4 sheet sized demos done with access to a full compliment of brushes and colors, but still employing a limited palette. Ultramarine Blue and Burnt Sienna were used for this demonstration painting of an oldchurch in Pienza.
WATECOLOR OVER GLAZES Watercolor Over Glazes. Watercolor over glazes are a useful technique to “tighten up” and simplify a painting. Watercolor over glazes can be applied at any time during the painting process or as a final adjustment to increase color harmony and unity. Generally the process requires mixing a large puddle of clean, transparent pigment andBLACK WATERCOLOR
Permanent Alizarin Crimson, Quinacridone Gold and French Ultramarine Blue can be mixed to produce either a warm, neutral or cool black. The effect of warm and cool darks can be seen in these two quick sketches below. The dark cavity of the window in the first example is painted with a warm dark and appears closer and less transparent than theBLUE WATERCOLOR
Blue Watercolor. . The range of Blue watercolor pigments stretches from warm Ultramarines containing varying amounts of red, through to cool, yellow influenced Phthalos and Turquoise. In this article we will examine all their different uses. Somewhere in the middle of all these colors is a pure blue, uninfluenced by either of the other two OVERSIZED WATERCOLOR PAPER Trimming Oversized Watercolor Paper. When the glue and paper are completely dry, trim off the excess paper with a craft knife. Make the cut from the back as close as possible to the edge of the panel. If we want to make the paper less absorbent, a coat or two of watercolorgesso makes a
MIXING GREEN
Mix up a green (leaning towards orange) using our three colours. Keep the top edge of the foliage rough and uneven. Soften it in a couple of places with a damp brush. While the paint is still wet, drop in a darker green mixed from just Burnt Sienna and Phthalo Blue.PAINTING WORKSHOPS
John Lovett . John Lovett is an Australian artist working in oils, watercolor and mixed media. Since commencing his career John has held over thirty five solo exhibitions and taken part in many joint ones.WATERCOLOR PAINT
White gesso is an acrylic based white paint full of calcium carbonate and marble dust. Its main use is as a primer for canvas, boards or any other painting ground. The great thing about gesso is that when it is applied as a diluted glaze it dries to a milky white permanent hazeWATERCOLOR PAPER
Watercolor paper comes in a huge variety of weights, sizes, textures and qualities. Let's cut through the confusion of selecting the paper that best suits what you want to paint. . . . Rough, Medium (Cold Pressed) and Smooth (Hot Pressed) Watercolor Paper. The best quality watercolor paper is acid free and made from 100% cotton fibre. SPLASHINGPAINT DVD SEASCAPE Use a minute amount if you are not used to it. It is easy to add a little more, but once you over do it you can be in real trouble! Preserve Whites. It is easy to get carried away while you are painting and wash completely over the white areas you want to retain. You can use masking fluid as insurance. Paint it on in slightly smallerpatches
LIMITED PALETTE
Limited Palette Painting Demos from the Workshop. . These are larger 1/4 sheet sized demos done with access to a full compliment of brushes and colors, but still employing a limited palette. Ultramarine Blue and Burnt Sienna were used for this demonstration painting of an oldchurch in Pienza.
WATECOLOR OVER GLAZES Watercolor Over Glazes. Watercolor over glazes are a useful technique to “tighten up” and simplify a painting. Watercolor over glazes can be applied at any time during the painting process or as a final adjustment to increase color harmony and unity. Generally the process requires mixing a large puddle of clean, transparent pigment andBLACK WATERCOLOR
Permanent Alizarin Crimson, Quinacridone Gold and French Ultramarine Blue can be mixed to produce either a warm, neutral or cool black. The effect of warm and cool darks can be seen in these two quick sketches below. The dark cavity of the window in the first example is painted with a warm dark and appears closer and less transparent than theBLUE WATERCOLOR
Blue Watercolor. . The range of Blue watercolor pigments stretches from warm Ultramarines containing varying amounts of red, through to cool, yellow influenced Phthalos and Turquoise. In this article we will examine all their different uses. Somewhere in the middle of all these colors is a pure blue, uninfluenced by either of the other two OVERSIZED WATERCOLOR PAPER Trimming Oversized Watercolor Paper. When the glue and paper are completely dry, trim off the excess paper with a craft knife. Make the cut from the back as close as possible to the edge of the panel. If we want to make the paper less absorbent, a coat or two of watercolorgesso makes a
MIXING GREEN
Mix up a green (leaning towards orange) using our three colours. Keep the top edge of the foliage rough and uneven. Soften it in a couple of places with a damp brush. While the paint is still wet, drop in a darker green mixed from just Burnt Sienna and Phthalo Blue.SMALL PAINTINGS
The small 4”x 3” paintings led on to slightly bigger 8”x5” paintings. The same quick, spontaneous approach was taken, but a little more detail included. Again the purpose of these little paintings was to push around ideas for larger works. All these paintings were based on a number of trips to numerous Australiandeserts.
WATERCOLOR BRUSHES
Watercolor Brushes . Artists brushes come in all shapes and sizes. They also vary considerably in price. The ultimate watercolor brushes have, for many years been Kolinsky sable. These are also used for acrylic and oil painting. Modern synthetic fibres such as Taklon are quickly closing the gap and providing almost the same quality for a SPLASHINGPAINT DVD SEASCAPE Use a minute amount if you are not used to it. It is easy to add a little more, but once you over do it you can be in real trouble! Preserve Whites. It is easy to get carried away while you are painting and wash completely over the white areas you want to retain. You can use masking fluid as insurance. Paint it on in slightly smallerpatches
DESIGN PRINCIPLE HARMONY Harmony. Harmony is the visually satisfying effect of combining similar or related elements. Harmony in a painting or design helps bring about unity. All harmony and no contrast, however, can become monotonous. A balance must be struck between areas of harmony and areas of contrast. In the painting below the harmonious, repeatingrectangles are
PAINTING FINE LINES
Painting fine lines with less than perfect brushes is a difficult, if not impossible task. That hair thin line they used to produce with ease when new, slowly becomes thicker, heavier and clumsier. . The difference between a new rigger and one a few months old is obvious MIXED MEDIA PAINTING The fun with watercolor really starts when we combine it with other painting media. Ink, gouache, gesso, pastel, charcoal and acrylic all combine beautifully with watercolor to produce vibrant interesting paintings. This combination of materials is generally referred to as mixed media painting – not that labels are important, but anypainting
PLACEMENT, SPACING, VARIATION One of the most important, but not at first obvious, considerations when composing a painting is the correct placement, spacing and variation of repeating elements. The simplest example of this can be seen when placing a fence in a painting. At first glance we understand a fence to be a long repeating series of posts planted in the ground.WATERCOLOR TEXTURE
The painting below was done on a full sheet of 600gsm Fabriano paper. To add a more obvious physical texture to the paper, Watercolor Gesso (or absorbent ground) was applied to the paper with rough choppy brush strokes and left to dry. Although subtle it adds an interesting brushed texture to the painting amplifying the weathered patina of theCATARACT SURGERY
The specialist I spoke to said, that because of my age (61) and the fact that there was the first sign of cataracts present, cataract surgery would be my best option. Cataract surgery requires removing the natural lens and replacing it with a small precision acrylic lens. The newest lenses made by CARL ZEISS are a trifocal lens employing aYELLOW WATERCOLOR
Yellow Watercolor. Yellow is one of those pigments that can make or break a painting. Because it is the highest key, or lightest toned color we use, it has the potential to quickly turn dark mixtures to an opaque muddy sludge. That’s fine if something heavy and opaque is your intention, but if you are trying to mix a rich clean dark, thePAINTING WORKSHOPS
John Lovett . John Lovett is an Australian artist working in oils, watercolor and mixed media. Since commencing his career John has held over thirty five solo exhibitions and taken part in many joint ones.WATERCOLOR PAINT
White gesso is an acrylic based white paint full of calcium carbonate and marble dust. Its main use is as a primer for canvas, boards or any other painting ground. The great thing about gesso is that when it is applied as a diluted glaze it dries to a milky white permanent hazeWATERCOLOR PAPER
Watercolor paper comes in a huge variety of weights, sizes, textures and qualities. Let's cut through the confusion of selecting the paper that best suits what you want to paint. . . . Rough, Medium (Cold Pressed) and Smooth (Hot Pressed) Watercolor Paper. The best quality watercolor paper is acid free and made from 100% cotton fibre. DESIGN PRINCIPLE HARMONY Harmony. Harmony is the visually satisfying effect of combining similar or related elements. Harmony in a painting or design helps bring about unity. All harmony and no contrast, however, can become monotonous. A balance must be struck between areas of harmony and areas of contrast. In the painting below the harmonious, repeatingrectangles are
WATERCOLOR TECHNIQUES Pressing into wet paper. . This is a simple watercolor technique where a variety of objects (brush handles, empty ball point pens, blunt knives) can be used to compress the paper while a wash is still wet. The compressed paper will absorb more pigment than the surroundingBRUSH TECHNIQUES
Use your little finger as a guide, sweeping it along the paper. If you are right handed start from the left and sweep across to the right (vice versa if left handed) Move your arm from the shoulder. Keep your wrist and fingers fixed. Move the brush in a single sweep, keeping itperpendicular.
LIMITED PALETTE
Limited Palette Painting Demos from the Workshop. . These are larger 1/4 sheet sized demos done with access to a full compliment of brushes and colors, but still employing a limited palette. Ultramarine Blue and Burnt Sienna were used for this demonstration painting of an oldchurch in Pienza.
BLUE WATERCOLOR
Blue Watercolor. . The range of Blue watercolor pigments stretches from warm Ultramarines containing varying amounts of red, through to cool, yellow influenced Phthalos and Turquoise. In this article we will examine all their different uses. Somewhere in the middle of all these colors is a pure blue, uninfluenced by either of the other twoBLACK WATERCOLOR
Permanent Alizarin Crimson, Quinacridone Gold and French Ultramarine Blue can be mixed to produce either a warm, neutral or cool black. The effect of warm and cool darks can be seen in these two quick sketches below. The dark cavity of the window in the first example is painted with a warm dark and appears closer and less transparent than the OVERSIZED WATERCOLOR PAPER Trimming Oversized Watercolor Paper. When the glue and paper are completely dry, trim off the excess paper with a craft knife. Make the cut from the back as close as possible to the edge of the panel. If we want to make the paper less absorbent, a coat or two of watercolorgesso makes a
PAINTING WORKSHOPS
John Lovett . John Lovett is an Australian artist working in oils, watercolor and mixed media. Since commencing his career John has held over thirty five solo exhibitions and taken part in many joint ones.WATERCOLOR PAINT
White gesso is an acrylic based white paint full of calcium carbonate and marble dust. Its main use is as a primer for canvas, boards or any other painting ground. The great thing about gesso is that when it is applied as a diluted glaze it dries to a milky white permanent hazeWATERCOLOR PAPER
Watercolor paper comes in a huge variety of weights, sizes, textures and qualities. Let's cut through the confusion of selecting the paper that best suits what you want to paint. . . . Rough, Medium (Cold Pressed) and Smooth (Hot Pressed) Watercolor Paper. The best quality watercolor paper is acid free and made from 100% cotton fibre. DESIGN PRINCIPLE HARMONY Harmony. Harmony is the visually satisfying effect of combining similar or related elements. Harmony in a painting or design helps bring about unity. All harmony and no contrast, however, can become monotonous. A balance must be struck between areas of harmony and areas of contrast. In the painting below the harmonious, repeatingrectangles are
WATERCOLOR TECHNIQUES Pressing into wet paper. . This is a simple watercolor technique where a variety of objects (brush handles, empty ball point pens, blunt knives) can be used to compress the paper while a wash is still wet. The compressed paper will absorb more pigment than the surroundingBRUSH TECHNIQUES
Use your little finger as a guide, sweeping it along the paper. If you are right handed start from the left and sweep across to the right (vice versa if left handed) Move your arm from the shoulder. Keep your wrist and fingers fixed. Move the brush in a single sweep, keeping itperpendicular.
LIMITED PALETTE
Limited Palette Painting Demos from the Workshop. . These are larger 1/4 sheet sized demos done with access to a full compliment of brushes and colors, but still employing a limited palette. Ultramarine Blue and Burnt Sienna were used for this demonstration painting of an oldchurch in Pienza.
BLUE WATERCOLOR
Blue Watercolor. . The range of Blue watercolor pigments stretches from warm Ultramarines containing varying amounts of red, through to cool, yellow influenced Phthalos and Turquoise. In this article we will examine all their different uses. Somewhere in the middle of all these colors is a pure blue, uninfluenced by either of the other twoBLACK WATERCOLOR
Permanent Alizarin Crimson, Quinacridone Gold and French Ultramarine Blue can be mixed to produce either a warm, neutral or cool black. The effect of warm and cool darks can be seen in these two quick sketches below. The dark cavity of the window in the first example is painted with a warm dark and appears closer and less transparent than the OVERSIZED WATERCOLOR PAPER Trimming Oversized Watercolor Paper. When the glue and paper are completely dry, trim off the excess paper with a craft knife. Make the cut from the back as close as possible to the edge of the panel. If we want to make the paper less absorbent, a coat or two of watercolorgesso makes a
PAINTING LESSONS
John Lovett . John Lovett is an Australian artist working in oils, watercolor and mixed media. Since commencing his career John has held over thirty five solo exhibitions and taken part in many joint ones.WATERCOLOR BRUSHES
Watercolor Brushes . Artists brushes come in all shapes and sizes. They also vary considerably in price. The ultimate watercolor brushes have, for many years been Kolinsky sable. These are also used for acrylic and oil painting. Modern synthetic fibres such as Taklon are quickly closing the gap and providing almost the same quality for aPAINTING FINE LINES
Painting fine lines with less than perfect brushes is a difficult, if not impossible task. That hair thin line they used to produce with ease when new, slowly becomes thicker, heavier and clumsier. . The difference between a new rigger and one a few months old is obvious MIXED MEDIA PAINTING The fun with watercolor really starts when we combine it with other painting media. Ink, gouache, gesso, pastel, charcoal and acrylic all combine beautifully with watercolor to produce vibrant interesting paintings. This combination of materials is generally referred to as mixed media painting – not that labels are important, but anypainting
DESIGN PRINCIPLE HARMONY Harmony. Harmony is the visually satisfying effect of combining similar or related elements. Harmony in a painting or design helps bring about unity. All harmony and no contrast, however, can become monotonous. A balance must be struck between areas of harmony and areas of contrast. In the painting below the harmonious, repeatingrectangles are
OVERSIZED WATERCOLOR PAPER Trimming Oversized Watercolor Paper. When the glue and paper are completely dry, trim off the excess paper with a craft knife. Make the cut from the back as close as possible to the edge of the panel. If we want to make the paper less absorbent, a coat or two of watercolorgesso makes a
BRUSH TECHNIQUES
Use your little finger as a guide, sweeping it along the paper. If you are right handed start from the left and sweep across to the right (vice versa if left handed) Move your arm from the shoulder. Keep your wrist and fingers fixed. Move the brush in a single sweep, keeping itperpendicular.
COLOR CONTROL
A simple approach to using compound or unsaturated colors is to mix all colors by adding what ever color you are mixing towards to a puddle of neutral gray on your palette. Saturation can be increased as the painting evolves, giving much more control over the outcome. . Author: John Lovett. WATERCOLOR TIPS FOR BEGINNERS These watercolor tips for beginners examine all the basic watercolor techniques to set you off on the right path. Tip 1. Saving White Paper. . The first and most obvious difference is the fact that watercolor is transparent. It relies on untouched paper for the clean,crisp whites.
HOW TO MIX COLORS
With Acrylic, Oil or Gouache adding white to the mixture is the easiest way to lighten the tone. This exercise is a great way to discover exactly how much water or white paint is necessary to produce the tone required. Draw a series of seven adjoining squares with a hard pencil so the lines are barely visible.PAINTING WORKSHOPS
John Lovett . John Lovett is an Australian artist working in oils, watercolor and mixed media. Since commencing his career John has held over thirty five solo exhibitions and taken part in many joint ones.WATERCOLOR PAINT
White gesso is an acrylic based white paint full of calcium carbonate and marble dust. Its main use is as a primer for canvas, boards or any other painting ground. The great thing about gesso is that when it is applied as a diluted glaze it dries to a milky white permanent hazeWATERCOLOR PAPER
Watercolor paper comes in a huge variety of weights, sizes, textures and qualities. Let's cut through the confusion of selecting the paper that best suits what you want to paint. . . . Rough, Medium (Cold Pressed) and Smooth (Hot Pressed) Watercolor Paper. The best quality watercolor paper is acid free and made from 100% cotton fibre. DESIGN PRINCIPLE HARMONY Harmony. Harmony is the visually satisfying effect of combining similar or related elements. Harmony in a painting or design helps bring about unity. All harmony and no contrast, however, can become monotonous. A balance must be struck between areas of harmony and areas of contrast. In the painting below the harmonious, repeatingrectangles are
WATERCOLOR TECHNIQUES Pressing into wet paper. . This is a simple watercolor technique where a variety of objects (brush handles, empty ball point pens, blunt knives) can be used to compress the paper while a wash is still wet. The compressed paper will absorb more pigment than the surroundingBRUSH TECHNIQUES
Use your little finger as a guide, sweeping it along the paper. If you are right handed start from the left and sweep across to the right (vice versa if left handed) Move your arm from the shoulder. Keep your wrist and fingers fixed. Move the brush in a single sweep, keeping itperpendicular.
LIMITED PALETTE
Limited Palette Painting Demos from the Workshop. . These are larger 1/4 sheet sized demos done with access to a full compliment of brushes and colors, but still employing a limited palette. Ultramarine Blue and Burnt Sienna were used for this demonstration painting of an oldchurch in Pienza.
BLUE WATERCOLOR
Blue Watercolor. . The range of Blue watercolor pigments stretches from warm Ultramarines containing varying amounts of red, through to cool, yellow influenced Phthalos and Turquoise. In this article we will examine all their different uses. Somewhere in the middle of all these colors is a pure blue, uninfluenced by either of the other twoBLACK WATERCOLOR
Permanent Alizarin Crimson, Quinacridone Gold and French Ultramarine Blue can be mixed to produce either a warm, neutral or cool black. The effect of warm and cool darks can be seen in these two quick sketches below. The dark cavity of the window in the first example is painted with a warm dark and appears closer and less transparent than the OVERSIZED WATERCOLOR PAPER Trimming Oversized Watercolor Paper. When the glue and paper are completely dry, trim off the excess paper with a craft knife. Make the cut from the back as close as possible to the edge of the panel. If we want to make the paper less absorbent, a coat or two of watercolorgesso makes a
PAINTING WORKSHOPS
John Lovett . John Lovett is an Australian artist working in oils, watercolor and mixed media. Since commencing his career John has held over thirty five solo exhibitions and taken part in many joint ones.WATERCOLOR PAINT
White gesso is an acrylic based white paint full of calcium carbonate and marble dust. Its main use is as a primer for canvas, boards or any other painting ground. The great thing about gesso is that when it is applied as a diluted glaze it dries to a milky white permanent hazeWATERCOLOR PAPER
Watercolor paper comes in a huge variety of weights, sizes, textures and qualities. Let's cut through the confusion of selecting the paper that best suits what you want to paint. . . . Rough, Medium (Cold Pressed) and Smooth (Hot Pressed) Watercolor Paper. The best quality watercolor paper is acid free and made from 100% cotton fibre. DESIGN PRINCIPLE HARMONY Harmony. Harmony is the visually satisfying effect of combining similar or related elements. Harmony in a painting or design helps bring about unity. All harmony and no contrast, however, can become monotonous. A balance must be struck between areas of harmony and areas of contrast. In the painting below the harmonious, repeatingrectangles are
WATERCOLOR TECHNIQUES Pressing into wet paper. . This is a simple watercolor technique where a variety of objects (brush handles, empty ball point pens, blunt knives) can be used to compress the paper while a wash is still wet. The compressed paper will absorb more pigment than the surroundingBRUSH TECHNIQUES
Use your little finger as a guide, sweeping it along the paper. If you are right handed start from the left and sweep across to the right (vice versa if left handed) Move your arm from the shoulder. Keep your wrist and fingers fixed. Move the brush in a single sweep, keeping itperpendicular.
LIMITED PALETTE
Limited Palette Painting Demos from the Workshop. . These are larger 1/4 sheet sized demos done with access to a full compliment of brushes and colors, but still employing a limited palette. Ultramarine Blue and Burnt Sienna were used for this demonstration painting of an oldchurch in Pienza.
BLUE WATERCOLOR
Blue Watercolor. . The range of Blue watercolor pigments stretches from warm Ultramarines containing varying amounts of red, through to cool, yellow influenced Phthalos and Turquoise. In this article we will examine all their different uses. Somewhere in the middle of all these colors is a pure blue, uninfluenced by either of the other twoBLACK WATERCOLOR
Permanent Alizarin Crimson, Quinacridone Gold and French Ultramarine Blue can be mixed to produce either a warm, neutral or cool black. The effect of warm and cool darks can be seen in these two quick sketches below. The dark cavity of the window in the first example is painted with a warm dark and appears closer and less transparent than the OVERSIZED WATERCOLOR PAPER Trimming Oversized Watercolor Paper. When the glue and paper are completely dry, trim off the excess paper with a craft knife. Make the cut from the back as close as possible to the edge of the panel. If we want to make the paper less absorbent, a coat or two of watercolorgesso makes a
PAINTING LESSONS
John Lovett . John Lovett is an Australian artist working in oils, watercolor and mixed media. Since commencing his career John has held over thirty five solo exhibitions and taken part in many joint ones.WATERCOLOR BRUSHES
Watercolor Brushes . Artists brushes come in all shapes and sizes. They also vary considerably in price. The ultimate watercolor brushes have, for many years been Kolinsky sable. These are also used for acrylic and oil painting. Modern synthetic fibres such as Taklon are quickly closing the gap and providing almost the same quality for aPAINTING FINE LINES
Painting fine lines with less than perfect brushes is a difficult, if not impossible task. That hair thin line they used to produce with ease when new, slowly becomes thicker, heavier and clumsier. . The difference between a new rigger and one a few months old is obvious MIXED MEDIA PAINTING The fun with watercolor really starts when we combine it with other painting media. Ink, gouache, gesso, pastel, charcoal and acrylic all combine beautifully with watercolor to produce vibrant interesting paintings. This combination of materials is generally referred to as mixed media painting – not that labels are important, but anypainting
DESIGN PRINCIPLE HARMONY Harmony. Harmony is the visually satisfying effect of combining similar or related elements. Harmony in a painting or design helps bring about unity. All harmony and no contrast, however, can become monotonous. A balance must be struck between areas of harmony and areas of contrast. In the painting below the harmonious, repeatingrectangles are
OVERSIZED WATERCOLOR PAPER Trimming Oversized Watercolor Paper. When the glue and paper are completely dry, trim off the excess paper with a craft knife. Make the cut from the back as close as possible to the edge of the panel. If we want to make the paper less absorbent, a coat or two of watercolorgesso makes a
BRUSH TECHNIQUES
Use your little finger as a guide, sweeping it along the paper. If you are right handed start from the left and sweep across to the right (vice versa if left handed) Move your arm from the shoulder. Keep your wrist and fingers fixed. Move the brush in a single sweep, keeping itperpendicular.
COLOR CONTROL
A simple approach to using compound or unsaturated colors is to mix all colors by adding what ever color you are mixing towards to a puddle of neutral gray on your palette. Saturation can be increased as the painting evolves, giving much more control over the outcome. . Author: John Lovett. WATERCOLOR TIPS FOR BEGINNERS These watercolor tips for beginners examine all the basic watercolor techniques to set you off on the right path. Tip 1. Saving White Paper. . The first and most obvious difference is the fact that watercolor is transparent. It relies on untouched paper for the clean,crisp whites.
HOW TO MIX COLORS
With Acrylic, Oil or Gouache adding white to the mixture is the easiest way to lighten the tone. This exercise is a great way to discover exactly how much water or white paint is necessary to produce the tone required. Draw a series of seven adjoining squares with a hard pencil so the lines are barely visible.PAINTING WORKSHOPS
John Lovett . John Lovett is an Australian artist working in oils, watercolor and mixed media. Since commencing his career John has held over thirty five solo exhibitions and taken part in many joint ones.BLUE WATERCOLOR
Blue Watercolor. . The range of Blue watercolor pigments stretches from warm Ultramarines containing varying amounts of red, through to cool, yellow influenced Phthalos and Turquoise. In this article we will examine all their different uses. Somewhere in the middle of all these colors is a pure blue, uninfluenced by either of the other two DESIGN PRINCIPLE HARMONY Harmony. Harmony is the visually satisfying effect of combining similar or related elements. Harmony in a painting or design helps bring about unity. All harmony and no contrast, however, can become monotonous. A balance must be struck between areas of harmony and areas of contrast. In the painting below the harmonious, repeatingrectangles are
WATERCOLOR PAINT
White gesso is an acrylic based white paint full of calcium carbonate and marble dust. Its main use is as a primer for canvas, boards or any other painting ground. The great thing about gesso is that when it is applied as a diluted glaze it dries to a milky white permanent haze OVERSIZED WATERCOLOR PAPER Trimming Oversized Watercolor Paper. When the glue and paper are completely dry, trim off the excess paper with a craft knife. Make the cut from the back as close as possible to the edge of the panel. If we want to make the paper less absorbent, a coat or two of watercolorgesso makes a
MIXING GREEN
Mix up a green (leaning towards orange) using our three colours. Keep the top edge of the foliage rough and uneven. Soften it in a couple of places with a damp brush. While the paint is still wet, drop in a darker green mixed from just Burnt Sienna and Phthalo Blue. PRINCIPLES OF DESIGN Contrast, Harmony, Balance, Repetition, Dominance, Gradation, Unity. If the elements of design are the raw materials or building blocks for any form of visual expression, then the Principles of design are a list of things we can do to those elements.WATERCOLOR PAPER
Watercolor paper comes in a huge variety of weights, sizes, textures and qualities. Let's cut through the confusion of selecting the paper that best suits what you want to paint. . . . Rough, Medium (Cold Pressed) and Smooth (Hot Pressed) Watercolor Paper. The best quality watercolor paper is acid free and made from 100% cotton fibre. SPLASHINGPAINT DVD SEASCAPE Use a minute amount if you are not used to it. It is easy to add a little more, but once you over do it you can be in real trouble! Preserve Whites. It is easy to get carried away while you are painting and wash completely over the white areas you want to retain. You can use masking fluid as insurance. Paint it on in slightly smallerpatches
LIMITED PALETTE
Limited Palette Painting Demos from the Workshop. . These are larger 1/4 sheet sized demos done with access to a full compliment of brushes and colors, but still employing a limited palette. Ultramarine Blue and Burnt Sienna were used for this demonstration painting of an oldchurch in Pienza.
PAINTING WORKSHOPS
John Lovett . John Lovett is an Australian artist working in oils, watercolor and mixed media. Since commencing his career John has held over thirty five solo exhibitions and taken part in many joint ones.BLUE WATERCOLOR
Blue Watercolor. . The range of Blue watercolor pigments stretches from warm Ultramarines containing varying amounts of red, through to cool, yellow influenced Phthalos and Turquoise. In this article we will examine all their different uses. Somewhere in the middle of all these colors is a pure blue, uninfluenced by either of the other two DESIGN PRINCIPLE HARMONY Harmony. Harmony is the visually satisfying effect of combining similar or related elements. Harmony in a painting or design helps bring about unity. All harmony and no contrast, however, can become monotonous. A balance must be struck between areas of harmony and areas of contrast. In the painting below the harmonious, repeatingrectangles are
WATERCOLOR PAINT
White gesso is an acrylic based white paint full of calcium carbonate and marble dust. Its main use is as a primer for canvas, boards or any other painting ground. The great thing about gesso is that when it is applied as a diluted glaze it dries to a milky white permanent haze OVERSIZED WATERCOLOR PAPER Trimming Oversized Watercolor Paper. When the glue and paper are completely dry, trim off the excess paper with a craft knife. Make the cut from the back as close as possible to the edge of the panel. If we want to make the paper less absorbent, a coat or two of watercolorgesso makes a
MIXING GREEN
Mix up a green (leaning towards orange) using our three colours. Keep the top edge of the foliage rough and uneven. Soften it in a couple of places with a damp brush. While the paint is still wet, drop in a darker green mixed from just Burnt Sienna and Phthalo Blue. PRINCIPLES OF DESIGN Contrast, Harmony, Balance, Repetition, Dominance, Gradation, Unity. If the elements of design are the raw materials or building blocks for any form of visual expression, then the Principles of design are a list of things we can do to those elements.WATERCOLOR PAPER
Watercolor paper comes in a huge variety of weights, sizes, textures and qualities. Let's cut through the confusion of selecting the paper that best suits what you want to paint. . . . Rough, Medium (Cold Pressed) and Smooth (Hot Pressed) Watercolor Paper. The best quality watercolor paper is acid free and made from 100% cotton fibre. SPLASHINGPAINT DVD SEASCAPE Use a minute amount if you are not used to it. It is easy to add a little more, but once you over do it you can be in real trouble! Preserve Whites. It is easy to get carried away while you are painting and wash completely over the white areas you want to retain. You can use masking fluid as insurance. Paint it on in slightly smallerpatches
LIMITED PALETTE
Limited Palette Painting Demos from the Workshop. . These are larger 1/4 sheet sized demos done with access to a full compliment of brushes and colors, but still employing a limited palette. Ultramarine Blue and Burnt Sienna were used for this demonstration painting of an oldchurch in Pienza.
WATERCOLOR BRUSHES
Watercolor Brushes . Artists brushes come in all shapes and sizes. They also vary considerably in price. The ultimate watercolor brushes have, for many years been Kolinsky sable. These are also used for acrylic and oil painting. Modern synthetic fibres such as Taklon are quickly closing the gap and providing almost the same quality for aLIMITED PALETTE
Limited Palette Painting Demos from the Workshop. . These are larger 1/4 sheet sized demos done with access to a full compliment of brushes and colors, but still employing a limited palette. Ultramarine Blue and Burnt Sienna were used for this demonstration painting of an oldchurch in Pienza.
DESIGN PRINCIPLE HARMONY Harmony. Harmony is the visually satisfying effect of combining similar or related elements. Harmony in a painting or design helps bring about unity. All harmony and no contrast, however, can become monotonous. A balance must be struck between areas of harmony and areas of contrast. In the painting below the harmonious, repeatingrectangles are
MIXED MEDIA PAINTING The fun with watercolor really starts when we combine it with other painting media. Ink, gouache, gesso, pastel, charcoal and acrylic all combine beautifully with watercolor to produce vibrant interesting paintings. This combination of materials is generally referred to as mixed media painting – not that labels are important, but anypainting
PAINTING FINE LINES
Painting fine lines with less than perfect brushes is a difficult, if not impossible task. That hair thin line they used to produce with ease when new, slowly becomes thicker, heavier and clumsier. . The difference between a new rigger and one a few months old is obviousBLACK WATERCOLOR
Permanent Alizarin Crimson, Quinacridone Gold and French Ultramarine Blue can be mixed to produce either a warm, neutral or cool black. The effect of warm and cool darks can be seen in these two quick sketches below. The dark cavity of the window in the first example is painted with a warm dark and appears closer and less transparent than the OVERSIZED WATERCOLOR PAPER Trimming Oversized Watercolor Paper. When the glue and paper are completely dry, trim off the excess paper with a craft knife. Make the cut from the back as close as possible to the edge of the panel. If we want to make the paper less absorbent, a coat or two of watercolorgesso makes a
COLOR CONTROL
A simple approach to using compound or unsaturated colors is to mix all colors by adding what ever color you are mixing towards to a puddle of neutral gray on your palette. Saturation can be increased as the painting evolves, giving much more control over the outcome. . Author: John Lovett.YELLOW WATERCOLOR
Yellow Watercolor. Yellow is one of those pigments that can make or break a painting. Because it is the highest key, or lightest toned color we use, it has the potential to quickly turn dark mixtures to an opaque muddy sludge. That’s fine if something heavy and opaque is your intention, but if you are trying to mix a rich clean dark, theCATARACT SURGERY
The specialist I spoke to said, that because of my age (61) and the fact that there was the first sign of cataracts present, cataract surgery would be my best option. Cataract surgery requires removing the natural lens and replacing it with a small precision acrylic lens. The newest lenses made by CARL ZEISS are a trifocal lens employing aPAINTING WORKSHOPS
John Lovett . John Lovett is an Australian artist working in oils, watercolor and mixed media. Since commencing his career John has held over thirty five solo exhibitions and taken part in many joint ones.WATERCOLOR PAINT
White gesso is an acrylic based white paint full of calcium carbonate and marble dust. Its main use is as a primer for canvas, boards or any other painting ground. The great thing about gesso is that when it is applied as a diluted glaze it dries to a milky white permanent haze PRINCIPLES OF DESIGN Contrast, Harmony, Balance, Repetition, Dominance, Gradation, Unity. If the elements of design are the raw materials or building blocks for any form of visual expression, then the Principles of design are a list of things we can do to those elements.WATERCOLOR PAPER
Watercolor paper comes in a huge variety of weights, sizes, textures and qualities. Let's cut through the confusion of selecting the paper that best suits what you want to paint. . . . Rough, Medium (Cold Pressed) and Smooth (Hot Pressed) Watercolor Paper. The best quality watercolor paper is acid free and made from 100% cotton fibre.PAINTING FINE LINES
Painting fine lines with less than perfect brushes is a difficult, if not impossible task. That hair thin line they used to produce with ease when new, slowly becomes thicker, heavier and clumsier. . The difference between a new rigger and one a few months old is obviousLIMITED PALETTE
Limited Palette Painting Demos from the Workshop. . These are larger 1/4 sheet sized demos done with access to a full compliment of brushes and colors, but still employing a limited palette. Ultramarine Blue and Burnt Sienna were used for this demonstration painting of an oldchurch in Pienza.
WATERCOLOR TIPS FOR BEGINNERS These watercolor tips for beginners examine all the basic watercolor techniques to set you off on the right path. Tip 1. Saving White Paper. . The first and most obvious difference is the fact that watercolor is transparent. It relies on untouched paper for the clean,crisp whites.
BLUE WATERCOLOR
Blue Watercolor. . The range of Blue watercolor pigments stretches from warm Ultramarines containing varying amounts of red, through to cool, yellow influenced Phthalos and Turquoise. In this article we will examine all their different uses. Somewhere in the middle of all these colors is a pure blue, uninfluenced by either of the other two OVERSIZED WATERCOLOR PAPER Trimming Oversized Watercolor Paper. When the glue and paper are completely dry, trim off the excess paper with a craft knife. Make the cut from the back as close as possible to the edge of the panel. If we want to make the paper less absorbent, a coat or two of watercolorgesso makes a
MIXING GREEN
Mix up a green (leaning towards orange) using our three colours. Keep the top edge of the foliage rough and uneven. Soften it in a couple of places with a damp brush. While the paint is still wet, drop in a darker green mixed from just Burnt Sienna and Phthalo Blue.PAINTING WORKSHOPS
John Lovett . John Lovett is an Australian artist working in oils, watercolor and mixed media. Since commencing his career John has held over thirty five solo exhibitions and taken part in many joint ones.WATERCOLOR PAINT
White gesso is an acrylic based white paint full of calcium carbonate and marble dust. Its main use is as a primer for canvas, boards or any other painting ground. The great thing about gesso is that when it is applied as a diluted glaze it dries to a milky white permanent haze PRINCIPLES OF DESIGN Contrast, Harmony, Balance, Repetition, Dominance, Gradation, Unity. If the elements of design are the raw materials or building blocks for any form of visual expression, then the Principles of design are a list of things we can do to those elements.WATERCOLOR PAPER
Watercolor paper comes in a huge variety of weights, sizes, textures and qualities. Let's cut through the confusion of selecting the paper that best suits what you want to paint. . . . Rough, Medium (Cold Pressed) and Smooth (Hot Pressed) Watercolor Paper. The best quality watercolor paper is acid free and made from 100% cotton fibre.PAINTING FINE LINES
Painting fine lines with less than perfect brushes is a difficult, if not impossible task. That hair thin line they used to produce with ease when new, slowly becomes thicker, heavier and clumsier. . The difference between a new rigger and one a few months old is obviousLIMITED PALETTE
Limited Palette Painting Demos from the Workshop. . These are larger 1/4 sheet sized demos done with access to a full compliment of brushes and colors, but still employing a limited palette. Ultramarine Blue and Burnt Sienna were used for this demonstration painting of an oldchurch in Pienza.
WATERCOLOR TIPS FOR BEGINNERS These watercolor tips for beginners examine all the basic watercolor techniques to set you off on the right path. Tip 1. Saving White Paper. . The first and most obvious difference is the fact that watercolor is transparent. It relies on untouched paper for the clean,crisp whites.
BLUE WATERCOLOR
Blue Watercolor. . The range of Blue watercolor pigments stretches from warm Ultramarines containing varying amounts of red, through to cool, yellow influenced Phthalos and Turquoise. In this article we will examine all their different uses. Somewhere in the middle of all these colors is a pure blue, uninfluenced by either of the other two OVERSIZED WATERCOLOR PAPER Trimming Oversized Watercolor Paper. When the glue and paper are completely dry, trim off the excess paper with a craft knife. Make the cut from the back as close as possible to the edge of the panel. If we want to make the paper less absorbent, a coat or two of watercolorgesso makes a
MIXING GREEN
Mix up a green (leaning towards orange) using our three colours. Keep the top edge of the foliage rough and uneven. Soften it in a couple of places with a damp brush. While the paint is still wet, drop in a darker green mixed from just Burnt Sienna and Phthalo Blue.PAINTING LESSONS
John Lovett . John Lovett is an Australian artist working in oils, watercolor and mixed media. Since commencing his career John has held over thirty five solo exhibitions and taken part in many joint ones.WATERCOLOR BRUSHES
Watercolor Brushes . Artists brushes come in all shapes and sizes. They also vary considerably in price. The ultimate watercolor brushes have, for many years been Kolinsky sable. These are also used for acrylic and oil painting. Modern synthetic fibres such as Taklon are quickly closing the gap and providing almost the same quality for a WATERCOLOR TECHNIQUES Pressing into wet paper. . This is a simple watercolor technique where a variety of objects (brush handles, empty ball point pens, blunt knives) can be used to compress the paper while a wash is still wet. The compressed paper will absorb more pigment than the surrounding DESIGN PRINCIPLE HARMONY Harmony. Harmony is the visually satisfying effect of combining similar or related elements. Harmony in a painting or design helps bring about unity. All harmony and no contrast, however, can become monotonous. A balance must be struck between areas of harmony and areas of contrast. In the painting below the harmonious, repeatingrectangles are
WATERCOLOR TIPS FOR BEGINNERS These watercolor tips for beginners examine all the basic watercolor techniques to set you off on the right path. Tip 1. Saving White Paper. . The first and most obvious difference is the fact that watercolor is transparent. It relies on untouched paper for the clean,crisp whites.
MIXED MEDIA PAINTING The fun with watercolor really starts when we combine it with other painting media. Ink, gouache, gesso, pastel, charcoal and acrylic all combine beautifully with watercolor to produce vibrant interesting paintings. This combination of materials is generally referred to as mixed media painting – not that labels are important, but anypainting
LIMITED PALETTE
Limited Palette Painting Demos from the Workshop. . These are larger 1/4 sheet sized demos done with access to a full compliment of brushes and colors, but still employing a limited palette. Ultramarine Blue and Burnt Sienna were used for this demonstration painting of an oldchurch in Pienza.
PLACEMENT, SPACING, VARIATION One of the most important, but not at first obvious, considerations when composing a painting is the correct placement, spacing and variation of repeating elements. The simplest example of this can be seen when placing a fence in a painting. At first glance we understand a fence to be a long repeating series of posts planted in the ground.BLACK WATERCOLOR
Permanent Alizarin Crimson, Quinacridone Gold and French Ultramarine Blue can be mixed to produce either a warm, neutral or cool black. The effect of warm and cool darks can be seen in these two quick sketches below. The dark cavity of the window in the first example is painted with a warm dark and appears closer and less transparent than the OVERSIZED WATERCOLOR PAPER Trimming Oversized Watercolor Paper. When the glue and paper are completely dry, trim off the excess paper with a craft knife. Make the cut from the back as close as possible to the edge of the panel. If we want to make the paper less absorbent, a coat or two of watercolorgesso makes a
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JOHN LOVETT
John Lovett is an Australian artist working in oils, watercolor and mixed media. Since commencing his career John has held over thirty five solo exhibitions and taken part in many joint ones. John’s work is represented in private and corporate collections in Australia, United Kingdom, Europe, Asia and USA. John’s passion for his work and his open easy approach to teaching make his books, DVD’s and workshops thoroughly enjoyable, extremely informative and always very popular. His articles are regularly featured in “International Artist” magazine.
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