There are several kinds of edges that can be achieved in watercolor; hard edges, soft edges, and lost edges. This painting of Maple, my daughter’s cat, has all three.
Consider the right side of Maple and the bottom of her tail. These soft edges were created by wetting the paper so a line of paint dispersed into the surface. This gives that furry affect I was hoping for. Too much water and the paint simply spreads away, so it’s best to do this when the paper is wet but you can still see the tooth of the surface. If it’s too puddly, wait or remove some of the water. Make sure your pigment is stronger in value than you think you need. it will dry about 30% lighter.
Now look at the right side of Maple’s face. No edge at all, but we know it’s there because our brain tells us that is how a cat looks. By not painting that edge in, I have suggested to the viewer that it is not important in the composition. I have also acknowledged that the viewer is smart enough to figure it out. We seldom give our viewers the credit they deserve.
Finally you have hard edges. Those would be the lines and shapes in the face, particularly the eyes. This tells the viewer where I want them to look, and what I deem is important; the focal point. Notice I didn’t put the focal point in the middle of the page. A good composition avoids the center of the paper or canvas, allowing the viewer’s eye to wander around the painting. I did some negative painting around that front paw with some French ultramarine to cool the painting down a bit. Also along the left side of the face and top of the tail - three places; it’s always good to work in odd numbers. Maple also falls within a triangular form; the best visual shape to move through a painting.
Colors: Quinacridone Gold, black composed of Perylene Green, French Ultramarine and perylene maroon, and French Ultramarine
Brushes: #6, 8 round
Read MoreThe important lesson in the mountain painting is the lesson on creating a sense of depth.
** Cool colors recede, warm colors advance.
To move the mountains back, I painted the sky down to the horizon. Once the french ultramarine was “set” I added Moonglow (Daniel Smith) and a bit of cadmium orange to neutralize the color. When those colors were set I used a 1/2” flat brush to pull the color away, creating the snow/light on the sides of the mountains.
Notice that the trees in the background are vague or not identifiable at all. I also threw in some ultramarine to keep the farthest hills in the distance. As the hills get closer, the trees get bigger, warmer, and more defined. Just for fun, I added the little building and the fence. I, for one like to include something manmade in a landscape. It makes great bond between man and nature, and it doesn’t take much!
Colors: French Ultramarine, Moonglow, Cadmium Orange, new gamboge, lemon yellow, perylene green
Brushes: 1” flat - sky, 1/2” flat - mountains, trees, hills, #8 - trees
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