Once a Brush Has Been Used for Daniel Smith Watercolor Ground
Cindy Lane: Painting on Canvas with Watercolor Footing
Cindy Lane: Painting on Canvas with Watercolor Footing
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I love to create with the DANIEL SMITH Primatek range of paints every bit they are such unique pigments with wonderfully dramatic granulation properties. Combined with a wet-in-moisture technique, and a little tilting, they can create a textural tonal painting in no time.
If you'd like to display your watercolors without the demand for framing under glass, and so DANIEL SMITH Watercolor Ground is the solution! I take painted many large watercolor canvases using this basis, which without frame and glass, are lightweight and gimmicky.
Materials Used:
* Sodalite 18-carat, DANIEL SMITH PrimaTek Watercolor.
* DANIEL SMITH Watercolor Ground, Titanium White.
* Cotton duck canvas, double width edge.
* Foam roller.
* Water soluble graphite pencil.
* Soft taklon brushes (round size viii and x).
* Pocket-sized stiff flat-edged brush size 4.
* UV spray fixative.
* Matt spray varnish.
Preparing the canvas.
* Starting time by wiping whatever dust from the sheet with a clammy lint free cloth.
* Pour the ground into a flat bottomed plastic dish (the amount volition depend on the size of your sail). Add together water to thin the paint. Mix to the consistency of pouring cream.
* Dampen your foam roller, load with ground from your container.
* Vertically roll even coats of ground over the sheet, ensuring you go all the style to the edges. Let dry thoroughly.
* Echo the higher up, but at present in a horizontal direction. Allow cure for 24 hrs.
You can see the difference between the Daniel Smith Watercolor Ground covered sail (left) , and the untreated cotton canvas (right).
Cartoon your paradigm.
Equally the watercolor basis surface tin be delicate, stiff rubbing or scrubbing is not encouraged. Therefore I propose you complete your initial drawing on paper, then transfer to the canvass once you're satisfied. I like to use h2o-soluble graphite pencils, every bit they disappear under the watercolor paint. They come in various strengths, I similar the Low-cal & Medium Wash.
Setting up your work infinite.
I like to eliminate equally many "dangers" to the painting in progress as possible! A simple spill or drip from a staining color can transport you right back to the offset! Then I similar to accept a completely articulate area, with only the necessary tools to manus.
* Equally I am correct handed, my paint palette, water and brush rests are all placed to the right. This way I am not reaching over my painting with a loaded or dripping brush.
* Using a castor rest prevents the brushes from rolling or leaving drips on my work surface.
* My water container is placed on a pad of highly absorbent newspaper towel, to make clean and adjust paint/water load of brushes.
Getting Started.
I use a wet-in-wet technique for my whales and marine creature paintings. It allows the paint the freedom to move freely and settle in the valleys of the surface. Past titling I can create areas of high tonal contrast, which creates interest and drama.
I fill the area I want to paint with a generous amount of make clean water with my largest brush.
When working with paper I would have this water to the very edges of my cartoon. Yet the ground tin sometimes "drain" at the edges with very moisture paint, so I leave a small gap, merely in case. I tin can e'er fill this gap by drawing the pigment out towards information technology subsequently.
Starting at the head, I paint the upper jaw, the body and lower tail fluke of the whale with h2o.
Earlier y'all paint.
I work with both pigment directly from the tube, and stale pans/palettes. When working from dried pans, re-moisture your pigment at least a infinitesimal earlier employ. This volition allow all the pigment particles to fully reactivate. Stir to evenly distribute the pigment. Information technology is also important with sure pigments to go on stirring when using, every bit some particles are heavier than others and will sink to the lesser of your palette. Sodalite is one of these. You tin can run into the difference below between the settled and stirred paint.
Applying the paint.
* With a loaded brush, lightly follow the border of the water in a calorie-free, long stroke.
* The paint volition offset to spread immediately. Fill the expanse with long horizontal strokes along the length of the whale, keeping the lower belly area free of pigment.
You lot can tilt the canvass to encourage the paint to run and condense in certain areas. As the belly area was left free of paint, I tilted the sheet to allow a light launder of paint to only tint the surface area, with the majority running dorsum towards the top and settling there.
Once this expanse has dried completely y'all can move onto the fins and upper tail fluke. If it is still the slightest bit wet, your new pigment will run into this previously painted surface area.
Side by side fill the throat surface area with water then drib in a very diluted wash, letting the plaint settle down towards the lesser. Before it dries, dot in a stronger mix of pigment as chin barnacles.
Whilst this area is drying you tin mark in the heart.
Take a small strong flat castor and dampen slightly. Lightly lift out the centre area till it is well-nigh white again. Let this surface area dry thoroughly. Once dry, load the tip of a round castor with concentrated paint and mark in the dark eyelid and iris, leaving a modest dot of white in the middle.
When the throat surface area is dry, load the tip of a round brush with pigment and lightly marker in throat grooves.
Humpback Whale by Cindy Lane
Finishing off your painting.
To protect your painting from, dust, moisture and UV rays information technology needs to be sealed with fixative and varnish. I personally prefer a matte or satin varnish to retain the look of a watercolor piece, simply a gloss varnish can be used also.
* Prop your slice vertically to lessen the chance of fixative and varnish drips falling onto information technology.
* Spray several lite layers of UV fixative over your piece in a grit free, well ventilated area.
* Spray several light layers of varnish in broad sweeps. Always begin your spray sweep outside the edges of your work.
* Spray the side edges of your work to totally seal it.
* Adhere D rings and hanging cord securely on the back
Your watercolor on canvas painting is now ready to hang!
Why I use DANIEL SMITH Watercolor Footing and the Primatek range of paints
Being able to paint large scale watercolor pieces on canvas has given me much greater freedom of expression in my work. Techniques not possible when painting on paper are at present no problem thanks to the DANIEL SMITH Watercolor Ground. An added bonus is doing away with the need for traditional framing. Sodalite Genuine is a wonderfully versatile, non-staining, granulating color, especially suited for painting whales and other fascinating creatures of the sea. It is my "Go To" colour for drama and vibrancy, and is a firm favorite. Being able to pigment with a single tube of colour, and produce a piece full of texture and tone is just one of the reasons why I love the DANIEL SMITH Primatek range. Knowing that I am creating fine art fabricated from the jewels of the globe casts a magical aura over my unabridged painting process!
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Source: https://danielsmith.com/tutorials/cindy-lane-painting-on-canvas-with-watercolor-ground/
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