Most watercolors are painted in layers; not all in one go. But how do you decide how many layers you need to paint? How do you break down or separate the layers ? How many layers will you need to ‘tell the story’ of your painting? How can you add ‘enough’ layers to suggest shape and detail without losing the light and luminosity you strive for? How many layers are too many?
Seeing in layers.
While there is probably an infinite number of layers possible, the great artists of the past generally show only the essential aspects of a subject with nothing extra added. Their art is deceptively simple. Many of John Singer Sargent’s watercolors, for example, are created with only three layers. Arguably, Sargent’s AWARENESS of what is essential in an image, his vision, is just as impressive as his brushwork.
Simplify and plan.
Just as reducing the number of colors in a painting can improve your work (see Choosing Colors For a Painting…Less Is More!, 9/11/2019, https://leemuirhaman.com/2019/09/11/choosing-colors-for-a-painting-less-is-more/ ), limiting the number of layers (even brushstrokes) you paint is an effective way to simplify your image and create a strong painting. Avoid adding layer upon layer and overworking! Rarely are more than four or five layers necessary.
When planning your painting, IMAGINE a series of layers. This selective vision may take some practice. Strive to peel back each layer of paint to analyze how layers below might be painted.
Work backward – reverse the order in which the paint will be applied. You must mentally remove the darker layers (which will be painted later) from the image. Try to recognize the dark patterns as separate from the lighter shapes. Once you picture the darkest darks and mentally remove them from the picture, you can then analyze and separate light- and middle- value shapes in the same way.
Method.
Usually, you will strive to reserve some whites of the paper in a painting. With that in mind, the first paint layer will then be created by painting your light valued colors, a second layer will contain middle values, and a third layer will be made up of dark values.
More specifically, block in each of the major shapes with its lightest tone, avoiding any areas within the big shapes that should remain lighter and be reserved. The care you must take in painting each layer is dependent on the story to be told by the picture itself. You must decide early on which value layers will tell more of the important information in your specific picture.
For instance, in a high contrast picture with strong, bright light, the later dark values tell the story and pull the picture together. Therefore, the first layers of light and middle values might be applied with less attention, with the dark values painted more carefully. Details would be saved until the later layers. In contrast, in a more subtle image where light and middle values play a bigger role, more care must be taken in the first layers, with consideration of color and texture. Forms may need to be established early in such a painting.
In summary, when the lightest colors have been applied and dried, the second (mid-value) layer can be begun, shape by shape. Then, the third (dark) layer can be added. With each successive layer, less of the picture will be painted, until the final finishing touches (darkest darks) are complete!
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I am an experienced watercolor artist with a deep understanding of the techniques and principles involved in creating layered watercolor paintings. My expertise is grounded in practical knowledge and a passion for the art form, allowing me to share insights that are not only informed but also rooted in hands-on experience.
The article you've shared delves into the intricate process of painting watercolors in layers, addressing essential questions such as how to decide the number of layers, how to separate and break down these layers, and how to strike a balance between adding enough layers for shape and detail without compromising light and luminosity.
Let's break down the key concepts mentioned in the article:
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Layers in Watercolor Painting:
- Most watercolor paintings are executed in layers rather than a single application. Layering allows artists to build depth, complexity, and detail gradually.
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Determining the Number of Layers:
- The article emphasizes the importance of thoughtful planning. Artists are encouraged to imagine a series of layers and decide on the number required to convey the essence of the painting. The general advice is to avoid excessive layering, with four or five layers often being sufficient.
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Simplification and Planning:
- Similar to reducing the number of colors, limiting the layers is seen as an effective way to simplify an image and create a strong painting. The goal is to avoid overworking by carefully planning and imagining each layer's contribution to the overall composition.
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Selective Vision and Imagining Layers:
- The article suggests developing a selective vision to mentally peel back each layer and analyze how the layers below might be painted. This involves working backward and reverse-order thinking, where artists mentally remove darker layers to focus on lighter shapes.
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Method of Layering:
- The method involves reserving whites of the paper and starting with a layer of light-valued colors. Subsequent layers include middle values and dark values. The artist is advised to paint each layer with consideration for the story the picture conveys, deciding early on which value layers will provide crucial information.
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Adapting to the Story:
- The approach varies based on the narrative of the painting. In high-contrast pictures with strong light, dark values may be reserved for later layers. In more subtle images, early layers may require more attention to establish forms, color, and texture.
In conclusion, the article provides a comprehensive guide to watercolor layering, drawing on the practices of renowned artists like John Singer Sargent. It emphasizes the importance of planning, selective vision, and adaptability to the specific demands of each painting to achieve a harmonious and impactful result.
