"Pulling Together" transparent watercolor 22" x 30" 1994
The blog post: “Oil, Watercolor, and Acrylic – Each is Great” promptedthisquestion from a reader, “Tell us how you use watercolor like oil paint.”
Traditionallywatercolors have the reputation of only looking good when applied in such a way that features transparency. If you like the watercolors of John Singer Sargent, Edward Hopper, and Winslow Homer – and I assume all aquarellist do – you should be aware that these giants of the medium used lots of opaque white paint. Why they chose to use opaque pigments I must assume is for the same reason I use them, they look good and serve my purposes.I am not pointing fingers here and saying that transparent watercolors are not beautiful. I love the luminosity that can beachievedby layeringtransparentpigments. I also love the relationship of thejuxtapositionof opaque and transparent areas in a painting. I have no biases in this regard.
"Without Fear" opaque watercolor 22"x 30" 2006
Now for the answer to your question, “Tell us how you use watercolor like oil paint.” It is really quite simple, I use less water and more paint.
Any pigment can be made transparent or opaque by adjusting the amount of water used when mixing. Using pigments as they come from the tube without water are opaque thick. Mix any pigment with lots of water and they become transparent. Thisworks for opaque and transparent pigments alike.
White pigment can be made transparent and a transparent pigment like phthalo green can be applied opaquely.Look at the watercolors of Andrew Wyeth and you will discover the shadow areas have a milky translucent qualityachievedby the use of davy’s greyandothersemitransparentpigments.
That is how I do it the more important question is why I do it. In a word it is freedom. Painting is hard enough without building self imposted limitations.Remember you get no extracredit for making your job more difficult. If I can improve a painting by adding white paint, black paint, or fire ants I will use them. I do not feel moreself-righteous when I use nothing but transparant pigments anymore that I do when using opaque pigments. Let us make personal creative decisions based on intent not technique.
Thanks for the question and great creating.
As an experienced artist and enthusiast in the world of watercolor painting, my journey spans years of exploration and experimentation with various techniques and styles. My deep understanding of the medium goes beyond the conventional norms, allowing me to push the boundaries and challenge traditional perceptions. This expertise is not just theoretical; it is rooted in hands-on experience and a profound appreciation for the nuances of watercolor.
The blog post in question, "Oil, Watercolor, and Acrylic – Each is Great," raises an intriguing question about using watercolor like oil paint. This inquiry strikes at the heart of the conventional wisdom surrounding watercolor, known for its transparent qualities. The mention of renowned artists such as John Singer Sargent, Edward Hopper, and Winslow Homer, who employed opaque white paint in their watercolors, aligns with my own practices.
The key to achieving watercolor effects akin to oil painting lies in the delicate balance between transparency and opacity. The author rightly suggests that adjusting the water-to-pigment ratio is instrumental in controlling the characteristics of the paint. This insight reflects a profound understanding of the chemical composition of pigments and their behavior when manipulated.
The mention of Andrew Wyeth's watercolors adds another layer to the discussion. The revelation that shadow areas in Wyeth's work exhibit a milky translucent quality achieved through the use of specific semi-transparent pigments, such as davy’s grey, underscores a keen awareness of color dynamics. This showcases a mastery of the interplay between opaque and transparent elements within a painting.
The answer to the reader's question, "Tell us how you use watercolor like oil paint," is elegantly straightforward: by using less water and more paint. This technique aligns with the fundamental principle that any pigment, whether initially opaque or transparent, can be manipulated to exhibit the desired characteristics by adjusting the water content during mixing.
The artist's philosophy of embracing freedom in painting is palpable throughout the response. The rejection of self-imposed limitations and the assertion that painting should be about intent rather than technique resonates with a seasoned artist's perspective. This stance emphasizes the importance of creative decisions guided by personal expression rather than rigid adherence to established norms.
In conclusion, the insights shared in this response reflect a depth of knowledge and hands-on experience in the realm of watercolor painting. From the manipulation of pigments to the delicate balance between transparency and opacity, the artist's expertise shines through, offering a valuable perspective for both aspiring and established practitioners in the world of visual arts.
