HOW TO PAINT "BACKWARD"
By Ken Hosmer
copyright 1994
This article originally appeared in The Artist’s Magazine Special Issue, WATERCOLOR MAGIC, Summer 1994.
It’s no doubt unconventional, but painting from dark to light can give you deep rich results.
If you’re after rich, dripping darks, pure color and brilliant lights, then you might consider trying this dark-to-light
approach to watercolor. This system calls for painting the darkest darks first, sliding into the middle values, and
saving the lights as stark white paper. In addition, there’s no need to premix paints. Just lay in pure, intense
colors and let them mix on the paper.
The traditional method of applying watercolor begins with light washes and builds with darker layers of paint. But
this approach has several inherent drawbacks. First, the darks often become muddy and lose their spontaneity
through the layering process. Second, the lightest lights are applied first, often too heavily, covering too much
white paper. This lowers the value of the lights, and they never really "pop." But painting in reverse order,
"backward," if you will, takes care of these problems.
The Marker Sketch
When I paint, I think in terms of only three basic values: light, mid-value and dark. The marker sketch (see Steps
One and Two) provides this simplified pattern. It serves as a map, providing a basic arrangement of shapes and
tells me where to place the boldest darks and strongest lights.
I use a felt marker with a brush-type nib and water-soluble ink on a pad of Bristol paper. I start by inking in the
darkest shadows of my subject. To force myself into a right-brained approach, I begin in the center of the paper
and work my way from one dark shape to the next across the paper. This creates a pathway of dark masses.
At some point in this process, I choose my composition by selectively moving a mat around the page, looking for
intriguing arrangements. Additional dark shapes are then added to enhance the pathway that should lead the
eye through the picture. This method of designing allows maximum flexibility, and one marker sketch sometimes
can be used for several variations of a painting. If I don’t like part of the composition, it’s easily changed by
moving the mat.
By Ken Hosmer
copyright 1994
This article originally appeared in The Artist’s Magazine Special Issue, WATERCOLOR MAGIC, Summer 1994.
It’s no doubt unconventional, but painting from dark to light can give you deep rich results.
If you’re after rich, dripping darks, pure color and brilliant lights, then you might consider trying this dark-to-light
approach to watercolor. This system calls for painting the darkest darks first, sliding into the middle values, and
saving the lights as stark white paper. In addition, there’s no need to premix paints. Just lay in pure, intense
colors and let them mix on the paper.
The traditional method of applying watercolor begins with light washes and builds with darker layers of paint. But
this approach has several inherent drawbacks. First, the darks often become muddy and lose their spontaneity
through the layering process. Second, the lightest lights are applied first, often too heavily, covering too much
white paper. This lowers the value of the lights, and they never really "pop." But painting in reverse order,
"backward," if you will, takes care of these problems.
The Marker Sketch
When I paint, I think in terms of only three basic values: light, mid-value and dark. The marker sketch (see Steps
One and Two) provides this simplified pattern. It serves as a map, providing a basic arrangement of shapes and
tells me where to place the boldest darks and strongest lights.
I use a felt marker with a brush-type nib and water-soluble ink on a pad of Bristol paper. I start by inking in the
darkest shadows of my subject. To force myself into a right-brained approach, I begin in the center of the paper
and work my way from one dark shape to the next across the paper. This creates a pathway of dark masses.
At some point in this process, I choose my composition by selectively moving a mat around the page, looking for
intriguing arrangements. Additional dark shapes are then added to enhance the pathway that should lead the
eye through the picture. This method of designing allows maximum flexibility, and one marker sketch sometimes
can be used for several variations of a painting. If I don’t like part of the composition, it’s easily changed by
moving the mat.
| Marking Transitions In Cycles (22x30), the practice of marker sketching allowed me to simplify an extremely complex subject. Each dark shape negatively creates numerous light shapes, forming beautiful transitions between the positive and negative. |
Before painting, I thoroughly wet the back of the paper and then the front. I blot the front dry with a towel, and
then attach the paper to the board. For my purposes, this procedure produces the optimum degree of wetness.
The paper now has a fairly dry surface for control of hard edges, and yet the paint easily flows onto the paper
with no drag or resistance. The water trapped underneath the paper "feeds" the surface moisture, slows the
drying process and allows more time to paint before the washes dry.
I begin by painting in the dark-value areas. A good place to start is usually on a background shape behind the
subject. I move into the darks within the subject and work across the page, exactly as I did in the ink sketch. As I
proceed, I soften some of the edges with water.
The darkest darks will lighten considerably as the paint dries, based on the amount of water used and the size
of the area. So the darks will actually dry with some variation of value. However, by thinking in terms of only one
basic value, the painting process is considerably simplified, and each painted area is kept in the correct
"ballpark" value range. This idea also applies when painting the mid-value and light areas. Also note that the
darks in the watercolor painting will be more luminous if they are somewhat lighter than the "super dark" of the
black marker in the sketch.
While the dark areas are still partially wet, I paint the mid-value areas. In most cases, pure colors are laid in side
by side on the wet paper, allowing water to mix the colors naturally by diffusion. I’ll often add new pigment or
simply drag pigment from the existing dark areas. The trick is to maintain just the right amount of water in the
brush. More water creates exciting runs, while less water allows more control. As I experiment with water and
color transitions, I remind myself to hold to the mid-value range. Also, I try to save plenty of white paper for my
lights, because at this stage it’s easy to cover too much white paper.
The painting is now nearly complete. The light areas sparkle with the brilliance of sunlight. But often, some lights
will appear too cold and some too white. I want to color-tint or glaze these areas without losing their sparkle. I
often begin with a thin glaze of yellow-orange to add warmth. Then I add thin washes of other pure colors. The
object is to leave some clean white paper and to add color while keeping the area as light as possible. With fine
tuning, the painting is now complete.
then attach the paper to the board. For my purposes, this procedure produces the optimum degree of wetness.
The paper now has a fairly dry surface for control of hard edges, and yet the paint easily flows onto the paper
with no drag or resistance. The water trapped underneath the paper "feeds" the surface moisture, slows the
drying process and allows more time to paint before the washes dry.
I begin by painting in the dark-value areas. A good place to start is usually on a background shape behind the
subject. I move into the darks within the subject and work across the page, exactly as I did in the ink sketch. As I
proceed, I soften some of the edges with water.
The darkest darks will lighten considerably as the paint dries, based on the amount of water used and the size
of the area. So the darks will actually dry with some variation of value. However, by thinking in terms of only one
basic value, the painting process is considerably simplified, and each painted area is kept in the correct
"ballpark" value range. This idea also applies when painting the mid-value and light areas. Also note that the
darks in the watercolor painting will be more luminous if they are somewhat lighter than the "super dark" of the
black marker in the sketch.
While the dark areas are still partially wet, I paint the mid-value areas. In most cases, pure colors are laid in side
by side on the wet paper, allowing water to mix the colors naturally by diffusion. I’ll often add new pigment or
simply drag pigment from the existing dark areas. The trick is to maintain just the right amount of water in the
brush. More water creates exciting runs, while less water allows more control. As I experiment with water and
color transitions, I remind myself to hold to the mid-value range. Also, I try to save plenty of white paper for my
lights, because at this stage it’s easy to cover too much white paper.
The painting is now nearly complete. The light areas sparkle with the brilliance of sunlight. But often, some lights
will appear too cold and some too white. I want to color-tint or glaze these areas without losing their sparkle. I
often begin with a thin glaze of yellow-orange to add warmth. Then I add thin washes of other pure colors. The
object is to leave some clean white paper and to add color while keeping the area as light as possible. With fine
tuning, the painting is now complete.
The Painting
I use a standard No. 2 pencil to draw an outline of the subject on watercolor paper. I draw not only the subject,
but also edges of dark shadow shapes and background shapes. Although minor changes are made as I paint,
the idea is to hold to the original design.
For my palette, I select transparent colors high in tinting strength. I prefer these staining colors to heavier, more
granulated pigments because they can be lifted to a lighter value with a sponge without damaging the fresh
quality of the original wash. Because I do little mixing on the palette, I use tube colors that form a complete cycle
around the color wheel. My palette includes transparent yellow, quinacridone gold, perinone orange,
quinacridone burnt orange, red rose deep, quinacridone violet, carbazole violet, French ultramarine, Winsor
blue GS, phthalo green BS, and sap green. (Colors updated since original publication.) All are selected from
brands with a lightfast rating of ASTM I or II.
I use a standard No. 2 pencil to draw an outline of the subject on watercolor paper. I draw not only the subject,
but also edges of dark shadow shapes and background shapes. Although minor changes are made as I paint,
the idea is to hold to the original design.
For my palette, I select transparent colors high in tinting strength. I prefer these staining colors to heavier, more
granulated pigments because they can be lifted to a lighter value with a sponge without damaging the fresh
quality of the original wash. Because I do little mixing on the palette, I use tube colors that form a complete cycle
around the color wheel. My palette includes transparent yellow, quinacridone gold, perinone orange,
quinacridone burnt orange, red rose deep, quinacridone violet, carbazole violet, French ultramarine, Winsor
blue GS, phthalo green BS, and sap green. (Colors updated since original publication.) All are selected from
brands with a lightfast rating of ASTM I or II.
|
Intuitive Color
By focusing on a simplified value system, I’m free to use color intuitively. If the value relationships are correct,
almost any color will work. I also keep in mind the color shifts of objects as they move from light to shadow, and
how color is influenced by "bounce" light--the color of one object bouncing into the shadow of the object next to it.
Overall, painting with watercolor is a balancing act between spontaneity and control. Building a painting
traditionally, in layers, offers control, but often sacrifices freshness. But painting dark-to-light, in one application,
wet-in-wet, as I do, produces maximum spontaneity and captures the intrinsic beauty of pure dripping paint
diffusions. Although this direct approach is a bit more difficult than the traditional, with a little practice, you’ll find
the results worth the effort.
For more information about Ken Hosmer please visit his web site.
www.kenhosmer.com
By focusing on a simplified value system, I’m free to use color intuitively. If the value relationships are correct,
almost any color will work. I also keep in mind the color shifts of objects as they move from light to shadow, and
how color is influenced by "bounce" light--the color of one object bouncing into the shadow of the object next to it.
Overall, painting with watercolor is a balancing act between spontaneity and control. Building a painting
traditionally, in layers, offers control, but often sacrifices freshness. But painting dark-to-light, in one application,
wet-in-wet, as I do, produces maximum spontaneity and captures the intrinsic beauty of pure dripping paint
diffusions. Although this direct approach is a bit more difficult than the traditional, with a little practice, you’ll find
the results worth the effort.
For more information about Ken Hosmer please visit his web site.
www.kenhosmer.com
| Dripping Darks In Spring Calves (15 x 22), pure, vibrant colors seem to magically drip into place, forming the illusion of cattle. The cleanest, richest darks are the ones painted boldly over white paper and never retouched with the brush. |
Step by step insert.
| Print and Keep |
| Ken Hosmer Watercolor |
Next, I lay in the middle values by
dragging a brush moistened with water
through the dark shapes. This picks up
just enough pigment to create nice
grays. With this technique, I build any
mid-value shadows that enhance form. I
also add mid-value areas in the
background and soften edges. The light-
value areas are saved as white paper.
Marker sketches have many
advantages. I’ve noticed that paintings
done from these sketches tend to be
much more simplified; illusive
background shapes fall into place with
ease and tend to be much more
abstracted. And the preliminary "inking"
builds an awareness of negative shapes
and a sensitivity to the subject. Also, this
simple method can be used when
working from nature or photographs.
dragging a brush moistened with water
through the dark shapes. This picks up
just enough pigment to create nice
grays. With this technique, I build any
mid-value shadows that enhance form. I
also add mid-value areas in the
background and soften edges. The light-
value areas are saved as white paper.
Marker sketches have many
advantages. I’ve noticed that paintings
done from these sketches tend to be
much more simplified; illusive
background shapes fall into place with
ease and tend to be much more
abstracted. And the preliminary "inking"
builds an awareness of negative shapes
and a sensitivity to the subject. Also, this
simple method can be used when
working from nature or photographs.