Norma Jones - Watercolor and Art Terms

Appendix of Art Terminology

Advancing Colors - Warm colors such as reds and yellows, or vivid colors, which appear to come towards the front of the picture.
Alla Prima - describes a painting that is completed in one sitting
Aerial perspective - how atmosphere affects distant objects. Dust and other substances in the air make background elements less distinct than the same things close to us. They are portrayed with more muted colors and fewer contrasts. Far distance tends to blur into a bluish haze.
Analogous Colors - are colors that are next to each other on the color wheel. Any three adjacent primary, secondary and tertiary colors such as blue-green, blue and blue-violet or yellow, yellow-orange and orange, etc.
Archival - high quality materials created with longevity in mind. They are durable and buffered. Materials are permanent, and chemically stable, good for preservation purposes.
Atmospheric light - Effects such as fog, sunsets, sunrese, etc. Since these moments are often brief, not long enough to collect your camera, you must memorize the moment, then make your sketches as soon as possible after the event. You can then add these effects to paintings based on photographs from your collection or from the sketches you have done. (check out sketch book journal)
Backruns - in waterbased media it is the effect that occurs when a wet brush of paint or water is reapplied to a drier portion of a painting. The first wash is pushed away from the wet area, creating a feathery outline when dry. This can be an irritation if unwanted, but can also be a method of creating special effects with a bit of practice.
Balance - symmetrical (or formal) balance is evenly distributed around a cantral axis with equal weight on each side whereas asymmetrical (or informal) balance has many variables. Strong contrasts, tangents, textures, and the placement of object within the picture all affect the balance. A small dark object near the edge of the picture can balance a large light colored area on the other side of the central axis. Texture has more impact than flat areas so smaller areas of texture can balance larger areas without it. At times you may want a picture to be out of balance to depict violent emotions or instability. The goal may be to express a mood rather than be pleasing to the eye.
Black - Black is the complete absence of light since a black surface absorbs all light. There is no such thing as a true black in pigments as all blacks have impurities and therefore all have a hint of blue to them. In painting, black is a controversial color. It is generally agreed that adding black to colors makes them appear dull and that using it in shadows eliminates all interest and variety. It is best to combine "dark colors" to make shadow areas more lively. At times mixtures of dark colors will not create a color dark enough, at such times a bit of black can be added as a last resort. If black is used, ivory black is recommended rather than lamp black, which is made from soot and can create colors which look dirty.
Blending - the mixing of two or more colors. It is also a means of creating a soft , gradual change between colors. This can be accomplished by placing one wet color next to another so that they touch and blend. The result will be your original two colors on each end and a mixture of those colors between. There are varying techniques for blending in each of the different mediums.
Blocking In - Establishes the main areas of color or tone in a painting or drawing.
Blotting - used to lighten areas in a painting or to create special effects.
Broken color - small seperate strokes of pure color which when viewed from a distance mix optically to form the impression of blended color
Burnishing - In colored pencil drawings, colors are rubbed into one another and into the paper with a Torchon, plastic eraser or white pencil (or light version of the color being used). Burnishing irons out the grain of the paper and compresses the pigment, creating a slight sheen to the surface, increasing the brilliance of the colors.
Chiaroscuro - (ke-ära-skooro) - Contrasts of light and dark areas in a drawing or painting, often created by dramatic lighting from a single light source. This creates an illusion of depth and space in a composition.
Chroma A controversial term which is generally also known as Intensity or Saturation. The brightness or grayness of a color. Not to be confused with Value which means the "lightness" or "darkness" of the color.
Collage - bits and pieces of unrelated materials such as plain paper, photographs, newspaper clippings, found objects, etc., that are glued to a flat surface to create a picture or image. Often parts of the image are drawn or painted.
Color - Color is what the eye sees when light bounces off an object,… red, blue, yellow, etc. The "properties" of color are hue, saturation, value and temperature.
Color Key - The overall color range of a painting. A painting with a high key would range from medium to light values, low key would have medium to dark values. High or full contrast paintings take advantage of all the values from light to dark.
Color Temperature - Warm colors are those in the yellow to red range, while cool colors are greens, blues and violets and mixtures thereof.
Color Wheel - A circular arrangement or primary, secondary, and intermediate colors based on one of several color theories. The wheel has each color opposite its complement for quick reference.
Complementary Colors - Complementary colors are those colors directly opposite each other on the color wheel, such as yellow and violet. A color can be darkened, or greyed by adding its complement. The end result depends on how much you add. Mixing with complements can create a beautiful range of greys very useful in the painting process. When when mixed evenly they produce a neutral gray or brown. Also called Complements.
Composition - Good compositions are a pleasing balance of positive and negative spaces within a painting. Variety of shapes, textures and values help create an interesting composition . Slightly off-center placement of the focal point creates variety in the negative spaces, breaking up the area and creating interest. Avoid lining up objects. Overlapping objects of various sizes and in random placement are more interesting than those that are evenly sized and spaced. Try creating thumbnails to decide on the best composition. Good results are worth a bit of preplanning.
Contour Drawing - An outline drawing that represents the edge of a form. Blind Contour Drawing is performed by slowly drawing the edges of an object, following each bump and curve with your eyes and slowly having your hand follow the same path on the paper without looking at the paper as it is being drawn.
Contrast - the use of opposites beside one another, such as rough/smooth, dark/light or the use of complementary colors. This creates visual interest in a picture and prevents it from becoming static or boring.
Cool colors - Greens, blues and violets are considered cool colors. They are calming colors and appear to recede into the background or distance. The opposite of warm colors, which appear to advance into the foreground.
Cropping - is the trimming away of unnecessary portions of a picture to create a more pleasing end result. A viewfinder may be used to help determine the best composition before cropping.
Crosshatching - lines crossing each other in different directions used to indicate volume or shading in a drawing. Fewer lines create a light image, while more lines, more closely spaced creates a darker more dense image. Layers of different colors can create new colors.
Directional Lines - edges of objects, such as roads, trees, folds in clothing or even people's line of sight, can create lines in the eyes of the viewer. We naturally follow directional lines in a picture. Correct use of such lines can cause the viewer's eyes to follow a predictable path. Our eyes tend to follow lines towards the center of a picture and towards the areas of greatest contrast, however, they also follow arrow-type-shapes so be sure not to lead the eye away from your focal point.
Dominance - An object or color designed to be the focus of the painting. It tends to be a stronger, brighter or more visually powerful element within the painting.
Drybrush - created by having thick paint and little water on your brush. This causes the brush to skip on the surface of the paper or canvas producing a broken effect good for creating the look of weathered wood, bark, or texture in an object.
Focal Point -the center of interest in a painting. This is where you want to draw the eye as it is the main reason for the painting. There are various techniques used to draw the eye to the focal point such as directional lines, contrast , etc.
Flat Wash - in water-based media, it is a large area of evenly distributed color.
Frottage - texture created by placing paper over a textured surface, then rubbing the surface of the paper with a pencil, pastel, etc. causing the texture to be reproduced on the surface of the paper. In wet mediums it is created by placing nonabsorbent paper, tinfoil, saran wrap, etc in the wet paint. Crumpled paper or foil creates more texture than it does when it is flat.
Fugitive Colors - Colors that fade or change noticeably under normal conditions. Yellow and reds are most prone to changes. See also lightfast.
Glazing - Transparent washes of paint laid over other washes that have been previously dryed creating a glowing effect similar to stained glass.
Graded Wash - In waterbased media it is a wash that gradually changes from dark to light.
Hatching - parallel lines used to create an image. Strokes closer together create dark values while strokes farther apart appear lighter. They may also be curved to follow the shape of the object. Hatching can also be used to blend colors. Since the colors are placed side by side, instead of being blended together, the colors appear clearer and brighter. When seen from a distance the colors appear to merge creating the desired image.
Highlights - the small light areas that add the finishing touch to a painting, such as the sparkle on water or the light catching the edges of a fence throwing it into focus. They are the lightest, brightest areas on the painting often accented by dark or strong contrasts nearby.
High key - characterized by an overall feeling of lightness but without strong contrasting colors or values. The opposite of low key.
Hue - The name of a color - red, blue, purple, etc. Often the words "color" and "hue" are used synonymously.
Inorganic pigments - are the earth colors (siennas and unbers) and the minerals (cadmiuns, cobalts, and oxides). Earth colors tend to be "less saturated than most other pigments", often granular and sometimes opaque. The minerals tend to be more brilliant and sometimes opaque
Imprinting - created by pressing objects into a wet surface or by coating an object with paint and pressing it onto a dry surface leaving a pattern. Objects with raised or a textured surface work best.
Intensity - The purity of a color, its brightness or grayness, often used interchangeably with chroma or saturation.
Intermediate Colors - Also known as tertiary colors. Created from the mixture of adjoining primary and secondary colors. Examples are red-orange, blue-violet, yellow-green, etc.
Light - Color depends on light, for without it we can see no color. "The diversity of light depends on the fact that light is a composite of rays of different kinds." - Sir Isaac Newton. Interior light produces a yellowish glow, whereas natural light is bluish in color.
Lightfast - The ability of a pigment to resist fading with long exposures to daylight. The term "lightfast" on the label of artist's pigments indicates permanence under normal conditions. See also fugitive.
Local Color - The natural color of an object seen under normal daylight. This color changes depending on distance or the lighting conditions. Seen at a distance, in the shade, in the morning or evening a color becomes weaker or grayed.
Low Key - A term used to describe a painting created in medium to dark values. The opposite of high key.
Masking - there are several methods of masking light areas. the most common way in watercolor is with masking fluid which can be used to protect small areas of white paper.For larger area of a painting you can use masking tape and paper to cover the area. Masking with ripped paper or cotton wool layed down on the paper produces an irregular or soft edge. The spattering technique works particularly well with loose masks so that they don't shift.
Monochromatic - A painting done in different tints and shades of a single color.
Negative Shapes - are the areas around the positive shapes. They can be described as the background. Negative shapes can have identifiable objects in them but they are not as important as the positive shapes (in a landscape, a farmhouse might be the positive shape and the fields and trees behind would be the negative)
Neutral - Blacks, browns, grays or white. Colors can be neutralized by adding some of their complement. An even amount of two complementary colors results in a neutral gray or brown.
Opaque - The covering power of a pigment. Strong opacity will not allow the color below to show through.
Optical Mixing - Spots of pure color placed side by side on the painting surface. They are mixed by the eyes of the viewer rather than on the palette.
Painting Knife - used to create loose or textured effects in paintings. It should be practiced first before being applied to a painting as you neet to learn how to handle the knife. It takes a bit of practice so don't give up too soon.
Organic pigments - come from plants or animals or can be man made of chemical compounds containing carbon and created in a laboratory. They tend to be strong and transparent. The synthetic organic pigments can be more brilliant than their natural counterparts, they lack the sublety of many of the natural colors.
Pigment - Powdered colors made from natural or synthetic materials which are mixed with a binder to create pastels, paints, or a number of other drawing or painting mediums.
Pointillism - created with small dots of pure color placed close together which when combined optically appear to merge creating various shapes and colors. Since the colors are not physically mixed they are more vibrant and the dots create a shimmering efect.
Polychromatic - A color scheme in which multiple colors are used.
Positive Shapes - are the objects themselves. They are surrounded in a painting by what are called the negative shapes.
Primary Colors - The basic colors of the spectrum from which all other colors can be mixed. These are red, blue and yellow. Mixtures of these produce the secondary colors orange, green and violet. Further mixtures produce intermediate or tertiary colors, etc.
Prism - When sunlight passes through a crystal prism it is broken up into bands of different colors known as the spectrum. The six colors of the spectrum are red, orange, yellow, green, blue and violet.
Reflected Color - Color that bounces off nearby objects.
Repetition - Similar shapes, colors, etc. that are repeated in several areas within a painting to create unity.
Saturation - The purity or brilliance of a color. See also chroma and intensity.
Scraping - paint may be scraped off the surface of a painting to show the layers below as in Sgraffito, or in watercolor a razor blade may be used to produce white highlights.
Scumbling - an uneven layer of color placed over an already dry underlayer. The scumbled layer is created using fairly dry paint and in an irregular scrubbing motion,. You may use a brush, rag, sponge, paper towel, etc. If using a brush, an old one is recommended to aid in the irregular appearance and also to avoid damaging good brushes as the paint is scrubbed onto the surface Scumbling is good for producing weathered or irregular textures such as rocks, bushes, etc.
Secondary Colors - colors resulting from the mixture of even amounts of two primary colors. Blue and red produces violet, yellow and red makes orange, and blue and yellow makes green.
Sgraffito - is created by scratching into paint to reveal the colors benieth. When the paint is wet it can be scraped away with a pallet knife, the back end of a paint brush (some brushes are specially designed for this) a credit card or even your finger nail. Once the paint has dried a razor blade, craft knife, or even sandpaper can be used.
Shade - A medium to dark value of a color. When a color has been darkened from its original purity. The opposite of shade is tint.
Spattering - spots of color flicked onto the surface from a brush held above, creating a random pattern of dots.
Stippling - done with a brush, it is a series of small dots similar to pointillism but used mainly to accent areas of a painting or to create texture where needed. Dots close together create darker areas while spacing the dots farther apart creates a lighter, more airy appearance. As in pointillism the separate dots of color creates a shimmering effect. Stippling can also be done with a stiff brush or a sponge which produces a similar effect and which is much faster than painting each dot with a brush.
Successive Contrast - If you stare at a color long enough you will begin to see a halo of its complementary color around it, etc. a green halo around a spot of red.
Tangents - lines that touch but don't overlap. Tangents can be useful in calling attention to an area but can also distract the eye if placed in an area that is not desirable. Avoid having objects just touch. It is better to leave a bit more space between objects or overlap them in an obvious manner.
Temperature - The relative coolness or warmth of a color. Colors in the green/blue /violet range are considered cool, while those in the red/orange/yellow range are considered warm. Within a painting cool colors recede into the distance while warm colors appear to come forwards.
Tertiary Colors - Colors produced by mixing primary colors with secondary colors, eg. red and orange produces red-orange and violet and blue produces a violet-blue. Also called intermediate colors.
Thumbnails - small sketches with only the very basic information included. Because of their small size it is quite easy to do several sketches to help determine the best possible compositions and values for the finished work.Try several different layouts with various combinations of pictorial elements of various heights and widths. Examine different vertical and horizontal layouts and closeups as well as the more traditional distant views.
Tint - A light value of a color produced by adding white or by diluting the color to allow the white of the background to show through.
Tone - How dark or light a color is. Also called value.
Underpainting - By blocking in the main shapes with thin layers of paint, you help organize shapes and values before adding color details.
Values - how light or dark an object is. Strong changes in value grab the viewer's attention no matter how close or far the object appears to be, while light objects blend into light surroundings. The focal point of the painting should have stronger changes in value than the rest of the painting to draw the viewer's eyes there first. After their eyes have had a chance to travel around the rest of the painting those same contrasts will bring them back to your center of interest once again.
Variegated Wash - in waterbased media it is created by wetting the paper then applying a variety of colors so that they blend together on the paper.
Viewfinder - a frame made of heavy paper or plastic which is used to find pleasing compositions when presented by an image with a lot of possibilities. It helps determine what to include and what to leave out of your picture.
Warm Colors - colors in the yellow to red range are considered warm colors as they are associated with such things as the sun and fire. Warm colors make an object appear to advance into the foreground. The opposite of cool colors, which appear to recede into the background.
Wet-in-Wet - in waterbased media colors are applied over others while still wet so that they partially mix on the paper.
Wet Over Dry - created by letting each layer dry before applying another color on top.

Appendix of Watercolor Terms

Archival Paper - paper with long-lasting qualities. It is acid free, lignin free, and usually has good color retention. (also check Archival and Buffering)
Backruns - occurs when a wet brush of paint or water is reapplied to a drier portion of a painting. The 1st wash is pushed away from the wet area, creating an irregular, hard edged outline. This can be an irritation if unwanted, but can also be a method of creating special effects with a bit of practice.
Blotting - used to lighten areas in a painting or to create special effects. A tissue pressed onto the surface will lighten the area and is often used to create convincing cloud shapes. It will not take you right back to the white of the paper but can lighten it considerably. On a dry wash it can also be used as error correction. Rub the area with an old, damp brush to loosen the paint on the surface and then blot away the excess paint.
Blow Dryer - useful for speeding up the drying process. Avoid overusing the blowdryer when liquid mask has been applied as it can make removing the mask difficult.
Buffering - used to neutralize acids in paper. Alkaline substances such as magnesium carbonate or calcium carbonate are added to the paper pulp. This adds protection from acids naturally occurring in the paper and from pollutants in the environment. (also check out Archival Paper)
Drybrush - created by having thick paint and little water on your brush. This causes the brush to skip on the surface. The effect is good for creating effects such as weathered wood, bark, texture in an object, etc.
Flat Wash - in watercolor or acrylic it is a large area of evenly distributed color created by first wetting the surface with clean water. With paper on a slightly incline lay down strokes of premixed color (of sufficient amount to cover the entire surface) starting at the top and overlapping the bottom edges of each stroke until you get to the bottom of the page dipping into your color after each stroke to keep the color even. Mop up any excess water and paint at the bottom edge with paper towel, sponge or a thirsty brush. This helps prevent backruns. See also Graded Wash
Fugitive colors - react unfavorably to light and can be damaged easily by weak acids, alkalis, and impurities in the atmosphere. Many pigments are quite resistant to light when used full strength but have a tendency to fade when they are used as tints. (also check Fugitive under Paints)
Glazing - Transparent washes of paint laid over other washes that have been previously dried creating a glowing effect similar to stained glass. Since each layer is transparent, light passes through it and strikes off the layer below. The same effect can not be created by physically mixing the colors as colors get muddier each time they are mixed. Glazing works especially well in watercolor. Transparent colors allow light to bounce off the white of the paper creating the glowing color. Glazes work best with only a few layers of paint as more reduces the amount of light being reflected back resulting in a heavier color. Be sure that each layer of paint is thoroughly dry before adding the next so that the colors remain clean.
Graded Wash - In watercolor or acrylic paintings it is a wash that gradually changes from dark to light. Start by thoroughly wetting the surface of the paper. With the paper at a slight angle, place a stroke of your darkest color in one sweep along the top of the sheet. (Watercolor paint dries slightly lighter than it appears when wet so colors should be made a bit stronger than the desired finished result.) Using your brush add a bit more water before creating the next stroke and continue down the sheet until the water runs almost clear. To have one color blend into another create the first wash as described above and have it end about 1/2 way down the paper. Let the 1st wash dry. Turn the paper over, and create the second wash the same as the first, once again ending with almost clear water 1/2 way down the paper. See also Flat Wash
Masking - there are several methods of masking light areas. the most common way in watercolor is with masking fluid which can be used to protect small areas of white paper. One should start with an old brush (as the fluid is very hard on brushes). Wet the brush and rub it in soap so that it is well coated. Dip into the mask and paint over the areas you wish to remain white. (Be sure the paper is dry to avoid damaging the paper and to keep a crisp edge on the mask) Let dry completely. This only takes a few minutes. Then paint the background right over the mask. Use a rubber cement eraser or your finger to remove the mask, rubbing gently until you can no longer feel it on the surface. (Masking fluid should not be left on the painting for more than a few days as it can become hard to remove and may rip the paper) To mask larger areas you can use masking fluid to paint an outline. This is used as a buffer zone so that you don't have to be quite so careful painting edges or you can use masking tape and paper to cover the area. Cut the paper slightly smaller than the area to be covered, then, lay down your masking tape using a craft knife to cut it to the desired outline. Masking with ripped paper or cotton wool laid down on the paper produces an irregular or soft edge. The spattering technique works particularly well with loose masks so that they don't shift.
Non-staining colors - can be lifted from the paper after drying by sponging or scrubbing with a brush and blotting with a tissue.
Painting Knife - used to create loose or textured effects in paintings. It can be used to create thin lines as in tree branches or grasses, loose strokes suggesting texture as in the leaves of a tree or a streaky surface as in the bark of a tree. Knife painting should be practiced first on scrap paper before being applied to a painting as you need to learn how much water to use and how to handle the knife. It works best with slightly less water and more pigment. Avoid using excess force on the knife as this can scratch the paper. The edge of the knife can be used for thin lines, sliding the knife along the blade, lifting at the end of the stroke to taper to a point. It can also be used to scrape off layer of paint to create rocky, mottled shapes in thick paint. Beautiful stained glass colors can be produced when several thick colors, spread on like butter with the knife, are intermingled, but not mixed. Portions of the thick paint are then scraped away by holding the edge of the blade flat on the paper and pulling firmly towards or away from you. Sliding the blade at the same time produces varied shapes. The flat of the blade can be used for washy strokes on wet paper or a drybrushing effect on dry paper. It takes a bit of practice os don't give up too soon.
Salt - is used to produce the illusion of falling snow or to create textures such as stone or rocks. Salt is sprinkled onto watercolor wash just before the shine has left the paper. It is then left until dry. Once completely dry the salt granules are brushed away leaving behind what looks very much like snowflakes. Practice is needed to learn the proper timing of salt application. If sprinkles on too early the shapes become less defined and if applies too late there is little or no effect. It has no effect on paint that has been dried and rewet. Salt also works better on medium to dark washes as little change is noticed on light washes. Fine patterns are created with table salt, however, coarser rock salt leaves a bolder, more defined pattern. Avoid using too much salt or it will spoil the effect.
Scraping - the surface of a bone dry painting can be scraped with a craft knife or razor blade to produce highlights. This is often used to create the sparkle on water. One can also scrape out blades of grass. Don't overdo this technique as it is not reversible. If you try to repaint over a scraped area it will create a very blotchy effect since the paper has been damaged and the paint is quickly absorbed creating dark patches. In some cases damaging the paper on purpose may be desirable. In grassy areas damaged streaks created with the tip of a craft knife can represent dark blades of grass when painted over. Painting over scraped areas on rock shapes, creates mottled effects of stone.
Sedimentary colors - such colors settle into the valleys of the paper creating a granular effect.
Spattering - spots of color flicked onto the surface from a brush held above, creating a random pattern of dots. It is generally used in small areas, as it is overdone quite easily. Areas may be protected from spatter with masks of paper held down with masking tape if necessary. An old toothbrush or a stiff paintbrush is loaded with fairly thick paint then a finger is pulled through the bristles or the brush is tapped against your hand or another brush to create a spray of color. Pulling your finger through the brush creates a fine spray while tapping the brush creates larger spots. Once the droplets have dried another layer of color can be added on top creating variations of tone or variegated effects.
Sponge - synthetic sponges have an even texture that works well for wetting paper quickly and for laying down flat washes. Natural sponges have interesting textures that produce irregular, mottled patterns. Layers of different shades or colors can be laid one on another, (being sure to dry each layer before adding the next.) Sponges work well for creating the textures of rock, the leaves of trees. Drybrush effects may be created by lightly stroking with fairly dry paint so that a skipping effect is created. Twist the sponge and create soft, swirling effects.
Spreading colors - tend to blossom into any wet area they come into contact with. Care must be taken as to how much moisture is in the paper when these colors are applied or they will quickly dissipate becoming only a shadow of their former selves.
Staining colors - pigments which penetrate the paper's fibres and which, when scrubbed after drying, will not return to the white of the paper but instead leave a trace of color. Some transparent colors can stain strongly. A few of the earth colors, the cadmiums and many synthetics also stain. Test colors prior to using if you plan to do any lifting in latter stages of a painting. Layers of paint applied first are most likely to stain. If staining colors are applied to a previously painted area of non-staining colors, they have a better chance of lifting if the first layer was not disturbed.
Transparency - colors which allow the white of the paper to shine through. Colors can be highly transparent, semi-transparent, or opaque. In Artist quality paints these properties tend to be due to the natural properties of the substances from which the paints are made not because of additives. Highly transparent colors produce beautiful effects when glazed, creating a stained glass appearance not found when using more opaque colors. Semi-transparent colors can be used in glazes if they are quite diluted and only transparent colors are used for other glaze layers. Opaque colors don't work well in glazes. They cover previous layers leaving a chalky appearance. When mixed with other colors the results are more dense. They work well, however, for effects which benefit from a granular appearance as they produce an interesting textured effect.
Underpainting - By blocking in the main shapes with thin layers of paint, you help organize shapes and values before adding color details. In watercolor the shadows may be underpainted (often in blue or purple). This helps get rid of the stark white of the paper, which often intimidates people, and helps establish the forms of objects. Practice this technique to learn how dark to make the underpainting as the colors that are painted on top should not be overpowered by the underpainting. Be sure the underpainting is completely dry before painting layers on top to avoid muddying colors.
Variegated Wash - in watercolor or acrylic paintings it is created by wetting the paper then applying a variety of colors so that they blend together on the paper. With liquid pigment on the surface the board can be tipped to allow the colors to flow into each other creating exciting, but unpredictable effects, often creating "Happy Accidents". Less moisture in the paper allows only minimal mixing but creates more predictable results with practice.
Viewfinder - a frame made of heavy paper or plastic which is used to find a pleasing composition when presented by an image with a lot of possibilities. It helps determine what to include and what ot leave out of your picture. By moving the viewfinder around your scene as well as closer or farther away (to include more or less of the subject) you get a better idea of the best possible compositions. A viewfinder of dimensions similar to your painting surface can be made of any heavy paper or matboard. Draw a light line diagonally on the back of your paper or canvas from corner to corner, then draw a horizontal line 8" from the bottom of the paper (for example) then draw another line straight down from where it touches the diagonal line. Draw a horizontal line 2" down from the first horizontal line and another down from where this line touches the diagonal. Draw a horizontal line 2" up from the bottom of the page and one on the last edge, of even width to the one opposite. Draw these same proportion on the board to be used as the viewfinder and using a craft knife and a metal edged ruler cut the edges and opening.

Adjustable Viewfinder - can be made from L - shaped pieces of matboard. These may be made larger or smaller by overlapping the edges more or less. The advantage of this type of viewfinder is that proportions may be changed to allow for unusual shaped compositions, such as long and narrow. For a simple viewfinder you can make a square with your hands, overlapping the fingers and making the thumbs form the other corner. An empty slide frame may also be used as a viewfinder.
Wet-in-Wet - colors are applied over others while still wet so that they partially mix on the paper. This creates beautiful, softly variegated shapes useful for creating distant trees, flowers, skies, etc. It creates soft graduations of color without the hard edges found when colors are applied over others when the first layer is dry. The more water on the paper the more the colors will diffuse creating softer colors. Since colors dry lighter than they look when wet, fairly rich applications of paint can be applied. Try not to overblend the colors on the paper as they will blend into each other on their own as they dry and the results tend to be much more pleasing.
Wet Over Dry - created by letting each layer dry before applying another color on top. Often the wet-in-wet technique is used first to create the areas of softly variegated shapes, such as skies, distant objects, or the initial stages of images, then, once dry, further layers are applied on top or in the foreground to add definition to edges and to add the finishing details that bring a painting into focus. This technique requires more patience than Wet-in-Wet as the layers of paint must be completely dry before being painted over to avoid a muddy effect. I tend to paint one portion of the painting then go on to other areas while the first section is drying. This gives it a chance to dry before going back to add more details. Each layer of paint darkens the one below. Start with the lightest parts, then add more layers on top to create more contrast.

Watercolor Materials

Comes in many sizes, textures, and weights. They are sized with gelatine to create a surface that is easy to paint on. A paper without sizing soaks up water and pigment, lightening the colors considerably and creating very soft edges, with colors blending together instead of having definition.

Papers can be handmade or machine made with the best being entirely of rags. Quality papers are usually watermarked or embossed on the corner with the manufacturer's name. They have a "deckle" or irregular edge. Machine made papers have two cut edges and two deckle edges, while handmade papers have four deckle edges.

Paper comes in three surface types:

Hot pressed paper is smooth. The paint sits on the surface instead of soaking in. It is a difficult surface to work on as backruns can be hard to control, but with practice interesting effects can be created. It is also good for fine details.
Medium paper is good for all-round painting, and are best for beginners. Washes take well, as do details.
Rough papers can make painting details difficult, but they are great for textures or for drybrush effects, where brush strokes catch the tops of the surface and leave the valleys untouched allowing the white of the paper to shine through. Landscape painters often favor rough papers.

Paper comes in several different weights. The more common weights are 90 lbs. 140 lbs, and 500lbs, which refers to the weight of a ream, (500 sheets). It also comes in different dimensions, with the standard size being 22" x 30". Oversized sheets, rolls of paper, watercolor blocks, (which are multiple sheets of precut paper glued together at the edges), and sheets of paper sold in books are also available. Blank postcards and greeting cards are also becoming popular.

I tend not to use paper lighter than 140 lb as it buckles badly and tends to be harder to stretch. (see stretching paper) For anything larger than 1/2 sheet of standard paper, I use 300lb paper, which is beautiful to work on. Many artists do not stretch 300 lb paper , however, if your method of working includes lots of water I recommend stretching the paper anyways to keep it completely flat, avoiding any puddling effects caused by ripples.

My favorite paper is "Arches" a French made paper of high quality. There are many other high quality (Archival) papers and it is best to try out as many as possible to determine which works best for you. Lesser quality papers are made with tree pulp or other materials which often deteriorate quickly with age.

Watercolor paints very greatly in quality and therefore it pays to buy the best you can afford. Artist Grade colors are strong and transparent, allowing light to bounce off the white of the paper creating colors that glow from within. Good quality paints are made from finely ground pigments mixed with distilled water, gum arabic and glycerine or honey, which acts as a preservative and which keeps the paint moist. The best quality paints have a lightfast rating printed on the label. They range from a rating of ASTM 1 (Excellent Lightfastness) to ASTM 5 ("FUGITIVE" - Pigments will bleach very quickly).The labels often also have health information written on them, if not, ask the sales person who can probably provide you a dealer's list of colors available, their ratings and any health information.

Lesser quality or Student grade paints are often made with less finely ground or less pure pigments that may have fillers to extend the pigments, this creates chalky, less transparent, colors that fade quickly or deteriorate and actually change colors, (eg: red may darken to brown)(This may also happen to the lower quality Artist grade colors so try to avoid colors in the ASTM 3 to 5 ratings)

Watercolor brushes are generally made with soft bristles. They have a full belly and therefore hold more water and pigment. They come in many different shapes and sizes. The types you choose will depend on how you work and your preferences. Kolinsky sable brushes are the best, but also the most expensive. They have good spring to the bristles and even large brushes keep a sharp point. They hold water well and if taken care of, will last a long time. (Scrubbing out colors with this brush should be avoided!) Lesser quality sables and brushes made with synthetic fibres can also work quite well if chosen carefully and taken care of. They will have to be replaced more often, however, as they wear out more quickly.

Wash brushes are generally made of squirrel or ox hair. The squirrel brushes, or mops as they are called, are favored by many as they hold a great deal of water, but the ox hair also work quite well.

Bristle brushes, used for oil painting are useful for scrubbing out areas to retrieve the white of the paper. Care must be used if you intend to repaint the area as too much scrubbing can damage the paper.