1. Watercolors
Varied Textures Through Brushwork and RESIST

2. Which painting makes
use of a wash?*
• How do you know?

3. To get variety in texture, we
need to control the water.
On the Page:
In the Brush:
Wet?
WASH
Wet?
WASH
Dry?
CRISP
EDGE
Dry?
LINES
Damp?
SOFT
EDGE
Damp?
CONTROLE
D EDGE
So to get varied textures…
DRYING TIME, in STAGES, is needed.

4. While this image has multiple
washes, it’s the combination of
Make a descriptive list of the
diffused and crisp textures that
order this image was painted
make it interesting.* of the
and condition (wet or dry)
paper at each stage.

5. Painting Landscapes with
Textures:*
Make a list the varied textures in the seascape above.

6. We are going to make
seascapes and a pastorals—2
kinds of landscape paintings—
using brushwork and varied
water content of the paper to
create textures.

7. Starting a seascape:
Draw an uneven horizon line to indicate distant rolling hills.
Crayon?
Using RESIST to create more texture variety.
RESIST techniques create barriers to the paint.
Use one or two related colors to create uneven texture on the
beach.

8. Use Elmer’s Glue to
change the texture of the water,
indicating waves or ripples.
Rule of Distance?
•
•
Waves are thicker and farther apart nearest to viewer.*
Waves are thinner and closer together farther from viewer.*

9. Use rubber cement
to keep cloud shapes white
when you paint the sky.
Cotton Balls?
•
Cumulous clouds tend to flatten on the
bottom with weight of moisture.
•
Cirrus clouds streak across the sky. *

10. Starting a pastoral:
Draw an uneven horizon line to indicate distant rolling hills.

11. Sophisticated Painters do not
limit their trees to “ground
lines.”
So, how is it a problem to get trees at varied distances from
viewer?

12. Tape is a great resist technique
to maintain crisp boundaries.
•
•
Cut thin strips to establish the trunks and main branches of
3 to 5 trees.
Place at varied distances in the landscape.

13. Use tape in the same manner to
construct a broken down fence
or to cut the shapes of small
buildings in the distance.

14. Beginning the painting
process.
•
We will work back and
forth between the
seascape and the
landscape in order to
allow drying time
between layers.
•
We want variety in
texture—so the paper is
going to have to be wet
sometimes, damp
sometimes and dry
sometimes to
accomplish that.

15. Painting the Seascape
Sky:
Wet Sky (stopping at the hill tops.)
Paint Sky: lighter closer to the earth.
Wet Water (stopping at the top of the crayon.)
Paint LIGHT blue-grey undertone of water.
DRY

16. Painting the Pastoral Sky:
Wet Sky (stopping at the hill tops.)
Paint Sky: lighter closer to the earth.
Kleenex Clouds (3-4 quick blots.)
DRY

17. Seascape Water/Land:
Wet Water and Land.
Paint Water: lighter closer to the land.
Paint Land (dirty greens).
Paint changing color of foliage/ground
cover
Streak Water (more color closer to
viewer.)
DRY
.

18. Pastoral Fields:
Wet Fields.
Paint Dirty Green: Darker closer to
viewer.
Paint shadow colors under trees.
Place plastic wrap over foreground.
.
DRY

19. Seascape Final Layers:
Remove Rubber Cement.
Wash or Dry Brush Cloud
Textures.
Dry Brush evergreens.
Dry brush weeds/bushes.
.
DRY

20. Pastoral Final Layers:
Remove Plastic Wrap.
Dry Brush Trees—Angel
Brush.
Remove Tape--CAREFULLY.
Dry brush
weeds/bushes/Textures.
DRY
.