Learn to Paint

Watercolours

Alwyn Crawshaw

COPYRIGHT

HarperCollinsPublishers Ltd

1 London Bridge Street

London SE1 9GF

www.harpercollins.co.uk

First published in 1979

by William Collins Sons & Co Ltd, London

© Alwyn Crawshaw 1979, 1986, 1995

A catalogue record for this book is available from the British Library

Editor: Flicka Lister

Design Manager: Caroline Hill

Design: Flicka Lister and Susan Howe

Photography by Michael Petts and Nigel Cheffers-Heard

Front Cover: River Otter, Ottery St Mary, Devon

(detail, 37 × 45 cm / 14½ × 17¾ in)

Alwyn Crawshaw asserts the moral right to be identified as the author of this work.

All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the nonexclusive, non-transferable right to access and read the text of this e-book on screen. No part of this text may be reproduced, transmitted, downloaded, decompiled, reverse engineered, or stored in or introduced into any information storage retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of HarperCollins e-books.

Source ISBN 9780007458684

Ebook Edition © APRIL 2019 ISBN: 9780008363321

Version: 2019-05-13

HarperCollinsPublishers has made every reasonable effort to ensure that any picture content and written content in this ebook has been included or removed in accordance with the contractual and technological constraints in operation at the time of publication.

NOTE TO READERS

This ebook contains the following accessibility features which, if supported by your device, can be accessed via your ereader/accessibility settings:

 Change of font size and line height

 Change of background and font colours

 Change of font

 Change justification

 Text to speech

 Page numbers taken from the following print edition: ISBN 9780007458684

CONTENTS

Cover

Title Page

Copyright

Note to Readers

PORTRAIT OF AN ARTIST

WHY DO ARTISTS PAINT?

WHY USE WATERCOLOURS?

PAINTING EQUIPMENT

LET’S START PAINTING

BASIC TECHNIQUES

DIFFERENT WAYS TO PAINT

SIMPLE EXERCISES

STILL LIFE: DEMONSTRATION

FLOWERS: DEMONSTRATION

HORSES: DEMONSTRATION

LANDSCAPE: DEMONSTRATION

BUILDINGS: DEMONSTRATION

WATER: DEMONSTRATION

SNOW: DEMONSTRATION

HARBOUR: DEMONSTRATION

SEASCAPE: DEMONSTRATION

POINTS TO REMEMBER

About the Publisher

PORTRAIT OF AN ARTIST
ALWYN CRAWSHAW

Alwyn Crawshaw in his studio.

Successful painter, author and teacher Alwyn Crawshaw was born at Mirfield Yorkshire and studied at Hastings School of Art. He now lives in Dawlish, Devon with his wife June, where they have their own gallery.

Alwyn is a Fellow of the Royal Society of Arts, and a member of the British Watercolour Society and the Society of Equestrian Artists. He is also President of the National Acrylic Painters Association and is listed in the current edition of Who’s Who in Art. As well as painting in watercolour, Alwyn also works in oil, acrylic and occasionally pastel. He chooses to paint landscapes, seascapes, buildings and anything else that inspires him. Heavy working horses and elm trees are frequently featured in his paintings and may be considered the artist’s trademark.

This book is one of eight titles written by Alwyn Crawshaw for the HarperCollins Learn to Paint series. Alwyn’s other books for HarperCollins include: The Artist at Work (an autobiography of his painting career), Sketching with Alwyn Crawshaw, The Half-Hour Painter, Alwyn Crawshaw’s Watercolour Painting Course, Alwyn Crawshaw’s Oil Painting Course and Alwyn Crawshaw’s Acrylic Painting Course.

To date Alwyn has made five television series: A Brush with Art, Crawshaw Paints on Holiday, Crawshaw Paints Oils, Crawshaw’s Watercolour Studio and Crawshaw Paints Acrylics, and for each of these he has written a book of the same title to accompany the series.

Alwyn has been a guest on local and national radio programmes and has appeared on various television programmes. In addition, his television programmes have been shown in the USA. He has made several successful videos on painting and in 1991 was listed as one of the top ten artist video teachers in America. Alwyn is also a regular contributor to the Leisure Painter magazine. Alwyn organises his own successful and very popular painting courses and holidays. He has also co-founded the Society of Amateur Artists, of which he is President.

Fine art prints of Alwyn’s well-known paintings are in demand worldwide. His paintings are sold in British and overseas galleries and can be found in private collections throughout the world. Painted mainly from nature and still life, Alwyn’s work has been favourably reviewed by the critics. The Telegraph Weekend Magazine reported him to be ‘a landscape painter of considerable expertise’ and the Artists and Illustrators magazine described him as ‘outspoken about the importance of maintaining traditional values in the teaching of art’.

St Clement’s Bay, Jersey Whatman 200 lb Rough

38 × 55 cm (15 × 22 in)

They said ‘Sunny intervals and dry!’ Waterford 300 lb Rough

38 × 50 cm (15 × 20 in)

WHY DO ARTISTS PAINT?

Painting is one of man’s earliest and most basic forms of expression. Stone Age man drew on his cave walls. Usually, these drawings were of wild animals and hunting scenes. It is difficult to say whether these were created by the artist to be instructional – a means of showing children what a certain animal looked like, for instance – or as a form of cave decoration, or whether they were just a relaxing pastime to release creative feelings.

Whatever the reason, these early artists must have been a creative and dedicated people; there was no local art shop to provide them with their materials and no electric light to help on dark days. All this started over twenty-five thousand years ago and painting is still with us today.

Naturally, over this long period, painting has become very sophisticated. Artist’s materials have also undergone vast changes and the tremendous range now available, plus the variety of methods that are with us today, can make painting very frightening for the beginner: people can be put off by not knowing where or how to start.

HAVE YOU TRIED?

One of the most frequent statements made to me is: ‘I wish I could paint’. My reply is always, ‘Have you tried?’ and invariably the answer comes back: ‘No, I haven’t. I wouldn’t know how to start’. How can anyone say they can’t paint when they have never tried! Have you ever asked anyone if they can drive a car? If the answer is no, it will usually be followed by: ‘I haven’t tried yet but I am going to have lessons’. There seems to be a veil of mystery around painting but not around driving a car! So let me clear up some of the mysteries surrounding painting, from a beginner’s point of view.

If you like painting outside, Alwyn will help you experiment with watercolour styles and techniques.

First of all, you may feel daunted by the sheer volume of work that has been created over the past thousands of years, the hundreds of styles and techniques used, from painting on ceilings to painting miniatures. There is Prehistoric painting, Greek painting, Egyptian painting, Byzantine painting, Chinese painting, Gothic art, Florentine painting, Impressionism, Surrealism, Abstract art, Cubism, and so on.

Of course, all these styles can make the mind boggle and to unravel all of them and understand the differences could take a lifetime. So what are we to do and where do we start?

The simplest answer is to forget all you have picked up in the past and start from the smallest beginnings like Stone Age man.

FEELING CREATIVE

Today, most people who want to paint have one thing in common – a creative instinct. Unfortunately, many people don’t realise this until later on in life, when something stirs within them or circumstances set them on the road to painting.

For some people painting becomes a fascinating hobby. For others, it becomes their only way of expressing their innermost thoughts and leads to a means of communicating with other people. For anyone who happens to be house-bound, painting can have a real therapeutic function.

Through painting, people meet and make friends either by joining art societies (most towns have one) or by progressing and selling their works at local art shows, in local shops and so on.

I think, above all, painting can be a creative way of getting involved, forgetting your immediate troubles, great or small, and finishing up with a work of art that you can share with others and enjoy for the rest of your life.

FIRST STEPS

By now, as a reader of this book, you have taken your first big step. If you are a beginner, this means that you are curious about painting and want to find out all about it. You have also selected a medium with which to start: watercolour. If you already paint and are reading this book in order to learn about the medium of watercolour, then probably you are looking for exciting new ways to express your creative skills.

So, as I said earlier, let’s start right at the beginning. But don’t rush out to find the nearest cave! I will take you through this book stage by stage, working very simply to start with and progressing to a more mature form of painting.

Watercolour is also an ideal medium if you prefer painting at home or in a studio.

If you have some watercolours, the most difficult thing to do at the moment will be to read on – your desire to try out the paint will have been stimulated by looking through the book and seeing the colour pages and different methods of working. If this is the case, I thoroughly recommend one thing first – relax and read on before you start. Then, when you do begin the lessons and exercises, enjoy them. If you find some parts difficult, don’t become obsessed with the problem. Go a stage further and then come back. Seeing problems with a fresh eye often makes them easier to solve.

WHY USE WATERCOLOURS?

I am constantly asked why I paint in more than one medium. The reasons are varied. An artist sometimes uses a medium because he has been commissioned to do so or because he likes one medium more than another, but more important is the fact that each medium has its own mystique and, of course, a particular quality. There is also the restraint of size. For instance, a sheet of watercolour paper isn’t made large enough for a 76 × 152 cm (30 × 60 in) painting and neither is pastel paper, so the medium can determine the size of the painting. Finally, the subject matter has to be considered. When I am out looking for possible subjects, I see one as a subject for an acrylic painting, another as a perfect watercolour, and so on.

Whatever your reason for choosing watercolour, even if it’s the obvious one – you like it! – you have made the choice and we will work together over the next fifty-six pages, from simple beginnings to more serious exercises later.

First, a word of caution. Because your earliest recollection of painting – probably when you were at infant school – is associated with the use of water-based paint (poster paint, powder colour or watercolour) you may have the impression that it is easy. Well, of course, to enjoy painting and get favourable results is relatively easy. However, to get the desired results through deliberate control of watercolour needs plenty of practice and patience, but the more you learn, the more you will enjoy using watercolour.

WHAT IS WATERCOLOUR?

Watercolour is so called because the adhesive that sticks the pigment powder to the paper is soluble in water. The paint is a finely ground mixture of pigment, gum arabic (the water-soluble gum of the acacia tree), glycerine (to keep the colours moist) and glucose (to make the colours flow freely).

When water is loaded on to a brush and added to the paint on the palette, the paint becomes a coloured, transparent liquid. When this is applied to the white surface of the paper, the paper shows through and the paint assumes a transparent luminosity unequalled by any other medium. You buy the colours either in a half pan, a whole pan or a tube (see below). I will explain more about this in the equipment section.

Half pan, whole pan and tube of watercolour paint.

One great advantage of watercolour is that it requires no complicated equipment. For painting outdoors, for instance, your basic essentials are a pencil, a box of paints, a brush, paper and water. You will find that the paint dries within minutes of its application to the paper as the water evaporates, leaving the dry colour on the surface. This process can be seen when working. While the paint is shiny on the paper, it is still wet and you can move it about or add more colour with the brush, but as soon as the shine goes off the paper (the paint is now in an advanced drying stage) you must leave it alone and let it dry. If you try to work more paint into it, you will get nasty streaks and blotches.

Because the paint dries quickly – especially if you are under a hot sun – watercolour painting does not favour faint hearts. If you think you are in that category, don’t worry. You will gain confidence as you read and work through the book.

Before you start a painting, you need to have a plan of campaign in your mind. Naturally, as you progress, this will become second nature to you. When I was at art school I was taught to look and observe and, ever since, I have always looked at the sky as if it were a painting and considered how it had been done – in which medium, with which brush, which colour was used first, and so on. I see things as colours, and techniques of painting.

PAINT CONTROL

Nevertheless, you will have to accept the fact that not every watercolour painting is a success – not to you, the artist, that is.

You will find that you paint a beautiful picture, everyone likes it and it is worthy of being put into an exhibition, but there will be passages of that painting where the watercolour was not completely under your control and it made up its own mind about the final effect. Well, this is an accepted characteristic of watercolour painting – only the artist knows how he made the paint behave or misbehave! But when you paint a good picture with plenty of watercolour effect and it was all under your control, then you will have achieved a small, personal ambition which will no doubt elevate you into that special band of dedicated watercolourists.

| French Ultramarine
| Crimson Alizarin
| Yellow Ochre
| Hooker’s Green No. 1
| Cadmium Yellow Pale
| Cadmium Red
| Coeruleum
| Burnt Umber
| Payne’s Grey

The first six colours illustrated above are the colours that I use for all my paintings. The following three I only use occasionally. All these colours will be referred to throughout this book. Please note that this colour chart is produced within the limitations of printing and is intended as a guide only.

ADDITIONAL COLOURS AVAILABLE

Naples Yellow

Lemon Yellow

Permanent Yellow

Cadmium Yellow

Aureolin

Chrome Lemon

Gamboge (Hue)

Chrome Yellow

Cadmium Yellow Deep

Indian Yellow

Chrome Orange (Hue)

Cadmium Orange

Chrome Orange Deep

Vermilion (Hue)

Permanent Red

Rose Doré (Alizarin)

Scarlet Alizarin

Scarlet Lake

Carmine

Crimson Lake

Permanent Rose

Purple Lake

Purple Madder (Alizarin)

Permanent Magenta

Cobalt Violet

Permanent Mauve

Violet Alizarin

Prussian Blue

Indigo

Monestial Blue

Cobalt Blue

Permanent Blue

Alizarin Green

Sap Green

Monestial Green

Olive Green

Hooker’s Green No. 2

Viridian

Terre Verte (Hue)

Cobalt Green

Brown Pink

Raw Sienna

Burnt Sienna

Light Red

Venetian Red

Indian Red

Brown Madder (Alizarin)

Raw Umber

Vandyke Brown

Warm Sepia

Permanent Sepia

Davy’s Grey

Neutral Tint

Ivory Black

Lamp Black

Chinese White

Конец ознакомительного фрагмента.

Текст предоставлен ООО «ЛитРес».

Прочитайте эту книгу целиком, купив полную легальную версию на ЛитРес.

Безопасно оплатить книгу можно банковской картой Visa, MasterCard, Maestro, со счета мобильного телефона, с платежного терминала, в салоне МТС или Связной, через PayPal, WebMoney, Яндекс.Деньги, QIWI Кошелек, бонусными картами или другим удобным Вам способом.