Water color painting is a series of washes. A wash is water tinted with color to be applied more or Iess evenly to the surface of the paper.
A flat wash is one in which there is no variation in tone. A wash may be light or dark – from a slight admixture of color to full strength; the latter being seldom used.
A graded wash is one where the wash varies from light to dark,
or vice versa.
A broken wash is where the wash is divided by the outlines of other washes of another color.
A mixed wash is one where one color runs into another – as from yellow to green, etc,
A wash may represent a tint, hue or value.
A wash should be applied as follows: Dip the brush in water.
Press it into one of the colors; extract the color with downward strokes; do not wiggle the brush backward and forward. When enough color has been taken up gently press the color from the brush into one of the compartments in the cover of the box. Then dip the brush into water again and mix the water with the color in the compartment. Stir gently and take up a brushful of the tint. Apply to the paper, renewing the color before the brush is dry. If the color runs too much, quickly dry the brush on the cloth and with the dry brush take up the superfluous color. A blotter may be used for the same purpose.
Parts to be Painted Last – Parts that are in heavy color should always be put in last. Otherwise if additional washes are put in the background or middle distance the heavily painted portions will become dissolved and spread into the other parts. Thus, if the red chimney of a house were painted before the sky or clouds behind it were quite finished, and then a wash spread over the red chimney, the red would spread into the cloud or sky, spoiling the latter.
Let Light Tones Prevail – In the beginning of water color exercises the prevailing tones should be light. Excessive color is productive of muddiness in texture. Purity of tone is more easily obtained and preserved by the application of tones few in number (or in combination) and light in quality. If more strength is found necessary, repeated washes, one over the other, each one being allowed to dry, will bring about the required result.
Neutral Foundation – A pleasing effect is usually secured by making the variation in light and shade, especially in the foreground, and even middle distance, by means of grey or neutral tones, just as if the picture were to be composed of grey and white effects alone.
Then the various local colors may he applied in transparent washes over the grey tones. The grey tones will show through the washes of color and produce much the same effect as if various grades of strength of color were used. It is the same principle as in coloring a photograph, except that the colorist has the advantage of adapting the strength of the underlying tones to suit the requirements of the subject; parts of a photograph usually being too dark for the super-added colors to show adequately.
When Backgrounds Are Unnecessary – When painting single objects or simple groups, such as flowers, a book, a vase (almost any still life subject, in fact), it is not necessary to show the actual background. A broken tint is generally sufficient and less confusing in result.
Select Simple Subjects – When drawing from nature in color as well as in black-and-white, simple subjects are best at first; the simpler the better. A stump of a tree, a fallen log, a group of rocks, a bunch of grass or weeds. an old water trough, an old shed or shanty; in fact, any single object or group is advisable rather than a widely distributed subject of an ambitious character.
Old and weatherworn subjects are better than new ones.
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