Table Of ContentPainting in
Watercolor
l)yJolin €. Pellew
N.A., A.W.S.
TOOLSAND MATERIALS EXERCISES FOR BEGINNERS WATERCOLOR TECHNIQUES ' ' STREET SCENES ' : PAINTING THEF(
OBSERVING LANDSCAPE : MARINE SUBJECTS MOUNTAIN COUNTRY INTERIORSAND CLOSEUPS STEP-BY-STEPDc
m
Painting
Watercolor
l)yJolinC.Pellew
N.A.,A.W.S.
One of America's most famous watercolor-
ists presents his own introductory guide to
watercolor painting, with special emphasis
on how to work with the simplest possible
equipmentparticularlyforoutdoorpainting.
A series of exercises for beginners-
washes, drybrush, wet-in-wettecimique, lift-
ingout,andwashingout—leadsintoasurvey
of all the basic watercolor techniques: dry
paper, wet paper, opaque watercolor, etc.
Observinglandscapeisaskillwhichevery
watercolorist must develop. An entire
chapter is devoted to the study of trees,
water, grasses and weeds, sunshine and
shadow, and skies.
A chapter on painting the four seasons
discusses how to paint spring, summer,
autumn, and winterlandscapes, focusingon
the characteristic colors of each season. A
chapter on street scenes shows how to work
from drawings and photographs. Marine
subjects are especially popular with water-
colorists, and the author provides detailed
information on painting boats and harbors,
rocks,beaches,andotherseascapeelements.
—
Mountain country, always a favorite
thoughcomplex—subjectforpainters,isdis-
cussed in terms of panoramasand closeups,
complete with an outline of equipment best
suited for painting in the mountains, and
adviceoncompositionandthesimplification
ofdetail.
Paintingarchitectural interiors,andclose-
ups of natural still life, such as growing
plants,providesarefreshingchangeofpace
for watercolorists, and the fascinating final
chapter is crammed with possible subjects
and techniques.
Throughout the book are superb repro-
ductions of tile author's paintings, with
detailed analyses of how the.y were painted.
Aseriesofsevenstep-by-stepdemonstrations
encompass all the basic painting problems
that the reader will encounter.
160 pages. 8V4 x 11. Over 100 black'
and-whitc illustrations, 16 pages cmor.
WAT9ni\i.niiPTiiI PIiRiir.ATinN*;
Painting in Watercolor
MariannePainting,watercoloronpaper,20"x28".
Another Colorado subject. The young ivoman ivas a member of my workshop group.
As achangefrom ghost towns, wepaintedthe turbulent mountainstreams. This isone
of my favorites. In the clear atmosphere of Colorado's Rocky Mountains, the dappled
sunlight on the rocks andon the bleachedoutfallentreetrunkssparklewithanalmost
blinding brilliance. Notice how the picture space was designed to make the figure the
pointof interest. The treetrunks leadthe eye to thefigureandtherectangles ofcanvas
on the artist's easel almost becomes a target that keeps the eyethere. Thestronglight,
caught by the pointed rock near the topofthe picture, helps move the viewer upand
away from the artist's canvas. Without it, the bright rectangle, with its sharp edge,
might have become an eye trap. Take the figure out of this picture and it would be
difficult tojudge the scale of the scene. Mypaintingprocedurewastoworkfromlight
to dark. Except for maybe ahalf dozen light on darkspotsofopaque, thepicturewas
painted with transparent watercolor directly on the dry paper.
Painting
in
Watercoior
l)yJolin C. Pellew
N.A.,A.W.S.
WATSON-GUPTILL PUBLICATIONS, NEWYORK
mmmmmmmimt'
Published byWatson-Guptill Publications,NewYork,NewYork
All rights reserved.
Noportionofthecontentsofthisbookmaybereproducedwithout
writtenpermissionofthepublishers.
Edited by Donald Holden
DesignedbyJamesCraig
ComposedintwelvepointBodoniBookbyAtlanticLinotypeCo., Inc.
PrintedandboundinJapanbyToppanPrintingCo.Ltd.
LibraryofCongressCatalogCardNumber: 76-87322
842?
ForJon andJennifer
MorningontheMarsh, watercoloron paper, 21"x28"
Another salt marsh! Sorry about that, but I do like to tea, go ahead and paint it; but don't tell me there's
paint them. To me, they^re the perfect watercolor sub- nothing to paint in the marshes. This fullsheet was
ject. Those along our easternshores remind me of the painted on the spot, using mostly a 1"—flat oxhair
NorfolkBroads, thatlow-lyingmarshycoastlineofEast brush. It ivas paintedlooking into thelight apointof
Anglia in England. This one, however, is in Essex, vieivI'm fondof.Notethedarksilhouettesofthetrees,
Massachusetts. The day I painted it, I was ivith an beyondwhichareseendistant hills, quitecoolin color.
artistfriendwhosawnothingtopainthereandsaidso. The trees are a mixture of raw sienn—a and thalo blue.
He really meant it. For him to be happy, thereshould The marsh grass is September color yellow ochre in
have been a picturesque barn somewhere just off cen- mixtureswith raivandburntsienna. WhenI'dfinished,
ter, and perhaps a glimpse of a tvhite church steeple myfriendstrolledoverandsaid,"WellI'llbedamned;
beyond the trees. Well, all right, if that's your cup of youmadeapictureoutofnothing!"
