Watercolor Basics HANDBOOK

TABLE OF CONTENTS

Preparations Drawing and Design

Setting Up Your Painting Area 2 Drawing Tips 22
Selecting Paints 3a, 3b Depicting Depth and Perspective 23
Selecting & Preparing Your Painting Palette 4 Creating a Successful Design 24
Selecting Cotton Watercolor Paper 5
Watercolor Paper Surface Textures 6 More About Color, Pigments & Mediums
Watercolor Paper Brands 7 Watercolor Mediums 25
Preparing Your Watercolor Paper 8 Color Terminology 26
Selecting a Format 9 Color Recipes 27...
Transferring an Image to Paper 10
Selecting Watercolor Brushes 11 Matting and Framing
Brush Handling and Care 12 Matting and Framing 30

Painting Tips & Techniques Recommended Resources

Controlling Edges 13 Continuing the Creative Journey 31

Basic Watercolor Washes 14 Recommended Books (Fundamentals) 32

Mastering the Graded Wash 15 Recommended Books (Beyond the Basics) 33

Glazing (Layering Paint) 16 Resources on the Web 34

Whites in Watercolor 17 Art Supply Vendors 35

Using Masking Fluid 18

Glossary
Color Mixing Methods 19
Glossary of Watercolor Terms 36, 37
Textural Effects 20, 21

www.catherinefetterman.com Watercolor Handbook

 Setting Up Your Painting Area
(to minimize accidents and maximize efficiency)

Where to Put Your Supplies

 Place your palette and water containers on your right (or on your left if

you’re left-handed). This is really important as it helps to minimize unintend-

ed drips of paint from falling on your painting.

 Place the bigger water container closer to you, and the smaller water con-

tainer farther away to help it remain your source of clean water. They should

be above your palette, if possible.

 Your painting shoulder should generally be in the middle of your painting

board.

 Keep paper towels or a white cotton cloth near your board.

 Keep a piece of scrap watercolor paper near you so that you can test your

colors. Or, if you prefer, set aside a section of your paper you’re painting on

to be for testing purposes.

 Brushes may be placed on either side of your board, although I like to place

everything to my right when I paint.

 Keep your drinking cup on the opposite side of the table, far from your

painting water. (If you don’t you may end up with a brush in your java!)

www.catherinefetterman.com Watercolor Handbook 2

 Watercolor Paints Are Now Sold
In a Variety of Forms
The most popular in the US is tubes (you can quickly
squeeze out as much paint as you want and you get great
color saturation. In Europe, however, its more common form Selecting Paints
artists to choose pans or cakes that are hardened paint in
little rectangles or oval that are compact and great for travel ( part 1)
and little paintings. Liquid watercolor in a bottle, and water-
color pencils, crayons and sticks are other useful forms.

Choosing a Palette of Colors Paint Characteristics

 At minimum you should have one of each of the primary Permanency Rating The best watercolor paints have a
“lightfast” or “ASTM” (American Society of Testing and Materi-
colors (red, yellow and blue) since you can’t mix them.
als) rating of I. Avoid purchasing anything less than a “II (2)” as
Other paints will help you express yourself but aren’t lesser ones are known to be fugitive meaning that the color will
essential. A nice fourth pigment would be Burnt Sienna. change considerably over time with exposure to light. To de-
termine the lightfastness rating, check the tube. If it’s not there
you can also check with the manufacturer. Note: some compa-
 While I do make recommendations regarding a start-up
nies use other scales:
palette of colors, the artist within you may wish to add AA, A, B, C (Winsor& Newton).—A’s being more lightfast
rich earth colors, delicate pastels or vibrant bold colors Or a star system
later on. Have fun trying out lots of new paints that fel-
Transparency Some pigments allow more light to pass
low artists might have and soon you’ll have a more per-
through than others. A paint that doesn’t allow light to pene-
sonal palette of colors that reflect your preferences. trate very much is called opaque. Even opaque pigments can be
made to produce transparent effects if applied in light values.
 Look at some art books to see what paints other artists Be careful—if you mix 2 opaques in a wash it causes a loss of
luminosity, and they can quickly muddy if overworked or cov-
use. When you see a look that you like you’ll know what
ered with subsequent layers.
paints you’ll need to achieve it.
Granulation Refers to a paint’s smoothness or graininess. Use
 Many accomplished artists have one set of paints they granular pigments when you want to show a textural quality;
they do not like to be glazed upon, however as they tend to
use to paint florals (primarily transparent paints) and
move if covered over.
another set of paints (including more opaques and
granular paints) for painting landscapes. Staining Traces of the paint remain on the paper after trying to
lift it off with a brush or towel. Non-staining paint can be easily
removed to achieve white highlights.

www.catherinefetterman.com Watercolor Handbook 3a

 There is no standardization of pigment names,
quality or colors...which makes teaching about
paints a bit confusing sometimes!
Selecting Paints
(part 2)

Color Names Can Be Misleading Good vs. Poor Quality Paints

It used to be that artists used the same basic set of pigments
across brands, and that manufacturers pretty much called those Poor quality paints are made with fillers which diminish trans-
paints by those names. But a couple of decades ago manufac- parency and increase the chances of muddy or chalky-looking
turers started coming up with many new pigments (often dyes) paintings. They may also be poorly ground. When possible,
to create exciting new colors for artists to use. Unfortunately, purchase professional artist grade (not student grade) paints.
the names of those pigments are often long and confusing and  “Cotman” is the student grade of Winsor & Newton paints
so they came up with their own names for those colors. The  “Academy” is the student grade of Grumbacher paints
result is that the same color often goes by completely different (Please note: The above paints are not always bad; it really de-
names, depending on who the manufacturer is! pends on the pigments used in a particular tube. But to keep
things simple for you, I recommend that you stay with higher
Here’s an example of that. The pigment common to each of quality artist grade paints to assure the most luminous paint-
these is phthalocyanine blue (PB 15): ings, and the best understanding of pigments.

Joe’s Blue (American Journey)

Winsor Blue Green Shade (Winsor & Newton)

?
Phthalo Blue (DaVinci)
Primary Blue-Cyan (MaimeriBlu)
Q: Is “Cadmium Yellow” the same as
Secondly, you should be aware that the same color name in “Cadmium Yellow Hue”?
different brands may produce very different results because
they may actually be made from different pigments (remember
pigment is what gives a paint its color), because a manufacturer A: No, it isn’t. When a paint name includes the word
is substituting a cheaper ingredient to approximate a color for a “Hue” it means that the manufacturer has substituted
“student grade paint”, or to substitute a non-toxic ingredient for another pigment to create a color similar to the one
the more common toxic one, or simply because the manufactur-
you’re looking for. Manufacturers substitute colors for
3 main reasons:
er makes their paint in a different way that causes it to act dif-
1. To reduce the cost of student grade paint (authentic
ferently (maybe it stains more, or is a slightly different color
cadmium pigments are more costly than the substi-
than the norm). For example, here’s cerulean blue across many
tuted pigment)
brands. Notice how some are greener or lighter than others? 2. To replace pigments that are no longer available
(eg. Indian Yellow)
3. To substitute non-toxic alternative pigments for
toxic ones (eg. cadmiums, cobalts, naples yel-
low…)

Knowing this will help you understand why your paint

may not have the same characteristics as the “real” paint
(ie. removability, granulation, transparency/opacity,
color mixing properties). It doesn’t mean that you can’t
use it. It just means that you have to be aware that it’s
Image source: www.handprint.com not what you thought it was!

www.catherinefetterman.com Watercolor Handbook 3b

 There are 2 kinds of
“Palettes”:
One is your choice of paints that you use
to make a painting.

The other is the ―something‖ on which you

Selecting and Preparing
place or mix your paints before you
paint them onto your paper. Your Painting Palette
Choosing a Painting Palette Setting Up Your Palette
There is no one “best” palette. Instead, there are a variety  Step One: Decide how you want to arrange the col-
of palette shapes, sizes and configurations on the market ors. The order with which you place your paints is a
to meet the individual needs and preferences of artists. personal choice. Take the unopened tubes and place
This said, some palettes are better than others. I recom- them where you think you want them in your palette.
mend that you consider the following criteria when choos-  Step Two: Make a paper diagram of your palette and
ing a palette: in pencil write down the names and brands of the col-
 Size — Small pocket sized travel palette or full-sized ors you are using in each well. (A “well” is an indented
table top version? (If you plan on painting larger than space that holds paint.) This will help you remember
8”x10” and will use 1” or larger brushes, be sure to get a what paint you have, even when the tube is no longer
palette that has at least 1” wells.)
available.
 Cover — Necessary if you plan on transporting your
 Step Three: Using a permanent Ultra-fine Sharpie
supplies to class or want to paint on location. If you paint
marker, write the names of your colors on your palette
in one place, a cover isn’t as crucial.
 Shape —Wells placed in a circular format help you visu- next to each well. You can erase them if you decide to
alize the color wheel better, but they can also limit your change them later. You may need to use abbreviations
palette selections. since the spaces are so small. (I can help you with this
 Mixing area — Do you have room to mix colors on your if you like. I’ve become a pro at writing really small!)
palette? (If you don’t you’ll need a place where you can.)  Step Four: Squeeze out enough paint to fill the well at
 Material — Plastic, porcelain, enameled metal (plastic least 1/3 full. Mound the paint against the wall of the
stains the most but is lightweight and inexpensive)
palette so that you’ll always have drier paint showing
up through any puddle that might form in the well.

More Handy Tips For You...

#1 After you squeeze paint from #2 Eventually your white palette #3 Once you fill your palette,
your tube, wipe the tube opening will get stained by the paints that leave it open for a couple of days to
with a damp paper towel to keep you use. This can make it hard to let the paints harden. Doing so will
excess paint from getting stuck in see your color mixes. Clean your help you keep your colors clean.
the cap and making it hard to open. palette with a Mr. Clean Magic Eras- Should a color become contaminat-
er (a special white sponge found in ed with another one, you can simply
the household cleaning section of wipe off the top layer (using water
the grocery store). Soft Scrub and a tissue) and the rest of the
cleanser also works. paint will be clean pigment.

www.catherinefetterman.com Watercolor Handbook 4

Paper is the most important watercolor supply you will
own. In fact, if you don’t have a good paper to use, it
doesn’t matter how good the rest of the supplies are! For
that reason, please invest in quality watercolor paper, even
as a beginner. If you don’t, you will be disappointed with
the results of your efforts because the colors will look flat, it
will be difficult to produce graded washes and transparent Selecting Cotton
glazes, and it may be very difficult to make corrections
along the way. So, instead of trying to buy the cheapest
paper, please take my advice and buy the good stuff. You’ll
Watercolor Paper
have more fun painting and be more successful at it!

Format Surface Texture

Cotton watercolor paper is sold in the following ways: Papers are generally available in three surface textures.
 by the sheet (typical size 22”x30”) “Tooth” refers to paper texture.
 spiral-bound pad
 tablet Hot Pressed (HP)
 block (the most expensive option) Very smooth surface.
 by the roll Not very absorbent.
Washes can be difficult to control.
Due to lack of texture and heavy sizing, washes show
Weight
a distinct fluidity. Handles broad washes worked wet-
Papers come in various weights (90lb, 140lb, 300 lb, in-wet very well. Flat washes are unsuccessful on most
etc.) that reflect the weight of a ream. 500 sheets hot pressed papers.
(22”x30”size) is a ream. The lighter the paper the more Difficult to layer or glaze,
Easy to lift off paint.
it buckles (warps) when wet. It is generally recom-
mended to use 140lb or heavier paper to avoid having Cold Pressed (CP)
lots of problems. (It’s fine to use 90lb paper to test col- Slight texture
ors though; otherwise you have to stretch it to make a Also known as “Not” as they are not hot pressed. Dur-
ing the manufacturing process.
painting. I explain the “stretching watercolor paper”
Generally considered the easiest to use. The surface is
process at the beginning of this handbook: “Preparing receptive, with enough texture to make both broad
Your Watercolor Paper”) and fine work possible. Colors can lack intensity, but
this can be remedied by making mixes a touch brighter
than required.
Q: WHAT MAKES A GOOD WC SURFACE?
Rough (R)
A: One that responds well to the techniques Rough texture
you’d like to use, makes it possible to cor-
Very absorbent.
rect mistakes, and won’t turn yellow (neutral
PH, “acid-free”, made with cotton/ “rag”). Responds best to a bold and immediate style.
Some artists like more or less texture than  Most responsive to dry brushwork since the paper
others. The best way for you to discover has a lot of tooth.
what papers work best with your particular Fairly easy to layer or glaze paint.
way of working is to test different kinds of
The paint doesn’t soak in immediately, allowing for
painting surfaces, including Claybord,
Aquabord, Watercolor Canvas, and even easy removal and manipulation. (But once it’s dry it can
plastic paper! Cotton papers are traditionally be hard to remove.)
used in watercolor, but they are no longer the
only choice of watercolorists.

www.catherinefetterman.com Watercolor Handbook 5

 Watercolor Papers
ABOUT SURFACE TEXTURES

How Do You Know Which Surface Texture to Use?

In most of my classes I recommend that my students purchase some of each of the following papers:
cold pressed, hot pressed and rough. I do this for a variety of reasons. First, your style of painting may
very well be very different from mine, in which case we may prefer different papers. Second, all surface
textures have their usefulness. While it is good to start with cold pressed because it lets you do many
techniques, it isn’t necessarily the best choice for all artists.

Hot Pressed —(smooth surface)

Little difference between the front and back of the paper, and both are equally usable. Needs to be
stretched to avoid buckling when wet; smooth, hard-size surface causes paint to puddle before being
absorbed slowly by the paper. It takes all traditional watercolor techniques, but due to the absence of
surface texture, the artist needs to work hard to prevent the painting from looking dull. Paint settles and
puddles in fresh (and frustrating) ways often resulting in backruns and flowers; drybrush effect is more
difficult to achieve and depends more on brushstroke; the absence of surface texture enables precise
brushwork and an excellent capacity for detail. Difficult to make corrections: only minimal paint can be
removed by rewetting and scrubbing. For wet-in-wet techniques, the base wash must be no more than
damp or the colors run too far.

Cold Pressed (aka “Not”—meaning not hot pressed) —(subtle irregular texture)
Generally considered easy paper to work on, taking most techniques very well. Perhaps the most popular
choice of artists. Washes spread and dry flat and relatively bright. A new layer does not soften the dry
color below, so that many layers can be applied before the colors begin to dull. Take care not to over-
work the painting, however, as paintings overworked on this type of paper tend to look dull; drybrush is
more subtle than with Rough. Both sides of the paper are usable. Excellent capacity for detail.

Rough— (most texture)

Paintings made on this paper will often benefit from a looser approach. Mixing and blending with little
interference will result in a fresh, sparkling work. Washes go on smoothly; drybrush shows up easily. Both
sides can be used although the back is slightly rougher and more regular. Paint settles into the paper,
making removal and corrections difficult once dry. Good for glazing layers. Colors remain crisp and dry
very bright. Good capacity for detail. Fine detail in masking fluid is difficult without a thin masking fluid.

www.catherinefetterman.com Watercolor Handbook 6

 Absorbency and Sizing

To make paper less absorbent,

more water-resistant, and bet-
ter able to hold a wash or Watercolor Papers
brushmark, sizing is added. ABOUT BRANDS
Natural and synthetic sizes
include gelatin, casein, starch
and rosin (made from pine-
tree resin). It is either added
Brands
before the sheet is formed
Different brands of paper handle paints differently and may or may not let
(internal), or to the surface
you easily correct mistakes. Some absorb the paint quickly while others tend
(external) after the sheet has
to cause the paint to sit or puddle on the surface of the paper. There are
dried, or both.
many wonderful watercolor papers, but local stores tend to only carry a few.
Lightly sized papers Price indicates quality when it comes to paper.
absorb more paint; makes cor-
rections more difficult; washes Arches brand is a very good paper to start with for many reasons. It allows
have softer edges, and colors you to use a variety of techniques successfully and can withstand scrub-
tend to dry slightly duller bing when making corrections. It comes in white or bright white versions of
cold pressed, rough or hot pressed. Machine mold-made. 100% cotton
Heavily sized papers
that is acid-free and receives an anti-fungus treatment. Internally and ex-
soak up less paint; because the
paint is more likely to dry on ternally sized. (Some artists wet the paper before they use it to remove
the surface of the paper, you some of the sizing to help the paper absorb quicker.) It’s sold as tablets,
are able to rewet and rework
blocks, rolls or sheets in weights of 90lb, 140lb, 260lb, 300lb, and 400lb.
the painting. Paint can also be
more easily removed by
scratching. Colors tend to look Another nice feature about this brand is that it is readily found in local art
more vibrant, and washes are supply stores in many formats. (Well worth using a coupon if you shop at
more easily merged.
A.C.Moore or Michael’s!)

It’s hard to find other good brands of watercolor paper in local arts and
crafts stores (like Michael’s and A.C.Moore). You really have to order them

More about through mail-order companies, unless you go to a “real” fine art store. But
when you do go to a store that specializes in quality supplies for artists,
Paper “Weights” you’ll find that there are many, many quality brands of cotton papers to
Arches 330 lb 22”x30”
choose from, and they each have their own characteristics.
Arches 555 lb 29.5”x41”
Arches 1114 lb 40”x60”
Some good brands that I can recommend (though there are many others!):
All of the papers above are
actually the same thickness. Fabriano Artistico Strathmore Imperial or Gemini
Do you know why the weight is Lanaquarelle Strathmore Aquarius II
different then? Because 500
Strathmore 500 series Twinrocker
sheets of that size paper
weighs that much. Sanders Waterford Kilimanjaro

www.catherinefetterman.com Watercolor Handbook 7

 A little
ration
prepa a
make
helps
better
Preparing Your Watercolor Paper
ng.
painti
NOTE: Another name for Gatorboard is Incredible Art Board.

TEARING PAPER
With a Ruler Sometimes you want to paint on a smaller sheet. Rather than use
scissors, watercolorists generally tear their paper against the edge of a metal cork-
Wash your hands before
backed ruler. Here’s how: Position your paper on a table. Measure the desired size
you start painting. Hand at 2-3 locations by indicating a dot. Place your ruler on your paper lining up those
lotions and natural oils in dots and pull up on the paper towards you at an angle over and against the edge
of the ruler. If you want a soft tear (or deckled edge), wet or mist the paper first
your skin can stain your
along the tear edge. Without a Ruler If you just want to tear a sheet in half, you
paper, repelling the paint. can also fold the paper in half, give it a hard crease, and then fold it backwards on
Also, use care when han- the same crease a couple of times. You can then get a pretty nice tear on a table.
dling your paper. Anything
with a hard edge (rings, ANCHORING PAPER Using Gatorboard
Gatorboard is a lightweight watercolor backing board available through Cheap
fingernails, rulers) can
Joe’s. (It’s called Incredible Art Board through Dick Blick.) It can be used one of
scratch the paper and thus two ways. The simplest is to simply staple, tack, clip or tape the edges of your pa-
alter the painting surface per to the board. Paint. Allow to dry completely, and then remove the paper from
the board. This is fine for small works but the paper tends to buckle with lots of
causing dark lines to ap-
water & larger sizes. To minimize buckling, use the second method below.
pear in your work where
you don’t want them. STRETCHING PAPER Using Gatorboard
Lightweight (under 140lb) papers benefit from being stretched, otherwise they are
likely to buckle when water is applied to them. Usually, paper over 140lb does not
need to be stretched. I only stretch 140lb paper when I am using a lot of water, or
FREQUENTLY when I am working at a larger size (generally over 15 inches in any direction).
ASKED QUESTION:
How to Stretch Your Paper Using Gatorboard:
“Which side do I paint on?”
1. Do your drawing on dry paper.
Hold watermarked paper up to the 2. Soak paper with clean water –either with a 2” wash brush, big sponge, or
light. When you see the mark the you can soak it in your tub or sink. (Be careful not to scratch the paper.)
correct way, you are looking at the 3. When paper is thoroughly soaked, lay it on the Gatorboard. If any bubbles
or buckles appear, simply lift on the side of the paper to the buckle. Now,
right side (considered better to work
slowly lay the paper back down on the Gatorboard while applying gentle
on). If the paper carries no marks,
pressure with your wet brush to remove the buckle. Staple to the board,
compare the two sides in good light. every couple of inches.
One side will usually show a more 4. When it is completely flat, lay paper towels over the entire surface to re-
regular pattern; this is the correct side move the excess water. (Or you can roll a roll of paper towels over the sur-
to work on. (In reality though, most face.) The paper should be damp to the touch, but no glisten to it.
5. Paint away! Notice how you can still get a nice hard edge even though the
papers can be used on either side but
paper is wet.
they do often take the paint slightly
6. Once you’re finished painting and the paper is completely dry, you can
differently!)
remove the paper. (Pull up on a corner to easily remove stapled paper.)

www.catherinefetterman.com Watercolor Handbook 8

 Does
ze
the si
really
r?
Selecting a Format
matte
While you can just start painting without having to worry about
the dimensions of the finished painting, there are some practical
reasons for why you might want to give this issue some thought.
Here’s are a few of them:

About Custom Sizes

 Depending on the subject matter, a very long or very wide format may be a better choice
to a standard dimension.
 Costs more to have custom mats and frames made.
 Takes more time—you can’t readily find the size you’ll need.
 One economical option when painting in a non-standard format is to purchase a framed
print, remove the print and insert your own work along with acid-free mat board. This is
time consuming but can be 1/3 the price of custom matting and framing. If you want a
white crisp edge around your work you would still start by drawing the opening to size
and then taping around the edges. This method gives your painting some “breathing
space” around the edges and also gives the appearance of a mat.
 It is possible to use a standard size frame with a custom mat in it. Typically there would
be a lot of mat on one or more sides for this kind of presentation. It might look like this:

Standard Sizes
 Use the chart below to determine the standard opening for a certain mat/frame size.
 If you want to have a .25”* crisp white border show around your matted painting, be sure
to take off an additional .5” from each dimension: (ie: So if I wanted to use an 8”x10”
mat/frame, I would draw a rectangle of 4”x6” and then carefully put down artist tape
along the edges to preserve crisp edges while I paint. Or, if I prefer an irregular edge,
I just paint up to or near the edges I’ve penciled in.)
*If you want more white showing, subtract one inch from opening sizes below.

MAT & FRAME SIZE FOR PICTURE SIZE OPENING (WHAT SHOWS)
8”x10” 5”x7” 4.5”x6.5”
9”x12” 6”x8” 5.5”x7.5”
11”x14” 8”x10” 7.5”x9.5”
12”x16” 9”x12” 8.5”x11.5”
16”x20” 11”x14” 10.5”x13.5”
18”x24” 14”x18” 13.5”x17.5”

www.catherinefetterman.com Watercolor Handbook 9

 aw or
To dr
not to
..it’s
draw. Transferring an Image to WC Paper
your
e!
choic You CAN draw directly onto watercolor paper. To erase, you must use either a white
plastic eraser or a kneaded eraser. Erase gently. Complex drawings are best drawn
on a separate piece of paper first, and then transferred to the watercolor paper.
Doing so will keep your watercolor paper clean and fresh, instead of being potentially
NOTES damaged or full of dark pencil lines and smudges.

TRANSFER METHODS:
Use a light source (window, TV, or commercial lightbox)
With this method, you place your watercolor paper on top of your drawing.
You then trace over your design by drawing directly on the watercolor paper.

Use transfer paper (purchased or homemade)

Place your wc paper down, then place transfer paper over it, and then on top of that put
your drawing. You draw over the lines of your design and the image is transferred to the
wc paper below.

To make your own transfer paper, draw your design on plain paper then flip it over and
rub graphite on the back of it, being sure to put graphite where there are any lines—soft
lead pencils work best (ie: 4B). To keep the graphite from getting all over, you can “set it”
by putting some rubbing alcohol on a cotton swab or tissue and gently smearing the
graphite. This is not a requirement but it does help control the graphite.

TIP #1 Keep your paper from moving

Tape down both your drawing and your watercolor paper in two places. (If you tape both
top corners of your watercolor paper, you can lift the bottom to see if the image is trans-
ferring properly.

TIP #2 Decide first if your paper will need to be stretched

If you are going to need to stretch your paper, you will want to immerse the paper in wa-
ter, let it soak until completely saturated, and then affix it to your board. When it is com-
pletely dry, use transfer paper (purchased or homemade) to trace your design onto your
paper. (You could also do the drawing first, although wetting the paper may lighten lines.)

TIP #3 Draw lightly with a pencil

If you draw directly on the paper, draw lightly. It is difficult to remove heavy pencil lines
from watercolor paper. Use an HB or #2 pencil.

TIP #4 Avoid smudges by not putting your hands on areas you’ve traced
Right handed artists - begin tracing on the top left and work toward
the bottom right
Left handed artists - begin tracing at the top right and work toward
the bottom left

www.catherinefetterman.com Watercolor Handbook 10

 CHEAP IS CHEAP!

Many manufacturers
m a k e “ S a b l e ”
“Kolinsky Sable” brushes.
o r
Selecting Watercolor Brushes
Just because it carries
the name doesn’t neces-
Which Brush is Rig ht for You?
sarily mean it’s good. In
C h o o s i n g a b r u s h i s l a r g e l y a m a t te r o f p e r s o n a l p r e f e r e nc e . ( T ha t s a i d , a p o o r
fact, if you don’t pay a
b r u s h c a n m a k i ng p a i nt i ng v e r y fr us tr a t i ng a n d c ha l l e ng i n g ! ) E a c h b r u s h s ha p e
lot for it it’s not worth
a n d t y p e o f h a i r o r b r i s tl e h a s i ts o w n u n i q ue c h a r a c te r i s t i c s , a n d th e m a n u fa c -
having! Case in point: I
t u r i n g p r o c e s s h a s a l o t to d o w i t h ho w w e l l a b r us h p e r fo r m s .
once got a free sable
brush for every purchase
W h e n c h o o s i n g t h e t y p e o f b r us he s y o u a r e g o i n g to n e e d f o r a p a i nt i ng , k e e p
of a specific product. It
i n m i n d w h a t y o ur s u b j e c t m a t te r i s . F o r i n s t a nc e , l a r g e a r e a s o f s k y o r b o d i e s
looked like a nice brush,
o f w a t e r w i l l n e e d a l a r g e , w i d e fl a t, a n g ul a r o r w a s h b r u s h . M o r e d e ta i l o r i e nt -
kept a nice point and did
e d a r e a s n e e d a b r us h w i t h a p o i n t. A r c hi t e c t u r a l s ha p e s a r e m o r e e a s i l y p a i n t-
hold a lot of paint and
e d w i t h a s q u a r e o r a n g ul a r ti p .
water... but it didn’t want
to let the paint go on my
Numbering System
paper! Sounds kind of
 M o s t b r u s h e s fo l l o w t h i s s y s te m : # 0 0 0 ( t hi n n e s t) to # 2 0 ( fa t te s t)
strange, doesn’t it?
 S o m e a r e m e a s u r e d a c c o r d i n g t o t h e i r w i d th ( i e . 1” f l a t b r us h i s 1 ” w i d e )
Well, that’s because
while it was hair from the
Types of Hairs
weasel family, it
performed terribly! G e n e r a l l y , w a t e r c o l o r i s ts l o v e a b r u s h t ha t ho l d s l o ts o f l i q ui d a nd t ha t s p r i n g s
b a c k i n t o s h a p e w h e n w e t . T h e t o p o f th e l i ne b r us h i n th i s c a t e g o r y i s k no w n
a s a K o l i n s k y S a b l e , w i th th e b e s t b r us h e s b e i n g p r o d uc e d f r o m t h e h a i r s o f t he
t a i l o f t h e m a l e K o l i n s k y S a b l e ( a l s o k no w n a s a S i b e r i a n m i n k , a m e m b e r o f th e
w e a s e l f a m i l y i n t h e S i b e r i a n r e g i o n o f R us s i a ) . U n fo r t u na te l y , t he y ’ r e v e r y e x-
p e n s i v e $ 5 0 - $ 2 0 0 fo r a s i z e 8 r o u n d d e p e n d i n g o n t h e m a n uf a c tu r e r ! ( I t c a n
c o s t m o r e p e r o u nc e t h a n g o l d ! ) T h e g o o d n e w s i s t ha t w e d o n ’ t h a v e to ha v e
o n e o f t h e s e b r us he s to m a k e a g r e a t p a i nt i ng ! W h i l e i t w o u l d c e r ta i nl y b e a
t r e a t t o p a i n t w i t h a b r u s h s uc h a s th i s , o th e r o p ti o ns a r e a v a i l a b l e to us :

S y n t h e t i c F i be r ( N y lo n ) – l o t s o f s pr in g ( r e s i l ie n c y ) ; t e n ds t o le t t h e p a in t
c o m e o u t qu ic k ly o n t o t h e pa pe r s i n c e i t h as l i t t le c o l o r h o l di n g c a p ab i l it y ,
b u t m a n u f ac t u r e r s ar e w o r k in g at im pr o v in g t h is . W h i t e N y lo n v s . G o lde n
N y l o n ? I t ’ s n o t ju s t t h e c o lo r t h a t ’ s d if f e r e n t . G o l de n N y lo n is be t t e r be c au s e
i t ’ s b e e n t r e at e d t o h o l d m o r e pa in t .

N a t u r a l S o f t H a ir – h o ld lo t s o f p ai n t ; r e le a s e s pa in t m o r e s lo w ly
 K o l i n s k y — F in e s t r e d s a ble . F in e ly - po in t e d h ai r w i t h s u pe r b s pr in g ,
s t r e n g t h , a n d a bs o r be n c y .* ( s e e n o t e a t le f t )
 R e d S a ble — A n y r e d h a ir f r o m t h e w e as e l f a m i ly . M a n y d if f e r e n t gr ade s
a r e av ai l a ble o n t h e m ar k e t . I de a l ly t h e y h o l d a f in e po in t w i t h go o d
s p r i n g an d a bs o r be n c y .
 O x — L ac k s t h e f in e t i p o f r e d s ab le , b u t is a s t r o n g , s i lk e n h ai r o f t e n u s e d
i n m o de r at e ly – p r ic e d br u s h e s .
 G o a t — P o s s e s s e s go o d a bs o r be n c y w i t h a s o f t , w ir y f e e l. G e n e r a l ly u s e d
i n o r ie n t a l br u s h e s . Is n ’ t t h e m o s t du r a ble t h o u gh an d do e s r e qu ir e e x t r a
care.
 S q u i r r e l — H igh ly a bs o r be n t , f in e ly - po in t e d h a ir s , bu t l ac k s t h e s pr in g o f
a s a b le an d t e n d s t o be v e r y f lo ppy . B e s t a r e R u s s i an s qu ir r e l h a ir s .
 C a m e l — A n a l l e n c o m p as s in g t e r m f o r br u s h e s m a de f r o m a v a r ie t y o f
h a i r s , n o n e o f w h ic h ar e c am e l! T h e y m ay in c l u de o x , go a t , s qu ir r e l o r
p o n y h ai r . In t e r e s t in g, h u h ?

S y n t h e t i c B le n d - T h e s e ar e a m ix o f n at u r al an d s y n t h e t ic h a ir s , o f f e r in g u s

www.catherinefetterman.com Watercolor Handbook 11

 Brush Handling and Care

Before Using A New Brush How to Care for Your Brushes

Wash it with a little soap and water to get rid of  Don’t let your brushes sit in water for extended periods of
t he r e s i n u s e d t o k e e p i t p o i n t e d . ( M a k e s u r e t ha t time. The water will damage the paint of the handle and the
y o ur s o a p d o e s n ’ t h a v e l o t i o n s i n i t t h o u g h a s t h a t brush tip will lose its shape.
w o ul d c o a t t h e h a i r s a n d c a u s e t h e m t o b e l e s s a b -  Store brushes in a container that will keep the points from
sorbent.) Other than that, you really don’t have to getting damaged, and will give them exposure to air to dry.
us e s o a p t o c l e a n y o u r w a t e r c o l o r b r u s h e s , u nl e s s  If a brush tip gets damaged, wet the brush. Then reshape it
y o u h a v e a h i g h s t a i n i n g p a i n t t h a t j u s t d o e s n’ t to a point by brushing it along the gummed area of an en-
want to leave! velope. Store it in some paper to help it retain its shape.
(This may have to be done more than once. Also, be sure to
How to Hold a Brush wash out the brush with soap & water when you go to
 L i g h t l y , a b o v e t h e m e t a l fe r r u l e . paint with it.)
 T h e h i g h e r y o u h o l d t h e b r u s h u p o n t h e h a n-  Avoid handling the brush hairs with your hands as oils from
dle, the more expressive (loose) your strokes your fingers collect at the base of the ferrule making it swell
will be. and lose its proper shape.

How To Properly Load a Brush With Paint How to Clean/Rinse a Brush

 B e g i n b y d i p p i n g y o u r b r u s h i n t o w a t e r b e fo r e I f y o u’ r e d o ne p a i n ti n g , o r n e e d to us e a d i f f e r e n t
g o i n g i n t o t h e p a i n t . T h i s k e e p s t h e p a i n t fr o m c o l o r , y o u w i l l n e e d t o c l e a n t h e p a i n t o ut y o ur
sticking to the bristles. b r us h. T o d o t h i s , t ho r o u g h l y r i ns e y o u r b r us h i n
 U s i n g y o u r w e t b r u s h , t a k e p a i n t fr o m t he p a i n t w a te r ( u s i ng a b r i s k s i d e to s i d e m o t i o n) , a nd
w e l l a n d p l a c e i t i n t h e m i x i n g a r e a . R o t a te t he t he n r e s ha p e i t a l o n g t h e e d g e o f y o u r w a t e r
brush in your hand to make sure that there is c o n ta i ne r to g e t t he e xc e s s w a te r o f f . T o r e m o v e
p a i n t th ro ug ho u t t h e h a i r s ( n o t j u s t a t t he t i p e xc e s s m o i s tu r e a nd r e g a i n a ni c e s ha p e to y o ur
or only on one side). b r us h, w i p e th e b r us h l i g h t l y o n a p a p e r t o w e l ,
 B e fo r e t a k i n g p a i n t t o y o u r p a p e r , i t ’ s i m - r a g o r s p o ng e b y w i p i n g th e ha nd l e a nd b r us h
p o r t a n t t o m a k e s u r e t h a t t h e r e a r e n o c l um p s ha i r s b y p u l l i ng t he m to w a r d s y o u a s s ho w n i n
or grainy particles of paint in your mixture. class.
L o o k fo r t h i s w h e n y o u l o a d y o u r b r u s h a nd a p -
p l y l i g h t p r e s s u r e t o g r i n d t h e m i n y o u r m i x i ng
area. (This only happens with tube paint.)

IMPORTANT REMINDER
Don’t use your watercolor brushes for other media. Acrylic, in particular,
can really ruin your brushes. Never, ever use your watercolor brush to
apply masking fluid (unless, of course, it’s already an “ugly brush”!)

www.catherinefetterman.com Watercolor Handbook 12

 d the
Shoul t
be we
paper ?
or dry
How can you apply paint and get the look you want? It depends primarily
on whether the paper is completely dry, damp (moist) or wet (shiny).

Most interesting watercolor paintings use a variety of edges to give depth

and focus to what they are painting. In fact, variations in edges in your
“LOST AND FOUND EDGES” painting can not only help you describe your subject, but can also be used as
―lost edges‖ — soft, feathery undefined edges effective design elements.
―found edges‖ — hard, crisp precise edges

Want a fuzzy edge?

NOTES Use the “wet-on-wet” technique. (Think of it as “Wet brush onto wet
paper”.) Wet your paper with a brush, spray bottle or sponge. Wet as
much of the paper as you think necessary. Apply your paint using a wet
brush onto wet or damp paper to get the desired soft edges. The wetter
the paper is the farther the paint will disperse, and the less control you’ll
have over the paint. Also, papers with less tooth (surface texture) allow
the paint to move more.

Want a crisp edge?

Use the “wet-on-dry” technique. (Think of it as “Wet brush onto dry
paper”.) Apply a brush loaded with paint/water mix onto dry paper.

Want an edge (or shape) to have both a fuzzy edge and a crisp
edge?
(An example would be depicting snow drifts or certain kinds of shadows.)

Well, in this case what you want to do is use the wet-on-dry technique
and then rinse out your brush. You can then soften the desired edge with
a wet brush by pulling/diluting the paint along the edge. So that you
don’t bring too much water back into your painted area, I suggest that
after you rinse your brush you touch it quickly to a wet paper towel first.
That removes any big drops that might cause you problems (ie. unwant-
ed blossoms/watermarks).

Want to emphasize texture, brushstroke or create highlights?

(Examples would be bark on a tree or sparkle highlights on water.)

Use the “dry-on-dry”, also known as “dry brush”, technique. (Think of it

as “thirsty brush onto dry paper”.) This does not mean that your brush is
dry, but damp. Apply the paint onto a dry surface using a damp brush. I
suggest that you try painting on a scrap piece of paper first to regulate
the moisture and get just the right amount of paint on the surface.

www.catherinefetterman.com Watercolor Handbook 13

 u
do yo
What
the
want
o look
area t
like?
A ―wash‖ is a large, thin layer of diluted paint. It may cover the whole
sheet of paper, or just a section. A ―glaze‖ is a wash applied to an
already-dry painted area.

NOTES (With very few exceptions, watercolorists always use water with their paints.)

Types of Washes

Flat Wash
characterized by an even value and color
[ie: a painted wall]

It is often helpful to pre-wet the paper when covering a large area so that you
don’t see the brushstrokes. Make a puddle of the paint in your mixing area then
apply that to the paper with your brush. When you make a flat wash you really
don’t want any brushstrokes or paint streaks showing in it when you make it.

Variegated Wash
characterized by variety of values
[ie: foliage on an evergreen bush]

This is the easiest to create. You can work wet-on-wet or wet-on-dry. The key is
that there be a variety of values throughout, which means simply varying the
amount of water and paint.

Graded/Graduated/Gradated Wash
characterize by a smooth transition from light to dark values
[ie: the sky being dark at the top and slowly getting lighter towards the horizon]

This is the most challenging wash but with practice you will have success! For this
technique it is important to have a consistent amount of moisture in the brush,
and on the paper. I suggest wiping your brush on a moist paper towel to remove
any excess water before touching the paper.

www.catherinefetterman.com Watercolor Handbook 14

 he
h i s o ne’s t
T
i ff i c u lt, but
d
most d wash!
u s e
most t worry
,
o n ’
But d
get it
you’ll !
actice
A ―wash‖ is a large, thin layer of diluted paint. It may cover the whole
t h p r
wi sheet of paper, or just a section. A ―glaze‖ is a wash applied to an
already-dry painted area.

NOTES
Methods for Laying in a Graded Wash
(Through practice you’ll find the one that works best for you!)

Method 1— (work dark to light on wet paper)

Wet the desired area completely.
Paint concentrated pigment along one edge.
Fade out that paint into the wet area with long, overlapping strokes.

Method 2 — (work dark to light on dry paper)

Start with dry paper.
Paint concentrated pigment along one edge.
Dip your brush (which still has paint on it), into clean water, and wipe off
excess water on the side of the container.
Apply this now diluted color next to and overlapping the first stroke.
Keep repeating this fading out process until there is no pigment left on
the brush, or you have the look you want.

Method 3—(work light to dark on dry paper)

Prepare your puddle of concentrated pigment.
With paper dry, start by painting the edge of the wash area with a stroke
or 2 of water.
Charge (load up) your brush with a water and a touch of pigment.
Apply this in long strokes along the edge of the wet area.
Pick up more pigment only and apply it along the new edge.
Repeat this process of adding more pigment (not water) with each
stroke until you reach the other side of the wash area.

NEED A BIG WASH?

These can be tricky. Follow these tips:
1. Stand so that you can use your whole arm.
2. Work with large, flat brushes.
3. Prepare lots of pigment in a large mixing area beforehand.
4. Tilt your board slightly (up or down depending on which direction you want
the paint to flow).

www.catherinefetterman.com Watercolor Handbook 15

 r
o laye
How t ut
witho
paint t
g wha
ruinin e!
e don
you’v
A ―glaze‖ is a wash applied to an already-dry painted area. Some
artists apply many, many glazes to their work to get to their finished
paintings, while others don’t apply any. It’s important to know how to
do one though because it might be just what you need to turn a medi-
NOTES ocre painting into a successful one. Here’s why.

What are glazes used for?

—To set a mood
—To focus the viewers’ eyes
—To unify your painting, or sections of it

Darkening a selected part of a painting with a glaze helps the eye focus on
more important areas. (For example, adding a glaze of blue (cobalt or ultrama-
rine) in the corners of a picture can help focus the eye on the remaining light
areas.)

How do you do a glaze?

Method A— Wet the surface of the picture first with a spray bottle or very soft
brush, then drop in, lightly brush or pour the liquid pigment into it. Tilt the
painting to help direct the flow, and use additional spray or light strokes to fade
the edges.

Method B — You can also wet the surface with a spray bottle and then lightly
brush on your glaze color.

Method C — Wet the surface of the picture using a spray bottle. Then, in anoth-
er bottle, add diluted paint and then mist the paint onto the surface. You may
need to come back and mist the edges with pure water to make sure no crisp
edges remain from the glazing.

Glazing can be tricky if you’re not careful to do the following:

1. Before glazing, make sure the painting is absolutely dry.

2. If using a brush, apply the paint quickly with a large brush economizing
brushstrokes so as to not disturb the paint that is already there.
3. When you glaze only part of a work, it is important to fade out any edges.
4. Some colors, particularly dark opaque colors applied heavily, may blur when
they are rewet. If this happens, use a spray to wash away the blurring paint
before you apply the glaze color. When the painting is dry, reapply the
darks, if necessary.
5. Transparent pigments glaze best.

NOTE: Some papers do not like to be glazed with a brush. Yupo plastic paper
is one of them. You can spray or pour layers, however.

www.catherinefetterman.com Watercolor Handbook 16

 o you
How d ites
wh
paint
ut
witho
paint?
white

PAINT AROUND the white areas:

Sometimes the easiest way to leave a section white is simply to
Yes, it is true, that there is white watercolor paint on avoid painting in that area. So before you start painting, think
the market, but to keep our paintings as transparent about your white areas and how you’ll keep them white.
and fresh as possible, we won’t be using it in class.
That doesn’t mean you can’t use it. It just means TAPE the white areas
we’ll be learning how to work without needing it! Tape can be applied to dry paper to preserve an area. This
method is particularly useful when you need to keep a large
area white, or when you want straight edges.

WAX & CRAYON

Candle wax or crayon can also be applied to dry paper to pre-
serve the white of the paper. Once applied, you can paint a
wash right over the wax. The wax is not removed.

LIFT OUT the white areas

This can be done either on wet or dry paper, although the
results will vary and directions must be followed carefully!
On wet paper— simply apply pressure to the painted area with
a paper towel or tissue. This will lift off some of the paint and
create a lighter value. You can also soak up paint with a
“thirsty” brush (pre-wet and remove the water!).
On dry paper— wet your scrub brush and apply clear water to
the area of paint you wish to lighten or remove. Let the water
sit for a few seconds and then lightly scrub the paint with your
scrub brush in a circular motion. Slowly, the paint will begin to
lift off. Blot the area with a clean tissue or paper towel once
you see a white area appear. Clean the brush. Continue to add
more water and scrub the area until it is as light as you want it,
or until you can’t remove any more paint. (Some paints stain
the paper more than others so you may not be able to get
back to pure white.)

SCRAPE OUT the white areas

When the paper is completely dry, use a razor blade or Xacto
knife blade to scrape away the paint on the surface of the pa-
per. Another method is to use the beveled end of a brush (or
corner of a credit card). When the paper is damp (just lost its
shine), you can scrape out shapes or lines of a light value.

MASK OUT the white areas

Read the next page “Using Masking Fluid” for important
instructions and tips on using this useful product!

www.catherinefetterman.com Watercolor Handbook 17

 D i r ections
Follow r
ully (o
Caref r
’ l l r u in you
you
ng!)
painti
Different Names for the Same Thing:
Masking Fluid, White Mask, Art Maskoid, Liquid Frisket, Masquepen, Pebeo Drawing Gum...

How to Use Masking Fluid

 Read the bottle to determine if you should shake or gently rock your bottle of masking
fluid before you use it. (Varies with manufacturer)

 To apply masking fluid, use an old brush, toothbrush, twig, toothpick, sponge or similar
item. For unusual edges try a piece of rope or twine with frayed ends. (Do NOT use a good
brush as the fluid might become permanently attached.)

 Wet the item and then dip it into the fluid. (If using an old brush, you may want to put a
tiny amount of soap on it first to keep the fluid from sticking to it too much.)

 Whatever tool you use to apply the fluid, be sure to apply it to dry paper.

 When the fluid is completely dry, you can paint over it. You will know that it is dry when
you touch it and it doesn’t come off on your finger. It remains shiny even when dry.

 When you are finished painting in that area, dry the paper (while you can use a hair dryer
to speed drying time, it must be done on low setting or you’ll bake it into the paper!) To
remove the masking fluid, gently rub off the masking fluid with your finger or use the edge
of a rubber cement pick-up eraser.

Other Important Tips

 Do not paint with the water that you use to clean your masking fluid brush.

 Use caution when using masking fluid. It does not wash out of clothes or carpet.

 Masking fluids have a lifespan of about a year. Never apply masking fluid that has thick-
ened in the container.

 As a general rule, don’t leave it on your painting surface for longer than 36 hours—you
may not be able to remove it!
REMEMBER, WHEN USING MASKING FLUID:
Always use a wet “ugly” brush, or disposable item.
Always use dry paper (never wet or damp).
Make sure masking fluid is dry before painting over it.

www.catherinefetterman.com Watercolor Handbook 18

 ter
o es it mat
D e
mix th
how I ?
paints
Basically, there are three ways you can mix watercolors:

NOTES Mixing on the Palette

Most beginning artists think that this is the only way to mix the color you want.
Yes, it does put the artist in complete control of the mixture before putting the
paint on the paper, but it also tends to produce a flat, even color.

When I mix colors on my palette, I usually make puddles in my mixing area of

the colors I am going to use. Then, I slide a tiny amount of the darker (or high-
er staining) paint into the lighter one until I get the color I want.

Mixing on the Paper

If you let the paints and water mix freely on the paper it will yield a color with
subtle, interesting variations. Manipulate the paint as little as possible with the
brush. You can also spray or pour paints onto your paper. You may also mix
the colors by tilting the paper. The order with which you apply the paints can
also give a variation in the results.

Glazing
Glazing is applying another layer of paint (same or different color) on top of a
painted area that is now DRY. You can apply the new layer of paint by either
spraying, pouring or brushing it on. Be sure that the first layer is completely dry
or the paint will lift off when you apply the second layer. Transparent pigments
glaze best. See “Glazing” page for more information.

A Few Handy Tips

1. Test —Be sure to test your colors on scrap paper, or a
reserved section of your paper you are working on, before
you put them into your painting.

2. Use Caution with Powerful Paints —When you mix

paints on your palette, be sure to go very sparingly at first
with any high staining paints since they will quickly overpow-
er any paints they are with.

3. Anticipate Color Changes —Some watercolors dry con-

siderably lighter than when they are wet. This is called a
drying shift. Some pigments can dry up to 40% lighter!
Some papers may also make colors appear duller when
they dry. You will need to either compensate for this when
you apply your paint, or be willing to apply another layer
when the first layer is dry.

www.catherinefetterman.com Watercolor Handbook 19

 Part 1
nice!
That’s y
id the
How d
do it?

A brush isn’t always the best painting tool when it comes to creating texture.
Here are just a few tools watercolorists use to add variety and interest:

NOTES
Crayon or Wax — While both can act as a resist to subsequent washes, they
can also be used to add texture. These do not get removed from the paper.

Gravity — While the paint is still wet, try tilting the paper to make the colors
move around on the surface and/or mix into other painted areas.

Masking – Apply masking fluid to a dry surface using an “ugly brush” (twigs or
toothpicks also make great masking fluid applicators). Always wet your brush
first, then dip it into the masking fluid and then apply the fluid to the paper.
When it’s dry, you can paint over it and it will preserve the color beneath the
masked area. When you want to remove the mask, simply rub the area with a
clean finger or use a rubber cement pick-up.

Oiler Boiler — This small water bottle has a syringe needle attached to it that
lets you add lines of water into a damp wash for special effects. It can also be
filled with liquid paint.

Paper Towels and Facial Tissues — Blot with a crumpled paper towel when
wet, or twist facial tissue and drag/place in a wet area to create texture, or to
regain light or white areas in your painting.

Palette Knife —Roughen up the underside of a metal palette knife with sand
paper and you can use this tool to paint tree branches. Make a puddle of paint
in your palette and then load up the bottom of the knife with paint. Paint with
the tip or the side of the knife.

Plastic Wrap – After applying pigment, lay on the plastic wrap. Do not flatten
too much; there should be plenty of wrinkles. Be sure to allow the paint to dry
thoroughly before lifting off the plastic wrap. This will give you clean sharp de-
signs from the wrap’s imprint.

Rubbing Alcohol —Timing is critical. Drop into a damp wash. If it’s too wet or
too dry it won’t work.

Salt (table salt, sea salt, etc.) –Apply salt sparingly to a wet painted area and let
dry. Works best on darker value areas. If the painted area is too dry or too wet,
the salt will not work properly; it works best if your paper has a slight sheen to it.
When the paper is dry, you can gently rub off the salt with your hand.

www.catherinefetterman.com Watercolor Handbook 20

 Part 2
nice!
That’s y
id the
How d
do it?

A brush isn’t always the best painting tool when it comes to creating texture.
Here are just a few tools watercolorists use to add variety and interest:

NOTES
Sanding — Try using a light grade of sandpaper to roughen the surface. You
have to make sure that the paper is completely dry and that you use at least
140lb paper to do this or you’ll likely end up with holes!

Scraping — Use a piece of credit card to scrape paint off the surface of your pa-
per. Paper must be damp (not shiny) to get light lines. Useful for creating blades
of grass, branches or hair.

Scratching — Use a hard object (paper clip, nail, ) to scratch your paper while the
wash is still quite wet. The pigment settles into the scratches, drying darker than
the rest of the wash.

Spatter with a Toothbrush—Load a toothbrush with paint, and using your fin-
ger or thumb, rub the bristles toward the paper. You can spatter on a wet or dry
surface. Try them both to see what different effects you can get. Here’s some-
thing else you can try: tilt and lightly tap your paper after you have spattered the
paint to get drips to run down (you can also spritz water into the spatter to make
it drip more.)

Sponge (house sponge, natural sponge, etc.) – Depending on the kind of sponge
you use, you’ll get a different texture. Apply paint to a wet sponge and lightly
touch to a dry surface. For yet another effect, try sponging into a wet area with
the same sponge.

Spritzer — Conservatively spritz water into a damp area to achieve a “mystical

dust” look

Wax Paper —Great for rendering textures for rocks, leaves or other natural ob-
jects. This can be cut or torn into a variety of shapes and then laid into a damp
wash. Allow to dry and then remove. Or, you can crumple the wax paper and
then smooth it out just enough to place over the wet wash.

www.catherinefetterman.com Watercolor Handbook 21

 an I Part 1
How c if I
that
draw a
draw
can’t ?
igure!
stick f
Actually, everything you need to know in order to draw is right in front of your
eyes. Your brain tries to tell you what it sees. Don’t let it! Rely on your eyes for
the information instead.

Before you start, …let your eyes start the drawing. GAZE at your object. OBSERVE the relationship of a single
angle to either vertical or horizontal. Then look at your paper and image the angle as though it were drawn. LOOK
at angles, shapes, lines. Where one line ends, another starts. The lines lie at certain angles in relation to each other,
and in relation to the edges of the paper (vertical and horizontal). Lines are the edges of spaces.

There are different methods for drawing. Here are a few to try:
Pure Contour Drawing -This is a record of perceptions. Tape down your paper. As your eyes move slowly
along the edges of your object, simultaneously draw the line, without looking at what you are drawing.
(Sounds kind of strange but that’s what makes it effective!) Go a steady millimeter at a time. Don’t stop un-
til you’re done. Your drawing won’t come out like a replica of your object but the experience will help you
see things exactly as they are, not what you think they are.

Modified Contour Drawing -This is exactly like pure contour drawing only you allow yourself to glance at
the drawing at intervals to note relationships of sizes, lengths, and angles.

Drawing the Negative Spaces - Record the shapes of the spaces between objects (instead of trying to draw
the objects themselves). A viewfinder will help you to perceive negative spaces by establishing an edge to
the space around forms. You can make your own viewfinder with a punched out slide frame, or take a piece
of stiff paper or mat board. Cut it into two large thick capital “L” shapes. And then fasten them together at
the corners with paper clips with the L’s facing in towards each other. What I like about this tool is that I can
slide the L’s to make a center hole of different shapes that helps me also compose my painting/drawing
into squares, and various rectangles. It will kind of look like this………………………………………………..

Upside-down Drawing - This is a useful technique when you draw from a photograph.
Turn your photo upside-down. Begin at the top, and copy each line, moving from line to
adjacent line. Do not turn the drawing right side up until you have finished.

Value Drawing - The focus isn’t on lines but on values (lightness and darkness of colors). When you squint
you are better able to perceive differences in value. Record those values by using a pencil, marker or paint.

Grid Drawing - When working from a photo, this helps you see relationships by focusing on a small section
at a time. Place a grid on your photo and paper, using the same proportions for each. (You can use 1”
squares on the photo and 2” squares on the paper, for example.) Then, look at what is found in one box on
the photo and draw the same thing in the corresponding box on your paper. Pay close attention to rela-
tionships of sizes, lengths and angles.
Resist drawing flat as it’s
hard to properly see the
I highly recommend the following book to help you: proportions of what you
Drawing on the Right Side of the Brain by Betty Edwards
draw. Put your board on
an angle, instead.

www.catherinefetterman.com Watercolor Handbook 22

 s how
Here’
ke
to ma
look
things
r far.
near o

Artists use many tools to trick the viewers’ eyes into seeing
three dimensions on a two-dimensional surface. They include::
NOTES Size Color Intensity
Overlap Color Temperature
Shadows Value/Atmospheric Perspective
Details Linear Perspective
Edges

TECHNIQUES TO FOOL THE EYE INCLUDE:

 Size and space variations [think of fence posts]

Objects become progressively smaller and closer together as they recede.

 Overlap, detail and edges

Place closer objects in front of distant ones and give them more detail and sharp-
er edges

 Aerial perspective (color intensity, temperature and value)

[think of mountains]
Objects that are closer to you tend to be more intense than ones in the distance.
Distant objects also appear cooler (bluer) than when they are up close.
Distant objects appear lighter in value than closer objects.

 Shadows [doorway, tree in light]

Deep shadows suggest depth
Modeling (shading some of the surfaces)

 One-point linear perspective

[think of railroad tracks or a road going into the distance]
The tracks get smaller and the sides of the tracks seem to meet at single point.

 Two-point linear perspective

[a corner of a rectangular object is closest to viewer]
Parallel edges meet at two vanishing points on horizon.

 Curves in perspective [mugs, etc]

Curves become ellipses

To learn more about perspective, I highly recommend the book

Watercolor Basics: Perspective Secrets by Phil Metzger.
It has clear, easy to understand descriptions and demonstrations.

www.catherinefetterman.com Watercolor Handbook 23

 your
Make
ng
painti to
sting
intere t.
look a
There are entire books written on this subject! Here’s a little introduction:

NOTES
Questions to Ask Yourself:
 What would make a good focal point?

 Is there enough contrast around it to emphasize your focal pint?

 Will you need to create more contrast to emphasize your point of interest?

 Would it help if you transformed something? (enlarge, distort, eliminate)

 Is there something new you could introduce?

 What format and proportions best suit the subject? Should it be horizontal or

vertical?

Popular Guidelines
Four quadrant grid – place a different shape in each quadrant.

Rule of Thirds –center of interest lies at an intersection

Other Tips
 Use a Viewfinder — It helps you select and organize your painting in the

shape you wish for it to created. (See page 2 “Drawing Tips” for how to

make your own viewfinder.)

 Make Thumbnail Sketches

 Tension and Release —Create active and restful (underplayed) areas in

your painting; also known as “breathing space”.

 Lead the Eye —Link your objects and spaces. Lines, shapes, values and col-

ors should be arranged as to lead the eye through the painting. Creating

lost and found edges allow forms to link harmoniously and helps to create

a rhythm to the work.

www.catherinefetterman.com Watercolor Handbook 24

 Watercolor Mediums
(used to alter the performance and characteristics of your paints)

Ox Gall Liquid (a wetting agent)

This is useful when you want to make your colors more fluid and spread more rapidly. It is also useful when working
wet-into-wet, making for dramatic spreading of one color into another. And it can lessen the effect of blooming as
wet areas of color dry. Improves acceptance of wash on paper. Add a few drops to water.

Gum Arabic
Adding a little of this will increases the brilliance, gloss and transparency of your watercolors. Controls the spread of
wet-on-wet. Reduces the staining of pigments which will make lifting washes easier. It can be thinned with water.

Iridescent Medium
Mix with watercolors or apply over a dried wash to give pearlescent or glitter effects. Particularly effective when
mixed with transparent colors.

Lifting Preparation
Apply directly to paper and allow to dry before painting. The preparation then allows dry washes, including staining
colors, to be more easily lifted from paper with a wet brush. Washes will be most successfully lifted within five to six
hours after the initial application. Helps with making corrections.

Granulation Medium
Gives mottled or granular appearance to colors which usually give a smooth wash. For maximum effect, dilute color
with medium alone. Dilution with additional water will provide a variety of results. Granulation effects are exaggerat-
ed when applied to rough paper.

Aquapasto (aka Watercolor Gel)

A transparent gel medium that gives an impasto (a raised/thick application of a pigment) effect to watercolor and
gouache. It also thickens washes and keeps them wet longer by reducing the flow of the color. It is can be beneficial
for blending multiple washes on the paper and re-working them as required. By reducing the flow, it prevents two
washes from bleeding into each other.

Blending Medium
This is used to slow the drying rate of watercolors, allowing more time for blending. It can be mixed with the color
directly out of the tube, or applied directly to the paper. A dilution with water will provide a variety of blending and
drying times.

Texture Medium
This medium contains fine particles which give your watercolors an impression of depth and structure. It is ideal for
emphasizing areas like sandy beaches and stones.

Watercolor Medium
A pale colored binder that when mixed with watercolor improves their flow. This can be beneficial when applying
thin washes of color, and it can help to keep the darks dark. This medium can be thinned with water.

www.catherinefetterman.com Watercolor Handbook 25

 color
What
is it?
Color Terminology
Everything about color has to do with relationships. Knowing the proper terminology
will help you know how to talk about what you are trying to say and paint.

NOTES Hue – the color (red, blue, etc.)

Value — the relative lightness or darkness of a color

Tint — light value of a color

Shade — dark value of a color

Intensity — the relative brightness or dullness of a color

Primary colors – red, blue, yellow

Secondary colors – created by mixing two primaries; purple, green, orange

Tertiary (or Intermediate) colors – created by mixing a secondary color and a

primary color; red-orange, blue-green, etc.

Monochromatic color scheme – variations of one color

Complementary colors – Colors which are opposite each other on the color
wheel; when two complementary colors are evenly mixed, a neutral “gray” is
created. This is very useful for mixing dull greens, warm browns and earth col-
ors.

Analogous color scheme – colors that are close to each other on the color
wheel

Color Temperature – warm colors tend to advance while cool colors tend to
recede

Warm Colors – hues that lean toward yellow and red

Cool Colors – hues that lean toward blue and purple

www.catherinefetterman.com Watercolor Handbook 26

 o
How d
ake
you m
that c
olor? Color Recipes
Here’s a place for you to write down your favorite color recipes. Be sure to include the brand used, as well
as the paint name.

www.catherinefetterman.com Watercolor Handbook 27

 y to
Read
?
frame

Once you’ve had the pleasure of creating a satisfying work of art, you’ll
want to know how to display it so that you (and others!) can enjoy the fruits
of your efforts. Here’s the scoop on properly displaying, framing and caring
for an original watercolor painting.

NOTES

Identifying Your Work

 Use pencil or paint to write your name.

 Date and title may be indicated on the front or the back of the piece.

 Make sure your signature (and date and title, if included) stay at least 2 finger
widths (~1”minimum) from the edges of your painting. (Doing so will keep
your words from being too close to, or cut off by, the overlapping mat!)

Displaying Your Work

 Watercolors should be displayed under glass with a mat separating the

painting surface from the glass. (Claybord, Aquabord, and Fredrix Watercolor
Canvas are new painting surfaces for watercolor that don’t have to go under
glass, but they should be coated with a clear spray to seal them.)

 Mat over, next to, or around the artwork. Decide whether you want to show the
edges of your painting. You can also float the painting (one mat is placed un-
der your painting, and another is placed around but does not overlap the
painting.)

 Keep original watercolors out of very humid areas (ie. bathrooms) and out of
direct light. This is true for all original works of art. Prints will also discolor fast-
er if placed in those conditions.

www.catherinefetterman.com Watercolor Handbook 30

 Continuing the Creative Journey!

Here are some final suggestions to help you build upon what we have
covered together:

 Treat yourself to an artist date to a local show or gallery.

As you go around the room, pay particular attention to any watercolors
on exhibit. Look for flat, graded and variegated washes. How did the
artist paint the shadows? How does the artist render white areas?

 Subscribe to Watercolor or Watercolor Magic magazine.

 Check-out the internet for free online art lessons.

 If possible, keep your supplies set up so you can take advantage of a 15-
30 minute break to just paint, ...not necessarily make a painting!

 Visit your local library and treat yourself to a different art book each
week. But don’t feel like you have to read it from cover to cover. Browse
through it to introduce yourself to different artists and styles of painting,
and reinforce some concepts you have already learned.

 Take other watercolor lessons.

 Study with different artist-instructors.

 Paint, paint and paint some more. Don’t throw away your paintings that
don’t come out as nicely as you wished. Date and keep them so that you
can refer to them to see for yourself the progress that you’re making!

It has been a pleasure and a privilege to share this creative journey with you.
Thank you! May God continue to bless the work of your hands and heart as
you follow His lead in becoming the artist that you, too, are called to be!

Here’s to the gift of art in our lives!

Catherine

www.catherinefetterman.com Watercolor Handbook 31

 Recommended Books
(Fundamentals)

The Watercolorist’s Essential Notebook Watercolor Basics: Perspective Secrets

Gordon MacKenzie, 1999, North Light Books Phil Metzger,1999, North Light Books
A great choice for the beginning artist. Clarifies and If you want to learn how to create depth in your
simplifies various aspects of painting with watercolor. paintings, treat yourself to this book. Clear, easy to
This is one of my favorite teaching resources. understand descriptions and demonstrations.

Painting with your Artist’s Brain Drawing on the Right Side of the Brain
Carl Purcell, 2004, North Light Books Betty Edwards, 1989, Tarcher/Putnam
Learn to paint what you see, not what you think you While this book isn’t about watercolor, it will help you
see. This book helps artists sharpen their techniques, make better paintings. This book is for people at all
add visual impact to their work, and improve the com- levels of skill who want to learn to draw. It is the most
position of their work. Wonderfully illustrated with widely used and highly praised drawing-instruction
clear explanations. book in the world.

Watercolor: Painting Outside the Lines Exploring Color

Linda Kemp, 2003, North Light Books Nita Leland, 1998, North Light Books
I took a few workshops with the author/artist of this This book teaches you how to use and control color in
book and found her painting method of using the your painting, regardless of whether you are using
strengths of negative painting to be very liberating. watercolor, acrylic, or oil. It’s a fantastic resource with
Breathe new life into your art with negative painting! lots of clear examples and illustrations. Highly recom-
mended for all levels.
The Watercolor Painter’s Solution Book
Angela Gair, 1988, North Light Books
Addresses some of the most common painting prob-
lems, including color, composition and problem sub-
jects. Easy to read with great illustrations.

Watercolor Basics: Let’s Get Started

Jack Reid,1998, North Light Books
A great choice for the beginning artist interested in
painting landscapes. Easy-to-follow demonstrations Over the past decade I have collected
and exercises.
over 50 books for my Art Resource
Library. These are some of my favor-
ites. May they inspire and help you
Basic Nature Painting Techniques in grow in creativity as well!
Watercolor
Edited by Rachel Rubin Wolf, 1998, North Light Books
What I like most about this book is that it’s a compila-
tion of the work and techniques of 20 different artists.

www.catherinefetterman.com Watercolor Handbook 32

 Recommended Books
(Beyond the Basics)

Design & Composition Secrets of Professional Artists

2001, International Artist Publishing, Inc.
16 professional painters explain how they design their paintings. A wonderful
resource for serious beginners and more advanced students.

Creative Discoveries in Watermedia

Pat Dews, 1998, North Light Books
This is a superb book for those who are ready to go beyond traditional watercolor
techniques, and are eager to loosen up and free their creativity with abstract
painting. Step-by-step demonstrations show more than thirty techniques to create
patterns, textures, trees, rocks and water.

The Sierra Club Guide to Painting in Nature

Cathy Johnson, 1999, Sierra Club Books
LCPL: 751.4 JOH
A good introduction to all facets of plein-air painting – from selecting and using
basic materials, to weathering outdoor conditions and dealing with the challenges
of capturing ever-changing light.

How to Make a Watercolor Paint Itself

Nita Engle, Watson-Guptill Publications, 1999.
Experimental techniques for achieving realistic effects. Includes stamping, pouring,
spraying, and squirting paint.

Painting with Water-Soluble Colored Pencils

Gary Greene, North Light Books, 1999.
Water-soluble pencils offer the ease and control of a pencil, while offering a
surprising range of styles, from loose watercolor-like washes to precise airbrush
effects.

Using Liquid Frisket

Jerry Griffith, Jerry Griffith Art Enterprises, 1993.
A comprehensive guide to using masking fluid to create remarkable effects in your
paintings. Includes: what it is, how, when, where and with what to apply it.

www.catherinefetterman.com Watercolor Handbook 33

 Resources on the Web

Online Art Instruction

There are some wonderful websites out there that offer free tips and
techniques in painting in watercolor. Here are a few that I have come
across that I think are worth passing along to you:

www.wetcanvas.com
www.susieshort.com
www.fountainstudio.com
www.handprint.com/HP/WCL/water.html

www.catherinefetterman.com Watercolor Handbook 34

 Art Supply Vendors

LOCAL ART SUPPLY STORES

Please call to verify locations, in case they have moved.

Ben Franklin 703-777-4133 Catoctin Circle, Leesburg

Plaza Art Supplies 703-280-4500 3045 Nutley St., Fairfax

www.plazaart.com

Utrecht 202-898-0555 1250 I St. NW, Washington DC

800-223-9132 www.utrechtart.com

Michael’s 703-430-8645 Potomac Run Plaza, Sterling

703-669-8081 Battlefield Shopping Plaza, Leesburg

AC Moore Ashburn location among others

Jo-Ann’s Leesburg location

MAIL-ORDER COMPANIES
I have used all of these companies. Often, their online prices are lower than in
their catalogue. When I have a lot of supplies to buy I always buy online.
It’s significantly cheaper and they have the best selection.

Cheap Joe’s Art Stuff 1-800-227-2788 www.cheapjoes.com

Jerry’s Artarama 1-800-827-8478 www.jerrysartarama.com

Dick Blick Art Materials 1-800-447-8192 www.dickblick.com

Utrecht 1-800-223-9132 www.utrechtart.com

www.catherinefetterman.com Watercolor Handbook 35

 Glossary of Watercolor Terms

ASTM — American Society for Testing and Materials; check your paint label to see the lightfastness rating (ability to
resist color change and fading when exposed to light) it receives from this organization. “I” is excellent. “II” is very good. I
don’t buy anything less than a “II” because the paints are fugitive.
blending — the transition of color from one color into another, or one value into another
deckled edge — a beautiful, irregular edge on some papers caused during the paper making process; may also be
created by the artist using a ruler and wetting the paper before tearing it
ferrule— a metal sleeve that encloses the brush hairs and attaches them to a brush handle; the best brushes have
seamless ferrules (so water and solvents can’t leak inside them and loosen the brush handle from the ferrule!)
found edges — hard, crisp precise edges
flat wash — even value and color in an area (think of a wall)
fugitive — pigment that changes dramatically over time with exposure to light and humidity
glaze — a transparent coat of paint that allows the underneath to show through, or the building up of an area through
separate applications of color
graded, gradated or graduated wash — a painted area characterized by a smooth transition from light to dark
value
lightfast — pigment that is stable when exposed to light (doesn’t change, or if it does, it’s negligible)
loaded brush — fully saturated with paint & water mixture
lost edges — soft, feathery undefined edges
mask — masking is the process of leaving areas of paper unpainted while you paint over them; there are several mate-
rials you can use to mask: liquid latex (which goes by names like Masking Fluid, Maskoid, Frisket, Drawing Gum, Liquid
Resist, etc.), and some kinds of tape (artist tape; always test masks on scrap paper first since some papers don’t take some
masks very well (ie: they tear)
medium, media, mediums — In art, the word “medium” has several meanings. 1. A basic kind of art (drawing,
painting, sculpting, etc. Plural is usually “media”. 2. The basic material used by the artist—such as watercolor paint, clay,
etc. Plural is either “media” or “mediums”. 3. The ingredient in paint that binds the pigment —such as gum Arabic in wa-
tercolor paint, linseed oil in oil paint, etc. The plural is either “media” or “mediums”. 4. Material, usually a fluid or a gel,
that can be added to paint to alter some of the paint’s properties. Plural is “mediums”.
mixing area — the flat part of your palette in which you prepare your paint to then go to your paper
negative space — the area around your subject that can define your subject
non-staining — pigment can be removed easily to achieve white highlights
palette — 1) what you squeeze your paints into 2) the paints you use
pan or 1/2 pan — dried squares of paint used in paint box palettes
pigment — the ingredient that gives paint its color
Continued on next page

www.catherinefetterman.com Watercolor Handbook 36

 Glossary of Watercolor Terms

pull out (or pull off) an edge — this means to soften an edge
ream — 500 sheets of full sized paper; the weight of a ream tells you the weight of the paper (ie. 140lb, etc)
sizing (also called size, binder or starch) — a solution applied to paper so as to help control brushstrokes and
not absorb paint too quickly; sometimes some papers have too much sizing on the surface and the paper resists the wet
brushstroke. If this happens, just wet-sponge or spray the paper if desired.
staining — some paints leave traces of pigment on the paper when you try to remove or lift them
subject — what you are painting
tooth — the surface texture of paper; rough has the most tooth, hot pressed has none. The texture on the paper is cre-
ated with felts during the manufacturing process.
value — the relative lightness or darkness of a color; light values are sometimes called tints and are “high key”; dark
values are sometimes called shades and are “low key”.
variegated wash — random variation of values
wash — large, thin layers of diluted paint
watermark — mark made on paper that identifies the brand; hold it up to the light to see it
wells — the indented part of your palette in which you put your paint
wet-on-dry — this is when you apply a wet (loaded) brush onto dry paper to get hard edges
wet-on-wet /wet-in-wet — the action of spreading paint when new pigment is added to wet paper; this gives you
soft, feathery edges; think of it as wet (loaded) brush onto wet paper

www.catherinefetterman.com Watercolor Handbook 37