Moving Water in Watercolor

Painting Water in Watercolor
TOPIC: Painting Moving Water

Techniques: Brushwork, Scraping, Scratching
Rapidly moving water presents challenges for watercolor painters, but none
that cant be met. While still water utilizes mostly wet-into-wet washes, perhaps
on damp paper, overlayed when dry with judicious passages of harder edged
shapes, rushing water can be more successfully painted using a variety of
brushmarks, along with scraping and scratching on dry paper. In addition, it
requires careful observation to determine major movements of the water, and
what impediments (rocks, fallen logs, etc.) cause the water to change direction.
It also relies heavily on retaining white paper in the water area.
You need to be aware of the planes of the ground over which moving water
ows. Where the ground is more level, the water will pick up more sky color,
and be generally lighter than where it falls over a precipice. Sometimes you
can see through falling water to the dark rock areas behind it. These (because
theyre wet and deeper in space) will be darker than the rest of the rock that
surrounds the falling water.
Generally speaking, the faster the water is moving, the whiter it appears. You
dont have to be concerned with reections in fast moving water - if there are any, it may be simply a darkening of tone in
the water.
Breaking waves on the ocean provide a different challenge than streams and waterfalls. The foam on the breaking wave
needs to make use of white paper, certainly, but you will also need active brushwork to represent the forward edge of the
wave where it dissolves into a more ragged, bubbly edge. Youll also need some washes to grade the color from darkest
(under the curled edge of foam to lighter as the wave is lit with more light from the sky.
High surf hitting rocks can cause spray
to y high into the air. This can be
suggested using a variety of techniques:
(1) the background color (sky or sea
depending on your point of view) can
be painted in on dry paper leaving a
generally white unpainted area for the
surf spray. Very quickly, before the hard
edge of the blue/green color dries, use
a spray bottle lled with clean water to
spray the dry paper next to the blue/
green paint. The still damp blue/green
paint should creep into the sprayed
area forming a rough spray edge.
(2) you can paint the area wet into wet,
and lift color out from the damp paint
with a crumpled paper towel. When dry,
if you want harder edged spray, you can
scrape out paint with a razor blade. This
works best on rough paper.
(3) you can spatter paint on dry paper
with a toothbrush to establish the
rough edge of your surf spray, and
then continue painting a more solid
passage of sky or sea.
Blue paint applied to dry paper
Here the paper was damp/wet, so when the blue hits the damp
area, the edge is soft. Saving/using the white paper is critical!
In this painting, High Surf by Ron Hazell, he has used a combination of wet-into-wet passages, and
brushwork on dry paper (both on white paper and over dry previously-applied washes). Wherever you
see hard-edged shapes, you know he applied the paint to dry paper. The dark far away ocean at the
horizon line, and the dark rock shapes and foreground wave shapes were applied last.
Notice how he pulls out edges of surf by painting
ragged-edged shapes over dry previously painted
areas of paint.
Waterfall near Mt. Saint Helens
Photo by Ellen Fountain
This page from English artist
Ann Whalleys book, Painting
Water in Watercolor, illustrates
the importance of keeping
white paper, and also how
valuable a pencil sketch can
be in helping you establish
the light, medium and darkest
passages in your composition.
These sketches can also help
you identify and organize
the water movement and
direction, which is critical to
making your nished painting
believable.
When she talks about identi-
fying the non-moving objects
and placing them strongly,
she is referring to the rocks
in the stream and how much
of the surrounding area you
want to include.
If I have a criticism of this
painting, it is that the lower
left corner seems weak and
unresolved. This area almost
reads (to me) like cloud
shapes, and is inconsistent in
handling with the rest of the
foreground area.
Left: Shooting the Rapids, 1902, by Winslow Homer
watercolor over graphite on paper
This painting again illustrates the importance of holding onto
white paper. That white is an essential contrast to the other
values in the water.
Compare the study at the right to the nished painting below,
both by John Hulsey. What changes did he make in the nal
version? Do they make the nal version stronger? What does
the study have that the nal version lacks?
These two stream paintings of mine, one watercolor and one mixed
media (watercolor with collage) are evidence that regardless of your
style of painting, attention to how water behaves will lend an air of
authenticity to your fnished painting.
Right, Top:
Fault Line by Ellen Fountain
watercolor, 15x22 inches
Right, Bottom:
Falling Water by Ellen Fountain
watercolor over collaged rice paper
7x10.25 inches
Assignment
Choose one of your studies, and develop it into a
larger, more nished painting. Try not to overwork
it - paint quickly and decisively. Rather than fuss with
a painting thats not working, begin again.
Use your white paper for the lightest areas in the
water, and key all the other values appropriately.
Refer to your value study for shadow placement,
as the light will have changed before you nish.
Pay attention to direction, edges, and local color of
the water. Remember that shadowed areas arent
gray or black. They are the local color, minus light.
Try to mix low chroma hues for these areas using
complementary colors rather than using black to
make them dark.
Left: Waterfall, Colorado by John Hulsey
12 x 16 inches, 2002, watercolor on paper.

Moving Water in Watercolor

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Painting Water in Watercolor

TOPIC: Painting Moving Water

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