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One Watercolor a Day by Veronica Lawlor

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(Ray)
(Fogra 29_WF)Job:07-30996 Title:RP-One Watercolor A Day
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L ANDSCA P E S 4 5
(Text)
TIP
• Tryaddingyourngerprintsforsomeinterestingtexture
in the painting. Besides that, you can also try scratching
into it, pressing twigs or leaves into it; anything that will
aggravate the surface can create an interesting tactile
experience.
Golden Trees, detail, watercolor with fingerprint marks
EXERCISE 13
This is a memory painting. In your mind’s eye, think of a
scene in nature that left an impression of strong color with
you. A beautiful sunset at the beach, a blooming rose bush, a
gorgeous bird flying through the trees, whatever strikes you.
For Dominick, it was the view of the changing seasons in
upstate New York, seen through a train window.
Once you have the scene in your mind, create an
expressionistic painting of it. Expressionism is more involved
with feeling and sensation than actual realism, so allow
yourself to let go of the attempts to create a photo-related
type of rendering. Try to re-create the sensation of the colors
rather than the colors as they actually appeared.
You’ll notice that Dom has created the basic tree shapes
with bright colors, allowed them to dry, and then added other
marks and texture with Caran d’Ache crayon, a little bit of
ink, and his fingerprints.
(Ray)
(Fogra 29_WF)Job:07-30996 Title:RP-One Watercolor A Day
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(Ray)
(Fogra 29_WF)Job:07-30996 Title:RP-One Watercolor A Day
#175 Dtp:225 Page:46
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46 ONE WATERCO L O R A DAY
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DAY 14
Preliminary drawing, pencil on paper
TIPS
• Whenyoumaketheinitialdrawing,keep
itverylightandunderdeveloped,asI’ve
doneintheexampleatleft.Youdon’t
wantalotofdetailinterferingwiththe
spiritofthepainting.
• Toincreasetheamountofpigmenton
yourbrush,it’shelpfultouseaspray
bottletowetdownyourwatercolorpans
ortubepaintpalettebeforebeginning,
andletitsoakalittle.
Happy Spring
“I made this painting in the Japanese pavilion at Epcot.
It expresses the feeling I feel when spring finally arrives.”
—Veronica
EXERCISE 14
Go to a garden, preferably one that is a little wild or
overgrown, and find a nice comfortable spot. With a light
pencil, block in some simple shapes of what you see. Once
you have those shapes blocked in, it’s time to start painting.
Lay down the color in large areas, using the shapes you
drew as a rough guide. You want to fill every shape with
color—we won’t be doing much layering in this one—and
don’t stress out if the colors occasionally bleed from one
shape area into another. Accidents such as that work for the
expressionistic aesthetic we are playing with here. In that
same vein, be free with your color choices. Let your personal
taste in color dominate.
You’ll notice in the painting that after the main color forms
dried, I went back in and added a few hints of detail such as
leaves and branches in the trees. I also added a few shapes to
describe the fence in blue. Adding a few darker shapes on top
of the base colors will add depth to your painting.
(Ray)
(Fogra 29_WF)Job:07-30996 Title:RP-One Watercolor A Day
08-C69590 #175 Dtp:225 Page:46
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(Ray)
(Fogra 29_WF)Job:07-30996 Title:RP-One Watercolor A Day
#175 Dtp:225 Page:47
028-067_30996.indd 47 8/1/13 5:15 PM
L ANDSCA P E S 4 7
(Text)
Japanese Garden, pencil and
watercolor on paper
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48 ONE WATERCO L O R A DAY
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DAY 15
The Gardens of Versailles, watercolor
Versailles
“I’ve always loved working with watercolor. Here is a reportage painting
made while sitting in the gardens at the Palace of Versailles in France.
It’s an amazing place.” —Greg
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