Elena Rossi
When painting with watercolours, artists may moisten the paper before painting to achieve a variety of effects. This technique, known as wet-on-wet or priming, involves applying clean water to the paper to make it moist before laying down colour. The wet-on-wet method is particularly useful for creating soft edges and complex effects, as the paint blends in a random fashion. It is commonly used in landscape painting to establish a background and build up underlying shapes of colour and tone. However, it is important to note that pre-wetting the paper can also increase the drying time and cause the paper to buckle or deform. Artists must also be mindful of the amount of water used, as too much can lead to puddles on the paper surface.
| Characteristics | Values |
|---|---|
| Purpose | To create soft edges, to prevent paper from drying too fast, to blend colours, to create a smooth surface, to preserve white space |
| Techniques | Wet-on-wet, priming, charging, stretching, spattering, pulling out |
| Tools | Water, sponge, soft brush, spray bottle, tape, gum arabic, ox gall liquid, Winsor & Newton Blending Medium |
| Considerations | Paper type, moisture level, speed of painting, paint intensity, brush control |
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What You'll Learn
Wet-on-wet technique
The wet-on-wet technique, also known as 'direct painting', 'wet-in-wet', 'wet-into-wet', or 'alla prima' (Italian for 'first attempt'), is a painting method where layers of paint are applied directly on top of one another before the previous layer has dried. This technique is commonly used in oil painting and watercolour painting.
Oil Painting
The wet-on-wet technique is ideal if you are short on time as it allows you to complete an oil painting more quickly than traditional methods and makes blending paints easier. The upper layers of paint must be thinner than the lower layers, so it is recommended to dilute the paint with white spirit or another thinning agent. When adding additional layers, it is important to touch the painting very lightly to avoid creating a muddy colour or lifting the paint. Regular oil paints can stay wet for up to a week, so you can continue using the wet-on-wet technique over multiple sessions. If an area of paint dries before you are able to add more paint, you can scrape off the dry paint, apply a medium like linseed oil, and then add more wet paint. This is known as "oiling out" and can enhance the vibrancy of the colours.
Watercolour Painting
The wet-on-wet technique in watercolour painting involves wetting the paper first and then applying paint on top. This method creates soft, faded edges and is well-suited for adding light to a painting. Using a dry, darker mixture of paint with a small amount of water will result in more concentrated and high-contrast areas. To achieve the best results, it is recommended to use high-quality watercolour paper to prevent the paper from warping and buckling.
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Priming the paper
One of the main benefits of priming the paper is the ability to create soft edges and blend colours seamlessly. When paint is applied to a wet surface, it disperses and blends more easily, resulting in soft, spontaneous, and complex effects. This technique is particularly useful for painting skies, landscapes, and misty scenes, where soft edges and gradual colour transitions are desired. By priming the paper, artists can achieve a smooth and progressive tone change from dark to light, creating a graduated wash.
Additionally, priming the paper can provide more time to work on wet-on-wet passages. The moisture slows down the drying time of the paint, allowing artists to work alla prima, completing their compositions in one uninterrupted session without the paint drying in between. This extended working time is advantageous for artists who want to explore and experiment with their watercolour paintings.
There are various methods for priming the paper. One approach is to use a sponge to apply water to both the front and back of the paper. This ensures even distribution and avoids over-saturating specific areas. Alternatively, a soft brush or a spray bottle can be used to moisten the paper. Artists can also experiment with different moisture levels, ranging from a damp surface to a fully wet one, depending on their desired effects.
It is important to note that priming the paper is not always necessary and depends on the artistic vision and technique employed. Some artists prefer to work with dry paper to create well-defined forms and crisp edges. Additionally, priming the paper can increase the buckling of the watercolour paper, creating challenges in controlling the movement of wet brush marks. Therefore, artists must make informed decisions about whether to prime the paper based on the desired outcome of their watercolour paintings.
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Stretching the paper
Stretching your paper before painting is an essential step to ensure your paper remains flat and free from buckling, no matter how wet it gets during painting. Watercolour paper that is less than 200lb (425gsm) will cockle when it is wet, forming hills and troughs that make it impossible to control the flow of watercolour.
The process of stretching the paper involves soaking the paper until it swells, attaching it to a rigid surface, and allowing it to dry until it shrinks and becomes taut. You can also choose to paint on the paper right away using the wet-on-wet technique. The taut surface allows you to paint without battling against the puddles of colour, using as much water as you like.
To stretch your paper, first cut your paper about 3cm larger on each side than you wish your finished painting to be, as you will lose this amount of paper from the area covered by tape. Your board should be at least 3cm larger than your paper in all directions. Make sure your board is strong and will not warp under tension. If you are using gummed paper tape, cut the tape in advance, keeping it 3cm longer than each side and set aside to keep dry. Prepare your paper by removing any old tape stuck to the surface.
Now, soak your paper. You can do this by immersing the sheet of paper fully in a water bath. The weight of the paper will determine how long you should leave your paper in the water. For 90lb, leave the paper for 3 minutes. For 140lb, leave it for 8 minutes, and for 300lb and heavier papers, leave it for 20 minutes. If you do not have access to a bath, you can wet the paper with a sponge, but this will take considerably longer. Once soaked, remove the paper from the water bath by holding one corner and allow any excess water to drain from the opposite corner. The last bits of excess water can be removed using a sponge.
Place the soaked sheet on your chosen painting support. To achieve a perfectly flat surface, slightly bow the surface of the paper and place it flat on the board. By bowing the paper, the air underneath it will be pushed outwards, ensuring there are no air bubbles. Make sure the sheet is laid entirely flat. Now, wet your tape and attach it to the paper. Allow the paper to dry completely and flat. Do not rush the drying process by using a hairdryer as this will cause uneven drying and the tape may loosen.
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Paper drying too fast
Watercolour paper drying too fast is a common issue for artists. There are several methods to prevent this, including priming the paper, using a wet-on-wet technique, and stretching the paper.
Priming the paper involves pre-wetting it with clean water to create soft edges and a smooth gradient of colour. This method is often used for painting skies and landscapes. However, it can cause the paper to buckle, so some artists prefer to stretch their paper first.
Stretching the paper involves pre-soaking the sheets, taping them to a board, and letting them dry. This prevents the paper from buckling and provides a smooth work surface. While this method can be time-consuming, it ensures that the paper dries flat and tight.
Another technique to prevent paper from drying too fast is the wet-on-wet method, where artists paint with a loaded brush onto a wet surface. This allows for the creation of underlying shapes and tones, resulting in a uniform and soft look with minimal brush marks. However, this technique requires quick work as the paper can still dry too fast.
To address the issue of paper drying too quickly, artists can also try using products like Gum Arabic and Ox Gall Liquid, which slow down the drying process and aid blending. Additionally, Winsor & Newton's Blending Medium can be mixed with paint to extend drying time.
Some artists prefer to work on stretched paper, securing it firmly to a surface before painting. Others dampen the reverse side of the paper, lay it flat, and then moisten the front where needed. This approach keeps the paper moist for a longer period, making it suitable for completing a composition in one uninterrupted session.
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Blending and controlling paint
When painting with watercolours, one of the most common issues artists face is their paper drying too fast. This can be mitigated by moistening the paper before painting, a technique known as "priming" or "pre-wetting". Pre-wetting the paper can be done by applying clean water to the paper to make it moist, then laying down the colour. This technique results in soft edges and spontaneous, complex effects.
Pre-wetting the paper can be done in several ways, including using a sponge, a soft brush, or a spray bottle. The paper should be damp on both sides, not drenched. This technique can be used to create a smooth, even surface, even when using a big wet wash.
Moistening the paper allows artists to use the wet-on-wet technique, which involves painting with a loaded brush onto a wet surface. This method allows for the unique distribution of colour pigments, resulting in a smooth and progressive tone change from dark to light. It is important to note that the wetness of the paper and the load on the brush impact the behaviour of the paint when using this technique.
To blend and control paint when using the wet-on-wet technique, artists can use a few different methods. One way is to tilt the paper and use gravity to pull the paint downwards, creating a gradient of colour. Another method is to use a bead of paint to keep the paint flowing down the paper, re-loading the brush before the wash becomes too dry. Additionally, adding a small amount of ox gall to the water used to wet the paper can aid in blending and provide more time to work with the wet-on-wet technique.
It is important to note that pre-wetting the paper may not be suitable for all painting styles or subjects. For example, if an artist wants to preserve the white of the paper or create well-defined forms and crisp edges, they may choose not to pre-wet the paper.
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Frequently asked questions
The wet-on-wet technique involves applying paint to a wet surface, resulting in a smooth, even distribution of colours. This technique is often used to create backgrounds, especially in landscape paintings. It produces soft edges and complex, fluid effects.
You can moisten the paper using a sponge, soft brush, or spray bottle. Apply water to both the front and back of the paper. The paper should be damp, not drenched.
The wet-on-wet technique allows for beautiful, spontaneous effects with soft edges. It is particularly useful for creating skies and misty scenes, as it eliminates hard edges. This technique also helps in building underlying shapes of colour and tone, resulting in a progressive tone change from dark to light.
Excess moisture can cause the paper to warp and deform, making it difficult to control the movement of paint. It is important to work quickly as the paper will take longer to dry. Additionally, pre-wetting the paper may result in lighter colours, so a stronger mix of paint may be required.
