A QUARTO BOOK

Print ISBN 978-1-4972-0449-2
eISBN 978-1-6076-5791-0

COPY PERMISSION: The written instructions, photographs, designs, patterns, and projects in this publication are intended for the personal use of the reader and may be reproduced for that purpose only. Any other use, especially commercial use, is forbidden under law without the written permission of the copyright holder. Every effort has been made to ensure that all information in this book is accurate. However, due to differing conditions, tools, and individual skills, neither the author nor publisher can be responsible for any injuries, losses, or other damages which may result from the use of the information in this book.

INFORMATION: All rights reserved. All images in this book have been reproduced with the knowledge and prior consent of the artists concerned and no responsibility is accepted by producer, publisher, or printer for any infringement of copyright or otherwise, arising from the contents of this publication. Every effort has been made to ensure that credits accurately comply with information supplied.

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Copyright © 2020 Quarto Publishing plc, an imprint of The Quarto Group

This edition published in 2020 by New Design Originals Corporation, www.d-originals.com, an imprint of Fox Chapel Publishing, 800-457-9112, 903 Square Street, Mount Joy, PA 17552.

Library of Congress Control Number: 2019952393

We are always looking for talented authors. To submit an idea, please send a brief inquiry to acquisitions@foxchapelpublishing.com.

Conceived, edited, and designed by
Quarto Publishing plc
an imprint of The Quarto Group

The Old Brewery

6 Blundell Street

London N7 9BH

www.quartoknows.com

QUAR: 325424

Editor & designer: Michelle Pickering

Digital illustrations: Olya Kamieshkova

Photographer: Phil Wilkins

Editorial assistant: Charlene Fernandes

Art director: Gemma Wilson

Publisher: Samantha Warrington

Contents

Meet Marina

Tools and Materials

Techniques

Project Selector

Go to page to see all of the projects pictured together, to help you choose which one to paint next.

Projects

Fruit

Vegetables

Food

Drinks

Flowers

Plants

Natural World

Insects

Animals

Birds

Sea Life

Objects

Travel

Celebrations

Credits

Meet Marina

My name is Marina Bakasova. I was born in Bryansk, Russia, and have been fond of drawing and painting from early childhood. After graduating from Moscow State Stroganov Art University, I began working as a freelance illustrator. I am obsessed with art and painting.

Nature is my inspiration and I also like to paint food and different desserts. In this book I want to teach people watercolor painting in an easy way. All of the projects are based on my own experience—and mistakes. I have been improving my painting skills for more than ten years, four of them at an art academy in Moscow. During all that time I was trying to devise some kind of formula or sequence for creating a successful artwork. I tried working with different materials and techniques, and found out which of them were best for me. And now I am ready to share my knowledge with everyone in four steps.

I hope this book will help not only the professional artist, but also every person who wants to learn watercolor painting but doesn’t know what to start with. I have tried to include many art topics and objects, so you will get the opportunity to experiment with different pigments, techniques, and subjects, and learn the combinations that you like best and that produce the effects you want. After learning them, I think it is highly likely that the desire to create will fill your heart, as it does mine. Maybe one day you will start making celebration cards or something else with your own illustrations—and I hope this book will inspire it.

Images@marinabksv

I would love to see your artworks inspired by this book.

Learning my art at the academy.

My little pug Lilou Images also likes to paint. Here she’s helping me to paint a dragon fruit.

I love painting food, but especially delicious desserts!

Flowers are a lovely subject for watercolor painting, from single blooms to big bouquets.

I painted the little sailboat after spending a lovely day on the water.

Tools and Materials

Apart from paints, brushes, and paper, you will only require a few additional bits and pieces, many of which you will probably have around the house already, such as jars for water.

Watercolor paints

Watercolor paints are made from pigment suspended in a binding agent. There are two main types available: dry (in pans, or cuvettes) and liquid (in tubes). Tubes of paint are good for large-scale work, but many artists find pans more convenient, as they fit within a paintbox and can be carried around easily. Watercolors also come in two qualities: professional (or artist’s) colors, which contain richer pigment but are more expensive, and student’s colors.

Good-quality watercolor paints contain bright pigments and don’t lose this brightness very much after drying. Be aware that all pigments are different. They have different levels of transparency, and some granulate (produce a grainy effect) while others do not. You will find information about each paint on its package or the manufacturer’s website.

It is best to build up your color palette gradually, buying new colors to suit the subject. Remember also that you can mix pigments to create new colors.

Paper

Ordinary paper will buckle if you apply wet paint to it. Special watercolor paper is designed to absorb water well, so that you can apply multiple layers of paint. It is available in both sheet and pad form, in a wide range of sizes. If using loose sheets of paper, you will need a drawing board for support—a piece of plywood cut to size will do.

Watercolor paper is made in three different surfaces: smooth (or hot-pressed), medium (or cold-pressed, also known as Not, meaning not hot-pressed), and rough. Cold-pressed is the most commonly used, as it has sufficient texture to hold the paint but is smooth enough to enable you to paint fine detail. Watercolor paper also comes in different thicknesses, or weights. In general, any paper lighter than about 140lb (300gsm) will buckle unless it has been pre-stretched (there are instructional videos online). The paper used in most watercolor pads is 168lb (250gsm).

There are also different colors of paper available, which can be useful—beige paper can act as the first layer of color when painting light skintones, for example.

However, most artists paint on white paper, because it reflects through the transparent paint to give the painting a luminous quality. You can also leave areas of white paper free from paint to act as highlights.

Setting up your workspace

Set up your workspace with everything you need close by—paints, water jars, palettes, brushes, and so on. Watercolor paints dry quickly, so you need everything to hand before you start painting. Keep your water jars next to your mixing palette to prevent water from dripping onto your painting.

Drawing pencil

Pencils have different levels of hardness: B—soft, HB—medium, and H—hard. I recommend using a hard pencil, at least H, but take care to use a light touch when drawing to avoid indenting the paper. I use a mechanical pencil (because I hate to sharpen them) with 2H lead. Sometimes I draw with a watercolor pencil, so that the pencil lines blend in with the wet paint. If you need to remove pencil marks, use a kneaded eraser that won’t scuff the paper.

Paintbrushes

Brushes come in a range of shapes (round, flat, etc), fibers (natural sable, synthetic, etc), and sizes (the lower the number, the smaller the brush tip). The traditional choice for watercolor painting are natural-fiber brushes, because they can hold a large amount of water and paint while retaining their shape. I prefer round squirrel-hair brushes with a pointed tip, and use sizes 8, 4, and 2 most often.

If you are a beginner, start with round brushes with sharp tips in these sizes:

• Size 00/01—thin brush for small details

• Size 2/3—medium brush

• Size 8–20—big brush for big spaces

A ¼in (6mm) flat brush is also useful for painting straight-edged shapes.

Mixing palette

You will need a mixing palette, ideally with multiple recessed slots, for preparing paints and mixing colors. There are two types: plastic and ceramic. Plastic palettes are cheaper and lighter to carry around, but will absorb pigment and stain. Ceramic palettes are easy to clean and allow paints to stay wet for longer, but they are heavier to carry if you want to work outside. If you store your paints in a paintbox, many of them have a lid designed for use as a palette.

Water jars

It is a good idea to start collecting glass jars at every opportunity—you will need them for rinsing brushes so you don’t contaminate colors on the page. Most artists use transparent glass jars at home and transparent plastic containers outside. You can also buy a non-spill water pot if you wish. The most important thing is not the jar but the water in it: don’t forget to change dirty water.

Extras

• Masking fluid can be used to retain an area of white on the paper for highlights, since white is difficult to replicate in watercolor. Colored masking fluid is easier to see on the white paper. Keep an old, thin brush for use with masking fluid, because you will not be able to clean it completely.

• White ink can be used to add highlights after you have finished painting. I use a pen with white ink that will produce thin, smooth lines.

• Cotton swabs are useful for lifting out paint and softening edges.

• Salt can be used to achieve some beautiful texture effects. Ordinary kitchen table salt or sea salt will do.

Techniques

Watercolor painting is rich and unpredictable, and there is no single method for painting a particular object. Most watercolor paintings use a combination of techniques.

Drawing a pencil sketch

Start by making a pencil drawing of the project. A simple outline is all you need. You can sketch it freehand or trace the drawing provided, using tracing paper or a lightbox. Your drawing should be light and easy to erase, because watercolor paint is transparent.

Locating the light source

Decide from which direction the light is falling on the object you are painting. All highlights should be placed where the light hits the object. The most common method of creating a highlight is to leave areas of the paper free from paint. A shadow will fall on the opposite side. All highlights and shadows should be consistent on the same artwork.

Choosing the right brush

Flat brushes are designed to make flat marks. Round brushes are more versatile; you can make broader marks by applying more pressure, or paint a fine line using the point of the brush. With practice, you will learn how much pressure to apply to make thicker, thinner, lighter, or darker marks.

I recommend a size 8 brush for covering larger areas and adding large drops of color; a size 2 or 3 brush for smaller areas and drops; and a size 00 or 01 brush for fine details.

Preparing your paints

Prepare separate dilutions (or washes) of each of the colors required for your project. Start by putting some water into a slot in your palette, then begin to add pigment, making sure that it dissolves completely. The ratio of pigment to water determines the strength and transparency of the color. You need to use enough water to make a puddle of wet paint, while the color remains vibrant.

Note that colors always look darker in the palette than on paper, and they will dry lighter too, so test different dilutions on scrap paper until you achieve the strength of color you want. You are aiming for clear color, with the white of the paper shining through.

What is a wash?

The term “wash” simply means watercolor pigment diluted with water to achieve the desired intensity of tone—the more water you use, the paler the wash will be. A single color laid evenly so that it dries to the same overall tone is known as a “flat” wash. A single color applied so that it graduates from dark to light is known as a “graded” or “graduated” wash. A “variegated” wash involves two or more colors that bleed softly into each other.

The same pigment at different dilutions. The more layers you intend to use, the more dilute the pigment should be in order to preserve the color’s transparency.

Applying the first wash

To apply a flat, even wash of color, dip your brush into the prepared color and spread it on the shape. Don’t try to cover the shape in one go; start with a medium-sized drop of paint, then while the paint is still wet, add more until you have covered the shape. For a softer outline, brush clean water over the shape and then apply the paint, starting in the center and working outward to the edges. With both methods, if you don’t finish before some areas have dried, wait until everything is dry, then carefully cover the shape with clean water. You can then add more color as needed.

To apply a graded or variegated wash, simply apply different dilutions of pigment (or different colors) so that they just touch each other, working quickly while everything is still wet. The colors will blend softly where they meet. Another method is to paint the whole shape with the lighter tone or color, and then, working on wet, apply the darker tone or color over the areas that you want to be darker. You can also lighten areas by adding drops of water.

The chicken begins with a graded wash of sienna, with the strongest pigment at the head graduating to very dilute sienna near the tail.

The first stage for painting the candle is to apply a flat, even wash of pink.

The flat peach begins with a variegated wash of orange, yellow, and green, with all three colors bleeding softly into each other.

The first layer of the dolphin is a variegated wash of indigo and blue, fading to areas of white paper. The paper is dampened with clean water before applying the paint in order to achieve a very soft, diffuse edge where the colors fade to white.

The sheep is painted with a single color, but not as an even wash. Drops of water are used to lighten the sheep’s rear, and stronger pigment is applied to create shaded areas on the head, neck, chest, and belly.

Building up the picture

A damp base allows watercolor to spread; a dry base contains it. If you work on wet, either on damp paper or a damp wash, the wetness of the underlying surface allows the paint to bleed outward and to dry with a soft, blurry edge. If you work on dry, either on dry paper or a dry wash, the paint will be contained within the area to which it has been applied, so that it dries with a hard edge. Note that different pigments have different qualities and thus behave in different ways—some are opaque, some more translucent, for example. When painting fine details and edges, you can work on wet, half-wet, or dry. Just choose the method that suits your artwork best.

The jellyfish is worked entirely on wet, starting with a flat blue wash onto which various colors are dropped to mimic the anatomy of the creature.

The pink donut is worked entirely on dry, using glazes of flat color to build up volume.

Like the donut, the pear also uses glazes to build up volume, but with layers of variegated washes. Notice how in both the donut and pear, the edges of each dried layer remain visible, helping to enhance the illusion of a three-dimensional object.

The balloon is worked on wet (except the string), starting with a variegated blue/ green wash onto which color is carefully dropped around the edges to create the balloon’s rounded shape.

Like the balloon, the contours of the cactus plant are painted on wet to create softly diffused shading, but then stronger pigment is overlaid on dry for finer, more defined edges. Working on dry is also used to paint the crisp geometric pattern on the plant pot.

Light pink and blue mixed in the palette.

Overlaid glazes of light pink and blue.

The same colors mixed by working on wet.

Colors dropped onto a wet wash.

Mixing colors in the palette

Whenever a project requires colors to be mixed in the palette prior to painting, the instructions refer to this as a “mix”—for example, “pink + blue mix.” I have used just two colors in each mix, because mixing too many colors together can produce a muddy result.

To make a color mix, prepare separate dilutions of each color in your palette. Then, in a clean slot, blend the two colors to make a third. Test your color mixes on scrap paper.

Working on wet or on half-wet

Working on wet means applying color to a wet surface, which can be either dampened plain paper or a previous wash that is not fully dry. Working on wet produces soft edges and allows adjacent colors to blend softly into each other. The wetter the paper, the more the colors will flow into each other in an unpredictable way. Wait until the paper has lost its sheen and is only slightly damp (half-wet) for a subtler effect.

Working on wet means that you must work fast. However, even if the underlying wash has already dried, you can just re-wet the surface with clean water and then continue working on wet. If you find that a color runs too much, or bleeds into an area where you don’t want it, you can gently lift out the excess color with a dry brush, cotton swab, or tissue.

Dropping in color

Dropping spots of color onto a wet wash is a way of creating surface texture. The drops will spread and feather out on their edges, and the colors will blend. The brush can be touched to the surface for more control, or droplets can be allowed to fall from above. Larger droplets are made by using more paint, smaller ones by using less. Experiment first on scrap paper.

Working on dry

Working on dry means applying color to a dry surface, which can be either plain paper or a previous wash that has fully dried. Working on dry produces crisp, clean edges and allows you to build up depth of color and tone by glazing (see below). Working on dry allows you greater control than working on wet, because the layer beneath will not move and colors won’t bleed.

Glazing

Glazing is the technique of layering a wash (or glaze) of transparent watercolor over another that has fully dried. The underlying color will alter the one you place on top, and vice versa. Always work from light to dark, and the more layers you are going to apply, the more water you should mix with the pigment to preserve transparency.

Edges painted on dry.

Edges painted on half-wet.

Dry paint re-wetted with clean water.

Edges painted on wet.

Backruns made by dropping in color.

Backruns made by dropping in water.

Backruns

If you apply a brush loaded with a more watery color to a damp wash, the first color will “run away” from the water in the new color, causing intriguing shapes with jagged edges. The shape will be lighter in the center (where the brush was placed) and surrounded by a fringe of concentrated pigment. You can create similar effects by dropping clean water onto a dampened wash. Note that if the initial wash is too wet, the colors will blend together. For a backrun, the wash needs to have started to dry. The water content of the dropped-in color must also be higher than that of the previous color.

Granulation

Some pigments dissolve entirely in water, while others tend to granulate—that is, the particles (or grains) of pigment separate from the water, producing a speckled finish. Granulation can also occur when a wet wash is laid over a dry one. Another way to create granulation is to fill a shape with color and then, while still wet, add a drop of water.

Masking fluid and white ink

Masking fluid is a way of reserving areas of the paper as highlights. It forms a waterproof seal that protects the paper underneath, and you can then paint washes over the dried masking fluid without having to carefully leave areas unpainted. Use an old brush to apply the fluid. Putting the brush in some soapy water before dipping it in the fluid will help stop the fluid from clinging to the bristles. When the paint is dry, remove the mask by gently rubbing with a finger or an eraser.

If you want to add extra highlights to a finished painting, simply draw them with a white ink pen.

Salt

Dropping table or sea salt onto wet paint can produce some interesting textures. The grains of salt soak up the wetness of the paint from the immediate area, speeding up the drying process there. As the paint dries, little star shapes appear as the water floods out of the crystals and pushes the color away to create feathered edges. Larger salt grains produce distinct star shapes; smaller salt grains produce a finer texture. You can also experiment with using sea water to dilute your pigments.

Five simple-but important!-rules

1) To avoid muddy-looking colors, don’t mix more than three colors in the palette.

2) Try not to use more than four layers of color for the same reason.

3) Before you start, decide where the light is located so that you can paint the highlights and shadows correctly.

4) There are lots of techniques for painting with watercolors; just choose the ones you like most of all.

5) Don’t forget to change your water. It should always be at least transparent. Dirty water creates dirty pictures.

Granulation where the two colors overlap.

Adding drops of water to cause granulation.

Sea salt dropped onto a wet wash.

Paint diluted with sea water.

Following the four steps

Watercolors are unpredictable, and you will never get the same result each time. For this reason I have painted each project three times, starting from a freehand sketch and stopping at the end of step 2, then step 3, and finally step 4. You will see how the paint acts slightly differently each time. This is part of the fun and excitement of working with watercolor—enjoy!

SKILL LEVEL * MEDIUM

A skill level—easy, medium, or high—is indicated at the top of each project page, so you know which ones might take a bit more practice.

Draw

Sketch or trace the outline of the project. Use a lighter line than shown here; this line drawing has a heavier line to make it easy to see clearly.

On wet

If there is a general instruction “On wet” next to a step painting, then you should apply each color in that step while any adjacent or underlying colors are still wet unless instructed otherwise. Apply the same principle for “On dry” and “On half-wet.”

Read through the whole project before you start, noting where you will need to work quickly when working on wet or half-wet. Here, for example, you need to move on to the final step while the paint is still wet.

Some step instructions are labeled a), b), c), and so on. This indicates my recommended order for applying the colors in that step, usually because some are applied on wet and some on dry. If the order doesn’t matter, then there are no a), b), c) labels.

Swatches of all the colors in the project are shown at the bottom of the page, in the order I used them. Prepare your paint dilutions to match what you see in the step-by-step pictures. Some are strong, while others are dilute. If you don’t have the same colors in your paintbox, just choose something similar, or mix something similar. For many projects, you can use completely different colors if you prefer.

FRUIT + VEGETABLES

Lemon

Orange

Melon

Watermelon

Coconut

Blueberry

Pomegranate

Pear

Apricot

Plum

Kiwi

Mango

Lychee

Apple

Lime

Banana

Cherry

Flat peach

Strawberry

Dragon fruit

Avocado

Beet

Broccoli

Carrot

Eggplant

Bell pepper

Onion

Artichoke

Button mushroom

Chanterelle mushrooms

Pumpkin

Cherry tomato

FOOD + DRINKS

Pink donut

Chocolate donut

Gingerbread cookie

Macaron

Pudding

Cheesecake

Blueberry muffin

Cinnamon bun

Croissant

Chocolate eclair

Fruit ice pop

Ice-cream cone

Candy apple

Lollipop

Hotdog

Hamburger

Chocolate chip cookie

Cupcake

Berry pie

Irish cream tart

Frosted cake

Waffle

Cocktail

Glass of juice

Teapot

Cup of tea

Bottle of juice

Milkshake

FLOWERS, PLANTS + THE NATURAL WORLD

Spring flower

Summer flower

Cotton boll

Poppy

Dandelion

Bluebell

Tulip

Lily

Camomile

Lavender

Pink peony

White peony

Sunflower

Cornflower

Flower basket

Bouquet

Maple leaf

Palm leaf

Tea leaf

Wheat

Acorn

Pistachio

Tree

Olive branch

Cactus

Succulent

Cheese plant leaf

Toadstool

Night sky

Night forest

INSECTS, ANIMALS, BIRDS + SEA LIFE

Butterfly

Bee

Panda

Raccoon

Sheep

Frog

Chicken

Hummingbird

Penguin

Flamingo

Feather

Parrot

Goose

Duck

Sparrow

Bullfinch

Jellyfish

Starfish

Octopus

Sea anemone

Whale

Dolphin

Spiral seashell

Scallop seashell

Seahorse

Clownfish

Shrimp

Sea turtle

OBJECTS, TRAVEL + CELEBRATIONS

Stiletto shoe

Rubber boots

Umbrella

Sunglasses

Perfume

Envelope

Pencil

Paintbrush

Spinning top

Lego block

Matryoshka doll

Balalaika

Sailboat

Life ring

Bus

Wooden signpost

Hot-air balloon

Bicycle

Taxi

Suitcase

Holly

Christmas stocking

Christmas tree

Christmas ball

Balloon

Present

Candle

Party hat

Halloween pumpkin

Chinese lantern

Summer wreath

Mistletoe wreath

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CREDITS

Picture credits

The digital drawings for the projects are based on original freehand sketches by the author.

All photographs and illustrations are the copyright of Quarto Publishing plc. While every effort has been made to credit contributors, Quarto would like to apologize should there have been any omissions or errors—and would be pleased to make the appropriate correction for future editions of the book.

Author’s acknowledgments

I am really proud of having the opportunity and responsibility to be both the author and illustrator of this book. I am grateful for working with Quarto and its team of professional people, who were always ready to help with any difficulties I faced.

I also thank my supportive family. My mom, who always believes in my strength. My dad, who hasn’t understood for a while why I have been drawing “all those bananas.” My grandparents, who always wait for news from me. The beloved man, who overcomes all the problems with me each day.

I am just grateful to my destiny that gives me a chance to share my art with lots of people.