Kew: The Watercolour A to Z of Trees and Foliage

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67 pages

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Watercolor painting

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Publié par	Search Press
Date de parution	01 janvier 0001
Nombre de lectures	0
EAN13	9781781269145
Langue	English
Poids de l'ouvrage	138 Mo

Informations légales : prix de location à la page 0,0541€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

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Watercolour A Z of Trees and Foliage THE Watercolour to A Z ofTrees and Foliage A D E L E N E F L E TC H E R

A N I L L U S T R AT E D D I R E C T O R Y O F T E C H N I Q U E S F O R PA I N T I N G 2 4 T R E E S

The Watercolour A to Z TH E WA T E R C O L O U R AT O ZO F TR E E SA N D FO L I A G E of Trees and Foliage

An illustrated directory of techniques for painting 24 trees

Adelene Fletcher

c re a t in g lin k s b e t w e e n t h e m . O f t e n a t o u c h o f f o re g ro u n d in t e re s t , s u c h a s g ra s s e s orsmallfoliage,canleadintothemaincentreofinterest,whileelementsinthemiddlegroundwillleadtowardsthebackground.Don’tclutteryourpaintingswithtoomuchdetail,especiallyintheimmediateforeground,asthiscanformavisualblock,butdont’leaveemptyareaswherenothingishappening. 1 Draw in the large branch and 2 Paint in the top of the leaf clumps 3 Allow the orange colour to dry, then indicate the smaller branches and leaf with Alizarin Crimson. While still with a mix of Sap Green and Indigo PERSPECTIVE IN LANDSCAPE masses. Load a No. 12 round brush damp, add a darker tone of Winsor paint around the red leaves, reserving O n e o f t h e m a jo r c h a lle n g e s in la n d s c a p e p a in t in g is t o c re a t e a s e n s e o f s p a c e a n d withwater,ythoughnottoopale,Red,makingangularbrushstrokes.someoftheyellowandorange.Leavere c e s s io n s o t h a t t h e t re e s a n d o t h e r e le m e n t s d o n ’t lo o k ﬂ a t a n d t w o  d im e n s io n a l. Quinacridone Gold and paint around Leave to dry, then work into the yellow to dry before indicating the main T h e re a re t w o m a in w a y s o f g iv in g t h e im p re s s io n o f s p a c e : o n e is b y u s in g lin e a r the large branch, working loosely into background with a mix of branch with a mix of Burnt Umber perspectiveandtheotherisbycontrolilngthetonesandcolours,asexplainedthe leaf masses. Allow to dry. Quinacridone Gold and Winsor Red. and Indigo, giving structure to the b e lo w . foliage. Themaineffectofilnearperspectiveistomakeobjectsappearsmallerandclosert o g e t h e r a s t h e y re c e d e , s o t h a t a c lu m p o f t re e s in t h e m id d le g ro u n d m a y b e o n ly 2 0Directory of Trees halfthesizeofoneintheforeground.Recedingparallelorsemiparallelilnes,suchaswallsorhedgesattheedgesofﬁelds,alsobecomeprogressivelycloseruntlitheymeetatapointonthehorizonline(youreyelevel.)Youwo n’t alw a y s s e e obvio u s p a ra lle l p e rs p e c t iv e e f f e c t s in la n d s c a p e s u b je c t s, b u t s o me t im e s t h e re a re p a t h s, rivers,orilnesofploughingrunninginfromtheforegroundormiddlegroundtowardsthebackground–anyofthesewillhelptoexplainthespatialrelationshipso f t h e v a r io u s la n d s c a p e e le m e n t s.

Special techniques are suggested to help the painter capture certain vital characteristics of each tree.

The Composition section shows the painter how to paint trees in context. Aspects of composition, such as leading the eye and warm and cool colours are discussed. All cross references to this section are printed in small capital letters (e.g.,COMPOSITION).

The major paper manufacturers produce paper in both sheet and pad form, the latter being available in a wide range of sizes. Most watercolour pads contain 10–12 sheets, usually of 140lb paper, which is just heavy enough to use without stretching. If you are using wetinwet techniques involving a lotofwate,ryoumightconsidertearing off a sheet and stretching it. Cartridge paper, which is very smooth, is used mainly for drawing, though goodquality cartridge will take paint if it is used rather dry.

special detaildelicate effects with strong colour

Acer saccharum

All the core materials needed by the watercolour painter are illustrated and described in full.

4 There are considerable variations of tone and colour in the leaf masses. Build up the darkest tone on the lower edges with a mix of Brown Madder and Winsor Red, and then add further accents of Winsor Red alone where needed. XREDCHESTNUTCANDLES This delightful painting by Juliette Palmer has been very cleverly composed. The ﬂowering tree is the primary subject, as the title implies, but theeyeisledfromthistothegroup of trees behind the wall, where strong tonal contrasts create a centre of interest in the middleground. The lively brushwork describing the grasses provides just the right amount of foreground interest, and the darker green shape on the extreme left has a dual function: it balances the tree shapes and prevents the eye from going out of the picture at the side.

oflotsofilttleleaves.Theprofusionoft w ig s a n d b ra n c h e s is a ls o im p o r t a n t . Paintthesmallesttwigswithasmallp o in t e d b r u s h a n d m ix e s o f B u r n t U m b e r a n d In d ig o , u s in g a la rg e r b r u s h a n d a d a r k e r m ix o f t h e s a m e c o lo u rs t o a d d t e x t u re t o t h e t r u n k a n d m a in b ra n c h e s. To s u g g e s t s o m e v e r y p a le t w ig s 6 c o m in g f o r w a rd s o n t h e m a in t re e , useasmallbrushandafairlydrym ix o f W h it e G o u a c h e t in t e d w it h B u r n t U m b e r a n d In d ig o . T h e s e m a y seemaminordeta,libuttheyplaya n im p o r t a n t p a r t in g iv in g t h e t re e a t h re e  d im e n s io n a l f e e l.

C o n t in u e t o a d d t o n e s t o t h e le a v e s 5 o f t h e m a in t re e , u s in g m ix e s o f B ro w n M a d d e r a n d W in s o r R e d . D o n ’t b e a f ra id o f d a r k t o n e s, a s t h e s e w ill g iv e f o r m a n d s t r u c t u re , b u t t a k e c a re o v e r t h e s h a p e a n d d ire c t io n o f t h e b r u s h m a r k s ; a im t o g iv e t h e im p re s s io n

strokesofdarkergreenwhlietheﬁrstwashisstilldamp.Usingthepalerg re e n m ix a n d t h e t ip o f t h e b r u s h , p a in t in n e g a t iv e s h a p e s (s e eITEVENAGPAINTING) b e h in d t h e m a in a c e r, a n d b e g in t o in d ic a t e t h e b ra n c h e s a n d trunksofallthetreeswithamidtonedm ix o f B u r n t U m b e r a n d In d ig o , u s in g deilcatebrokenlinesforthoseofthes m a lle r t re e s.

A brief introduction outlining thetree’s distinguishing characteristics.

Malus domest ica(Apple)

Cocus nucif era(Coconut Palm)

Fagus sylvat ica(Common Beech)

Eucalypt us perrriniana(Spinning Gum)

Composit ion

116

Index

Glossary

Overview H O WT OU S ET H

Essent ials

Acer saccharum

NING N VAFTERAMORRAI Walter Garver has used both linear and aerial perspective in his painting, to create space and to lead the viewer into the picture. The curving sides of the road and bank almost meet at the end, and the effect is heightened by the small, indistinct ﬁgure. The group of trees to the left of the ﬁgure is much lighter in tone than the nearer ones, and cooler in colour than the grassy bank on the right. Notice also how the foreground is brought forwards by the use of the strong, nearwhite shape of the puddle, surrounded by dark browns.

Contents C O N T E N T S

XPERSPECTIVE AND VIEWPOINT When making use of linear perspective it is important to choose the viewpoint with care. The horizon line at which recedinglinesmeetisyoureyeleve,land the vanishing point is opposite you on this line. Here the eye level is just below the centre of the picture, andthe nearhorizontalformedby the side of the road leads the eye to the vanishing point opposite the artist’s own position.

V P  Van ishin g p oin t

V P

B row n M adder

V P

E y e level

B u rn t U m ber

Win sor Red

In digo

S ap G reen

Zelkova carpinif olia(Caucasian Zelkova)

108

Viburnum opulus(Guelder Rose)

104

Yucca aloif olia)(Spanish Bayonet

A QUARTO BOOK

Cedrus libani(Cedar of Lebanon)

Ilex aquif olium(Common Holly)

Cupressus semperivensCypress)(It alian

126

127

Juglans nigra(Black Walnut )

Gingko biloba(Maidenhair Tree)

Aesculus hippocast anum(Horse Chest nut )

Callist emon subulat ust lebrush)(Dwarf Bot

Direct ory of Trees

The basic methods and “tricks of the trade” used by watercolour painters are more or less the same whatever the subject matter, but rendering foliage successfully requires sure and accurate brushwork. A good understanding of the various texturing methods is also useful when dealing with foliage masses and tree trunks – as well as serving a descriptive purpose, these can also help to enliven an area of a painting and add interest.

Int roduct ion

Acer saccharum(Sugar Maple)

techniques for painting trees

FLAT W A SH

LAYING WASHES

Leaf and seed detail form the horse chestnut painted on rough pape.rNotehowthegrain of the paper contributes to the texture of the leaves.

If you are in ten din g to cover a large 1 area, m ake su re you m ix u p en ou gh pain t –itsiwisetomixmorethanyouthinkyoun eed. Prop th e board at a sligh t an gle an d paintsuccessive“stirpes”acrossthepaper.U se a rou n d or ﬂ at bru sh large en ou gh to holdagoodquanttiyofpain.t

Bet ula pendula(Silver Birch)

Smooth (hotpressed) paper (far left) causes the paint to puddle, as there is not enough texture to hold it in place. Some artists like to exploit this characteristic. Coldpressed paper (centre) is thebestallrounde,rusedbythemajority of watercolour painters. Rough paper (left) is less suitablefor detailed work, as the grain breaks up the brushmarks, creating broken lines and areas of colour.

LAYING WASHES

Sugar Maple

G R A D ED W A SH

112

100

Ulmus americana(American Elm)

The complete colour palette needed to paint the tree.

Conitnuedowntothebottomofthe2 area.Anyunwantedpooslthatformcanberemovedwtihtheitpofaclean,silghltydam p bru sh .

Each of the basic techniques of watercolor painting are demonstrated using stepbystep photographyand explanatory text.

G re e n a n d re d a re c o m p le m e n t a r y 4 c o lo u rs (s e eCOLOURMIXING), s o t h e redsandorangesoftheacerswlilglowo u t a g a in s t t h e d u ll g re e n o f t h e b a c k g ro u n d c o n if e rs. U s in g a f a ir ly p a le m ix o f S a p G re e n a n d a t o u c h o f In d ig o , paintintheshapebehindthetwosmall trees,leavingsomeoftheﬁrstyelloww a s h . D a b s o m e o f t h is s a m e g re e n betweenclumpsoffoliage,thenilghtlys u g g e s t t h e c o n if e rs w it h u p r ig h t

The name “acer” comes from the Latin word meaning “sharp”, referring to the hardness of the wood, which the Romans used for spear shafts. Acers are among the ﬁnest of all the ornamental trees, with the loveliest and most varied foliage of all the broadleaves. Their autumn colours are rich and dramatic, and the northeastern states of America, with their cold autumn nights and sunny days, are famous for the spectacular displays of yellow, red, orange and crimson, caused by sugar trapped in the dying leaves. This sugar maple also has important culinary uses, as the sap yields the major source of maple syrup and sugar.

Thecolouratthebottomofthewashsi2 dictated by th e ﬁ rst ban d, so you can maketimuchstrongerfidesired.Forareversegradedwash,becomingilghteratth e top, tu rn th e board u pside dow n .

Inthsitypeofwash,twoormorecolours1 arelaidonatthesametimeandallowedtoblend.HerePhthaloBluemergeswtihTran sparen t Yellow.

Botanical features of the tree are highlighted for the painter’s interest. Tips are given on how the tree’s smallest details can be enhanced.

Q u in acridon e G old

A lizarin C rim son

G raded w ashes are m ore com m only used 1 th an ﬂ at on es in lan dscape pain tin g, as they are ideal for skies and backgrounds. Start wtihabandoffullstrengthcolourandth en , for each su bsequ en t ban d, dip th e brush ﬁ rst into clean w ater and then into the pain,tthusdiluitngitbyapreciseamounteachitme.

V A R IEG ATED W A SH O N D R Y PA PER

Bytliitngtheboardinwhichever 2 driectionyouchoose,youcanencouragetheﬂowofpaint.Angilngitupwards,for The seeds, or “keys”, of sugar maples have wings about example,willmakemorecolourcollectat25mm (1 inch) long (left).Each pair of seeds is set at th e top. an angle to one another (centre left). In this study of autumn leaves you can see the rounded angle between the leaf lobes (centre below). The tree in winter (above).

Printed in China

AERIAL PERSPECTIVE Themosteffectivewayofcreatingspaceisbycarefulobservationofadfiferentkindofperspective,knownasaerialoratmospheircperspective.Tinyparticlesofdustinthea tm o sp h ere d ra w a k in d o f v e il o v e r m o re d is t a n t o b je c t s, s o t h a t t h e t o n e s b e c o m e pale,rwithlessobviouslight/darkcontrasts.

The core ofThe Watercolour A to Z of Trees and Foliagefocuses on how to paint 24 different species of tree. The opening section looks at the main materials and techniques that everytree painter will need, while the ﬁnal section explores aspects of painting trees in different ways and settings. This overview provides a breakdown of each of the three sections (Essentials, Directory of Trees and Composition)to enable you to enjoy and beneﬁt from this book to the utmost.

ISBN: 9781782219200 EISBN: 978-1-78126-914-5

QUAR.WTF / QUAR.340029

Conceived, edited and designed by Quarto Publishing, an imprint of The Quarto Group The Old Brewery 6 Blundell Street London N7 9BH www.QuartoKnows.com

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of the copyright holder.

The name in italic type denotes the ﬁrst part of the tree’s Latin or botanical name. The name in roman type denotes the tree’s common name.

Quercus robur(Common Oak)

Nerium oleander(Oleander)

Pinus pinea(Umbrella Pine)

Olea europaea(Olive)

Rhus t yphina(St aghorn Sumac) Salix‘Chrysocoma(Golden Weeping Willow) Trachycarpus f ort unei(Windmill Palm)

Project Editor Jocelyn Guttery Art Editor Anna Knight Copy Editor Hazel Harrison Designer Brian Flynn Assistant Art Director Penny Cobb Photographers Paul Forrester, Colin Bowling Proofreaders Anne Plume, Kath FarrellIndexer Rosemary Anderson Art Director Moira Clinch Publisher Samantha Warrington

You do not need to buy a wide range of pencils to make tree drawings. A goodquality 2B pencil will give you a wide scope of expression as it is soft enough not to damage the paper but not so soft that it will smudge.

Paper:W a t e rc o lo u r p a p e r is m a d e in t h re e d if f e re n t s u r f a c e s : s m o o t h (o r h o t  p re s s e d ), m e d iu m (a ls o k n o w n a s c o ld  p re s s e d o r N o t s u r f a c e ) a n d ro u g h . N o t s u r f a c e is t h e m o s t c o m m o n ly u s e d , a s it h a s s u f ﬁ c ie n t t e x t u re t o h o ld t h e p a in t b u t is smoothenoughtoenableyoutopaintﬁnedetali.Watercolourpaperalsocomesindifferentweights,usuallyexpressedinpoundsl(b)referringtotheweightofaream.Ingeneral, a n y p a p e r lig h t e r t h a n a b o u t 1 4 0 lb w ill n e e d s t re t c h in g , oritwillbucklewhenwetpaintislaidon.Todothis,simplysoakt h e s h e e t o f p a p e r b r ie ﬂ y in t h e b a t h , t h e n s h a k e o f f t h e s u r p lu s w a t e r a n d la y t h e p a p e r o n a b o a rd . C u t f o u r le n g t h s o f g u m s t r ip , d a m p t h e m w it h a s p o n g e a n d s t ic k t h e m a ro u n d t h e e d g e s, s t a r t in g w it h t h e t w o lo n g e r e d g e s. T h e p a p e r s h o u ld b e le f t t o d r y naturally,notwithahairdryer,soitiswisetodothistheeveningbeforep a in t in g . T h e p ro c e s s m a y s o u n d la b o r io u s, b u t it c a n b e a m o n e y  s a v e r, a s t h in p a p e r is re la t iv e ly in e x p e n s iv e .

“ h o le s ” in t h e le a f m a s s e s t o s u g g e s t theirlacyquailty.Beginwiththebrokens h a p e s o f t h e t w o le f t  h a n d t re e s, takingailttlecolourintotheb a c k g ro u n d , t h e n s t a r t t o w o r k o n t h e m a in t re e , p a in t in g b e h in d t h e le a f m a s s e s, a n d a ls o d a b b in g s o m e o f t h e c o lo u r in t o t h e c lu m p s. A llo w t o d r y. N o w p a in t t h e le a f m a s s e s o n t h e 3 la rg e s t t re e , s t a r t in g w it h w a t e r y AlizarinCrimson.Loadthebrushwell,a n d w o r k a c ro s s t h e s h a p e s w it h t h e t ip o f t h e b r u s h . T h e n p a in t w it h a s t ro n g e r m ix o f W in s o r R e d , u s in g s h o r t , s h a r p , a n g u la r s t ro k e s t o s u g g e s t t h e p o in t e d leaves,andstippilng(seeBRUSHMARK)St h e o u t s id e e d g e s in p la c e s. Pa in t in t h e

s h a p e s o f t h e t w o s m a lle r t re e s w it h a m ix o f Q u in a c r id o n e G o ld a n d W in s o r Red,makingthebrushmarkssmallerast h e t re e s a re m o re d is t a n t . D a b s o m e o f t h is c o lo u r in t o t h e y e llo w b a c k g ro u n d o f t h e m a in t re e . L e a v e t o d r y.

T h is e f f e c t is o b v io u s in t h e c a s e o f v e r y f a r  o f f la n d s c a p e f e a t u re s, b u t a e r ia l p e rs p e c t iv e t o s o m e e x t e n t a f f e c t s a n y e le m e n t s t h a t a re n o t in t h e im m e d ia t e f o re g ro u n d . T h e c o lo u rs a re a ls o a lt e re d b y re c e s s io n , b e c o m in g p ro g re s s iv e ly c o o le r, o r b lu e r – y o u w ill p ro b a b ly havenoticedthatfarawayhlilsormountainsappearasauniformpaleblue,althoughyouknowthattherealcoloursareprobablygreensandbrowns.Compareaforegroundtreewithasimliaroneinthemiddledistanceandyouwillseethisalterationofcoloursandtones.Theremaybevividyellowsandgreensonthenearertree,withstrongtonalcontrasts,butthegreenswillbebluerandpaleronthemoredistantt re e . T h e s e e f f e c t s re q u ire c a re f u l o b s e r v a t io n , a s w e t e n d t o p a in t w h a t w e k n o w ra t h e r t h a n w h a t w e s e e , b u t o n c e y o u u n d e rs t a n d t h e p r in c ip le o f a e r ia l p e rs p e c t iv e y o u c a n u s e c o n t ra s t s o f w a r m a n d c o o l coloursandtonalvaluestopullforegroundelementstothefrontofthepictureandpushothersbackins p a c e . F o r m c a n b e s u g g e s t e d in t h e s a m e w a y, b y u s in g w a r m c o lo u rs f o r f o r w a rd s  t h r u s t in g c lu m p s o f foilageandcooleronesforthoseatthebackorbehindatree.

Published in 2003 by Search Press Ltd Wellwood North Farm Road Tunbridge Wells Kent TN2 3DR United Kingdom

Reprinted 2020

sequencestart to ﬁnish Startingwiththeredfoilage1 c lu m p s o f t h e la rg e s t t re e , s k e t c h in t h e b a s ic c o lo u r s h a p e s, k e e p in g t h e d ra w in g a s s im p le a s p o s s ib le . A ls o m a r k in t h e m a in branchesandtrunk,andilghtlyin d ic a t e t h e o u t lin e s o f t h e t w o s m a lle r t re e s. T h e s e a re t o b e o f f s e t a g a in s t t h e d a r k g re e n o f t h e b a c k g ro u n d c o n if e rs t o g iv e a s e n s e o f d e p t h , a n d t o b re a k u p t h e o ra n g e a n d re d s h a p e s. L a y d o w n t h e y e llo w a re a s ﬁ rs t , a s 2 t h e lig h t e s t t o n e , u s in g Q u in a c r id o n e G o ld . U s e a la rg e ro u n d b r u s h t o h e lp k e e p t h e s t ro k e s b o ld a n d lo o s e , a n d m a k e s u re t o le a v e s o m e

Detailed stepbystep instructions showing the painter how to paint the tree. Cross references to watercolour painting techniques described in the Essentials section are printed in small capital letters (e.g.,WETINWET).

1 0Essentials

Introduction introduction Trees provide a wonderfully varied painting subject, with each different species having its own distinctive look. In the case of deciduous trees, the changing seasons offer further variety, with the vivid yellowgreens of spring gradually changing to deeper, lusher greens, and then to the rich reds and yellows of autumn. Winter trees can also make an exciting subject, as the absence of foliage gives you the opportunity to exploit the colours and textures of trunks and branches.

The aim of this book is to show you how to paint a wide variety of trees, using a range of watercolour techniques and colour mixes. Most of the paintings show foliageclad trees, but to help you to understand the basic structures and individual characteristics, I have included in each demonstration a sketch of the tree in winter, together with closeup views of leaves, nuts, berries and blossoms. Each of the 24 demonstrations, accompanied by full stepbystep instructions, focuses on an individual species – some wellknown and others rarer and more exotic. Each one is shown in a full landscape context, so that you will discover not only how to paint a portrait of a tree but also how to compose the painting and orchestrate the surrounding elements. Summer trees obviously call for a predominantly green palette of colours, but it is important to choose the greens with care and to vary them as much as possible to avoid monotony. Although greens can be produced by mixing yellows and blues (primary colours), goodquality, readymade greens are often brighter and more vibrant than primary mixes. In each demonstration I list all of the colours used, with swatches so that you can see what they look like, and give instructions for speciﬁc mixes in the captions. As well as dealing with the basic watercolour methods such as laying

Stem

Trunk

Bark

Leaﬂets

Seeds

Branch

washes, building up layers of colour and reserving highlights, I have also suggested several more unusual techniques to help you to capture the special qualities of foliage, or the textures of bark. But the key to painting trees successfully is brushwork, so do practise making marks with different brushes until you gain conﬁdence and ﬁnd you can“let the brush do the work”of describing leaf shapes and foliage masses. Watercolour is a lovely medium, but it can be unpredictable, and it takes a good deal of practice before you can achieve a result you are proud of. Don’t be discouraged if your ﬁrst attempts don’t come out quite like the demonstrations – if you keep at it, you will soon see an improvement. As well as practising techniques, spend time observing trees so that you become familiar with the structures, shapes and colours. Don’t go straight into a painting until you have a good idea which colours you will need, and always start with a preliminary drawing. Good watercolours look almost effortless, but in fact they are almost always the result of careful advance planning. Once you become familiar with both the medium and your chosen subject, you will begin to paint with conﬁdence and enjoyment.

Neutral Tint

Dioxazine Violet

Terre Verte

Lemon Yellow

Cadmium Yellow

You will also need a drawing board, but this can be simply a piece of plywood or other board cut to a size that suits you.

You won’t need all of these colours for every painting, for example a picture of acers in the autumn will call for the reds, oranges and yellows rather than the greens of a summer tree, so you can build your collection of paints up gradually, buying new colours to suit the subject.

Vandyke Brown

Gumstrip (left) is used for stretching paper to prevent it buckling when wet paint is applied. Thicker paper can be attached to the board with masking tape (below left).

Brown Madder

Raw Umber

Paints:The choice of colours available to the watercolour painter can be bewildering, especially as colour perception varies from person to person. Although the palette below looks huge, and all the colours are used throughout the book, each painting uses on average eight colours. However you should never feel restricted in the colours you use, and you will be amazed at the range of colours that can be produced by mixing. Transparent watercolours come in two qualities – artists’colours and students’colours. The latter are not always labelled as such, but the former always are, so look for the label“Artists’watercolour”on the tubes or pans, and don’t be tempted by the cheaper versions.

materials for tree painting

Essentials materials and techniques

Paintboxes made for pans have central recesses to hold the pans, and foldout outer “wings” for mixing colours. If you are using tube paint you will need a separate palette. There are many different versions on the market today.

Water pots can cost virtually nothing, as the most commonly used receptacle is a recycled jam jar or yogurt pot, but for clumsy people, or those working outdoors, a nonspill pot (below) is especially useful.

Winsor Red

Paper towel is useful for general cleaning up, and can also be used for various lifting out techniques.

You don’t need a vast quantity of materials and equipment to paint stunning trees in watercolour. If you are painting trees and landscapes for the ﬁrst time, it is useful to restrict yourself to just a few basic materials to begin with until you have evolved the colours, brushes, paper and other equipment suited to your favourite techniques and particular style of working. This section gives you information on all the basic materials and equipment you will need for watercolour tree painting.

Green Gold

8Essentials

Aereolin Yellow

Olive Green

Phthalo Green

Naples Yellow

Yellow Ochre

Quinacridone Gold

Alizarin Crimson

Hooker’s Green

Indigo

Payne’s Grey

Cobalt Blue

Sap Green

Viridian

French Ultramarine

Phthalo Blue

Sepia

Quinacridone Red

Indian yellow

Transparent Orange

Masking ﬂuid (left) is painted on to reserve highlights (see reserving whites), and cotton buds (above) and small sponges (below right) are both useful for lifting out paint and softening edges.

Burnt Sienna

Round brushes are extremely versatile, enabling you both to make a great variety of different brushmarks and to paint linear detail. When buying, make sure that the brush comes to a ﬁne point without the hairs splaying out. The rigger brush (bottom, below) is used for very ﬁne detail such as ﬁne twigs and branches, while the Chinese brushes (second from top, below) produce the calligraphic brush effects seen in oriental paintings.

Brushes and Equipment: Brushes are every bit as important as paints, but you don’t need a large range, and depending on the subject, you can often complete an entire painting, from ﬁrst washes to ﬁnal details, with just one brush. The best brushes are Kolinsky sable, but there are many less expensive alternatives, either sable and synthetic mixtures or wholly synthetic. Apart from paints, brushes and paper (see following page), 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.

Transparent Yellow New Gamboge

Cerulean Blue

Winsor Violet

Light Red

Burnt Umber

Gamboge Hue

Cadmium Red

Raw Sienna

Prussian Green