One of the greatest strength of the watercolor medium is it’s transparency. It is also it’s greatest weakness, I think. Some things look great painted in a transparent manner, floral arrangements or the surface of water comes to mind. However, I find certain things hard to paint staying all transparent. Foggy backdrops, small sheep or cows in a landscape or a bright flower field in a dark meadow.
This post is purely about the practical side of painting. I don’t want to get into the whole ‘transparency = watercolor’ school of thought. It’s tiresome and a bit like discussing certain tastes in music: it cannot be done.
The longer I work in the medium, and keep in mind that I came from oils and gouache, the more I paint watercolor like I used to paint with oil and gouache.
Sure, I still try to preserve my whites but I noticed that I do a lot more layering also. Transparency first, opacity later. In certain places.
Am I concerned that I’m no longer a pure transparent watercolor painter? I shouldn’t be, when my path takes me away from it, right? Any rules in art should be questioned. That doesn’t mean I am painting gouache paintings now, transparency certainly has it’s place. As with many things in life, I believe the answer lies somewhere in the middle.
I also have to confess that I am a huge Andrew Wyeth fan and experimenting with some of his techniques. A student of mine sent me a description of his use of egg tempera that was made available during an exhibition at the National Gallery in Washington D.C. Fascinating stuff!
As an artist I believe we should always grow and never be static. Many artists out there are ‘stuck’, because they became known for something or a certain way of painting. It’s hard to change that because there are people following your art and you might loose them if you change too much. Personally, I am not concerned. I am not creating art to have ‘followers’. I am painting because that’s what I do. Even if I never sold anything, I’d still paint. Gotta keep the priorities straight!