Lucy Browning on Watercolors

I have often said that painting with watercolor is similar to painting with another artist who randomly contributes to your work "in progress". This aquatic medium has a temperament of its own that guarantees a process that is both unpredictable and challenging. Fortunately, the result is often pleasantly surprising…the key to a positive outcome lies in the experience and time spent working in the medium. I equate it to learning to drive a standard shift…the directions may be written somewhere, but you have to learn by doing. You learn to "feel" when the time is right.

Although the term "watercolor" implies any painting medium which is water-based my paintings are exclusively transparent watercolors – once the paint is applied to paper cannot be totally covered or removed. Layers are always visible underneath. With this basic knowledge in mind, every painting must be approached with a plan. White watercolor pigment is not transparent and is rarely used. The paper becomes your white and "layers" of color are built on top of the paper thus creating the dimensional effect desired….working from light to dark. This technique of applying layers of thin washes and building depth and dimension is comparable to a "glazing" technique and is different in character from the majority of watercolor paintings which tend to be single layer washes. This technique, though time consuming, produces rich, vibrant tones with depth and dimension achieved by the visibility and integrity of the layers underneath. Simply combining the colors will produce a "muddy" effect which all watercolorists dread and which will ruin a painting. The thin layers must dry before the next layer is applied. Familiarity with various pigments is also important as some are "clearer" than others and, therefore, are more successfully used in the layering process. Success is achieved by using pigments which are more transparent, building layers, and using lightly pigmented washes.

Multiple factors affect the success of a painting (e.g. the weight and surface characteristics of the paper, the surface wetness, and the amount of water on your brush) and you learn what works for you by experimentation and persistence. Paintings of different subject matter require different "prep" work. Landscapes require very little "layout" prior to the application of color….just a knowledge of where things will be located on the paper. The architectural pieces require much planning as perspective and location of windows doors, etc. cannot be left to chance. This can increase the time spent on a work by a week or two and requires an understanding of diminishing points when painting at an angle and a strong understanding of perspective.

My paintings are the result of multiple layering allowing paint to "run", and using brush strokes which often contain only water and no pigment-allowing some of the pigments to mix randomly on the paper after they have been applied.

Although you can master the technique of watercolor and learn to perceive the precise moment when an effect may be achieved, you can never be sure if ;your next painting will be ruined with one misjudged application of pigment or water. Every time you paint you must be prepared for the unexpected.

(Lucy Browning received her Med from Georgia State University and has pursued her art career since. She has an extensive list of corporate purchasers and numerous private collectors.)