Now that you have a solid list of supplies, know how to dose out washes, comprehend how to use color and understand a handful of techniques, let’s put it all together. In this series, I am really trying to share the nitty gritty of how I sit down and build a watercolor from crazy idea to frame-able piece. Today is all about how to build a painting strategically and other tidbits you can only hear from a pro like myself. Let’s go!
The power of the draft
Before you start painting, I want to introduce you to the concept of creating a few drafts, or sketches, before you commit to paint. Since watercolor has no undo button, I think it’s always a good idea to do enough prep work to avoid any potential mishaps. This is very much inspired by the process of working on a commissioned illustration. You don’t just sit down and expect something brilliant to come out of you on the first try. There’s a lot of back and forth with the art director (the person who hires illustrators to create work) about the subject matter, existing images from a portfolio of work to talk about style and feedback about what’s working, or not.
If you notice in the header image above, I was playing around with a few ideas related to unsavory Parsians nuisances and the 2024 Olympics. Below I will walk you through the idea development of this concept and the steps I took before knocking out the final illustration.
1.) Although I am going to run wee wee wee as far away as possible during the Paris 2024 Olympics, I can’t stop thinking of potential visuals merging the iconography of Paris and the Games. My root idea is that I mashed up the humble Parisian pigeon in a tangle of Olympic rings in my first sketch. Although I associate Paris with pigeons, I need to find another idea that leans into the fantasy of the City of Light….
2.) In sketch #2, I sketch the Parisian skyline trapped in the orbit of the Olympic rings. I like the idea of someone tossing the rings on the monuments. I want to continue pushing the perspective between the buildings so I keep sketching.
3.) In sketch #3, I revisit the previous idea. I throw some color on the sketch just to see if it is balanced and to debate if I want to include some black and white details on the buildings or not.
4.) In my final sketch, I redraw the concept but as minimally as I can. Since everyone knows Paris and its many landmarks, I don’t need to add so much detail. If ever I am testing out something new color or watercolor-wise, I would take a second to do a few tests on scrap watercolor paper so I know my technique is set in stone before I commit.
5.) Now that my concept is set in stone, I am ready to take out my paints and do the deed. Do you see how I was able to troubleshoot many of the potential issues in a handful of sketches? Now I can focus on painting with intention.
Nonetheless, I am sharing this with you because I find that a lot of young artists just sit down and expect something good to just happen. It’s normal that it doesn’t if you are new to a medium or a technique. For me, there’s the lightning flash of when an idea strikes. The mad dash to jot it down. The first napkin or printer paper sketch. A few color studies and then the final piece. It may seem contradictory, but it’s about trusting the process and controlling the variables when possible.
Next week, you will get your first assignment! In the meantime, please do share with a friend or young artist who needs a little encouragement. Don’t forget to check out my digial show at Un Jour Une Illustration, available until February 24h. I am super excited to meet Instagram friend, Tokyo-based illustrator Luis Mendo this Saturday at the gallery in celebrating of his show Bonjour Paris.
Take good care, dear reader. And don’t drink the watercolor Kool-Aid. -jkw