Here are a few of the complete watercolor paintings I created while working through the last chapter of Reid’s book:
All of these watercolors were created on 300-lb paper. (I did use stretched 140-lb paper for many of the exercises in the book, including the value studies.)
In the above painting, note the graded wash from top to bottom (showing the transition between sea and sky). My initial attempt was too light in value, so I waited for everything to dry and then painted over it with an identical graded wash. It worked well, increasing both value and intensity! The lesson I learned was that you shouldn’t be afraid to redo a graded wash to make it more intense. (Similarly, you shouldn’t be afraid to redo wet-in-wets, either!)
The surface of the lake in the above painting is a wet-in-wet, while the shadows along the snowy areas are graded washes. Super fun time!
Some of the rocks in this painting are graded washes over which a wet-in-wet was performed. The thicker the paint (e.g., less loaded with water) you drop into a wet-in-wet area, the better, usually. You can also see the use of dry brush in the falling water.
To be continued!