The above painting is probably my least favorite. It was intended for rough-textured paper, but I used smooth, cold-pressed paper. Still, it looks pretty similar to what Reid intended.
The following painting is my personal favorite:
I like the wet-in-wet effects on the surface of the table, on the window panes, and even on the gourds! (The first pass over the gourds was actually a graded wash. You can also see graded washes over some areas of the pitcher.)
The above painting uses wet-in-wet pretty heavily (background trees), as well as another technique called “wetting and lifting” (seen over the roof of the cabin). There’s some dry brush in there, too (the grass).
The above painting is the last exercise in Reid’s text, and is also one of my favorites. Besides graded washes, “lifting out” was also used over the distant mountains to suggest cloud cover. It wasn’t hard to do; I just used a tissue to lift out paint while the areas were still wet.
This concludes the series of paintings I created as I worked through Jack Reid’s Watercolor Basics!