Learning Watercolor with Jack Reid, Part VII: More Complete Paintings

Misty Fall Scene

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:

Gourds and Pitcher
Gourds and Pitcher

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.)

Soft Winter Day
Soft Winter Day

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).

Glacier National Park
Glacier National Park

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!


2 thoughts on “Learning Watercolor with Jack Reid, Part VII: More Complete Paintings

  1. Hi there! I came across your blog by looking up others who’ve posted their work from Reid’s Basics book-
    I’m currently working on the fall scene you’ve posted with the barn that’s on rough paper…
    I wanted to know if you’ve found d getting the burnt sienna to lay down nicely in the tree? I’m a bit frustrated because there’s not much tutoring on this piece regarding making those leaves minus his encouraging us to use interesting, varied brush strokes with the half in flat brush.
    My low value burnt sienna on this looks puddly- and not attractive to me like his example… So I’ve done several washes now over it of tree leave shapes…
    I’m using W&N brand and 300lb Strathmore rough…
    Thanks for sharing your work! You’ve done amazing

  2. Hi Charity, I had trouble with the burnt sienna, too. Looking back at Reid’s example painting, the burnt sienna is of high value–it seems to be straight out of the tube. One of the problems beginners have with watercolor is to paint at low value instead of laying some colors on thickly and varying value. Thanks, and good luck!

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