Lifting: using removal as a mark-making tool
Lifting is usually taught as an error-correction technique, which undersells it badly.
30 min · 8′
Flat, graded, variegated, wet-in-wet, dry brush, resist and lift. Each entry carries the pigment ratios that produced it, the paper weight it was worked on, and the water load the sheet was holding.
Lifting is usually taught as an error-correction technique, which undersells it badly.
A backrun — the pale, hard-edged cauliflower that appears when water lands on a drying wash — is the classic beginner accident.
This is the one technique in the series where the surface texture is made by something other than a brush.
Dry brush is the one watercolour technique where a rougher, cheaper paper is an advantage.
Between soaked paper and dry paper there is a state that most painters never deliberately aim for.
Every soft edge in watercolour is easy; hard edges are hard.
Wet-in-wet is not simply painting on damp paper.
Charging means adding wet paint into wet paint so the two merge without a seam.
Hot press is the honest paper.
A variegated wash is the opposite of a graded one.
A graded wash is not one wash, it is two washes sharing a wet seam.
A flat wash is the first skill that separates a watercolour that reads as professional from one that reads as muddy.