38 Pages · 2014 · 8.77 MB · English

  • Watercolour


    Lesson Book

    Serving artists since 1911 www.currys.com Watercolour Lesson Book

    Welcome to the Watercolour Lessons!

    Learning the foundations of watercolour is a great way to

    bring the arts into the classroom.

    The best part is that once you’ve learned how – you can

    use those skills in any subject and in any way you want!

    Painting in watercolour is a deeply enriching activity.

    Even for those less inclined to be creative – it’s hard not

    be excited by the mingling and flow of vibrant colours

    on paper.

    I know a lot of teachers shy away from “real art” – especially if their areas of expertise are outside

    the traditional arts.


    These lessons will provide you with a simple, step-by-step system to help you become comfortable

    and successful with your work in watercolour.

    For more visual learners - in addition to the Lesson book, we’ve recorded all the lessons and made

    them available on our YouTube channel, click here https://www.youtube.com/CurrysArtStore

    We’re committed to helping you bring creativity to the classroom.

    If you’d like to schedule a classroom workshop or gather 5 or more teachers together for a

    free demo – please don’t hesitate to contact:

    Lezley Davidson – Education Sales Rep. & Creative Arts Advocate

    647.985.0338 / [email protected] Watercolour Lesson Book - Materials Intro & Image Transfer

    Materials Intro & Image Transfer

    Included in your kit are the essentials of what’s

    required to paint in watercolour:

    Canson XL Pad

    140 lb. cold press paper is the standard for

    watercolour painting.

    This 11” x 15” pad has an ample 30 sheets which

    can be cut in half to a roomy 7.5” x 11” sheet.

    *The video shows me using a 9”x12” pad – your kit will

    include (2x) 11” x 15” pads.

    Reeves Set of 12 Watercolour

    We’ve specifically chosen a watercolour set that

    includes a split-primary palette* to give your stu-

    dents the best colour theory & mixing experience


    Reeves paints are a perfect choice for students

    new to watercolour.

    *Split-primary means that there is a warm and a cold

    of each of yellow, red and blue.

    We’ve used these paints with all my children’s

    classes – ages 6 -12.

    They’re great right up to high school and even for

    adult beginners – those that aren’t sure if water-

    colour is for them and they don’t want to invest

    that much in materials to start with.

    The paints have good intensity and transparency

    for the price. Watercolour Lesson Book - Materials Intro & Image Transfer

    Black Mungyo Oil Pastel

    Oil Pastels are a great addition to learning watercolours.

    They provide the same “resist and containment” of water

    media that a crayon does, but they’re juicier and more in-


    Oil pastels are a great source of texture and depth, depend-

    ing on how many “passes” or layers the student is willing to

    make on their work.

    For this kit we have included black pastels, however, don’t

    hesitate to experiment with different coloured pastels for

    new effects.

    We’ve included watercolours, paper and oil pastels only in this kit as it’s been our experience that most

    K-8’s already have a class set of brushes.

    However, if you need a set specifically for watercolour – we recommend the Curry’s brand brushes. I’ll be

    using them in all the demo videos.

    The same is true of the palettes. Teachers have proven themselves adept at finding creative alternatives

    to traditional palettes. I’ll be using the plastic round palette in all the videos as it’s an affordable, flexible

    palette option. Watercolour Lesson Book - Materials Intro & Image Transfer

    Image Transfer

    This is a little tip to transfer your image to the water-

    colour paper quickly and cleanly.

    Once the watercolour has been taped down (the

    right way), you can create a transfer sheet with the

    line drawing sample that you’ll be painting.

    Using graphite sticks, or the edge of a pencil – cover

    the back-side of the line drawing with graphite –

    making sure all the lines are covered.

    the wrong way the right way

    Once the back-side of the line drawing is covered

    with graphite, you’re ready to transfer the image to

    your watercolour paper!

    Using a ballpoint pen or some other hard-ended

    (but not so hard that it’ll rip the paper) stylus, with

    firm pressure, trace all the lines in the drawing.

    If you’re using a ballpoint colour other than black,

    you’ll see your trace lines and be able to tell if you’ve

    traced all your lines.

    It’s always a disappointment to miss lines, so advise

    your students to only lift up part of the line drawing

    to check first before tearing it all off.

    Ta dah! Complete and ready to paint. Split-Primary Palette Colour Theory

    We’ve decided to introduce you to the split-primary

    palette colour theory right out of the gate.

    It will give you a much better understanding of actual

    paint mixing as opposed to an idealized version of

    mixing “all” colours with 3 primaries. (Which isn’t ex-

    actly true.)

    First – you can draw out the colour wheel by hand –

    or you can just print out the image and trace the lines.

    Here are the steps for hand drawing:

    1. Trace a round object – a palette or dinner 2. Split the circle into thirds.

    plate or anything else that fits into the space

    of your paper is fine. Split-Primary Palette Colour Theory

    3. Split each third into thirds. 4. Draw a box on the outside of each middle

    third section to allow for another secondary


    5. Draw two boxes on the bottom of the The last two images show where the colours

    sheet for additional colour mixes. will be placed for each mixture and the final

    imaged labeled. Split-Primary Palette Colour Theory

    Mixing the Split-Primary Palette Colour Wheel

    The split-primary colour wheel is divided into thirds: a green third, a purple third and an orange third – 3

    pieces of pie.

    The “true” or “bright” secondary is mixed using the 2 primaries from inside the section of pie. ie. “Bright

    Purple” is mixed using Crimson and Ultramarine – primaries from inside the purple pie section.

    The “neutral” secondary is mixed using the 2 primaries from outside the section of pie. ie. “Neutral Purple”

    is mixed using Brilliant Red and Phthalo Blue – primaries from outside the purple pie section.

    I had a mantra with my watercolour colour:

    “Inside the pie is bright. Outside the pie is neutral.” Split-Primary Palette Colour Theory

    The Thing About Black

    The bottom left hand corner of the colour wheel is showing the results of black mixed with other colours.

    Black can be an asset to a painting, but should be used mixed with another colour in your painting.

    Black on its own is flat and dead.

    Mixed with other colours it retains vibrancy and life.

    Use this area to let the students mix black with other colours – including mixed secondaries.

    Burnt Sienna & Ultramarine

    One of my favourite mixes (especially in landscapes) is mixing Burnt Sienna and Ultramarine Blue.

    They mix together to make a neutral colour perfectly suited for bark and stones and dirt.

    The Ultramarine is a heavy “sedementing” pigment and creates a natural texture that mimics a variety of

    natural surfaces.

    Experiment with different ratios of Burnt Sienna to Ultramarine. You could also see what happens when

    adding an additional colour to create a secondary mix with the Burnt Sienna. A Note About the Line Drawings

    We’ve included all the line drawings to be copied and

    traced where needed.

    They’ve been sized to a half sheet of 11” x 15” or a 9” x 12”

    piece of paper.

    Understandably, the Ministry frowns upon copying tem-

    plates and tracing and you may choose to use the tem-

    plates as a teacher – for your own use while you learn

    how to use watercolours.

    The line drawings are an example of the kinds of visual

    elements that will suit each of the different foundation

    techniques in watercolour: flat wash, glazing, graduated

    wash and wet in wet.

    It’s been my experience that drawing is the biggest hin-

    drance to learning how to paint in watercolours. Drawing

    is a skill that requires dedicated discipline and effort to

    realize – and most primary grade students aren’t at that level quite yet.

    Using our line drawings as examples, the students can create their own original designs – based on simple

    elements and principles designed to focus on the particular technique being learned.

    Flat Wash: “STAINED GLASS”:

    • Simple shapes

    • Very little detail

    • Heavy, thick outlines in oil pastel

    • Separates wet paint from bleeding

    Please note: To fully download this free PDF,EBook files you need know All free.
    Found by internet command,site not saved pdf file
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