Your Next Watercolor Adventure

Watercolor pictures from Gordon MacKenzie
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Gordon MacKenzie’s 8 tips for exploring all the possibilities of your next watercolor painting.

Prairie Slough by Gordon MacKenzie, watercolor
Prairie Slough by Gordon MacKenzie, watercolor
Whether you are coming back to painting after years away or have always been lucky enough to have art-making as part of your daily routine, starting a painting feels like a thrilling adventure. Journeying through the possibilities in the studio can actually feel quite similar to actually backpacking across the continents, minus the passport stamps. For your next adventure in watercolor pictures, take along eight guiding tips from artist and instructor Gordon MacKenzie. They will keep you pointed due north and shine a light on all the possibilities that are right there waiting in front of you. You’ll have a sketchbook of watercolor pictures amassed in no time. Enjoy!
The Narrows by Gordon MacKenzie, watercolor
The Narrows by Gordon MacKenzie, watercolor

1. One Element, Repeated

The edges in clouds are the result of a pattern developed by making repeated variations on a “billowy” line. Note that the lines can vary in length and spacing. What this boils down to is one element, repeated with variations can be all you need for a great painting you can create right now.
Explore zigzags in your compositions for watercolor pictures -- one or more!
Explore zigzags in your compositions — one or more!

2. Snag the Eye on a Zig or Zag

Using a zigzag layout to your composition is a powerful and subtle way to lead the viewer into and around the picture space. Your focal point can be at the zigzag’s end or anywhere along it. Try using more than one zigzag in your composition to challenge yourself.
Edge of the Clearing by Gordon MacKenzie, watercolor
Edge of the Clearing by Gordon MacKenzie, watercolor

3. Backgrounds Make Things Stand Out

One of the best secrets I can share is to take note of the values and colors in the background that allow your foreground elements to stand out. It all started here for me. I can remember how easy things became when I intentionally started taking note of the backgrounds of my subjects.
Northern Dance by Gordon MacKenzie, watercolor
Northern Dance by Gordon MacKenzie, watercolor

4. In the Driver’s Seat, Whether You Like It or Not

You are the artist. That means you are always in control and making decisions. Realize that even while working with the subject that is right in front of you, you still must compose and make choices about what to emphasize and what to edit out. This is the true difference between being a visual recorder and being an artist with a point of view.
Nether World by Gordon MacKenzie
Nether World by Gordon MacKenzie

5. Make Note of It

Don’t forget to write down the names of the colors you’re mixing because you are bound to find some unusual results and just may want to mix them up again. You will also find that certain color combinations suggest how they can be used. You might even have images flashing across your mind. Pay attention. Make a note for a future painting.
Bend in the Fog by Gordon MacKenzie, watercolor
Bend in the Fog by Gordon MacKenzie, watercolor

6. Color Control

Whatever colors you choose, stick to them and you will achieve color harmony. The results may not always be pretty, but your colors will be harmonious.
Alone Together by Gordon MacKenzie, watercolor
Alone Together by Gordon MacKenzie, watercolor

7. Adding Life to Your Paintings

Adding figures to your work can be a point of anxiety if you let it. Don’t go there! Instead, don’t worry too much about body proportion. This will come with practice. Make your figures with the least number of brushstrokes possible, starting with a rectangular stroke for the torso, then add the head, legs and arms. To imply movement, place the feet so they extend beyond a vertical line from the head. You may need to counterbalance with an arm or leg.
Morning Light, Kegos by Gordon MacKenzie, watercolor
Morning Light, Kegos by Gordon MacKenzie, watercolor

8. G + R

A gradation is a gradual transition from one condition into another, as when a dark cool color gradually changes into a light warm color. A reversal is when one condition changes immediately into its opposite, as when switching from positive painting (painting shapes) into negative painting (painting the area that surrounds those shapes).
Autumn Passage by Gordon MacKenzie, watercolor
Autumn Passage by Gordon MacKenzie, watercolor
Gradations in all forms are one of the most appealing features in a painting. We use them all the time in virtually every picture but we seldom take full advantage of them, especially by placing opposing gradations next to each other. This produces a wide range of contrasts and a wonderful opportunity to work negative painting into your picture. Another way we seldom use gradations is as a major way of composing part or all of our picture. It’s such a missed opportunity to inject freshness and much needed contrast into our work. When sketching from nature or photos, never take the actual value arrangement as sacred. Think of it as a suggestion, because in a few hours it will have all changed anyway.

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  1. Hi Christine,

    I’ve not heard of these! I hope you’ll let us know how it goes with them. I can see them being great in the field and that is one less thing to carry. I think I’d only be concerned with something obvious–leaks, but that’s it from me. Good luck with the magic!!

    Courtney

  2. I just bought something called magic brushes. They have a reservoir for water and come in three sizes, both round and flat. They’re supposed to be great for field work. Any recommendations for using these brushes?

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