Ron Stocke - En Plein Air: Watercolor: Expert Techniques and Simple Step-by-Step Projects for Creating Dynamic Landscapes in the Open Air with Watercolor

English Village Reflections

Draw all you want, but paint only what you need.

Drawing is the foundation of your paintings. It is the act of observing your three-dimensional subject, and then trying to visually recreate it on a two-dimensional plane using shape, value, and perspective. It is the one thing that can derail your painting from the start, and it is perhaps the most important exercise you will take from this book. I discuss drawing on almost every pagereinforcing the old saying, You cant hide a bad drawing with a good painting.

In this section, I will show you a few pieces to the puzzle that have helped me see drawing as part of the painting, rather than a hurdle I need to overcome before I put brush to paper.

There is one rule in painting that I have learned to be especially true: If you want to learn to paint, learn to draw. I am simply carrying on a tradition from the many artists who came before me, particularly those whom I admire and have given me this sage advice.

Drawing is one element that Im always working on. I consider my sketchbook to be my most valuable tool. The work you do today in your sketchbook will pay dividends later in your finished work. In todays busy world, it is often difficult to find time to complete a painting every day; its easier to open up your sketchbook and do a quick thumbnail drawing or value study. Spend your time drawing different subjects in different styles and with different media. Learn the fundamentals of basic perspective and how to see your subject well enough that you can recreate its likeness in a sketch. Remember, these are your lines, and they can never be duplicated; and if they originate from a strong foundation, they can never be challenged. This will soon become one of your favorite pastimes. As you develop your ability, you are also developing your artistic fingerprint. This, to me, is perhaps the best reason to be a creative person and should give you the permission to draw your own way. Its what inspires me every time I go to my easel.

Madrid Fountain

Drawing Styles

There are many drawing styles to practicecrosshatching, pointillism, scribbles, etc. My preferred technique is a modified contour drawing. I call this a controlled scribble. Contour drawing is a technique in which you draw your subject with one continuous line without lifting the pencil from the surface of the paper. This technique is a wonderful way to help soften edges, loosen up, and connect your shapes. In most of my work, my first concern is connecting shapes. With contour drawing you can achieve this easilyit just takes practice.

Start by making a simple shape, say a circle. Now keep your pencil moving and dont lift it off the paper. Move to the side of the circle and draw a square, the whole time never lifting your pencil from the surface. Think of it as a controlled scribble.

What you have done is draw two shapes with a connected the pencil linebut more importantly, you have connected the two shapes in your mind. So when you paint them, you wont hesitate to connect them with a brushstroke, a wash, or by some other means. The reason connecting shapes is so vital in watercolor is because, unlike other media, it is very easy to get caught up in the work and accidentally establish unattended hard edges. This is known as tension. Most artists tend to paint all of their shapes separately, but this can be the kiss of death in watercolor. By connecting these shapes in your drawing, youve created a path to paint.

Hashmark This consists of straight intersecting lines that build form and value.

Contour This exercise is great for drawing organic lines.

Combination Combining both styles takes advantage of both line strengths and frees up your mind so that you can draw in a loose and unpredictable way.

Washington Square Park, NYC

On Location

When on location, you rarely need to render a finished drawing, because chances are you are just sketching. However, back in the studio, it is tempting to tighten things up and begin to draw more detail than needed. Dont do this! The line quality of a quickly drawn gesture drawing can have unique energy that will help you in your paintings. It is your artistic fingerprint.

The examples on these pages demonstrate what I mean. I have drawn the same composition twice. On this page, above and below, each element is drawn separately, as if cut and pasted. On the , Ive drawn the same group of shapes with one continuous series of lines, not hesitating to draw through shapes or even taking the time to complete some shapes. When these lines are filled in, the finished result gives a looser, more intuitive composition.

Loosening Up

All lines are not created equal. When I approach my subject, I ask how I can recreate it with as few brushstrokes as possible. This is also how I approach a drawing. My focus is not the inner detail of my subject, but rather its outside edges. As you spend time drawing, think of how you can create your subject with as few lines and shapes as possible.

By drawing in this way, you are doing several things, including setting the stage for how the painting will feel. Connecting your shapes with one continuous line creates an image with less negative tension, and therefore, when you apply paint it will flow more easily and give a fresher feel. This is the beginning of loosening up and creating exciting watercolors!