Water/ Pigment consistency:
Tea Coffee Milk Cream Butter
Tea Coffee Milk Cream Butter
Joseph Zbukvic Watercolour Clock
https://americanwatercolor.net/stop-making-these-common-mistakes/
From his book 'Mastering Atmosphere and Mood in Watercolor'
One side of the clock represents the paper and it is divided into four different degrees of wetness: dry, damp, moist and wet.
TEA
Weak transparent colours are suitable for those gentle misty paintings.
• This is the lightest toned wash.
• Tea washes will run freely on a tilted palette.
COFFEE
Strong translucent colours are ideal for bright and happy paintings that are
full of light.
• This is the wash to use for quarter-tones. • Runs freely, but less than tea.
MILK
Creating a medium contrast against white paper, it’s probably one of the most frequently used washes. Over larger areas it will form those wonderful granulating effects and rich, yet transparent, colours. It can be dry brushed effectively.
• Use this consistency wash for half-tones. • It will move slowly on tilted palette.
CREAM
Fantastic for the strongest colour notes in powerful, rich paintings.
• Thick pigment for three-quarter tones.
• Will move only a bit, if at all, on a tilted palette.
• Cream wash will not bead.
BUTTER
Butter consistency pigment is good for solid colour in small doses, such as stop-lights and small figures. It should be reserved for the very darkest darks when finishing your painting with those last magic touches.
• Full tone pigment —no water.
• This will stick to the palette like glue.
https://americanwatercolor.net/stop-making-these-common-mistakes/
From his book 'Mastering Atmosphere and Mood in Watercolor'
One side of the clock represents the paper and it is divided into four different degrees of wetness: dry, damp, moist and wet.
TEA
Weak transparent colours are suitable for those gentle misty paintings.
• This is the lightest toned wash.
• Tea washes will run freely on a tilted palette.
COFFEE
Strong translucent colours are ideal for bright and happy paintings that are
full of light.
• This is the wash to use for quarter-tones. • Runs freely, but less than tea.
MILK
Creating a medium contrast against white paper, it’s probably one of the most frequently used washes. Over larger areas it will form those wonderful granulating effects and rich, yet transparent, colours. It can be dry brushed effectively.
• Use this consistency wash for half-tones. • It will move slowly on tilted palette.
CREAM
Fantastic for the strongest colour notes in powerful, rich paintings.
• Thick pigment for three-quarter tones.
• Will move only a bit, if at all, on a tilted palette.
• Cream wash will not bead.
BUTTER
Butter consistency pigment is good for solid colour in small doses, such as stop-lights and small figures. It should be reserved for the very darkest darks when finishing your painting with those last magic touches.
• Full tone pigment —no water.
• This will stick to the palette like glue.