![]() In my opinion, watercolour is about saving or restoring the white of the paper so once it’s lost, it’s better to start again – there’s no gouache in my palette. I use a portable folding palette with transparent watercolour paints in tubes as I need a creamy consistency to paint wet-on-wet. Paints: New Gamboge, Indian Yellow, Transparent Orange, Permanent Alizarin Crimson, Rose Madder, Quinacridone Magenta, Sap Green, Olive Green, Cobalt Blue, French Ultramarine, Ultramarine Violet and Shadow Violet, all Daniel Smith watercolour.Brushes: Synthetic round brushes, sizes 8, 10 synthetic flat brushes, size 6, 1/2”, 3/4” synthetic rigger, size ?.Paper: Arches Grain Fin 300 gsm watercolour paper.And the most important advice: finish your artwork with the paper still humid – allow colours to blend into one another before they have dried. Similarly, don’t outline every shape, leave some soft edges. Don’t spell everything out – you don’t need to draw each petal, leave something for the imagination. If you want to paint loosely, work fast but don’t forget to also be mindful of where your focal point is placed. The trick is to place most of the harder edges around or closer to the focal point (in the following). The play between hard and soft edges is important to create a sense of depth and, if this is well developed, we can build a sense of three-dimensionality in our artwork. The more drybrush strokes you make, the more harder edges will be created too. Others will remain soft – or “lost” – throughout. As I add more layers, some shapes will become more defined, as those initial soft edges disappear and the edges become harder. If the paper is wet, there will be many soft edges at the beginning. This method is all about taking risks, daring, working fast and intuitively, while understanding the wetness of the paper: that’s the way I feel more comfortable. I love painting watercolours using the wet-on-wet technique because each new painting is a challenge for me: the wet paint is laid on the wet or damp paper, the colours flow, they blend into one another and create unexpected and diffused effects. Link copied to clipboard Watercolour master Fabio Cembranelli shows how to paint a loose and intuitive floral still life using the wet-in-wet technique
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