Frequently Asked Questions

Question: How does combining shapes help me to paint loosely?

Eric: A concept that can be extremely helpful in painting loosely is the creation of our own conceptual shapes. By painting through the boundaries of our adjacent objects we can construct new shape patterns and encourage the bold, free look we are trying to achieve.

For example, a tree’s edge next to the roof of a house can be lost so there is no edge joining the two. Instead of an awkward shape (parallelogram of a roof) next to a potentially awkward shape (the circle of a tree’s foliage), we now have one better shape of the two combined. This is where creating art becomes satisfying, for we are about the business of creating for our own sense of visual patterns; we are making new shapes rather than just rendering the shapes as presented to us visually by a subject.

I try to combine objects and create a new shape for all the values: lights, midtones, and darks. Sometimes I will have to shift the value slightly of an object so that it matches more closely the value of an adjoining object for easier combining. (Lying in art is ok – logic and reason do not necessarily make for good art!)

So how does combining objects to make new shapes lead to a looser painting? Click here to read the rest of Eric's answer.

Question: Did you always paint loose?

Eric: Frequently I am asked, especially from my workshop participants, how I developed my “loose” painting style. This question always puzzles me because an assumption is made: the term “developed” implies intention. My painting style is not something I sought out; it is only a reflection of my personality and artistic likes and dislikes.

Early in art school (American Academy of Art – Chicago) I found myself attracted to the bold brushwork of the Impressionists and classical masters such as Sargent, Sorolla, Fechin, and others, as opposed to the Salon genre widely accepted on the Eve of Impressionism. A year earlier I had escaped the tedium (to me, at least) of a corporate job and the last thing I desired was more of the same. I saw the opportunity of emotional release, excitement, Nirvana! Or whatever it can be called, of bold brush statements incorporating simplified patterns. A more accurate assessment would be to say I felt an opportunity. I don’t think I understood art well enough to intellectualize my feelings. Click here to read the rest of Eric's answer.

Question: How do you paint loose?

Eric: Painting loosely is not something I do that just comes naturally, but is backed up by several design principles:

First, I combine two visually adjacent shapes of the same value or close to the same value into one larger, better shape. (A better shape is one that has an interesting, interlocking pattern, much like a puzzle piece. Commanding, geometric shapes such as a triangle, rectangle, circle, square, etc. can be a visual discomfort.) For example, rather than separate a dark hull of a boat from its dark reflection, I will paint through the waterline and create one new shape with no separation of the hull and reflection. These big shapes allow for passages of flowing color and bold brushwork (i.e. looseness). This design theory of painting through the boundary of my objects encourages some additional benefits: an effect of reflected color and soft edges. In watercolor especially, soft edges are easy to tighten up later with a firm stroke; whereas a hard edge is difficult to soften up later. Click here to read the rest of Eric's answer.

Question: What kind of brushes do you recommend?

Eric: Throughout my many years of teaching watercolor workshops there have been questions regarding my favorite brushes. I have found that the following provide the widest range of techniques with only three brushes. All are natural hair to provide maximum carrying capacity and stroke control. Click here to read the rest of Eric's answer.

Question: What kind of surface do you prefer for mounting your 140 lb. arches coldpress paper when framing it unglazed and varnished only?

Eric: Masonite and plexiglass both work, but I prefer mounting the watercolor paper on a stretched cotton canvas. It is lighter and has a nice springy feel to it. The lighter weight is especially helpful when it comes to the larger pieces.

We use Neutral PH Adhesive to mount the painting to the canvas. Lineco is one of the companies that makes this archival product.

Question: Is glass necessary for framing watercolor paintings?

Eric: Recently, I've come across a new way to frame and display watercolor paintings. I have become aware of watercolorists doing away with the glass in order to get around the glare. The painting simply gets mounted on canvas or another surface. With several coats of varnish to bring out the rich color (like it looks when still wet) it is ready to be framed, much like an oil painting. The painting can be wiped to clean if needed without disturbing the pigments. This is a great boost for watercolorists who want to compete alongside oil painters, get rid of the glare that glass brings with it, and make a statement of permanence that will rival any other medium, including oil paintings.

My collectors may still desire to have their paintings under glass; however, I will encourage them to take a second look at what only varnishing the painting, and doing away with the glass, offers.

Question: I have concerns about mounting an original watercolor painting to a wood pulp product like Masonite.

Eric: The product “Golden Softgel” was suggested by a representative at Daniel Smith Art Supply. The gel adhesive acts as a barrier between the acidic Masonite and the painting. It is a clear drying, protective, acrylic.

Question: What kind of varnish do you use on your mounted watercolor?

Eric: Currently I am using a diluted acrylic gloss varnish of one part water to one part varnish. Mix gently and apply with a 2" or 3" soft haired brush (camel or squirrel hair). Brush on with random strokes and resist the temptation to overstroke as this may cause fogging or lift the paint.

We like to finish it with a light coat of cold wax medium to soften the look and provide additional protection from moisture and bring richness to the colors. Dorland and Gamblin both make this product. I find the painting to be well protected and secure using this procedure. The cold wax medium can be removed if necessary since the painting is protected by acrylic varnish undercoating. I have not tried this yet, but the manufacturers of the varnishing products I use say this can be done.

Question: How permanent are today’s watercolors?

Eric: When painting with professional grade, excellent-rated lightfastness paints, we can be assured of high longevity. Many of today’s pigments have come out of the automotive and plastics industry and are therefore very durable.

In short, an answer to a potential collector could be: “they will outlast you and me, and our children”. In my 26 years of painting I have found that my early paintings are still as vibrant in color as they were the day I painted them.

I once asked a representative for a major watercolor manufacturer this question and his answer was “we feel confident with permanent colorfastness to 100 years under normal lighting conditions, with an indefinite time period after that.”

This sounds permanent to me! ( I think the UV glass folks don’t like to hear this!)

Question: Eric, is it possible to rewet a partially completed painting and roll off excessive moisture from the painting surface with the diaper? I wish to re-establish the damp paper conditions I started out with.

Eric: Yes, gently spritz both sides of the completely dry, unfinished watercolor painting, and roll the diaper over the painted surface to remove excess water. I have found the image to remain undisturbed, or if even a few dabs of heavy pigment are picked up, the change is insignificant.

We welcome your questions. Please send them to: watercolors@ericwiegardt.com