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Digital Subscriptions > The Artist > December 18 > November mist

November mist

Paul Talbot-Greaves demonstrates how to use the wet-into-wet technique to recreate a misty woodland scene in watercolour

Paul Talbot-Greaves teaches watercolour and acrylic painting in workshops and demonstrations to art societies throughout the Midlands and the north of England. He can be contacted by email: information@talbotgreaves.co.uk or through his website: www.talbot-greaves.co.uk

To capture a misty, ethereal light, it is imperative to use lots of water in a wet-into-wet technique. The trick is to keep your wash area wet so that you have the time to blend and adjust shapes without rushing. Use good-quality cotton paper such as Saunders Waterford or Arches, as these types will absorb water and stay wet for a reasonable amount of time. Keep checking the sheen on the painting to ensure it is not drying too fast or that you have wet the surface unevenly. A matt look indicates it is too dry and a deep glossy appearance with puddles should tell you it is a little too wet. Try to aim for an even satin sheen when seen against the light. If your wash begins turning matt before you have finished, give it a little spray with a water spray to bring the sheen back up to a workable wetness.

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About The Artist

Welcome to the December issue of The Artist, packed with inspiring, practical articles and demonstrations from top professional artists, all designed to help you improve your drawing and painting skills and techniques. Whatever your preferred medium, there's something for everyone, from how to use wet-in-wet watercolour to capture the mists of autumn, paint a still life in oils over acrylics, use aerial perspective to create distance and atmosphere in your landscapes, to advice on coloured-pencil techniques for botanical subjects. Learn how to glaze your acrylic paintings for greater impact, capture the shimmering light and movement of the sea in acrylics, choose colours for maximum effect for your flower paintings, plus why not try setting up a contemporary still life for something different this month. There's an insight into 'Pete the Street' Brown's approach to working en plein air, Charles Williams' questions what we want from art, and Sally Barton explains how to paint portraits of people's houses to commission. We also include the latest art news and a host of information about competitions to enter, books and art products, offers and more for your artistic enjoyment.