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Creating 3D Form with Value

Author: Ellen Fountain, Fountain Studio/Graphics

In order to keep the objects we paint from looking flat, we need to create the illusion of three dimensional shape and form. One of the ways to do this is with value changes from light to dark. Observation helps us decide where the light source is, and how the light hits the objects. Once we know where the lights and darks are, we have some choices as to how to create those value changes in watercolor.


The wet-into-wet sample on the left uses three values of green, beginning with the lightest, then, the middle value is added while the first color is still damp, and finally, the darkest value is added. This gives a "softer" form, and might be used in background objects where sharp focus is not wanted.

The second sample (on the right) requires a bit more patience, as you must wait for each layer of color to dry completely before adding the next "glaze" or layer of color. As in the first sample, begin with the lightest value of green and establish the entire shape of the object. When this is dry, paint on the middle value where needed, and again wait for this to dry. Finally, add the darkest value to complete the form.

This can be fairly detailed if you want it to be, and is useful for foreground or midground objects. If you are in a hurry and can't wait for things to dry on their own, invest in a small hair dryer which is helpful (especially in humid climates) in drying paint passages in a short amount of time.

It Works on Manmade Objects too...

In the three pots shown at the left, I used the
same methods demonstrated above for creating
the form of the terra cotta pot. The top sample
was done using the glazing method on dry
paper–that is, separate layers of successively
darker values were applied to dry paint layers
until the form was established.

In the second sample, I used a "partly wet"
approach. Look at the bottom of the pot where
it "dissolves" into the background, and you'll
see where the paper was still partly wet when
another value was added. Where you see hard,
sharply defined edges between colors, you know
the paper was dry, so that the colors didn't run
or merge together.

Finally, the bottom sample was painted using
the "wet-into-wet" approach. This takes a little
practice to know how wet or damp the paper
should be before another color is added into the
mix, but it always starts with the lightest value
of each color, and ends with the darkest one.
And of course, wherever you want definition
along the edge of an object, you either have to
wait for the paper to dry, or paint carefully (as
I did in this sample) leaving a tiny white
unpainted bit of paper between object and
background.
Ellen Fountain on Her Art: "My approach to the watercolor process is eclectic. Sometimes I use very traditional methods–wet-into-wet passages set off with hard-edged glazed on areas to pull out shapes. Or I may have a light pencil drawing and essentially "fill in" areas with color. Other times, particularly in my mixed media works, it's an "anything goes" process. I may use watercolor pencils, metallic watercolors, permanent markers or inks, combine transparent and opaque water mediums, use collaged elements, stamps, stencils, or anything else that helps create the idea I have in mind."
Ellen Fountain has been working primarily in watercolors since the early 1970s. She has exhibited in over 100 invitational, solo and juried shows, and has won over 4 dozen awards since 1982, one third of which are national awards outside of her home state of Arizona. She teaches workshops and classes in many locations, and loves sharing her knowledge with others.

Ellen is a contributing editor to Wetcanvas, and be reached via email at efountain@access1.net. For more information on Ellen and her wondrous watercolor works, visit her online studio at www.fountainstudio.com.