A method for making a watercolor print

Abstract

The application relates to the field of wood grain bionic modeling processes, and particularly discloses a production method of a watercolor print, which comprises the following steps: in a preparation stage, determining a graphic shape and a color tone, and preparing watercolor pigments; according to creative content, drawing and cutting out a hollow graphic card paper on a white card paper; fixing the watercolor paper on a drawing board and establishing a protective boundary by using a masking tape paper; placing the hollow graphic card paper on a target position of the watercolor paper, using a high-density sponge to dip the pigments, and transferring the pigments to the watercolor paper by using printing methods such as stamping, wiping, rotating and scraping; after the picture is dried, the tape is removed, and mounting and framing are performed. The application breaks through the traditional manual drawing mode, realizes a large-area and regular visual presentation effect, retains the transparent and moist characteristics of the watercolor pigments, and integrates the unique texture beauty of the print printing technique, so that an innovative creation method which combines the advantages of two artistic forms is provided for the field of painting art.

Description

Technical Field

[0001] This invention belongs to the field of wood grain biomimetic modeling, specifically relating to a method for producing watercolor prints. Background Technology

[0002] Wood grain biomimetic design is a design method that draws inspiration from the natural texture of wood, and is widely used in decorative paintings, furniture surface treatments, interior decoration, and other fields. Traditional wood grain biomimetic design is mainly achieved through hand-painting, spraying, or using special molds for texture transfer. Its performance is often limited by the operator's skill level and the precision of the tools, making it difficult to maintain the consistency and natural flow of the texture in large-scale, mass production.

[0003] Printmaking, a time-honored image transfer technique, involves creating images on a printing plate using methods such as engraving, etching, stenciling, and pressing. These images are then transferred to paper or other substrates through the printing process. It is characterized by its good regularity and high reproducibility. Among printmaking techniques, water-based printmaking holds a unique position due to its distinctive water-based color printing effects. Meanwhile, watercolor painting, a genre that uses water as a medium to mix pigments, stands out in the art world for its transparent and fluid color expression.

[0004] However, the pigment systems and printing processes used in existing printmaking (including watermark prints) cannot reproduce the inherent transparent and watery layering effect of watercolor paints. Traditional printmaking pigments (such as inks, acrylics, and gouache) are mostly opaque or semi-transparent. Even when using water-based pigments, the fillers and binders in their formulations significantly reduce the transparency and fluidity of the colors, resulting in strong color coverage and weak layering, failing to achieve the light, transparent, and layered visual effect commonly found in watercolor paintings. Furthermore, existing wood grain biomimetic methods mostly rely on hand-painting or mechanical pressing, lacking innovative means to combine the high transparency of watercolor paints with printmaking techniques. This makes it difficult to preserve the natural beauty of wood grain while incorporating the unique watery rhythm and layering of watercolor painting. Therefore, how to combine the high transparency of watercolor paints with printmaking techniques to develop a new production method that combines the biomimetic features of wood grain with the transparent layering aesthetics of watercolor has become a critical technical bottleneck that urgently needs to be overcome in this field. Summary of the Invention

[0005] The purpose of this invention is to provide a method for producing watercolor prints, which can effectively solve the problems mentioned in the background art.

[0006] To achieve the above objectives, the technical solution adopted by the present invention is as follows: A method for creating a watercolor print includes the following specific steps: Step 1: Preparation and Conceptualization Stage: Based on the creator's pre-set conceptual intention, determine the shape, type, and quantity of the graphics required for the image, and plan the distribution of each graphic in the image according to the overall layout requirements. At the same time, determine the overall color tone of the image, and pre-mix a variety of colors that match the pre-set color tone in the palette for subsequent printing. Prepare materials and tools such as watercolor paints, white cardstock, high-density sponge, watercolor paper, drawing board, palette, paper cutter, and masking tape. Step 2: Drawing and Cutting: Based on the pre-designed content, draw the required graphic on white cardstock and use a paper cutter to cut along the edges of the graphic to obtain a graphic cardstock with a cutout structure. Step 3: Watercolor paper mounting and positioning: Select a canvas according to the preset picture size, fix the watercolor paper to the center area of ​​the canvas with white masking tape, and then use other colored masking tape to create a protective boundary around the picture, defining the specific area range that the picture needs to be presented. Step 4: Color Printing: Once the imagery is fully developed, place the cut-out cardstock on the target position on the watercolor paper. Use a sponge to pick up the pre-mixed watercolor paint and transfer the paint onto the watercolor paper using printing techniques such as pressing, rubbing, rotating, and scraping to create the desired graphic and color effects. Step 5: After the painting has dried completely, carefully remove all the tape covering the painting, frame the finished artwork, and the watercolor print is complete.

[0007] Preferably, in step 1, the conceptualization of the form requires the creator to clarify the various graphic elements required for the picture based on the preset creative ideas, covering the type, quantity and distribution of the graphics in the picture. This invention method is particularly suitable for using abstract forms of expression, constructing the relationship between points, lines and planes in the picture through geometric elements of different sizes and shapes, so that the final work presents a rich sense of layering and visual tension.

[0008] Preferably, in step 1, the color conception stage requires the creator to determine the overall color tone of the work and mix a variety of colors that match the preset color tone in the color palette to meet the needs of different colors in the subsequent printing process. The mixed colors should be selected based on the actual needs of the color tone of the picture to ensure the coordination and integrity between colors.

[0009] Preferably, in step 1, the material preparation includes the following: selecting a predetermined quantity of watercolor paints as the color source to meet the richness requirements of the color layers in the picture; preparing several sheets of thin white cardstock as the base for making the cutout pattern; preparing several high-density sponges as paint dipping and printing tools, wherein the sponges have an appropriate size; preparing several sheets of wood pulp water-based watercolor paper as the printing base for the artwork; preparing a large wool brush or a wool board brush with a predetermined width for auxiliary operation; preparing a brush rinsing bucket for cleaning tools; preparing a large-sized palette for paint mixing; preparing a white towel for wiping; preparing a pack of paper towels for absorbing excess water; preparing a pencil for preliminary drawing; preparing a sharp paper cutter for cutting the pattern; preparing several rolls of white masking tape and several rolls of other colored masking tape, wherein the tape has a predetermined width range, and different specifications are selected according to actual needs.

[0010] Preferably, in step 2, the graphic drawing and cutting process needs to be carried out according to the pre-designed creative content. Whether it is an abstract or figurative work, the required graphic is first drawn on white cardstock, and then cut along the edge of the graphic with a paper cutter to obtain a graphic cardstock with a cutout structure. This cutout graphic cardstock is used as a printing plate for the subsequent printing process. Multiple cutout graphic cardstocks of different shapes can be made as needed to meet the needs of complex images.

[0011] Preferably, in step 3, the watercolor paper mounting and positioning step requires selecting a suitable canvas according to the preset image size, fixing the watercolor paper in the center of the canvas with white masking tape, and then using other colored masking tape to frame the specific area range that the image needs to be presented. In this step, the other colored masking tape plays the role of establishing a protective boundary to prevent the color from spreading to areas outside the target area during subsequent printing operations.

[0012] Preferably, in step 4, the color printing step is the core production step of the invention. Based on the creator's mature conception of the image, the cut-out cardstock is accurately placed on the target position on the surface of the watercolor paper. After using a sponge to dip into the pre-mixed watercolor paint in the palette, the sponge dipped in paint is directly attached to the surface of the cut-out cardstock for printing. The paint is transferred to the watercolor paper by controlling the printing pressure and the movement method.

[0013] Preferably, in step 4, the printing techniques include various methods such as pressing, rubbing, rotating, and scraping. These printing techniques are inherited from the tradition of stencil printing in printmaking. The precise control of the pressure of the technique during the printing process comes from the mastery of the depth and lightness of the watercolor pigments in watercolor painting. Different printing techniques and pressures will produce different visual effects.

[0014] Preferably, in step 4, different printing techniques will produce different visual effects: gentle rubbing will make the color blocks appear thin, transparent, flat, clean, and without excess color layers; repeated pressing will make the color blocks appear thick; the change of technique will also produce the effect of secondary color sedimentation. If the previously printed color has not completely dried, it can be cleaned in subsequent operations to reveal a new texture effect on the paper; the boundary will show a clean and neat edge effect during the pressing process, but there may also be a situation where the color does not completely cover the edge; the color backflow caused by the pause will leave a half-dry and half-wet mark on the image; friction will leave a rough texture effect on the image.

[0015] Preferably, in step 4, the various effects produced during the printing process are inherent characteristics of the invention method. Creators need to make reasonable use of or avoid these effects according to the actual image requirements and printing conditions in order to achieve the preset image effects and artistic expression purposes.

[0016] Preferably, in step 5, after the painting is completely dry, all the tape covering the painting, including white masking tape and other colored masking tape, should be carefully removed. Then, the completed painting should be framed to form a complete watercolor print.

[0017] Compared with the prior art, the present invention has the following beneficial effects: This invention organically integrates the material characteristics of watercolor painting with the printing techniques of printmaking. It uses a sponge to pick up watercolor paint and prints it through a cutout pattern card. This breaks through the traditional watercolor painting method that relies on hand painting and eliminates the limitations of hand-painting. It can achieve a large-area, standardized, and mass-produced visual presentation effect.

[0018] This invention inherits and expands the technical boundaries of traditional woodblock printing, organically integrating the beauty of watercolor rhythm with the printing techniques of woodblock printing. It creates a unique visual language that is different from the printing effect of traditional hand-painted watercolor paintings and transcends the limitations of traditional woodblock printing techniques, providing a brand-new creative method and aesthetic dimension for the field of painting art.

[0019] This invention introduces a stencil printing technique, which gives the image a unique visual effect of watercolor printing rather than hand-painting. It retains the unique transparent and moist qualities of watercolor paints while incorporating the unique textural beauty of printmaking techniques, creating an innovative painting language that combines the advantages of two art forms.

[0020] The invention method has a standardized production process, uses common materials, and employs universal tools, making it highly operable and reproducible. While ensuring the quality of the printed image, it can achieve stability and consistency in the image effect, meeting the needs of commercial production and promotion.

[0021] This invention, through the flexible combination of cutout graphic cards of different sizes and shapes with various printing techniques, can create rich and varied image layers and visual effects, providing creators with a broad space for artistic expression and fully meeting the artistic expression needs of different creators. Attached Figure Description

[0022] Figure 1 This is a schematic diagram of the overall technical solution architecture of the watercolor printmaking method proposed in this invention; Figure 2 This is a schematic diagram of the core principle framework of color printing in this invention. Detailed Implementation

[0023] Example 1 To make the objectives, technical solutions, and advantages of this invention clearer, the invention will be further described in detail below with reference to specific embodiments.

[0024] This invention provides a method for producing watercolor prints. This method organically integrates the material characteristics of watercolor painting with the printing techniques of printmaking. It achieves a unique visual effect by using a sponge to apply watercolor paint and then printing it onto stenciled cardstock. The technical framework of this method includes three main stages: preparation and conception, the production process, and the completion stage. The production process encompasses core steps such as graphic drawing and cutting, watercolor paper mounting and positioning, and color printing. The following provides a detailed technical description of each step.

[0025] In the aforementioned method for creating watercolor prints, step 1, the preparation and conceptualization stage, includes three sub-steps: shape conceptualization, color conceptualization, and material preparation. The shape conceptualization step requires the creator to clarify the various graphic elements needed for the artwork based on a pre-set creative idea, encompassing the type, quantity, and distribution of the graphics within the image. The creator must first determine what graphic shapes are required for the artwork and how many of each shape are needed. This invention is particularly suitable for abstract forms of expression, where the image will present points, lines, and planes of different sizes and shapes. By using geometric elements of different sizes and shapes to construct the relationships between points, lines, and planes in the image, the final artwork will exhibit a rich sense of layering and visual tension. During the shape conceptualization process, the creator should pre-construct the overall layout of the image in their mind, planning the spatial relationships and visual weight distribution of each graphic element, ensuring an organic compositional relationship between the graphic elements.

[0026] The color conception stage requires the creator to determine the overall tonal tendency of the artwork and mix multiple colors on the palette that match the preset tone to meet the different color requirements in the subsequent printing process. During color mixing, the creator needs to select colors based on the actual needs of the image's tone, ensuring harmony and unity between colors. When mixing colors, the brightness, saturation, and hue relationships between different colors should be fully considered, laying a scientific and reasonable color foundation for subsequent printing stages. After completing the color conception stage, the creator should pre-mix multiple colors on the palette that match the preset tone for use in subsequent printing.

[0027] The material preparation stage is crucial in Step 1. This stage requires the following materials: Use at least 18 watercolor paints as the color source to ensure a rich color palette; generally, Sino-foreign joint venture brands such as Winsor & Newton are preferred. Prepare several sheets of thin white cardstock as the base for creating the cutout designs. Prepare several high-density sponges for paint application and printing; the ideal sponge size is 10cm × 6cm × 3cm. Prepare several sheets of natural wood pulp watercolor paper as the printing base; commonly used domestic brands include Baohong. Prepare one large wool brush or one wool board brush with a width of about 3cm for auxiliary operation; prepare a bucket of water for cleaning tools; prepare a large palette for mixing paints; prepare a white towel for wiping tools and the painting; prepare a pack of paper towels for absorbing excess water; prepare a pencil for initial drawing; prepare a sharp paper cutter for cutting the graphics; prepare several rolls of white masking tape and other colored masking tape, with the width of the tape ranging from 2cm to 15cm, choosing different specifications according to actual needs.

[0028] In the above-described method for creating watercolor prints, step 2, the drawing and cutting stage, needs to be carried out according to the pre-designed creative content. Whether it is an abstract or figurative work, the required graphics are first drawn on white cardstock. During the drawing process, the creator uses a pencil to draw several graphics on the white cardstock. The design of the graphics should be consistent with the graphic elements determined in the shape conception stage in step 1. After the graphics are drawn, a sharp paper cutter is used to cut the graphics on the cardstock along the edges to obtain a graphic cardstock with a cutout structure. When cutting, the blade should be sharp to ensure that the cut edges are clean and precise. This cutout graphic cardstock is used as a printing plate for the subsequent printing stage. Multiple cutout graphic cardstocks of different shapes can be made as needed to meet the needs of complex images. During the cutting process, for complex graphic shapes, it may be necessary to use a segmented cutting method, first cutting the internal outline of the graphic, and then cutting the outer boundary to ensure the integrity of the cutout structure. After cutting, the edges of the cutout graphic cardstock should be smoothed as necessary to remove burrs and fiber debris to avoid unnecessary marks on the image during the subsequent printing process.

[0029] In the above-described method for producing watercolor prints, step 3, the watercolor paper mounting and positioning stage, requires selecting a suitable canvas based on the preset image size. The canvas selection should be based on the size of the watercolor paper, ensuring the paper can be flatly fixed to the canvas surface. The watercolor paper is then fixed to the center of the canvas using white masking tape. The width of the white masking tape should be determined based on the image size and fixing requirements; typically, narrower white masking tape is used for mounting and fixing. Next, wider masking tape of other colors is used to outline the specific area to be presented in the image. These other colored masking tapes serve to establish a protective boundary at this stage. The width of the other colored masking tape should be greater than the white masking tape, typically between 10cm and 15cm. After outlining the specific area to be presented in the image using other colored masking tape, it effectively prevents color from spreading to areas outside the target area during subsequent printing operations, thus protecting non-target areas of the image. After mounting and positioning, check the flatness of the watercolor paper surface to ensure that there are no wrinkles or air bubbles, so as to provide a good printing base for subsequent printing operations.

[0030] In the above-mentioned method for producing watercolor prints, step 4, the color printing step, is the core production step of this invention, implemented after the creator has formed a mature conception of the image. The color printing process includes the following technical steps: First, the cut-out graphic cardstock is accurately placed on the target position on the surface of the watercolor paper. When placing it, it should be ensured that the cut-out graphic cardstock is in close contact with the surface of the watercolor paper to avoid gaps that would affect the printing effect. Second, a sponge is used to dip into the pre-mixed watercolor paint in the palette. When dipping the sponge in paint, the amount of paint should be controlled to keep the sponge moderately moist, which can ensure sufficient supply of paint while avoiding excessive paint that would cause it to run. Then, the sponge dipped in paint is directly attached to the surface of the cut-out graphic cardstock for printing. The paint is transferred to the watercolor paper by controlling the printing pressure and the movement.

[0031] Printing techniques are a key technical factor determining the final image effect. The printing techniques in this invention inherit the tradition of stencil printing in woodblock printing, mainly including four basic techniques: pressing, rubbing, rotation printing, and scraping. The pressing technique involves placing a sponge dipped in paint vertically on the surface of the stencil cardstock, applying moderate pressure to transfer the paint onto the watercolor paper. This technique is suitable for areas requiring a rich, deep color effect. The rubbing technique involves moving a sponge dipped in paint horizontally across the surface of the stencil cardstock. The precise control of pressure in this technique originates from the mastery of varying shades of watercolor paint in watercolor painting, making it suitable for areas requiring a light, transparent effect. The rotation printing technique involves rotating a sponge dipped in paint on the surface of the stencil cardstock, transferring the paint onto the watercolor paper in a rotating motion. This technique can produce unique gradient effects and a sense of dynamism. The scratching technique involves using the edge of a sponge or at a specific angle to scratch the surface of a cut-out patterned cardstock, creating a directional texture effect.

[0032] Different printing techniques and pressures will produce different image effects, and these effects are part of the inherent characteristics of the method of this invention. Gentle rubbing creates a thin, transparent, smooth, and clean visual effect with no excess color layers. This effect stems from the short contact time and light pressure of the ink with the paper in the rubbing technique. Repeated pressing creates a thicker visual effect, due to the physical properties of layered ink accumulation in the pressing technique. Variations in technique can also produce a secondary color deposition effect. If the previously printed ink is not completely dry, it can be cleaned in subsequent operations to reveal new textures on the paper, adding a sense of depth and a sense of chance to the image. The edges during pressing will have a clean and crisp effect, due to the blocking effect of the cut-out cardstock edges on the ink. However, the ink may not completely cover the edges, and this incompleteness can sometimes create a unique artistic effect. Color backflow caused by pauses will leave a half-dry, half-wet mark on the image, due to the diffusion and penetration characteristics of ink on the paper. Friction will leave a rough texture on the image, due to the friction between the sponge and the paper.

[0033] During the printing process, creators need to make reasonable use of or avoid the various effects mentioned above based on the actual needs of the image and printing conditions. When a light and transparent effect is needed, a gentle rubbing technique should be used, controlling the amount of paint applied and the rubbing pressure; when a heavy effect is needed, a repeated pressing technique should be used, increasing the number of paint layers and pressing times; when an accidental effect is needed, subsequent operations can be performed before the paint is completely dry, creating new textures through washing or layering; when neat edges are needed, ensure the close adhesion between the stencil cardstock and the watercolor paper, and control the pressing pressure to prevent paint overflow; when a reflow effect is needed, the printing process can be intentionally paused to allow the paint to flow back and form a unique mark; when a rough texture effect is needed, the friction between the sponge and the paper surface can be increased.

[0034] In the above method for creating a watercolor print, step 5 requires waiting for the artwork to dry completely. The drying time is affected by various factors, including ambient temperature, humidity, paint thickness, and water content. Under normal temperature and humidity conditions, it typically takes anywhere from 30 minutes to 2 hours. After the artwork is completely dry, carefully remove all tape covering the artwork, including white and other colored masking tapes. When removing the tape, peel it off slowly in the opposite direction to the mounting direction to avoid tearing the tape or damaging the edges of the artwork. After removing the tape, mount the finished artwork to create a complete watercolor print. Mounting can be done using traditional backing methods or modern framing methods depending on the needs. The choice of mounting materials should be coordinated with the style of the artwork and the display environment.

[0035] The following is a specific application example to illustrate the detailed operation process of the method of the present invention. In this example, the creator plans to produce an abstract landscape-themed watercolor print, with a size of 50cm × 70cm. In step 1, the preparation and conception stage, the creator first conceives the shapes, determining that the image needs to include the following graphic elements: multiple circles of different sizes representing clouds in the sky or the outlines of distant mountains; several arcs representing undulating terrain; multiple irregular polygons representing vegetation and rocks in the foreground; and multiple dotted elements of varying sizes used to embellish the image. According to the compositional needs, the creator plans to distribute circular elements in the upper half of the image, arc elements running through the middle of the image, polygonal elements concentrated in the lower half of the image, and dotted elements scattered throughout the image.

[0036] During the color conception phase, the creator determined the overall color tone of the image to be a warm-toned sunset landscape, selecting the following colors for mixing: lemon yellow for the bright parts of the sky, orange-red for the afterglow of the sunset, ultramarine for the dark parts of the sky, other earth tones for the ground's base tone, olive green for the green elements of vegetation, and dark brown for the rocks and shadows. The creator pre-mixed these six base colors on the palette and prepared several transitional colors for subsequent fine-tuning. In terms of materials preparation, the creator prepared a box of 18-color Winsor & Newton watercolor paints, 4 sheets of thin white cardstock, 3 high-density sponges measuring 10cm×6cm×3cm, 2 sheets of Baohong wood pulp water-based watercolor paper (50cm×70cm), 1 large wool brush, 1 wool board brush with a width of 3cm, 1 brush rinsing bucket, 1 large palette, 1 white towel, 1 pack of napkins, 1 pencil, 1 sharp paper cutter, several rolls of 2cm wide white masking tape, and several rolls of other colored masking tape with a width of 12cm.

[0037] In step 2, the graphic drawing and cutting stage, the creator, based on the shape concept from step 1, draws different types of graphics on four sheets of white cardstock. On the first sheet, six circles of different sizes are drawn, with diameters of 15cm, 12cm, 10cm, 8cm, 6cm, and 4cm respectively. On the second sheet, four arcs are drawn, each with a length ranging from approximately 40cm to 60cm and an angle between 30 and 120 degrees. On the third sheet, five irregular polygons are drawn, with 5 to 8 sides and an area between 20 and 80 square centimeters. On the fourth sheet, several dot-like element templates are drawn, with diameters between 2mm and 15mm. A sharp paper cutter is used to cut along the edges of the graphics, resulting in cardstock with a cutout structure. After cutting, the edges of each sheet are smoothed to remove any burrs.

[0038] In step 3, the watercolor paper mounting and positioning stage, the artist selects a 60cm x 80cm wooden canvas as a support. The Baohong watercolor paper is placed flat in the center of the canvas, and 2cm wide white masking tape is used to secure it along the four edges. Two to three strips of white masking tape are used alternately along each edge to ensure a tight fit between the watercolor paper and the canvas. Then, 12cm wide masking tape of other colors is used to create a protective border around the watercolor paper, covering approximately 3cm of the edges, defining the desired area of ​​44cm x 64cm.

[0039] In step 4, the color printing stage, the creator follows the principle of printing from back to front, from top to bottom, and from light to dark. First, the sky area is printed. A 15cm diameter circular cutout cardstock is placed on top of the watercolor paper, and a sponge dipped in a mixture of lemon yellow and ultramarine paint is used for rubbing. The sponge is held at approximately a 30-degree angle to the paper, and the rubbing speed is controlled at 10cm to 15cm per second to ensure a light and transparent effect. After the sky area is printed, a 12cm circular cutout cardstock is placed at the boundary between the sky and the ground. A mixture of orange-red and other earth tones is used for pressing. The sponge applies vertical pressure during pressing, with each pressing lasting 0.5 to 1 second. This is repeated 3 to 5 times to create a rich, warm color effect in this area.

[0040] The ground area was printed using curved, perforated pattern cardstock. The cardstock was placed in the center of the image, and various shades of earth-toned paint were used for rubbing. The rubbing technique maintained a consistent pressure and speed to ensure clean, sharp edges on the curved lines. The vegetation area was printed using irregularly shaped, polygonal perforated pattern cardstock. First, an olive green base was printed, followed by dark brown for the shadows, creating a layered green hue through these two printing layers. Foreground dotted elements were printed using a dotted template. Small sponges were used to apply different shades of green and brown paint, controlling the contact time between the sponge and the paper to create dots of varying sizes and densities.

[0041] During the printing process, the artist fully utilizes the inherent effects of various techniques for artistic expression. Washing while the paint is still wet creates a textured effect of secondary color deposition, resulting in rich color gradations in the sky area. The edge effects created during the printing process form clean, crisp geometric edges. The color backflow caused by pauses creates unique semi-dry, semi-wet marks on the ground area, increasing the dynamism of the image. The rough texture created by friction forms a hand-painted feel in the vegetation area. During printing, if areas requiring protection are accidentally exposed to paint, excess paint is immediately blotted with a paper towel to prevent the color from spreading to unintended areas.

[0042] In step 5, after the artwork has completely dried (approximately 1.5 hours), the artist carefully peels off the other colored masking tape around the edges of the watercolor paper, followed by the white masking tape securing the edges. When removing the tape, peel it slowly at approximately a 45-degree angle, opposite to the mounting direction, ensuring the edges of the artwork remain intact. After removing the tape, trim the edges of the watercolor paper as needed, and then proceed with the mounting process. This example of a watercolor print exhibits a unique textural effect, combining the inherent transparency and hydration of watercolor paints with the distinctive textural beauty of printmaking techniques. The overall image is rich in layers, harmonious in color, and possesses a unique visual effect.

[0043] The high transparency of the watercolor paint was fully preserved during the printing process described above. The key lies in the porous structure of the high-density sponge, which allows for the even absorption and release of the watercolor paint, avoiding excessive paint buildup that can occur with traditional brushes or rollers. This is achieved by controlling the amount of paint the sponge picks up (ensuring the sponge surface is moist but not dripping) and the printing pressure (applying less than 0.5 N / cm for gentle rubbing). 3 When repeating the imprinting, the pressure is 1~2 N / cm. 3 This allows for precise adjustment of the amount of pigment deposited per unit area, enabling continuous control from extremely thin transparent layers to multi-layered translucent layers. The fibrous structure of virgin wood pulp watercolor paper naturally absorbs and diffuses water-based pigments, resulting in a uniform dyeing layer rather than a covering layer. The synergistic effect of these technical features gives the final image the unique transparent and moist visual effect of watercolor paints, something that traditional printmaking (including water-based prints) cannot achieve due to limitations in pigment systems or printing methods.

[0044] Example 2 To meet diverse creative needs and artistic expression purposes, this invention also provides another specific application of the watercolor printmaking method, suitable for creating representational portraits. This application is described in detail below.

[0045] In this application example, the creator plans to produce a figurative portrait watercolor print, with a size of 40cm × 50cm. In Step 1, the preparation and conceptualization stage, the creator needs to consider the structural features of the face when conceptualizing the form, determining that the image should include the following graphic elements: an oval cutout template representing the facial contours; small geometric cutout templates representing the positions of facial features (rectangular templates for eyes and nose, and curved templates for lips); a streamlined cutout template representing the hairstyle; and a V-shaped or round neck cutout template representing the neckline of the clothing. Based on the composition requirements, the face is planned to occupy approximately 70% of the central area of ​​the image, while the hairstyle and clothing occupy approximately 20% of the upper area and 10% of the lower area.

[0046] During the color design phase, the creator determined the overall color scheme to be a cool-toned close-up portrait, selecting the following colors for mixing: flesh tones for skin tone, light to dark browns for hair and shadows, gray-blue tones for clothing, and cool white for highlights. The base and transition colors for these colors were pre-mixed on the palette. For materials, the creator prepared 18 colors of Winsor & Newton watercolor paints, 3 sheets of thin white cardstock, 2 high-density sponges, 2 sheets of Baohong wood pulp watercolor paper (40cm x 50cm), 1 large wool brush, 1 brush rinse bucket, 1 large palette, 1 white towel, 1 pack of paper napkins, 1 pencil, 1 sharp paper cutter, and several rolls of white and other colored masking tape.

[0047] In step 2, the drawing and cutting stage, the creator refines the drawing based on the structural features of the figurative figure. First, on the first sheet of white cardstock, draw the outer ellipse of the figure's face, with a major axis of approximately 30cm and a minor axis of approximately 35cm. Next, on the second sheet of cardstock, draw small cutout templates for the facial features, including two 8cm x 3cm rectangles for the eyes, an irregular polygon of 5cm x 4cm for the nose, and an arc of 6cm x 2cm for the lips. On the third sheet of cardstock, draw cutout templates for the hairstyle and clothing. Use a sharp paper cutter for precise cutting, ensuring smooth edges and accurate dimensions.

[0048] Step 3: Watercolor Paper Mounting and Positioning. Select a 45cm x 55cm wooden canvas. Fix a 40cm x 50cm watercolor paper in the center of the canvas. Use white masking tape to secure it along the edges. Use other colored masking tape to create a protective border around the edges. Step 4: Color Printing. Use a printing sequence from overall to specific areas. First, use an oval stencil with a facial outline to print the skin tone base. Use a light flesh-colored sponge to evenly rub the skin tone, maintaining a consistent technique, angle, and pressure to ensure a smooth and even base. Then, use a facial feature stencil to print details such as the shadows in the eye sockets, highlights in the eyes, the structure of the nose, and the red tones of the lips. After printing each detail, gently press with a white towel to absorb excess paint, controlling color saturation and transition effects.

[0049] The hair area was printed using a streamlined, stencil-like design, employing a gradient of dark brown to light brown in multiple layers. Each layer was allowed to dry completely before the next was applied, creating a three-dimensional effect with varying shades through overprinting. The clothing area used a neckline stencil, with a gray-blue base and dark gray-blue used for shading, creating a contrasting effect to represent the folds and texture of the garment. In step 5, after the image was completely dry, all tape was carefully removed, the edges were trimmed, and the image was then mounted.

[0050] In the two portrait examples above, the creators should pay special attention to the following technical points during the printing process: The printing of facial skin should follow a principle of light to dark, first printing a light base color and then gradually adding shadows, avoiding using dark colors from the beginning as they become uncorrectable; the printing of facial features should emphasize accurate positioning, using a pencil to lightly draw positioning lines as a reference when placing the stencil; when printing multiple layers, the drying degree of each layer of ink must be strictly controlled. Overprinting before the ink is completely dry will produce a unique color mixing effect, but overprinting when the ink is too wet may cause the colors to become muddy; during the detail adjustment stage, a small sponge can be used to apply ink in a dabbing motion for fine-tuning, correcting minor deviations in the printing process.

[0051] The foregoing has shown and described the basic principles and main features of the present invention. Those skilled in the art should understand that the present invention is not limited to the above embodiments. The embodiments and descriptions in the specification are merely illustrative of the principles of the invention. Various changes and modifications can be made to the invention without departing from its spirit and scope, and all such changes and modifications fall within the scope of the present invention as claimed. The scope of protection of the present invention is defined by the appended claims and their equivalents.

Claims

1. A method for producing a watercolor print, characterized in that, Includes the following steps: Step 1, Preparation and Conceptualization Stage: Based on the creator's pre-set conceptual intention, determine the shape, type and quantity of the graphics required for the image, and plan the distribution of each graphic in the image according to the overall layout requirements. At the same time, determine the overall color tone of the image, and pre-mix a variety of colors that match the pre-set color tone in the palette for subsequent printing. Prepare materials and tools such as watercolor paints, white cardstock, sponge, watercolor paper, drawing board, palette, paper cutter, and masking tape. Step 2, Drawing and Cutting: Based on the pre-designed content, draw the required graphic on white cardstock and use a paper cutter to cut along the edges of the graphic to obtain a graphic cardstock with a cutout structure. Step 3, Watercolor Paper Mounting and Positioning: Select a canvas according to the preset picture size, fix the watercolor paper in the center area of ​​the canvas using white masking tape, and then use other colored masking tape to create a protective boundary around the picture, defining the specific area range that the picture needs to be presented. Step 4, Color Printing: Once the imagery is fully developed, place the cut-out cardstock on the target position on the watercolor paper. Use a sponge to pick up the pre-mixed watercolor paint and transfer the paint onto the watercolor paper using at least one of the following printing techniques: pressing, rubbing, rotating, or scraping, to create the desired graphic and color effects. Step 5, Completion Stage: After the painting has completely dried, carefully remove all the tape covering the painting, mount the finished painting, and the watercolor print is complete.

2. The method for producing a watercolor print according to claim 1, characterized in that, In step 1, the conceptualization of form requires the creator to clarify the various graphic elements required for the picture based on the pre-set creative ideas, covering the type, quantity and distribution of the graphics in the picture. This method is particularly suitable for using abstract forms of expression, and constructing the relationship between points, lines and planes in the picture through geometric elements of different sizes and shapes.

3. The method for producing a watercolor print according to claim 1, characterized in that, In step 1, the material preparation includes the following: selecting a preset amount of watercolor paint as the color source; preparing several sheets of thin white cardstock as the base for making the cutout pattern; Prepare several high-density sponges as tools for picking up and printing paint; prepare several sheets of wood pulp water-based watercolor paper as the printing base for the artwork; Prepare auxiliary tools for paint mixing and image processing.

4. The method for producing a watercolor print according to claim 1, characterized in that, In step 2, the graphic drawing and cutting process needs to be carried out according to the pre-designed creative content. Whether it is an abstract or figurative work, the required graphic is first drawn on colorless cardstock, and then cut along the edge of the graphic with a paper cutter to obtain a graphic cardstock with a cutout structure. This cutout graphic cardstock is used as a printing plate for the subsequent printing process. Multiple cutout graphic cardstocks of different shapes can be made as needed to meet the needs of complex images.

5. The method for producing a watercolor print according to claim 1, characterized in that, In step 3, the watercolor paper mounting and positioning process requires selecting a suitable canvas according to the preset image size, fixing the watercolor paper in the center of the canvas with white masking tape, and then using other colored masking tape to frame the specific area range that the image needs to be presented. In this step, the other colored masking tape plays the role of establishing a protective boundary to prevent the color from spreading to areas outside the target area during subsequent printing operations.

6. The method for producing a watercolor print according to claim 1, characterized in that, In step 4, the color printing process is the core production step of this method. It is carried out based on the creator's mature conception of the image. The cut-out cardstock is accurately placed on the target position on the surface of the watercolor paper. After using a high-density sponge to dip into the pre-mixed watercolor paint in the palette, the sponge dipped in paint is directly attached to the surface of the cut-out cardstock for printing. The paint is transferred to the watercolor paper by controlling the printing pressure and movement.

7. The method for producing a watercolor print according to claim 1, characterized in that, In step 4, the printing techniques include four basic methods: pressing, rubbing, rotating, and scraping. The pressing method involves placing a sponge dipped in paint vertically on the surface of the cut-out pattern cardstock and pressing the paint onto the watercolor paper with appropriate pressure. The rubbing method involves moving a sponge dipped in paint horizontally across the surface of the cut-out pattern cardstock. The rotating method involves rotating a sponge dipped in paint across the surface of the cut-out pattern cardstock. The scraping method involves scraping the surface of the cut-out pattern cardstock using the edge of the sponge or at a specific angle.

8. The method for producing a watercolor print according to claim 8, characterized in that, Different printing techniques and pressures produce different visual effects: gentle rubbing will make the color blocks appear thin, transparent, flat, clean, and without excess color layers; repeated pressing will make the color blocks appear thick and heavy; variations in techniques can also create a secondary color settling effect. If the previously printed colors are not completely dry, they can be washed in subsequent operations to reveal new textures on the paper; the edges during pressing will have a clean and crisp edge effect; color backflow caused by pauses will leave a half-dry, half-wet mark on the image; friction will leave a rough texture effect on the image.

9. The method for producing a watercolor print according to claim 1, characterized in that, In step 5, after the painting is completely dry, carefully remove all the tape covering the painting, including white masking tape and other colored masking tape. When removing the tape, slowly peel it off in the opposite direction to the mounting direction. Then mount the finished painting to form a complete watercolor print.

10. The method for producing a watercolor print according to claim 1, characterized in that, In step 4, by controlling the amount of ink absorbed by the sponge, the printing pressure, and the number of printings, the pigment layers transferred to the watercolor paper form a transparent overlay effect. This transparent overlay effect is characterized by: the light transmittance of the color block being ≥70% during a single printing, and each layer of color being visible to the naked eye through the upper layer during multiple overlay printings.

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