Sunday Secrets #50

  This entry was originally posted on Sunday, December 30, 2012

Today's Sunday Secrets is from Jenny in California, a faithful follower. 

She asks, "Now that your year of daily tips on Watercolor Weapons is almost over, what do you plan to do?"

 That is a great question. What do I do now?

 

Yes, tomorrow is my last day for posting a watercolor tip each and every day.

I can't believe it is almost over!

It has been a wonderful experience and I have enjoyed meeting so many other watercolor enthusiasts.

Your work and your thoughts are so inspiring!!

Thank you for sharing them.

 

So now that my year is over, the first thing I am going to do is take a short break from the blog.

(don't worry; it will only be a couple of weeks)

I plan on continuing with my painting tips.

However, it won't be daily.

More like weekly or biweekly.

 

Right now I have another artistic goal I need to focus more time on.

It is my Masters of Art Education.

My thesis and the paintings associated with the thesis need to be done by the end of August.

It is an exciting prospect and I am thrilled to have an opportunity to continue to learn and to teach.

 

I hope that you will continue to share your thoughts, your paintings, and your own artistic goals with me.

 

Sunday Secrets #49

 This entry was originally posted on Sunday, December 23, 2012

Today's Sunday Secrets is from Lynn, She asks,

"When is a painting really done??"

That is an excellent question, Lynn. Thank you for asking.

According to Leonardo da Vinci,

"Art is never finished, only abandoned."

 

Figurative painter Euan Uglow once said,

"I don't really finish a painting, it stops."

 

I have to agree with both da Vinci and Uglow. 

I try to assess the painting to determine if it is finished by going through all my critiquing techniques of surprising the painting, and reducing it, among others. 

But to be honest, a painting does just stop.

Then it starts to become overworked.

 

I am a better judge of when I start to overwork a painting than when I am finished.

An overworked painting loses its freshness.

I become tired and bored. 

My mind wanders to other things.

That or I have run out of time. (deadlines help a lot!)

 

As soon as I feel that this is happening, I stop and sign it.

It is done.

 

And as Robert Genn says,

"80% finished is better than 2% overworked."

Quit while you are ahead.

 

Sunday Secrets #48

   This entry was originally posted on Sunday, December 16, 2012

Reflection

Varnished Watercolor

11x14"

Recently I have been varnishing my watercolors so I don't need to frame them under glass. 

Since I have started varnishing, I have had several people ask if these paintings are allowed in competitions.

My answer is that it depends on the competition.

 

Watercolor and watermedia competitions usually request that paintings be on paper and framed under glass.

So no, they would not be allowed, especially since they would not be framed under glass. 

 

Some watercolor competitions request transparent watercolors only.

(Transparent Watercolor Society of America is one of them)

That means that the use of white, gouache, or acrylic is not allowed.

There are some other specific requirements that are usually included in the competition rules.

 

Other watercolor competitions are also watermedia competitions.

Watercolor, egg tempera, gouache, and acrylic are all allowed as long as they are on paper and framed under glass.

You can also mix watercolor and acrylic into one painting.

 

Then there are competitions that cover all forms of painting.

A varnished watercolor will be accepted in these competitions.

You can call it either a varnished watercolor or mixed media (since you have added another medium to varnish the painting.)

 

Most mediums are still porous until they are varnished.

Varnishing a watercolor would be similar to varnishing an oil, an acrylic, or an egg tempera.

 

Be sure to check the competition rules before you enter though. 

It will make things go so much more smoothly if you do.

 

 

Sunday Secrets #47

 This entry was originally posted on Sunday, December 9, 2012

Today's Sunday Secrets comes from Mike.

His question is about watercolor easels.

 

Mike mentions that he is "keen to do some on-location painting" and would like a recommendation for a suitable easel. He also made reference to the En Plein Air Pro easel that he saw on You Tube.

 

Mike, I must admit that I do not have much experience with watercolor easels.

The selection in Canada is very small.

In fact, I have only seen one easel for sale and it is the Winsor & Newton Bristol watercolor easel.

It is also the kind I use and I am not very happy with it.

I have to unscrew it (risking the loss of small screws) and take it apart to have it even fit into the "convenient" carrying bag they provide.

There is no place to put my water or my paint.

I lose my brushes trying to find a place for them and they end up in my mouth.

It is extremely frustrating all around.

 

Years ago, I did come across an easel while in the States that I wish I had snatched up.

It was made by an engineer that decided to take up watercolor painting and sold them as special orders.

I wish I had remembered his name.

However, it was very similar to the En Plein Air Pro.

The thing I liked the most about both easels is the places to hold water and paint!

Imagine that.

It appears lightweight, easy to assemble, and 

 there are some features to the En Plein Air Pro that seem to enhance the outdoor painting experience

(the brush holders, and clip on lid which is absolutely fabulous looking).

 

So Mike, I would say, GO FOR IT!

I think I may have to get one for myself.

Thank you for question.

(It has made my Christmas :)

 

 The En Plein Air Pro Easel can be seen at

http://www.enpleinairpro.com/

Sunday Secrets #46

  This entry was originally posted on Sunday, December 2, 2012

I have so enjoyed hearing from all my readers that I want to ask yet another question of you for the Sunday Secrets. 

The question is: 

What is your favorite color (in watercolor) and why?

Sunday Secrets #45

   This entry was originally posted on Sunday,  November 25, 2012

I really enjoyed reading responses from fellow watercolorists and bloggers a couple of weeks ago.

 

I decided that for today's Sunday Secrets, I would like to ask another question from my readers.

 

Is there a watercolorist that inspires you?

If so, who?

 

Sunday Secrets #44

 This entry was originally posted on Sunday, November 18, 2012

The Matriarch

21x28"

 

Today's Sunday Secrets comes from Elizabeth in Montana.

 Her question is,

"Do I always need a light source and shadows in every painting?"

 Thank you for your question, Elizabeth.

 And the answer is, that depends on what you want to say.

 

Most images already have a light source, or several light sources, but it may be difficult to determine where it is coming from. Even photos taken with a flash have a light source. The flash just tends to wash things out making some colors more even. Multiple light sources can cause confusion.

 

A light source does help round an object, giving it more dimension and depth.

This can also aid in seeing and shaping an object and painting it better.

It will help create a sense of realism and shadows help ground the object.

 

A strong light source creates drama.

A diffused light source makes everything more soft and subtle.

Some can be so diffused, there are no shadows.

For instance, fog would just not have the same effect if there were stronger light and shadows.

 

Tofino Fog

7x10" 

And then there are always objects that are painted in a more graphic style, where a definite light source with shadows is not an issue.

 

Iris Garden

14x20"

 

Like I said, it all depends on what you want to say with your painting and what type of artist you want to be.

Sunday Secrets #43

  This entry was originally posted on Sunday, November 11, 2012

For today's Sunday Secrets, I want to ask my readers a question, 

What do you love about watercolor?

Sunday Secrets #42

 This entry was originally posted on Sunday, November 4, 2012

The other day my class had some questions for me.

They were about my favorite subject other than watercolor.

They were about dessert.

 

The questions were:

 Ice Cream or Frozen Yogurt?

 Ice Cream.

 

Chocolate or Vanilla?

 Chocolate.

 

Chocolate or Caramel?

 Caramel.

Covered In Chocolate.

Although Chocolate covered in Caramel also works.

 

 I think I need to go make me a sundae now.

Enjoy your Sunday! (Sundae?)

Sunday Secrets #41

  This entry was originally posted on Sunday, October 28, 2012

Dragon Alley

Poured Watercolor

21x29"

 

Today's Sunday Secrets comes from a class that I am currently teaching.

It is about my poured watercolors.

 

The question is, "How do you know where to pour?"

 That is a good question. 

There are a few things that I take into consideration when I start a pour.

Among them are:

Where is the light coming from?

What color palette do I want to use? 

Do I want to try to match the colors to the ones in the photograph or use a different color chord?

 

Then I will also take into account that our eye is drawn to warm colors in a painting and the cool colors will recede.

I usually start with my warm colors and pour them in the direction that the light is falling across where I want my focal point to be.

I will pour my cooler colors around most or some of the edges of the painting.

This gives it a vignette look that helps draw the eye to the focal point.

 

Since I usually only use 3 colors, I try to pour them in the direction that will help them mix into the colors that I want and am happy with.

Sunday Secrets #40

 This entry was originally posted on Sunday, October 21, 2012

Today’s Sunday Secrets is from Mike.

His question is about using masking fluid.

He asks,

How do you avoid hard edges (from the masking fluid)?

Do you slightly dampen the edge before applying? 

Thank you for the question Mike.

 

Unfortunately there is no easy way to avoid hard edges from masking fluid.

It is the nature of the beast.

 

I have tried to dilute the masking fluid and I have even dampened an edge before and after applying it.

But none of these work.

It only causes the masking fluid to soak into the paper fibers more instead of staying on the surface of the paper. The masking fluid now becomes harder to lift and is more difficult to apply paint to the now damaged paper. So I would not recommend doing this.

The only way to create a soft edge is to do so after you have lifted the masking fluid. This is best done with a scrub brush and some tissue. Lightly dampen the paper and softly scrub along the hard line to create a softer edge.

Sunday Secrets #39

  This entry was originally posted on Sunday, October 14, 2012

Today's Sunday Secrets comes from Miriam in New York.

She has several questions about stamping watercolor from a previous post.

 

Her questions are:

Can you reuse a stamp on another painting at a later time or do you have to make a new stamp?

How deep to you cut your stamp and how much paint do you load on the stamp?

Thank you for the questions, Miriam.

 

First of all, I have been able to reuse a stamp but not for long (it will only last 2-3 times).

It is best to make the stamp out of illustration board if you do want to reuse it.

 

Second, the deeper the stamp is cut, the more it does show the image and the more texture you will get.

This is something you will have to just play with to discover what you like.

 

Finally, I find that I do need to put quite a bit of paint on the stamp.

It is best to test the stamp on a separate piece of paper before proceeding to your masterpiece.

 

Hope those answer your questions.

Good luck and enjoy the stamping!

Sunday Secrets #38

  This entry was originally posted on Sunday, October 7, 2012

This week's Sunday Secrets is from the students in one of classes.

They all wanted to know what masking fluid I like to use and why.

 

I prefer and recommend Winsor and Newton Art Masking Fluid.

There are a couple of reasons why.

The first is that it is the easiest to find and to purchase.

The second reason is that I teach a lot of courses that involve masking.

Students bring in all kinds of masking fluid.

Some work, some don't.

But I feel like the Winsor and Newton mask works the best and most consistently in all of my classes.

 

It is also best to use a newer bottle of masking fluid if you plan on doing a lot of masking.

It isn't as easy to work with because it gums up over time, especially if left in the heat and/or sun.

Sunday Secrets #37

 This entry was originally posted on Sunday, September 30, 2012

This past week I received an email from Lynn, another watercolor enthusiast

asking me, 

 "When do you make the leap to call one self "Artist”?

 

That is a wonderful question.

I recently came to the realization that I am an Artist and have been my whole life.

(This realization was posted on my other blog and can be found here)

 

Since then, I have embraced the Artist that I am and have noticed that we all have an artist within us.
Art comes in many forms and you probably embrace many of them without realizing it.
It can be in something as simple as the way you look at an object and everything between that to being a professional artist.
Art is but a form to capture your personal world and experiences.
It is another way to express ourselves.

 As the artist, Joseph Beuys said,

"Every man is an artist."

 

Pablo Picasso even said,

"Every child is an artist. The problem is how to remain an artist once he grows up."

I think that this child-artist gets scared and hides within as we age.
It takes some nurturing and a little care to bring it forth.
(and sometimes some pretty colors or shapes)

It also takes some confidence to say that you are an artist.
However, you are already an artist.
Just call that artist forth! Embrace the artist!
Give it that permission it needs to be an artist and to no longer hide inside of you.
 Go ahead and announce it to yourself, your loved ones, and the world.

I Am An Artist!!

 

Sunday Secrets #36

 This entry was originally posted on Sunday, September 23, 2012

This past week I met another artist.

The first thing she asked me was, "Are you a self-taught artist?"

My reply, "What is a self-taught artist? Are not all artists self-taught?"

 

 I feel that in art, it doesn't matter how much we are told how to paint, we don't learn until we apply that knowledge.

It is up to you to apply the knowledge.

It is about your own motivation and desire.

It is about your own hard work and perseverance.

No one else but you can do that.

 

The properties of watercolor (and any other medium) are never fully understood until you actually paint in it.

You can sit in class after class about watercolor but the Aha! moments don't actually happen until you try what is being told to you.
This can happen in a classroom at university, a workshop, or in your studio at home.

The teaching and the learning happens as you are doing. 

You will always be learning if you are doing.

 

And perhaps I should say that painting has taught me more about myself than I have taught myself about painting. 

Sunday Secrets #35

  This entry was originally posted on Sunday, September 16, 2012

Today's Sunday Secrets also comes from Kathy.

Her question is about masking fluid.

 

She mentions that she "wasn't prepared for how quickly it was drying and blobbing on the brush so that it was even pulling off as I was applying it.  I couldn't apply it to get fine detail. What advise can you give me on using frisket?"

 

Thank you for your question Kathy. It is one that I get asked often in my classes.

 

First of all, I use a couple of different tools to apply mask.

My favorite for fine detail is a ruling pen. 

An inexpensive brush can also be used. When using a brush, be sure to dip it into soapy water before putting it into the masking fluid. The soap will coat the hairs and keep them from clumping up as easily. You need to occasionally put the brush back into the soapy water. When the brush starts to drag, that usually means it is time to put it back into the soapy water. 

To apply large areas with mask, I use my finger to gently cover the paper.

 

Sunday Secrets #34

    This entry was originally posted on Sunday, September 9, 2012

Heartbeat of Chinatown

Poured Watercolor

21x28"

 

Today's question is from Kathleen.

Her question is about my poured watercolors. She asks, 

How do you continue to see the underneath drawing between layers so you can accurately mask?

 That is a great question. Thank you for asking.

 

Usually when you draw out your image on watercolor paper, you don't want the pencil lines to be too dark.

However, in this case, you do want the pencil lines dark.

It can be difficult to see the pencil lines through all the layers so I start off with them being really dark. 

They will fade with each successive layer of water and paint that you put on.  

And if the pencil line is too dark in a white area, the mask usually lifts it when the masking fluid is taken off.

Sunday Secrets #33

 This entry was originally posted on Sunday, September 2, 2012

A couple of weeks ago I discovered a question in the comment section of Sunday Secrets #21

which is about gum arabic, the binder in watercolor paint.

 

The question is 

I have got Gum Arabic granules, how can I make binder from these granules?

 

That is a good question and one that I am not entirely sure of how to answer. I have never worked with the granules, just the liquid form.

However, I did some research and I hope what I found can help.

 

First of all, gum arabic is easily dissolved in water (hot or cold) when it is in powder form.

It might also be easily dissolved as granules.

You can give it a try.

If not, you might be able to grind it into powder form, the same way that pigments are ground.

With a mortar and pestle. 

(but NOT your kitchen one, please use one set aside just for your painting)

 

A good ratio is 1 gram of powder dissolved into 2 ml of water.

This should flow easily.

I would suggest using distilled water.

(This is what I use when grinding my own pigments. It has fewer impurities)

Now you will have a liquid form of gum arabic.

 

Once you have the liquid gum arabic, you can add it to powdered pigment or dried out watercolor paint with a dropper.

A good ratio for this seems to be 3:1 or 4:1 of water to gum arabic

(3-4 drops of water to one drop of gum arabic)

 

Add the gum arabic and the water to the pigment until you get a nice creamy consistency that you can paint with.

 

Extra gum arabic can be added to your paint to increase the flow and to make it glossier.

However, too much gum arabic will cause the paint to crack and flake off.