Info on the long, narrow palette in some of my videos. Pros and cons and some other palette options.
How to revive those rock-hard tubes or the crumbly paint in that palette you haven’t used in a while.
Working on paper that is saturated from the back is a method for preventing your paper from buckling while you work that does not involve stretching it.
Some journals that are lovely to write in and really can take a light wash nicely—Zen Art.
Some watercolor pigments produce granulation (a.k.a. sedimentation), a mottled or speckly appearance as the wash dries. Did you know that you can sometimes coax more or less granulation out of the same pigment? Here’s how.
Some fast and easy watercolor sketchbooks you can make yourself from the paper you usually paint on. (Part 2 of 2)
Some fast and easy watercolor sketchbooks you can make yourself from the paper you usually paint on. (Part 1 of 2)
Here are three things in my studio that make me smile every time I use them. (Great gift ideas for artists!)
A lot of people have been asking about what pen I use for drawing in my journals. In this post, I describe the bottled waterproof ink and pen(s) I use in my Studio Journal, and a couple of alternative options if you prefer cartridges over bottled ink.
A simple and nondestructive way to stop paint from beading up on a plastic watercolor palette.
All about choosing the best paper for you and your way of working. And, the definitive answer to that perennial question: “Do I really have to stretch my paper?”
Which brushes do you really need? What sizes? Synthetic or natural bristles? Is Kolinsky sable really worth the expense? I’ll answer questions like these, demonstrate different types of brushes and explain pros and cons, and share which brushes are my “go-to” brushes now and why I chose them.