When is it easy to make a plan for reserving whites and lights? What makes it more challenging? In this video, I’ll share some things to watch out for that make it easier or harder to reserve lights and whites in watercolor. Then, we’ll have a look at the various options we might use for the challenging situation we encountered in the first design we came up with for our lighthouse painting and talk about how we might choose between them.
If you’ve painted in watercolor for more than a day or so, I know you’ve been here: after hours of hard work, you’re struggling with a blotchy, overworked section that you know isn’t going to be right, no matter how much more effort you put into it. It’s tempting to conclude that you just don’t have what it takes . . . maybe it’s time to take up something easier to master, say, golf.
How do you deal with “problem paintings” like this? (click the picture to read more)
A “default” strategy for deciding on the painting sequence for a watercolor. We’ll see how it was used for two earlier examples and then apply it to the designs from our last video.
I want to talk to you for a minute about mindfulness. Wait! Before you hit “delete”, please hang in with me for just a little bit. I promise I will get back to art and creativity in a minute. Mindfulness is trendy. Everywhere you look there are articles on the health benefits of a meditation practice….
This article is the first of a series on creating more powerful, personal and expressive paintings. When I teach watercolor classes or workshops, there is often a moment where a student comes up to me, thrusts a painting into my face and demands: Tell me what’s wrong with it. What do I need to fix?…