Watercolor Thoughts

Brighten your work with Watercolor Thoughts and painting the things you love.

Talent is not a requirement to become an artist....But.... Desire, Effort, Practice and Tenacity is.

There is no magic brush just practice and good Watercolor Thoughts.

Don't look at your work too critically, each mistake is a stepping stone.

If you don't look you will not find.

Place your painting upside down, look at it from another viewpoint.

Make your time spent painting more interesting, personal and fun.

Any subject can be rendered exciting or mundane depending entirely on how you light it.

The "Glow and Shine" is the bait that draws us to the painting.

Water and light work well together as a provocative and dramatic eye catcher.

Art is a life long process, it does not happen overnight.

One brush stroke can say so much. More is not necessarily better.

A good painting is a symphony of strategically applied techniques working together.

Light has special qualities that tug at the emotions and draw the eye into the picture.

Paint at least one hour a day, get into a rhythm and begin to feel good about yourself.

Take time out for yourself, it gets easier the more you practice.

Loosen up, have fun. laugh, and listen to your favorite music and Watercolor Thoughts.

Watercolor has a mind of its own. Splash around and watch the water and paint ooze all over the paper.

This makes many artists quake, painting people (see Painting People on this site).

Sorry, you will not become a full-blown artist overnight by just reading. Practice and have fun getting there with good Watercolor Thoughts.

The turning point in your painting career will be when you learn to see tonal values.

If you don't make a strong composition and a well thought out Value Sketch, color will be ineffective.

If you understand that each color fits into the value scale from light to dark, the world of color will open for you.

There is plenty of room in the art world for another individualized style or point of view.

Once you know the basics, you can bend the rules, widening the avenue for expressing your Watercolor Thoughts.

A small figure or two can spice up a dull area.

It would be good to understand, first hand, the characteristics of various colors, degree of staining, durability, covering ability and transparency.

Regardless of your intent, if you are going to enjoy Watercolor Painting, have fun with it, have good Watercolor Thoughts. Don't get uptight.

I feel that a wet - into- wet application is Watercolor Painting at its best. Pigments flow and interact creating diffused and unpredictable color, that's fun, that's excitement

Create masterful paintings using simple techniques.

Biggest problems in Watercolor Painting are caused by working too dry and over working the brush.

Don't ever paint wet-into-damp paper unless you are looking for some blossoms.

Observation is the basis of good drawing and painting, pay attention to the world around you.

Tonal Values are far more important than color.

Happiness is brush control with good Watercolor Thoughts.

Watercolor is often though as a "non fixable medium".

This belief is totally incorrect.

You can correct mistakes.

Keep this handy fix-it guide close by to help you out if you get yourself into a mess.

Problems are not in any order of the most numerous to least.

The first one does occur quite often.

PROBLEM #1 - OVERWORKING.

When you think a few more details, few more brush strokes, pushing and pulling color over the paper, will improve the painting.  When you don't know when to stop, expecting perfection, so you start fussing back and forth.

PROBLEM #1 - SOLUTION.  

Stop as soon as your basic message becomes evident.

Then set the painting aside for a while.

Looking at it later, with a fresh eye may give you a new perspective.

Go ahead and put a mat and frame as a "Trial Run"  around it.  Look at it again.  Then add any additions,color ,details, remember more details only means you have a painting with more details. Shapes make the painting NOT DETAILS.

Paint looks its luminous best when laid down on the paper and left alone.  The more we play with it, the more it becomes agitated and dull.

When things aren't going well we tend to use more brushstrokes, but that usually makes the situation worse.  If this happens, try letting the area get bone dry, then dampen it with clear water and add pure paint to the area with as few strokes as possible.

With this method, the last color applied will be the dominant one, providing a distinct color and temperature to the area and recovering some lost luminosity.

PROBLEM #2 - PALE COLORS.

Pale colors that look drab, weak and washed out.

PROBLEM #2 - SOLUTION.

Do not use dry, hard colors that have dried out in your palette.

Try putting fresh paint out every time you paint. Mix generous amounts of paint in your palette.

Paint with a larger brush than you would normally use.

Perhaps you didn't catch it;  -  so let me say it again in super slow motion.

1)  -  No scrubbing at a dried-up blob of paint, squeeze out fresh paint from a tube.

2)  -  Use the right size of brush for the job.

PR0BLEM #3 - BACKRUNS.

Unwanted watermarks on the paper.

PROBLEM #3 - SOLUTION.

Don't paint into "damp" washes.  When a wash area starts to dry ,keep out.

Or the fresh wash will creep into an area that is starting to dry and leave a tide mark or back run.

Always watch for any puddles of extra paint and water at edges of a wash and mop it up before it creeps back in.

As I stated before, you should watch out for gritty, granular paint.  These granules can catch in your brush and cause unwanted streaks that are difficult to remove.  Use fresh paint to avoid these little gremlins.  Again watch your water-to-paint ratio.

When painting into wet, already-painted areas, you can get unwanted lines and blossoms when you have excess water in your brush, as the new load of liquid pushes the previously applied pigment outward.  When the paint dries, lines and blossoms occur.

Some artists use these blossoms to their advantage, however, and knowing how they're created will help you use them strategically.

Understanding your materials and what they can do for you can take you a long way toward avoiding the common problems discussed here.  You may want to deliberately  use these irregularities sometimes, but you must have the knowledge and the ability to control them.  And, most importantly, a good watercolorist must know how to avoid and overcome the unwanted problems they create.                                             

PROBLEM #4 - WRINKLES

Hills and valleys that form on the paper.

Problem #4  -  SOLUTION

Thicker paper weight than you usually use.

Stretch the paper. See Techniques (on the left side of the home page) then click on Stretching Paper

You might try paper that is made in a block form.  Although it is expensive, still they tend to have smaller hills and valleys than just a sheet of paper.

I still don't like blocks.

PROBLEM #5  -  UNEVEN WASHES

Inconsistent color coverage.

PROBLEM #5  -  SOLUTION.

Use a wide flat brush, make sure you don't run out of pigment. Mix up ample color.

Work fast once you have started painting.  Re-load brush on every pass with color.

In other words DO NOT PAINT UNTIL  you are about to exhaust paint on the  brush.

Paint a few strokes, re-load, paint, re-load, etc.

Make sure if you have applied clear water to the paper, it is evenly dispersed.  It should leave a smooth even sheen on the paper.

Blending in a rapid crisscross fashion is best.  To make sure you can move quickly, and not have to slow down or stop, be sure to have everything at your fingertips before you begin applying the wash.  If you have to stop, even for a moment, your last stroke will almost certainly dry and leave a streak.

PROBLEM #6  -  UNWANTED LINES, BLEMISHES ON PAPER.

  Not protecting tools or paper from dust, lint, hairs, grease, finger prints and "people"

PROBLEM #6  -  SOLUTION.

Try to store paper in a safe place.   Away from people handling the paper.

Don't buy paper that has been exposed to people sorting through the sheets.

Just image how many finger prints, yes with make-up on ,could be on each sheet.

This is why I would never, never------buy a sheet from a store if it was not wrapped from the factory, even then some doubts.  Have seen store clerks handle watercolor paper very inappropriately.

Suggest buying on line such as Dick Blick or Cheap Joe's, you also will save money.

PROBLEM #7  -  GOOD START BUT,

Results aren't what you hope for.

PROBLEM #7  -  SOLUTION.

Giving up too soon.

Every painting (well nearly) goes through a "Yuckie" stage, and you may well start again.  DO NOT DO THIS.  

As of to-day you MUST finish every painting you start.

So plan your painting, before grabbing the brush.  Yes I know you want to start right now, but spend a little time with thumbnail sketches, good reference material and above all else press on to the end (with care), even if you're discouraged half way through.  Think, Plan, you will not be sorry.

CONVERSATIONS IN CLASS

TIPS FOR WATERCOLOR PAINTING

Connie asking questions - Jan 6th,03

Tell me what is the difference is between Watermedia and Watercolor Brushes.  I see both in the store.  The clerk said just a name difference that's all.

Sally chimes in - I just bought a flat and a #12 Round, both listed as Watermedia, they were on sale, have not used them yet.

Mrs.Busybody tries to interrupt, I cut her off, did not want the class to hear another 30 minutes with her thoughts.   I go on to explain.

A Watermedia Brush is different from a Watercolor Brush.

There is a big difference.

Firstly, Watermedia refers to any medium that is dissolvable in water, i.e. Watercolors, Acrylics, Gouche, Egg Tempera Casien, even water soluble Oil Paints.

Brushes made for Watercolor have dispersion qualities the Watermedia do not.

Watermedia brushes do not have a sharp point with the spring back action we Watercolorists look for.

Sally -  check your flat brush, wet it, does it come to a sharp razor edge, or is it chopped off like a Watermedia would.  "It has a blunt end, no sharp edge," she replied.

So,   Sally what you may have is a nice looking brush, at a good price, but the hairs or nylon filaments are not suitable for Watercolor Painting.

Mrs. Busybody, quickly got in her little story, remember Jeff who sat on the back of the class last summer complaining his colors did not flow across the paper.  At this point, I knew her true story would be interesting.  Jim told him to wet the paper more and add more water to the pigment.

After a further plea, Jim went back to him on his approach the large size of the tube riveted Jim's attention.  There it was 37 ML. tube of Winsor Newton Water Mixable, but Jeff never read the next line - Oil Color.

Didn't we give him a hard time, poor guy, always in a hurry wasn't he.

A good pure Kolinsky sable, will have these features, flick the hairs back and forth, they bounce right back to the natural position.

The body is full, right about the hip line, tip has a naturally sharp point (not chiseled or cut to shape).

The Kolinsky hairs  become thick in the middle, then thin down again at the base.  This natural shaping of each hair occurs only on the tail of the winter coat of the male Kolinsky sable.

So you can see when many of these hairs are gathered together, the resulting brush forms a thick full body and a natural thin point.    They have a great amount of spring and are the easiest to control  By varying the pressure on the brush as you paint you can move from a thick line to a very fine line  Will not dump all the color in one spot. But a poorly made synthetic may well do just that.  

Expensive, yes,  but, most students in this class have about ten or more brushes, where as money spent on those, could have purchased on good one.

As you know most if not all my paintings are with #14 Round,  1" Flat, and a Liner.  The trio is pushing 10 years plus in age.

Wanda started to discuss her brushes acted like wet mops with no spring, but did not want to spend more money buying "Expensive Brushes".I explained to Wanda, You have squirrel, Goat or Camel hair brushes that don't snap back to a point.  Hold the brush vertical and run a finger across the hairs, it should snap back.

Debra threw in a few comments about brushes.

Jim, I tried out a few synthetic brushes in the local art store, they did not hold the color or water, they just dripped very fast when held vertically, run out of color very quickly.  Could find tons around $5.00 to $10.00.

What is happening Debra, is that the nylon hair is perfectly round and straight, so the color just rushes down the hair, some what like water going down a drain pipe.  Does that make sense to you all (class).

Very hard to control, leaves a blob at the point where brush first touches the paper, then very quickly runs out of color

Da Vinci Cosmotop spin Series 5580 - holds more water than any other synthetic.  Large belly tapers to a fine point.  The blend and placement of five different diameters of fine synthetic filaments make this brush perform like natural hair.  The long-lasting. high quality synthetic has an energetic spring.  Made by hand, so there may be a variation with the handles.

They must have heard you talking about dripping brush, what they have done is to put a combination of multiple diameters and lengths allowing for this formation of color carrying pockets within the brush.

The tapered tips make this the best pointing synthetic available.  Cost for Round #10 is about $15.00 Dick Blick stocks this brush, See his money saving ideas on this web site under Painting Supplies

So, are you going to buy lunch next time, with money saved?

By the way, Camel hairs have never seen a Camel in their life.  Just a name made up.

Try buying a good synthetic brush.  Some makers have brushes that work extremely well.

It might be a good time to remind you about the plastic sleeve that the manufacturers place around the hairs of your new brush, take it off and throw it away.  Do not attempt to re-sleeve the brush.  You might catch a few hairs  and bend them back causing damage to the brush.

THE QUESTION WAS ASKED "HOW TO CLEAN A BRUSH.

Well if you have a "Natural Hair" do not use soap cleaners on them, soap cleaners for synthetics only.

Rinse all brushes by working against the side of the water container, do not touch the bottom.  Now pinch the tip of the hairs, holding brush with handle up, move the brush in small circles.

This will draw the water up into the ferrule , tap the brush again and squeeze the hair dry.

Your brush will be free of all pigment right up to the ferrule.  If you do this every time you finish painting. you will never need to brush soap or cleaner, both of which damage natural hairs.

Store the brush with hairs hanging down.  Second best choice - lay flat.    Worst choice - hairs pointing up.

Creating Your Reputation!

Make your name a household name! Easier said than done. But that's what will create the "sought after" effect. Now, there are a few steps that you can get started to do this.

1. Attend lots of art shows that you can exhibit your work at. Give out sample postcards of your work and absolutely collect visitors' information when they visit your booth. The larger your database of potential buyers, the greater your chance of selling them in the future. This is an often overlooked method of selling...future buyers are established today.

2. Send out Press Releases, about you and your work, to various media channels in your area and around the country. This could be to introduce a special commemorative line of art your doing tied into a local event or special holiday or anniversary. The Public media (TV & Radio) are always looking for public interest stories. What about your work could you adapt to meet this interest? People that are seen on TV are given the gift of instant credibility. The secret is setting yourself apart from the crowd.

3. Give away some of your work to charity auctions where high profile people will be attending. Your work will automatically get associated with the quality of the event. These charity auctions typically are designed to raise funds and attract philantropic members who are eager to buy items at the auction. Your work will essentially be lifted in their eyes just from the association. This again could lead to future sales if you market yourself properly at the event. You want well known people as collectors. It is worth giving away some work to say that "so and so" collects your work. Remember...credibility.

RETIREMENT ON EASY STREET

You park the car in the driveway a little earlier than you have in the last forty years. Turning around you thank it for being so good running up and down the roads and freeways without ever complaining, except for that summer day when you got hot and bothered and I replaced the radiator to make you feel cooler.

Slowly walking up the driveway, running your tongue once more over the teeth removing the last traces of chocolate cake that fellow workers gave you along with that wooden cheap looking retirement plaque.

NOW WHAT?  Fishing is what Bill does six months a year, with all the rain we get in this part of the world along with the numerous time the lakes freeze over. NO---not for me , trying to drown worms on the end of a hook.

Golf  that's it. Jack has taught himself at 65 years of age. But, he has spent lots of money at Dr. Crackit's place, you know he is the local Chiropractor. Jack was telling me with all those double bogeys on his card, he is always having to pay the sharks (I'm not sure if he is fishing or golfing).

So here I am thinking, where could I be nice and warm and protected from the cold and also be out in the open during the warmer weather. You know a few extra bucks would not be a bad thing either.

A week later, surfing the web, I run across "jims-watercolor-gallery.com " (must be an American outfit,. can't spell colour). Jim said free lessons and useful information for everybody.

A day later with some ideas on supplies, I find myself in Charlie's Paper & Paint Store. Got to watch the cost now.

One thing Jim said, buy only quality materials. Don't go overboard on spending. Rather than purchasing half a dozen made in China brushes, buy one good one, that being, a well made synthetic round 10 to 14 size, tapered, tipped, flagged, abraded and etched to increase color carrying ability.

Guess what, when those words were uttered the clerk at Charlies thought this man is a Pro, felt a bit like that myself.

When told the specification for the paper that rolled right off my tongue, he knew for sure this must be a famous artist. Adjusting my beret. Out popped 140 lb. cotton cold press 22" x 30" size natural white, I paused and then said "normally use Arches but to-day do you have Windsor and Newtons, paper".

Choose Artist's Quality colors. Two Reds, Two Blues and Two Yellows, Warm and Cool of each. Then added what Jim said was a magic color "Burnt Sienna".

Didn't mention the word magic to the clerk, could not remember why it was magical. Better get back to the site to find the answer.  Did remember to buy only single pigment tubes look for the code, small print, example for PB29 for pigment Blue - no more mud for me.

Set the colors around the edge of a white plastic plate, going to wait for a bit, before asking the wife for one of the white plates in the china cabinet. As a "Pro" Dresden Antique Plate would work.

Did notice in Watercolor Painting Supplies the cost of a plastic palette was around Ten American Dollars, not sure the cost of fixing a broken Dresden Plate.

Practice and more practice, fun and more fun, no double bogeys or expensive fish for me.

This thought is running inside my head, based on Jim's site letting me show my work to the world.

What if you had purchased some early work of Van Gogh or Picaso? Why not my early work.

I have made some good intelligent decisions about my retirement, haven't I. Going to learn to paint, earn extra money to help pay for that faithful old car of forty years, when the Rolls Royce became my pride and joy the forty five year note didn't seem to matter.

Capture Your Dreams

If you dont know what you want, you cant aim for it - and you wont know when you have it! Just being aware of your dreams, wishes and wants is the beginning. When you start thinking about what you really want, whether it is something tangible like a new and bigger studio or something intangible like being a better artist, you are on your way to accomplishing it.

Over several days, a week is best, do the following:

• Carry your notebook and a pen with you all the time. When you find yourself saying "I would like to", "I wish", or "I want", take the time to write it down at that moment. Spend time brainstorming, by yourself, with music or without. Set no boundaries on your DW&Ws. Write everything down. Dont omit something because it is silly or because you dont think you can do it or because your family or friends might laugh at it. Or because you think it is impossible! No one needs to see the list unless you want them to - and it might be better not to share it with anyone for now. List short and long range DW&Ws. What would you like to accomplish next week or next month? Picture yourself one year from now - five years - ten years - twenty years. Where do you want to live? What would you like to be doing? Use as many pages as you want or need. Make sure you fill in the date - it will be interesting to look back at this list later in your life.
• Continue to add to the list whenever you want - or feel the need to focus on goals.

Prioritize Your Goals and Implement a Plan

You should have a long list of various Dreams, Wishes and Wants. Spend some time looking at the list, thinking about each and picturing your satisfaction if you were to achieve it.

Implementation

The prior activities have been easy and probably fun. Now you will work out the details toward achieving your goal. Plan to spend some time on the following steps. You may find that your PDW&W is not as important as you thought. Or that you have to accomplish one of your other goals before you can achieve your PDW&W. If so, incorporate the secondary goal into your steps.

Maintenance

One common tactic in every goal setting program is the use of affirmations. These help you overcome self-doubts. They also convince your "internal judge" that you are entitled to your PDW&W. An affirmation is a statement of positive-ness and helps to counteract the negative thoughts you might have.

Following are some "creative affirmations" from The Artists Way by Julia Cameron:

I am allowed to nurture my artist.

Through the use of a few simple tools, my creativity will flourish.

I am willing to create.

I am willing to let myself learn to create.

I am willing to use my creative talent.

Create several of your own affirmations based upon your PDW&W. Write them on 3x5 cards and carry them with you. Anytime you begin to feel stressed, overwhelmed by negativity, depressed, or losing faith in yourself, pull out the cards. If you can say the affirmations out loud, do so. If not, at least "shout" them to yourself in your mind.

Conclusion

Of course, there are many books and programs for helping you to set goals and implement plans for accomplishing them. And there are many different methods with many different ways to accomplishing your PDW&W.

Most will suggest you separate your PDW&Ws into categories such as Business, Family and Spiritual. It is important to have balance in your life - and that could be a goal!

Almost any method will work. And when you are aware of what you want, and not letting life knock you back and forth, serendipity seems to work in mysterious ways. The important thing is to think about your goals, plan how to accomplish them and then act on your dreams.