watercolour questions so beginner, I'm almost afraid to ask

Hi R. Your chicken was so very cute! Your video inspired me to draw a 'portrait' of it (her/him). No watercolour, just a black fineliner. From a still in the video.

Awe!  It's perfect.

Lovely!!! That chicken is terrible at modelling, haha. But the artwork looks good! Nice try!

*Edit: I didn't see Inge's post, I was replying to the video!:)

I've been painting with watercolor for about 15 years. It's my favorite to travel with because it dries quickly and is so portable.

1. paint flat on a table or use an easel? watercolor is usually flat, because the water will run down the page. If you use less water you can have a slight angle and be fine. You can also angle your painting intentionally to direct the water/color to flow to different areas if you want that type of effect.  

2. when using a sketchbook for painting outside, how to safely close it at the end? Wait until it dries. Does take too long. If its shiny, it's wet. Once it's not shiny you can test if it is fully dry by feeling the paper with the back of your finger. If it feel cold, its not quite done. It is room temp, it's totally dry. Bonus answer: if you like to use lots of water when you paint or are filling the whole page, I find a glue bound watercolor pad to be very handy. Each page is glued down, so that the water doesn't warp the paper. Once dry you can peel it off to reveal the next page. I also love spiral bound water color sketch books and have used those for years and in my travels to Europe.

3. am I supposed to be doing something to re-dry my palette after painting? It try to leave the palette open for a little to let the paints dry. If there's standing water in the mixing portion I dry that off with a towel. If the paints in the paint squares of the palette are a little wet, that's fine. My palette is not air tight, so it still dries closed. I almost never fully clean my palette. I like to re-wetting already mixed colors in the mixing areas of the palette again and again. I've also had some of my watercolor paints in my palette for 5 years and they are still vibrant and work great. I do buy a high quality tube paint and find it's worth every penny.

4. what other questions do I need to be asking? You are asking great questions. Keep up the great work!

Woot.

I got a block of watercolour paper with 12 sheets left and some soft pastels for a couple of bucks at the local thrift shop.  (This brand of paper is 2 dollars a sheet on amazon right now.)

The block is unglued on one side because the person in front of me got angry with it for not being a sketchbook.   Her loss. It's mine now.

I wonder if I can reglue that side.

Now to find out what soft pastels are.  They feel like chalk.
The set is hardly worn but some of them are broken.

r ranson wrote:Woot.

I got a block of watercolour paper with 12 sheets left and some soft pastels for a couple of bucks at the local thrift shop.  (This brand of paper is 2 dollars a sheet on amazon right now.)

The block is unglued on one side because the person in front of me got angry with it for not being a sketchbook.   Her loss. It's mine now.

I wonder if I can reglue that side.

Now to find out what soft pastels are.  They feel like chalk.
The set is hardly worn but some of them are broken.

Soft pastels are one of my favorite mediums. Somewhere between chalk and wax, in texture, they are layered, to bring depth and richness to your work, and they typically blend well, for a long time. That oily softness, however, also means they don't exactly 'dry' and stay put. So, if you want to keep them from smudging, a sealer can be very helpful, as long as there aren't *too* many layers/ thickness. I work from light to dark, in any given area, because with their blendability, light colors won't show through or over darker ones - yet the lighter colors fairly glow, on dark paper. Welcome to a new artistic rabbit hole!

instead of regluing the "opened" side of the paper block, see if you can't scrounge up some bulldog clips (the kind that have a metal "U" and two arms, usually used in the office to hold more paper than a paperclip can handle), i always have a few in my painting kit (they work well for holding your sketchbook open or your paper onto a flat surface).

Some of the paints I have were bought in half pans.  

Of these, some of them I can paint and paint and paint, and it looks like the paint hasn't changed.  It's never-ending.

And a recent purchase, I've finished the swatching and just started the first sample painting and the paints already have big dents in it.

What's going on here?  Why the difference?

They are both highly pigmented.  The everlasting paints have honey and are a bit sticky.  These also use mineral pigments wheras the go-fast paints are synthetic pigments.

r ranson wrote: The everlasting paints have honey and are a bit sticky.  These also use mineral pigments wheras the go-fast paints are synthetic pigments.

I can't help thinking you've answered your own question, here. Minerals & honey vs synthetics. I'm betting whatever binding agent they're using, combined with the synthetic pigment just melts faster, in order to be as pigmented.

Carla Burke wrote:

r ranson wrote: The everlasting paints have honey and are a bit sticky.  These also use mineral pigments wheras the go-fast paints are synthetic pigments.

I can't help thinking you've answered your own question, here. Minerals & honey vs synthetics. I'm betting whatever binding agent they're using, combined with the synthetic pigment just melts faster, in order to be as pigmented.

Perhaps that's why they were half the price.

Both are handmade, but the go-fast paints don't list the ingredients (and the pigment information is difficult to find).  

I'm building up my wishlist for next month's purchase and am trying to figure out which paints are worth getting more of.  Both are very beautiful but the everlasting paints seem to have a lot more value.  (and smell nicer).


I did a review of the everlasting paints here: https://permies.com/t/224834/art/Handmade-watercolour-paints-HannahLouMyers-traveller

Had some doubts today,  and I want to make sure I have this right.

When layering,  or putting another layer of watercolour on top of a previous one,  we
1. Make certain that the previous layers are completely dry
2. Each layer has less water,  or to look at it another way,  is thicker than the previous layers.
3. Generally work from light to dark.
4. Don't overwork layers to avoid lifting or reactivating previous layers.

Does this sound about right?

I found this very useful for understanding layers and glazing

I put the go fast paint away until my skill improves.

I adore the colours but I cannot coax them to layer without completely reactivating the dry layers.   I let them dry 2 or more hours between coats,  but no good.  Other brands I tried don't have this problem so I'm going to stick with the ones that are kind to me.  Maybe use these for something like art nouveau or ink and wash where it only needs one layer.

Yes, if you want to learn how to make watercolour paintings in a fairly realistic style, the Mind Of Watercolor has plenty of good tutorials to watch on youtube.

Do I want mica in my paints?  

It looks like a lot of handmade paints have it now.  I'm pretty sure it's a mineral from the earth.  

What's the advantage to putting it in watercolour?


Is there enough evidence of my style yet to know if mica watercolour would be a good match for me?  

As someone who has wanted to try watercolour painting for ages, and not known where to start, I love this thread! Thanks for posting Raven. I bought some watercolour paper a while back and know what I'll be doing with the kids tomorrow.
By the way, your chicken painting in the video you shared is just beautiful! Certainly not looking like a beginner now.

Do I want mica in my paints?  

It's pearlescent, or shiny, or sometimes iridescent like a hummingbird feather. I guess it depends on the chicken you're painting!

You'll likely want separate rinse water and brushes for working with it. Mica's tiny, and little bits of sparkle will show up now and again for ages if you don't. Cats can get obsessed with the rinse water.

If you're mixing in the mica yourself, be patient. All the sparkle has to get covered in the binder before it'll work.

Paints with a lot of mica you may want to use on just the final layers. A lot of inks and other paints used on top of watercolor with no problems may refuse to stick. Derwent Inktense pencils are one of the few things I've found that reliably can top mica paints.

Putting this here to remind me.

I've nearly used up paynes grey,  alizarin crimson, prussian blue,  burnt sienna,

I've already had to buy more yellow ochre.

This seems to be the palette I'm most attracted to.  Especially when painting chickens.

Although now that I figured out burnt sienna plus prussian make a dark grey, especially with a hint of yellow ochre,  I'm going to look for something to replace paynes grey.

Hansa seems to be the most versatile yellow that I've tried so far.

I did it! I was too stuck to get started for way too long, and after reading this post I gave it a go this morning. Fun! Working with what I have, a tray of old kids watercolour paints and a watercolour pad. My 7yo loved watching me experiment with the water and watching the paint spread. She was my artistic director! Looking forward to playing more with this.

Learnings: don't wear a dressing gown that will hang in your painting and smudge it everywhere 🤦🏼‍♀️

Learnings: don't wear a dressing gown that will hang in your painting and smudge it everywhere 🤦🏼‍♀️

I've noticed this too.

Hair too. If your hair is long or swings a bit, bind it up. But if it does fall in the watercolors, at least it washes out easily!

My first watercolour (or any art) class next week.  First class as an adult that is.

If you have always wanted to paint and think that watercolours are frightening, come and try them in a friendly and encouraging atmosphere. Take out those watercolours and see what they can do in a bright and free way. Splash on colours and blend washes; the result is fresh and spontaneous. Please view the supplies needed for the class.

I'm very nervous.

I left them a note (several places) that I need to buy supplies at the class.  It's supposed to be an absolute beginner class but the supply list is crazy-complicated.  No indication of what grade of paints we are to get, just the colours.  To figure out the rest of the supplies or even what shop one would get it... I have no idea.

I'm kind of wishing I could back out but non-refundable.  (I could have bought a lot of paints with that money - kind of wishing I had).

Should I bring my backup paints and paper in the bottom of my bag just in case they don't get my note about needing supplies?  It's not the required colours, but they are colours I'm comfortable with.

Any tips for my first class?  Anything to help me feel calm and prepared?  

r ranson wrote:My first watercolour (or any art) class next week.  First class as an adult that is.

If you have always wanted to paint and think that watercolours are frightening, come and try them in a friendly and encouraging atmosphere. Take out those watercolours and see what they can do in a bright and free way. Splash on colours and blend washes; the result is fresh and spontaneous. Please view the supplies needed for the class.

I'm very nervous.

I left them a note (several places) that I need to buy supplies at the class.  It's supposed to be an absolute beginner class but the supply list is crazy-complicated.  No indication of what grade of paints we are to get, just the colours.  To figure out the rest of the supplies or even what shop one would get it... I have no idea.

I'm kind of wishing I could back out but non-refundable.  (I could have bought a lot of paints with that money - kind of wishing I had).

Should I bring my backup paints and paper in the bottom of my bag just in case they don't get my note about needing supplies?  It's not the required colours, but they are colours I'm comfortable with.

Any tips for my first class?  Anything to help me feel calm and prepared?  

It's strange they did not tell more on what kind of paint, paper, etc. It is for 'absolute beginners', for people who don't know anything about watercolour materials! In my opinion a course like that should provide the needed materials in the class. But they don't, that's clear, so you better take everything you already have with you.

It makes me feel good that the beginners yarn  classes I teach requires a pencil,  paper, and sense of curiosity.   Everything else is provided or can be bought at the class if they want to go beyond.

Although I recommend a calculator and chocolate for math heavy days.

If they want to bring their own equipment,  I'm happy to inspect it first.

Should I pack an apron?

Up to you assuming the list of materials doesn't call for one. Or maybe a jacket? If I end up decorated after working with watercolor it's usually on my arms.

r ranson wrote:Should I pack an apron?

When I went to courses I often took an old shirt with me, to put over my clothes (as an apron).
But the last watercolour course I did (last year), we did not work in such a way I needed an apron. It depends on the techniques, the subjects, the style ...

R.  I must say,  this post has inspired me to take up watercolor.   I have collected my supplies,  but too active in garden now to start.  But winter is coming!

Robert Ray wrote:Don't forget to take a fountain pen. I carry a glass nib too that I use with paint in my pocket field set.

Could you please give some more information on fountain pens and glass nibs? I have never heard of glass nibs. My fountain pens are antiques, except for a Pelikan I use for writing music. Our glass nibs only available for certain fountain pens, and where does one buy them?

Over the last few years, there has been a resurgence in fountain pen use.  With more people buying it, there are more opportunities to combine this old-style pen with new technologies.  I've seen amazing things I've never thought possible.

So far, I've only seen a glass nib as a dip pen.  I have a couple, but I find the line isn't as fine or as easy to control as I would like.  I much prefer a fountain pen with a "flex" or "fude" nib for drawing.  Noodler's Ahab is an affordable place to start for flex.  Sailor's Fude De Mannen fountain pen is my current favourite fude nib as it writes nearly as smoothly as a brush and isn't as directional as a regular nib.

For dip pens, I'm loving the G-nib which is often used for Japanese Manga and comics.  But I find having a bottle of ink with me is a risk I'm not willing to take, so I've only been using this at home.  

The class went smoothly.  I didn't end up wearing my apron and was glad to have lots of sweater layers as it was the first cool day (in a neigh 80-year-old converted school and of course, no one there on a weekend knew how to turn on the heat).

I used the materials provided in class and the paper was amazing!  We got two sheets of BFK Rives, 140 lb. torn down to 22″ by 30″.  I ended up digging out my own brushes as I found I couldn't get a fine enough tip on the borrowed ones.  I only painted on one so I bought the other paper home for later.

The subject was birds and we had a lot to choose from, both stuffed and photographs.  I ended up choosing owls and after a few failed sketches, settled on this pretty lady.  

I didn't have time to finish, but at least it's better than my lavender painting upthread

I struggled with working with new colours.  Usually, when I get a colour, I spend a lot of time getting to know how it works with all the other colours.  I've never worked with any of these colours before nor anything close.  Even black and white I haven't played with yet.  So that was quite stressful and given that the colours provided didn't match the supply list - I'm kind of thinking it wouldn't matter if I brought my own paints.  Half the class did - although they did struggle because they didn't know how to mix to get brown as they only had the 12-colour starter Cotman set.  The teacher was generous and gave us a dot of paint from the tube.  

That was another struggle - I haven't worked with fresh paint before so figuring out how to get the consistency I wanted was another learning curve that got in the way of learning what the teacher was teaching.

Last of all, we had to draw from the reference.  

It's a painting class.  Nothing said I had to be able to draw to take the class.

I'm still shit at drawing.

So I spent darn near the first quarter of the class trying to get the drawing to work.  I can see I didn't get it right and I can see how that influenced a lot of the mistakes I made later in the painting.  

But I also learned a lot so it was a day well spent.  I'll paint another owl or two to consolidate what I learned.  The lack of daylight is making it difficult to take another class until spring, but I hope to take another one when I can know enough to know what I need to learn and ask the right questions.  

My experience with glass nibs is similar to r's. We have a couple of gorgeous ones, we picked up years ago, in the French Quarter of New Orleans, in what quickly became our favorite shop for all things writing. They're beautiful, and a well-crafted one, in the hands of someone well-practiced in their use can write beautifully. But, John and I don't use ours, because we've just never taken the time to get over that steep learning curve, so we just keep them for the lovely art they are, in and of themselves.

R, I love your owl! It's face is lovely and very expressive!

Lovely owl painting!

I never use black or white paint in watercolours. White was 'not done' at the courses I followed. I learned how to use the white of the paper. And I can mix very dark greys/browns, almost black. Probably this all is 'old school'...
'In art there are no rules', so you can use white and black.

I thought that too.  The instructor isn't using white to make white marks.   The paper is still doing that job.   Mostly,  white is being used on top to change how the colours interact.

I didn't get it right on my owl, but it can go on beaks or claws to create a pearlescent effect.   Or under the black of raven feathers for a different effect.

I have a lot of experimenting to do to understand it.

So, if I'm going to take another class, I need to learn to draw better.

Not really sure where to start.  I've been drawing since the summer,  but just drawing isn't enough to improve.   I can see there are mistakes, but am having trouble seeing where and how to fix.

Trying my hand with a proportional divider today.   I think that there is a better name for this, but I cannot find it.

If this works,  I will probably get a better one as this is too large for my hands and slides closed when I'm not concentrating.



Cheating?  Leonardo davinci used one