With 20 years of experience as a working artist and designer, with projects ranging from illustration, painting, pattern design, hand lettering, product creation, character design, and more, Sarah Walsh is a complete artist. Based in Kansas City, Walsh’s pieces are positive and colorful, with a poetic twist. In her “personal work”, she used a mix of gouache, cut paper, pencil, ink, watercolor, and colored pencil “depending on her mood and what she wants to draw”, as she explains. Her illustrations give the viewer a feeling of happiness. Walsh then adds: “I like to try new techniques, play, make random connections, and get a little lost when I’m creating”.Continue reading Sarah Walsh Poetic’s Personal Work
I created several watercolors of cities that show how the sun shines and how it changes the atmosphere of these places. You may see more on my Instagram.Continue reading My 21 Watercolor Paintings That Capture How The Sun Changes The Atmosphere In Cities
I’m an artist who loves painting whimsical and fantastical things. I love making people smile. I have dabbled in every medium from oil paints to digital. I don’t feel like one should be constrained by medium—I enjoy experimenting with all of them. I’ll use whatever medium I feel best suits the project I am working on. Right now, it is dragons in watercolor. I chose watercolor because I wanted to capture the feeling of the old-fashioned scientific illustrations that I love. After I feel like I have made enough dragons, I plan on gathering the paintings into a book.
Wild Iris Dragon
MermaidsAndDragons5 days ago
Painting and drawing is something I have always done, but I never imagined that people would want to buy my art. My husband saw the potential for me to turn art into my job, and now he sells my artwork out of our little pop-up gallery. I have to admit, he had to drag me kicking and screaming into giving selling my art a chance, and I am glad he did. #2
BTS WORLD5 days ago
Yarr……such a great painter. ILY6ReplyView more comments#3
Cherry Blossom Dragon
Zoe Snyder5 days ago
Being a freelance artist is the perfect job for me because I have a serious illness, schizophrenia, and I never know when I will be able to work. So, I just need to be my own boss. I’m not going to lie, being schizophrenic and just surviving what it does to you day after day is a full-time job. #4
Pearl Sided Forest Dragon
b l a n c5 days ago
i love this! the colours are gorgeous3ReplyView More Replies…View more commentshttps://044df63352bef39128a18dddf5c04e3a.safeframe.googlesyndication.com/safeframe/1-0-37/html/container.html#5
Copper Scaled Dragon
Susi Moffitt4 days ago
I am lucky enough to have a lovely art studio in my home and a great studio partner―a quaker parrot named Chibi. Chibi is always there to make sure my pencils and brushes are on the ground and that my papers have nibbles on their corners. His most important job is to put a smile on my face, and he does that well.#6
Ruffled Forest Dragon
b l a n c5 days ago
Lesser Crested Dragon
b l a n c5 days ago
Fallen Leaf Dragon
Zoe Snyder5 days ago
The eyes, the pose, everything about this says red squirrel to me. Cute!4ReplyView More Replies…View more commentshttps://044df63352bef39128a18dddf5c04e3a.safeframe.googlesyndication.com/safeframe/1-0-37/html/container.html#9
Green Crested Dragon
b l a n c5 days ago
Orange Winged Dragon
Abri Correa4 days ago
Blue Maned Dragon
b l a n c5 days ago
Tufted Moss Dragon
Hazel Gray5 days ago
Great Blue Water Dragon
Henrique Garcia3 days ago
Your dragons display such warmth and tenderness in their eyes! They seem to be able to reconcile the toughness and roughness of being a dragon with the demands of a beautiful soul.1ReplyView More Replies…View more comments#14
Rose Winged Mountain Dragon
Angry Duck5 days ago
Ruby Footed Dragon
b l a n c5 days ago
Leaf Scaled Dragon
Gretchen Matiatos4 days ago
I’m an artist from Salem Oregon. I love creating whimsical art in all kinds of mediums. Read more »
I am so happy to share with you that the “Inside Out” Series opening reception was a huge success! Around 110 people attended the event. I sold a painting, a print, as well as several products with my artwork printed on them. The attendees thought that the concept behind the subject matter was very appropriate and suited the theme of the exhibition. I was asked various questions such as the medium used on the paintings. They were curious to know if the medium used was watercolor or color pencils. They found it interesting that the paintings were done in watercolor pencils. I explained to them that the art was created using watercolor pencils. Watercolor pencils make it so much easier to handle the paint. It makes the user(s) more in control of paint; therefore making it an easier medium than watercolor itself.
Here Is A Quick Summary Of What The Exhibit’s Concept Was About:
“You know the idea of using plants and flowers in a room, bringing the outside in? For years, this concept has been very popular in designing an interior space that would make the occupants feel like they are experiencing being in nature simultaneously. This idea is still in practice and provides for great human experiences.
For the past couple of years, I have been analyzing this concept in a deeper sense of not only the interior space but also looking at the exterior and the correlation between the landscape, outer building structure (architecture), and the inner building structure (the interior). I started looking at some of the popular name architects and their works, seeing at least one common ground. All these famous sites connect the landscape with its architecture and interior design. If the inside space is designed a certain way, it somehow balances with the architecture style or some elements of the landscape design.
“The Landscape. The Exterior. The Interior.” These three areas made me think of the Venn Diagram. If “A” is the landscape and “B” the interior, then “C” includes commonalities of both A & B. In other words, area “C” brings areas “A” & “B” together.
The conclusion I came up with is that all the parts and pieces of an area where a building lands on need to be balanced and have harmony as a whole and no single part stands alone by itself.”
Here Are Some Pictures Taken At The Opening Reception:
For More Information And More Pictures Of This Event, Click Here!
Have you ever seen paintings that have wrinkles on them? Ever wondered how these paintings are done? I am going to teach you how to work with this technique!
The usage of the term “paper” with regards to watercolor is a misnomer. In a way, this name devalues the price for watercolor paintings in galleries. It suggests the surface is not permanent because the image is painted on paper, and isn’t much different than a print or a poster.
If manufacturers of these materials dispelled the word “paper” and substituted it for “cotton sheets,” watercolor would have more associated formality because oil and acrylic paintings are also painted on cotton surfaces. This will not only add value to watercolor paintings but collectors may also stop viewing their investment as having a short life span.
Be careful when buying watercolor paper. Art stores actually do sell wood pulp paper watercolor blocks. Unless the product says 100% cotton on the cover, you may end up with the wrong product that will terribly hinder your watercolor success. These student watercolor blocks are a waste, in my opinion. I refuse to do any touch-ups on my workshop attendees’ paintings when they bring these.
The surface of professional watercolor paper is real cotton and 100% acid-free, which means the white surface will not turn yellow over the years. Consider cotton baby diapers: Add a gelatin sizing to it, compress it and you have a sheet of compressed cotton that absorbs wet paint. The sizing reduces the sheet’s flexibility when dry and allows a slow seeping of wet paint into the fibers.
The amount of pressure during the compression process determines the different kinds of watercolor paper surfaces: hot pressed (very compressed), cold pressed (semi-compressed) and rough (loosely compressed).
The pressure of watercolor paper is important to know because the degree of compression results in the fibers being closer or more separated from one other. This will make the paper behave differently by the sheer absorption process.
As an analogy, it works like this: A kitchen towel sucks more water than a cotton shirt. That’s because a towel has more gaps between the fibers, which allows the water to penetrate deeper into the fabric.
Knowing watercolor pressure will help you make the right choices. Read on for a closer look at the applications and setbacks of each grade.
Hot Pressed Watercolor Paper
Very little pigment penetrates beyond sitting on the surface.
Hot pressed is not adequate for general watercolor painting.
It’s suitable for fine detail, such as pen and ink.
This type of paper works well with gouache.
Wet-on-wet application with diffusion will not work.
Glazing will lift the underlayer.
Cold Pressed Watercolor Paper
Some pigment penetrates deeper into the fibers.
A painting on this type of paper ends up with a nice velvety look.
Diffused wet-into-wet application can be achieved on cold pressed, but there’s a risk of losing the forms from excessive pigment bleeding. The artist working with this paper must be quite skilled at controlling the degree of fugitive paint.
It works well for scraping out rocks with a credit card when painting landscapes.
Cold pressed is not optimal for glazing because the new layer tends to disturb the first layer.
It’s too smooth to apply the dry brush technique many artists use to create bushes and trees when creating landscapes.
This type of paper makes it easier to spray off an area that needs correction.
It has an excellent surface for combining pastels with watercolor, especially pan pastels.
Rough Watercolor Paper
The pigment seeps even deeper into the fibers of rough paper.
The wet-into-wet application works well on this type of surface.
Glazing works better because the paper grips the first layer quite well.
It does not work well for scraping out rocks when painting landscapes.
The rougher surface is conducive to dry brushing, which is great for creating the illusion of foliage.
It’s harder to remove unwanted paint (with water from a spray bottle).
Get Your Weight Know-How Up
Each of the three paper types discussed comes in 22- by 30-inch sheets, which you can cut into various sizes. The stocks are as follows:
90 lb. is not ideal for painting with watercolor, but it is good for printing copies.
140 lb. must be stretched to avoid buckling.
300 lb. does not require stretching but is more expensive. It will still curl like a potato chip if it’s moistened in large areas, so I recommend fastening it to a stiff surface.
Watercolor blocks are handy for plein air painting and transporting to workshops but, with the 140 lb. version, the paper still buckles*, which basically defeats the purpose of paying the extra money.
The 300-lb. blocks are handy, but you’ll pay considerably more for them. If you use 140-lb. sheets, I highly recommend working with a Guerilla Watercolor board, a fantastic product that stretches the paper so it won’t buckle when you rewet it.
Knowing how to prevent buckling is important. When cotton paper is soaking wet, it will expand, creating bumps like hills on an uneven terrain. This makes respecting the contour of a form during wet-into-wet application more difficult because the paint settles into the paper’s grooves.
Stretching the paper before you begin painting is a necessary practice. Wet the paper, fasten it to a stiff surface, then allow it to dry. When you rewet the paper, the expansion will be less, which will reduce the buckling.
How to Choose Your Ideal Paper Grade
Considering the advantages and disadvantages of each of these papers, I suggest selecting the grade based on the subject you are planning for your painting. For me, I love painting landscapes. When I paint tons of close-up foliage, I turn to rough paper. Likewise, this paper type works well if there is a lot of edge diffusing that requires some control.
If a scene contains rocks and not many soft edges, I go for cold pressed. This grade of paper also works well when I want to incorporate pastels to create the appearance of mist, add texture or enhance my watercolors. Additionally, the velvety look with cold-pressed paper works well for flower paintings.
Determining Brand Loyalty
When it comes to watercolor, there are several different brands to choose from. Arches is one of the most common, as well as Fabriano.
Recently, I discovered Daler Rowney Langton Rough, which is not as grainy as the other papers but offers an in-between of cold and rough, and has many of the advantages of both. Although there are brands I have not yet tried, I am sticking with Daler Rowney for now.
Stonehenge Aqua is a new paper emerging in the market. If you want to create detailed realism or portraits, this brand works well because it still offers the velvety aspect of cold pressed compared to other brands but has the absorption capabilities of rough paper. This means when you work on top of a pre-existing layer, it won’t disturb the layer underneath as much.
However, choosing the right brand for you will come down to trial and error. If you’re new to watercolor, try experimenting with a few different brands until you find your perfect fit.
And, if you’re also trying to figure out which watercolor paints to use, I review different watercolor pigments and their properties, as well as explain how to control fugitive wet-into-wet application and offer recommendations where these should be present in your artwork in another blog post, which you can find here.
For more information about this blog Click Here!
You know the idea of using plants and flowers in a room, bringing the outside in? For years, this concept has been very popular in designing an interior space that would make the occupants feel like they are experiencing being in nature simultaneously. This idea is still in practice and provides for great human experiences.
There are two major factors to consider when painting with watercolors: Wet and Dry. As the name suggests, watercolour is a water-based medium. Darkness and saturation of the pigment depends on how much water is added to the painting. For example, for the background or when trying to paint a background a solid color, you can use wet-on-wet technique so your pigment spreads quicker and blends well with it!