Find Your Inspiration And Create Original Work!

When first learning to paint, I wanted my paintings to look exactly like the references I used. I desperately hoped to acquire skills and technique so I could recreate the work of other artists. I searched for watercolor instructors to take classes so I could learn how to copy! After all, isn’t that how we learn? We copy and practice, taking advantage of another artist’s suggestions about color, style, and composition. Over time, I became an excellent copier, and I became more confident in my painting skills. However…

MOVING BEYOND COPYING.

Copying started to bore me. Ugh! My paintings were technically well done, but there was not much of me or my personality in them. For instance, my painting of a luna moth on tree bark was accurate, but now it seems a bit flat and static to me. At some point I realized that there had to be more! 

Luna Moth On Bark Watercolor Painting.

Things definitely got more interesting to me when I began to alter and interpret references. In a painting of Boston Marathon runners, for instance, I removed some runners and transformed one into one of my sons, who ran cross-country. I painted my first granddaughter as the young girl on a carousel. Another granddaughter I painted with a pile of gingersnaps that she had absconded with. This was a much more satisfying way to paint!

Wren and Gingersnaps Watercolor Painting.

I really began to want to move beyond copying. I soon yearned to learn how to design my own work and tell my own stories in my art. At the same time I continued to study watercolor technique and composition, knowing that I still had more to learn.

PERSONALIZE.

I don’t think anyone can tell you how to create art work in your own style. No one can tell you what issues are important to you. You have to do that for yourself. We are each unique individuals who see the world based on our own experiences and interests. Your style, like your handwriting, cannot help but come out. But style is more likely to emerge when we stop copying every last detail of an image and begin to interpret references.

Listen to yourself (notice your feelings) to better understand how to create work that has meaning for you. Worry less about whether your art is ‘good enough’ or what others will think of your work.

HOW?

Sometimes you don’t know where to start to create ‘original’ art. I remember not knowing how to design a painting or even what I wanted to paint. I felt at a loss and uncertain. I had to get to know myself better and become more confident even while I was learning more about art. I needed to reconnect with my own intuition and become more aware of my own preferences and feelings. And trust myself. That kind of growth is not likely to happen all at once – it certainly didn’t for me. I often felt that I knew better what I didn’t like than what I did like. Gradually, though, I noticed being drawn to some topics, some compositions more than others. I found myself wanting to eliminate certain parts of a reference or to combine two reference photos to build a scene more interesting to me. I was even excited to take some of my own photos to use for reference. With time, I began to acknowledge my own independence and value my own opinion. It remains an ongoing process; it isn’t always easy. I continue to wean myself from over-dependence on others’ photo references. 

LOOK INWARD.

To begin to reduce a dependence on copying and using other artist’s ideas, start to look inward. Look for your own inspiration. What  interests you? What excites you? What gives you joy? What kind of painting do you enjoy seeing or creating? 

Your heart knows the way. Run in that direction. (Rumi)

Experiment and try new things. Notice where you lose track of time and fall into the enjoyment of painting. Are you fascinated by landscapes and paintings of the outdoors? Do you prefer flowers, or a still life? Could you spend all day exploring colors? Does it thrill you to see paint flow? Or would you rather paint lots of details close up?

There is no formula. What do you want to create? What would you paint if no one was looking? What makes you happy? What do you always return to in your art? That is your inspiration.

What do I like? I find I really enjoy painting landscapes, the outdoors, or scenes relating to the disappearing traditions of New England. I seem to be searching for the forgotten, the lost, the answer that’s always right around the corner – I always seem to be searching. I’m drawn again and again to images of dirt roads, doorways, windows, streams and rivers moving on, distant hills, fog and mist. 

Flowing Forward Watercolor Painting.
Tristan’s Fall Road Watercolor Painting.

DON’T FORCE.

You cannot force insight or creativity or intuition, but you can be open to them. Find a place of calm inside yourself, not of fear, self-doubt, or anxiety, to better notice your thoughts and intuitions. In other words, a fearless open mind will invite creativity in. 

Personally, I find it hard to ‘let go’ of striving, to create a place of acceptance and calm in my mind. My tendency is to keep pushing, to produce results, which doesn’t always end very well. I have to keep telling myself that things happen in their own time, on their own schedule, sometimes when you least expect it. After all, some of my best painting experiences happened unexpectedly when my hand and my brush took off and left my ego behind; then the painting somehow flowed and took on a life of its own. 

Pitcher and Pears Watercolor Painting.

You could describe this letting go and being open as Annie Dillard did in Pilgrim At Tinker’s Creek. She describes one way of seeking not “as actual pursuit” but as putting “myself in the way of“ what is being sought. She adds “Something might come; something might go.” Roger Ebert said it another way. “ The muse visits during the act of creation, not before. Don’t wait for her. Start alone.” In other words, keep on painting but don’t try to force anything.

Inspiration exists, but it has to find you working. (Pablo Picasso)

HOW COULD I DO IT?

A helpful resource to build for yourself is a FILE of inspiring images. You can cut out pictures from magazines (of colors you like, shapes that might work in your art, interesting people, beautiful vistas). Photos taken on a walk could be added to your inspiration file. Gather online images from Pinterest, Facebook groups (such as ‘Landscape References Photos For Artists’ or ‘Free Reference Photos For Artists’ ), or websites of copyright free images (pexels.com , unsplash.com , https://publicdomainarchive.com/index.html , watercolor world (https://www.watercolourworld.org/), Library of Congress (http://www.loc.gov/pictures/), British Library Copyright Free Images (https://www.flickr.com/photos/britishlibrary/albums)) . Check museum websites for copyright free images ( for example, https://www.metmuseum.org/art/the-collection ).

You can file or organize images by topic to make later retrieval easier.

I look for inspiring images from my photos taken on walks, by scrolling various online copyright free sites, in books, and compiled images from  several of my photographer friends. I search for shapes, colors, themes to adapt for my art.

You could visit museums near you to look for inspiration. Start sketching, whether everyday objects, shapes, or the view out your window, to create images to inspire your art work. Go for walks (and snap your own photos) in the woods or parks, around your town or city. Notice and take note of what interests you.

IN PRACTICE.

Be open to new ideas. When you choose to adapt a reference, use your intuition and imagination to create something original. A reference can be a mere starting point for your painting. This approach often works for me because I think of each painting as a kind of puzzle to be solved. I enjoy the ‘detective’ work of figuring out how I might approach and create a painting. 

Try to notice your own reactions as your work progresses. Does it feel right when you eliminate parts or simplify details? Do the changes make your statement stronger? Could you combine several photos into one painting? Rearrange objects to emphasize your center of interest? Make sure to include both soft and hard edges, maybe lost edges, to encourage the viewer’s imagination? What if you change the mood, season, or time of day? Try to include some visual energy in the painting. Varying the quality of light can create contrast or a glow so that you are not recreating a flat, dull scene. Change the viewpoint by zooming in for a closeup or pulling out to create a distant vista. Altering your color choices can also give a very different feel to the work. Or you can totally shake things up by taking only colors or shapes from your reference to create abstract paintings. You can even paint completely from your imagination, without any reference.

FINALLY.

Experiment. Ask yourself, is this painting working for me? Take credit for taking action even if it doesn’t work. Then keep going! Finding your own inspiration can be exhilarating!

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Wow! Value, Hue, And Intensity!

Every color has three different components. These qualities are value (lightness or darkness), hue (the color name), and intensity (saturation or brightness). Each brushstroke in a watercolor painting is affected by all three aspects of color, although usually the properties are discussed and adjusted separately. By manipulating value, hue, and intensity in a painting, you will be able to create the illusion of space and three dimensions as well as create art filled with feeling.

COLOR VALUE.

I have heard it said that VALUE (a color’s lightness and darkness) is the most important of these three elements of color to get right in a painting. Value helps to create form and to show the direction of light. In order to better see value in a scene, squint your eyes. Squinting allows less light to reach your eyes and will reduce both the color (hue) and detail you see, making it much easier to isolate light and dark values. Even when squinting, you will probably see many values ranging from black through a range of dark to light grays to white. Trying to capture every one of these variations in paint, from dark to light, would be too overwhelming. It is best to simplify; narrow down the number of values you plan to capture, and limit yourself to 3-5 values for ease of painting. For example, limit your choice of values to darkest dark, lightest light, and one or two mid-tones.

One method of achieving the desired value of your color, is to mix the right amount of water with the right amount of paint. If you add more water to a watercolor mixture, you get a lighter value. If you instead add more pigment, you create a thicker, darker mix. The thickness of your color mix relates to its value.

Further, you can create the desired value of a color by first choosing the right pigment for the value you want. Catherine Gill, in Powerful Watercolor Landscapes, pp. 120-121, suggests, “If you want a light value, choose a transparent pigment. For a middle value, choose an opaque. For a dark value, choose a stain.” You still must adjust the amount of water you use. For a light color using a transparent pigment, use more water. For achieving middle value color, make a thicker mixture with an opaque color. An even thicker mixture made with a staining color will produce a dark value.

Values – Beach Shadows Watercolor Painting.

HUE.

HUE is the name used for a color. Red, yellow, and blue are hues. An almost infinite number of hue variations are possible, from yellow-green to turquoise to blue-violet. When we talk about hue, we are NOT referring to light or dark, bright or grayed, or strong or weak. To better understand how hues (colors) relate to each other, learn about the COLOR WHEEL. Each hue has its own specific placement on the color wheel, depending on its similarities and differences to other hues. 

B. MacEvoy Color Wheel. (Download your own copy https://www.handprint.com/HP/WCL/cwheel06.pdf)

Hues located close to each other on the color wheel have more similarities; they contain more of the same primary color than hues located farther from each other. Nearby hues are harmonious and analogous. In contrast, those hues located farther away from each other on the color wheel are less closely related. Two hues opposite each other on the color wheel have little in common; they are complements. If mixed together, complements create a neutral, grayed hue, whether gray or brown. When complements are painted side by side in your painting, they contrast strongly and can emphasize each other.

HUE AND TEMPERATURE.

COLOR TEMPERATURE, whether a color is warm or cool, is a characteristic of hue. Every color leans either toward warm or cool. On the color wheel, cool colors are grouped together (blue, green, violet). Warmer hues (red, orange, yellow) are located together on the opposite side of the color wheel. While yellow is generally a warm hue, some yellows are cooler than others. For instance, a Cadmium Lemon pigment is cooler (closer to blue on the color wheel) than warmer (more orange) Cadmium Yellow. Cadmium Red is warmer than Permanent Alizarin. And Sap Green is warmer than Hooker’s Green, which is warmer still than Viridian. Thus, even within a hue, you will find a variety of temperature differences. You can warm a hue by adding yellow and cool one by adding blue. 

A color can also appear warmer or cooler depending on the hues painted nearby. In other words, a color’s appearance is relative. You will want to judge a hue’s temperature in relation to colors next to it. Ultramarine Blue next to Cadmium Lemon will look cooler than the same Ultramarine Blue next to Cadmium Red.

Color temperature changes in a painting affect a picture in several ways. 1.) Color temperature can show the effect of light and shade. Warmer hues ( combined with a lighter value) can indicate the sunnier or brighter side of an object, while cooler hues suggest shadow and less light. Items closer to the sun are generally yellower and warmer than those farther from the sun or light source. Where the surface of a feature changes direction, you can alter color temperature and show its contours. For example, the east side of a barn may be in direct sunlight, but the north side may be in shadow; a contrast in color temperature can capture the three-dimensional quality of the image.

Changing color temperature to illustrate contour. – Barn Watercolor Painting.

The quality of light can also change color temperature. A sunset may transform everything to a rosy hue, whereas a road during a rainstorm may become grayish purple. Observe the light source BEFORE choosing your hues for a painting. You may notice a warm light source (a bright sunset or artificial lighting, which is often warmer than outdoor lighting) where you will need to paint cool shadows. Or the light source may be cool (from a north-facing window, outdoors under the blue sky, or even on an overcast gray day), suggesting the need for warmer shadows. So remember, shadows are NOT always cool.

2.) Color temperature can help you create depth in a painting by taking advantage of the fact that warmer hues tend to advance (pull forward) while cooler colors recede (push back) into the distance. With cool bluish, distant hills appearing farther back than warm foreground fields, you can create space in a painting. (As the distant hills recede, they will also tend to get paler, less intense, and will display less contrast and softer edges.)

3.) Colors (hues) can have a psychological effect on mood. Color contrast can add energy to your painting. Warm colors like red, yellow, and orange tend to arouse emotions such as love, passion, happiness, hunger, and anger. In contrast, cool colors, such as blue, green, and purple are thought to bring calmness, sadness, or indifference. Red sports uniforms have been linked to higher win rates. Blue has been linked to sadness, gray to feeling down, green with jealousy. You can use color temperature to engage your viewers, to get them excited or relaxed. 

Color Temperature Changes. – Red Geranium Watercolor Painting.
Color Temperature Changes. – Cold Winter Barn, Winter Light Watercolor Painting.
Color Temperature Changes. – T’s Fall Road Watercolor Painting.

INTENSITY.

Color intensity is a color’s saturation, purity, or brightness. An intense color is pure, whereas a less intense color is grayed. Intense colors, like Phthalo Blue, Cadmium Red, or Ultramarine Blue, are found on the perimeter of the color wheel. Less saturated colors, such as Indigo, Sepia, or Venetian Red, will fall toward the interior of the color wheel. To lessen the intensity of a bright color, add some of its complement or a close complement (the colors opposite on the color wheel). For instance, to lessen the intensity of Hooker’s Green, you could add a slight amount of Cadmium Scarlet, Cadmium Red, or Permanent Alizarin. Some readily available (but less intense pigments) include Sap Green, Payne’s Gray, Indigo, Yellow Ochre, Burnt Sienna, Raw Umber.

Understanding color bias helps you mix high-intensity or low-intensity colors. A warm red pigment contains some yellow – it ‘leans’ toward and is biased toward yellow, whereas a cooler red would have more blue and would lean toward blue, or have a blue bias. A hint to help you create a bright, intense mixed color is to use two colors biased TOWARD each other on the color wheel (e.g., a yellow situated closer to the blues mixed with a blue situated closer to the yellows), thus avoiding the addition of any of the third primary color, red, which would gray the mixture.

The grayer, softer colors provide restful areas within your painting. Less intense, grayed colors can also be used to draw attention to and support a bright color (providing color contrast), allowing the bright to take center stage. Contrast in color intensity near your center of interest can help to emphasize it. On the other hand, too many bright intense colors will compete with each other and can easily overwhelm a picture. A range of intensities in a painting creates more interest and a better painting.

Grays Can Intensify Bright Color. – Viennese Streetcar Watercolor Painting.

SUMMARY.

Use what you have learned here about value, hue, and intensity of color to improve your paintings and to paint strong three-dimensional pictures. Begin by considering value to begin to capture light and shadow. Then, work to create a range of warm and cool hues to establish mood and depth. Build more distance and interest while supporting your center of interest with grayed, less intense color.

Related blog posts you might find helpful include:

Join me and get painting tips, inspiration, and the latest news about classes, new art or products for sale, sent to you by email. Subscribe here. I’ll give you a free copy of my Color Blending Tips pdf. that you can download and print.

APPENDIX A: TEN COLOR COMPONENT TIPS

1.) Squint your eyes to better distinguish value (light and dark).

2.) Simplify your composition, and reduce the number of your values to 3-5        

     for ease of painting.

3.) To mix a lighter value, add water to a mixture. To create darker values, 

     use less water and more pigment, making a thicker mixture. Mixing 

     color with a transparent paint is the easiest way to create a light value. 

     Opaque paints are ideal for mixing mid-tones, while staining paints 

     work well to mix dark values.

4.) Each hue has its own specific placement on the color wheel, depending 

     on its similarities and differences to other hues. Understand how the

     color wheel makes it easier to mix colors, to use warm and cool colors 

     effectively, to arrange your palette, and to find a color’s complement. 

5.) Every color leans either toward warm or cool. You can warm a hue by

     adding yellow and cool one by adding blue. 

6.) The appearance of colors can vary depending on which colors are 

     nearby. You will want to judge a hue’s qualities in relation to the colors 

     next to it. Understand also that the quality of light can change 

     color temperature, suggesting a possible call for reconsidering the 

     temperature of your chosen pigments for a picture. Warm light 

     suggests the need for cool shadows, while cool light creates warm 

     shadows.

7.) Use value and color temperature to suggest light and shade and to 

     create depth in a painting. 

8.) Understanding color bias helps you mix high-intensity or low-intensity 

     colors. You must take bias into account if you hope to create either a 

     bright or less intense color and hope to avoid a muddy color. A warm

     red contains some yellow – it ‘leans’ toward and is 

     biased toward yellow, whereas a cooler red would have more blue 

     and would ‘lean’ toward blue, or have a blue bias. 

9.) To insure a bright color mix, use two colors biased TOWARD each 

      other on the color wheel (e.g., a yellow situated closer to the blues 

      mixed with a blue situated closer to the yellows), thus avoiding the addition of any 

      of the third primary color, red, which would gray the mixture.

10.) Grays and less intense colors support and set off bright colors. 

       Include them in your work to provide more interest and an improved  

       painting. To dull or gray a color, add some of its complement. Gray 

       can also be mixed by combining all three primary colors (red, yellow, 

       and blue).

After Watercolor Basics… What Next?

STAGE I. THE BASICS.

Anyone with desire and focus, can learn to paint with watercolors. The process, however, can take a very long time, even years, and true artists never stop learning (nor do they want to). But let’s assume that you have learned what materials you need and the fundamental techniques you need to use those materials. What comes next?  When I began to paint in 2008, I didn’t know. I don’t think I even knew that I was considering such a question. What was important to me at the time was improving! I wanted to get more proficient. In this post, I intend to share some of the steps I’ve taken in my process of learning watercolor, a few questions I’ve asked myself, and several concerns I’ve had along the way.      

Red Bumpers Watercolor Painting.

STAGE II. COPYING & CLOSE OBSERVATION.

Beyond the elementary techniques, I found that what I wanted was to portray my reference images as accurately as possible. I quickly learned that close observation was required. But as an artist, I found ‘seeing’ isn’t simple.

Most of the time, we look at things with only part of our attention.  We see only what we expect to see, often assigning a label to every image.  For instance, if what we are looking at is a ‘tree,’ we may not explore carefully what is really there.  This habit of not paying close attention keeps us from actually LOOKING at things.  In the everyday world, we quickly categorize and move on, perhaps in part because there seems to be so much information.

When I started painting, I would choose an image to paint, and the first thing I’d notice was a lot of detail. I was distracted by details, as perhaps you are, too. What do you do with all that detail? How do you know which details are important? Those questions overwhelmed me. I had been told to ‘look carefully’ at a reference, but the more I looked, the more confusing detail I saw. Over time, however, I began to believe that the trick had to be focusing on something else, not trying to capture every tiny detail.  Focusing on small details, like individual leaves, or trying to include every tree trunk or grass blade in a painting, didn’t work well.

Thus, to paint more successfully, I forced myself to slow down. I tried NOT to look at small details first, but instead to examine and study the shapes, values, and colors that made up the larger framework of each scene. ‘Seeingdoes mean focusing attention, looking closely, but especially at the arrangement of shapes. For example, where is the light hitting the tree branches?  Can you see through the branches?  What is the overall shape of the tree?  Are branches straight, upturned, crooked, rough?  Is the tree lopsided or symmetrical?  Are the highlights a different color from the shadows?  What is the weather, and how does it affect the appearance of the ‘tree’?  By asking such questions and looking carefully, I began to more accurately paint what I SAW, NOT what I THOUGHT I saw.

As I became more familiar with and practiced at painting, I began to see more subtle color, more nuanced detail, more understated tones. It seems that ‘seeing’ cannot be forced and may only develop gradually over time, with experience, and when one is ready. With practice, however, we can expect to notice more and sooner, perhaps even noting details that others miss or take for granted.

Forsythia In Vases Watercolor Painting.

DRAWING HELPS YOU OBSERVE CAREFULLY.

Drawing trains the mind, hand, and eye to work together.  Many beginning artists may avoid drawing altogether if they can, feeling that their drawing skills are not good.  However, you should not feel obliged to render precise drawings of what you wish to paint.  Do not let your concerns about drawing ability or drawing technique deter you. I found that even sketching a quick, rough thumbnail required me to consider what was important in a scene. One of the main purposes of drawing is to TRAIN yourself to see shapes and spaces more accurately – to ‘see’ like an artist and keep the big picture in mind.  By keeping details to a minimum, just getting some information down without stressing, you can help yourself to see.  

More specifically, you should look for basic SHAPES and notice how they are connected.  Find larger shapes first; then fit smaller shapes into them.  See the image as a whole; and only then concentrate on individual components.  Distracting details are only decoration on the surface of these shapes. Squinting your eyes often helps you to see beyond any unnecessary detail. Concentrate; work slowly and intently.  Give yourself the time to observe and take in information before rushing to produce an image.  Ultimately, the goal is to be able to perceive what you see as totally abstract forms, values, lines, and color, as in a jigsaw puzzle. You must shift your perspective. Remember that shadows are shapes, as are reflections.  Backgrounds have shape and should act as frames for the subject of a painting.  Only when you can ‘see’ in this way will you begin to be able to suggest three-dimensional reality on your flat, two-dimensional paper.

Frederick Franck, artist and philosopher, says in The Zen of Seeing/Drawing:  “I have learned that what I have not drawn I have never really seen, and that when I start drawing an ordinary thing I realize how extraordinary it is, sheer miracle . . . .”  So do not hesitate to sketch and draw what you intend to paint.  As you draw, you will notice which details are important and sharpen the mind/hand/eye coordination necessary to improve your painting skills.  Drawing is a skill that requires practice and time, just like any other ability (including learning the techniques of painting).  The skills and mental processes necessary for drawing are the same as those you use when painting with a brush.

White Primroses Watercolor Painting.

STAGE III. BEGIN TO DESIGN, PLAN, & SIMPLIFY.

When I began to feel more confident reproducing an image before me, I sometimes found myself wishing I could improve a composition; the reference pictures I found weren’t quite satisfying. Occasionally I wanted to combine two photos instead of having to copy one. In other instances, I wondered if some of the components in a picture might be better relocated to another section of the picture, even left out. A tree or a building might have been blocking what I thought was the most interesting section of the picture.

At this point, I also began to take some of my own reference photos, to create a view I desired. I essentially inched my way toward DESIGNING my paintings, seeing what was in front of me but arranging and modifying the information to actually improve the picture, making it something I liked better and felt was more effective. 

Eventually it dawned on me that this desire to improve a reference might be the start to a new stage in painting for me. To improve a painting, I could forget about ‘reproducing’ nature. I could start to REARRANGE it! I could take what I liked and ignore what I didn’t want to include. Definite rules about design and composition existed and could greatly improve a painting. I wanted to learn them. 

Mastering Composition by Ian Roberts is a comprehensive guide and excellent resource that can help you learn more about composition. 

These blog posts might also be of interest if you want to know more: “Composition!?!”, (5/7/2020), https://leemuirhaman.com/2020/05/07/, and “Designing A Strong Painting With Good Composition!”, (10/16/2018), https://leemuirhaman.com/2018/10/16/designing-a-strong-painting/.

Red Geranium Watercolor Painting.

I found that this designing and PLANNING need to be done BEFORE any paint is put on the paper. Again, you will need to study your subject for a while. Think about what it is that attracted you – that should be the primary statement or BIG IDEA in your painting. Consider what you will emphasize in the picture. Eliminate anything that might compete with or distract from the ONE focal point and main idea. You shouldn’t try to include every daunting detail in a scene. Instead, it pays to NARROW your vision (even to crop an image) and SIMPLIFY your subject. 

Ask yourself what your focal point is. What will your painting be about? Is there a lead-in to invite the viewer into the picture? Think about what you want to say before you start. WHAT do you hope to achieve, and HOW are you going to achieve it? Establish some clear objectives. 

While drawing or sketching develops necessary observational skills as mentioned previously, drawing also helps you to plan and condense information into a simplified format. This clarification will strengthen the message of your final painting.  With a drawing you are more likely to end up with your focal point being prominent, because you concentrate mainly on that particular feature.  Your drawing will be streamlined, easier on the eye of the viewer, because you collect only the information that counts and leave out extraneous material. Thus, drawing trains the brain to think about and analyze what is essential to the picture.

High Jinks Watercolor Painting.

IV. EXPRESS FEELINGS & EMOTIONS.

A later stage in improving my painting skills grew out of the wish to have my feelings and emotions come across in each painting. When establishing the IDEA for a painting now, I try to think about how I feel. We all interpret a scene in our own way – WHAT you want to emphasize and WHY will probably differ from what interests me or another person. That is to be expected – we all have different experiences, reactions, thoughts, and feelings that affect our impression of our world. These factors will affect our chosen focal point, our ‘big idea’ for a painting, even the style in which we paint it. (Our own particular concerns and perception directly determine the painting style we choose.)

In other words, I try to consider MOOD when planning my painting approach to a picture, and then work to express it. It seems easier for me to achieve some success at this in some paintings than in others. I contemplate how the scene makes me feel. Happy, sad, excited, nostalgic? I strive to determine what it is I want to show and what the meaning of each topic is to me. Why did I choose to paint this picture? Why was I drawn to this image? Does the scene remind me of a favorite place?  Does the picture make me feel calm? Do I feel like laughing when I look at or think about this subject? 

I believe great artists are able to paint their feelings about a scene, as well as an impression of its actual appearance. (Think about Leonardo’s Mona Lisa, for instance, or Vermeer’s Girl With A Pearl Earring.) They make sure they don’t copy the details so faithfully and precisely that there is no room left for life, mystery, or emotion in a painting. Instead, such artists paint their interpretation and memories, share what they feel are the significant factors behind what may be a commonplace scene, attempt to translate emotions aroused in their hearts. They often reveal their skill at rearrangement and invention in the scene.

T’s Fall Road Watercolor Painting.

Emotion can be conveyed in a painting in a number of ways. The mood of a painting can be created or altered by hard, soft, or lost edges; light and dark values (contrast, high key, or low key); line and arrangement of masses (lyrical, angular, curved, open, closed-in, a preponderance of verticals or horizontals); light (overcast, ominous or threatening, nighttime, bright and sunny, glaring, or late afternoon); and color choice and color proportion (warm, neutral, cold, cheery, drab, soothing, jarring, or balanced). For more in depth information on emotion and mood in painting, see “Get In The Mood!”, (9/4/2018), https://leemuirhaman.com/2018/09/04/get-in-the-mood/

Choosing and combining so many variables appropriately and successfully to express your emotion takes experimentation and practice, yet is the ultimate goal in art.

Take note of and respond to your own emotions – these feelings are what you will try to get down on paper and share with viewers of your art. Think with your heart. People will connect to YOUR art with THEIR emotions! 

V. BECOME YOUR OWN TEACHER.

After painting for ten years, I lost my beloved mentor and watercolor teacher, who died in 2018. Before he died, he asked me to take over the teaching of his watercolor classes. While I didn’t feel at all ready for that, I really didn’t want to let him down. For that reason, I started teaching others what he had taught me. However, I couldn’t help feeling that there was still more for me to learn. If I had questions, though, who could I ask? My solution was to study art books, seek information online, and continue taking occasional workshops in person and courses online. 

I also began writing blog posts (in 2018) to share with others the information I was learning about watercolor. I studied and wrote about things I was struggling with, or topics I found especially interesting. In order to write about a subject, I had to consolidate, understand, and make sense of it for myself. Writing has helped me know my own thoughts.

I think we can all work towards becoming our own best teacher. Always keep learning on your own and for yourself. I’m not suggesting you avoid taking classes or working with watercolor instructors you enjoy and are learning from. Instead, I’m asking you to treat yourself as a good teacher would, by being supportive of yourself, allowing yourself to investigate and learn more about the art topics that you might be struggling with, and searching out information about your art interests. (One of my recent investigative searches has been about how to paint light, create the glow of light in watercolor.) I hope that you take an active part in your own art education.

If interested, the following blog post will explain more about creating the best possible attitude toward your painting: “How Can I Become My Own Best Teacher”, (7/21/2021), https://leemuirhaman.com/2021/07/21/how-can-i-become-my-own-watercolor-teacher/.

Crossroads Watercolor Painting.

WHAT’S NEXT?

For me, I want to continue to write and to paint with watercolor. I hope to freshen up my website, perhaps even adding an option to purchase directly from the site. I would like to improve my skills at designing my own pictures more creatively, and to spend more time painting my own compositions. I will also, of course, persist in studying, learning, and researching what intrigues me about watercolor.

What’s next for you?

Join me and get painting tips, inspiration, and the latest news about classes, new art or products for sale, sent to you by email. Subscribe here. I’ll give you a free copy of my Color Blending Tips pdf. that you can download and print.

What do you think about this quote by Martha Beck who has said, “An artist’s real contribution isn’t what he paints, but the way he sees.”? Let me know in a comment below.

Jumpstart Your Watercolor Painting!

Several articles I’ve read lately have made me aware of the great benefits of ‘daily painting.’ Painting every day develops creative habits and greatly improves your art. You become more skillful, productive, and successful as an artist, according to the many painters who have tried it. Wait! Don’t, like me, immediately dismiss the idea of painting daily as impossible for you.  Try to keep an open mind as you read the following comments, and you may find that you are excited and inspired to begin to paint more consistently yourself.

Artist Mary Gilkerson explains: “Before you tell me you just don’t have time, let me point out a couple of things. Consistency over quantity. Consistency matters. Doing a small painting daily is better for your growth than 5 big paintings a month. 20-30 minutes a day can make a huge difference.

“The rewards: 

   1.  Your work improves.

   2.  You stay motivated because ideas flow easily.

   3.   Small daily steps move you closer to your goals.

   4.   Muscle memory takes over and the difficult things become easier.

   5.   You paint faster with more ease.

   6.   You paint more intuitively and responsively rather than consciously.

   7.   Your own personal style will develop without you even having to think about it.”

Chris Krupinski agrees and has said she knew she wouldn’t be a really good painter by painting only on weekends, so she committed to painting two hours every day no matter what. 

Duane Keiser, who is often credited with initiating ‘daily painting’ (as in completing a small painting a day) in 2004 and posts his work for sale on a daily blog, states that his daily small paintings “are about the pleasure of seeing.”

Simple Red and Green Watercolor.

Simone Nijboer, a Dutch artist, talks about her art journey, sharing this: “For many years, I wanted to paint but did not dare to start. When I had gathered enough courage, I started painting, but dropped it again quite soon, since I had lots of insecurities, doubts, and unhelpful thoughts around painting. 

“This all changed when I started painting on a more or less daily basis. I loved it so much! It might sound exaggerated, but I personally feel that daily painting changed my life. 

“Creativity became an indispensable and joyful ingredient of my day, and this joy spread over to the rest of my life.”

Carol Marine, artist and author of Daily Painting, rediscovered the joy of painting when she began completing small (mostly 6”X6”) works daily during her son’s naptime. “Painting small and often gave me the freedom to experiment – every day I got to start on an entirely new project. No longer did I feel overwhelmed by the large number of things I wanted to paint – I could do them all. And I could do each one fifty different ways (or more)! If one subject or one style didn’t quite work out, well, I didn’t sweat it. I had only invested part of a day’s worth of work on it, after all.”

Two Fruits Watercolor.

Stephen Berry, a watercolor artist who writes the blog Seamless Expression, has written (3/11/2022) a most compelling description of how the daily painting process has affected him. “I’ve been doing a daily painting for each of the last 32 days, and it’s been a wonderful learning experience.  I can’t recommend it enough!  I’ve gotten to stretch myself in a lot of ways, and although it’s been daunting at times (and logistically complex!), it’s also been a great deal of fun.  So much fun, in fact, that I intend to keep going….

“At first, the painting experience was just like normal for me, but slowly, as I began to paint each day, it dawned on me that I was going to paint again, and soon.  That can be very liberating!  Paintings become less precious, failure less demoralizing (although still totally irksome), more chances get taken.  And that means growth….

“Painting daily has provided me a space to try out new approaches— high key paintings, or new color relationships, new pigments, new compositions, etc…. I need to pick subjects I can easily simplify— and that means strong shapes and bold contrasts.  And that is often very good for creating compelling composition.”  Berry says he works hard to recognize what is really essential in an image and to decide just what it is he wants to paint. What is not essential, he discards. “There’s a bold, graphic quality to the final product, which I like….The changes in my compositions have been so compelling to me.” (See  http://www.seamlessexpression.com/blog/2022/3/10/daily-painting-for-a-month-and-longer to read more of Berry’s blog post.)

Lily Pads Watercolor.

I’m inspired! Are you? Will you choose to complete a small daily painting, or decide to commit yourself to regular painting every single day (not necessarily finishing one work daily)? Perhaps you’d like to really commit yourself to getting good at your art by painting consistently, not just on the weekend! Promise yourself to paint for 30 minutes to an hour every day, whether you finish a painting during that time or not. Return the next day to paint for the same amount of time, and the next day. By the third day maybe you’ll have a finished painting. The main thing is to figure out what works for you to get you painting more regularly, painting more than you used to.

Let me know how you get yourself to paint consistently. Do you have tips that you would like to share with others who struggle to find the time to paint? Let me know in the comments.

Join me and get painting tips, inspiration, and the latest news about classes, new art or products for sale, sent to you by email. Subscribe here. I’ll give you a free copy of my Color Blending Tips pdf. that you can download and print.

Enviable Greens In Watercolor!

Green is one of those colors, along with gray and brown, that can create problems for painters, which may be one reason that beginners seek out ready-mixed tubes of color.  After all, color mixing can be confusing and unpredictable.  While the ready-mixed greens sold in tubes are convenient, the colors available for sale are generally NOT the greens found in nature.  And even if you can find some greens that look reasonably convincing and provide enough variation to produce realistic and natural greens, who can afford to buy even a dozen tubes of different convenience greens?

Foliage varies greatly in color and value, with each plant producing its own variation of green.  Color and value also change with distance, weather, time of day, and season.  In reality, the greens of nature show infinite variety.  Therefore, realistic, natural greens require the painter to be able to mix many suitable variations of green from a limited number of paints.  But where do you start?

MIX GREEN WITH BLUE AND YELLOW.

The color green is made of blue plus yellow plus a small amount of red to tone the color down and naturalize it.  Try this experiment: take every yellow paint on your palette, and combine each with every blue you already have.  Note that mixing a COOL yellow with a COOL blue creates a bright and vibrant green (for example, Hansa Yellow Light with Winsor/ Phthalo Blue).  In contrast, by mixing a WARM and a COOL or two WARM colors, you get a duller, less intense green – because both the warm yellow and blue have some red in their pigment (which grays/neutralizes the mix).

Greens Mixed With Various Combinations of Blue and Yellow.

MIX GREEN BY SUPPLEMENTING A TUBE GREEN.

Another way to create natural greens is to use ready-mixed tube green as a starting point but then to add other pigments to vary the color.  DaVinci Sap Green, for instance, can be the principal ingredient in a whole range of mixtures. Similarly, you can adjust the temperature and value of Hooker’s Green, Viridian,  Phthalo Green, or another tube green by adding other colors. 

Greens Mixed With Pre-mixed Tube Greens.

EVEN MORE VARIETY.

You can create even more mixtures by changing proportions of each color in the mix.  Catherine Gill in Powerful Watercolor Landscapes (2011) describes a very effective technique for mixing numerous related colors by changing proportions in a mixture.  She makes a “mixing trail” (p. 122), using two colors on her palette.  Instead of mixing two colors together in the beginning, she puts the two colors on her palette, leaving a space between them.  She suggests you take a little of the first color and mix it with the second on the palette.  Then, take successive amounts of the second color, and mix with the first until you have several distinct hues.  The space between the two colors is the area where you make the “trail.”  The colors will theoretically all be close in value because you haven’t picked up any water.

Catherine Gill also describes a “mixing hub” (p. 123), which is a collection of mixing trails laid like spokes around a central pigment.  The hub allows you to create a variety of related colors.  The hub pigment is in all the mixes of the hub, ensuring color harmony.  And again, since you add no water as you create the mixes, values should remain constant.

                      Mixing Trail and Mixing Hub. 

Bruce MacEvoy (on handprint.com) has suggested that to simplify mixing greens somewhat, you can create these five basic green mixtures.  A BRIGHT green could combine Phthalo Green Yellow Shade (PG 36) and Hansa Yellow (PY 97).  A COOL green could combine Prussian Blue (PB 27) and Phthalo Green Yellow Shade (PG 36).  Combining Prussian Blue (PB 27) and Hansa Yellow (PY 97) produces a LIGHT green.  WARM green comes from combining Phthalo Green Yellow Shade (PY 36) and Burnt Sienna (PBr 7).  Finally, put together a DULL, DARK green with Phthalo Green Yellow Shade (PG 36) and Quinacridone Rose (PV 19). 

Five Basic Green Mixtures.

CHART FOR YOUR OWN FAVORITES.

With experimentation, you will find many mixtures that work for you.  Make your own chart, for handy reference, of your favorite mixtures. Check back to it later for ideas when painting.

Condensed Chart of Favorite Green Mixes.

MIX ON THE PALETTE, ON YOUR PAPER, OR GLAZE.

Finally, the way you apply your pigments to paper can alter the appearance of your greens and foliage.  The first option you have is to mix your color ON THE PALETTE before you apply it to paper.  A second option is to apply separate colors TO YOUR PAPER, allowing them to mingle on your paper.  This technique creates a more varied, dynamic color mix.  Third, you could GLAZE one color over a DRY wash of another color.  Glazing and layering are similar processes.  They both change the appearance of color.  Glazing uses a very thin, transparent wash of one color over another color.  When warm colors lie below a cool glaze, the resulting color mix is luminous, vibrant, and glowing.  Starting with a cool color and putting the warm color on top gives a heavier, denser glaze.

IN CONCLUSION.

Finding a variety of natural greens to paint convincing foliage can be confusing and frustrating.  As painters, we know that ready-mixed greens are not sufficient.  Therefore, you should take some time to experiment with all the yellows, blues, and greens on your palette, adding touches of red to some of your mixtures if you want to gray/neutralize a green.  Make a chart of your favorite blends for handy reference.  You needn’t rely only on purchased tube greens. Experiment, and have some fun!

Join me and get painting tips, inspiration, and the latest news about classes, new art or products for sale, sent to you by email. Subscribe here. I’ll give you a free copy of my Color Blending Tips pdf. that you can download and print.