When Should I Use Masking Fluid?

Preserving lighter shapes in your watercolor painting is tricky. Sometimes you can simply paint, with care, around them. As an alternative, however, you can preserve the light areas or develop special effects by taking advantage of one of several masking or resist materials available. These include candle wax or wax crayons, dripped wax, rubber cement, packing or masking tape or Scotch Magic tape #810, masking Frisket film, and liquid latex fluids. The two types of masking materials that watercolorists use most often are liquid latex masking fluid and tape. Apply the masking, paint around it, then when the paint is dry, remove the masking (wax resists cannot be totally removed) to reveal the lighter shapes. Rubber cement pickup erasers are easy to find and use to remove masking, or you can rub with your finger if the mask-covered area is not overly large.

Not every light area should be masked, as masking can inhibit spontaneity or alter your painting process. Consider your purpose in masking. Masking can allow you to save delicate white areas in a picture and protect intricate lighter areas temporarily from nearby dark paint. I have also used masking fluid to make sense of very complex areas in a painting. For example, in this White Primroses painting, I masked many but not all the flower petals in order to distinguish and simplify the painting of leaves and negative spaces.

White Primroses Watercolor – Masked some of flower petals.

Masking can also create interesting special effects. Splattering masking fluid before painting can create the impression of snow falling. Use an old toothbrush dipped in mask by gently dragging your thumb over the bristles to get spots of mask. Splatter from a variety of directions to suggest snow swirling. Or try dropping masking fluid into wet paint and allowing it to dry before removing mask. This technique is said to create the effects of moss or lichen on a wall. You can also create textures to suggest tree bark or rocks. Apply masking fluid, let it dry, then gently rub the mask with your finger to partially remove some of the mask, leaving uneven blotches. Paint the area, and when it is dry, remove the rest of the mask. 

It’s possible also to paint color first, let the paint dry, then mask to protect the first color, and later add more paint. Or you could mask multiple times, between several applications of color. Multiple masking, however, requires good quality paper! Transparent or semi-transparent colors, which layer well, work best for multiple masking layers. 

MASKING WITH LIQUID MASKING FLUID.

Masking fluid is an emulsion of natural latex, water, and ammonia (used as preservative). Many brands of masking fluid are available, although quality varies. I find Pebeo, Grumbacher, and Winsor Newton to be the highest quality, but you can also search for other brands that suit your needs. My favorite is Pebeo Drawing Gum, which covers smoothly and is easy to see because of its gray-blue color. I find Grumbacher’s bright orange to be very distracting, and Winsor Newton’s clear and lightly tinted options difficult to see on white watercolor paper.

Ducklings Watercolor – Masked edges of ducklings and their bedding material.

TIPS:

  1. Make sure to test your choice of masking fluid on your watercolor paper before using it on your painting. Some masking fluids can damage softer, poorer quality, or student-grade types of watercolor paper when they are removed. 
  2. DON’T shake masking fluid; it’s better to stir it gently. Shaking adds air bubbles, and too much agitation can cause the fluid to clump or start to solidify.
  3. Let masking fluid on the paper air dry naturally. Adding any heat, from the sun, a heater, or a hair dryer, makes it extremely difficult to remove without damaging the watercolor paper. Similarly, I don’t apply masking fluid to wet or damp paper because it seems to be absorbed into the paper and become permanently attached. I have read that you can wet the paper and float in the masking fluid to create a soft-edged shape; however, that technique doesn’t work well for me.
  4. Don’t leave masking fluid on the paper too long. It becomes more difficult to remove as time goes by. The time limit for removing the masking fluid may vary by brand, yet I would try never to leave mask on the paper longer than a week or two. I have seen masking fluid carelessly left so long that it becomes permanently bonded to the paper.
  5. Let the masking fluid completely dry before painting over it. Keep the cap closed tightly when the container is not in use, as masking fluid dries when in contact with air, and the contents of the masking fluid bottle can deteriorate quickly.
  6. Remove your masking fluid only when you have finished painting around it AND the paint is completely dry. 
  7. While hard edges result when masking fluid is removed, the edges can easily be softened by wetting and tickling the edge with a somewhat stiff brush after removing masking fluid.
  8. Apply masking fluid with careful attention to detail. If you are sloppy or careless, your preserved light areas will also appear messy and unattractive when the masking fluid is removed. Practice your application technique on scrap paper until you are able to apply masking fluid carefully and neatly.
Red Bumpers Watercolor – Masked ropes, bumpers, light edges of boat and oar against water, highlights on darkest boat.
Pumpkins Up Close Watercolor – Masked only outline on stem.

There are many tools available to use in applying masking fluid. Use one or many, depending on the effects you want to create. Possible tools include inexpensive synthetic cellulose brushes, sponges, sticks and toothpicks, a dip pen, a palette knife, found objects like pencil erasers, leaves, the handle of a paint brush, or bottle caps, a cheap synthetic brush, a toothbrush to create spatter, and my favorite, a ruling pen. (Be extremely careful to protect any brush you use by first applying soap to the brush and wiping any excess soap off prior to dipping the brush in masking fluid. Immediately after applying the mask, rinse and soap your brush again, then rinse, to remove masking fluid before it dries and adheres to the brush. Also, keep masking fluid away from clothing!)

Let’s Pig Out Watercolor – Masked light against dark edges and foreground straw.

MASKING WITH TAPE.

Tape can be used to mask larger or straight areas (e.g. parts of a building or the horizon line) in a picture. Masking film (which is available in sheets) can be used to cover and cut to fit larger areas of a picture, as well. Brown packing tape (lightweight economy grade) or Scotch Magic tape (#810 only) work better than masking tape on ‘Rough’ watercolor paper. Masking tape can be too thick to bend and adhere well to the numerous depressions in rough paper, allowing watercolor paint the chance to sneak under the edge. Experiment with different brands of tape and paper. Again, test the tape on the watercolor paper you intend to use to make sure tape removal does not cause damage. Good quality paper, such as Arches or Saunders Waterford, is preferable to poorer quality or student-grade papers. 

To mask objects with tape, cover the shape with tape (overlapping edges if more than one strip is needed), then use a very sharp  X-acto or craft knife with slight pressure to carefully cut around the saved shape, and remove excess tape. Don’t use too much pressure when cutting the shape with the knife as you can apply so much pressure that you cut into your paper. Experiment first on a test sheet. After cutting the tape, press the tape down firmly. Paint.

Tape can also be precut prior before application to your paper. For example, to mask a window frame or a picket fence, you could attach a strip of packing tape to a self-healing cutting mat, cut narrow strips in the tape with your X-acto knife and a ruler, and then apply the strips to mask out a window or fence on your watercolor paper.

Personally, unless the area to be masked is large or straight, I prefer applying masking fluid with a quality, vintage German ruling pen (purchased on Ebay), as I have better control. I seem to struggle with tape, finding it difficult to apply, cut accurately, and also to remove. You should try it, however, as it has some advantages.

MASKING WITH BOTH FLUID AND TAPE.

If desired, masking fluid and tape can be combined to make it easier to mask larger areas, or a combination of a hard-edged area with nearby uneven areas. Both masking fluid and tape might be helpful if you wish to protect: 1.) blotchy, partially snow-covered ground (masking fluid) and a large, hard-edged snow-covered roof (tape), or 2.) a grove of tree trunks (tape) and a few leaves (masking fluid) that will be painted in contrasting colors or values, or 3.) lots of sky reflections on a lake (tape for straighter reflections and masking fluid for more erratic ripples).                                                   

First, apply overlapping pieces of tape over the chosen masking area. Press down lightly and carefully cut tape with an X-acto knife. Remove unwanted tape pieces, then press the remaining tape down firmly on the paper. Add masking fluid and let dry. Proceed with painting.

AVOID OVER-DEPENDENCE.

Try not to become overly dependent on masking materials. Instead, practice and improve your brush handling skills so you don’t need to use masks as often. Think about whether you can easily paint around an area and whether you need masking at all. Not every painting benefits from the use of masking. Sometimes painting is more spontaneous and quicker without masking. Choose the times when applying masking fluid or another type of mask material makes sense for you.

My Swamp Watercolor -No masking used.

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Try Plein Air Painting This Summer… Get Outdoors!

Summer and the longest days of the year have arrived; it’s the perfect time to get out for some fresh air, to relax, and to paint. Painting outside in nature can be fun and different, whether you make it a field trip to the woods, a park, a nature preserve, or just sit out on your own doorstep. If you’ve already planned a trip to the beach, gather your sketchbook and paints to take along. Take a few painting supplies when mountain climbing. When you reach the summit, you could rest while doing a quick sketch and painting of the view. Or sit on the dock at the lake to paint the clouds and water. A change of scene can encourage close observation and inspire us.

Ocean view inspiration.
Summit View Inspiration.

MATERIALS.

Before starting out, consider your supplies. Keep your art kit on the small and lightweight side since you’ll be carrying it with you. Pack it in a bag ahead of time, so you’ll be ready to go when the time is right. 

In my kit I include a small sketchbook (that I use to record color and weather observations, to create thumbnails, to make sketches and contour drawings, to experiment with color matching (i.e. as a test sheet), to make notes of ideas). I also pack a small ‘block’ of watercolor paper (which is easy to hold on my lap for painting). I suggest including a watercolor travel palette like this one from amazon: https://www.amazon.com/Winsor-Newton-Cotman-Water-Colour/dp/B000PD3LY4/ref=sr_1_23?crid=1T41EILMKX301&keywords=winsor+newton+watercolor+set&qid=1656615455&sprefix=winsor+neton%2Caps%2C128&sr=8-23.  (When the paint in the small half pans has been exhausted, I refill the pans from watercolor tubes in my choice of colors.) The above set includes paint, a travel brush, and small water pots as well as a water container. If your paint set doesn’t include a brush or two, water in a container, and a water holder (for painting and cleaning your brushes), you will need to add these to your kit. If you prefer, water brushes (which have a water reservoir attached to a nylon brush) are available, so added water would not be necessary. I have some water brushes, but personally I don’t find their quality to be very good. A pencil, eraser, paper towels (or tissues), a viewfinder, perhaps some water-soluble drawing pencils, and watercolor pencils are also good to bring along. Depending on how far I will be going, I might also bring a hat, a folding chair, and something to drink. 

I enjoyed making my own small accordion sketchbook to take on outdoor sketching trips recently. I cut a full sheet (22X30″) of watercolor paper into three strips, attached them to each other, and used two pieces of leftover mat board for a cover. I keep it closed when not in use with a covered elastic headband. The finished sketchbook size is 4X6″; it opens into a continuous painting area of about 6X72″, or 18 pages on one side, and 6X64″, 16 pages, on the opposite side.

Handmade Sketchbook With Mat Board Cover.
Handmade Accordion Sketchbook Opened.

HOW TO CHOOSE WHAT TO PAINT.

When you arrive at your destination, look for a comfortable, interesting spot. The first part of your process involves looking around to get familiar with what’s in front of you. Look closely and think about what draws you in. Take your time. If you have a viewfinder, use it to help you pick your subject for painting. (You can make your own viewfinder by cutting a rectangle out of white card stock.) Looking through the hole, move the viewfinder closer and farther away from your eye to “zoom” in and out.  Wait for a composition to come into the frame that appeals to you. 

Wood Pile Inspiration.
Bare Trees Inspiration.

You can also plan a composition by drawing several quick thumbnail sketches in your sketchbook to begin to translate what you see into two dimensions on paper. See this blog post for more information on the advantages of thumbnails: Hold Your Horses!, (7/17/2020), https://leemuirhaman.com/2020/07/17/hold-your-horses/ . Sketch out various viewpoints or arrangements of the scene to find your preferences. Pick one of your thumbnails to paint, without overthinking.

TIPS.

There is no need to include everything you see in your painting. In fact, your picture will be stronger without including every detail. Observe the scene closely, but allow yourself to improvise, be spontaneous, even play, using what you see as your starting point. Feel free to paint smaller and quicker than you usually do, since the light will shift and the weather can change unexpectedly. If desired, use your smartphone to snap a couple of quick pictures of the light or colors just in case you need the information later.

Notice big shapes and a range of lights and darks. Look for patterns, color combinations, or shadows, for instance, to focus on. For more information about how to think about shapes in your artwork, look at Simplify Your Watercolors By Focusing On Shapes!, (7/16/2019), https://leemuirhaman.com/2019/07/16/simplify-your-watercolors-by-focusing-on-shapes/

Barn Shapes Inspiration.
Purple And Green Cabbage Color Inspiration.

YOU GET TO CHOOSE.  

Outdoor painting is a good way to start moving beyond copying because you don’t use others’ photo references. You get to decide your own subject and your own focus during your painting session. Paint what you find most interesting. You can choose to include or leave out whatever you wish. Since you will be in control of determining your main concept, edit out anything that is not important to the story you will be telling in the painting.

MANY APPROACHES.

There are many ways to approach outdoor painting. Generally, outdoor paintings tend to be done more quickly and loosely than studio paintings because time available is limited. So, simplify and try not to get bogged down with details. Instead, one way to begin painting is to use light washes to block out the main areas of color on the paper. Then work on the lightest areas first. You can gradually build up and intensify colors as you proceed to create depth and detail. 

One artist I know begins by loosely painting colored shapes first, then drawing line and detail later when the original colors have dried. She uses various materials for these later layers, sometimes choosing more watercolor, or perhaps Pigma micron pens, Faber Castell Pitt pens, or Caran D’Ache Neocolors. Another artist friend will start with a loose, very light pencil sketch before applying any paint. Yet another artist I know makes a lot of separate watercolor marks (squiggles, dashes, dots, lines, blobs), but no washes of color to describe the scene, much like pointillism. When the color on the paper has dried, this artist lightly softens marks to merge colors, fill in white space, and create shadows.

FINALLY.

Give plein air painting a try, especially if it’s new to you. You may just fall in love with it. It can be fun to experiment with something new and different. 

Paint what inspires you. And when your painting session is done, your outdoor painting can stand on its own or become the basis for a later studio painting.

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Perspective With Just A Pencil!

If you are painting outdoors or attempting to paint a still life in front of you, how would you go about drawing realistically with just a pencil and paper? How could you transfer what you see to your painting surface? How can you judge proportion and perspective without error?

To make a drawing look right, we must understand that all parts of a scene (or landscape) are LOCKED into a proportional relationship which doesn’t change. When drawing, your job is to observe carefully what the relationship is and reproduce it accurately. You don’t want to guess what the proportions MIGHT BE or assume what  they SHOULD BE. Instead you want to replicate what the proportions actually ARE.

In my last blog, Use The Low-Tech Grid Method To Transfer Your Image, 4/8/20,  https://leemuirhaman.com/2020/04/08/use-the-low-tech-grid-method-to-transfer-your-image/, I explained how to use a grid to judge placement, angles, and proportion in a drawing.

However, using just a pencil and paper for drawing is even simpler and faster! The pencil you draw with becomes the tool for comparing and SIGHTING how shapes relate to each other. You take your sighting by holding out the pencil AT ARM’S LENGTH. (Your arm is locked straight out from the body.) You look down your arm and slide your thumb to measure the approximate length of an object. (Your thumb is a SLIDING MEASURING GAUGE.)

Sighting 2

In this way, you measure first one portion of a scene or object, while you extend the arm holding the pencil. Hold your thumb steady on the pencil to mark the measure, move your pencil while keeping your thumb in place, and compare the first measurement to the size of a second portion of the scene or object. For example, to find the relationship (RATIO) of the top width of a chair to the height of the chair, place your thumb on the pencil to mark and hold the width. Turn your pencil without moving your thumb, to compare the height to the first width measurement. (If width measures ‘one’, height might be ‘1.5’. In this case, the height of the chair is 1.5 times width of the chair.) You could then easily use this information to create a drawing of the chair.

Sighting3.jpg

Continue to measure and compare other areas within your scene to the first measurement in order to figure relative sizes and relationships throughout the picture. Angles can be determined using this method as well.

Sighting 4.jpg

Once SIGHTING with a pencil is learned , it quickly becomes an effective way to check size, distance, and angles in a drawing. You can scale an image up or down in size while maintaining proper proportions. The technique will become automatic and indispensable as you gather information and look carefully at your scene. The more you look into your subject, the more you will see!

Sighting.jpg

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For a quick video explanation of sighting with a pencil, watch this YouTube by Chris Triner, Drawing With Simple Sighting Technique, https://www.youtube.com/watch?v=Otv_l_qkML4

Use The Low-Tech Grid Method To Transfer Your Image.

The most useful tools are often the most simple and easiest to use!

Several of you have recently asked how to transfer an image to your watercolor paper when you have no graphite tracing paper or already enlarged template to trace. Here is a simple way to accurately transfer your image.

The grid system of drawing or transferring an image to paper (or other painting surface) has been used for centuries by many artists, including Leonardo da Vinci and Albrecht Durer. It is a low-tech, inexpensive tool used to reproduce, decrease, or enlarge an image.

Overview.

Draw a grid of lines over a reference photo, then lightly draw a larger grid (of equal ratio) on your work surface. To calculate the size of the second grid, work backwards from the desired final size of your drawing.

Method. Draw first grid and label.

To use this method, you will need watercolor paper, ruler, pencil, pen, and eraser. Try to work from a black-and-white original image. Draw a grid with pen (so it’s easier to see) directly on your black-and-white template image. You can decide arbitrarily on the size of the squares in the grid, but they must fit evenly on the image. For example, with a 5X6” image you might draw 1” squares – 5 squares across and 6 squares down.

Gridded Rose.jpg

Example of grid over template, 4 squares across, 3 squares down.

When the squares are drawn on your template, LABEL the boxes on left and top, to help you keep your place as you proceed to transfer your image onto your watercolor paper (or other painting surface). You might label boxes down the SIDE with letters – A, B, C, etc. You might label boxes across the TOP with numbers -1, 2, 3, 4, etc. In this way, you keep track of the lines you are transferring from each box to its corresponding box on the second grid. In other words, if you are duplicating box E3 from your template, you will look to work on box E3 on your work surface.

Labeled Grid.jpg

Labeled grid.

Figure and draw second grid, then label.

To create your second grid, determine the final size of the picture you want. Then you’ll need to make some calculations. Will you need to double the size of the original grid squares? Perhaps make them three times as large? What about making them on and a half times as large?

Measure and lightly draw the outer rectangle (or square, whatever your shape) for your final image. Use your ruler to determine the new size of the grid. You want the same number of squares in your second grid (not the same size as the original unless your final image will actually be the same size as your template), with the SAME RATIO of width to length. So, what size squares will fit EVENLY within your rectangle? For simplicity’s sake, let’s decide your final image will be 10’X12”. This would make 2” grid squares a good choice. Lightly draw out your final grid with PENCIL on your paper, and LABEL the new grid in a way similar to the original grid, e.g. with letters down the side and numbers across the top.

Rose:Grid to enlarge.jpg

Example of original grid, and enlarged second grid with same proportions.

Then, square by square, transfer the same line details to the second grid, one square at a time. Follow the details, from box to box. You look at where the lines start and progress, say in square E3, and approximate the same line placement. Your aim is to recreate similar lines you “see” WITHOUT interpreting and drawing what you think you see.

Get the large shapes penciled in, then begin adding some details. Keep looking at grid labels to keep your place and check placement. When your drawing is finished, check it over. Catch any mistakes now! Smooth out lines in your image and erase grid lines as carefully as well as you can, without damaging your watercolor paper. Then, it’s time to paint!

A final lesson.

Using the grid method encourages the artist to draw what is there without struggling with concepts of how things “should” look. While the grid might seem to be a constraint, it, in fact, liberates the artist from making unintended misperceptions relating to the way they think something looks. See my related blog posts:

Painting Begins With Looking and Seeing…, published 12/18/18, https://leemuirhaman.com/2018/12/18/painting-begins-with-looking-and-seeing/ ,

Avoid Painting Lollipop Trees! (Parts I, II, and III), posted 3/13/19, 3/19/19, and 3/26/19, https://leemuirhaman.com/2019/03/13/avoid-painting-lollipop-trees/ , https://leemuirhaman.com/2019/03/19/avoid-painting-lollipop-trees-part-ii/ , https://leemuirhaman.com/2019/03/26/avoid-painting-lollipop-trees-part-iii/ .

In summary, the grid prevents an artist from changing or misinterpreting important information. A grid can help you measure relative proportions to sidestep any distortions. And, finally, the grid also insures that you observe and take into account necessary constant vertical and horizontal references.

In the next blog post, let’s move beyond the grid method to learn HOW TO DRAW and to transfer perspective and proportion using just a pencil, as a moveable, low-tech “grid” for drawing, perfect for using out doors. The method allows you to transfer what you see without any template. Keep watch!

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Ten Fun Things To Liven Up Your Art!

Don’t know what to paint? Disappointed in your last paintings and feeling inadequate? Bored with your art? Need some inspiration? Craving some creative calm? Try something new!

Here are a few things to excite you and help you change your art up:

1.) Invest in a new brush! But, don’t buy just any old brush. As a watercolorist, it’s so much easier to paint well with a decent brush! Here is my new favorite brand. Give yourself a boost with an ESCODA Versatil brush, a SYNTHETIC brush designed to have the attributes of a natural kolinsky. These brushes hold a lot of water, have a firm spring, a sharp point, plus durability. A size #10 pointed round sells for about $20 (on dickblick.com, jerrysartarama.com, or cheapjoes.com). Nothing makes play more fun than a new toy! What a treat!

2.) Take an actual (or virtual!!!) trip to a museum to get inspired. For instance, the Museum of Fine Arts Ghent, Belgium, currently has a Jan van Eyck exhibit up ( through April 30, 2020) entitled “Van Eyck: An Optical Revolution”. While the actual exhibit is closed until April 5, zoomable images can be found at closertovaneyck.kikirpa.be and on their Van Eyck page.

request.jpg

request-1.jpg

What art did you enjoy looking at? What did you especially like? Can you borrow some ideas about technique, treatment of light, or use of color to adapt to your own paintings? Track done another museum you’d like to check out. Look at the NY Metropolitan Museum of Art exhibits (https://www.metmuseum.org/exhibitions/current-exhibitions), The Worcester Art Museum (https://www.worcesterart.org/exhibitions/), or The Wadworth Atheneum Museum of Art (https://www.thewadsworth.org/), for example.

3.) Try a new brand of watercolor paper. Make sure it is ARTIST GRADE 100% cotton fiber (NOT cellulose), such as Arches, Waterford, Fabriano, Lanaquarelle, or Indigo Handmade. Most of these brands can be found online (dickblick.com, jerrysartarama.com, or cheapjoes.com). Remember that you can sometimes buy an assortment of different papers, or a pad or block of a different brand – you needn’t buy full sheets. I recently got some Indigo paper from amazon.com and am looking forward to giving it a try. These papers made of cotton absorb paint much more evenly and make it easier to paint well! They are definitely worth any extra cost. Experiment!

4.) Find some inspiration by buying yourself a new or used watercolor book to immerse yourself in. Learn about all the critical ingredients that turn paintings into art with Joseph Zbukvic’s Mastering Atmosphere and Mood in Watercolor or Thomas W. Shaller’s Architect of Light: Watercolor Paintings By a Master. Or look into the amazing John Singer Sargent: Watercolors (https://www.amazon.com/John-Singer-Sargent-Erica-Hirshler/dp/0878467912/ref=sr_1_6?crid=2FWU61E1CBLTR&keywords=john+singer+sargent+books&qid=1585064924&sprefix=%2Caps%2C162&sr=8-6). Looking to shake things up? Try Mark Mehaffey’s Creative Watercolor Workshop. Or, if you’re a beginner, check out Watercolour For Starters by Paul Talbot-Greaves, Let’s Get Started by Jack Reid, or Painting For The Absolute and Utter Beginner by Claire Watson Garcia.

zbukvic.jpg

5.) Gift yourself a new tube of watercolor paint in a color you might like but do not have. Wouldn’t Daniel Smith’s Lavender be beautiful? Try a tube of Cobalt Teal Blue, Quinacridone Gold, or Bloodstone. Fun!

6.) Look at your paints in a new way by arranging them in a round palette (see robax.com) in a color wheel format. To learn how much easier color mixing can be with a color wheel format read my recent blog post Color Choices For a Circular Palette, published 2/11/20, https://leemuirhaman.com/2020/02/11/color-choices-for-a-circular-palette/.

7.) Sign up for a watercolor workshop with a talented artist. Now is the time to plan! Get a couple of your friends to go with you, if you want, and make a day of it. I’m really looking forward to a Robert J. O’Brien workshop with two of my friends at New England School of Fine Art, Worcester, MA., http://www.nesfa-worcester.com/index.html, entitled ‘The New England Landscape’, on May 30, 2020.

8.) Or perhaps you’d enjoy taking an online workshop. Many artists offer online instruction. I have been developing several online art workshops that will be available in the near future. Stay tuned for news, or contact me to express interest. In the meantime, look at the offerings from artists Angela Fehr, Rebecca Rhodes, Anna Mason, or Birgit O’Connor. Courses are also available from Artist Network, https://www.artistsnetwork.com/, or Art Tutor, https://www.arttutor.com/classes. Some classes can also be found for free at jerrysartarama.com. And finally, YouTube has many free videos on watercolor technique.

course page image jumpstart.jpg

9.) Find yourself a new piece of art equipment to help you paint better and LEARN TO USE IT. A gray scale or value scale, for example, can help you create more dynamic and effective paintings by improving your light and dark contrast. Don’t know what a gray scale is? Read my blog post Why Should I Bother To Use A Gray Scale?, posted 5/21/19, https://leemuirhaman.com/2019/05/21/why-should-i-bother-to-use-a-gray-scale/, for more information.

Rankin's value scale.jpg

10.) Finally, try something NEW or BREAK SOME RULES! Don’t take things too seriously. Paint with some unexpected colors, or unusual color combinations. Add some complementary colors that you don’t actually see in your reference image to add interest to your painting. Or zoom in close to your subject to crop out unnecessary details. Change your viewpoint in your picture to either raise or lower the horizon line. Try looking down on your subject, e.g. painting a lake looking down from a cliff. Alter the mood in your painting, perhaps creating a more somber, dark, heavy, moody image. Or try charging your colors ON your paper (see the watercolors of John Singer Sargent, especially his images of sunlight on stone, one of which is below) to add life to your picture and prevent a flat lifeless wash. Or exaggerate your lights and darks. Above all, focus on the PROCESS of painting without worrying about (or even considering) the result.

john singer sargent.jpg

John Singer Sargent watercolor.

Choose one of the ten above suggestions to try – begin with the one that excites you most. Then try another – just keep painting or thinking about your art. Strive to keep calm through your creativity. And ENJOY your painting!

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