Painting Skies Wet-in-Wet

QUESTION:
I hope you can help me as I am getting frustrated trying to paint skys, I have just started to paint and when I try to add another colour into a sky ( wet into wet ) most of the time it bleeds into the first colour rather than blending smoothly with the first colour. Regards Steve.

SUSIE'S REPLY:

Steve, I hope I can give you a tip or two that will help. Believe me you are not alone when it comes to running into problems working wet-in-wet.

• My first tip is to experiment using less water when you wet your paper in using the wet-in-wet techniques. You do need to have the paper wet enough for the paint to spread when you stroke it onto the paper but if it is too wet the paint might travel more than you want it to.
• Second, check the amount of water in your brush as you add color (and more water) to your painting, if your paper is wet with water, and you add one color with more water then add another color with more water you colors may be overtaking the first color as the water tries to level out. Most of the time it is a water issue... either too much or not enough! It does take some practice to find a balance.
• Third, don't soak or wet both sides of your paper. Doing this does give you a longer working time but waterloged paper could be part of your problem. If you are wetting both sides, try only wetting the top surface and see if that works better for you.

When painting skies and placing one color next to another allow for the paints spreading. Leaving a white space between the two colors will give you some room for the colors to spread then as the paint starts to settle somewhat tilt the paper back and forth to allow the paint to travel and either blend or just fill in the white gap you left.

When working wet-in-wet as the paint starts to settle and the wet paper starts to loose its shine you need to pay close attention to the amount of moisture in your brushload as you continue to paint. With less water and more pigment the paint will not spread as much and you get more concentrated heavier clouds that stay where you place them. They still have a soft edge because the paper is still damp.
If you are not extremely careful about the water in your brush it is easy to get a back run or water mark (aka water blossom) when the wet brush touches the damp paper. Practice will be your best friend as you learn how to read the wetness of your paper and your brush loads.

Keep trying! The more you practice the better it will be.
SUSIE

Watermarks and Blending Off

QUESTION: Hi Susie,
I recently took your ROSE CLOSE-UP CLASS and enjoyed it a lot. I tried to practice at home and found that every time I blended with water or went back to add color to an area that was previously painted, I would make watermarks, and make the original color run and ruin everything. What am I doing wrong?
Thanks, Christine

SUSIE'S REPLY: Hi Christine! This is a common problem and a great question for me to share. Maybe we need to make a bumper sticker just for us watercolorlists that reads... Watermarks happen! I'm sure there would be many who can relate to this problem!
Watermarks (also called "blossoms" or "balloons") happen when the wetness of paint (or water) in your brush is greater than the moisture or wetness of the paint on your paper. When the water or paint you add to your paper the liquid is unequal to what's already there it will level off (spread out). This leveling process will "push" the paint particles as it levels out causing a watermark. It's actually collection of concentrated paint particles moved to the edge of the wetter area.
If watermarks are your problem, the solution is to use less water in your blending brush. Try blotting your brush to remove some of the moisture in it before you touch the paper to blend off.
I'll try to put together a new watercolor tip with photo illustrations to show what I talking about. In the mean time take a piece of scrap paper and do some blending practice exercises. It does take practice to be able to "read" your papers dampness and adjust the moisture in your brush accordingly.
I hope that helps! SUSIE

Masking Fluid

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QUESTION: Hi Susie,
I appreciate your web sites ease of navigation and helpful
information. I am shocked by how much I have forgotten
since 1976. Back in school we used rubber cement as a
masking liquid. Is this not suggested anymore?
Thanks CS

SUSIE'S REPLY:
Thanks for the kind words and encouragement! Wow, you
do have a lot to catch up on when it come to the advances
watercolor has made in the art world! How fun! About using
rubber cement as masking: you can still use it but 
there are some newer (and thinner) masking fluids available
now that are so much easier to apply. One I particularly like
is the Masque Pen. It comes in a small plastic bottle with it's
own applicator tip so you don’t even have to use a brush to
apply it. Look for it in your local art store and if you don’t 
see it there, most online art suppliers carry it.

Thanks for writing! Happy Painting!
SUSIE 

Using Fixatives & Masking Tapes

QUESTION:
Susie, I have two questions, one about finish spray for a painting, and the other about the tape to hold the watercolor in place. I sprayed some of my paintings with the spray fixative, then I tried a clear varnish enamel. That gives a beautiful finish, but what is the right thing to do? Also, I use masking tape to hold the paper, because the paper tape they recommend is so hard to take off afterwards. Thanks-Opal

SUSIE'S REPLY:
Hi Opal! I'm glad you asked me these questions!

1. I sprayed some of my paintings with the spray fixative, then I tried a clear varnish enamel. That gives a beautiful finish, but what is the right thing to do?
   The favored way to preserve watercolor paintings is to place them behind glazing (such as glass or Plexiglas) when they are framed. It is also recommended that there is a space between the watercolor painting and the glazing so that the painting does not make contact with the glazing. Using a complimentary mat usually provides this space. Framers also use a product they call "frame space" (a small strip of plastic) that is placed under the lip of the frame between the glazing and the painting if you do not want to mat the painting.
   
   Generally, watercolor paintings are not treated with a spray fixative. I'm sorry I don't have first hand knowledge to share with you since I do frame my paintings under glass or Plexiglas.
   But I can tell you an artist friend of mine does use a spray fixative for some of her larger work and recommends Golden Archival Spray Finish. She says to spray 4-5 light coats of the Golden Archival Varnish Spray Gloss Finish first then spray 4-5 light coats of Golden Archival Varnish Mat Finish. You want to do this in a well ventilated area and be sure to let the painting dry between each coat of spray.
   Then she applies a coat of Acrylic Mat medium (with a brush) to make the surface totally sealed and scrubable.
   
2. I use masking tape to hold the paper, because the paper tape they recommend is so hard to take off afterwards.
   If you are referring to the type of paper tape used while stretching watercolor paper I'm out of the loop when it comes to recommending alternatives. I don't stretch my watercolor papers. Sorry.
   If you are talking about using the tape to secure your watercolor paper while you are painting. Masking tape may be used but there is a great tape made for us called "Artist's Tape" (available at most good artists supply stores ) that is archival so its is also great for framing. It holds securely and is easy to remove. It is more expensive than masking tape but well worth the extra cost if you don't run the risk of damaging your paintings. Use it on dry paper not soaked paper.
   BTW: I don't tape down my watercolor paper before painting on it. I like to paint on loose/unsecured/unstretched Arches 140# CP watercolor paper. Sometimes I will put a small piece of artist tape on the corners to keep it in place when I using an easel or painting outside. Other artists do tape more then I do -- this is just my way of doing it!

I hope that gives you some ideas. Thanks for writing!

SUSIE
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Watercolor Paints & Papers

QUESTION:
Hi Susie -I have a few questions please. Which is better tube paint or hard paint?
And does it matter which paper you use thick or thin? Thank you for your time. Gary

SUSIE'S REPLY:
Hi Gary - thanks for your questions!

1. Which is better tube paint or hard paint? Both are good. It's a personal choice as to which is better. It depends on the style and techniques you are striving to achieve. Most watercolorists do prefer working with moist watercolor paint and many will only use freshly squeezed paint. I guess I'm probably in the minority because I do like working with dry paint. I painted with wet paint for over twenty years because I'd read somewhere or heard someone say that colors were brighter when you used fresh paint. I took a workshop with Zoltan Szabo (one of my watercolor heroes!) and discovered that he used dried paint and his work was wonderfully colorful so I decided to try the dried paint. I found my niche. Working with dried paint allowed me to get the color saturation and value I wanted without making "blossoms". Water control is often a problem with new painters and this seemed to be a helpful tip for my student too.
   I do use tube paint to fill my wells and allow it to dry rather than the pre-formed watercolor cubes (called pans) that some manufacturers offer.
2. And does it matter which paper you use thick or thin? I believe (and preach!) the most important factor to successful watercolor painting is the paper you use. There are several paper manufacturers and that produce high quality watercolor papers. Again it is a personal choice. Thicker watercolor papers (i.e 300#) hold more water so they stay wet longer and allow longer painting time. The thinner medium weight but highly adequate 140# watercolor paper is probably the most popular choice because due to availability and price. The thinnest 80# or lighter watercolor papers don't take much water so they are best suited for drier watercolor techniques and other mediums such as markers, pastels, or colored pencils.

All watercolor paper is not the same! Different brands use different fibers and sizing. Some are better than others for different applications. Experiment to find the type of watercolor paper that works best for your painting style.

I recommend and use Arches 140# Cold Pressed watercolor paper. It an economical medium weight paper with a very durable surface and works well for most watercolor techniques. I like to use it for my workshops because it is very forgivable...and allows for moderate scrubbing and corrections when needed.

HINT: Don't settle for cheap paper! Life's too short to use bad paper. Find the brand and type that works best for you. Even when learning to paint. Too many people try to learn how to paint on student grade "cheaper" paper and literally work them self into bad habits and never achieve the desired results.

I hope that helps! Happy painting!
SUSIE
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Palette layout

QUESTION: Susie, I took your landscape class and I'll be back for more. I want to set up my palette to let them dry. I checked your palette layout suggestion but I now have all of the two sets and some extras so I'm confused how to go about it. I have the same palette as yours. Thanks for any help. Sharon

SUSIE'S REPLY: Hi Sharon -- Try painting the swatches I mentioned in the previous post. As you start arranging your watercolor palette you may find you have more wells than you have paint. If that's the case, simple skip a well every so often to reserve a space to add a new color later. More often we have more watercolor paint than wells to hold them. In this case you will need to make a choice of which watercolor paints you want to include and which ones you will leave out. I do occasionally put two watercolors side by side in the same well if they are compatible won't hurt if I get a tiny smidgen of each when I load my brush. (Example: Ultramarine and French Ultramarine)

Remember you can always squeeze a dab of fresh paint if you decide need it for a painting.

TIP: For dry paint: When filling your palette, layering the paint and allowing it to dry between layers will keep it from cracking as it dries. I usually have 3 or 4 layers. It takes a little longer to add the layers but they do dry faster when the paint is spread thinner.

Good luck! Enjoy squeezing that paint!
SUSIE

Here is a suggested layout or arrangement for the Richeson Watercolor Palette
You are welcome to print a copy!

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Color Wheel Placements

QUESTION: Susie,
I have both the Susie Short basic 7 set of split primaries and the "intermediate" set from Daniel Smith. My question is how do I know where the intermediate set fits in on the color wheel--in other words, is there a way to tell if Quinacridone Coral is warm or cool? Do you have a handout that shows how those colors fit in?
Thanks --- Judi

SUSIE'S REPLY: Hi Judy, Thanks for your question. There is not a hand out for placement of the intermediate colors on a color wheel. I do have a recommended palette layout for watercolors on my website that includes most of my colors by Daniel Smith. (It's rotated for easy printing.)
One of the best ways to determine if a watercolor paint is warmer or cooler than it's neighbor is to paint a little postage stamp size swatch of each and compare them. If you still can't visually see the difference, try mixing a secondary color with it. For example: If you were testing a red (like Quinacridone Coral!) mix an orange. If you get a pretty clean orange instead of slightly dirty looking orange then the red doesn't contain blue and would be considered a warm red. For secondary colors you simply need to visually compare them to each other, no mixing required.
BTW: Quinacridone Coral is a nice warm red. Compare it to Quin Rose or Quin Pink which both have a touch of blue in them.
HINT: If you make swatches of all the colors you plan to put in your palette you can arrange these little color swatches in the order you want to place them in your palette. Its easy to make adjustments and rearrange them "before " you squeeze out the paints.

I hope that helps! Thanks again for your question!
SUSIE
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Beginning Watercolor DVD

QUESTION: Hi Susie, First of all, I love your paintings!!!!!!!!!! I could only hope to be as great. So, my question! I have just broken out my watercolors after many years and would love to start out with one of your instructional dvd's. What do you suggest that is on a beginner's level? Thank you, Paula Davis

SUSIE'S REPLY: Hi Paula, Welcome back to Watercolor! Many say its like riding a bike --once you re wet your brushes it all comes back. I hope that is true in your case! And thanks for the compliments on my paintings! There are a couple of the DVDs that are not too complicated for re-starters/beginners. Painting Iris and Painting Sentimental Roses take you through the paintings step by step. Beyond the Sunset/ Watercolor Skies is also a good one to start with. If you practice painting skies you have background for several landscapes.

This fall I will have a new elesson available for beginners that includes color mixing, color theory, simple brushstrokes and basic watercolor techniques. It should also serve as a good review for those artist who have been away from their art or who are transferring to watercolor from another medium. Watch my website for its availability.

Enjoy your journey!
SUSIE
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More Watercolor Terms

Color Basics in a Nutshell

QUESTION: Susie, what's the definition of hue vs color? Are they the same? Thanks! Sally K.

SUSIE'S REPLY: Hi Sally! Simply speaking yes, they are the same.
Here is a list of definitions of commonly used terms as they relate to watercolor.

• Hue -- The name of a color, such as red, blue, yellow, green, orange, etc.
• Intensity -- The strength, brightness, or purity of a color; its chroma.
• Saturation -- The measure of brilliance or purity of a color.
• Value -- The lightness or darkness of a color; pure colors will vary greatly in value.
• Temperature -- The warmth or coolness of a color; also relative terms in comparison to other colors in context.
• Primary Colors are those hues that cannot be mixed from any other colors-- red, yellow, and blue. From these primaries, most other colors can be mixed.
• Secondary Colors are the resulting hues of mixing two prima ries in equal amounts.
  (R+Y =Orange, Y+B=Green, B+R=Purple)
• Intermediate Colors are products of mixing one primary and a secondary.
  (R+O=Red-Orange, Y+O=Yellow-Orange, etc.)
• Tertiary Colors are products of mixing two secondary colors.
  (O+G, O+P, G+P, etc)
• Complementary Colors are two hues directly opposite each other on the color wheel.
  Complement to a primary color is the combination of other two primaries.
  Complement to Red is Green (Y+B),
  to Yellow is Purple (R+B),
  to Blue is Orange (R+Y).
• Neutral Hues are the results of combining all three primaries in various amounts, thus neutralizing the intensity and saturation of a hue. Combining a primary with its complement results in a neutral hue.

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warm vs. cool

QUESTION: Hi Suzie, This question concerns "warm vs. cool" colors. If yellow is the "warmest" color on the pallet , and assuming it come in both a warm and a cool version...does the warm version have more red in it? How can that be if moving toward red is moving AWAY from the warmest color (yellow) ? Thanks for your thoughts! Holly

SUSIE'S REPLY: Hi Holly!
I'm happy to share my understanding of "warm vs. cool" with you.
Using a visual color wheel for reference; I believe the warmest color is red-orange and the coolest is blue-green. Let me offer this brief explanation:

• Both red and yellow are commonly considered warm, while blue is unquestionably cool. More specifically, warm and cool colors are relative to where a color falls on the color wheel. The warmest color is red-orange and the coolest color is blue-green. Everything between those two points has a slightly warmer color on one side of it and a slightly cooler one on the other. Its neighbor is either warmer or cooler depending on the direction you go around the color wheel.


• For my basic palette I use a split primary palette, working with a warm and a cool of each primary color. (WR/CR - WY/CY - WB/CB) All secondary hues are mixed from my carefully selected (split) primary colors.
  
  When comparing any two colors of the same hue - one will probably be either warmer or cooler than the other. If you are comparing two yellow hues, the color with more red is warmer than the yellow with more blue in it. If you continue to move around the color wheel toward red the yellow turns into yellow-orange then orange then red orange before you get to the warm reds and to true red. [True red contains a tiny bit of both warm red (hint of yellow) and cool red (with a hint of blue.)]
  If we continue around the color wheel we move from true red to the cool reds and move into the purples as we add more blue.

Blue hues are the most controversial ones! There are differing opinions about blue-greens being cooler/warmer than blue-violets and vica-versa.
I find for me personally it is easier for me to comprehend and understand if I look at the color wheel and see where a color falls. If it is closer to red-orange than it is to the blue-green then it is a warmer version of the hue.

Keep in mind.... "no matter what hue the color is, the color temperature (or the warmness or the coolness) of a color is relative to what you compare it too.

I'll be posting more thoughts on color theory. Click here to read "Some Thoughts on Color: Working with a Split Primary Color Palette" an article I wrote for "Inksmith" published by Daniel Smith.

Thanks for your question!

SUSIE
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Stretching Watercolor Papers

QUESTION: Hi Susie, I am so new to watercolor, that when I read my first book and it told me to soak my paper in the bathtub and stretch it before painting I was stunned! I quickly read through several other books and some say yes, some say no. I am just back from Italy where I picked up some wonderful (I think) watercolor paper and watercolor pencils because I wanted to paint what I saw there. I have painted in oils before, and love them, but this is very foreign to me. So many questions. If my paper is small - or long and thin, and I am using watercolor pencils rather than brush and paint, should I still stretch it? What kind of surface do I stretch it onto? Is there a special 'board' to buy, or just a hunk of plywood? Also. Would I be happier with my results of I paint my images, or will the pencils do just as well? Do you have any favorites for paint or pencils? And do you ever travel to Minnesota for a workshop? I looooooooove your work and would love to take a class from you but not sure how I could work out a trip to Washington. btw, do you have the costs of your workshops posted somewhere too? Wow! A lot of questions. I will patiently wait for the answers. (ok, I will try :D ) Laurel/Minnesota

SUSIE'S REPLY:

Hi Laurel! You've asked some good questions! Let's address them one at a time.

1. If my paper is small - or long and thin, and I am using watercolor pencils rather than brush and paint, should I still stretch it?
   No, it is not necessary to pre-stretch all papers before you paint on them with watercolor. This is especially true if you will be using watercolor pencils. Anytime you are using paint and a brush with very little water while painting there is no need to stretch the paper. Those speciality papers you mentioned may not respond well to the stretching process either.
2. What kind of surface do I stretch it onto?
   Artists who religiously stretch their watercolor paper seem to each have their own special supports to recommend. Plywood could be used but there are other options that are lighter in weight and easier to manage. Some artists like to use "gator board" which is like a heavy duty foamcore. What you want is something that is rigid and unyielding to the pressure of the paper as it shrinks and tightens.
   [In the stretching process the soaked paper is expanded and secured so that when the paper dries the paper has a taunt surface. This stretched/taunt surface will not buckle or wrinkle when wet paint is applied. The wetter the paint the greater the expansion and possibilities for resulting buckles.]
   Some artists like to tape their watercolor paper down to a board without stretching it first -- just to hold it in place while they paint. They get a nice clean edge around the edges when the tape is removed. Taping unstretched paper does not help with buckling.
   As for me, I never stretch! Some artists might call me lazy but I don't like to spend the time to stretch my paper. I go through so many pieces of paper each week that if I did stretch my paper I wouldn't have time to paint! I don't stretch my paper and I don't attach it to a support by taping or stapling. If I decide I need to paint with the paper at a slight tilt to achieve a certain effect I might put a couple of thumb tacks in the top corners to keep it from sliding while I work. By not restricting the paper it can expand when it's wet and contract again as it dries without buckles or wrinkles. It will stay relatively flat as it continues to dry.
3. Is there a special 'board' to buy, or just a hunk of plywood?
   There are some special "stretching" boards an the market. You might check the online art supply store to see what they have to offer.
4. Would I be happier with my results if I paint my images, or will the (watercolor) pencils do just as well? That is going to be a question for you to answer! It depends on what you want the end results to be and you own unique painting style. I think you will like to use both methods for different applications and unique situations. And there is nothing wrong with combining the two!
5. Do you have any favorites for (watercolor) paint or (watercolor) pencils?
   I do have favorites that I find myself returning to again and again. I'll share my favorite watercolor paints and watercolor pencils and brands in another post. What I do recommend is that you use the best you can afford. Professional or artist quality is preferred over student quality. The best doesn't always mean the most expensive either. Start out with a few basic colors and add to them as you have the chance.
6. And do you ever travel to Minnesota for a workshop?
   I don't have anything planned but would welcome the opportunity to hold a workshop in your area. If you belong to an art group that would be interested in hosting a workshop have them contact me susie@susieshort.net. I'll be happy to send them a copy of my rates and workshop topics. Thanks for asking!
   

That's a lot of questions for one post. I hope this answers most of them. Thanks!

Happy painting! SUSIE
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Palette & paint question...

QUESTION: Hi Susie, I'm confused. Some books say to only use dabs of fresh paint and others talk about keeping paints moist in their palette wells. But what do you do when they dry in the wells? Also, I am confused about what artists do once they finish a painting and move on to another. If I try to wash the paint off, the water gets in the wells and wastes the good paint. What do most artists do with the leftover paint in the mixing areas of their palette? Thank you. Mary

SUSIE'S REPLY: Mary - There are several answers to your paint and palette questions.

• Many artists prefer to squeeze out fresh watercolor paint for each new painting and simply discard unused and polluted colors when they finish.
• Others choose to squeeze a generous amount of paint into the wells and carefully wipe the mixing area with a sponge or paper towel being careful not to get extra water in the wells when cleaning their palette. They also try to keep the paint moist between painting sessions by misting them with water and/or placing a damp sponge in the mixing area before they cover the palette.
• I prefer to paint with dry paint (tube paint squeezed into the wells and allowed to dry hard) and I rejuvinate the colors with a wet brush as I need them. By allowing the paint to dry I have far less wasted and polluted paint washing down the drain.

My painting methods and techniques do differ from many of the watercolor books and instructors. I don't think there is a wrong method, if it works!

As for what to do with the left over paint in the mixing area. I prefer to discard it. Unless I'm painting a series using the same colors I'll want to start with fresh colors anyway. AND I don't clean my palette immediately (while the paint is damp) I like to wait until the next time I paint then wipe away the dried used paint with a damp paper towel or a sponge. This allows me to pick up any splashes of dried paint that may be sitting on top of another color in my palette with a dampened brush. I find I don't have as much waste this way. I only take my palette to the sink and rinse it when it is really full of messy polluted cross-overs. Even then I have very little paint loss.

I hope that helps. You should find what works best for you and your painting style... it just takes practice and LOTS of it!
Good luck and enjoy the process!
SUSIE
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Preserving "whites"...

QUESTION: The question I have that I guess most new painters have is how do you keep the white, "WHITE" while painting around it with other darker colors. Without bleeding in color where you don't want it ..is there a easy trick? Thanks -- Dave

SUSIE'S REPLY: Dave -- Many artists work from light to dark and put in the darkest darks last to keep them from bleeding or smearing. One tip I appreciated when I was just starting out was to reserve my darker true reds until the last few finishing strokes of the painting. Most red pigments bleed easily and are hard to clean up. Probably the most popular solution for artists is to use Masking Fluid (also called Misket or Drawing Gum) which is a liquid "rubber cement" type of resist that is applied over the area you wish to preserve. You just paint over the masking (when its dry) and remove it by pealing it off when the paint is dry. A piece of drafting tape cut to fit the area will also save the whites while painting darker colors around it.
There are other types of resists but these are the most commonly used "helpers".
Warning: Using masking fluid can be habit forming! Be careful that it doesn't become a "crutch" when used too often or is always your first choice for reserving whites.
Nothing is better at developing your skills and watercolor techniques than lots of painting and practice.
Thanks for your question! Have fun as you start your watercolor journey! SUSIE

Watercolor paper buckles & wrinkles....

Question: Susie, when I work wet-in-wet my paper buckles or wrinkles and I end up with big puddles of water. Even stretching doesn't help. What am I doing wrong? -- Nancy W

Susie's Reply: Simply put - the problem is too much water Nancy. Even when your paper has been stretched there is still a limit as to how much water it can hold when you rewet it. If you are wetting it with a sponge or large brush to work wet-in-wet you might be using too much water in this step. Then when you add more water (mixed in your paintbrush when you add the paint) the paper doesn't have room for more water so it puddles. Wrinkles or buckles happen when the paper expands unequally. In other words, it expands more in the center where the water pools than on the outside edges. Try using a heavier paper and/or less water in your paint mixes.

I hope that helps!
SUSIE
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Vignette ? ...

Question: "Hi Susie, I am searching for a definition of the term "vignette". I was told by a former art teacher that it is a painting that has color touching all sides (in some irregular fashion) and leaving a lot of white. The dictionary does not support this. I googled for meanings. Photos fade to white in a planned pattern. Is there an art definition that matches what I stated above? Or is there another definition for art work? Thanks " GA/Arkansas

Susie's Reply: This is my interpretation for the term "vignette" as it relates to art and painting. Technically, in a complete vignette the subject is totally surrounded by white paper. In partial vignettes the painted area is touching the edge on the sides and the top and/or bottom. When I think of a vignette I think of a painting that doesn't cover the corners but does randomly touch at least 3 out of the four edges. In other words the corners (and possibly the bottom) are left unpainted.

Guidelines for good composition should be followed when "vignetting". The configuration of the corners (the part left unpainted) should be different but still interesting from each other. Transitional areas for movement from positive to negative spaces within the painting should incorporated. Even though vignettes are often thought of a quick studies they have great potential to generate interest and excitement.

Thanks for your question! If I find a better answer somewhere in my notes I'll post an update.
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Welcome to my new blog!

Hello!
I'm excited about this new blog! I hope it will become a handy tool for us to share many watercolor questions, suggestions, problems, successes, concerns, and achievements.
I welcome your participation. As I am a full time watercolor artist and watercolor instructor I will certainly need to pace myself and set reasonable limits to the time I spend here but I'm excited to have this means to communicate and share my love and understanding of this fantastic medium. Hopefully it will evolve into a resource that will be benificial to many of you on your watercolor journey.
I welcome your comments and questions. As the archives begin to grow please check for previous posts on topics that may be of help as you travel down your own path in the pursuit of watercolor painting.

Happy Painting! Keep those brushes wet!

Susie Short

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