Ask Susie - Watercolor Q & A

Using Acrylics and Watercolor Together

2012-01-26T14:37:00.000-08:00

QUESTION: Could I spray my watercolor background with an acrylic then paint on top with acrylic paints? Alicia

SUSIE'S REPLY: Thanks for writing!

Acrylics and watercolor are both water soluble and considered water based mediums.

Once an acrylic dries it becomes a type of plastic and is no longer water soluble.

You can paint acrylics over a watercolor base or background without any problems. There is no need to spray the background first. However, you can not paint watercolor over an acrylic background without creating some issues. These issues may or may not be a problem. Usually watercolor, being vulnerable to moisture needs to be protected from exposure. A clear acrylic fixative would be recommended to protect watercolor over acrylics.

Having said that, I need to add that the more watered down the acrylic is the more acceptable it is to a watercolor glaze over it. On the other hand, if the acrylic under painting is thick and not porous it will be difficult for watercolor to stick to it.

There are several outstanding artists who do combine acrylics and watercolor very successfully.

Good luck in your adventures!

SUSIE

Gum Arabic and Acrylics

2012-01-26T13:47:00.000-08:00

QUESTION: Hi Susie, could I use Gum Arabic as a retarder for Acrylic Painting. I do like to work wet with my acrylics so that I can get better blending in my painting. I do have a retarder but i would like to try another form of keeping my paints wet. I am not into watercolours yet as I am still in the learning stages. Thank you for your advice Vera S

SUSIE'S REPLY: Hi Vera, I'm not a chemist but I don't think gum arabic would make a suitable retardant for acrylics. It's used as a binder in watercolors because it dissolves with water. I'm sure if it worked well with acrylics it would be promoted and sold by the acrylic manufacturers.

Keep painting and learning! Practicing and painting every chance you get helps you learn from experience.

Thanks for writing!

SUSIE

Buckling paper on Watercolor blocks

2012-01-26T13:22:00.000-08:00

QUESTION: Susie, I have a problem. Almost a year ago I bought 140 lb, cold pressed, 16"X10" 'The Langton' block by Daler & Rowney. I stored it well for 11 months. yesterday when I tried to paint on it the paper buckled up also it dries very fast and is almost like bloating paper. I never had this problem before.

I sent a mail to D&R about the problem but no reply yet. It's been 11 months since I bought it so the dealer refused to replace it. .

Tried to stretch it. I didn't sock it for 10 minutes but sprayed some water until it's fully wait then wiped it and taped it to the board. Didn't work at all. Is there any other way?

Colombo, Sri Lanka

SUSIE'S REPLY: Thanks for writing.

You say you haven’t experienced this problem before, have you always used this same type of paper? Or is this a different paper brand?

Just because it is 140# CP doesn’t mean it will work the same or is equal to other 140# CP brands.

I’m not as familiar with the 140# Langston block as I am Arches 140# papers but perhaps I can offer you some suggestions.

Please forgive me if these points sound basic or over simplified but since I have no way of knowing how much you know I’ll approach these hints as if you were a beginner minimal experience.

· When watercolor paper is wet the fibers expand and if the paper is tacked down or sealed around the edges it will wrinkle or buckle.

Many artists soak and stretch their watercolor paper as a way of dealing with this issue.

· Watercolor Blocks are designed to paint on without stretching the paper. Watercolor Blocks are sealed with a glue around the edges and are designed to paint on without stretching the paper. Because there is no allowance for expansion when the paper is wet (causing buckling) blocks work best when using dry brush techniques which require less moisture thus less expansion/buckling.

· For best results for painting on watercolor blocks (by any paper manufacturer) use techniques requiring less water.

The traditional recommendation would be: If you will be working wet in wet, remove the paper from the block, fully soak the paper by submerging it in water then stretch it by tacking and taping the edges so it dries taunt.

My personal choice: I don’t stretch my paper, I prefer to keep it loose so I can rotate it as I paint and I do work wet in wet without buckling. When the paper is loose it can expand and contract at will. If it is tacked down (without being stretched-including glued edges as in the wc block) it doesn’t have room to expand when you wet it. I might use a clip or tack to hold the paper in place if needed.

I’m not sure I helped with the buckling issue you experienced when working wet in wet. I do believe you can use the paper if you use less water and more dry brush techniques.

Every type of paper, every brand of paper, has different traits and personalities. Not every type/brand is suited for every painting style.

I hope that helps.

Keep on painting!

SUSIE

PS. Joan asked: Concerning the buckling problem, couldn't she iron the one she is concerned about? Since she can't fix it any other way. I would use a towel maybe dampened a bit to try and get it to lay flat.

Thanks Joan! Yes, a medium warm iron will help to flatten the buckles. I usually dampen the back of the entire painting using a damp paper towel, making sure I also get the edges damp not just the middle where the wavy area might be more obvious, allow the paper time to expand. The wc paper will be limp and a little floppy. Then protect the wc paper with a layer of paper such as a brown paper bag torn open to a single layer when you start to iron the wc paper. The heat from the iron will help the fibers shrink back into place evenly. Using gentle pressure helps the process too.

Different paper for better results

2012-01-11T15:04:00.000-08:00

QUESTION: Hello, I am trying to do a somewhat abstract painting with watercolors. I am using 140 lb. canson watercolor paper. I am pre wetting areas and then applying the color so it will spread randomly. However, I don't even have that much water on the paper but It fuzzes up and starts falling apart. Would bumping up to 300 lb. watercolor paper help? Colin

SUSIE'S REPLY: Hi Colin,
You might want to try another brand of paper. Just because the weight of the paper is 140# does not mean they share the same equality. Bumping up to 300# Canson will not guarantee a better outcome.
The sizing and cotton pulp is the same in the 140# and the 300# of Canson.
Try Arches 140# CP or Stephen Quiller 140# CP by Richeson
Both of theses papers will hold up when soaked in multiple applications.
I hope this helps!
SUSIE

Good paint? Bad Paint?

2012-01-11T14:36:00.000-08:00

QUESTION: I received two new 37ml tubes of Winsor-Newton watercolor paint -- squeezing the tube I do not get paint initially but an oily fluid -- is this paint at the bottom of the tube usable. Cad Red and Cerulean Blue - Ray T

SUSIE'S REPLY: Hi Ray! The amber oily looking fluid is gum arabic. All brands of tube watercolors include water soluble gum arabic as a binder. Sedimentary pigments do settle and separate somewhat in the tube when they sit on a shelf or in your paint box for a while. When you first open a tube of paint and see the gum arabic at the top put the lid back on the tube and shake or knead it a little to mix it back into the pigments. Using a toothpick or straightened paper clip to stir the paint in the tube has also worked for me to mix it back into the paint. The pigments remaining in the tube are not harmed by having less gum arabic but they may solidify and harden in the tube if they are not used for a while.
Cadmium Red and Cerulean Blue are both sedimentary pigments so I would expect to see some settling in the tubes.
I like painting with dry paint rather that freshly squeezed paint so this is no longer an issue for me. I prefer to squeeze the whole tube of paint into my palette well, stir it up to reintegrate the gum arabic and allow the paint to dry in the well before I paint with it. It works very well for my style of painting.
Thanks for your question! Happy Painting!
Susie

Painting Watercolor on Canvas

2011-12-04T15:04:00.000-08:00

QUESTION: Can you paint watercolor on canvas? Any special preparation or tips?

Thanks! Kathy, Duluth, MN

Susie's Reply: In a word...YES! And you guessed correctly, raw canvas does need to be treated or preped for the watercolor to adhere to it without soaking into the canvas. Gesso is widely used as a ground applied to canvas to prep it for painting but regular gesso is non absorbent and doesn't work for watercolor. Daniel Smith developed a watercolor ground that makes it possible to paint with watercolor on almost any surface.
You'll find out more about this new product on the Daniel Smith website:
http://www.danielsmith.com/Item--i-284-055-001

Just a little disclaimer: I don't work for Daniel Smith, I recommend their products because I believe in them and I am familiar with the products I recommend.

There is also a watercolor canvas made especially for watercolor by Fredrix. It's available in pads, stretched canvas, and mounted on watercolor boards. Most art suppliers carry this product.
I have experimented with painting on watercolor canvas and had fun trying new techniques. As I said it was fun, but not a suitable substitute for my signature style of painting. Try it you may like it!!!

Thanks for writing Kathy! Let me know how you like these products if you try them!
SUSIE

Watercolor Brush Question

2011-12-04T13:57:00.000-08:00

QUESTION: Brush Question I just purchased your waves video in addition to Painting Sentimental Roses. I want to know exactly what brand and type of Daniel Smith round brushes you used in the painting waves demonstration. Thank you so much! KW

SUSIE'S REPLY:

I use the Daniel Smith Platinum Series 23 Multi-Media Synthetic Round # 10 and #8. Here is a link to the DS site.
http://www.danielsmith.com/Item--i-G-657-010

They are very reasonability priced so I recommend getting two of each size (#10 and #8) They will last twice as long if you alternate using them.

To some artists it looks like I abuse my brushes...I prefer to say I make them work for me. I scrub and lift and splay the bristles to create textures. If the tip loses its point, these are cheap enough to replace it with a new one and use the worn brush for those rougher techniques.

I do have a couple of sets of brushes on my site for convenience but my supply is very limited. I package my favorites for my students so they can order them when they order the DVDs.
I do mark them up slightly since I don't get much of a discount from DS. http://artstore.susieshort.net/brushes.html You probably get a better price per brush by ordering from DS directly.
Thanks for asking!
Happy Painting!
Susie

Setting up a new watercolor palette

2011-02-21T18:13:00.000-08:00

QUESTION: Susie, I have read your tips on setting out the watercolors in my brand new palette. I will follow the ideas of using the colorwheel to fill the wells (84) with empty wells in between to fill as new colors are added. Do I add glycerin and water to the colors as I put them in the palette wells? Do I empty the colors straight from the tubes into the palette? The palette has a cover, so that will help to keep the colors dust-free. Thank you for your help. I look forward to your advice. JHY

Susie's Reply:
Hello!
Thanks for writing! Before you squeeze out any paint check the tube to see if the paint has settled and separated. The binder in watercolors is gum arabic and it is clear gooey stuff that sometimes rises to the top of the tube if the tube has been setting for a while. You may need to kneed the tube or turn the tube upside down for 24 hours to let the pigments re-mingle with the binder.
When setting up the new palette squeeze the paint directly from the tube into the wells. You do not need to add anything to the paint. Some colors will be wetter than other colors naturally.
I have better luck when I fill the well about half full then stir the paint with a toothpick to evenly distribute it and make sure all the tiny air bubbles pop and the gum arabic is mixed in well. Allow it to dry then add more paint to fill the well. Stir to mix and level off the paint in each well. Leave the cover off to speed up the drying time. Dry it completely before using it if you have time.
When you are ready to paint, simply dampen the colors with your brush as you use them. Some colors will reconstitute easier than others.
DON’T spritz the whole palette with water to prepare your paint for painting. That will break them down and make the paint crumble.

84 wells will hold a lot of paint choices. Have fun!

SUSIE

PS. I forgot to add if your watercolor paint is a brand that contains honey it will not dry in the palette wells, it will always remain tacky and gooey. That type of paint is formulated to remain damp so it will not work for this suggested setup.

Easy Christmas Cards with Masking Fluid

2010-11-29T11:53:00.000-08:00

Hi Susie,
Help! I want to paint my own Christmas cards this year and I'm running out of time!
I am not totally new to watercolor but I am new to the use of masking fluids. What tips can you give me to to create a card using masking fluid to reserve the whites for the snow. I need ideas to get me going. Thanks. EJ

Hello EJ -- Good for you! Hand made holiday cards are always welcome and appreciated!

Here are a few tips:

If you are using the packaged blank cards (precut with envelopes) be sure the paper will support a wet application.
When shopping for blank cards look for cards made for watercolor or use standard watercolor paper cut to the size you need to fit your envelopes.

Masking fluids are a great way to reserve whites when painting Christmas cards. There are several brands of masking fluid available in many art stores, some are clear and some are tinted. They are similar in how they are applied and how they work. Use what works best for you.

As for ideas and inspiration, I have a new Winter Landscape card lesson using masking fluid on my website. It's free to print for your personal use.

Let me know what you think!

Happy painting!

SUSIE

Colors of a mountain lake???

2010-10-21T11:06:00.000-07:00

Question: What colors do you mix for a mountain lake? Trying to watercolor a photo of a mountain lake in Yosemite. Angela

Susie's Reply: This question doesn't have a definitive answer. There are several color options and several factors to consider when painting still water as you would see in a mountain lake.
Unless the water is merky from algae or muddy from recent rains the water itself is grenerally clear and without much color. What influences the color of the water the most is the reflections of what is around it. Deep water is usually darker and more reflective than shallow water where you can see the bottom.
I know this answer may seem a little vague but without seeing your lake and what's around it I'm not sure what colors to suggest. I can tell you that I would use the same colors I used to paint the trees and mountains around the lake.
Another factor that influences the what we see in a reflection is the angle of incidence or the location of the eye of the viewer vs. angle of reflection located on the surface of the water. If we are looking down into a lake what we see is quite different than what we see if we are standing closer to the water level on the shore of the lake.
In most cases the color of the water is a darker value than the local color of its surroundings.
I know this doesn't give you a "formula" to mix up before you paint the water but I hope you can look at the colors surrounding your lake and see what you might use to create an illusion that pleases you. Have fun! And don't get discouraged if you don't get it right the first time ....try painting another. Let me know how it goes....and don't hesitate to ask again if you need more specific input.
Keep those brushes wet!
SUSIE

What's your brush for painting skies?

2010-05-02T14:48:00.000-07:00

Question: Susie, I have your dvd on clouds, which is fantastic. Can you please tell me what brush you use. It looks like it is about 1-1/2 to 2". I bought one, but it is too thin and leave streaks (I paid quite a bit for it). Thanks. Pat
SUSIE'S REPLY:
Hi Pat,
The brush I use is a cutter-type brush made from hog bristles (once used by sign painters to “cut” in sharp letters).
The industry stopped making this type brush since most signs are now digitally made. So the brushes were hard to find.
Daniel Smith listened to my plea and started making this brush for me and my classes. They call it the Susie Short chiseled tip watercolor wash brush and they sell them in their catalog and online. http://www.danielsmith.com/
I sell them in my little artstore too. But the price is better on the DS site since I buy my brushes from them then add a little mark up.

Truth be told I use this brush for 75% or more of almost every painting I do. It’s a good size for all washes and under paintings.
And it’s great for foliage and texture when using dry-brush techniques.

Thanks for writing! And have fun painting those skies!
Keep those brushes wet! Susie

Watercolor Pencils

2010-03-20T14:43:00.000-07:00

Question: As a complete beginner - aged 78 - can you tell me if it is possible to erase watercolour pencil? Thanks! Patricia

Susie's Reply: Welcome to the Wonderful World of Watercolor!! Don't be afraid to jump in with both feet!
For the most part, depending on how dark and how much pressure was used when applying, watercolor pencils are not entirely erasable with a standard eraser. You can moisten the marks and get them to dissolve almost entirely with some gentle agitation provided you are using good quality paper. Marks made with watercolor pencils on damp paper are even more stubborn to remove.
There are some good instruction books on using watercolor pencils that go into much more detail as to what they will do and how to use them. For me personally I love to use them to draw in a light sketch for placement or to add a vein to a flower or a whisker on a critter.
Enjoy your journey!
SUSIE

Watercolor on a Cruise

2010-03-20T14:14:00.000-07:00

Hi Susie, I am just wondering if you have ever considered giving lessons on a cruise ship. If it was in Jan or Feb I'd be first in line!!! That would be awesome! Thanks,Lenore

Susie's Reply: YES! I'd love to teach watercolor lessons on a cruise ship! I'll have to look into that and see how we can make that happen!

Anyone else interested? Let me know!
SUSIE

Thining masking fluids

2010-03-20T14:09:00.001-07:00

FYI: Masking fluid also known as drawing gum or liquid frisket is used to reserve whites when painting with watercolor.

Question: When masking fluid gets thick how can I thin it so it can be used again?

Susie's Replay: Unfortunately there is not a simple answer to this problem. I find than most masking fluids have a relatively short shelf life once they have been opened and exposed to air. Most manufacturers state the shelf life for masking fluid is +/- 12 months.
Depending on the formula used to make the masking fluid (most are made of latex with ammonia added as a preservative) you might try adding a drop or two of pure ammonia (not ammonia with soap added.) Sometimes a drop of water will work, but not always. Test first! Try thinning a small amount in a separate container so as not to destroy the whole bottle of masking.
My best advice is its better to be safe than sorry..... if in doubt as to whether using old masking will work as it is intended don't risk it on an important project. If you are just experimenting and playing with the paint then you can afford to take a risk.
If possible check with the manufacturer of your brand to see what they recommend.

Thanks for your question. I'd be interested to know if you find out there's a better solution.
SUSIE

Painting backgrounds

2010-03-20T14:01:00.001-07:00

Question: Hi Susie, I have been painting for a while but still have a problem with background painting,it looks splotchy, even tho I try to keep the edges wet as I go but painting around the painting is the problem. Joan

Susie's reply: Hi Joan!
Without seeing your work its hard to say what you could be doing wrong, but I can almost bet the splotchy look you are describing is caused by unequal amounts of water in your brush and on your paper. Try working on a smaller limited section...blending off as you go and try not to paint near a damp area. In other words skip around and allow the areas to dry before you paint next to them. Learning how to "read" how damp your paper is and whether adding more moisture will create unwanted blossoms or balloons is an acquired skill that comes with practice.
Another tip you might try is to paint at a slight slant so your paint creates a small bead at the bottom of where you are working. Then when you add your next stroke the bead falls into it keeping the flow going and the painting smooth.
Still another tip would be to blot or test your brush before you add a stroke into a damp passage to make sure that the moisture in your brush and the moisture on your paper are equal.
Again practice will help you learn what to look for and how to avoid splotchy areas.
Don't give up! Keep painting!
SUSIE

Painting backgrounds - to paint or not to paint?

2010-03-20T14:01:00.000-07:00

Question: When painting Flowers, does the Background always have
to be painted; or can it be left white?
Tend to be afraid of doing Backgrounds, as I'm just learning. Lois

Susie's reply: Hi Lois! It's not always necessary to paint the background. It can be left white (unpainted) and still be very striking. Many botanicals are left white. After all, white is a color and just because a background is white doesn't mean that the painting is unfinished.
If you are afraid of doing backgrounds behind the work you've done on the flowers try painting the background first. A background does not have to be dark or detailed, sometimes just a hint of color or texture adds just the right touch.
As with most things we learn to do when painting in watercolor, repeating or practicing will be beneficial to getting over the hurdle as we continue on our painting journey. The more we paint the better we get!
Don't be afraid the to try painting backgrounds, sometimes once you to get the background painted, the painting is half done.
On the same hand don't be afraid to leave your background white. Let it be your artistic choice.... you do have a license!

Happy painting!

Suggestions for Tropical Colors of the Ocean

2010-03-20T13:43:00.000-07:00

Question: What colors would you use to get the beautiful colors of the ocean, especially the turquoise tropical waters ? I have the hardest time getting them real ! Thanks so much !
CW

Susie's reply: There are so many beautiful blues and greens available in many brands of watercolors. And when you combine these colors the possibilities are almost endless. My personal favorites for the painting tropical waters include: ultramarine turquoise, cobalt teal, cobalt turquoise, Antwerp, cerulean, manganese blue hue, rich green gold, and veridian. When I use these blues and greens along with the other colors in my palette and allow them to mingle on wet paper I am amazed at the results. I believe one of the secrets is to not over mix these pigments in your palette. When they mingle together on wet paper the results are usually better and anything I can mix up on my own.

I hope that helps! Have fun! Happy painting!

Undertones and Color Bias

2010-03-20T13:17:00.001-07:00

HOW CAN I TELL THE BIAS ,OR UNDERTONE, OF DIFFERENT WATERCOLOR PAINTS? --Peter Russell, UK

Susie's Reply: Great question! I will try to answer this one as simply as I can. First of all, we all see color differently. When we talk about a color being biased we're talking about the color we see "within" this color. In other words, when we look at something that is yellow in hue and it looks a little greenish then we say the yellow is biased to green. On the other hand if they look at something that leans towards orange rather than green then we say it is biased to orange. We can also say that the yellow has orange undertones. Sometimes the bias or undertone is not obvious to the naked eye. A true color will often contain traces of other colors that are not as easy for us to detect.
Let's look at red. If you combine the cool red (quinacridone rose containing blue undertones) with a warm red (pyrrol scarlet containing yellow undertones) the resulting hue will be a true red. True red contains small traces of both yellow and blue. The best way to determine the bias or undertone of any primary color is to test or mix it to create a secondary hue. If we continue to use red as our example, when we mix the red we are testing with yellow to create orange, if the resulting orange is clean and clear then our red was biased to yellow. Had it been biased to blue the resulting orange would have been murky or dull. If we mix the same test red to create purple by mixing it with blue if the resulting purple is clean and clear then we could conclude that the test red was biased to blue.
Because true hues of each of the primaries colors do contain traces of the other two primaries creating clean secondary colors is almost impossible. That's one of the reasons I prefer using split primaries. With split primaries (a warm and cool of each primary color) the resulting secondary colors are always clean and clear. The secret is to choose a warm and a cool that are distinctively split and lean towards either a warm or cool hue. It becomes a matter of testing your colors and knowing your palette.
Because we all see color differently, recognizing undertones or bias can sometimes be difficult. Add that to the fact that different manufacturers use different formulas to create paints by the same name (example: cobalt blue manufactured by Winsor Newton and cobalt blue manufactured by Grumbacher will look different.)
I hope my explanation helps you to identify the undertones and bias of a color. Like everything else with watercolor the more you practice and know your paints the easier it will become.

Click here for more information on my split primary color theory and color chart.

Lifting "whites" with a Mr Clean Magic Eraser

2009-11-23T20:19:00.000-08:00

Question: Susie, Have you ever tried the "Magic Eraser?" It is found in the cleaning section of the grocery store. It removes paint from watercolor paper, totally and without damage to the paper's surface. Just dampen the eraser rub and whala....white paper again!
My friend has removed painted areas from nearly her entire sheet. The paper was put under running water and she used the magic white eraser to take off all the paint, 140lb. is what she paints on.
"Mr. Clean" is on the outside of the package. As the sponge is used, it disintegrates. Sharon

Susie's Reply: Hi Sharon! Yes! I've used the Magic Eraser and find it a great tool for lifting. If you have used non staining colors it will lift almost back to pure white paper. Last month I demonstrated how I use it with my own hand cut stencils to retreive highlights on pumpkins. By cutting out the shape you want you can get sharper edges than with the eraser alone.

To those of you who are new to the Mr Clean Magic Eraser it's a very dense light weight sponge. If you'd like to try it, look for the solid white block NOT the one with the blue scrubber added on one side. I've also found generic knock off sponges or store brands with 3 sponges per package. They work the same and are a little more economical.

Thanks for reminding me to share this tip Sharon!
SUSIE

Copyright and online lessons?

2009-07-20T15:36:00.000-07:00

QUESTION: If I paint a watercolor from an online lesson, after I paint it, can I consider it my work? Are online lessons copyrighted also? Wilma

SUSIE'S REPLY: Hi Wilma, This is a great question! There are so many online lessons available to the public over the Internet its easy to get confused as to when the legal lines are crossed or not.
*****(First of all I'm not an attorney so this information is based on my understanding of copyright law. Please check with a certified attorney for any and all legal interpretations.) *****

The way I understand the copyright law is all art is considered copyright protected by the original artist upon creation. If you copy it as a lesson to learn from the copyright still belongs to the original artist (not you). Artists know when they offer published lessons in books or online the work will be copied and therefore they give an implied consent for you to copy it for learning or educational purposes. You can not claim it as your own work, nor should you sell it as your own work.
Think about it this way... if you copy it...it IS A COPY. If you create it from your own imagination without looking at someone work then you are creating your own original work of art. Be inspired and motivated by others but don't copy.

Thanks for asking! Happy Painting!
SUSIE

Niji Waterbarrel Brushes - with a water reservoir in the handle

2009-07-20T12:04:00.000-07:00

QUESTION: Hi Susie, I enjoyed seeing your sketch of Sumner, WA. using the NiJi watercolor pens. It was so bright and cheerful. I was wondering if you could expand a bit to include how you accomplished this on your web site. I'd like to know which sizes you used, how they blended, how much color to carry in the tubes and most of all how many of each size brush to buy so that you have enough for what you want to do. I am not good with just hearing a mm description. I am a hands on person and I don't think I'm alone in this. I wish Daniel Smith would include this also in their Inksmith articles or on their web page.
And I just want to let you know how wonderful your Beyond the Sunset DVD is! Thank you so very much, Judith R --Tacoma, WA.

Note: The Sumner sketch she's referring to can be found on my Splashes & Splatters Blog

SUSIE'S REPLY: Thanks Judith!
The Yasutomo Niji Waterbrush is a nifty brush with a water reservoir in the handle. I use the round style and it comes in 3 sizes; small, medium and large. There is also a mini version that has a shorter handle but the brush head is a medium in size. All of these brush heads are interchangeable and will each fit any of the handles so if you run out of water in one you can easily change to another handle with more water.
You could get by with just one medium size brush. It has a fairly nice point for making fine lines.
But the water barrel brushes are so affordable I'd at least start with one of each size. (S-M-L)
I did find that I used my larger brush more aggressively (to cover larger areas) and after a couple of years of scrubbing the paper with it the point did get frazzled. But it still works for scrubbing in trees and bushes so I save my newer one for adding details and painting where I need to control the edge.
There is a flat version available also. However, I didn't find it as useful to my personal painting style as the round brushes, so I hardly ever use it for painting but it does serve as a backup water supply! Try it! You may like what it will do and enjoy using it.
Directions for use: To fill the brushes either hold them under a running faucet or submerge them in a bowl of water and gently squeeze and release several times to push out the air and suck in the water. I fill them with as much water as they will hold. I've never had one leak, but as a precaution if I'm carrying my brushes in the same container with my paper I do put them is a small plastic baggie for transport.
To use these brushes in the field, I start by squeezing the handle to allow a small amount of water to wet the brushes nylon bristles. Then I moisten the dried paint in my folding watercolor travel palette to pick up pigment in the brush to apply to my paper. If I want a lighter value I simply swirl the brush on my palette until the water feeds down to dilute the paint to the desired value. My experience has been that I get better results if I let gravity help feed the water to the brush head rather than squeezing the handle as I stroke it on the palette for mixing or my paper as I paint.
The water barrel brush is almost self cleaning. Just a quick back and forth stroking on a paper towel will cause the water to pass through the brush head and rinse away any remaining pigment.
Keep in mind when I'm painting "en plein air" I like to work a little on the dry side to have more control. In other words I use more dry brush techniques than fully wet juicy brush techniques.
Thanks for your inquiry! I hope I've answered your questions satisfactorily and have inspired you to try these brushes for yourself. Watch my website and when I'm painting in your area I hope you will join me!!
Happy Painting!
SUSIE
PS. I forgot to tell you where to find the Niji Water Brushes...They are available in many arts and crafts stores. I've seen them in Michaels, JoAnn's and Hobby Lobby. Online check Daniel Smith -- Dick Blick -- Cheap Joe's -- Artsuppliesonline.com -- to name only a few. I know I'm leaving some quality online sources out so check your favorites to see if they carry these nifty brushes for summer painting fun.

Watercolor Brushes - Do's & Don'ts

2009-03-09T11:49:00.000-07:00

QUESTION: Do you have any tips on how to take care of my new watercolor brushes. Thanks!

SUSIE'S REPLY: Yes, I do! Here is a quick list of do's and don'ts.

Do wash your hands before handling your brushes to remove any body oil or lotion.
Do wet your brush before picking up pigments.
Do rinse and reshape the brushes you are working with even during a painting session.
Do clean your brushes using soap and water to remove paint residue.
Do use tepid or lukewarm water for cleaning. Never use HOT water.
Do air-dry your brushes laying them on a flat dry surface. (or hanging from the handle hairs pointing downward.)
Do keep brushes in a brush holder (during transport) to protect then tips from becoming crimped.
Do store dry brushes in air tight container when not in use for extended periods of time to protect then from moths and dust.

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Don’t pick up paint with a dry brush. (Wet the brush first by gently stroking it against the bottom of the water container to work out trapped air bubbles.)
Don’t use a watercolor brush for painting with oils or acrylics, inks or dyes.
Don’t use a good watercolor brush to apply maskoid, masking fluids or resists.
Don’t let your watercolor brush dry out with paint in the hairs.
Don’t pull a stuck dried brush from your palette (To remove: moisten it first to soften the dried paint to release the brush from the palette with out fraying the brush ends.)
Don’t leave a brush standing on its head in a jar (wet or dry)
Don’t submerge a brush beyond the ferrule for extended periods. (metal ring)
Don’t try to reshape it using a scissors or a razor blade.
Don’t pinch or pull at the hairs to remove excess moisture…be gentle.
Don’t dry a watercolor brush with a hair dryer. (Air dry lying them flat)
Don’t dry your brushes with the tips pointed up in a jar. (Ok for storing after drying.)
Don’t use a good watercolor brush to scrub with.
Don’t store a damp brush in an airtight container. This encourages mold and mildew.

For more watercolor tips visit my website: www.susieshort.net/watercolor-tips.html

Watercolor Manufacture's Charts for Color Temp etc

2009-02-26T18:42:00.000-08:00

QUESTION: Is there a list of colors(especially Daniel Smith) that show if the color are Warm or Cool, Transparent or opaque, staining or non staining. This would be so helpful. Thank You. Pam

SUSIE'S REPLY: Hi Pam!
Daniel Smith does have a printed color chart that gives you most of this information including lightfastness. While the chart doesn't list the tube colors as warm or cool it does arrange the little color swatches by their chroma starting with the cooler yellow hues moving to the warmer yellows, then the oranges and warm reds, then to the cool reds and purples, warmer blues hues then to the cooler blues before they show their earth colors.

I spoke with the nice folks at Daniel Smith today and they tell me if you call their customer service they will mail you a copy. You will need to call during business hours so you can talk to a real person. 1-800-426-7923 ( Tell them I said hello!)

The same chart can be found in their 2008-2009 reference catalog on pages 10-11. I'll try to add a link below to take you to it online. If it doesn't work go to http://www.danielsmith.com and look for the tab for their online catalog. Here is the link: Daniel Smith Paint Chart I hope that link works.

Also....If you go to the Daniel Smith website and click on the watercolor paints you will get a colored list of paints again starting with yellow. You can click on each color and get more information about that individual color that's not included on the printed color swatch chart.

Most manufacturers (Winsor Newton, Holbein, Rembrandt, etc) have printed materials with paint information available for artists. Try doing a search for these by manufacturer's name.

Another great watercolor resource is http://www.handprint.com/HP/WCL/water.html
It's got so much information it can be overwhelming.
For paints: http://www.handprint.com/HP/WCL/waterfs.html
At the top of the page is a navigation bar arranged by color names.... have fun exploring!

SUSIE

Split Primary Palette - Warm Reds

2009-02-26T17:43:00.000-08:00

QUESTION: I've already asked this in the WCW, but got no response. Need help! I just got my Susie Short Essential 7 set from Daniel Smith. I noticed that there is no Pyrrol Scarlet that you refer to in your article, here. Instead, I got Pyrrol Orange, which is what is in the set as ordered, and also mentioned further down in your article on the website.I'm going to be squeezing these into pans. Is the Orange a substitute for the Scarlet?I just want to make sure I have the right colors first in case I have to return one.That asked - if the Pyrrol Orange is right, what would be a good Daniel Smith color to use as a secondary between it and the warm yellow (besides mixing) as I might be adding the secondaries as straight colors to my 12-pan box later ( I can't stand the site of empty pans staring back at me). Matt

SUSIE'S REPLY: Hi Matt!
When Daniel Smith put my "Essential 7" Split Primary Palette into a set, I selected the Pyrrol Orange as part of the set. With all the tubes of red to choose from almost all of them are either more of a true red (containing a touch of blue) or bias to purple and did not mix a visually clean clear orange.

Allow me to explain that there is nothing wrong with the Pyrrol Orange in the set, it works as a warm red but it does have more yellow in it making it slightly more orange than it needs to be. Since then I've discovered that the Pyrrol Scarlet and Quinacridone Coral both work for as good substitutes for a warm red in my Split Primary Palette.

I'm in the process of testing some additional colors for a full spectrum 12 (tube) color palette. The testing is to find as close to exact complement tube color as I can for each of the 12 paints. I'm trying to restrict my choices to paint made with single pigments if I can. It's a delicate mixing dance, but it's fun and I'm close to finding the right colors.

Thanks for your question! Good luck with your colorful adventure!
SUSIE

PS. I highly recommend Nita Leland's latest book CONFIDENT COLOR for anyone wanting to learn more about working with a variety of color palettes. You'll find a link to see this book on Amazon in the sidebar. It's worth every penny!

Watercolor Brush Care/Repair

2009-02-26T16:47:00.000-08:00

QUESTION: My watercolor brush is loose. The metal ring holding the brush "hairs" wiggles and is no longer tight on the handle. It was expensive. What can I do?

SUSIE'S REPLY: Ouch! Loosing a favorite watercolor brush, expensive or not, is almost like loosing a good friend isn't it?
The most common cause for a loose ferrule (the metal ring that connects the brush hairs to the handle) is leaving the brush submerged in water too long. If the handle is made of wood, the wood swells in the water and when it expands it loosens the ferrule and cracks the protective paint on the handle. Using a pair of pliers you can gently crimp the ferrule close to the handle to stop most of the wiggle.
If that doesn't work, use an awe or nail to puncture the ferrule making a hole in the metal to grip into the wooden handle. I sometime use fingernail polish to fill in the cracks in the paint to keep the handle for absorbing some of the water.
I've also seen some old loose brushes with a wire tightly securing the ferrule to the handle. Not to be confused with the mop brushes that are made this way to begin with. Hey, if it works why not?

If the handle is plastic, you can try to get some "super glue" under the ferrule to reseal and reattach it to the handle. Use a glue that's not water soluble.

As a preventative measure, above all don't leave a brush standing in a water container for an extended period of time.

I hope you can save your brush!
SUSIE

Erasing pencil lines in watercolor paintings

2009-02-26T15:11:00.000-08:00

QUESTION: Hi there, this may seem silly...I am teaching myself to paint with oils and watercolor. I love it so much and am teaching my grandson(8) as well. We are learning together . How and when do you get rid of the sketch marks, I use a light pencil touch and then watercolor over it. How do I get the pencil marks to not be there after painting? Thanks, Carol

SUSIE'S REPLY: Hi Carol! How wonderful to have your grandson as a painting partner!
Removing the pencil lines in painting is a common question and not silly at all. For some artists the pencil marks are carefully placed to become an intricate part of the painting. They fit and look great for that particular style of painting!
However for many of us the pencil lines are not intended to be seen after we apply the paint to our paper and we want the lines to "go away!"
Using a light touch will make erasing easier. Unfortunately, some colors seal the graphite or pencil lines so that when we paint over them they cannot be erased. Other colors allow for easy removal. Experimenting will help you learn more about the colors in your palette.
OK, that said here are some tips, not all will work every time but they are worth a try.

Do your preliminary sketching on drawing or tracing paper. Make corrections and simplify the drawing before you transfer it to your watercolor paper. The more you erase on the watercolor paper the more your damage the surface.

Transfer the simplified basic shapes first. Apply the first layers of the painting then add more details as needed.

Use a light touch or a fine pencil line. A soft pencil will leave more graphite to smudge or smear or mix into your paint than a hard pencil.

Use the pencil lines as a guide and not an edge. In other words paint up to a line but don't paint over it and it will be easier to erase.

Erase as you go. When a passage is dry clean up the excess pencil lines that are no longer needed.

Use an eraser that is gentle to your watercolor paper. I recommend the Magic Rub by Sanford/PaperMate. It's a white a vinyl eraser designed to erase cleanly. You can find it in most art stores, office supply stores, at drugstores in the school supplies, or online. I did a search for Magic Rub eraser and got several hits.

Please note: Erasing the lines from using graphite paper to transfer your drawing to your watercolor paper is different than using a pencil. Some brands of transfer papers are slightly waxy which makes them more difficult to remove.

Good luck with your watercolor journey! Be sure to check out my free tips on my website. You may find some lessons you can share with your young artist. www.susieshort.net/watercolor-tips.html

Happy Painting!
SUSIE

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Signatures on Watercolors

2009-02-26T13:03:00.000-08:00

QUESTION: Susie, how do you suggest we sign our watercolor paintings? I was reading another blog talking about signing their art work they said "if you painted a purely watercolor painting and signed the painting with an ink pen, it was now a mix media painting. What do you think?" CV

SUSIE'S REPLY: My, this is a loaded question!
Obviously, if your painting is to be entered into a competition go by the rules outlined in the prospectus. Many shows have strict regulations against using anything but transparent watercolors in the paintings. Rules are rules and its usually not the juror but the board or show directors who do the regulating.
Outside of the competitions.... I think there could be several legitimate choices.
Let's look at a few choices:

Watercolor is preferably the first choice. It can be painted on using a brush, or by using a stylus in a damp area a signature can be "imprinted or scratched" into the paper. This method allows the signature to blend into the painting. It's easily seen but not distracting.
Watercolor pencils are dried watercolor in pencil form and are easy to use. If the marks made with the watercolor pencil appears to be sitting on top of the paper,,, try running a damp (not wet) brush over the signature. This will help it integrate with your painting.
Ink - is used by many artists. It's convenient and easy to use. Preferably, it should be an archival water based ink. (Avoid petroleum based inks.) Some of the archival gel pens manufactured for scrap booking are recommended even in darker areas.
Pencil is also a reasonable choice, especially if any line drawing is used as an important part of your watercolor painting.

So what do I think about a painting being classified as Mixed Media when you use ink for a signature? For what it's worth, I do not believe using ink just for the signature should turn a watercolor into mixed media.

However, if there is a question, or becomes an issue why push your luck?

More than anything paint it and sign it! Then move on to the next one!

SUSIE

Phthalo Blue GS and RS

2009-02-23T16:25:00.000-08:00

QUESTION: What's the difference between Phthalo Blue (GS) and Phthalo (RS)? Thanks!

SUSIE'S REPLY:

Phthalo Blue (GS) green shade PB 15 A cool blue slightly bias toward green
ASTM Lightfastness Rating: Excellent
Transparency: Transparent
Granulating: No
Staining: Staining

Phthalo Blue (RS) red shade is also made with PB 15 but has been altered to lean more toward purple than green. Compare this color to French Ultramarine Blue. You get the same look without the sedimetary properties.
ASTM Lightfastness Rating: Excellent
Transparency: Transparent
Granulating: No
Staining: Staining

SUSIE

Gum Arabic in Watercolor Paint

2009-02-23T15:38:00.000-08:00

Great website - thank you for all the great tips. Please tell us the proper use of gum arabic. When do you use it and how much do you use. Thank you. Greg

SUSIE'S REPLY: Hi Greg!
Gum arabic is a water soluble binder made from the sap of the acacia trees. It's most commonly used in the manufacturing of artist's quality watercolor and gouache paints as well as pastels.
As a binder it helps the watercolor pigments stick to the watercolor paper. However it can be dissolved again in water, even after it has completely dried. This is why watercolors can be rewet after they have dried on the palette, or can be lifted from the paper when they are rewet.

Some artists add extra gum arabic to their watercolor paint to increase the body and flow of the paint. It is also used to add a glossy look to the paint, but you must be careful not to add too much as the paint may become brittle and may flake off.
In my watercolor experience I've found if I stick with professional quality brands of watercolor paints I don't need to make any adjustments to their formulas. The saying "if it ain't broke don't fix it!" applies.
I have added a few drops of gum arabic along with several drops of distilled water to rejuvenate the contents of a tube of rock hard dried watercolor paint. How much gum arabic do you use? I've read 3:1 or 4:1 ratio is a good formula. (Three or four drops of water to one drop of gum arabic.)

I hope that answers your question! Thanks for asking!
SUSIE

Beading problems with New Watercolor Palettes

2009-02-23T15:04:00.000-08:00

QUESTION: Hi Susie, There must be a 'trick' to preparing the wells in my watercolor palette. I'm new to watercoloring and I've bought three different palettes and each one causes the paint to 'bead' up into a tiny little puddle that almost disappears before I start. What do I need to do to keep this from happening? Some tell me to clean the wells with Comet. It didn't help at all. MJ

SUSIE'S REPLY: Welcome to watercolor MJ! You have so much fun ahead of you!
Beading is definitely a common problem with new plastic palettes especially in the center of the palette where the all mixing takes place. They are so slick and smooth that the wet watercolor just beads up instead of making a nice puddle for you to work with.
What do you need to do to keep this from happening? The solution is simple.....just paint! It is an annoyance at first, especially when you are new to watercolor anyway, but I promise the more you mix and blend and use your palette the faster the mixing area will get "seasoned" and the beading will stop.
As for the wells, I always fill the wells with an generous amount of paint. I like to work with dry paint so I actually fill the wells and allow the paint to dry before I paint with it. Even if you prefer to use fresh paint, a generous squeeze of paint is better than a tiny dab. The lid will help the paint stay moist for quite a while, and if it does dry out you can rejuvenate it with a fresh dab of paint or a damp brush.
I don't recommend using a scouring powder on the plastic surface of your watercolor palette. They just scratch it and cause the surface to stain easier.
Another tip for watercolor palettes is to always use a damp paper towel or rag to wipe up your paint puddles. If you wipe them with a dry towel or rag you run the risk of pushing the paint into the plastic surface and staining your palette. All plastic palettes will be a little stained as you use them, but not enough to cause any problems.

I hope that helps! Have fun!
SUSIE

From Painter to Artist

2009-01-22T18:43:00.000-08:00

QUESTION: Hi Susie! I admire your paintings. When I grow up I want to be just like you! (ha)I've been at this for a few years now and I don't feel like I know where to go next. I do pretty good at painting along with my instructors but when I step out on my own I'm lost. How do I go from painter to artist? I'd appreciate your suggestions. Thankfully, Sally

SUSIE'S REPLY: Hello Sally!

Hmmmm, we might need to look at the Moma Bird who has been preparing her fledglings for the day they would leave the nest for this answer.

I think there is definitely a spot in the road along our artistic journey where we start to rely more and more on our own instincts and what we have learned and less and less on others.
For some of us it does take courage to venture out on our own. But we all need to try! Just like the baby birds we need to try our wings while the nest is still close enough to get back to if we take a fall. Then try again!
Starting out with an easy project is a good confidence builder. Perhaps you could even redo a successful project you worked on during a class session and make it your own using the same steps you learned in class. Don't shoot yourself in the foot by trying to tackle a difficult project too soon. Keep it simple at first while you test those wings!
Repetition is a good teacher! Select a subject you enjoy painting and see how many different ways you can paint it. Rely on the background you have established with your teacher.
I'll bet you know more than you are giving yourself credit for.

So..... how do you know when you are artist and not just a painter? I guess that depends on your definition of an artist and painter. What's the difference?
I read somewhere that an Artist is creative while a Painter is a follower.
An Artist explores from their heart and soul while painters do it with their hands/mind.
An Artist gets rewarded for his creativity, while painter for his labor.

For me personally I believe I am both an artist and a painter. I think I probably allowed myself to identify or call myself "painter" while I was still learning "how-to-paint". But I believe we can also be artists long before we allow ourselves the title. It comes from within.

If you are getting too big for the nest and your "moma bird" hasn't given you a gentle nudge, you need to flap those wings and give it a try! Trust your instincts!

Happy Painting!
SUSIE

Color Basics in a Nutshell

2009-01-17T17:37:00.001-08:00

Color Basics in a Nutshell
Definitions of 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.

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.

Temperature "The warmth or coolness of a color; also relative terms in comparison to other colors in context.

"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.

Using a split primary palette, we are working with a warm and a cool of each primary color.

All secondary hues are mixed from these carefully selected primary colors.

Make Your Own Color Chart for Watercolor Paints

2009-01-15T18:14:00.000-08:00

The illustration above shows a basic color chart for my core palette colors or what I call the Essential 7. This is a great way to find out what combinations you can mix from these seven paint colors.

To create your own color mixing chart:

Use a pencil to draw eight rows and columns as shown above.
To show how transparent or opaque each pigment is, make a black line using a permanent marker before you apply the colors. When you paint over the black line if the color disappears it is transparent, if you can see the pigment sitting on top of the black line then it has opaque qualities.
Each ROW is about the color/hue in that row and what the other colors in the palette do when mixed with the dominant row color.
Each COLUMN contains the same colors placed in the same order as in the rows.
Mix less of the column color and more of the row color for the best results.
Leave a little white space on either side of the pencil lines (between the color squares) to visually separate the colors.
NOTE: Each color will be mixed with itself during this process.
This chart shows the secondary and tertiary color combinations that are possible by mixing only two tube colors.
It's possible to create many more neutral hues by combining three or more tube colors in the basic split primary palette.
When the chart was totally dry I erased the pencil lines.

Of course you can make as many rows and columns as you want but I've found that when I want to add new colors to my core palette all I really need to do is add a new row and show how they interact with my 7 core palette colors. If they work with these 7 then I have a color that I can use successfully. If the color isn't compatible with my core palette then I need to be more careful and selective as to how I choose to use that particular paint.

Split Primary Palette

2009-01-15T17:49:00.000-08:00

QUESTION: Susie, I was looking for watercolor palette suggestions and found your website. You mention a split primary palette. Would you please explain what a split primary palette is, what colors I need and how to use it? Much thanks for all your help! Judy S. Texas

SUSIE'S REPLY: Hi Judy! Here's what I refer to as a Split Primary Palette

Use a warm and a cool of each primary hue (a warm red and a cool red; a warm yellow and a cool yellow; a warm blue and a cool blue) to mix bright, high-intensity primary called a Mixed Primary Hue. The secret is in using the right split primary colors and not crossing over the lines into another section!

Here's how the Split Primary Palette works:

Let's start with a color wheel arranged like a clock (illustration above) and divided into three equal sections. At the top of the wheel (12 o'clock) a cool yellow, like Hansa Yellow Medium -- a lemony, slight bias to blue-green is on the right of the line; a warm yellow, like New Gamboge -- a golden, slight bias to red-orange is on the left of the line. Going clockwise around the circle (at 4 o'clock) there is a cool blue, like Phthalo Blue (GS) -- an icy, slight bias to blue-green is above the line; a warm blue, like French Ultramarine -- a purplish blue, slight bias to violet is below the line. Continuing clock wise, (at 8 o'clock) a cool red, Quinacridone Rose -- a rosy, slight bias to red-violet is below the line; a warm red, Pyrrol Scarlet -- a tomatoey red, slight bias to red-orange is above the line.

To mix the oranges, mix the red and yellow within the lines to the left of the circle. First mix orange, and then add more yellow for yellow-or ange and more red for red-orange.
To mix the greens, mix the blue and yellow within the lines to the right of the circle. First mix green (2 o'clock), and then add more yellow for yellow-green (1 o'clock) and more blue for blue-green (3 o'clock).
To mix the purples or violets, mix the pink or rose with the blue within the lines at the bottom of the circle. First mix purple (6 o'clock), and then add more blue for blue-violet (5 o'clock) and red for red-violet (7 o'clock).

Now here's the rule that makes this theory work: When mixing two colors on the wheel to achieve high-intensity color, don't cross over the line/stay in each section. Crossing over the lines and mixing the colors on either side of the line causes the mixtures to become less intense and slightly grayer. Cross two lines and even more graying occurs. This graying is called neutralizing. It is the result of a slight touch of that third color being added to the mix.

Hint: To mix earth colors, you simply cross over the lines or add a warm neutral to your mixtures. That's where Quinacridone Burnt Orange -- the seventh color of our essential 7 basics-enters the scene... it's a versatile warm neutral.

You have several good choices for professional artist grade watercolors to choose from.
My palette is currently filled with Daniel Smith Extra Fine Watercolors.

Materials List for Susie's Split Primary Palette
DANIEL SMITH Extra Fine Watercolors
Seven 15ml Tubes - Essential Set offered by Daniel Smith at 40% off regular tube price)
Set contains:
Hansa Yellow Medium
New Gamboge
Phthalo Blue (GS)
French Ultramarine
Quinacridone Rose
Pyrrol Orange
Quinacridone Burnt Orange

Thanks for your questions Judy! Have fun painting and mixing up pretty colors!
SUSIE

For more information about Color check out Nita Leland's book EXPLORING COLOR

and her latest release CONFIDENT COLOR

Color Mixing - Simplified

2009-01-15T15:21:00.000-08:00

QUESTION: About color mixing....I'm not looking for the chemical make up of paints but more for the "how to" of mixing paints. Which can be mixed without creating mud. Which colors compliment others visually. How to create a great black or green etc. That type of thing. Thanks.
SUSIE'S REPLY: These are multi-million dollar questions! I'll try to break this down and make it as simple as I can. A quick review of basic color theory reminds us there are three (3) primary colors: RED - YELLOW - BLUE.

We can not make these hues by mixing. We can create variations of each hue by adding one or both of the other colors but we can not mix up a true red, yellow or blue.
Secondary colors or hues (green, orange, and purple) are created by mixing two primaries. Red+yellow=orange; red+blue=purple; blue+yellow=green

Any time the other primary is added chances are the color will be muddy.Example: blue+yellow=green + a tiny bit of red= olive green; not a clean clear true green.
When we use a paint that has the third primary color already premixed into the tube the result is a neutralized or grayed or muddy looking color.

So, in answer to your question about what paint colors can be mixed together without making mud we do need to consider what's already in the tube of paint. Anytime you have a combination of all three primaries you will have a duller more neutralized color. The more equal the amounts of the three colors the muddier or grayer the color will be.

Think about it this way: if a color looks greenish, you know it has blue and yellow in it. If you mix that color with any color that has some red in it the possibility for mixing mud is greater. The more equal the ratio of red + yellow + blue the more neutral the resulting color will be.

Many times we create duller looking colors by over mixing them in our palettes before we apply them to our watercolor paper. If we allow these same colors to "mingle" on our paper and mix together naturally they usually do so in a visually pleasing way.

As for premixed tube color formulas: There are probably as many "formulas" for mixing visually pleasing neutrals as their are watercolorists. For a dark gray or black one very popular combination is Ultramarine Blue and Burnt Sienna. Another formula for black is Alizarin Crimson and Hookers Green.
Here are some tips:

Testing the colors on your own palette to see what color combinations you can make will be helpful. Make a color chart. Avoid mixing more than three colors, better yet try not to mix more than two premixed tube colors.
Read the labels on your paint tubes. If they contain two or more pigments know that they are good candidates for mud makers when mixed with additional colors using multi-pigments.
Another thing to consider is that each brand of paint has different ingredients even though it may have the same color name. So one brand of cobalt blue may mix up differently than another brand of cobalt blue.

My personal recommendation for all new painters ( or anyone who is confused about mixing colors) is to use a limited palette of basic compatible core colors. The brand of paint isn't as important as the choice of your basic colors. Stick to using this limited palette for a period of time to allow you to get acquainted with color mixing and learn all you can about what these core colors will and will not do for you. If you are a prolific painter six months may be enough time for you to work with a limited palette. If you don't have time or don't paint very often you may need as much as a year of working with a limited palette to get the hang of color mixing.

For more information look for my article published by Daniel Smith Some Thoughts on Color and using a Split Primary Palette.

Hang in there! The more you practice the better you will get!

SUSIE

P.S. Be sure to sign up for email updates to this blog to be notified when additional information is shared!

Dealing with Mold (in watercolor palettes)

2009-01-11T12:18:00.000-08:00

QUESTION: Hi Susie -- I was not painting for about 2 months and when I opened my palette there was white fuzzies on the green and brown spots on many other colors. Shall I discard them and in the future use only distilled water? Help Thankyou Lisa T.

SUSIE'S REPLY: Hi Lisa, In my opinion, there is no need to discard the paint, it can be salvaged and still be used. I’m assuming the paint was moist when you put the lid on your palette, right? Mold and mildew like to grow in dark damp places. Your palette and paint was the perfect place for a party! Any time you will be taking a time out from painting its better to leave the lid off and reconstitute the paint later.
Using distilled water doesn’t make that big a difference when you leave the lid on with wet paint inside for an extended period of time.
You can remove most of the “yucky” stuff by washing your palette including the paint with a 4:1 ratio of water and vinegar (3 parts water to 1 part vinegar). Leave the lid off with the palette open to allow the paint to air dry if the paints are still gooey or moist. Then gently remove the mold with an old paint brush using the vinegar and water solution. Allow the paint to air dry again. Then when you are ready to paint again you can add freshly squeezed paint on top of the dry paint and the paint underneath will absorb the moisture and become usable again. Use the lid to keep the paint moist when you will be using it frequently but if you will be away for a week or two, I’d leave it off until you are ready to paint again. (This is my personal opinion, I've heard other teachers say the perfer to leave the lid on to keep the paint moist at all times.

I paint with a dry palette all the time, by choice. I prefer to fill my palette and let the paint dry in the wells before I use them.
Many painters only paint with freshly squeezed paint and discard any unused paint at the end of the painting session. When I first started painting that was how I was taught to paint. But now with the paints so improved they will work just as well wet or dry. Neither way is wrong… it’s just a matter of choice.

I hope that helps! Good luck with cleaning your palette!
Keep those brushes wet!
Susie

Copyrights and Plagiarism

2008-12-22T14:48:00.000-08:00

QUESTION: I am in the process of writing a book illustrated with my own watercolors. However, some of these images were copied from other watercolors, even though the actual painting was ultimately done by me. Is this plagiarism? How different does the final image have to be to be different? These are primarily pictures of tea cups. I don't want to do the wrong thing so would appreciate your opinion. Thanks.

SUSIE'S REPLY: How exciting for you! Writing a book is almost like giving birth and could be considered a labor of love. I wish you every success with your adventure!

Now to get down to the nitty gritty: First and foremost: My opinion is given for guidance only; you're advised to consult a copyright lawyer on copyright issues. My information is based on US copyright law. Remember, although there are international copyright agreements, every country has its own copyright laws.

According to the information found on dictionary.com the term "plagiarism" usually applies to literary theft. Plagiarism occurs when a writer duplicates another writer's language or ideas and then calls the work his or her own. The writers' words are protected by copyright as their legal property. It is permissible to quote another writer as long as you carefully give credit to the writer and the source of your quote.

In regards to visual art there is a myth about how different an image needs to be to not be a considered a copy. Some artists believe (and/or have even been taught) that you can legally use another artist's work if you change or alter a certain percentage of the painting. Some say changing an image 10 percent is enough to make it a new image while others say a change of 20% or 30% is required. This is absolutely not true and is only a myth. A copy is a copy.

A good rule of thumb would be when comparing the two images side by side if the another artist's work is recognizable as what your image is based on then you are risking copyright infringement.

Objects or subjects such as "teacups" or the "sunset" can not be copyrighted so that they can only be painted by a single copyright owner. Another artist's work can inspire you but the concept and composition of your painting should be uniquely your own not a copy of their work.

Since you asked for my opinion, if it were my book, I'd use my own teacups, my own sketches and my own reference photos to paint the illustrations from. Let it be totally and uniquely your own without the shadow lurking over you that you might not be doing the right thing.
Just consider any copied images you've done so far practice for what's yet to come.

My personal policy is "if in doubt, don't!" Let you conscience be your guide.

Again, I wish you success with your new book! Please let me know when it's available... I like teacups!

I look forward to seeing your original watercolor illustrations.

SUSIE

Stretching Watercolor Papers- Removing Sizing

2008-12-20T14:06:00.001-08:00

QUESTION: Hi, I just finished your DVD Painting across America The Oregon Coast. The DVD was fun easy to follow. I do have one question about stretching paper. There are several pros and cons to stretching. One of the pros that I have been taught is that stretching removes the sizing. What do you think? Debbie

SUSIE'S REPLY: Hi Debbie! I'm so pleased you enjoyed the DVD on painting the Oregon Coast. Thanks!
About stretching watercolor paper: If you asked five different instructors about the pros and cons of stretching watercolor paper, you'd probably get five different answers. That's because we all develop our own style and techniques for painting and what works best for us as we learn to paint. None of us are wrong, but my method may not be best for someone else's style. And that's OK!
What do I think?
About sizing: For me personally, I like the sizing on my paper. Sizing enables me to use techniques that require a more durable paper surface. (Like glazing, scrubbing and lifting) I use Arches 140# CP for most of my paintings. I understand (with Arches watercolor paper) the sizing is added to the paper pulp as it is processed (referred to as internally sized) so the sizing is the same on both sides of the paper. Some brands of watercolor papers spray the sizing on the surface after the paper is made. I'm guessing those papers might need to have some of the sizing removed to make the paint flow better for the artist. Which is better? It really depends on the technique and style of the individual artist.
So for me personally for my style of painting removing the sizing isn't a pro, it's a con.
More About stretching: I know some artists who will not paint on unstretched paper...period!
My preference is to paint on high quality unstretched loosely secured watercolor paper. I enjoy the freedom to tilt and bend the flexible paper to create interesting mingling of the paint if my painting session take a turn in that direction. Plus I work on a number of paintings at the same time so if I did stretch my paper I'd need dozens of backer boards to hold my works in progress.
When I've worked on the taunt surface of stretched paper it wasn't that I didn't like it, but I did need to make adjustment to my brushstrokes and work differently.
Call me lazy, but personally, I'd rather be painting than spending the extra time it takes to stretch my watercolor paper. But that's me!

Thanks for your question!
SUSIE

How important is drawing?

2008-12-20T14:03:00.000-08:00

QUESTION: Hi Susie! Love your work. My question is this: I want to be an artist, like you. I practise drawing and painting for approximately two hours a day. Is this enough? In Gordon MacKenzie's book he states that to be an artist you have to start building a data base. What does he mean? Any pointers you can give me would be much appreciated. Paul

SUSIE'S REPLY: Hello Paul, thanks for your question. I'm sure many other artists wonder about the importance of drawing and how it applies to painting....especially watercolor painting!

I believe that the more you draw the better you will be in every art medium. Drawing is a great hand and eye coordination exercise. Transferring what you see to the paper can also train your eye to really look at the object/subject. Draw every chance you get whether it for a painting or not.

When I'm teaching I use a simplified line drawing (for my students to see what I'm visualizing in my head) to illustrate placement and/or perspective. To me the lines are meant to be guidelines like a road map and are not intended to be the exact edge of my subject. I like to use my brush to create the shapes of the objects not following pre-made pencil lines exactly. When I try to force the paint to stay inside the lines my painting looks and feels tight and over controlled.

Most of my paintings are painted "free hand" without any pencil lines. It took me several years to get to this place. However I did draw on my paper when I started painting. The reason I can paint without pencil lines is because I do draw a lot and the information I save in my "data base" is accessed when my brush starts to draw on my watercolor paper.

In response to your specific question --- I thumbed through MacKenzie's book The Watercolorist's Essential Notebook to find what you were referring to so I wouldn't take it out of context and I'm sorry to say I didn't find it. (Perhaps you could send me the the page number.)

What he could have meant by "starting to build a data base" may have meant to become familiar with your subject and how it is shaped so that when you start to paint it you have an understanding about how it is put together or how it grows so as you paint the subject it looks natural. If we are painting something from memory or sometimes even from a photo, and we get to a place where we don't know exactly what's next we have to fake it to fill in a gap. It's much better to have a 'data base' from previous drawings to refer to. As I said I'm not sure that's what he meant but its a good guess.

I hope that helps some. Draw Draw Draw! Enjoy drawing and learning all you can about the subjects and objects that interest you. Then when you start to paint those things you will be so familiar with them painting their shapes will be second nature.

Most of all have fun!
SUSIE

ADDITIONAL COMMENT!! I found the MacKenzie reference! It's in his Landscapes book. What he means by "Start building your own data base." is to take notes and write down what it is you like about a specific painting or photo that inspires you. Take photos of your own when you see something you'd like to paint. Keep a sketchbook to remind you of the things you want to paint. He also says, "...there is no better way to improve your ability to see than to draw."
So we were on the same track. :) SS

Easy Watercolor Christmas Cards

2008-11-17T17:25:00.000-08:00

Question: Hi Susie, I'm a beginning watercolor student and would like to paint my own Christmas cards this year. What suggestions would you have for a beginner who would like to paint something simple but something that expresses the beauty of Christmas?

SUSIE'S REPLY:
I think that receiving a hand painted greeting card is so special! I have some Holiday card suggestions on my website that should give you some ideas for painting simple cards. For beginners (and kids) I recommend easy shapes such as those you might find for making cookies. Try painting a wreath or a stocking, a gingerbread man, Christmas tree, star etc each can be as simple or ornate as your imagination allows. Add a border. Dare to dream!

Here is a link to my free Christmas Card Ideas
and here's a link to my Winter Landscape Cards with patterns and instructions
and you can find some additional tips on my watercolor tips pages

Have fun painting your cards! Keep them simple and I know you can do it!

Merry Christmas!
SUSIE

Palette Choices

2008-11-17T16:50:00.001-08:00

QUESTION: Please tell me what type of watercolor palette you recommend. I've seen so many like Quiller, Richeson, John Pike??? and I'm confused as to which is the best buy for my money. Thank you kindly. Fran

SUSIE'S REPLY: I personally like a light weight plastic palette with flat wells. It's my choice because I like to work with dry paint vs. wet paint. I find that the slanted wells collect too much water under the paint. My favorite palettes are the 32 well Jones palette or the Richeson palette with 22 wells. Both have lids and an open mixing area without "speed bumps".
The Quiller palette has flat wells and would fit my needs if it had a few more wells. It is arranged to work with the color wheel color theory and is an excellent choice for working with a limited palette of colors.
If you work with moist or freshly squeezed paint you may prefer the slanted wells. The John Pike palette is one of the sturdiest palettes on the market.

When purchasing a palette I look for a palette made from durable plastic and watch out for weakened corners. I have found through the years that the quality of the Jones and Richeson palettes mentioned above are consistantly reliable.

I hope that helps! Happy Painting!
SUSIE

Transfering a drawing to watercolor paper

2008-09-25T12:20:00.000-07:00

Question: How do you transfer a drawing without a light box or window. Do you ever use graphite paper? If so, specifics please on it. Also, do you erase your drawing after you have finished your painting? I have never heard this addressed. Thank you, Linda /CA

SUSIE'S REPLY:
Linda,
There are many types of graphite paper available in art supply stores. If I do use a transfer paper I like the Saral brand the best. Because Saral Transfer Paper is wax free it gives the advantage of erasing like pencil without any smear or smudge.
Some artists like to make their own transfer paper using a graphite stick on tracing paper sealed with lighter fluid.

Do I erase my pencil lines when I finish a painting?
Yes, I do... most of the time. That's because for the most part if I do use a pencil line it's for a guide line or position rather than an edge. My drawing is not intended to be a part of the painting.
That's me ... and my personal preference.
There is nothing wrong with leaving pencil lines in the finished work. There are many great artists who do fantastic line drawings on their paper prior to adding watercolor to their work. Erasing the pencil lines would diminish the impact of their paintings.

For me personally, if I do want to transfer a drawing to my watercolor paper I prefer to use a light box or window rather than transfer paper.

Like so many things we do as artists, we will try this method or that method and adapt the one that works best for us and the way we paint. Not that one way is right or another wrong.... it is just what method works best for each of us.

Confession:
I did draw before I painted when I began my watercolor journey. Along the way my painting evolved into more of a freehand style painting without drawing first. I do still draw some for my students when I'm teaching. For the record!

I hope that helps answer your questions.
Happy Painting!
SUSIE

Paint Colors for Painting Dry Sand and Wet Sand in watercolor

2008-09-07T15:56:00.000-07:00

QUESTION: Dear Susie,You are so talented. I am humbled by your work. Thank you for sharing your experience. I just bought your brush and can't wait until it gets here. What color(s) do you use to paint dry sand and wet sand? Kris / Florida

SUSIE'S REPLY: Hi Kris - Thanks for the kind words! I love what I do and I love to share.

The answer to your question on colors for painting dry sand and wet sand would depend on the location of the beach and the type of sand found there. It could be white or tan or black or golden or any combination of these.

Just as you hair looks darker when its wet, wet sand will usually be a darker value of the same hue/color you use for dry sand. Plus keep in mind that wet sand will often be reflective of the sky color too. Those reflections will vary in color depending on the lighting conditions and the time of day.

Granulating pigments add a slight texture that helps with painting the illusion of sand and is even more effective if the granulating pigments are used on rough watercolor paper.

I suspect you want me to give you the names of some colors you might try for painting sand. :)
And I'll be happy to name a few that will work well for painting sand.

One relatively new color for me in my paint box is Goethite Brown Ochre (Daniel Smith)
I found that works well for a mid value warm golden sand that doesn't look too yellowish. I like mixing it with Indanthrone Blue or French Ultramarine for a nice blue gray. It has a nice density that lends to granulation when used on either cold pressed or rough papers. (While I haven't tried it on hot pressed paper yet, I believe with the properties of the pigment would give some nice granulation on hot pressed too.)

Quoted from Daniel Smith:
Found in iron deposits nearly worldwide, Goethite (Brown Ochre) is named after Johann Wolfgang Goethe, the German philosopher, poet and mineralogist.
Our unusually pure pigment is mined in Russia, south of Moscow. Rich and warm, DANIEL SMITH Goethite is a dark tea color in masstone and washes out to a rich, warm tan. In washes, it displays intriguing granulation, with pools of light and dark in every brushstroke. Like all colors derived from the earth, it is lightfast and permanent…a lasting connection to the planet and the creative forces of nature.

Goethite Brown Ochre is included in a limited edition Surf and Sand Triad offered by Daniel Smith earlier this summer. (2008)

Used alone or mixed together here are some additional watercolor pigments/paints you might want to try.

Burnt Sienna
Raw Sienna or Yellow Ochre
Lunar Earth
(DS) A transparent, non-staining pigment that resembles Burnt Sienna in color but separates dramatically. Lightfast and extremely versatile, Lunar Earth shares pigment properties with Lunar Black and creates similar amazing textures.
Explore their radical reticulating qualities separately, then try painting Lunar Earth into a wet Lunar Black wash. An instant beach-sand and pebbles-magically appears.
Lunar Violet
(DS)With extreme granulation it’s capable of creating a rugged weathered look of years gone by, mix with other granulating pigment to create a sandy texture.
Burnt Bronzite Genuine
(DS)Burnt Bronzite Genuine pushes the honey tone of Bronzite Genuine to a more coppery hue. Both deeper brown and more orange, it's ideal for portrait work as it easily produces a wide range of flesh tones. Like Bronzite Genuine, it gets a subtle lustrous sparkle from iron oxide.
Bronzite Genuine
(DS) It's a warm golden-brown in masstone - somewhere between ochre and sienna, but distinctly different - that lets down into pale washes of soft, always warm, sandy beige. In a wash on cold press or rough paper, the brown settles out of this intriguing special-effect color.
Yavapai Genuine
Hematite
(DS) ground from a heavy silvery-black mineral rich in iron. In a thick wash, the heavier particles settle, creating bold granulation. In a thin wash, it is a soft dove gray.
Hematite Violet
(DS) produces the same splendid texture as the standard Hematite, but the background hue is a warm violet-brown.
Transparent Brown Oxide

Keep in mind that the paint varies from brand to brand even though the paint has the same color name. [The descriptions (in italics) above are quoted from Daniel Smith.]

I hope these give you some ideas for painting sand, wet or dry.
Have fun!
SUSIE

Staining Watercolor Pigments

2008-09-01T13:35:00.000-07:00

QUESTION:
Hi Susie, I've been painting for 6 years and I think I'm finally over the hump where I don't need to classify myself as a rank beginner. (smile) I now have a ton of watercolor paints. How can I determine which are staining or non staining? And could you also tell me how to know if they are transparent or opaque? Thanks, Wanda/ NC

SUSIE'S REPLY:
Hi Wanda, There is a simple test you can do with each of your many tubes of watercolor so you will know which are transparent vs opaque or somewhere in between. You can test each color individually or use a larger piece of paper to test each group of colors by their hues. Using a wide permanent black marker or India ink draw a line approximately 1/4 inch wide for each color you are testing. Add a small amount of water to dilute each paint so that it spreads easily being careful not to add too much water. Allow the paint to dry. If it is transparent you will be able to see the sharp black line through the paint without any residual paint sitting on top of the line. If a paint is semi-opaque you will see only a small amount of pigment on the black line. If the paint is opaque you will see more of a chalky looking residue from the paint over the black line.

There is another simple test for determining if a pigment is staining or non staining. You will find the explanations and the illustrations for both of these tests (Testing Watercolor Paints) on my website. http://www.susieshort.net/watercolor-tips-transparency.html

Good questions! Thanks for asking!
SUSIE

Painting straight lines or edges in watercolor

2008-08-27T15:54:00.000-07:00

QUESTION:
I just started watercolor painting. Is there an easy way to make straight lines (as when painting a structure that needs to have very straight walls etc? Thanks, Donna

SUSIE'S REPLY:
Hi Donna!
It sounds like you are jumping into watercolor with both feet! GOOD FOR YOU!
I do have a few simple tips that will help with getting a clean edge when painting a building or a wall with straight edges.

Use a piece of plastic tape as a guideline to help paint a straight edge. I don't recommend using standard masking tape, it can damage your watercolor paper and sometimes leaves a sticky residue when its removed, but most of all its hard to get it to seal tight enough to keep the wet paint from seeping under the edge of the tape. I prefer to use Artist Tape. It is the best I've found for sticking to the paper and not allowing the paint to "seep" under the tape. And it is easy to remove without damaging the paper's surface. Look for artist tape in most artist's supply stores locally or online. Artist tape is also an archival tape used by framers to mount paintings to mat boards. So you might find it at your local picture framer too. I jokingly call my artist tape a "ruler on a roll" and I frequently use it to clean up straight edges and create highlights after the painting is painted when I'm adding those finishing touches and polishing up the painting.
Use a "stencil" simply made from a scrap piece of watercolor paper or clear transparency film to provide a clean edge and protect the area not being painted.
Making fluid (there are several good brands available) can be applied to the watercolor paper to reserve the white of the paper and create a straight edge.
Another way is to use a ruler or straight edge held at an angle so your brush glides along the elevated straight edge. A picture is worth a thousand words ... see photo examples.

I'll add links to examples for each of these tips this weekend.

SUSIE

Gear for painting outside - en plein air

2008-08-23T12:20:00.000-07:00

QUESTION: Where should I look to find kapablock foam board. Love the idea for painting outside! Thanks SR

SUSIE'S REPLY:
(This question is referring to my suggestions for painting en plein air or outdoors on location. You can read more about the kapablock by visiting my website tips for Outdoor painting gear page 2 .... And don't miss page 1 for more tips.)
Kapablock can be found at plastic suppliers such as Tap Plastics or Calsac Plastics in my area.
It can sometimes be found where ever they sell advertising supplies. It is also used for building the partitions between display booths. Some lumber supply store may carry it.
If you can't find kapablock look for the 1/2 in gator board. It might be easier to find.

Good luck! And enjoy painting outside!
SUSIE

Phthalo Blue -- warm or cool?

2008-08-19T11:26:00.000-07:00

QUESTION: Hi, I Have a question about M. Graham phthalocyanine blue 15.3.
Is it a warm or cool blue? Thank you, Debbie

SUSIE'S REPLY: Hi Debbie,
Most Phthalo Blue is PB15 and lean to the the greenish side of blue. In recent years some manufacturer (including M.Graham) have added an additional Phthalo's to their line that has been altered to have a more "purple" blue look. Look for the Phthalo Blue (RS) which stands for red shade.

From the manufacturers information I find that M.Graham's Phthalo Blue PB15:3 is altered to be more of a "true blue" and is a structural variant of Phthalo Blue PB15 (that produces more greenish tones. )

Here is a link to the M.Graham site with more technical information about their watercolors.

OK........that said, let's talk about warm vs cool.

Warmer or cooler is relative. It depends on the two colors you are comparing.

Red is warm and blue is cool... and its easy to see which is which.

All blues are cool when compared to any red. But when we compare several colors of the same hue (in this case blues) Manganese blue might be cooler than Antwerp blue and Ultramarine might be warmer than Cerulean blue. You have to visually compare them to see where they fit on the color wheel.
Because warm vs cool is relative to the two colors you are comparing, I find it's much easier to describe a color by naming the secondary hue it leans toward than to try to distinguish the difference by warmer or cooler. Example: New Gamboge is a orangish yellow and Hansa Yellow is a greenish yellow.

When comparing Phthalo blue(GS) to French Ultramarine Blue, Phthalo is slightly greener than Fr. Ultramarine blue which to my eye looks slightly purplish. So I say Phthalo is cooler, because on the color wheel it is closer to the coolest hue which is blue-blue-green.

The Fr Ultramarine is on the warmer side because it has a touch of red in it thus it farther away from the coolest color and closer to the warmer hues.

Now to answer your specific question: It is my opinion that M Graham's Phthalo 15.3 is very near a true blue. It has been altered so it doesn't lean toward a green hue as with the Phthalo Green Shade (GS) or a purple hue as the Phthalo Red Shade (RS). So I guess I'd say it is neither warm nor cool by itself. If we compared it to another blue I could tell you if it was warmer or cooler than the other blue hue.

I hope that is sufficient. It's not a simple answer.

Thanks for asking!

SUSIE

What is "glazing?"

2008-08-16T17:13:00.000-07:00

QUESTION:
Susie: As a beginner in watercoloring I am not familiar with glazing as referred to in the
Raindrops on Roses watercolor tip. Please let me know. Thanks so much for your info. L S

SUSIE'S REPLY:
Glazing is layering thin washes of color with drying time between each layer to build up color.

In this case for the pink roses, it would be a thin or watered down puddle of pink paint.
You paint the darkest value near the center of the rose and blend off to a more diluted watered down value on the outer edge.
Blending off is moistening the area beside a stroke to soften the edge.

Look at my other rose demo for more details and info. Look at steps 4, 5 and 6.
http://www.susieshort.net/rose-demo.html

I hope that helps!

Susie

For a more detailed lesson on painting Raindrops on Roses look for my downloadable eLesson on my website. http://www.susieshort.net/e-lessons.html
You will need the Adobe PDF reader to open the file. To get it free click here.

Signatures on Watercolor Paintings

2008-08-16T16:36:00.000-07:00

QUESTION:
Susie, how do you sign your paintings? Brush? What kind? pencil? . . . Jane

SUSIE'S REPLY:
Hi Jane,
I have a couple of ways depending on what I'm signing.
For my better than average paintings I use a stylized signature - nothing like my regular handwriting. I use a synthetic brush (I think it's about a#2 or #3) that has a crooked point. It was brand new, used once or twice and got put up wet -- got crimped in my paint box and now it has a tiny 90 degree turn in it at the very tip. At first I tried to save it but could not get the crimp out. Tried it to sign my name teeny tiny on some Christmas cards and it worked! Been using it for about 15 years now....for nothing but signing my name. I'll be up a creek if I loose it or if it wears out.
For my demos I use a stylus and sign them with my cursive handwriting signature as if I were signing a check while the painting is wet. I guess I do use it the most since I do more demos than anything these days. I learned that trick from Zoltan Szabo.

On some things when I'm in a hurry or if I want the signature very clear and legible for printing etc. I will use a sharp watercolor pencil on dry paper and my or may not glaze water over it to seal it.
On my greeting cards I sometimes use archival gel pens in a metallic gold or copper or misty blue. But mostly just use the stylus ---its so easy and convenient and fool proof!

Thanks for asking!
SUSIE

Recommended Watercolor Brushes

2008-08-16T12:51:00.000-07:00

QUESTION: Hi Susie, I just watched your DVD "Painting Holiday Cards in Watercolor". I really enjoyed this DVD, learned a lot. However, I would like to know what Brand & the sizes of the Round brushes that you used to paint these cards? It would also have been helpful if you could have introduced all the supplies that you used. Thanks for your help. Linda

SUSIE'S REPLY: Hello Linda,
The brushes used on the Holiday Cards DVD were all made by Daniel Smith.
The round aquarelle with the black handle is no longer available. Their replacement for this brush now has a clear handle.
Round Aquarelle
http://danielsmith.com/subcat~cat~101201301408.asp
Flat aquarelle
http://danielsmith.com/subcat~cat~101201301409.asp
Since I recorded the video Daniel Smith came out with another synthetic brush that has become one of my favorites it’s found on their website as the DS Platinum Series 23 Taklon Multimedia brushes.I use 23-2 round brush in #8, #10 and #12. http://danielsmith.com/products~sku~657+020+006.asp http://danielsmith.com/products~sku~657+020+007.asp
The smaller sizes are very good too, but I find that the tips or points of these brushes are so good I don’t need to go smaller for a sharp point to do details. They are inexpensive so I keep several within reach for blending and direct painting. I’m very abusive with my brushes and at this price I don’t mind replacing it when it does wear out or loose its point. (TIP: When it does loose its point it makes a perfect flower petal brush with a brushstroke mark much like a filbert.)
I like this 23- line of brushes in the flats and rounds and script liners (aka riggers). http://danielsmith.com/products~sku~657+115+002.asp
When you go to the DS site if you put Series 23 in the search box you will get a page with this whole line of synthetic brushes.
The cutter brush I refer to in the video is also been upgraded to my own signature brush available from Daniel Smith.
http://danielsmith.com/products~sku~089+095+001.asp
I hope that helps to answer your brush questions.
Things change so fast in the Art Supplies that are available from year to year. I used the blank Strathmore cards with a deckled edge for all my cards but last year they changed the paper they made them with and now they will not take watercolor. So I’ve switched to the Strathmore Watercolor Cards. They have a cut straight edge but they accept the watercolor and work for painting holiday cards using my techniques. They are thicker and take longer to dry between painting steps.
My palette is filled with Daniel Smith Extra Fine Watercolors but Windsor Newton, Holbein, Graham, American Journey, etc are also good to paint with. The color names vary depending on brand. I’ll be happy to tell you any specifics if you can point them out for me to identify.
Here is a link to my general palette and supply list. www.susieshort.net/2008-supply-list-expanded.html
Happy Painting!
Keep those brushes wet!
Susie

Arranging a Watercolor Palette Layout

2008-08-16T10:18:00.000-07:00

QUESTION: Hi Susie, I have a new palette with 32 wells and I don't know where to start or how to arrange the paint in my new palette. Is there a formula or a map or a chart to help with adding colors? Also, is it OK to put more than one color in the same well? Thanks, Mary Y

SUSIE'S REPLY: Hello Mary!
Setting up a new palette can be such fun! I love to see the bright colors of the fresh watercolor paint as I fill each well. But I admit it can be a little intimidating too.
The arrangement of the watercolor paints on your palette will become a personal choice for you as you continue your artistic journey. Possibly even more important than a formula for particular placement is that the watercolor paint be in the same familiar location so you can find it easily without guessing which paint is which while you are painting.
My personal choice is to place my paint in a sort or chromatic arrangement, similar to how the colors fall on the color wheel.
My suggested palette layouts can be found on my web site.
Basic Palette Layout & Expanded Palette Layout

Happy Painting!
SUSIE

Green is Green is Green

2008-08-07T15:51:00.000-07:00

QUESTION: Susie, I am having the hardest time painting leaves. Green is green is green. I never seem to get enough contrast and my leaves never come to "LIFE". Can you help? Do you have a video on painting flowers and LEAVES? Shirley

SUSIE'S REPLY: Shirley, the DVD titled Painting Sentimental Roses goes into painting leaves on the stem of a rose. And I do mention adding some variety to the green leaves by dropping in more blue or yellow into a wet area.
But let's just take a few minutes to talk about greens and how to alter them.
First of all don't let yourself get into a habit of relying on tube greens. That green hue (such as Sap Green) may be beautiful straight out of the tube but it can be so "boring." Instead of using tube greens, try mixing your greens using the blues and yellows on your palette. Each blue will make a different hue of green when you add it to each of your yellows.
Experiment by making a little color chart or grid of greens and see the variations you have available to you without dipping into a tube green.
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Then make another chart for each tube green and see how you can adjust the hue of the tube color by adding those same blues to the green from the tube and then another chart by adding the yellows to the tube green(s). WOW! And think of how many more you can make if you combined the tube greens with any number of mixed greens from your first chart of just blues and yellows. (Shown in my example are Sap and Viridian mixed with six colors of a split primary palette.)

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So far we've been thinking about mixing wet colors. Now let's think about glazing or layering blue over yellow or green over pink or green over orange. You can get an endless variety of greens that are alive and exciting.
Dropping wet color into another wet color is called "charging." When the blue and yellow are allowed to "mingle" on your paper rather than being premixed on your palette the color will often be more exciting and have more punch to it.

Thanks for asking a question that so many of us need to deal with. I hope you will find out that with some practice with mixing and mingling your greens will become your friend and not your enemy.

Happy Painting!
SUSIE

Painting Rainbows in Watercolor

2008-08-07T10:59:00.000-07:00

QUESTION: Hi Susie! I have a beautiful photo of a rainbow that I've been trying to paint but I've had problems with keeping the colors of the rainbow vibrant and fresh without the colors running into each other and getting muddy. Do you have a simple step by step advice for rainbows? Maybe this would be in your watercolor skies DVD? Any chance that you'll be visiting Hawaii so I can take one of your workshops? Melissa/Hawaii

SUSIE'S REPLY: Hi Melissa! First of all let me tell you I would love to come to Hawaii to paint and teach a workshop! I don't have anything planned yet, but it could happen! I'm ready!
Now to answer your question....Painting rainbows in watercolor does present some unique challenges. When we visualize a rainbow we think of evenly blended vibrant colors with soft edges.
One way to keep our colors from mingling into a muddy mess is to apply one color (on dampened paper,) let it dry, then re-dampen and glaze the second color on next to it. The slight overlapping of these two colors will naturally create the secondary color between them. Let the colors dry again. Then add the next color. You may have to repeat the process several time and build up layers to achieve the intensity you are striving for so be patient. Its been my experience that using only red yellow and blue to paint a rainbow wasn't enough I had to mix up a purple and orange to fill in where I wanted more vibrant color hues.
I've tried painting the rainbow first then painting the landscape/sky around it, and I've painted the landscape/sky first and added the rainbow. Both methods worked as long as I took my time and didn't rush things. As is the case with most new watercolor techniques, it will take some practice and possibly several pieces of good paper to get the feel for what you are doing. Hang in there and don't give up. It can be done! Good luck!

SUSIE
PS. Let me emphasize.... using good paper will be critical ...even when practicing...use good paper!
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Technique - Pouring Watercolor Paint

2008-08-04T17:24:00.000-07:00

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QUESTION:
Hi Susie,
I'm very new at WC so I will enjoy reading all the Q&A's here. Can you please explain how to do the "poured" technique? I've seen this talked about but I have no idea how to do it and I love to experiment with all the techniques I read about. Thank you, Nancy

SUSIE'S REPLY:
Hi Nancy - Pouring watercolor paints is an indirect method of painting and quite a detour from the more traditional direct painting methods. Due the variables involved it is often thought of as an experimental technique. Those artists who do master it come up with very beautiful luminous watercolor paintings. Two of the most proficient artists using variations of pouring techniques are Nita Engle and Roland Roycroft.

I'll share what I know about pouring watercolors, which I must admit was a lot of fun to do for a change of pace but didn't quite suite my style as my preferred method for painting. I do still piddle with pouring paint every now and then just for fun and to see what I get.

The basic idea is to pour paint diluted with water over the surface of your watercolor paper creating beautiful blends of sparkling color. Depending on the results you are striving for, you can pour each color separately allowing the surface to dry between each color (which would be considered a form of glazing) or you can allow the colors to mingle on the wet paper without drying between "pours".

Basic techniques for pouring watercolors:

After you have transferred your drawing to watercolor paper mounted on a support of some sort, use a liquid masking fluid or maskit to carefully reserve any whites and light to middle values. Let the masking dry.
Squeeze the paint you plan to use from the tubes into saucers or containers (such as a empty plastic butter tubs) and using a spray bottle add water to dilute the watercolor to the desired intensity. Use a clean brush to dissolve and clumps of thick paint. Don't add too much water, you can always use the mister to add more water to your paper as needed. Remember the more water you use with the paint the lighter it will be when it dries.
When the masking is completed and totally dry you are ready to pour. Have a receptacle ready to catch the paint as it runs off your paper. (If you only add one color at a time the run-off and be reused for additional poured layers. )
Using clear water lightly mist the paper.
Pour a small amount of the diluted watercolor paint on your paper. You can even use an eye dropper for more control when adding the paint.
Use sprayer or mister to add more water as you work from dark to light in both value or intensity and to move the paint where you want it to go.
Tilting your board back and forth will also allow the paint to run and mingle some if you are working with more than one color.
Pour off excess paint being careful to watch for puddles of paint collecting in pockets caused by the masking fluid. If you find a collection of paint use the tip of a paper towel or a thirsty brush to soak up the excess.
DRY and repeat as needed to get the desired effect. DRY AGAIN.
Use a rubber cement pick-up or a piece of tape to rub off the masking.
Next, remask only the lightest areas, leaving the middle values unmasked. When the masking is dry repeat the pouring process. Glazing over the already painted areas will make them darker and in the area previously reserved by the masking now add color. These steps can be repeated as many times as necessary until you build up the contrast and mood you desire.
Remove the masking from the lightest areas and highlights. You can now use a brush to add or bring out any of the finer details.

This is a very simplified explanation of how to produce a painting using poured paints but it should give you an idea of what is involved. For more details I'll refer you to these books by the experts.

How to Make a Watercolor Paint Itself by Nita Engle

Fill Your Watercolors with Light and Color by Roland Roycraft

Pouring Light - Layering Transparent Watercolor by Jean H. Grastorf

Clicking on the titles will take you to my recommended watercolor books powered by Amazon.com Look for the Abstract and Experimental catagory.

And while you're looking take a peek at the new book Watercolor The Spirit Of Spontaneity by Karlyn Holman. She covers pouring plus many more fun techniques.

Thanks for your question!
I hope this inspires you to explore poured painting further!

SUSIE

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Painting Skies Wet-in-Wet

2008-07-21T12:00:00.000-07:00

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

2008-07-18T12:17:00.000-07:00

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

2008-07-18T11:08:00.000-07:00

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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

2008-07-16T11:56:00.000-07:00

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!

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.
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

2008-07-16T10:28:00.000-07:00

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!

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.
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

2008-07-16T09:36:00.000-07:00

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

2008-07-16T08:48:00.000-07:00

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

2008-07-15T19:44:00.000-07:00

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

2008-07-13T17:29:00.000-07:00

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

2008-07-13T15:37:00.000-07:00

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

2008-07-13T13:33:00.000-07:00

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.

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.
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.
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.
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!
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.
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...

2008-07-09T13:05:00.000-07:00

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"...

2008-07-09T12:40:00.000-07:00

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....

2008-07-09T12:29:00.000-07:00

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 ? ...

2008-07-08T16:40:00.000-07:00

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!

2008-07-03T12:16:00.000-07:00

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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