Your Watercolour Questions Answered: Part 3 (Patreon)

Hi everyone,

This is Part 3 of the answers to your questions.

Part 1 is here: https://www.patreon.com/posts/109209964

Part 2 is here: https://www.patreon.com/posts/109291428

In this post, I'll be addressing a variety of topics based on your questions:

Tips for achieving a realistic look in your paintings.

Best practices for preserving and storing completed watercolour paintings.

Recommendations for very white watercolour paper.

Thoughts on using Cyan, Magenta, and Yellow as primary colours.

How to care for and maintain Da Vinci brushes.

Tips for adding pigment to washes and preventing tidelines and blooms.

Advice on using your own photos as reference, with tips for getting the lighting right.

Whether to paint backgrounds first or after the main subject, and ideas for handling backgrounds effectively.

I have asked Dom to make a PDF of all of the answers so you can download them. I'll post it here on Patreon when he's finished it.

Lindsey asked:

How do I get my painting to look realistic like your paintings do? I do the value studies, color studies, etc, but I can never get it past the stage of looking like a work in progress painting to a finished painting. Am I just not fiddling enough at the end with the small details? Is that the part I'm skipping, where the "magic" happens in the painting and it looks realistic? Any tips would be wonderful.

Achieving a realistic look in your paintings involves several steps, and sometimes, you’re right, it does come down to adding those final details that bring everything together. Here are some tips that might help you:

Focus on Values and Contrast: Since you're already doing value studies, ensure that your final painting has a good range of values. Pay attention to the contrast between light and dark areas, which can make your painting look more dimensional and realistic. I see a lot of beginner paintings where there isn’t enough value contrast.

Build Layers Gradually: Where you can - work in layers, building up the depth and richness of colours slowly. Each layer adds more detail and depth, making your painting look more complete.

Refine Edges and Transitions: Pay attention to the edges in your painting. Use soft edges where needed to create smooth transitions and hard edges to define shapes. Blending edges appropriately can make a big difference in realism. It’s generally fair to say that most edges in a realistic painting will be soft rather than hard but remember that balance is also key – too many hard edges can overwhelm the painting, while too many soft edges can make it look blurry.

Add Fine Details: Toward the end of your painting process, focus on the small details that make a subject look realistic. This can include highlights, reflections, texture, and subtle variations in colour. Use a smaller brush for these details and take your time. The "magic" often happens in the final touches. Look for areas where you can add highlights, deepen shadows, or refine textures. These small adjustments can make your painting look polished and realistic.

Step Back and Evaluate: Periodically step back from your painting to see it from a distance. This can help you spot areas that need more work or adjustments. I sometimes take a photo of my painting when I am nearing the end and I look at the photo on the computer. It helps me see it with fresh eyes and I often spot areas that need more work.

Patience and Practice: Realism takes time and practice. Don’t rush the process, and be patient with yourself. Each painting is an opportunity to learn and improve.

Lorraine wrote:

When I complete a painting that I'm actually happy with, what's the best way to keep and preserve it? Should I apply a sealant? If I happened to use pigments that are only mediocre light-fastness is it doomed to quickly fading?

and MaryAnn asked:

I've seen that some people seal their watercolor paintings, e.g., with Dorland wax. Is that ever necessary for long term storage?

When you've completed a painting that you're happy with, preserving it properly is essential to ensure it lasts. Here are some tips:

Framing Behind Glass: For watercolour paintings on paper, the best way to preserve them is to frame them behind glass. Use acid-free materials for matting and backing to prevent any deterioration over time. Glass will protect your painting from dust, moisture, and direct contact.

Avoiding Sealants for Framed Paintings: I don’t recommend applying a sealant to watercolour paintings that will be framed behind glass. The glass provides sufficient protection, and a sealant may alter the appearance or texture of your painting.

Using Spray Varnish for Unframed Paintings: If your painting won’t be framed behind glass, such as those on Aquabord or watercolour paper mounted on a wooden board, you can use a spray varnish like Krylon Museum archival spray varnish to protect it.

Using Dorland Wax: I have used Dorland wax on a painting I did on paper that was glued to a board. I first sealed it with Krylon spray varnish and then applied the wax. This method can provide a protective layer and a subtle sheen. I found the application process challenging because I had issues with tiny hairs getting stuck in the wax. Because of this, it's not a method I will use again.

Lightfastness Concerns: If you've used pigments with mediocre lightfastness, they are more prone to fading. I would avoid exposing the painting to direct sunlight and I’d also consider framing it with UV-protective glass (it’s expensive though).

General Care: Keep your paintings in a stable environment with minimal fluctuations in temperature and humidity. Avoid placing them in areas with high moisture, such as bathrooms, to prevent warping or mould growth.

Marijke asked:

Is there a really 'white' watercolour paper you recommend - I often find watercolour paper having a tint of yellow.

I understand your concern about watercolour paper sometimes having a yellow tint. Personally, I don’t worry too much about the tint of the paper and have painted on all types without a strong preference. However, I know some artists prefer to use really white paper because it can make their colours appear more vibrant and true to life.

If you’re looking for a really white watercolour paper, here are a few options that are known for their bright white surfaces:

Arches Bright White Watercolour Paper

Fabriano Artistico Extra White

Saunders Waterford High White

Eleonore wrote:

I read in the book Drawing Birds by John Muir Laws that the standard primary colors can be better replaced by Cyan, Magenta and Yellow, as they provide a broader range of colors. He recommends Daniël Smith and W&N. Do you agree with him?

Here are some thoughts on using CMY primaries in watercolour painting:

Broader Colour Range: Using Cyan, Magenta, and Yellow allows for cleaner, more vibrant secondary and tertiary colours.

Pigment Choices: Both Daniel Smith and Winsor & Newton offer high-quality pigments in these colours. For example, you might use Phthalo Blue (Green Shade) for Cyan, Quinacridone Magenta for Magenta, and Hansa Yellow Medium for Yellow. In the Schmincke range - Helio Turquoise is a vibrant cyan that works well as a primary blue. Brilliant Purple is bright and transparent, making it an excellent primary magenta and Pure Yellow is a bright, clear yellow that serves well as a primary yellow.

Personal Preference: While the CMY palette can be very versatile, it ultimately comes down to personal preference and what works best for your style and subjects. Some artists find the traditional RYB palette more intuitive, while others prefer the clarity and vibrancy of CMY.

Experimentation: Experiment with both CMY and RYB palettes to see which one you prefer. Try creating colour wheels and mixing charts with each set to observe the differences in colour mixing and range.

I personally enjoy experimenting with different colour palettes and combinations. While I don’t strictly adhere to one primary colour system, I find that having a variety of high-quality pigments in my painting kit allows me to achieve the results I want in my paintings.

Diane asked:

I purchased the Da vinci brushes you use and I take good care or them, clean them properly with a good brush cleaner etc but yet when I paint there are hairs that end up sticking out from the brush. Yours always seem to be perfect, any thoughts?

They’re fantastic, but even the best brushes can sometimes have stray hairs. Here are a few tips to help:

Proper Storage: Always store your brushes upright or lying flat. Avoid leaving them bristle-down in water for too long.

Re-shaping the Bristles: After cleaning, reshape the bristles while they are still wet. You can use your fingers to do this.

Maintenance: Regularly clean your brushes with a good brush cleaner and warm water. Make sure to rinse them thoroughly and gently reshape them after each use.

Roll the brush: When painting - I sometimes roll the brush in the paint to reform the point before I paint with it. It really helps.

Jan wrote:

I'm practicing when to add pigment to washes. Sometimes the paper is too wet. Sometimes the brush is too wet. Any tips on how to know when to add paint without it dispersing completely, or causing watercolor blooms would be helpful. 2) How to prevent tidelines and water color blooms.

Have a read of this blog post about painting wet on wet:https://www.louisedemasi.com/tips/2023/4/19/working-wet-on-wet

Here is a blog post about watercolour blooms:

https://www.louisedemasi.com/tips/2024/5/21/how-to-create-or-avoid-watercolour-blooms

1) Timing When to Add Pigment to Washes

Understanding the moisture level of your paper and brush is crucial in watercolour painting. Here are some tips to help you know when to add pigment:

Surface Shine: Watch the paper's surface. When it has a sheen it’s the perfect time to add pigment. If the paper is too wet, the paint will disperse too much and you’ll lose control of it.

Paper Touch Test: Sometimes you may want to paint on paper that is damp rather than wet. Lightly touch the paper with the back of your hand. If it feels cool but not wet, it's ready for the next wash or more pigment.

Brush Control: Remove excess water from your brush by dabbing it on a paper towel before picking up pigment. This prevents adding too much water to the paper. Sometimes I’ll tap the side of the bristles on paper towel after I have picked up the pigment. Lightly tapping the side of the bristles will release some of the water without releasing all the paint as well.

2) Preventing Tidelines and Watercolor Blooms

Tidelines and blooms can be tricky, but with a few strategies, you can minimize them:

Even Application: Apply your washes evenly. Use a consistent brush stroke and avoid going back into areas that are starting to dry.

Work Quickly: Paint swiftly across the paper to keep the wash edge wet. This prevents tidelines from forming where the paint starts to dry.

Controlled Water: As mentioned, control the amount of water in your brush. Less water on the brush means less chance for blooms.

Tilt Your Paper: Painting on a slight incline helps the wash move smoothly and evenly across the paper.

Rewetting Paper: When rewetting a painted area, finish the water application in a light area or take the water right to the edge of the section you are painting. Avoid stopping the water midway over a dark painted area, as this will cause tidelines to form.

D Lonergan wrote: I would like to use my own photos for reference. My issue is getting the light right. Bright enough to be clear but not washed out, bright enough to have clearly defined shadows (because shadows are another bugaboo for me). Are there specific times of day that you find best? Or sunny vs partly cloudy vs cloudy etc? Again, any tips for getting the photos right in the first place would be great.

Using your own photos for reference is a fantastic way to personalise your paintings. Getting the lighting right can make a big difference. Here are some tips to help you capture the best photos for your artwork:

Best Time of Day

Golden Hour: The hour after sunrise and the hour before sunset are known as the "golden hour." The light during these times is softer and warmer, casting beautiful, long shadows without being too harsh.

Mid-Morning and Mid-Afternoon: These times can also work well. The light is still strong enough to create clear shadows but not as harsh as midday.

Weather Conditions

Sunny Days: Bright sunlight can create strong contrasts and well-defined shadows, which can be great for highlighting details and forms. However, I find that photographing white subjects is best done out of direct sunlight, as the sun tends to wash them out too much.

Partly Cloudy Days: These days provide a balance, offering enough light for clarity while softening the shadows slightly, which can be helpful for more subtle shadow work.

Overcast Days: While the light is diffused and shadows are minimal, this can be useful for capturing even lighting and soft transitions, which might work well for certain subjects.

Extra Tips for Capturing Great Photos

Angle and Perspective: Experiment with different angles and perspectives to see how the light interacts with your subject. Sometimes a slight change in angle can make a big difference in how shadows are cast.

Shadows

Observe and Analyse: Take time to observe how light and shadow interact on your subject. Look for where the light hits and where the shadows fall, and how the light affects the colours and textures.

Take Multiple Shots: Take several photos from different angles and lighting conditions. This will give you options to choose from and understand how different lighting affects your subject. I often take a hundred photos or more of the one subject. Out of those photos there may only be 7 or 8 that are worth using for a painting.

Glenna asked:

Louise, I was wondering if it is better to paint a background first or to try to fit it into something you have already finished? I don't want to mess up a painting I like with a background that doesn't fit or is messed up. Conversely, I am not sure about the background colors until I have set up the primary picture. Also not sure how much detail to put into the background in the first place. In short, any ideas on backgrounds would be appreciated!

I have a blog post here with lots of ideas for painting backgrounds:

https://www.louisedemasi.com/tips/2024/1/19/elevate-your-art-with-watercolor-backgrounds

Backgrounds can be tricky, and it's a common concern. It took me many years of painting in watercolour before I felt confident enough to even consider painting a background.

Painting the background first can help avoid accidental overlaps or mess-ups with your main subject and sets the tone and mood for the entire painting. This approach can help you choose colours for the main subject that complement the background. However, it requires a commitment to your background colour and design choices early on, which might be challenging if you're unsure about the final look. These days I try to limit my palette- so I use the colours I am going to use on my subject for the background.

On the other hand, painting the background after the main subject offers flexibility, allowing you to adjust the background colours and details to complement and enhance your main subject. This method provides control, letting you see how your main subject stands on its own and decide what kind of background will work best. The downside is the risk of accidentally messing up your main subject while painting the background.

To help with backgrounds, start by sketching a rough idea before beginning your painting. This can help you visualise the final composition. Backgrounds don’t always need to be detailed; sometimes, a soft wash of colour or simple textures can be more effective and less distracting

(see my blog post linked above).

Choose background colours that complement or contrast nicely with your main subject to create harmony in your painting. Use softer edges and lighter colours for background elements to keep the focus on your main subject and add depth to your painting.

Experiment with different approaches in your sketchbook or on scrap paper to see what works best for you. You can also build up your background in layers, gradually adding details and adjusting colours as needed.

The key with backgrounds is to experiment.

I hope this helps to answer your questions. Please add any of your own ideas and information in the comments.

Thanks,

Louise

❤️

PS: A new tutorial is coming soon.