Your Watercolour Questions Answered (September): Part 3 (Patreon)

Hi everyone,

In this third installment of "Ask Me Anything," I cover a wide range of topics, including:

How I choose subjects for tutorials, balancing personal interest with patron requests.

My flexible filming schedule, structured around daily tasks but with no set days.

Recording voiceovers after painting for better focus and clarity.

The time it takes to film and edit an average tutorial.

Composition tips, using the rule of thirds, subject flow, and loose backgrounds.

Techniques for painting reflections and shallow water, focusing on layering and soft edges.

Understanding pigment numbers and how they relate to colour variations.

Using lost edges to guide focus and deciding where to add detail or looseness in a painting.

Suggestions for mixing skin tones in watercolour and building layers gradually.

Tips on breaking repetitive brushstroke habits and creating more unique shapes in paintings.

Encouraging colour interactions on wet paper for dynamic effects.

Thanks for all the great questions!

One more post to go! In the final post, I’ll include a PDF with all the questions and answers for you to download.

Richard wrote:

“I’m very curious about your process of making a tutorial, especially the more beginner focused ones that aren’t just a tutorial of a painting but also incorporates lessons on basic techniques and are always so helpful and well rounded. How do you decide on the subject? Do you select a subject because it involves a certain teachable technique or do you allow your subject to dictate the more beginner focused technique? (I hope that makes sense) I’m very interested in the process of creating a tutorial. Do you have a schedule for filming, like start at 8am Monday-Friday or is it more relaxed and flexible, like no set schedule and when you’re painting, you’re filming? Do you record audio while you’re painting or do you only record the voiceover after filming? How long does it take you to film and edit an average tutorial? Do you ever have issues in the middle of filming and have to scrap and restart? And lastly, what’s it like to be the greatest watercolor teacher on the internet?"

Thanks so much Richard for your kind words- they mean a lot to me.

How do I decide on a subject for a tutorial?

When deciding on a subject for a tutorial, I consider a few important factors. First and foremost, I choose subjects that genuinely interest me. I receive many requests from patrons, and while I try to accommodate as many as possible, I’ve learned that if I’m not personally inspired by the subject, the painting may not turn out well. If the subject doesn’t appeal to me, the process can become mechanical, and I’m not providing my best work or value to anyone.

I also aim to select simpler subjects for beginner tutorials - something less overwhelming and more approachable, which can be completed in a reasonable amount of time. This helps build confidence and skills without frustration.

Do you have a schedule for filming, like start at 8am Monday-Friday or is it more relaxed and flexible, like no set schedule and when you’re painting, you’re filming?

I start in the studio around 8:00 a.m. every weekday. I don’t have a strict filming schedule tied to specific days—my workflow is more flexible. If I don’t finish something on Monday, I carry it into Tuesday. I try to focus on one task at a time because my to-do list is always long, and juggling too many things at once can get overwhelming. I use an app called ‘Notion’ to keep everything organised and manage my work schedule.

Do you record audio while you’re painting or do you only record the voiceover after filming?

I record the voiceover after filming. When I’m painting, my focus is entirely on the creative process, and trying to talk at the same time makes it difficult to express my thoughts clearly. I often stumble over words and struggle to articulate what I’m thinking. Recording the voiceover later allows me to concentrate on speaking, so I can be more concise and avoid filler words like "um" or pauses. This way, I can deliver a clearer and more straightforward explanation for my patrons. While painting, I do talk to myself to capture my thoughts in the moment, which helps me remember what I was thinking so I can explain it during the voiceover.

How long does it take you to film and edit an average tutorial?

An average tutorial for Patreon takes about 7 to 8 days to film and edit. Sometimes I do a full colour study or two before filming, especially if I’m uncertain about the subject, and that can take a day or two. The actual filming and painting usually take another day, sometimes two, depending on the complexity of the subject. Editing and recording the voiceover take around 3 to 4 days. After that, I prepare all the files, and Dom checks each tutorial by watching it from start to finish to ensure there are no editing issues before I export it.

Do you ever have issues in the middle of filming and have to scrap and restart?

Yes, sometimes a painting doesn’t go as planned, and I have to scrap it and start over. It is frustrating, which is why I like to do a colour study beforehand. It helps me avoid surprises and gives me a clearer direction for the final piece.

And lastly, what’s it like to be the greatest watercolor teacher on the internet?

Oh, you’re too kind! But I think “greatest” might be a bit of a stretch -I’m just over here trying not to spill my paint water on everything! Honestly, I’m grateful to have such wonderful students who keep me on my toes and make teaching so rewarding. If I’m doing something right, it’s probably because of all the amazing feedback and support I get from you all. So, let’s just say I’m trying to be the greatest, one brushstroke at a time!

Lynne asked: "A question about composition. How do you decide where to position the subject in your paintings, which direction it should face and also where to paint a loose background. Are there any general rules?”

When deciding on composition, I consider a few things to help guide the placement of the subject, its direction, and the background.

Subject Placement: The rule of thirds is a great place to start. Imagine dividing your paper into a grid with two horizontal and two vertical lines. Positioning the focal point at one of the intersections naturally draws the viewer’s eye and creates a balanced composition. Of course, I also go with my gut if a subject feels like it belongs somewhere different.

Direction: I often think about the movement or flow in the painting. If the subject has a clear direction, like an animal looking or moving, I tend to give it some open space to "move into" or "look into." This creates a sense of balance and gives the painting breathing room.

Loose Backgrounds: I usually paint a looser background around areas that need to feel more relaxed or distant from the main subject. The idea is to help the subject stand out while allowing the background to support, not overwhelm. You can use softer edges or lighter tones in the background to push it back and keep the focus on the subject.

These aren’t hard-and-fast rules, but they’re helpful starting points. Ultimately, trust your eye and go with what feels right to you.

Lynne also asked: “Also what is the best way to paint reflections on the surface of shallow water as well as show the bottom of the pond/ river and fish?”

Observe the Layers: When you're painting shallow water, you're dealing with two overlapping elements: the reflections on the surface and what's visible beneath the water. Take time to observe how both of these interact. You might see reflections of trees, the sky, or objects above the water, but you’ll also see the stones, plants, or fish below.

Surface Reflection:

Soft Edges: Reflections on water tend to have softer, more blurred edges. Wet-in-wet techniques can help achieve this effect, allowing the colours to blend gently.

Horizontal Strokes: Keep your brushstrokes horizontal to mimic the way water stretches reflections.

Simplify Colours: Reflected colours on the water surface will often be less saturated or slightly darker than the original objects. Try to reduce the level of detail in these reflections to avoid over-complicating the painting.

What's Below the Surface:

Transparency: The key here is to show depth without overloading the details. Use lighter washes of colour for objects under the water to create a sense of transparency.

Soft Transitions: Use soft, diffused transitions between the water surface and the objects beneath to give a sense of depth.

Shadows and Distortion: Light is distorted as it passes through water, so shapes may appear warped or darker where the water is deeper. Pay attention to how shadows fall on the underwater objects. Paint what you see.

Fish and Objects:

Blurry Silhouettes: Fish beneath the water will often appear as blurry, simplified shapes. Focus more on the shape and colour of the fish rather than fine details.

Light Effects: Depending on how light hits the water, fish and objects might have soft highlights or slight distortions that you can capture using subtle colour shifts.

Layering Techniques:

Start by painting the objects under the water using lighter washes.

Once dry, carefully build the reflections on top, allowing both layers to work together to create the illusion of water.

Most importantly- have patience!

Elizabeth asked: “Do the pigment numbers on paints reflect how a color varies (e.g. does a PR23 have a different hue of red vs a PR64 in terms of a warm red or a cool red or a truer red vs a variation or is it something else)?”

Pigment numbers (like PR23 or PR64) refer to the specific chemical makeup of a pigment, not necessarily its warmth or coolness. The letters indicate the pigment's category (e.g., P for pigment, R for red), and the numbers differentiate between different pigments within that category. Here's how they relate to colour variation:

Pigment Identity: PR23 and PR64 are two completely different pigments, meaning they have distinct chemical structures, and as a result, their hues, transparency, staining properties, and lightfastness may differ.

Hue Variations: While both PR23 and PR64 are reds, they may vary in tone and hue. One could lean more towards a warm red (with more orange or yellow undertones), while the other might be a cooler red (with blue undertones). So, yes, the number can correlate with how "warm" or "cool" a red appears, but it’s not a rule - pigment numbers are about chemical identity rather than temperature.

Comparing Pigments:

PR23 might have a more orange or earthy tone.

PR64 could be a brighter, cooler red.

This is just an example, as you would need to look at swatches or the paint itself to determine how they behave.

So to sum it up the pigment numbers don’t directly tell you if a colour is warm or cool, but they do tell you that the pigments are different, which will affect the hue, warmth/coolness, and other properties of the paint. The best way to see the difference is by testing or viewing a swatch of each colour.

I have written more information about pigment codes here: https://www.louisedemasi.com/tips/2023/4/25/understanding-watercolour-pigment-codes

Monalisa asked: “How do you decide where to put your lost edges for best effect? Also, How do you choose where to paint loose versus tight or detailed in your paintings?”

Lost edges can be a powerful way to add depth, atmosphere, and focus in a painting.

Focal Point: Lost edges are often used to direct attention towards your focal point. By keeping edges sharp in areas of interest (like the main subject) and letting other edges disappear, you create a natural flow for the viewer's eye. Ask yourself: Where do I want the viewer to look? Keep edges sharp in that area and let others fade into the background.

Lighting and Atmosphere: Lost edges can mimic the way light softens objects in shadow or areas where two similarly lit elements meet. For example, in softer lighting or atmospheric conditions like fog, edges blur together naturally. In these cases, you might lose an edge where light gently wraps around a form or where the background shares the same value as the subject.

Simplifying Complex Areas: When there's a lot of detail in an area, you can use lost edges to simplify it. Instead of painting every single detail, you let certain parts blend into the background or neighbouring elements. This gives a sense of depth without overwhelming the viewer with too much information.

Suggesting Movement: Lost edges can also suggest movement, like in the fluttering of petals, fur, or feathers. When a form is in motion, softening or losing the edges can create the illusion of movement and make the subject feel more dynamic.

Values and Colour Harmony: Lost edges work best when the colour and value of your subject and background are similar. If an area has the same tone and colour as the background, that’s a good place to lose an edge, because the eye naturally blends them together. For best effect, look for places where two areas meet and have a similar value range.

Practical Tips

Squinting: When you're unsure where to lose an edge, try squinting at your reference. The places where edges disappear naturally are good candidates. I sometimes get a slight headache when I paint because of all the squinting I do.

Contrast: Balance lost edges with harder edges. Too many lost edges might make the painting look too vague, while a good balance creates contrast and interest.

Choosing where to paint detail and where to paint loose:

I choose to paint loose versus detailed based on where I want to draw the viewer’s eye and what parts of the subject attracted me most. The focal areas, where I want to emphasise texture or specific features, will be painted with more detail. In contrast, I keep other areas loose and soft, often with lost edges, to create depth, atmosphere, and let the detailed parts stand out more.

Margaret asked: “I have recently started taking an online course in oils painting portraits. I would love to also hone my skills painting portraits in watercolors but skintones are so complex. Any suggestions?”

Painting skin tones in watercolour can be tricky - I am still learning this myself. Here are some suggestions:

Start with a Limited Palette: Begin with just a few colours to mix your skin tones. A good basic palette might include:

Yellow Ochre or Raw Sienna for warm undertones

Burnt Sienna or Burnt Umber for mid-tones and shadows

Permanent Rose or Quinacridone Rose for blush tones

Ultramarine Blue or Payne’s Gray to cool down and adjust shadows

Layer Lightly: Build your skin tones in layers. Start with a light wash and gradually build up the colour. This allows you to adjust and add depth without overloading the painting early on.

Observe Colour Variations: Skin is not just one colour. Look for subtle changes in temperature - warmer around cheeks, cooler in shadows or where the skin is thinner. Don’t be afraid to mix in blues, greens, or purples for cooler shadows.

Wet-in-Wet for Smooth Blends: Use wet-in-wet techniques for smooth transitions between light and shadow. This helps create softness, especially on rounded areas like cheeks and foreheads.

Avoid Overworking: Watercolour can become muddy if overworked. Let your layers dry fully before adding more detail, and keep your washes light and fresh.

Practice with Different Skin Tones: Experiment with different colour combinations to capture various skin tones. For darker skin, deepen your mixes with Burnt Umber or Perylene Maroon, and for lighter skin, start with very diluted washes of your base colours.

I experimented with the colours in my new Schmincke palette and created some skin tones. Read about them here: https://www.louisedemasi.com/tips/2024/10/22/exploring-colour-mixing-with-my-schmincke-watercolour-set

Grace asked: “Re: Schmincke Liquid Charcoal. I’m wondering if you have experience with this product. My understanding is that it is similar to watercolor but also not really a watercolor product. I’m intrigued but a tad confused about its application in watercolors and also wonder if it would work well in a painting in which traditional watercolors were used. Thank you in advance.”

I haven’t personally used Schmincke Liquid Charcoal yet, but from what I have been reading, it’s an interesting product with a unique texture and application compared to traditional watercolours. It’s made from finely ground charcoal particles in a water-soluble binder, so it behaves similarly to watercolour in terms of flow and dilution, but its finish is more matte and textural like charcoal.

You can definitely use it in a watercolour painting, though it may not fully behave like a typical watercolour. It’s great for adding dark, velvety tones, shadows, and even texture to your paintings. You might find it useful for areas where you want more muted or atmospheric effects. Test it first to see how it interacts with your usual colours.

Guadalupe wrote: “I try to paint unique individual leaves and flowers (for example on a blooming tree or bush), but my brush strokes end up making all the leaves and all the flowers look kinda the same. In fact I have this problem with all subjects…clouds, human and animal figures, inanimate objects… I keep making the same one version over and over, and can’t break through to create fresh interpretations. I’m also struggling to drop colors into each other so they interact and blossom in interesting ways…the wet colors are not moving nicely with each other."

Creating Unique Shapes and Variations: It's common to fall into the habit of painting the same shapes over and over. One approach to break this pattern is to start by observing closely. Before you begin painting, take time to study your reference. Notice the variety in shapes, sizes, and angles of the leaves, flowers, or whatever subject you're working on. Try sketching a few variations of individual elements to warm up and familiarise yourself with the differences.

Then, when you paint, focus on changing your brushstrokes. Use different brush techniques, pressure, and angles for each leaf or flower. Try combining short, sharp strokes with longer, looser ones. This variety will add interest and keep each element unique. You might also limit yourself to a few well-placed, detailed elements while letting others blend softly into the background, which will help emphasize those that stand out.

Encouraging colours to flow and interact on wet paper: For more dynamic colour interactions, you’ll want to focus on how wet the paper and paint are. Wet-on-wet techniques work best when the paper is damp but not too wet. If your colours aren’t moving, it could be that the paper has dried too much, or that the paint you're applying isn't wet enough. Try applying wet paint onto wet paper with different levels of moisture - experimenting with this will help you find the right balance.

Another tip is to work with more diluted washes initially and drop in stronger pigment into the wet areas. You can even tilt your paper slightly to encourage the paint to flow and mix more naturally. Let gravity do some of the work.

Experimenting with both observation and technique will help bring more variety and life into your paintings. Don’t be afraid to be loose and playful with your brushstrokes and colour applications because it’s in those moments that you often find the most exciting results.

Mleong wrote: I'm still having problems with basics... drawing/painting simple leaves and branches. I can follow your intermediate tutorials, but I can't paint without a line drawing and instruction yet. Ugh!!! I do a lot of leaf practice, but not much improvement.Also, I'd like to be able to use the dagger brush, flat brush, filbert brush in addition to the round brush for painting leaves and flowers. Do you have tutorials on this? My soft edges/blending has improved. I can control water to prevent blooming when undesired. Thanks to your tips last month. Mainly my problem is dropping in colors so it blossoms beautifully. I can't seem to do that. Paint too wet, too dry. I wait too long, I'm drop it in too early. Usually, it's a big mess."

Don’t stress too much - leaves and branches can be tricky even for experienced artists! It sounds like you’ve got a great foundation with the intermediate tutorials, but maybe try focusing more on observing shapes rather than details. Simplify the leaves into basic shapes first, then gradually add in texture and veins. Try practising without the pressure of perfection, and don’t worry about needing the line drawing. With more practice, it’ll start to click. I’m planning to create some simple tutorials that focus on painting one leaf at a time, rather than completing a full painting. These will be perfect for practising in your journal and building confidence.

I mainly use round brushes for my work, especially since I don’t do much landscape painting, so I don’t have tutorials specifically for using dagger, flat, or filbert brushes. However, those brushes can be great for leaves and flowers.

I'm so glad to hear your soft edges and blending have improved! Timing with dropping in colours can be tricky. It’s all about finding that sweet spot where the paper is damp, not too wet or too dry. It takes practice, but try experimenting with how much water is on your brush and paper. Don't worry if it’s messy at first; you’ll get the hang of it with more tries. My paper is usually shiny when I drop in other colours, but I make sure the paint mixture and brush aren’t excessively wet. Your issue might be that the paper, brush, and paint mixture are all too wet. Try adjusting one of those factors at a time and see if it helps.

Louise