Your Watercolour Questions Answered (September) Part 4 (Patreon)

Hi everyone,

In this final Q&A instalment, I cover some great questions on figure painting, watercolour techniques, brush selection, and more!

I've also created a downloadable PDF with all your questions and my answers from this four-part series, so you can refer back to them anytime.

Patti wrote: “I am struggling with how to paint figures that are in the background of a painting so that they are distinct (like you can see enough to know what they are (like it’s a violinist) but indistinct, sort of blurry as if in the distance.”

To paint figures in the background so they’re recognisable but still blurry, try using softer edges and less detail. Paint on damp paper - wait until the sheen starts to fade. If the paper is too wet, the paint will bleed too much, and if it’s too dry, you’ll get unwanted hard edges. Depending on how close the figures are, you could also try painting on dry paper and then soften the edges with a clean brush. Using larger brushes can also help, as it forces you not to focus too much on the details. Think of it like suggesting the figure rather than fully painting it.

Lourdes wrote "I watched your video on how to stretch watercolor paper, and I found it very informative. I understand that the paper needs to be cut from the foam board once the painting is finished. I have stapled and taped mine, and I would like to know how to remove the staples and tape from the foam board without damaging it so that it can be reused.”

I recently my blog post covering the entire process, from stretching paper to removing it from the board. It's here: https://www.louisedemasi.com/tips/2024/1/8/how-to-stretch-watercolor-paper

Katherine wrote: “This isn’t a one specific kind of question about watercolors. I’m just wondering why there are so many differing opinions on how to use watercolors. Some artists work with a palette of 12 or more paints and others swear that you should only use the three primary colors to avoid muddiness. Some say you absolutely have to make sure your paper is dry before using masking fluid but others say if you use it on wet paper, you’ll get soft edges. It gets confusing when there are no set 'rules' for what you should and should not do.”

Great question! Watercolours are really versatile, and that’s why there are so many differing opinions. Some artists prefer using more paints for variety, while others like to keep it simple with primaries. It all comes down to personal style and what works best for each artist. The same goes for things like masking fluid - different techniques give different results, so it’s really about experimenting and finding what works for you. There aren’t any strict rules, just guidelines, so don’t be afraid to try different approaches and see what you enjoy.

Jane wrote: “I tend to get water lines or hard lines at the edges of my paintings. I’ve tried just wetting the paper and not taking it all the way to the edge but I still seem to end up with a weird paint edge. I can’t seem to get your smooth edges.”

If the dry edge technique is not giving you the results you want, there could be a few other factors at play. Sometimes, even with a dry edge, too much water in the brush or on the paper can still cause pooling, especially if the paper is flat. Here are a few extra tips that might help:

Tilt Your Board: A slight tilt encourages water to flow downward instead of pooling along the edges, helping avoid those unwanted lines.

Blot Excess Water: After applying paint, gently blot the edges with a damp brush. This will absorb any extra water that might collect and create lines.

Gradual Fade Technique: Try adding a second, clean water wash after the paint has dried. This can help soften any edges that might have formed.

Hopefully, these adjustments will help you get those clean edges you’re after.

Scott wrote: “Something I’ve wondered and would appreciate a little more understanding on is brush selection. For example, what would make you pick up a mop brush vs a round brush of similar size? I guess it has to do with how much water/pigment mix you expect to use (i.e. heavily loaded mop brush with watery mix for loose backgrounds or large initial washes?)”

When choosing between a mop brush and a round brush of similar size, it mainly comes down to how much water and pigment you want to use and the effect you’re after. A mop brush, even when it’s the same size as a round brush, can hold more water and pigment, so it’s great for creating looser washes and soft backgrounds. It’s ideal when you want a more fluid, less controlled application. A round brush, while still versatile, gives you more control and precision, even with larger sizes.

So if you want smoother, more controlled strokes, you’d go for the round brush, but for larger, looser applications, the mop brush is better suited. I will sometimes use a mop brush to apply water to the paper, especially if it’s a large area I want to cover. The mop brush holds more water and will wet the paper much quicker than a round brush of the same size, making it more efficient for prepping large areas.

Kara wrote: “I would like to learn more about how you take your own reference photos. I am interested in taking some simple references indoors in the winter, such as produce from the store, but I am not sure what to use for lighting. I would also like to learn about how you critique your finished paintings to improve. As I start to paint more on my own I am worried about making the same "mistakes" over and over because I don't know any better.”

For indoor reference photos, natural light is key, so try to photograph near a window for soft, even lighting. If you need more contrast or it’s a cloudy day, an LED desk lamp works well to create stronger shadows and highlights. Experiment with different angles to see how the light changes your subject.

As for critiquing your finished paintings, it’s a great habit to get into! After finishing a piece, I like to step away for a while and come back with fresh eyes. Sometimes I’ll take a photo of my painting and I’ll look at it on the computer which is a way of seeing any problems I didn’t notice when looking directly at the painting.

Look at things like composition, value contrast, and how your colours are working together. Try to identify what worked well and what you feel could improve. Over time, this process will help you notice patterns in your work, and you’ll naturally avoid repeating the same mistakes. Having said that, don’t feel like you need to know everything right away. You really grow as a painter with experience. When I look back at my older paintings, I can now see so many things I’d do differently, but at the time, I didn’t notice those issues. That’s because I’ve learned along the way, and that growth only happens by putting in the work. Each painting teaches you something new. Focus on small steps, and over time, you’ll naturally build your skills and confidence.

Cheryl wrote: ”Painting mist: How do you do that as in rising from water in the early morning? How do you pick which brush for your projects? Why a size 16 or a size 8 brush? How do you decide that? What colors are on your Schmincke palette?

For painting mist, use soft, subtle washes and work wet-on-wet. Start with a light, diluted colour and gently soften the edges with a clean, damp brush to create that soft, hazy effect. You could also lift pigment with a clean, damp brush or tissue while the paper is still wet to create those soft, diffused areas.

As for choosing brushes, it depends on the size of the area I’m working on and the level of detail I want. A larger brush, like a size 16, is great for big washes or covering large areas quickly, while a smaller brush, like a size 8, gives you more control for details. It’s all about matching the brush size to the job - larger for broad strokes, smaller for precision.

The colours on my large Schmincke palette are listed here:

https://www.louisedemasi.com/paints-au

Linda asked: “Can you give tips on painting rushing water in rivers and waterfalls?”

Rushing water can be tricky to paint, but it’s all about capturing movement and light. Although I don’t focus on landscapes or water scenes myself, I’ve found that using dynamic, sweeping brushstrokes and layering different tones of blue and grey can really help create that sense of flow. Try using the wet-on-wet technique, and lift your board while the paint is still wet to encourage movement. A spray bottle is great for both keeping the paper wet and adding texture to the paint. A squirty bottle is also handy for adding water in controlled bursts. I recommend checking out Nita Engle’s book, 'How to Make a Watercolor Paint Itself '- she has a section on painting wave patterns that you might find useful.

Another book you might find useful is Ron Hazell’s Painting Water in Watercolor - 30 techniques

Joy wrote: “I know you’ve shown us how to get an imagine of the subject to watercolour paper but do you draw all of your subjects from the photo or do you trace the photo first to get your drawing that you then trace onto the watercolour paper?”

Often, I’ll trace the photo to get the main shapes and then refine the drawing further by hand. This is an efficient way for me because it saves time. As a professional artist and teacher, my time can be limited. However, I strongly believe that learning to draw is an essential part of becoming a better painter. The more you improve your drawing skills, the more your painting will improve as well. I spent years learning to draw, and that foundation has been invaluable. That said, don’t feel like tracing is cheating - many artists use it as a tool to speed up their process, but it’s still important to develop your drawing skills alongside it. Try the grid method- it’s a good way to start building up your drawing skills.

Louise

☺️