What, exactly, does the term 'flow state' mean? Why is it important for artists and creatives to experience it on a more consistent basis? How can I get into 'flow state' as I'm working on my art? We experience 'flow state' or 'creative flow' when we're fully immersed in a task, whether it be painting, drawing, sculpting, writing, or playing music. Our minds and bodies seem to be working in unison when we're experiencing a state of flow. Unsurprisingly, it leads to our best art...without us even trying too hard. There are no negative voices coming from inside us, critiquing our every move. Distractions seem to be non-existent. Most of all, we're enjoying what we're doing so much, that time seems to fly by, or it seems to be suspended altogether. 'Flow state' is a term that's mostly used in the creative world, but it's important to know that someone can experience this while doing many different activities. We can feel it when we're cooking, cleaning, driving, doing some type of task in our day job... Athletes are also known to experience it when their playing their sport. However, the arts are incredibly mind and body intensive, and it can be difficult to get back into flow after it's lost. Not to mention, today's fast-paced/distraction-filled world seems to be the antithesis of the focus and time required to do creative work. For many of us, it can seem nearly impossible to get into flow state. But it's important to experience it because it's when we create our best work and when we enjoy ourselves most. This leads to greater consistency and more growth over time. In the video below, I tell you how to do this!
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How to experience a state of flow more consistently as an artist
1. Prepare yourself mentally and physically before sitting down to draw or paint When you're feeling relaxed and ready to focus, it'll not only show in your work, but you'll enjoy the art-making process much more. Instead of jumping straight into drawing or painting when you're stressed out and have lots of things on your mind, take 5-10 minutes to prepare your working area so that's inspiring and comfortable, as well as to get into the right headspace. Explore breath work, taking a walk outside, meditation, journaling, stretching, dancing or simply listening to music. Find a little pre art-making ritual that works for you and do it. 2. Avoid multitasking and distractions In today's world, it feels like there are 50 things calling our attention, all at once, 24/7. However, I assure you that, outside of work and responsibilities we have with our loved ones, nothing is really that important. Working on your personal goals and making time for what fulfills you is more important than wasting your most valuable resource (time), scrolling on social media, watching alarming news, and binge-watching the latest t.v. shows. It's essential to establish the days and times that you'll be devoting to your art practice, and to let your loved ones know when you'll be working. Schedule it in your calendar/weekly agenda, just like any other appointment or important task you need to get done. During these times, silence your phone, close your email and other unnecessary tabs/windows on your electronic devices, and only use the media you need for your art creation. Focus! It may seem impossible at first but, the more you practice this, the easier it becomes. 3. Make sure you're working within the Goldilocks Zone I talk about the Goldilocks Zone in this video. In order to experience this beautiful state of flow, it's essential to pick projects (or studies) with your current skill level in mind. This is because you need to be able to go in with a certain level of confidence in order to "let go". If everything is completely new to you, and the piece on hand requires methods, techniques and/or information that you've never practiced or learned before, it's going to be impossible for you to do this. The process on hand needs to be familiar enough for you to get to a certain point relatively easily, but just challenging enough to feel like you're pushing yourself a tad past your comfort zone. *Bonus tip: Remember that not everything you create has to be a masterpiece or even "good". As artists, it's not only healthy, but important, to give ourselves permission to experiment and even fail. Practice creating art for the process and discovery it brings, not for the sole purpose of creating a perfect product. Stop overthinking, allow yourself to play and let the chips fall where they may. 
Check out my FREE Patreon-exclusive tutorial and class samples here!
*Articles on Creative Flow: How to get into Creative Flow State by Jake McNeill Traits of Flow According to Mihaly Csikszentmihalyi by Mike Oppland Creative Flow as a Unique Cognitive Process by Charlotte L. Doyle
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What is masking fluid, exactly? What can it be used for when painting with watercolor? How do you avoid damaging your paper and other accidents when bringing masking fluid into the watercolor painting process? Though masking fluid is not necessary for beautiful watercolor paintings, it is a great tool to learn about and start exploring when you're looking to take your skills to the next level. Masking fluid (otherwise known as liquid frisket) is, essentially, liquid latex. It's placed on paper in liquid state and dries quickly, creating a "film" that will keep areas of your watercolor paper protected so that you can go about freely painting over them. This is important because, when painting with watercolor, the white paper stands in place for our highlights and helps us create light value areas. *No white paint is necessary as we're using the medium's translucency, in combination with the white paper underneath, to develop our different values/tones.* If we don't plan for highlights or light value areas, our paintings are going to lack dimension and that "glow" that is so particular to watercolor. If we don't find ways to integrate the paper as part of the painting, we'll likely end up with a piece that looks flat, heavy, and even overworked. Yes, we can plan for highlight shapes and simply work around them without using masking fluid, but in some cases, this can be very challenging and it can feel like walking on eggshells. Especially because, once we've painted our paper, there's no going back to the whiteness the paper once had. 
Masking fluid was used here to keep metal rings and white seems, and other light shapes protected throughout the painting process. It was placed with a paintbrush and toothpicks.
*This real-time, fully-narrated watercolor tutorial is available on Patreon.*
Aside from using masking fluid to protect highlight areas, it can be used to create textures and interesting effects. You can place it on paper using different tools such as paintbrushes, pens, an old toothbrush, toothpicks, etc., depending on your objectives and the effects you're after. 
Masking fluid was used here to block out white flowers and to create grass texture. It was placed with toothpicks.
*This real-time, fully-narrated watercolor tutorial is available on Patreon.*
*A word of caution* Because masking fluid is liquid latex, it's important to work in a well-ventilated area. It's also important to take precautions if you'll be using paintbrushes. I'd never recommend using your favorite watercolor brushes to place masking fluid, as it can very easily damage your paintbrush bristles. While there are certain things you can do to protect your paintbrush bristles such as coating them with dishwashing soap or liquid hand soap before dipping them into masking fluid, they'll still get damaged them over time. The 10 must-know masking fluid tips shared in the video below will help you use masking fluid more effectively and avoid undesired accidents.
If you enjoyed this video and found it helpful, make sure to subscribe to my YouTube channel. I share a brand new video every week with art tips, drawing and painting tutorials and mindset/productivity tips for artists. *Subscribe HERE*
Using Masking Fluid With Watercolor- 5 Best Tips 1. Go in with a strategy and make time for practice whenever needed Before placing your masking fluid, set specific objectives you have for it. For example:
I'd recommend writing down the phases/steps that you're thinking of going through in order to arrive at your desired outcome. Decide at what point in the process you'll be removing your masking fluid. *As an FYI: I tend to remove my masking fluid when I'm around 70%-80% of the way through the painting process. Finally, would it be helpful for you to practice laying down thin lines, marks or shapes with your masking fluid placement tool on a scrap piece of paper before applying it on your final piece? *If you've never used the tool before, the answer should always be 'yes'! 2. Explore different tools for placing your masking fluid Don't close yourself off and use only one single tool for masking fluid placement! Explore and experiment with different "alternative" tools that'll help you create different effects, such as toothpicks for thin/tapered lines or an old toothbrush for splattering effects. I only use brushes when I have to fill in medium to large shapes or areas. I love bringing in toothpicks to create grass textures in landscapes or scenes, and doing splattering with old brushes with stiff bristles for interesting textures. Different tools will create very different effects, and exploring will open up your horizons to help you arrive at unique results. 3. When using paintbrushes, protect them! As a rule of thumb, I never use watercolor brushes I like and use for painting, to place my masking fluid. This is because masking fluid can very quickly damage those bristles and leave paintbrushes completely unusable. Not only does masking fluid dry fast and hard on paintbrush bristles, but it's impossible to remove after it has dried. Whenever you do need to bring in a paintbrush for masking fluid placement, I'd recommend using older/cheaper brushes that you don't care for much. I's also suggest protecting its bristles by coating them with soap (liquid hand soap, dishwashing soap or bar soap all work), before dipping your paintbrush in masking fluid. 4. Mind your paper Using masking fluid on cheap or thin paper is a huge no-no because it's highly likely that you'll damage it when it is removed. If you're going to be bringing in masking fluid, you want to make sure that you're using quality paper that can tolerate this kind of technique, such as this one from Arches or this one from Canson. I always make sure to use watercolor paper that's at least 140 lbs/300 gsm in thickness or weight, as well as 100% cotton. If I'm trying out new paper, I make sure to do some tests before applying masking fluid on my final piece. 5. Allow things to dry When you're using masking fluid for watercolor painting, make sure that you: a) Place your masking fluid on dry paper. Unless you're really going for more explorational techniques which you've tried out before working on your final piece. b) Allow it to dry completely before painting over it. If you're using colorless masking fluid, it should look yellowish and transparent, and no longer opaque white. When dry, it feels tacky but no longer sticky to the touch. c) Make sure your painting is completely dry before you remove it. I wouldn't recommend using a hair dryer or other tool to speed up the drying process when masking fluid has been placed on paper as the heat can make the fluid adhere more strongly. *How long masking fluid takes to dry will depend on how thinly or thickly its been placed on paper, as well as the temperature and humidity of the environment you're working in. It can take anywhere from 5 minutes to 30 minutes to dry. *You can use clean, dry hands to gently rub off your masking fluid, or a rubber cement pick up. 6. Soften edges or making masked out shapes smaller whenever needed If, after having removed your masking fluid, you feel that you've been left with stark white shapes that are too large, you can always soften edges or make those shapes smaller. Soften edges by going over them with *gentle* scrubbing using a clean, slightly damp brush. I make sure to do this very gently and only 2-3 times max over the same area in order not to damage my paper. You can also paint inside the shapes to make them smaller. When I do this, I make sure to go in with watered down/pale color and build up from there if needed. 
Check out my FREE Patreon-exclusive tutorial and class samples here.
7. Don't shake your bottle! Shaking your bottle creates air bubbles, which can make it more difficult to place your masking fluid on paper effectively. Air bubbles can lead to undesired textures and effects, as the masking fluid is not placed evenly on your paper. If you need to add in a bit of water to slightly modify your masking fluid's consistency (more on this in the next point), use a stick or tool to gently/slowly stir them together to create a homogenous mixture. 8. You can add a bit of water to change the consistency Over time and as air enters your masking fluid bottle, it's likely that its consistency will change and become thicker. You can add a bit of water to it to change its consistency if you're finding it difficult to place on paper, but make sure that you don't add too much! Adding too much water will change the fluid's resistant properties and it won't be able to do it's work. I'd recommend adding a drop of water at a time, mixing it in gently, and adding just a couple more if needed. You can use a pipette for this. 9. Make sure you're closing your masking fluid bottle tight When you're done, close your bottle as tightly as possible and store it in a cool, dry place. If air is able to get into the bottle, your masking fluid will thicken way faster and become unusable. 10. Don't leave masking fluid on your paper for too long Because masking fluid can adhere more strongly to paper over time, be careful not to leave it on too long. If you leave it on too long or pull it off too quickly, your paper can get damaged/torn. I've never had any problems with Arches paper, even after leaving it on for over two weeks, but other papers are more prone to tearing. How long you're able to leave your masking fluid on watercolor paper is going to vary depending on the quality of the paper, its thickness, and the environment it's stored in. As a rule of thumb, now-a-days, I try to not leave it on my paper for more than a week. Recommended supplies:
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Daniel Smith Watercolor Tubes
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Hope this one was helpful.
If you have any other masking fluid tips of your own to share, or any questions, feel free to leave them below.
Enjoy your art practice!
*This post contains affiliate links. I receive small commissions for purchases made through these links at no extra cost to you. These commissions help me keep this site up and running, in order for me to keep providing helpful and inspiring art content. :)
Looking for new techniques to make your watercolor paintings more unique and interesting? What are watercolor blooms and how are they created?
Watercolor is a challenging, but extremely rewarding painting medium.
As opposed to mediums like acrylics or oils, watercolor encourages us to be light-handed, to embrace surprises, and to not overly describe our subjects.
Because plenty of water is brought in throughout the painting process, there's only so much that we can actually control.
In order to arrive at great watercolor paintings, we must learn to balance between strategizing and letting go.
Yes, it's important to think critically and go in with a plan in order to arrive at the results that we're after, but it's also important to allow the water/paint to do their own thing and to embrace surprises that happen along the way.
By learning new techniques, we develop a deeper knowledge of the medium and discover new ways to make more intentional use of the unique effects that watercolor allows.
Blooms are one of the effects that this medium is known for. They are a great technique to know about, as they can help us add great visual textures, as well as deliberate points of interest to our artwork.
Looking for new techniques to make your watercolor paintings more unique and interesting? What are watercolor blooms and how are they created?
Watercolor is a challenging, but extremely rewarding painting medium.
As opposed to mediums like acrylics or oils, watercolor encourages us to be light-handed, to embrace surprises, and to not overly describe our subjects.
Because plenty of water is brought in throughout the painting process, there's only so much that we can actually control.
In order to arrive at great watercolor paintings, we must learn to balance between strategizing and letting go.
Yes, it's important to think critically and go in with a plan in order to arrive at the results that we're after, but it's also important to allow the water/paint to do their own thing and to embrace surprises that happen along the way.
By learning new techniques, we develop a deeper knowledge of the medium and discover new ways to make more intentional use of the unique effects that watercolor allows.
Blooms are one of the effects that this medium is known for. They are a great technique to know about, as they can help us add great visual textures, as well as deliberate points of interest to our artwork.
Kingfisher watercolor painting by Erika Lancaster.
Today, I'm excited to share another very helpful guest blog post that shares lots of information about watercolor blooms, and 5 different ways they can be created.
Dee Maene is a London-based artist and art teacher. She has a deep love for watercolor and enjoys exploring different artistic mediums, including digital drawing and painting. Dee enjoys bringing in experimentation and play into her creative practice, and has a passion to encourage others to do the same. She likes pushing herself artistically, and strives to produce artwork that's not only beautiful, but meaningful.
Without much further ado, let's jump into her article!
5 Ways To Create Beautiful Watercolor Blooms
By Dee Maene
Watercolor blooms are a great way to add life to your paintings. They are also not only incredibly satisfying to create, but relatively easy to do once you get the hang of water control.
Blooms happen when a drop of water falls on wet paint and spreads, pushing the paint that's on the paper outwards. They can be created by dropping in clean water into paint, or by dropping in more paint into paint, as long as that initial layer of water/paint is still wet.
Watercolor blooms are one of the most magical things that can happen when painting with this medium. They are unique to watercolor and definitely add an element of surprise to the painting process.
Another reason why it's important to know different ways to create blooms, is because they enable us to create softer effects that have a more ethereal quality than regular brushstrokes, which can add variety and a touch of elegance to your paintings.
So, if you're looking to add a little bit of magic to your watercolor paintings, definitely try experimenting with blooms!
There's a variety of different ways blooms can be created and, in this blog post, I'll be sharing 5 techniques that you can start using today.
Technique 1: Dropping a Single Color On Water (Basic Watercolor Bloom Technique)
One of the simplest and most effective ways to create a watercolor bloom is to drop a single color into water that's been applied on your painting surface.
The bloom will happen naturally as the paint spreads out into the water. This technique is especially effective with darker colors, such as blues and greens.
Step-by-step process:
1. Pre-wet a section of your paper with clean water using a larger brush and going over the area at least 3-4 times to arrive at an even sheen.
2. Swivel your paintbrush in your container of water to pre-wet it, and load it with nice, juicy color you've prepared on your mixing palette.
3. Touch the tip of your brush to the surface of the water.
4. Allow the color to drop from the brush onto the water.
5. Repeat steps 3-4 until you have achieved the desired effect.
6. Allow the bloom to dry before adding additional colors or details.
This basic technique can be used to create a wide variety of effects, from delicate flowers in landscapes and scenes, to textures and points of interest in abstract pieces.
With a little practice, you'll be able to produce beautiful blooms that are truly one-of-a-kind.
Watercolor blooms are a great way to add life to your paintings. They are also not only incredibly satisfying to create, but relatively easy to do once you get the hang of water control.
Blooms happen when a drop of water falls on wet paint and spreads, pushing the paint that's on the paper outwards. They can be created by dropping in clean water into paint, or by dropping in more paint into paint, as long as that initial layer of water/paint is still wet.
Watercolor blooms are one of the most magical things that can happen when painting with this medium. They are unique to watercolor and definitely add an element of surprise to the painting process.
Another reason why it's important to know different ways to create blooms, is because they enable us to create softer effects that have a more ethereal quality than regular brushstrokes, which can add variety and a touch of elegance to your paintings.
So, if you're looking to add a little bit of magic to your watercolor paintings, definitely try experimenting with blooms!
There's a variety of different ways blooms can be created and, in this blog post, I'll be sharing 5 techniques that you can start using today.
Technique 1: Dropping a Single Color On Water (Basic Watercolor Bloom Technique)
One of the simplest and most effective ways to create a watercolor bloom is to drop a single color into water that's been applied on your painting surface.
The bloom will happen naturally as the paint spreads out into the water. This technique is especially effective with darker colors, such as blues and greens.
Step-by-step process:
1. Pre-wet a section of your paper with clean water using a larger brush and going over the area at least 3-4 times to arrive at an even sheen.
2. Swivel your paintbrush in your container of water to pre-wet it, and load it with nice, juicy color you've prepared on your mixing palette.
3. Touch the tip of your brush to the surface of the water.
4. Allow the color to drop from the brush onto the water.
5. Repeat steps 3-4 until you have achieved the desired effect.
6. Allow the bloom to dry before adding additional colors or details.
This basic technique can be used to create a wide variety of effects, from delicate flowers in landscapes and scenes, to textures and points of interest in abstract pieces.
With a little practice, you'll be able to produce beautiful blooms that are truly one-of-a-kind.
Dropping paint into wet paper.
Technique 2: Dropping In Two Colors
The graded watercolor blooms technique is achieved by dropping two colors side-by-side on wet paper. The colors will mix together where they meet and create a bloom effect.
This technique is best achieved with two colors that have high levels of pigment, such as Magenta and Cobalt Blue.
It's important to work quickly when dropping the colors onto the paper, as you want them to mix together before they start to dry.
Also, make sure that you completely remove the previous color from your paintbrush bristles before loading your paintbrush with the next color.
To create a more pronounced bloom effect, you can drop the colors from a higher height, farther away from the surface.
This technique can be used to create beautiful and atmospheric paintings with a soft and ethereal quality. I often use this technique when creating galaxy watercolor paintings.
Dropping in a different color on or beside a previous color.
Technique 3: Using Salt
The salt technique is another great way to create blooms, though this one is more so used to create visual texture in larger areas.
By sprinkling salt on wet paint, you can achieve a variety of effects depending on the amount and type of salt used.
For example, coarse salt will create larger blooms, while fine salt will create smaller blooms. You can also experiment with different types of salt, such as Epsom salt and Kosher salt, to see what effects they produce.
In addition, you can control the intensity of the blooms by adjusting the amount of salt you use. A little salt will create subtle blooms and less visual texture, while a lot of salt will create more dramatic blooms and a higher visual texture.
Whether you're looking for delicate flowers in landscapes, or to add snow into snow scenes, using salt is a great way to add interest to your watercolor paintings.
Step-by-step process:
1. Paint a wash of color on your paper (I'd recommend using a darker color).
2. Sprinkle in salt, while the paint is still wet.
3. Allow paint to dry completely.
4. Dust off salt to reveal the beautiful visual texture.
Dropping in salt into wet paint. *Left image shows salt granules just dropped into wet paint. Right image shows the texture created once the paint has dried and salt hast been removed.
Technique 4: Dropping Clean Water Into Color
We can also create watercolor blooms by dripping clean water on wet paint.
The drop of water spreads and pushes the paint outwards, revealing more of the white paper underneath and creating a whitish bloom.
Step-by-step process:
1. Start by painting a shape on your paper with any color. You can drop in another color if you'd like.
2. While the paint is still wet, use a dropper, a pipette, or a paintbrush loaded with only a small amount of water, to slowly drip water onto the center of the shape.
3. Allow to dry.
You can control the size and shape of the bloom by adjusting the amount of clean water you drop in. Experiment with different colors and techniques to create unique blooms.
By splattering clean water on wet paint, a mottled texture can be achieved via tiny blooms!
Technique 4: Dropping Clean Water Into Color
We can also create watercolor blooms by dripping clean water on wet paint.
The drop of water spreads and pushes the paint outwards, revealing more of the white paper underneath and creating a whitish bloom.
Step-by-step process:
1. Start by painting a shape on your paper with any color. You can drop in another color if you'd like.
2. While the paint is still wet, use a dropper, a pipette, or a paintbrush loaded with only a small amount of water, to slowly drip water onto the center of the shape.
3. Allow to dry.
You can control the size and shape of the bloom by adjusting the amount of clean water you drop in. Experiment with different colors and techniques to create unique blooms.
By splattering clean water on wet paint, a mottled texture can be achieved via tiny blooms!
Dropping in water into wet paint. *Image on the left shows water that has been dropped into wet paint. Image on the right shows visual texture created when paint has been splattered onto wet paint.
Watercolor Blue Whale by Erika Lancaster. Mottled texture was created by splattering clean water on the blue-gray color while it was still wet.
Technique 5: Splattering Color Into Water
Flicking wet paint on wet paper, whether it's been pre-wetted with clean water or a colored wash has been applied, is an easy and fun way to create a speckled texture.
You can use any color paint you like, but I find that using two or three colors works best.
The consistency of your color mixture has to contain a good amount of paint in it, and some amount of water. Make sure your mixture doesn't have so much water that you start dripping water all over your painting and too much water runs down your paintbrush as you're doing your flicking.
Hold the brush close to the paper and then quickly flick your wrist so that the bristles hit the paper with a light tap.
Another way you can do this by loading up your paintbrush with paint, and use your Index finger to flick your paintbrush bristles. This second option works great when you're using synthetic brushes that have spring-y bristles that "snap" back.
You can experiment with varying the amount of paint on the brush, the type and size of paintbrush used, and the distance from the paper, to get different effects.
Once you've made a few dots, take a clean brush and blend them together lightly.
Add more dots if you want a fuller effect. Allow the paint to dry completely before framing or displaying your work.
Flicking/splattering paint on wet paper. *Image on left shows two different colors splattered on paper. Image on right shows red paint splattered on orange paint that was still wet. The wetter the paper is, the more "blurred" and soft the edges of those shapes will be.
Must-Know Tips For Better Watercolor Blooms
1. Choose the right type of paper
Different types of paper absorb water differently, and this can impact your painting. Choose a good-quality watercolor paper that is thick enough to hold the water without buckling or warping.
I recommend using a cold-pressed paper that is at least 140 lb/300 gsm. This type of paper is thick enough to hold the water without warping, and it will also give your painting a nice textured finish.
If you're looking for a smooth finish, you can use hot press watercolor paper. This type of paper has a smooth surface that is ideal for painting detailed blooms.
Just keep in mind that hot press paper is a bit more delicate and can warp more easily.
Must-Know Tips For Better Watercolor Blooms
1. Choose the right type of paper
Different types of paper absorb water differently, and this can impact your painting. Choose a good-quality watercolor paper that is thick enough to hold the water without buckling or warping.
I recommend using a cold-pressed paper that is at least 140 lb/300 gsm. This type of paper is thick enough to hold the water without warping, and it will also give your painting a nice textured finish.
If you're looking for a smooth finish, you can use hot press watercolor paper. This type of paper has a smooth surface that is ideal for painting detailed blooms.
Just keep in mind that hot press paper is a bit more delicate and can warp more easily.
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2. Use a light touch
When painting watercolor blooms, it's important to use a light touch. This will help prevent the paint from spreading too much and ruining your painting.
If you want more control over the way your watercolor paint flows, use a smaller brush and add the paint slowly, building up the color gradually. I use a size 3 or 4 round brush for most of my watercolor blooms.
And remember, you can always add more paint if you need to, but it's much harder to remove paint once it's on the paper. So start with a light touch and then build up the color gradually until you get the effect you're looking for.
3. Add water sparingly
Too much water can cause the paint to run and make your blooms look muddy. Add water sparingly, and only when necessary, to avoid this problem.
I like to use a small spray bottle to mist my paper before I start painting. This gives the paint something to cling to so that it doesn't run too much when I add water.
If you do accidentally add too much water, simply blot the excess moisture with a paper towel. Be careful not to rub the paint too hard, or you'll end up with a blurry bloom.
4. Use different colors for variation
One of the best things about watercolor blooms is that you can use any color you want. To add interest and variation, try using two or three colors instead of just one.
I like to use a light color for the base of the bloom and then add a darker color around the edge. This creates a nice contrast that makes the blooms pop.
You can also experiment with different color combinations to see what you like best. Just remember to stay within a similar color family so that you don't accidentally create a color you don't want when they start intermixing.
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5. Experiment and have fun
The best way to learn how to paint watercolor blooms is to allow yourself to explore, simply for the fun of it. Try different techniques, colors, and papers until you find a look that you love.
And don't be afraid to make mistakes. Watercolor is a forgiving medium, and even the most experienced painters make mistakes. Just relax and enjoy the process.
With a little practice, you'll be able to create beautiful watercolor blooms!
Frequently Asked Questions
What is a bloom in watercolor?
A bloom is a type of watercolor painting technique where paint is spread outwards from a central point, creating a flower or cauliflower-like effect.
How to avoid watercolor blooms?
There are a few things you can do to avoid watercolor blooms: use the right type of paper, use a light touch, and develop great water control.
It's all about making sure that the amount of water in your paint mixtures, in your paintbrush bristles, and on your paper is what you need for what you're trying to do. If there's too much water in any of these, or not enough, it'll be hard to arrive at the effects you're after.
This is why we have to constantly check on these three things during the painting process.
What causes watercolor blooms?
Watercolor blooms are caused by adding water to wet paint. The water disturbs the paint, pushing it outwards and creating a bloom effect.
How do you control watercolor blooms?
You can control the size and shape of watercolor blooms by adjusting the amount of water you add.
Experiment with different techniques to get the results you want.
What causes back-runs watercolor painting?
Back-runs are created when we drop in way too much water (or watery paint) on paint that is still wet.
If our paper is still wet, and we're going to be dropping in paint or clean water to create blooms, we have to be in control of the amount that we're dropping in. If too much drips down, it can flow into areas we don't want and we can create splotches.
It's all about water control!
The more you practice, the more easily you'll be able to tell when there's way too much water in the three key areas mentioned before (paint mixtures-paintbrush-paper).
You'll intuitively change the paint-to-water ratios in your mixtures, load up your paintbrush more or less, and add more water to your paper (or allow it to dry), depending on what you're intending to do in that point in time in the painting process.
Practice these five key techniques to create beautiful blooms in your watercolor paintings. Remember to experiment and have fun with this medium – the possibilities are endless!
I hope this post was helpful and inspiring for all of you getting started with watercolors!
Thanks so much to Dee Maene for so generously sharing all of this useful information with us.
Thank you for reading and I wish you tons of progress and enjoyment in your art journey.
*This post contains affiliate links. I receive small commissions for purchases made through these links at no extra cost to you. These commissions help me keep this site up and running, in order for me to keep providing helpful and inspiring art content. :)
What's the difference between drawing on white paper vs. drawing on toned paper? Will drawing on toned paper help you improve your art skills faster? What advantages does this type of drawing/sketching substrate have?
As I've explained in past blog posts and YouTube videos, I 100% believe that drawing is the basis for all kinds of art.
Through drawing, we're not only able to increase our knowledge and skills with essential art fundamentals such as perspective, 3D form and value, but we're also able to develop basic skills such as our observation and our hand-eye coordination.
To read more about how drawing will improve your painting skills, check out this blog post.
As a painter, I make time for my sketching practice routinely, as I know this will positively impact my painting, and it is incredibly fun and enriching to explore new tools and substrates.
Today, I'm excited to share another great guest blog post that sheds light on why drawing on toned paper can help us continue developing our art skills.
Emily Clare is the artist and author behind the Fine Art Tutorials website, which is a great educational resource for art enthusiasts looking to improve their skills with drawing and painting. Over at her website, you can find step-by-step guides, beginner-friendly tutorials, and interviews with professional artists.
Clare is primarily a painter working with oils, but just like me, she loves working with a range of drawing and painting mediums. Her interest in art began at a young age, when she started drawing portraits. Today, her subjects of choice are landscapes and seascapes.
Let's jump into her article!
What's the difference between drawing on white paper vs. drawing on toned paper? Will drawing on toned paper help you improve your art skills faster? What advantages does this type of drawing/sketching substrate have?
As I've explained in past blog posts and YouTube videos, I 100% believe that drawing is the basis for all kinds of art.
Through drawing, we're not only able to increase our knowledge and skills with essential art fundamentals such as perspective, 3D form and value, but we're also able to develop basic skills such as our observation and our hand-eye coordination.
To read more about how drawing will improve your painting skills, check out this blog post.
As a painter, I make time for my sketching practice routinely, as I know this will positively impact my painting, and it is incredibly fun and enriching to explore new tools and substrates.
Today, I'm excited to share another great guest blog post that sheds light on why drawing on toned paper can help us continue developing our art skills.
Emily Clare is the artist and author behind the Fine Art Tutorials website, which is a great educational resource for art enthusiasts looking to improve their skills with drawing and painting. Over at her website, you can find step-by-step guides, beginner-friendly tutorials, and interviews with professional artists.
Clare is primarily a painter working with oils, but just like me, she loves working with a range of drawing and painting mediums. Her interest in art began at a young age, when she started drawing portraits. Today, her subjects of choice are landscapes and seascapes.
Let's jump into her article!
8 Advantages of Drawing on Toned Paper
by Emily Clare
When it comes to choosing the right paper for drawing, there are a lot of options to consider. The color of the paper you choose can greatly impact the finished look of the drawing.
Toned paper is a great substrate for artists to work on and if you've not tried it before, it's worth experimenting with. Toned drawing paper usually comes in cool gray tones and warm brown tones, so pick the one you think will work best for your kind of artwork.
In this blog post, we will explore 8 advantages of drawing on toned paper. Keep reading to learn more!
When it comes to choosing the right paper for drawing, there are a lot of options to consider. The color of the paper you choose can greatly impact the finished look of the drawing.
Toned paper is a great substrate for artists to work on and if you've not tried it before, it's worth experimenting with. Toned drawing paper usually comes in cool gray tones and warm brown tones, so pick the one you think will work best for your kind of artwork.
In this blog post, we will explore 8 advantages of drawing on toned paper. Keep reading to learn more!
1. You can work much faster
Artists can speed up the sketching process when drawing on toned paper because the midtone values are already established.
Allow the gray or brown paper to show through to save time shading all the middle values yourself. Instead, focus on rendering the deepest shadows and brightest highlights.
In contrast, when drawing on white paper, artists will shade the midtones and shadows, leaving the white paper blank for the lightest highlights. Although drawing on white paper yields excellent results, it's more time consuming, as artists have to develop the full range of values.
An example of where it would be beneficial to use toned paper in order to draw at a faster speed would be at a life drawing class, where each drawing is timed. You will be able to get more down on the paper in a shorter time frame.
Another great instance to harness the speed of drawing on toned paper is if you’re working on a project with many drawings, such as a comic book. It can be helpful to use toned paper so that you can work faster and more efficiently.
Allow the gray or brown paper to show through to save time shading all the middle values yourself. Instead, focus on rendering the deepest shadows and brightest highlights.
In contrast, when drawing on white paper, artists will shade the midtones and shadows, leaving the white paper blank for the lightest highlights. Although drawing on white paper yields excellent results, it's more time consuming, as artists have to develop the full range of values.
An example of where it would be beneficial to use toned paper in order to draw at a faster speed would be at a life drawing class, where each drawing is timed. You will be able to get more down on the paper in a shorter time frame.
Another great instance to harness the speed of drawing on toned paper is if you’re working on a project with many drawings, such as a comic book. It can be helpful to use toned paper so that you can work faster and more efficiently.
2. It helps us create great contrast
Artists can also create more contrast and visual interest in their drawings using toned paper. This helps improve composition, creating areas that stand out and lead the eye in. The midtone present in the paper can help unify different aspects of the drawing.
Choose to draw with a highly contrasted effect, by shading with a dark charcoal pencil for the shadow tones and use a white pencil for the highlights.
With a midtone background, the white pencil will pop out of the page!
Toned paper can help create a sense of atmosphere in your drawings. It's perfect for adding depth and dimension to your artwork.
Choose to draw with a highly contrasted effect, by shading with a dark charcoal pencil for the shadow tones and use a white pencil for the highlights.
With a midtone background, the white pencil will pop out of the page!
Toned paper can help create a sense of atmosphere in your drawings. It's perfect for adding depth and dimension to your artwork.
3. We're able to determine values more easily
In addition, using toned paper can help artists to better see the overall value range in their drawings. This helps artists to achieve more realistic values.
When the midtones are already established on the paper, it's easier to see where you need to place the darkest darks and lightest lights.
This can be especially helpful when starting out with drawing, as you become more familiar with working in a range of values.
When the midtones are already established on the paper, it's easier to see where you need to place the darkest darks and lightest lights.
This can be especially helpful when starting out with drawing, as you become more familiar with working in a range of values.
4. We can create more subtle changes between values
Working from a midtone "base" and gradually building light and dark tones will encourage you to be more subtle in the rendering of your subject.
It's a common beginner's mistake to draw with high contrast, instead of toning values down to appear true to life.
It's hard in the beginning to notice subtle changes in values in our reference photos or life subjects, but being able to capture different values present is essential for any level of realism.
By starting with midtones, you can develop your ability to achieve more realistic drawings.
It's a common beginner's mistake to draw with high contrast, instead of toning values down to appear true to life.
It's hard in the beginning to notice subtle changes in values in our reference photos or life subjects, but being able to capture different values present is essential for any level of realism.
By starting with midtones, you can develop your ability to achieve more realistic drawings.
5. It leads to interesting mood/atmosphere in our art
Toned paper offers artists the opportunity to experiment with different drawing techniques.
For example, you could use watercolors to paint over the toned paper to create a light and airy feel. Or if you want to create a more moody and atmospheric drawing, you could use charcoal or conte crayon.
If you're creating a drawing that is set at night time, using toned paper will help to give your drawing a moonlit look. Use a white pencil or gel pen to create the highlights on the moon.
There's an infinite amount of materials and techniques than can be used in combination to bring more of yourself into your artwork and create unique effects.
For example, you could use watercolors to paint over the toned paper to create a light and airy feel. Or if you want to create a more moody and atmospheric drawing, you could use charcoal or conte crayon.
If you're creating a drawing that is set at night time, using toned paper will help to give your drawing a moonlit look. Use a white pencil or gel pen to create the highlights on the moon.
There's an infinite amount of materials and techniques than can be used in combination to bring more of yourself into your artwork and create unique effects.
6. Toned paper is less harsh on the eyes
If you find yourself staring at a white piece of paper for long periods of time, it can be hard on the eyes. Toned paper is easier on the eyes and can help to reduce eye strain.
Whether you're working on a small project or a large one, toned paper can not only help make your artwork more successful, but it can also make the creative process more enjoyable.
Experiment with different types of toned paper to see which one you prefer!
Whether you're working on a small project or a large one, toned paper can not only help make your artwork more successful, but it can also make the creative process more enjoyable.
Experiment with different types of toned paper to see which one you prefer!
7. We can create portrait drawings with subtle effects
Toned paper is especially suited for portrait drawings where there are lots of subtle transitions in midtone values.
Skin tones can be difficult to achieve when starting from a white surface, so using a midtone as your starting point can help you to create a more accurate portrait.
You can then slowly build up the lights and shadows.
Skin tones can be difficult to achieve when starting from a white surface, so using a midtone as your starting point can help you to create a more accurate portrait.
You can then slowly build up the lights and shadows.
8. It's an incredibly versatile substrate for drawing and sketching
On toned paper, artists can use a wide range of drawing media and techniques to achieve striking effects. It can also be used in lots of different ways.
For example, artists can use charcoal to achieve deep matte black shades, alongside white charcoal pencil to achieve a full range of values. Colored pencils will look bright and saturated against a brown or gray background, as the neutral backdrop creates contrast.
For example, artists can use charcoal to achieve deep matte black shades, alongside white charcoal pencil to achieve a full range of values. Colored pencils will look bright and saturated against a brown or gray background, as the neutral backdrop creates contrast.
Do you want to try drawing on toned paper?
Whether you're a beginner or a seasoned artist, drawing on toned paper can help improve your drawings in a number of ways.
Give it a try the next time you sit down to draw!
Give it a try the next time you sit down to draw!
Recommended Supplies:
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Strathmore Softcover 400 Series Toned Sketch Artist Journal
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Strathmore 400 Series Recycled Toned Sketch Wirebound Pads
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You can use a variety of different drawing tools on toned paper including chalk, conté crayons, pastels, charcoal sticks or pencils, and regular colored pencils.
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You can protect your artwork and keep it from smearing with a fixative.
I hope this post was helpful and inspiring!
Thanks so much to Emily Clare for so generously sharing all of this useful information with us.
Thank you for reading and I wish you tons of progress and enjoyment in your art journey.
I hope this post was helpful and inspiring!
Thanks so much to Emily Clare for so generously sharing all of this useful information with us.
Thank you for reading and I wish you tons of progress and enjoyment in your art journey.
*This post contains affiliate links. I receive small commissions for purchases made through these links at no extra cost to you. These commissions help me keep this site up and running, in order for me to keep providing helpful and inspiring art content. :)
Interested in developing your skills with watercolor pencils? Wondering how to paint realistic flowers that show depth and dimension with this versatile medium?
In this step-by-step tutorial for beginners, I take you through my entire process for developing botanical paintings using watercolor pencils.
I share everything, from how I choose my colors for a smoother painting process, how to activate pigment with water for a painterly effect, and how I do my layering to develop higher levels of realism without overworking my paper and maintaining the glow that's so unique to watercolor.
Along the way, I share tons of must-know tips and tricks that help me arrive at great results, every time.
Interested in developing your skills with watercolor pencils? Wondering how to paint realistic flowers that show depth and dimension with this versatile medium?
In this step-by-step tutorial for beginners, I take you through my entire process for developing botanical paintings using watercolor pencils.
I share everything, from how I choose my colors for a smoother painting process, how to activate pigment with water for a painterly effect, and how I do my layering to develop higher levels of realism without overworking my paper and maintaining the glow that's so unique to watercolor.
Along the way, I share tons of must-know tips and tricks that help me arrive at great results, every time.
Before jumping into the Pink Rose tutorial, if you're just getting started with Watercolor Pencils, I would highly recommend checking out this very thorough video where I share tons of must-know information on this medium that'll help you make much faster progress:
If you enjoyed this video and found it helpful, make sure to subscribe to my YouTube channel. I share a brand new video every week with art tips, drawing and painting tutorials and mindset/productivity tips for artists. *Subscribe HERE*
Ready? Let's jump in!
Ready? Let's jump in!
Watercolor Pencil Pink Rose Steps
1. Choose your colors wisely before starting
Observing my reference photo, I chose a few different pinks, reds and greens from my watercolor pencil set that I thought looked similar to the hues I saw.
When we're going for higher levels of realism, it's essential to take time choosing our colors and testing them out on a scrap piece of paper to ensure they will help us arrive at the results we're after.
This will help us stay away from undesired effects and muddy colors.
It's also important to decide how you'll be developing different values in each area (lighter areas, midtone areas and darkest areas), as developing a wide range of values (or tones) is key for any level of realism.
In the video above, you'll see how I prepared myself with light, midtone and darker colors I'd be using to develop color and value in the pink petals, as well as light, midtone and darker colors I'd be using for the green stem and leaves.
Consider testing out the colors you'll be layering together in the darkest areas on your scrap piece of paper to make sure they create colors you like before doing this layering in your final piece.
Also, if you'd like to play with color temperature in different areas, pay attention to whether the colors you're choosing from your set are warm or cool-biased.
I'd recommend limiting the amount of colors you'll be bringing in to avoid overwhelm or confusion throughout the process.
Simple is often best, and you don't need a large variety of colors to arrive at great results or high levels of realism.
Once I've tested my colors and have chosen the ones I'll be working with, I stick to using only those.
2. First layering of pigment in the petals
Observing my reference photo, I chose a few different pinks, reds and greens from my watercolor pencil set that I thought looked similar to the hues I saw.
When we're going for higher levels of realism, it's essential to take time choosing our colors and testing them out on a scrap piece of paper to ensure they will help us arrive at the results we're after.
This will help us stay away from undesired effects and muddy colors.
It's also important to decide how you'll be developing different values in each area (lighter areas, midtone areas and darkest areas), as developing a wide range of values (or tones) is key for any level of realism.
In the video above, you'll see how I prepared myself with light, midtone and darker colors I'd be using to develop color and value in the pink petals, as well as light, midtone and darker colors I'd be using for the green stem and leaves.
Consider testing out the colors you'll be layering together in the darkest areas on your scrap piece of paper to make sure they create colors you like before doing this layering in your final piece.
Also, if you'd like to play with color temperature in different areas, pay attention to whether the colors you're choosing from your set are warm or cool-biased.
I'd recommend limiting the amount of colors you'll be bringing in to avoid overwhelm or confusion throughout the process.
Simple is often best, and you don't need a large variety of colors to arrive at great results or high levels of realism.
Once I've tested my colors and have chosen the ones I'll be working with, I stick to using only those.
2. First layering of pigment in the petals
Whether I'm working with traditional watercolor paint or watercolor pencils, I always work from lights to darks in each area.
Before starting, I always observe where the lightest areas and darkest areas are in the reference photo.
The lightest sections (highlights) are areas/shapes that I'm going to do my best to keep protected throughout the process, with little-to-no color in them. This way, the whiteness of the paper can shine through and stand in place for my highlights.
Because the white paper is standing in place for the highlights and is helping us develop lighter values, no white color is needed. This is the same when we're working with traditional watercolor paint.
The darkest shadow areas are where the color will be layered on more and where the white paper will be covered up more.
Starting with the petal portion, I begin layering my first/lightest color (my pink) all throughout, excluding only the lightest areas I see in the reference photo. These lightest highlight areas (highlights) I leave free of color and are areas I want to keep protected thought the process.
Once the pink is in, I switch to my first red (the lightest one), and I layer this first red in the midtone and darkest areas I'm able to see in the reference photo. I leave sections of lightest values free of this second color.
Even though I don't really press down hard at any point throughout this process because I don't want to scratch or damage my paper, I make sure to release any pressure I'm exerting gradually as I move out from the darkest areas and into the light areas.
This helps me create gradients and soft transitions.
With the second color layered on, I switch to my next, darker red, and continue with the layering process, making sure to only place this darker red in deep shadow areas I'm able to see in the reference photo.
As you're developing these different values, bring to mind the three-dimensional structure of the rose, as well as overlapping petals creating shadows on each other and curving/curling petal sections that may be catching more or less light.
Ask yourself where the light source is in relation to the subject, and how this light source can have an impact on the values/tones you see throughout it.
3. First color activation in the petals
Before starting, I always observe where the lightest areas and darkest areas are in the reference photo.
The lightest sections (highlights) are areas/shapes that I'm going to do my best to keep protected throughout the process, with little-to-no color in them. This way, the whiteness of the paper can shine through and stand in place for my highlights.
Because the white paper is standing in place for the highlights and is helping us develop lighter values, no white color is needed. This is the same when we're working with traditional watercolor paint.
The darkest shadow areas are where the color will be layered on more and where the white paper will be covered up more.
Starting with the petal portion, I begin layering my first/lightest color (my pink) all throughout, excluding only the lightest areas I see in the reference photo. These lightest highlight areas (highlights) I leave free of color and are areas I want to keep protected thought the process.
Once the pink is in, I switch to my first red (the lightest one), and I layer this first red in the midtone and darkest areas I'm able to see in the reference photo. I leave sections of lightest values free of this second color.
Even though I don't really press down hard at any point throughout this process because I don't want to scratch or damage my paper, I make sure to release any pressure I'm exerting gradually as I move out from the darkest areas and into the light areas.
This helps me create gradients and soft transitions.
With the second color layered on, I switch to my next, darker red, and continue with the layering process, making sure to only place this darker red in deep shadow areas I'm able to see in the reference photo.
As you're developing these different values, bring to mind the three-dimensional structure of the rose, as well as overlapping petals creating shadows on each other and curving/curling petal sections that may be catching more or less light.
Ask yourself where the light source is in relation to the subject, and how this light source can have an impact on the values/tones you see throughout it.
3. First color activation in the petals
Using my size 6 round brush, I take a little bit of water at a time from my container and start activating my color, section by section.
When activating watercolor pencil pigment, it's essential to stay on top of water control or you risk messing up the values you've already developed.
Use your absorbent towel to help you stay on top of water control.
Throughout the process, I'm constantly blotting the tip of my paintbrush on my towel to remove excess water and paint, and I use it to do any lifting/absorbing of too much water I've accidentally placed on my paper, or to lift too much color if I feel I've flattened a section out too much.
As you're activating your color, start with your lightest areas and make your way towards darker areas. This way, you can keep your darker colors where you need them and you'll avoid pushing/pulling these darker colors into lighter areas.
Darker colors will very easily "eat up" your lighter colors. Plus, it's always going to be easier to go in and darken, than it is to go in and lighten.
So take it slow.
Keep an eye on how much pigment is collecting in your paintbrush bristles as you're activating your color.
As soon as you see you're pushing way too much pigment around, remove that color from your bristles by swiveling your paintbrush in your water, blot your bristles gently on your towel, and pick up where you left off.
It's also essential to continue observing your reference photo as you're activating your color in order to continue differentiating between values/tones present throughout the sections you're activating.
You want the lights to stay light, the midtones to stay as midtones, and the darks to stay as darks.
Remember, it's all about developing those values you're able to see in the reference photo.
If you stop looking at the reference photo, you stop thinking of the structure of what it is your painting, and you start ignoring values, it's very likely you'll accidentally flatten everything out and things will look overworked and heavy.
*Allow to dry completely.*
4. First layering of pigment in the stem and leaves
When activating watercolor pencil pigment, it's essential to stay on top of water control or you risk messing up the values you've already developed.
Use your absorbent towel to help you stay on top of water control.
Throughout the process, I'm constantly blotting the tip of my paintbrush on my towel to remove excess water and paint, and I use it to do any lifting/absorbing of too much water I've accidentally placed on my paper, or to lift too much color if I feel I've flattened a section out too much.
As you're activating your color, start with your lightest areas and make your way towards darker areas. This way, you can keep your darker colors where you need them and you'll avoid pushing/pulling these darker colors into lighter areas.
Darker colors will very easily "eat up" your lighter colors. Plus, it's always going to be easier to go in and darken, than it is to go in and lighten.
So take it slow.
Keep an eye on how much pigment is collecting in your paintbrush bristles as you're activating your color.
As soon as you see you're pushing way too much pigment around, remove that color from your bristles by swiveling your paintbrush in your water, blot your bristles gently on your towel, and pick up where you left off.
It's also essential to continue observing your reference photo as you're activating your color in order to continue differentiating between values/tones present throughout the sections you're activating.
You want the lights to stay light, the midtones to stay as midtones, and the darks to stay as darks.
Remember, it's all about developing those values you're able to see in the reference photo.
If you stop looking at the reference photo, you stop thinking of the structure of what it is your painting, and you start ignoring values, it's very likely you'll accidentally flatten everything out and things will look overworked and heavy.
*Allow to dry completely.*
4. First layering of pigment in the stem and leaves
Same as with the initial layering of color in the petal area, we're starting with the lightest green and are making our way towards the darkest green, making sure to keep lightest areas protected, with little-to-no-color in them.
First, go in with the lightest green and fill in the entire leaf and stem shapes, excluding any highlight shapes you're looking to keep protected (with no color in them).
After the lightest green has been placed, switch to your medium green and layer this color over your lightest green in midtone and darkest shadow areas.
After the medium green has been placed, switch to your darkest green and layer this one only in darkest shadow areas.
Remember not to press down too much so that you avoid scratching or damaging your paper, and release any pressure you're exerting as you make your way out from darker areas and into lighter value areas to create gradual transitions.
I see a hint of pink/red in the leaves and stem, so after layering the greens, I switch to my pink and layer a bit over the greens where I see this color in the reference photo.
5. First color activation in the stem and leaves
First, go in with the lightest green and fill in the entire leaf and stem shapes, excluding any highlight shapes you're looking to keep protected (with no color in them).
After the lightest green has been placed, switch to your medium green and layer this color over your lightest green in midtone and darkest shadow areas.
After the medium green has been placed, switch to your darkest green and layer this one only in darkest shadow areas.
Remember not to press down too much so that you avoid scratching or damaging your paper, and release any pressure you're exerting as you make your way out from darker areas and into lighter value areas to create gradual transitions.
I see a hint of pink/red in the leaves and stem, so after layering the greens, I switch to my pink and layer a bit over the greens where I see this color in the reference photo.
5. First color activation in the stem and leaves
After working on my layering in the stem and leaves, I go in with my paintbrush and a bit of water to do my color activation in these areas.
In all of the activation phases in this process, I make sure to do everything I talked about in step 3 of this process.
*Allow to dry completely.*
6. Second layering of pigment in the petals
In all of the activation phases in this process, I make sure to do everything I talked about in step 3 of this process.
*Allow to dry completely.*
6. Second layering of pigment in the petals
With everything completely dry, it's time to work on our second layering of pigment in the petal area.
At this point, we're working on only layering on more pigment in darker midtone areas and darkest dark areas. This means we're no longer working with the lightest color (the pink).
I start with my first red and layer this color in darker midtone areas, really avoiding any unnecessary layering in lighter value sections.
I make sure to release any pressure I'm exerting on my pencil as I make my way into lighter value areas, and keep lighter value sections (and brightest highlights) protected.
It's important to not apply any more pigment in light value areas and to keep the highlights with no color in them. If lighter value areas are darkened, this will flatten the piece out and will make it heavy.
This will take away from the realism we're trying to develop, as we need a wide range of values for something to look realistic, from lightest highlights, to a wide range of midtones, to darkest darks.
Once I've layered on more of my first red, I switch to my second (darker) red, and do more layering only in darkest shadow areas.
Finally, in this part of the process, I also bring in my darkest, purplish red, but I only layer this one in deepest areas that I want to push contrast in more.
7. Second color activation in the petals
At this point, we're working on only layering on more pigment in darker midtone areas and darkest dark areas. This means we're no longer working with the lightest color (the pink).
I start with my first red and layer this color in darker midtone areas, really avoiding any unnecessary layering in lighter value sections.
I make sure to release any pressure I'm exerting on my pencil as I make my way into lighter value areas, and keep lighter value sections (and brightest highlights) protected.
It's important to not apply any more pigment in light value areas and to keep the highlights with no color in them. If lighter value areas are darkened, this will flatten the piece out and will make it heavy.
This will take away from the realism we're trying to develop, as we need a wide range of values for something to look realistic, from lightest highlights, to a wide range of midtones, to darkest darks.
Once I've layered on more of my first red, I switch to my second (darker) red, and do more layering only in darkest shadow areas.
Finally, in this part of the process, I also bring in my darkest, purplish red, but I only layer this one in deepest areas that I want to push contrast in more.
7. Second color activation in the petals
With my second layering of color done, it was time to activate the pigment with my paintbrush and water, once again.
I only run my paintbrush bristles over areas where I've layered more color on, in the previous step.
All of the color activation tips provided in step 3 still apply.
*Allow to dry completely.*
8. Second layering of pigment in the stem and leaves
I only run my paintbrush bristles over areas where I've layered more color on, in the previous step.
All of the color activation tips provided in step 3 still apply.
*Allow to dry completely.*
8. Second layering of pigment in the stem and leaves
Using the medium green and then the darkest green, I do more layering to push darker midtones and darkest shadow areas, just like I did with my second layering in the petal area.
I make sure not to layer or darken lighter value areas, and continue doing my best to protect any highlights.
After layering on more pigment in midtone and darkest green areas, I intensify the red in the leaf and stem sections where I see this color in the reference photo by layering on some of my darkest red (where I had already layered on some pink previously).
9. Second color activation in the stem and leaves
I make sure not to layer or darken lighter value areas, and continue doing my best to protect any highlights.
After layering on more pigment in midtone and darkest green areas, I intensify the red in the leaf and stem sections where I see this color in the reference photo by layering on some of my darkest red (where I had already layered on some pink previously).
9. Second color activation in the stem and leaves
Once again, it's time to do activation with a paintbrush and water.
I only go over smaller sections in the stem and leaves where I've just placed more pigment in the previous step, making sure to keep lighter value sections protected.
These shapes are much smaller than the petals, so I'm even more careful to not go in with too much water and really pay attention to how I'm pushing/pulling color around.
This will help me not mess up the values I've already developed.
*Allow to dry completely.*
10. Third layering of pigment all throughout
I only go over smaller sections in the stem and leaves where I've just placed more pigment in the previous step, making sure to keep lighter value sections protected.
These shapes are much smaller than the petals, so I'm even more careful to not go in with too much water and really pay attention to how I'm pushing/pulling color around.
This will help me not mess up the values I've already developed.
*Allow to dry completely.*
10. Third layering of pigment all throughout
This is the final layering of color I'll be doing and I'm only looking to push darkest shadow areas to develop greater contrast and define certain edges.
In this phase, I do layering in both the petal section, as well as the leaf/stem section.
I'm only using my two darkest reds at this point (in the petals) and the darkest green (in the leaves/stem), and I'm focusing on doing more layering only in the very darkest areas I see in the reference photo.
Even at this point, I'm not burnishing or pressing down too hard on my paper in order to avoid scratching it.
Continue releasing any pressure you're exerting as you make your way out of darker value areas to create gradual transitions between values.
In this phase, I do layering in both the petal section, as well as the leaf/stem section.
I'm only using my two darkest reds at this point (in the petals) and the darkest green (in the leaves/stem), and I'm focusing on doing more layering only in the very darkest areas I see in the reference photo.
Even at this point, I'm not burnishing or pressing down too hard on my paper in order to avoid scratching it.
Continue releasing any pressure you're exerting as you make your way out of darker value areas to create gradual transitions between values.
11. Third color activation all throughout
This is the final color activation I'll be doing with my paintbrush and water.
I only run my paintbrush bristles over the areas I've layered more pigment on in the previous step, and avoid pushing/pulling color into lighter value areas.
I continue to observe the reference photo in order to keep light areas light, midtone areas as midtones, and darkest areas dark.
*Allow to dry completely.*
I only run my paintbrush bristles over the areas I've layered more pigment on in the previous step, and avoid pushing/pulling color into lighter value areas.
I continue to observe the reference photo in order to keep light areas light, midtone areas as midtones, and darkest areas dark.
*Allow to dry completely.*
12. Fourth layering of pigment all throughout
I do my final application of pigment to increase contrast and define edges here and there, using only the darkest red in petal areas and the darkest green in the leaves/stem.
I allow myself to push down a little bit more.
I do not activate this final layering of pigment as I like incorporating some of the texture watercolor pencils allow.
By this point, you can see how highlight and light value areas have little-to-no pigment in them, which means that the paper is shining through more.
Darkest areas have a more generous application of color in them, which covers up more paper.
Midtone areas are somewhere in between.
It's through incorporating the brightness of the paper as part of the piece, that the final result looks more realistic and also has that glow that is so particular to watercolor.
I allow myself to push down a little bit more.
I do not activate this final layering of pigment as I like incorporating some of the texture watercolor pencils allow.
By this point, you can see how highlight and light value areas have little-to-no pigment in them, which means that the paper is shining through more.
Darkest areas have a more generous application of color in them, which covers up more paper.
Midtone areas are somewhere in between.
It's through incorporating the brightness of the paper as part of the piece, that the final result looks more realistic and also has that glow that is so particular to watercolor.
Hope you enjoyed this tutorial!
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to earn advertising fees by advertising and linking to amazon.com.
www.erikalancaster.com
is a participant in the Shareasale.com Affiliate Program, an affiliate advertising program designed to provide a means for sites to earn advertising fees by advertising and linking to Shareasale.com partner companies.
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