Every paint brush becomes magic once we learn how to use it properly.
It’s how you use the brush
It matters how much pressure we put on the brush and what part of it we use. It matters that you use specifically watercolor brush for watercolor. Watercolor brushes are soft and able to hold plenty of water and paint. While the shape of brush matters, too, the most important part is still how one handles the brush. If you just try to aimlessly move some paint around the magic brush loses its ability to create something great. I usually use only a few brushes for every medium, most often just one or two.
My preferences for watercolor brushes
For watercolor, I use number 14 round, soft watercolor brush with a very fine tip mostly. Therefore, it performs quite a few functions. When we hold it perpendicular at a 90° angle, we can draw very thin lines. Since this brush holds a lot of water and pigment which is important for watercolor, we can use the side of brush parallel to paper and cover large areas fast with either water or paint.
Time it right
Timing is also important for watercolor. We can use just part of a large brush and move paint around. We can use full body of a big-size round brush and cover large areas of paper fast. We have to time everything accurately; if you want fine details, you will do them on dry paper. If you want smooth washes and color transitions, you most likely will wet paper first. Wet paper is also safer for those who are slow with paint application. That will allow avoiding streaks and patchy paint spots.
Fall colors
We have beautiful fall weather at the moment in Southern Canada. Leaves are turning golden, red, orange and purple. It is a good time to practice color mixing and color application since inspiration is everywhere. Bright, sunny and golden colors shine on grey and blue backgrounds. Use that in your favor when creating fall paintings. I started the painting of fall leaves a few years ago for watercolor painting class and finished just yesterday.
The most recent watercolor painting class image
This a quick watercolor painting without drawing and applying rather washes. Mine was done on not that great watercolor paper, but it still makes a lot of sense. Not to mention, that real painting always have more balanced colors and look way smoother than extra sharp iPhone pictures.
I hope you enjoy these paintings.
To sign up for art classes, please go to page: Sign up here
I have found five stages which allow becoming an artist. For illustration, this post includes beautiful images of summer art in watercolor.
Learning is a gradual process
Learning how to draw or paint is a gradual process. I have noticed five stages of learning process which result in being an artist. It is the same as with manual writing: the more you write, the less you have to think about the technical side of writing a letter. Once you are past the first attempts and know all letters, you can put your efforts towards expressing a thought. The less you think about how to do that, the better your story.
Developing manual drawing and painting ability
To some extent, drawing and painting are similar activities to manual writing. You have a concept and you use graphic characters and signs to turn your concept into visually perceivable and readable text. At first, you learn writing letters. You put letters together and you have a word. You line up words in a sentence. You study grammar and style, and your sentences become better over time. After long hours of practice and after many attempts, you are able to write a story or a poem. This poem is what people can read and understand. The same goes for drawing and painting. Becoming an artist takes time.
Practicing techniques
The more you draw and use your brush, the less you have to think about how to use your brush or pencil sufficiently. You feel that you can show the story behind your painting and focus on expressing your emotions, not struggles with getting the main shapes and values right or achieving contrast and good composition.. Drawing and painting become processes which progress by hour if you keep practicing.
The first stage
You draw something, paint something. You try, but either brush or pencil does not want to do what you tell them to. Many lines have to be erased and brush stroke does not work yet. This is the encouraging stage: I could draw or paint, but this will require work and learning. Long way yet to being an artist.
The second stage
You decide to draw or paint a particular subject. Artwork is satisfactory, but the successful parts are good because you got them right accidentally, not intentionally. You mention frequently: I’m not going to touch it again, otherwise I will destroy what I have. The stage of accidental success. This stage will motivate you to move on.
The third stage
You have a plan, and everything goes accordingly to it, but some areas of painting do not work. You work over parts of drawing or painting for many times. Subject could have less or more detail, colors could be much better. There is little distinctions in values. Your artwork shows mainly the same values all over. You notice still lots of flaws. The almost-certain stage. You know you can do it, but practice is necessary, however, you feel like an artist!
The fourth stage
You have decided to draw a rose. You go outside, find a flower and draw a rose that looks like a soft, gentle rose. You decide to add color to it. You mix and test colors. No rush. It works out well: no part is too strong or too weak. Brushstrokes lay on smoothly. You are very satisfied with what you have achieved. A month passes. You look at the same painting, and you definitely see that, it could have been better actually. The potential excellence stage. You are very aware that there is still space for improvement.
The fifth stage
You are not flying on clouds. You know that any painting subject takes work and some planning. You allow yourself making unexpected and unplanned steps, too. It is meant just to keep the hand sensitive, to keep your eye observant. You have no absurd expectations. You have become master of the process, the artist. You can paint anything which comes to mind.
To know what works
You do a value or color sketch. You transfer the drawing onto paper or canvas. You do the color test. You create dark and light color palette for the particular painting. You have your favorite subjects, but you step out of comfort zone. You know exactly what effect each color combination will provide you with. You know exactly where to place details in order to make your composition work.
Painting according to your plan
You start painting in a relaxed manner. You know it takes time, but when this drawing or painting is done, it will be exactly what you want. You raise your bar with every painting. You look at your first drawings and paintings and you say: what was I thinking! That is when you have arrived at the mastery stage. You can do it. You can achieve any results you want. You have no limitations in what you draw or paint. Finally, you are in charge. Rushing won’t take you to where you want to be faster.
Watercolors of summer nature to inspire
Summer barn, just finished watercolor 15 x 20 in or 38 x 50.5 cmSummer barn watercolor painting, 15 x 20 in or 38 x 50.5 cmSpring creek sketch which I used as reference for the large watercolor paintingThis sketch became a large watercolor painting afterwardsThe final spring creek painting, larger than sketch, it is 24.5 x 20.5 in or 62 cm x 51.5 cmSpring creek with white anemones, 24.5 x 20.5 in or 62 cm x 51.5 cm watercolor
Self-care and no summer vacation stress syndrome
There is a huge advantage with manual drawing and painting: it is a perfect type of self-care and the best cure for summer stress syndrome when people feel lost and do not know how to spend their vacation. Many feel they have no idea what to fill all free time with, especially, if they cannot book a trip, travel or have a party. I’m inviting everybody to paint!
Creating art is a way to find out how one is able to make creativity, drawing, sketching and painting part of their life and self-care. I recently received many positive comments about my art classes. Parents admitted that the art instruction which is available in our region (Ontario, Durham region) does not actually include learning how to draw or paint. They told that most art classes were rather craft classes which use glue, markers, inks, papers, mixed media and similar. There is a need for projects which involve real drawing, sketching and painting. I am adding to this creative freedom when we make our own choices.
Replacing device with brush and pencil
I have noticed dramatically decreasing attention span and lack of focus due to the overuse of devices in the recent years. The inability to prioritize important things in our life is one more issue because there is too much of everything happening at once. While some people, who have no art creation experience, would assume that art entertainment events with cocktails and food are art classes, I am very sure they are not since such events don’t teach anybody anything. There are also misleading art instruction models. Most of them are designed to please the participants and to make them believe that they are gaining a lot.
Ready product versus process
Most people are interested only in the final products, and they have no interest or patience to learn about the process of getting to this final product. Indeed, we are seeing this frequently. Many venues offer art classes which are half-done product. They supply with paper or canvas with drawing on it, so that the student has to only apply paint on certain spots Most events are a few hours a single night or one day only because everybody is in a rush. Is it possible to master everything within such a small time frame? No, it isn’t. Brushing techniques alone take time to practice, not to mention that colors, values and composition matter. We always observe certain aspects of painting and we must be aware what these aspects are.
Meaningful art instruction
If we want to make art instruction meaningful again and if we want people to really fall in love with creativity and hand-made art, we have to go the long and more difficult way. We have to allow teens and adults, who want to learn, doing so. Having the final product or masterwork done in just a few hours is an illusion. Nevertheless, there are lots of people who believe in that. Final product or masterwork cannot be the only goal. What matters in this case is the journey, the multiple techniques and approaches, the enjoyable path to self-discovery, satisfaction and feeling of fulfillment. The key is understanding the main drawing and painting principles.
Progress of my recent project
The recent project was painting a simple barn while using expressive watercolor washes. Students learned how to blend red and green colors. For that, we require wet-in-wet approach since that eliminates muddy color. We used simple perspective drawing of buildings and fence.
A few layers are already applied, I start with abstract watercolor washes and define them as I go.I keep adding layers and I have also worked more on fence posts.The old country barn painting is almost done, just problems with picture-taking.
Mutual experience
I also wanted to make an art class which is hard to learn online: just because the content of this class rests on the presence and the interaction between me, group and everybody as an individual. Perspective is such subject for which understanding the principles is of extreme importance, or there is no perspective. While my photos were not perfect, the painting is correct.
The finished painting, Old country barn, 24 x 20 in or 61 x 51 cm watercolor painting on Saunders-Waterford cotton paper
Reason to be satisfied
Therefore, I am proud that my drawing, sketching and painting classes provide teens and adults with a meaningful art instruction. I make sure that students have tools to enjoy a creative freedom, and they are able to draw, sketch and paint anything they want and the way they would like to. I believe that is different and that works in favor of any student.
Perspective in art is much easier to implement than perspective in life. In fact, there is nothing much to it as far as we are aware of how it works and what it does for a painting or drawing. Linear perspective creates depth and dimension in any drawing and painting which deals with suitable subject. Traditional linear perspective uses size, overlap of objects and their placement in composition, as well as convergence of lines.
Black pen drawing of simplified 2-point perspective building
Where to use it
If you love landscape, street scenes, rural scenes with farms and barns, simple roads, streams or rivers and so forth, you will need to implement linear and atmospheric perspective because they both contribute to dimension and volume of your painting. You will also use color values accordingly to perspective principles. If you are drawing and painting outdoors, you are most likely applying some perspective already.
Old countryside house in pen and watercolor, 18 x 12 in or 46 x 30.5 cm
Vanishing points and front view
Some people are confused: how many vanishing points to use: 1, 2 or even more? The answer is that will depend on the placement of your shapes and forms on different planes. 1-point perspective uses 1 vanishing point on the horizon or reference line. Horizon line can be called eye-level, but I like to call it reference line. You have to remember that vertical lines are parallel to the sides of your paper (if it’s straight) to make look building stand up correctly. Horizontal line creates 90 degree angle with the vertical line in front view. Horizontal lines of front view are parallel to the bottom and top of your paper. Therefore, in 1-point perspective, the straight lines at the bottom of your building and corresponding lines higher up will always create a 90 degree angle with the vertical line.
1-point perspective in landscape
Most often, we use 1-point perspective with roads, streams, tree and fence lines and buildings on both or one side of a road, that is, with views where something disappears in the distance. That creates an easy perceivable and visually attractive composition which is a breeze to create. In 1-point perspective, all lines which lead into distance, meet in the vanishing point. The front angles of the building on the respective plane are 90 degree angles. It sounds more complicated than it is when you draw it. Start with closest end of the building, drawing a rectangle. Connect the points on one vertical line (in my case the left side where I mark height of any element) to the vanishing point.
Pen and watercolor wash of barn, 16 x 12 in or 41 x 30.5 cm
Plein-air drawing, 2-point perspective. Photo does not show all lines correctly since camera draws the front edge closer. To draw it correctly, vanishing points on reference line are placed outside the drawing. That we do always when the subject is large. I usually draw intuitively since I know where approximately these lines meet and where the vanishing points are. Starting out? Mark up vanishing points on each side and connect with respective points on vertical lines. I teach this all in my private classes because it is simply not easy to describe.
Pen and watercolor 2-point perspective sketch, it was mostly done outdoors, since this building is next to my studio entrance.
Many buildings in a landscape or street scene
When drawing close-ups of buildings or placing many scattered buildings in composition, we use rather 2-point (angular) perspective. We use drawing separate buildings most often 2 vanishing points. We adjust the eye level or reference line placement as needed. It can be higher or lower depending on your view. We can move it up or down, and we should use this feature in our favor. That will allow achieving plenty of depth and dimension.
3 vanishing points in one-point or two-point perspective
When some buildings are close, some distant or scattered all around, you could use 3 vanishing points. It does not mean that your drawing becomes extremely complex. It means that you will have freedom to place things in your composition wherever you want them.
Where to place rooftop?
Often, demo drawings that involve 2-point perspective do not explain that the rooftop line runs through one vanishing point. That was also the most confusing part for students since they had a problem placing the roofline where it belongs. Please enjoy the recent paintings and sketches which involve perspective. I will prepare online materials for understanding better how to create linear perspective in drawing or painting.
Perpendicular and parallel lines
The most important aspect is to understand what lines are perpendicular, what parallel, what is obtuse angle, right angle and acute angle. Remembering basics of geometry is really helpful because perspective in drawing is simply achieved once you know how to create it. I am posting some of my recent works that involve creating perspective to illustrate the concept.
Uphill, rural house, size of this painting is 21.5 x 16.5 in or 54.5 x 42 cm
Outdoor painting
Many drawings, sketches and watercolor paintings are done outdoors or plein-air. Perspective is an important part of any painting, sketch or drawing which displays buildings, street views, roads, fences, bridges and similar subjects. Learning how to create perspective is not difficult or overwhelming. You really need to master perspective if you ever do a realistic painting or drawing with buildings and man-made structures.
Some painting tips, especially for beginners in acrylic painting can be always useful! Many people have time and opportunity to do something about their creative intentions during the summer vacation. I will also answer some frequently asked questions. I have attached the demo art from a few recent art classes and workshops.
The favorite brush
Always use the brush which feels comfortable for the part of painting you are working on. It is difficult to draw fine lines with a huge brush and vice versa: it takes too long to cover large are with a tiny brush. Over time, every artist develops some kind of attraction to a certain brush whether flat, fan brush or round. It is very possible to paint the entire medium size acrylic painting with one medium size flat brush from start to finish.
No pressure
We should never try to put pressure on ourselves or canvas if some painting step doesn’t happen. As with all water-based mediums, timing is an important part of acrylic painting. We should always use large loose brushstrokes for the first layers and keep the textured impasto approach for the most important areas and for the end. exception is when you are using the texture medium or modelling paste at first, then the sequence will be slightly different.
Cleaning brush
Whenever we move from one color to another, we have to rinse the brush and swipe it on a paper towel. It is important not to have too much water on a brush before you get the paint. You need just a small bit of water. Acrylic paint darkens as it dries, therefore, the values might appear not as they are while the paint is wet.
Keeping acrylic paint workable
Extenders and flow medium can extend the working time, however, working with sticky paint may be not suitable for all areas. It is better to work on segments and use mix of medium and tiny bit of water for re-wetting large areas. Too much water can damage acrylic paint. Brushes must always stay submerged in water while we paint. We can rinse them under running warm water and wash with soap afterwards.
Create monochromatic base image
If the object or scene is very complex, it is great to paint the main parts just in one color: create a monochromatic base image. Changing and adding color is very easy, the most difficult part is achieving the right values, color intensity, proportion between light and dark colors.
Early spring was done entirely during art classes and served as a demo painting
Expectations and real painting
It can happen that participants have very high expectations when they come to the 3-hour painting workshop. In general, one has to be a realist to some extent. If the participant has never painted before or has done a little bit of painting 20 or more years ago, the first painting will be an interesting exercise. That helps understanding what it means to paint with a brush and to try mixing colors. I would not advise to expect it to be a perfection and best art ever created. Who gets better when just starting to paint? People, who are able to take risks, to experiment and who dare stepping out of their comfort zone.
Acrylic landscape with purple and yellow flowers, sold
You will have to learn and paint it
Signing up for a painting class does not mean that painting will paint itself. The art instructor is not a magician, but somebody who can explain, show, demonstrate and correct if something goes completely wrong. Live classes are much better than any online classes because I can see right away what is causing a problem: too much paint, too less paint, too dry or wet brush and so on. We are painting not only with brushstroke, palette knives and sponges, but also with hand pressure, heavy or light movement of the hand, arm or wrist. Application of paint is a big deal and that is something which is best done in the presence of an instructor. I usually explain why the particular image or composition is good or isn’t, why the particular choice of color works or doesn’t.
Road to spring was created during art class as a demo for group.
Some tips for beginning artists:
Whenever you have time and chance, pre-paint your canvas in light cardboard color using burnt sienna, yellow ocher and white. Instead of white, we can use gesso, as well. Acrylic gesso is acrylic primer, it seals the pores on canvas or any other material, that includes wood panels, plastic and similar materials. It allows using less paint and it is easier to apply it on previously primed surface.
Behind the ben: acrylic painting of spring road is 20 x 16 in or 51 x 41 cm art on canvas
Think layers
Think in layers, separate in your imagination the part which is behind and underneath, in order to avoid working on small details right away. I’m often seeing how everybody tends to move to fine details way too fast and well before the entire scene is blocked in. We always start from the back and with the background. Unless there is a large very light part, we have to start with dark and medium dark colors. That seems to be the most difficult part for beginners. We do not use the final color at the beginning, but we build it up layer upon layer.
We were painting Birches and bluebells during the last adult acrylic painting classes, my painting is sold
Applying color or building it up
There is a big difference between applying color and building it up. The further we are in the painting the closer we move to the front part. That is a bit different with separate objects like in still life or floral painting. However, we always start with more general things and just afterwards move to particular parts and details. In oil or acrylic, we always go from dark to light and finish up with small areas of highlights. If we have lost the dark parts, we have to paint them back in.
Start over
If you think that some painting is not good enough and it is not worth trying to make it right, you can cover the entire canvas (previous painting) with a mix of gesso and some colors and start a new painting. The small imprints from old painting lines will add more texture, they most often look interesting, and you can build up a thicker layer above the basic layers.
Correct everything
It takes a lot of effort to damage an acrylic painting completely since you can paint it over for as many times as you wish and have time for (or patience). Being afraid to do something wrong in acrylic painting has no reason – you can correct practically anything. It will take more work, time and paint, that’s all.
Happy summer painting! I hope you enjoy the summer painting tips!
