Quinacridone Burnt Orange – Daniel Smith Watercolor | The Paint Show 22

Welcome to episode 22 of The Paint Show, in which I’ll present Quinacridone Burnt Orange, by Daniel Smith!

You can check out the full episode on YouTube, right here:

Me and Quinacridone Burnt Orange

I got this paint originally together with the Daniel Smith Secondary set, alongside Carbazole Violet and Undersea Green.

I really enjoyed this set, and I think it’s REALLY worth it in terms of the price. This is why I originally reviewed the entire set.

Then, I reviewed Carbazole Violet on the previous episode, and next week I hope to review Undersea Green as well!

I slowly got to love each and every one of these paints, and I wholeheartedly recommend getting them.

If you are interested in purchasing Quinacridone Burnt Orange, you can do so here (affiliate link): Quinacridone Burnt Orange – 15ml Tube.

If you want to get the entire set, you can do so here: Daniel Smith Secondary Set

(If you buy using these links you pay the exact same price, and I get a commission).

Paint Information

Here’s some more information about this paint.

  • Pigment: PO48 (Quinacridone Orange)
  • Series 2
  • Excellent Lightfastness
  • Transparent
  • Granulating
  • Low Staining

As this is a series 2 paint, it’s not the cheapest. On Amazon it goes for about 17$ (and the set is 24$, so you can understand why I recommend that…).

I love this paint’s transparency too. I usually use heavier and darker wash from the get (not aiming for multiple glazings), but this one just may make me try some of that.

I also like the relatively gentle granulation texture, and the fact it’s more easily liftable, as it’s low staining.

If I recall correctly PO48 should be staining. I’m not sure what Daniel smith did here, but this one seems to be low staining.

Demo

Here are some things I show in the video review…

A basic swatch and a quick wet-in-wet swatch.

Mixes with French Ultramarine and Sap Green (which Daniel Smith recommends doing).

And lastly, I attempt to recreate the paint. According to information I found online, this can be remixed by combining a yellow similar to PY150 and a red such as Quinacridone Rose (PV19) or Maroon Red (PR179).

I didn’t have a suitable yellow (PY150 is somewhat neutral), and so I used a combination of Lemon Yellow and New Gamboge, and mixed it with Quinacridone Rose.

The result is pretty nice!

Pretty similar, right?

Conclusion

I really enjoyed making this review for you. Let me know what you think by leaving a comment under the video or here on my website.

If you want to watch the full episode on YouTube, you can check it out here: Quinacridone Burnt Orange – The Paint Show – Episode 22

And again, If you wish to buy the tube, you can do so here: Quinacridone Burnt Orange – 15ml Tube.

And if you want to get the entire set, you can do so here: Daniel Smith Secondary Set

I hope you enjoyed this one, and I’ll talk to you again really soon!

– Liron

The Stages of Watercolor Painting

Hi all!

A few days ago I published a YouTube vid that I think a lot can benefit from.
I want to share some highlights in this post.

If you want to watch the full video, you can check it out here:

The Stages of Watercolor Painting

When I got started in watercolors, I ran into some issues I couldn’t find a solution for.
They mainly revolved around the actual process of painting, on a macro level.

What should I start with?
Do I cover everything up in the initial wash?
Should I use wet-in-wet? When?

This video and tutorial are my attempt of answering some of these questions.
I’ll do this using this painting’s process:

So let’s talk about the different stages of watercolor painting…

Introduction

This is MY personal approach. I encourage you to learn from it, and then seek out advice of others.
This way you’ll learn what works best for YOU, and what’s most suitable to your style and desired final result.

I personally like to finish a painting in as few layers as possible.
This means I don’t do a huge amount of glazes. I usually wrap a painting up in 3-5 layers.

Also, as I like to make the most out of each layer, I make a lot of use of wet-in-wet and lifting when necessary.
I do these in every layer, as I see fit.

So here’s the initial drawing, ready to be painted.

My approach to this is going to be fairly simple.
The figures are my focus of attention.
The background is going to be secondary and simplistic.

This is why I decided on first painting the figures fully, and only then attending to the background.

Every “type” of painting is going to be different.
If this was a landscape painting, my initial wash would have probably covered much more of the paper.

More on that near the end of the post, under Conclusion

The first stage is the initial wash.

The Initial Wash (AKA First layer)

This is the first layer we will paint.
With this one, my main concern is to keep things flowing and even.
I don’t care about the colors mixing into one another.

I know I can tighten things up and even correct some mistakes in the next washes.

This is what my initial wash looks like.
Do you see all the blooms and cauliflowers?
This is cause by wet paint “bleeding” into a somewhat dry paint.

I really don’t care about it!
The first wash, to me, is adventure time. This is perfectly fine.

Here’s a close up of how some of the colors blended.

I’m really pleased with this result.

The 2nd Wash

This is the time to paint in all the mid-values.
This is basically everything that’s darker than the initial wash.

Here’s my 2nd wash for this one.

I usually find this to be the most difficult wash.
This is because this one REALLY sets the tone for the entire painting.
It’s a really important one that will start building the shapes of the people in the painting, as well as the feeling of light and shadow.

The 2nd wash also demands more attention to edges.
You want a nice mix of soft and hard edges. This really helps create interest.

Here’s the 2nd wash done.

The 3rd Wash

This is the time to put in the richest, darkest shadows.
You will probably also go over many areas you already covered earlier, in the 2nd wash.

You want to make sure to push the value range as much as necessary.
Most realistic scenes have a very wide range of values, from the lightest whites to some really dark blacks.

Notice how this stage really makes things pop.
This is because by painting the shadows, we actually paint the lights and highlights.

4th Wash and Beyond

For me, this stage is for darkening things that are supposed to be darker.
At this point I also add some final details that perhaps I didn’t get the chance to so far.

In this particular painting, all I did for the 4th wash was to add that background.
And we are done!

Conclusion

This is it for the process.
I want to mention something important. Every painting is different.

I use different approaches for each painting, and for every “type” of scene.
So for landscapes, I’ll probably cover everything up.
For portraits or people, I’ll probably work on them and only add the background in the end.

With time, you’ll learn what works best for you, for each type of subject and painting.
It’s almost like you’ll have a blueprint for each type of painting.

If you are a beginner, don’t worry.
This will come with time and experience

I hope you enjoyed this tutorial.
If you have, make sure to check out the full video to see more of the process:
The Stages of Watercolor Painting

And this is it!
Let me know what you think in a comment below.

Is this similar to your approach?
Do you treat the stages differently?

– Liron

Let Your Watercolors Mix On Paper | Greens

In this quick tutorial I’ll talk about letting your watercolors mix on paper. I believe this can be used as a tip for improving your paintings and making them more interesting.

This is based on a YouTube video I published yesterday.
If you want to view the whole thing, check it out here:

Real Life VS Photos

When looking at a view in real life, there’s a tremendous variety of colors and details.
If you look at a field or forest, you’ll see many types of greens, but also yellows, reds and purples (for flowers for examples).
You’ll also see different types of browns and even blues.

A photo FLATTENS it all.

All the variety of yellows, reds and blues turns into one even green.
This is boring.

In order to mimic real life, and provide a complete impression, I highly recommend using pure colors in your paintings.

Painting in Patches of Colors

Here is a quick demo of me applying this and creating greens by using different blues and yellows.

I just put a few patches of different colors, one next to another.
This allows them to mix a little on paper.

They don’t have to mix too much. Our brain complete the image and sees “green”.

The specific colors I used are Phthalo Blue, French Ultramarine, Hansa Yellow medium and New gamboge (all Daniel Smith).

Consider how much more interesting this looks, when compared to a flat green wash.

What I used to do in the past, was to mix the paint on the palette, and then vary the ration of yellow-blue.

I now realise this isn’t sufficient.
You sometimes have to show the pure colors to get that rich and varied effect.

Here’s what the final result looks like.

Trees Demo

Let’s look at another example. This time I sketched two trees.

I want to show you 2 things:

  1. The difference it makes to use purer colors
  2. Bonus – how shading with a third, complementary color is better than “tonal” shading (shading using a darker version of the same color).

So here’s the difference in results.
On the right hand side I worked in patches of pure colors.
On the left I worked with the same green.

I want to mention how I somewhat messed up a part of this demo.
I actually didn’t follow my own advice, and didn’t use pure enough blues on the right.
It’s more like I used yellows and greens =P

My bad!

Next up, I added a second wash for the shadows.
Let me show you the difference.

On the right I used a mix containing Quinacridone Rose.
On the left I used the same blue for shadows (Phthalo Blue).

Unfortunately, because of the mistake I did of NOT going pure enough, some of the effect was not achieved to the extent I was hoping for.

But hopefully you can still see the difference that it made.

Conclusion

And this is it.
I really hope you enjoyed this quick tutorial.

If you want to see the full video, you can check it out here:
Let It Mix On Paper

And this is it! I will see you again in another tutorial (:

– Liron

Carbazole Violet – Daniel Smith Watercolor | The Paint Show 21

In this episode of The Paint Show we’ll be looking at Carbazole Violet by Daniel Smith, which is an old favorite of mine!

Here’s the video on YouTube:

If you are interested in the written version, keep on reading (:

Carbazole Violet – Daniel Smith Watercolor | The Paint Show 21

I originally got this in the Daniel Smith Secondary set, which I highly recommend.

You can get the set here (affiliate link): Daniel Smith Secondary Set
Or the specific tube here (also affiliate link): Carbazole Violet 15ml Tube

Here’s what Daniel Smith say about this paint:

This slightly granular blue-violet is an intense, vibrant color with medium staining properties. A brushstroke of concentrated Carbazole Violet onto dry paper moves the pigment from black-violet to clear purple, and can invent an iris petal with each stroke. Add Indigo to Carbazole Violet, along with Quinacridone Rose or Anthraquinoid Red. Blot, squeegee and incise damp passages to created veins, variegated passages and highlights.

I did several paintings with the entire set, as well as this specific paint, and the thing I like the most about it is the insane range of values.

Here are some examples

It can go from really light to almost black. This is a really unique feature, and I don’t know of many paints that can do that.

And so, if you are interested in monochromatic paintings, or even doing a value matching exercise, this is a great tube to have.

Paint Info

Pigment: PV23 (Dioxazine Violet)
Excellent lightfastness, semi-transparent, non-granulating, medium staining.

Demo

Here is the swatch of paint going from light to dark (top), as well as the wet-in-wet swatch (bottom).

Notice the insane variety of values. This one gets REALLY dark. Also, notice the interesting patterns created in the wet-in-wet part (to get a better look at those, watch the original video HERE – this is a direct link to the wet-in-wet time stamp).

Based on Daniel Smith’s recommendation, I mixed this one with several paints. So from top to bottom, we got mixes with (1) Quinacridone Rose (2) Indigo (3) Phthalo Blue.

And here at the very bottom you can see what this looks like with the rest of the secondary set (Quinacridone Burnt Orange and Undersea Green).

And this is it!

I hope you enjoyed this review. I will try to share here on my website all of the new episodes of The Paint Show.

And I’ll talk to you soon.

– Liron

Tutorial | Watercolor Portrait Painting in 3 Colors – Tai Lopez

Hi there! Today I want to share with you a written version of my video of painting a portrait of Tai Lopez.

To check out the full video tutorial on YouTube, click here:
Portrait Painting in 3 Colors | Tai Lopez

I did this portrait using a limited palette of three colors only:

  1. Phthalo Blue
  2. Quinacridone Rose
  3. New Gamboge

Final result

As mentioned, you can check out the full video tutorial on YouTube:
Portrait Painting in 3 Colors | Tai Lopez

If you want this in written format, go on ahead 🙂

Portrait Painting in 3 Colors | Tai Lopez

First wash

So I start off with a very detail drawing showing all of the changes in values.
I desaturated and posterised the reference image to make it easier to see the value shifts.

I make sure to mix a very large quantity of paint for the hair, as it takes up a lot of space and I sometimes run out of paint easily

The next step is starting the wash.

Now, I got lucky and his glasses are super dark.
This allows me to use them as a “checkpoint” or a break for the wash.
It makes life easier, because I can have better control of the different sections.

You don’t have to do it this way.
You can simply pull the wash over everything (avoiding the highlights of course).

However I chose to do so in the spur of the moment.
Next up I continue to pull the wash down.

At this stage I’m done with the initial wash.
Notice how I strongly contrasted his shirt with the skin tone.
This was important for me, for creating an interesting color harmony / composition.

Second wash

At this stage I’m concerned with two things:
1. Edges – getting a variety of rough and soft / blended edges.
(you can notice that especially on the forehead).
2. Preserving the “second tier” of highlights.

Here I’m pulling the wash down to the very bottom.

Third wash

And now I’m moving on to the 3rd wash.
The reason I’m going through so many, is that I wasn’t able to get the impression I wanted right away.

Sometimes I’m able to nail most of the value variation in the first and second washes, but this time was more challenging for some reason.

Now you can see how and why I used the glasses as a pausing point for the first wash.
They are so much darker then the rest of the face, that the break in the wash won’t be visible.

The disadvantage to this is that I have to go over them several times, as they are painted over the white paper (and it’s hard getting such darkness with one layer).

Fourth & fifth washes

Here I finally added the eyes – which also have quite a dark value.

And now I’m adding the mid values (I didn’t go dark enough in the first 3 washes, as mentioned earlier).

Final result

And finally I’m just going over some dark areas, and we are done!

I hope this was helpful!
If you are interested in the full video tutorial, be sure to check it out here:
Portrait Painting in 3 Colors | Tai Lopez

Let me know if this is helpful.
I tried really generalising the stages so it won’t turn into a 30+ stages tutorial haha.

All the best!
– Liron