Creating With Complete Immersion | Liron Yanconsky’s Podcast – Episode 17

In this episode we’ll talk about immersion, and being immersed while you are creating. We will see how this can actually help you make better art!

I got this idea while working out…

So a few weeks ago I was working out, and I noticed I wasn’t really into it.

I noticed my thoughts go somewhere else, and I’m not really focused on the exercise I was doing.

And then I suddenly though – why?

I mean, this is so stupid! I already scheduled the workout session, and I’m already working out.

So why am I so unfocused?

Painting and art making is the same

From there, it was an inevitable connection.

I immediately realized this was also (occasionally) happening to me with painting.

I would sometimes feel unfocused. Like i just want to get it done. Kind of like washing the dishes or brushing your teeth.

And the difference in results shows.

Working while in that headspace leads (at least for me) to mediocre art.

Why do we loose immersion?

I think this can happen for multiple reasons.

For me, this mainly happened as I was detached from the overarching goal. I wasn’t seeing how what I’m doing RIGHT NOW, helps me attain my goals.

This is lack of clarity, and from my experience it isn’t ideal.

So I worked on building up my clarity, writing and figuring out the exact connection between what I’m doing and the end result.

And lo and behold, it worked!

(how I built my clarity is a topic for a future podcast, but brainstorming, writing, asking the right questions and visualizing were a major part of it)

As soon as my clarity increased, I was able to understand why a single rep of a single set of a weight lifting exercise – produces strong ripples into my future.

I was also able to understand how with every brush stroke I improve a certain technique.

Artist Corner

In this episode we talked about Eudes Correia, a Portuguese watercolor artist and instructor.

His work consists of people and figures for the most part. He has an incredible sense of light, shadow and movement.

You can check out his website here: Eudes Correia

And his Instagram account @Eudes_Watercolor


And this is it for today’s episode. I hope you enjoyed it!

Here’s where to find me:

Support me on Patreon

Check out my YouTube Channel – Liron Yanconsky

Or ask me questions on Instagram – @LironYanIL or Snapchat – @LironYan3.

Use Pure Colors in Your Watercolor Painting

Hi there!

Today I want to present to you a painting process I did a while ago.

It’s not my best painting. However, it’s an experiment I did with preserving the purity of colors and letting them mix on the palette.

You can watch the entire process below, and scroll down for the written version (:

Use Pure Colors in Your Watercolor Painting

So here’s the scene I wanted to paint.

And here’s the drawing stage.

Notice it’s quite the busy scene. There are many cars, people and buildings. This was very challenging to break down.

I think this is actually one part where I “failed” with the painting process. With that being said, I still did a decent job simplifying it.

The funny part is that, I think, the drawing itself is inaccurate, especially in regards to its perspective.

In any case – off we go with the first wash.

First Wash

This is exactly where I wanted to keep the purity the most. I found out it’s important to get it right in this particular step.

The reason stems from the transparency of watercolor. If you start of with over-mixed, muted colors, the next wash may still show them through. And so, glazing yellow over muted blue won’t do much good (;

Next, we have an additional wash.

Second Wash And Beyond

I’ll admit, this isn’t the best of my work. But I was able to improve the purity.

In this stage it’s important to still use vibrant colors. This is true especially for the areas you want to keep colorful.

After that, I continue adding more layers.

And this is the final result!

I went for a rather complex scene, and challenged myself to try something new. This is why I’m very pleased with the result.

Putting Pure Colors in The Correct Context

It’s important to remember that this is one particular approach out of many. It doesn’t mean you have to ALWAYS ALWAYS keep your colors pure, or avoid grays.

This is a tool to be used at the right moments. You can use it, perhaps, to direct the viewer’s eye in some way. You could use it to create a focal point or area.

And this is it for today. I hope you enjoyed this one! (:

Let me know what you think in a comment below, or under the video.

Also, if you enjoy my content – consider supporting me on Patreon. This REALLY helps (:

And I’ll talk to you soon.

– Liron

Undersea Green – Daniel Smith Watercolor | The Paint Show 23

Hi there, today I want to share with you my review of Undersea Green by Daniel Smith.

You can see the full episode of The Paint Show here:

And if you want a written version, read on (;

Undersea Green – Daniel Smith Watercolor

I originally got this paint together with Daniel Smith’s Secondary set. In fact, this review will wrap up the series of The Paint Show episodes regarding this set.

I really loved this one from the beginning, and it’s special characteristics impressed me (you’ll soon see what I refer too).

With time I started using it extensively for foliage, leaves and trees. I used it (together with Carbazole Violet) as the background of this painting.

I especially love to mix it with blues and yellows (and even reds!) to create a variety of greens.

Paint Info

Undersea Green is made of three different pigments:

  1. Ultramarine Blue (PB29)
  2. Quinacridone Gold (they say PO48, but that’s the pigment for Quinacridone Burnt Orange, which is a little strange. Quin. Gold should be PO49).
  3. Nickel Azo Yellow (PY150)

This makes it rather simple to mix, if you want to create if for yourself (assuming you can do so without Quin. Gold, which sounds possible).

Some more stats:

  • Series 1 – so cheaper than Quin. Burnt Orange.
  • Semi-transparent
  • Granulating (with a beautiful effect too! The blues and yellows separate)
  • Medium-high staining.

This color is highly pigmented and is easy to achieve dark values with.

Here’s what the pigments look like when they separate into blues and oranges / yellows:

In the video I demo what this paint looks wet on dry, wet-in-wet, and using dry brush strokes.

Here are some examples.


I think this is a very useful color, and I definitely prefer it over more “artificial” looking greens such as Sap Green (which used to be a favourite of mine).

I like my colors to have many uses for me and be versatile, so this is a great one in my opinion.

If you want to get it, here are affiliate links (I get a small commission and you pay the same price):

Undersea Green Tube:

Daniel Smith Secondary set:

If you are interested in the other two colors in the set (Quin. Burnt Orange and Carbazole Violet), I highly recommend getting the set. It ends up being much more cost-effective (:

And this is it for today. I hope you enjoyed this one, and we’ll talk soon!

– Liron

Don’t Worry About Inconsistent Artistic Results | Liron Yanconsky’s Podcast – Episode 15

Episode Summary

In this episode I want to share with you an epiphany I’ve had following a conversation with a friend of mine.

I bumped into her as I was painting, and we talked for a while. I shared how I recently feel like my results are inconsistent.

Here response really surprised me. She simply said that OF COURSE it’s going to be inconsistent. It’s art!

This really got me thinking.

I finally came to realize after a while – OF COURSE she’s right. Art and creativity are BY DEFINITION inconsistent.

That’s their magic! If they were consistent, they’d also be boring!

Artist Corner

In this episode we talked about the artist Lora Zombie. She’s an extremely talented Russian painter.

She often expresses different ideas and messages through here work. Her style has this unique POP to it (she refers to it as grunge art), and her favorite color seems to be blue.

She does exhibitions and galleries all around the world, and also makes and sells clothing items featuring her art.

Be sure to check out her work on her website (, or on Instagram HERE, or @LoraZombie.


And this is it for today’s episode. I hope you enjoyed it!

Here’s where to find me:

Support me on Patreon

Check out my YouTube Channel – Liron Yanconsky

Or ask me questions on Instagram – @LironYanIL or Snapchat – @LironYan3.

How to Draw for a Painting – Still-Life Watercolor Painting Process

Hi there!

A while ago I worked on this painting of a pastry called Rozalach (which is insanely delicious!!).

I also recorded the entire painting process.

As I was watching the footage, I realised it would be great material to talk about DRAWING in the context of painting.

In other words, this is great content to explain how to draw for a painting.

so without further ado, here’s the video (and if you prefer to read – scroll on! 😉)

Drawing for a painting is different

Drawing for a painting is different from drawing when pencil is the final purpose in mind.

It requires to be as detailed as necessary, but not more than that.

With this process, I starting by marking the edges of the pile of Rozalach pastries.

You can see what these look like in the reference pic on the top left corner.

Once I finished indicating the edges, I was able to fill up the space with quick sketches, representing the shapes of the tasty doughy rolls.

This is the hardest part. Once you get those guidelines in, it’s only a matter of filling in the gaps with the finer details.

Here you see me filling in those details. The main things I’m looking for are strong changes in values (meaning darks and lights).

When drawing for a painting, this is extremely important.

Here is the final drawing!

This is a good indication of how a typical drawing that’s ready to paint will look.

Some prefer to be more detailed, while others prefer less details.

I will tell you what – I recommend experimenting with both. Trying different levels of detail has its utility.

More detailed – may allow for more realistic results.

Less detailed – allows you to practice using the brush more, and “drawing” with the paint (rather than just “coloring” the areas between the lines).

And now is my favourite part – The drawing is ready to be painted! At this stage I can already imagine the colors I’ll be using, and the transparency of watercolor (which I love).


List of colors:

  • New Gamboge
  • Quinacridone Burnt Orange
  • Pyrrol Scarlet
  • French Ultramarine

Here is the very first wash.

My main concern is achieving an even result that’s “flowing” properly, and a variety of interesting colors.

Sometimes I go really wild with my colors (especially with portraits), but this time I decided not too.

I was afraid the colors will make it harder to communicate what I painted (a pastry that not everyone will be instantly familiar with).

And so I decided to go with an interesting range of yellows, oranges, reds and some blues.

Notice how I also made sure to connect the Rozalachs with the background. The purpose is to ensure they don’t appear to be “cut off” from the background. We want them to look like an integral part of the setting.

I find this extremely important at times, especially with painting people as a part of a scene.

After that, I move onto the second wash, where we’ll put in the darker shades.

This immediately breaks the painting down into more discernible shapes that actually have a meaning.

In most paintings, I find this to be the most difficult stage. That’s because you really need to start paying attention to the drawing.

There’s one cool effect I think I was able to get at this stage.

The pastries are covered in sugar powder. To indicate that powder’s texture I made use of the paper’s texture (I’m using a cold-press paper for this one).

Notice the areas just under the Rozalachs in particular. I used dry brush strokes that will preserve the paper’s texture and create a powder-like effect.

And here’s the final result!

There was actually a third layer as well. Make sure to watch the full video to see it.

I’m very pleased with how this painting turned out. I love the color selection, composition, temperature and overall feeling.

I hope you enjoyed this quick lesson, and I’ll talk to you soon!

– Liron