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.

Conclusion

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: http://amzn.to/2EZSwWM

Daniel Smith Secondary set: http://amzn.to/2FzE20T

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

Creating Art Outdoors VS Indoors | Liron Yanconsky’s Podcast – Episode 13

Episode Summary

In this episode of my podcast I’m talking about creating indoors VS outdoors. I elaborate on how these are different, and what the benefits are of doing both.

I focus mainly on the implications for visual artists – painters, sketchers, sculptors and so on.

Working outdoors is messier, more dynamic, full of changes, distractions and so on. However, it’s much more immersive, and sucks you into the scene.

Working indoors is cleaner, more well-organised. But it does take you out of the environment to some extent, and “weaken” some of your senses and perception.

I believe you can get the most benefit by practicing to alternate between the two. This means working outdoors, and then indoors.

I also aspire to do both. That way my skills in one are will flow to the other.

Artist Corner

In this episode I mention James Gurney. He is an amazing artist and creator, most well know for creating the Dinotopia book series.

But the reason I personally love him is his tutorials on YouTube, where he paints mostly with gouache paint. This actually got me really interested in gouache myself, and I’ll probably give it a try in the future!

Be sure to check out his YouTube channel here: James Gurney

And you can also find me here (:

Support me on Patreon

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