Coconut Jewels

I'm still experimenting with my pouring/dumping technique. This is the latest piece, called "Coconut Jewels". It is 20 x 28 inches and is now framed in a 26 x 32 inch gold, metal frame. You can see this piece at the Art and Antique Studio. If you are interested in purchasing any of my work please email me and I'll post the item on my etsy shop for you.
Thanks for visiting. I love hearing from you!

debbie@watercolorworksart.com

Scooter and Riley Lesson 24

Ah, the finished piece! I only wish that Scooter and Riley could enjoy this as much as I have enjoyed painting it!

If you would like to paint along with my blog lessons, you can get the photo references and drawings sent to you by visiting my etsy shop, clicking on the Online Lesson icon, and pay a small fee of $5.00. I will then email all the photo references and drawings to you. Some people have found it helpful to order the references, then print the daily blog lessons, and begin when the online postings are complete. That way, they know what is coming next and they can see what the finished piece may look like.

If you are local to Melbourne, Florida, I also teach classes and workshops locally. Check out my Classes page on my website for more information.

Thanks so much for visiting. Become a Follower by clicking the link at left!!!

Lemons Lesson Number 12

I want to heighten the white of the plate, so I added a pale, very wet wash of cool French Ultramarine Blue to the table and the shadow under the plate. This wash will also slightly soften the edges of the plate shadow and bring the focus back up to the fruit, which is the focal point.

Lemons Lesson Number 11

The relative value of the background was looking a little too light for my taste, so I used the background mixture from before, but I added some VanDyke Brown and Permanent Alizarin Crimson to it to darken the value of the mixture.

Then I applied another flat wash to the background. It might be too light in value, even after this wash. But allow this to dry before the next step. Then re-evaluate.

Lemons Lesson Number 4

Today you will use the colors that you used in the previous application, but wet them so they are not quite so strong. We will paint these colors directly into the glass bowl where they are reflected.

Be sparing; use a light touch. It is better to start out too light, especially when you are doing this for the first time.

As you get more comfortable with glazing colors and where to put the colors in reflected objects, you can be more direct with color. For now, put in delicate color in just a few areas. Remember, the glass is reflecting what is around it, and it is sitting on a white plate, so there will be a lot of light in the glass bowl.

Old Fisherman Watercolor

This is a painting I finished recently. I had a reference photo that I shot at the Sebastian Inlet here in Florida. I love that place! There are always interesting characters fishing at the end of the pier.

I changed a lot with this guy, except for the pensive look on his face. His clothing and cap are different from the photo and I made the decision to eliminate all of the extra noise in the background to highlight the warm tones and wrinkles in his face.

I call this one "Old Fisherman", and it measures approximately 14 by 20 inches.

This was an incredibly fun piece!

Arches Study Workshop 2

Here I have applied the drawing to the 140 lb. Arches paper, which is about 11 by 14 inches. I tape the paper to a foam core board and now I am ready to paint.


The first application of paint is done in French Ultramarine Blue. I begin to build the shadow areas that will become dark under-painting for the warm, dark values in the finished piece.

As I discussed yesterday, if I under-paint with this relative opposite, it will darken the value without making the painting look dull or as if it was painted with too much pigment. My desire is to increase the value and maintain the transparency of the pigment.


If you would like to paint along with this lesson, you can order the photo reference and drawing online at http://watercolorgirl.etsy.com, just click on the icon for the online class.

Flamingos Lesson 4

Here I have applied Hooker’s Green and Sap Green, using the softened-edge stroke. Paint a crisp edge where you want a sharp line between the white of the paper and the wash of color.
I also established a bit of an edge between the water and the land. This is more of a reference for me, than an actual edge that will remain.
I used a bit of Burnt Sienna to establish the line against the leg of the smallest flamingo.

To learn more about the brushwork and washes that I use, you can order my Beginner's Watercolor Workshop DVD by visiting my online shop: http:watercolorgirl.etsy.com, then choose the DVD. If you don't see it there, send me an email and I will post it again. You can also order through my website: http://watercolorworksart.com.

Flamingos Lesson 3

Now I have added some Hooker’s Green, Cerulean Blue, Burnt Sienna, and a little bit of Aurolean Yellow to define some of the palm leaves that are hanging down behind the flamingos. Keep the application of this series of colors very wet and transparent because we will be painting more later.


Use your photo references for ideas of where to stroke in some leaves. Keep the colors varied and use the pull-push stroke to create these little areas.



While working with the yellows and golden colors, drop in a very wet wash of Aurolean Yellow or Burnt Sienna onto the twigs, if they are in your composition.

You can paint along by going to my online etsy shop, www.watercolorgirl.etsy.com, click the icon for online class and complete the five dollar purchase. You will then receive an email with the drawings and reference photos for this lesson.

Lots More Art!

I will be posting a new online lesson very soon.

I have been very busy with shows, gallery openings, working on the final details of the upcoming DVD (Beginner's Watercolor Workshop - coming soon!), and painting with my friends from The Art & Antiques Studio Gallery.

Lolly Walton, I, Barbara Smythers and Therese Ferguson (right), painted for the Relay For Life this past Saturday at the Eau Gallie High School. We worked on our paintings for about 4 hours, and then donated them. People attending the event were able to purchase tickets, then place their tickets in a jar, which was designated for each painting. At the end of the event tickets were drawn and winners were notified.

At right are the coconuts I painted for the event. Most paintings take between 20 and 60 hours, so this was very fast for me! We had a wonderful time and the entire event (not just our paintings) raised $14,000 above their goal to help with cancer treatment and prevention. We were thrilled to be a part of it. We met many cancer survivors and enjoyed the sunny, very breezy, day!

Parrot Study in Watercolor Number 12

To create the bird's eye, I used a number six round brush (Silver Black Velvet) with a nice point. I loaded the brush with French Ultramarine Blue and a touch of VanDyke Brown. The combination of the warm and cool colors creates a darker value without using black. I can push the color combination to warm or cool, depending upon which pigment I use more of in the mixture.
By painting a small comma-shape, I am able to keep the sparkle in the bird's eye.

Parrot Study in Watercolor Number 10

Again, students wanted to see how to add more texture and foliage in the background, so we added some leafy branches on the top left side of the painting. Personally, this is getting a little busy for me, but I have to admit the demonstration was fun.
To create these leafy areas I used a number 10 round brush. My favorite brushes right now are Silver Black Velvet brushes, which I purchased through CheapJoes.com. They are half synthetic and half natural hair, so they are relatively inexpensive, but give the feel and softness of a natural hair brush.
I started with lighter color combinations of yellows and greens, and gently dabbed the brush in what I call a Brush Dance. When doing this stroke, I focus on a small area and concentrate on the handle-end of my brush. I touch the loaded brush to the paper, making sure that the top part of my brush handle moves in several different directions, like a dance. This helps to create a variety in the strokes and prevents them from looking too uniform - something you don't find much in leaf clusters in nature!
From the lighter colors, once dry, I move on to darker greens to build the shadow areas of the leafy clumps. This is a fun technique and can become soft of hypnotic when used on large paintings.

Parrot Study in Watercolor Number 4

Continue with the previous technique to paint the tail and the tail feathers. You may notice that I used even darker colors on the bird's chest and lower areas, especially against the overlapping wing area. Once the wash was applied, I added a little Quinicridone Magenta and VanDyke Brown to these very dark areas while the area was still wet. This softened the wash but kept the edge next to the wings quite pronounced, thus the gentle shadow. Be sure this wash is completely dry before you move on to the next step. Dry your painting with a hair dryer or allow to air dry. When you touch the painting, it will feel cool to the touch if it is still damp. The paper should have a uniform temperature and dryness when it is ready for the next application.