Watercolour wisdom, which I tend to overlook at times: If it looks good when it's wet, it's wrong.
That's a tragedy in watercolour, interestingly. One of the reasons why I love the medium so much is that while I'm painting, these amazing things happen on the paper. The pigments float around, only partly controllable, gather in places that they have decided upon, settle in patterns that can be influenced but not completely controlled, and all the while, the white paper shines through glistening, wet paint.
And you already know that this process can never be fully preserved in the finished painting. Its traces remain, but it's always like something alive that suddenly froze. Which is part of the beauty, I suppose.
Every beginner in watercolour realises at some point that this process of freezing always means something else as well: That any shining, bright, deep colour on your paper will go duller, less saturated, and lighter when it dries. So when you're trying to achieve a certain effect while painting, you have to make it ugly in the precisely the right way, in order for it to be what you wanted when it's dry. And when it's dry, you can't really change what you did, and if it didn't happen in the way you thought it would, well - tough luck.
This is made even worse by the fact that literally every paper on the market reacts slightly differently, so that, if you've come to understand "your" paper perfectly, another paper will suddenly behave in a way you never expected. Which is why I desperately need some burglar to take away all my dratted papers and force me to stick to one, haha.
Meanwhile, let's welcome new Patron, Jamie!
Jenny Dolfen
2019-02-11 21:25:56 +0000 UTCLaura Michel
2019-02-11 19:29:01 +0000 UTCJenny Dolfen
2019-02-10 20:37:53 +0000 UTCJX
2019-02-10 17:19:13 +0000 UTCJenny Dolfen
2019-02-10 16:10:03 +0000 UTCM.C.A. Hogarth
2019-02-10 15:39:26 +0000 UTCLitsen
2019-02-10 11:34:38 +0000 UTC