While we were traveling around the Great Lakes in our RV last month, I created this painting based on a photo I took while visiting my Mom in B.C. on an earlier trip.

In the photo below, I have started with a pencil sketch on 300 lb watercolour paper and masked out the flower and leaves with Pebeo Masking Gum. I like the fact that it is dark enough to show up against the paper, allowing for better application accuracy.

Once the mask was fully dry, I used Indigo paint on the shadowed crevices between the stones. When dry, I spattered a fine spray of masking gum over the whole painting (using a tooth brush and a pot scraper), to preserve fine white dots in the stones. Then I spattered on a fine spray of Indigo paint and let everything dry overnight.

The next day, I gently wet the entire painting with clear water using a soft, natural hair brush, to disturb the Indigo spatter as little as possible. I gently dropped in muted mixtures of Indigo, Burnt Sienna, Primary Red and Aureolin (yellow). I waited about a minute for absorption and evaporation to reduce the wetness of the wash, then sprinkled table salt sparingly over the entire painting. I let the painting dry overnight.

After brushing off the dry, dirty salt, with my pot scraper and fingers, I erased the masking fluid with a crepe eraser, revealing white paper underneath. Some of my pencil lines disappeared in the erasure process, so I redrew them where necessary.

On dry paper, I painted each leaf and the stem, using mixtures of Indigo, Sap Green and Aureolin.

I completed painting the leaves, then defined the petals using Primary Red, Burnt Sienna and a touch of Indigo. A few shadowed areas and white dots were darkened where needed, to complete 'Hyacinth and Drystone', watercolour, 12 x 9". Let me know what you think, or if you have any questions about this demo. I would love to hear from you.

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Have you tried to paint with watercolour and found it challenging? Do you know someone who always wanted to try it but never made the time?

I'm here to help. My wrote my first art instruction book, Watercolour Toolbox, to help readers over the 'rough spots' of painting, so they get to the fun part of creativity faster and with less expense than they ever thought possible.

To appeal to those of you who don't paint but do enjoy art and are curious about its execution, my book is illustrated with forty of my original watercolours, and with step-by-step photo demonstrations of eight paintings.

To order your autographed copy of Watercolour Toolbox, click here.

For information on upcoming book signings and art shows, click here.

I look forward to hearing from you.

I subscribe to Artsy Shark, an art marketing blog that often has excellent posts. Here is one for artists who show their art at summer festivals.

When I'm at the Buckhorn Fine Art Festival this August I will be sure to put this advice to good use. I hope you find it helpful as well.

Selling Art With Confidence

When I heard California artist Birgit O'Connor was teaching a watercolour class at Studio Six in Markham recently, I jumped at the chance to attend the three day flower painting workshop. Last year I learned how to varnish my watercolours from her excellent DVD Framing Without Glass, and have admired her style of painting enormous dramatic florals.

There were about twenty students in the workshop and the first day we learned her technique of making large, glowing washes by painting these half sheet warm ups. We used large brushes (size 20 and 30 rounds) and wet each area with lots of water so the washes would run together when the paper was tilted. Learning that technique alone was worth the price of admission! In the photo below, Birgit is pointing to my painting in the top row.

On the next two days of the class we had the option of painting along with Birgit on a second sample piece, or using our own reference photo to make a painting using her techniques. I opted for the latter and started a full sheet painting of blue Rose of Sharon from a photo I took in my friend Patti's garden. Below are the layers I finished during two days of painting.

I used MaimeriBlu pigments Cobalt Blue Deep, Sap Green and Indigo, and Winsor & Newton pigments Quinacridone Magenta and Crimson Lake for this painting. These combinations were new to me but I definitely will use them again as the mixtures were rich, somewhat liftable (so details could be softened) and non-granulating.

At the end of class Birgit posed with me beside my half finished painting (below). She was a very good teacher and the whole experience makes me want to paint more large florals.

The class was about a month ago and today I finished Blue Rose of Sharon (30 x 22"), pictured below. Let me know what you think.

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