Do you agree or disagree with my opinions? Do you have any unpopular opinions of your own? To improve your drawing skills watch this one next: Drawing Tutorial (AVOID these 10 Beginners' Mistakes!) ua-cam.com/video/X9sF9kEFeNk/v-deo.html
I like to use white paint also, quite a bit sometimes. If i want really milky pastels in an illustration it can be really useful. Some people might not really like it but that’s fine.
My unpopular opinion is that just watching an artist paint is not necessarily a learning experience. I watch yours, and I learn something. You go into great detail of why you are doing whatever, and even why you don't like things, like this video. I watch some others, and there is no real explanation or theory. This is what I love about your videos, they are real lessons. So, thank you for that!
Happy Accidents is a homage to Bob Ross who encouraged people to paint and tried very hard to make it stress free. If you make a mistake do not freak out. It is not that you are trying for, or making an accident but when they happen you think of his saying, stop and take a deep breath and keep on going.
So my opinion concerning the quality of products is that I've found high quality materials served me well in my early days. But now that I have some experience I can actually play around with more brands, and paint on lesser surfaces because I'm so familiar with how the paint and paper work.
I agree that you, as a professional painter with many years of varied experience, do indeed have the right to share your opinions. Why anyone would want to disagree with your opinions is beyond me. I appreciate ALL of your advice/demonstrations because, as a beginner, I am seeking answers. Thank you for taking time for this informative video (even tho I’ll probably never stretch my paper LOL).
Paper…. That’s a complex subject! Only Arches? Definitely not. I agree with you. I’m very curious about Bockingford as I have experts suggest it rather often as an alternative to Saunders Waterford and these artists are excellent. Now, in the US, we don’t find it easily so I haven’t tried it. I have on the other hand, tried Fabriano Studio 25% cotton with excellent results, very easy paper to lift out paint from, nice texture and inexpensive which fosters my adventurous self to paint once a day.
I love listening to you regardless of the topic and I highly value hearing the views and opinions of others. Whether we agree with one another or not, we should always put value in diversity. You brighten my day with your paintings, videos and most especially your opinions. I often say rules are there to be understood so that we may recognize the times when those "rules" can and should be broken as well as how to most effectively do so. Much love to you and your channel!
So I've been an artist for more than 30 years and I must say YES! I totally agree with everything you just said. I have five high brands and 4 lower brands of watercolors and have tried duplicating a lot of paints in my time and yes some work but more often they do not. Some of my multiple pigments like or pr122 and pr101 have completely different colors to them. I have 5 or 6 of some others and they do not mix with the same pigments across the board. I never could dup cascade green so I bought it and I still don't get the color separation others do. I have used Strathmore papers for 30 years and never had a problem either. I only use synthetic brushes because one I'm an animal lover but two because I can't stand when you touch brush to paper and it's bendy and stays that way. It just gets under my skin like a tick.
Some greens are single pigment and can't be mixed of course, although artists think of green as a secondary, in science it's a primary. I don't like overly soft brushes either!
Omg, lol, that "because I can't stand when you touch brush to paper and it's bendy and stays that way. It just gets under my skin like a tick." Yes!!! So true for me as well. I'm like " what is good about that?!?!?
Ooh, I agree there is just no substitute for some of my most favored pigments from any of my favorite manufacturers. Some colors are just sooo luxurious, and move in a certain way that gives that mix a life all its own.
My unpopular opinion is that step-by-step tutorials don't really encourage you to find your own style or "voice'." I have watched many of these (not any by you) and I balk at the idea of just copying someone else's work and being disappointed if it doesn't look very much like theirs. I love your videos because a) you are an excellent teacher, and b) you teach specific techniques that are crucial but that can be used in different ways by different people. Recently I watched a step-by-step in which the artist a) never would show the reference photo, b) said things like, "Hmmm...I'll throw a bit of this colour in or maybe this one" or "Oh I don't like that ... let's just mess about a bit" and c") often mumbled unintelligbly while painting. So I appreciate your tutorials so much and have learned so much. Thank you!
I get your point about the quality of your supplies but, truly, I struggled with watercolors until I started using Arches. Being a beginner, it was difficult enough trying to get the effects I wanted, and using sub-par paper just made it all a frustrating exercise in futility. I can and have used cheaper paints and brushes, but I still consider myself a novice and need all the help I can get-paper-wise. It just makes it so much more enjoyable for me.
I agree. Cellulose paper just don't work the same as cotton paper. I used cellulose paper when I was a beginner and no matter what I painted it was horrible. I thought it was my skills and I didn't have it in me to paint until I switched to Arches. Instead of talking about brand or price, it would have been better to talk about the made of the paper which is what really matter.
I've found a few cheaper cotton papers that are good for quick studies or to work out an idea before moving to an Arches sheet. I also keep a cheap, 100% cotton block with my mini plein air set so I can capture small studies on the go, but since the quality isn't as good, I keep it to a few layers.
I'm not a novice and even I think using quality is worth it. Obviously for quick studies, sketches, putting down ideas, etc etc I use cheap. But for a finished piece I use quality. Sure a real artist can make cat shit work as a paint, doesn't mean it's a product you should choose over a quality paint. Also, I just don't want to "make" a product work. I'm lazy now in my older age and I would much rather stuff my face whilst watching horror movies and playing with my dog than spending 20 hours working on a painting cuz I need to work harder to make the products work.🤣🤣🤣💖💖💖💖
I agree with not splattering for the sake of splattering and my other probably unpopular opinions are, people who say don’t start with Cotman colours they will fade immediately. I found them a great way to introduce me to colours to see which ones I use the most and then replace with up grades. My other unpopular opinion is I really don’t understand blowing paint with a straw for every line and wash.
For anyone who wants 100% cotton paper for practice, try Hahnemuhle Expression watercolour paper. Its available at a reasonable price in Amazon Europe and UK.
My unpopular opinion is that beginners should NOT start by using just 3-6 primaries "to learn mixing". It is really frustrating to have so little color experience and have to mix mix mix trying to get a color you want, wasting paint by adding more more more and still not getting what you want......and then not turning out a nice little picture, after spending so much time mixing. Not to mention you don't have any earth colors. All you want when you're new is to have something to show for it. IMO, get a good student set of 24 (!) and paint away! You'll naturally start wanting to adjust the given colors by mixing a little here and there, you feel good about making some paintings, you become more confident, and then get more adventurous with mixing.
I agree with the splatter scene. I'm really tired of seeing it all over paintings. It covers the lovely work that has been done and takes away from the whole process.
Agree with you on most of the points; halfway differ with you on the materials quality though. I think the paper and brush quality is more important for beginners than paint quality because the paper and brush have a direct impact over water control - essential for beginners to learn. The paint quality only starts to matter when using 3 colors or more in a mix but an inexpensive 24 color set of Koi watercolors has enough variety for beginner to make a nice painting without mixing more than two colors.
I’m just learning. I paint in sketchbooks but when I’m giving myself a treat I take a sheet of watercolour paper and stretch it properly. So simple to do
Thank you for helping me re-learn painting after a long break to raise my kids (I learned in oils and it was really hard to do that with kids) I'm really into watercolor now. You do a great job!
What can I say, I agree with you on all of this. I do not stretch my paper very often, only when I plan to work with a lot of water, but yes, you are absolutely right, it *is* the best surface. Even papers that are of mediochre quality can often become really good, if you just know how to stretch them properly. And yes sable brushes *are* a product of animal cruelty and buying them *does* support the fur trade. It's really mindboggling how many people manage to convince themselves that this isn't so, insisting that it's all good because the brushes are made from the animal parts that the fur industry does not use. As if they would give them to the brush makers for free. Thank you for continously bringing up this issue on your channel.
This is also often the case with products made from recycled resources, the manufacturers don't get the by-products from other industries for free. Be it a jacket made from recycled plastic bottles. Cotton also needs a lot of water to grow and is often grown in monocultures, and the cotton that the manufacturers of paper buy is often waste and by-products from the textile industry. I prefer recycling instead of extracting new resources from the earth or depleting the soil of nutrients and water for growing plants, even if I have indirectly supported the plastic industry just because I bought a recycled jacket.
I am a beginner and you have helped me so much. I think your advice is spot on! I love the opaque colours as much as the transparent and could not imagine my pallette without them. I adore your flower colours and they are on my Xmas list xx
I agree with most of what you said. Like everything in life, it's different for different people. When I first started painting, I couldn't understand why a lot of the people I watch almost always use spatter, but I started doing it, and it is super FUN! I don't spatter every painting, but I do use the technique a lot. I also don't search out happy accidents, but I have had quite a lot of paintings where I've made a mistake, and later been very happy with the results.
I took a Nathan Fowkes course, and he uses white gouache mixed with watercolour to save time, so if you're a beginner doing that, it's probably fine. I did fall into the Daniel Smith trap when I started because of the advice I saw online. A lot of the Roman Szmal colours are just as good.
Yes to many of these, especially mixing pigments and opaque colors. I’ve stayed away from opaque colors, as I was told, but am beginning to explore them. They give lovely velvety looks when used correctly!
thank goodness! finally someone who doesn't splatter paint of everything, i really don't like it personally, but if someone does then 'you do you'...i am a 'beginner' and i have quiet a range of student grade paint and actually started with kids watercolour cakes - my idea was, if i could paint something decent with kids paint then i can upgrade to student quality, now though i am building a supply of DS watercolours i purchase the 5ml and they are under $20AUD so they are an occasional treat but i also think other brands have amazing colours and effects, i'm not someone who treats themselves to food i prefer to slowly purchase artist grade watercolours and there is so much difference but in saying that i still use student grade also and buy the best paper within my budget so i don't freak out if i need to bin a piece of paper. i've just subscribed to your channel and learning so much ty
Paper stretching debate- I wonder if it depends on your painting style? Like if you love big watery washes and lots of wet in wet you’ll be plagued by paper distortion so it’s worth the hassle. But if you work slowly in fine detail on small areas with a drier brush then you probably won’t see the need.
I like listening to artist opinion I learn thru others even if it's just when they are talking about issues...knowledge is passed on thru many ways, everyone must be respectful and just list it's called dialogue and communication which people are in need of nowadays as were kinda stuck in our little social groups and it's nice to be able to hear from other people that enjoy your artist likings...
OMG at last somebody speaking out against sable brushes, thank you! They are just like little fur coats on sticks and many of the synthetic ones are actually better IMHO.
I am still a beginner and follow different artists’ suggestions or examples. Refreshing to hear your opinions about different techniques and their overuse or lack of thought in application, food for thought. Thanks Michele!
I woke up this morning to watch videos and drink my coffee. I found your videos on my feed that I had already at some point subscribed to. I’ve been watching about 5 now and I feel like painting finally. Thank you.
It was useful again, even if only chatting. I usually end up watching your videos twice anyways (first time only listen, second time watching the demonstration) 😅 I would probably also add to the "don't buy the most expensive brands" that if you want to try something (new brand of paint, paper, pencil or a complete new medium) don't go for the largest set. What if you don't end up liking it? I always try just a small format of paper and a smaller set of colours and buy the larger formats/sets or additional colours after I have some experience. It always worked out so far and I consider myself a beginner (especially in watercolour). I think the only colour I miss of my 12 set of watercolours is a nice pre-mixed purple but I can certainly live without it and have fun trying to mix whatever I need. I agree with the stretching (especially for bigger sheets) and I enjoy when I do a painting like that, but I have such a small place that storage of the paper on the board until it dries is really a problem, so I am not doing it very often.
I've been floundering for 10 years of watercolor painting. So relieved to find your common sense, intentional approach. Just signed up for your technique course. Feeling sad I've wasted so much time and money on gimmicky approaches. But also relieved to begin again on solid ground.
Agree completely, as an improver! slowly, that is, I have made the mistakes, listened to advice, then tried the technique, but no longer surprised when it works. thank you for the common sense and inspiration.
Thank you Michelle, your videos are so informative. Can I just say, the most influential advice was to stretch the paper. Not only are my painting efforts better, it puts me in the right frame of mind ready to start my next project. Thank you again 😊
Well as a beginner (I have been painting for 18 months now), I agree with some of the things that you have said, not using the expensive paint, paper, and sable brushes. During my first lesson of Watercolor painting I was told to use the white of the paper mostly or to use white to help lighten a color more than just adding some more water to the pigment. Right now I am still using Aztec Watercolor paints, 98 lb. Canson Mixed Media paper & every once in a while 140 lb. Canson Watercolor paper. I haven’t been brave enough for stretching my paper since I tried to do it once unsuccessfully (it fell apart doing a dip into water method). However I do tape my paper down before painting anything. I definitely enjoyed this video and will be checking out more of your soon. Thanks for sharing this with us.
I could not disagree with anything you discussed, Michele, especially about using synthetic brushes!! You and your videos have helped me so very much in my watercolour journey. Thank you so very much ❤️
Hi Michele I'm still in the beginner stages and I thank God for you. Someone that explains what she's doing and why and what I should expect from the things I do. It's great to have someone that will guide you and explain why certain things will not work. I was fortunate to have really good art teachers at school that really went out of their way to ed explain things but that was years ago. Things have changed and more and more materials are available and so many different kinds of paper . And I was mesmerised by all this because there was one paper all those years ago. Maybe you might get a different colour like grey but the very same texture and not watercolour friendly either. I wont tell you what swear words I used when one of them would tear on me. But things have got so much better and the papers now do hold the water. But it's so good to get someone like you on UA-cam to give advice and tips on what works with what. So I know where I'm going. There is nothing I disagree with here it all makes perfectly good sense. Although I had to laugh at the "Happy Accident" thing. I used to love watching Bob Ross and he had this thing about happy accidents but it was more to encourage people that are complete beginners not to throw their paintings away because of one mistake and not to give up and not be discouraged, which was good and I understand where he was coming from, but I also understand where you are coming from. Both opinions are right in a sense. For complete beginners you need someone that will encourage rather than discourage and help you to keep going but as you get more into it then I believe what you're saying is when we get near the end of the beginner stage or further then not to keep on with this happy accident thing and that it's not going to be the hammock to keep us comfortable for too long that it can be a bad habit to get into and as we get more into what we are doing we need more control and to get out of this "comfort zone" if you like and not have any accidents at all. That hammock has to go. And yeah I do agree with that. I agree. And the best thing is you are not being discouraging. You are getting us to that next stage still being encouraging but helping us to drop the crutches that helped us before because you from experience that they are not going to help as we go further along. And as we get better our habits get better. Same as other things that used to serve but no longer do, need to be dropped. That makes sense. Thank you Michele for your great advice and explaining everything to us it really makes a difference. Knowing not to do something and have it explained why and how things go wrong. I don't agree with everyone all the time there are times when I politely disagree and say why. But not here. All you said in your video made perfect sense to me. The splattering. Especially. There are only certain pictures that would take it. Not everything. But I can see how and why people, when they learn new techniques like this, they get carried away and they don't know when to stop and can really destroy a very very good painting. It's a shame but I suppose when they see your video they'll know better. Some people have to go through these phases and then realize when they see this picture and realize too late, they say Oh .... I wish I hadn't done that now I ruined it." Maybe they'll try the same thing again without the splattering. If they have the patience. That's not easy having to go back and do the same thing again. But my teachers years used to make me do it and I thank them today for that because it helped me see more where I went wrong the first time by doing it again. Yeah I can listen to my mistakes all I want but by actually doing the picture again I learned more. I thought it was about 5 steps backwards when they told me to do a certain painting or drawing again. But No. It was the best thing they ever did. I learned so much more and improved and they told me that I did. Learning curves!!! But after school life got in the way and the drawing came to a s reaching halt. But I will never forget these teachers they were fantastic at that time. And you remind me so much of them. I had 3. We had one in the old building and 2 in the new building from the age of 13 to 17. They were so good to me when they knew I loved art. They really went out of their way to help me. God bless all of them. I used to live for the days I'd have art. I made sure I never missed it. I used to go missing for the maths classes alright🤣🤣🤣. Michele you remind me so much of these teachers. I never dreamed I'd find another one so good. Thank God for you. I have learned so much from you already. Thank you so very much. My love to you and God bless you Susan xxx🤗🤗🤗🤗🙏🙏🙏🙏😘👍❤❤❤❤❤❤❤🌹
Thank you for mentioning the cruelty to animals of sable brushes. I only use synthetic brushes, and I also don't use Arches paper because it's made with animal sizing.
Great video as always Michele! I do agree with pretty much everything you said, especially about not having to start out with top of the line materials as they will not make you a better artist technically. The one thing I always suggest though is to use 100% cotton paper! I would suggest this more to an intermediate painter rather than a complete beginner, because a true beginner should just really experiment with different papers & paint to get a feel for the medium. Nothing worse than purchasing a ton of expensive art supplies that where recommended to you and it doesn't work with your process or you just don't like the medium!
Thank you, Michele ☺️ I’m in team paper stretch, too. My first water color class was with Jim Torlackson who insisted on stretched Arches, 140 cold press. If I hadn’t deviated I’d have missed out on the joy of hot press. Blessings🙏
I agree with your unpopular opinions except stretching paper but only because I've never done it. I 200% agree that you need to learn the rules of Watercolor before you break them.
I agree with your ideas about splatter - that sometimes it is useful but just spattering everything doesn't usually help. I am going to try a Daniel Smith colour dots card so that I can see what their colours are like and choose which ones would be good for me. I think it will be a good way to sample their paint.
I think there needs to be a balance between the discipline of learning and perfecting painting skills and the freedom to just play. I don't like it when people are dogmatic about pigments, paint brands, brushes or paper. I like to try a variety of surfaces, tools and paints and discover for myself what enhances my skill, experience and outcomes.
You have had a very interesting work-life. I enjoy hearing all your ideas. Your vids are so helpful to me. I am an 'ol timer gal and a beginner so all the help I can get the better.
The very first one you mentioned! I thought I could make Quin Sienna from Quin Gold and Quin Coral. They are the same pigments . John from Daniel Smith explained how the pigments are mixed before they even add a binder.
One of the reasons Daniel Smith are so good is they have a lot of buying power. Some of the best pigments are only available in large quantities which means smaller art manufacturers find it harder.
Your tagline pulled me in. Could not wait to hear your unpopular opinions! Have to admit, I'm guilty of trying to mix colours according to pigment numbers to produce a very similar. Also, I've tried other 100% cotton papers , but find Arches to be the easiest to move or lift paint.
My unpopular watercolour opinion is: Daniel Smith paints are over-hyped. It doesn't help that they are ridiculously expensive in Europe (paint itself + intercontinental shipping + duties). They are good paints, but certainly not the only game in town when it comes to high quality paints.
Hi Michelle, one of your ardent fans here. With regard to stretching, I agree its simple to do and I follow your method. However I do a lot of realistic paintings on Hot Pressed 300gsm quality paper and some of these may take me a month to finish. I find that the paper buckles and doesn't lie straight some days. I am sure that this is because of varying humidity. The gummed side doesn't allow for expansion and thus the paper buckles. I have now changed to "not stretching" and hardly know any difference. For what it's worth!
I didn't hear you say anything I disagreed with really, although I do find I have the best success with Arches watercolor paper as opposed to cheap brands. I imagine if I were more experienced and precise in my painting already perhaps that wouldn't be the case as I have done some nice things on Canson or Strathmore. It's when I'm struggling and having to mess around with lifting paint etc that the cheaper papers are a serious issue for me. Appreciate you sharing your thoughts with us.
i find that to make a colour light by adding water makes the paint to loose and lose its texture, and i find it hard to control. adding white preserves its consistency as paint. but i don't do it often. it won't work if you want what's underneath to show up clearly. it's just another option that i sometimes find useful.
I teach in person watercolor classes, mostly to beginners. My supply list asks for Arches paper and Winsor and Newton or Daniel Smith watercolors. These are the quality supplies available locally. I ask for my students to use them because the frustrations attendant upon using poor quality paper or low grade paint are avoided. When students use non cotton paper the results are very predictably poor and I feel this frustration is avoidable by an initial purchase of high quality cotton paper such as arches. They can work on technique without the paper working against them. The same logic applies to the paints. I agree that there are many synthetic brush lines that work quite well and Sable is unnecessary.
Happy accidents only happened for Bob Ross 😆. One of my college professors was an award winning watercolorist. He always said you purchase the specific color/brand or you work within what you have. Stretching paper is a must.
Well, I agreed with all of that! Just to take one or two of your points, Bockingford is a very good second-league paper - no, it's not the very very best, but it's affordable, strong, adaptable, and it neither curls when the first drop of water is laid on it, nor lies there in a wet slush. Body colour - well body colour is by definition opaque, and some colours, like Yellow Ochre and Light Red, are widely used by painters who will tell you "I never use white": well if you use those two, and Naples Yellow, you are using, in effect, white - because the addition of white is how some of those colours are made; and in any event, they're not transparent. So in what way is that not using white? But I agree that white in a beginner's hands can look hideous - especially Chinese/Zinc White, which always used to come in those metal boxes of watercolours: it was intended to tint the colours and adjust them - not to be used in slabs of paint where white paper would have been a better idea. And finally - I do have a few sable brushes, and squirrel hair - and hakes. They're lovely brushes, but I'd never buy sable again (I inherited most of mine) because the hair looks better on the living animal: there's a cruel irony in destroying a life in order to create a painting.
I find the main difference is not the painting but the scrubbing out. Cotton paper is much more durable, if you use a cellulose paper you have to hit and run without much corrections!
Agree to all!!!!! If I had to buy expensive paper and paints, I would never have put brush to paper- I would just freeze up and say " what if I mess up this expensive stuff " and just give up.
Not only do the pigment numbers play a role and how much binder is being used, also the granularity of the pigments is important. To my knowledge, you can grind pigments too much, too fine. I'm not an artist, but love to colour my Zentangles. One color I do not have in my WC sets is black, it looks too flat and creates a muddy mess. I mix black from a dark blue (like Prussian blue or ultra-marine blue) and a burnt sienna or burnt umber. Don't over-mix, experiment with the proportions of brown and blue.
I kind of disagree with you on using quality suppliies. When I first started watercolor I had some cheaper paints and paper. It was very discouraging. I followed the advice of some artistson YT and bought some Arches paper and Daniel Smith watercolor paints. The difference was remarkable. I don't think you always need the best quality. But getting the bestyou can afford is a good idea. I bought Arches on sale and cut it down to small pieces so I could practice.
this lipstick shade is very beautifull in your skin color, another watercolor artist said to me to try guache because I said that I use celulose paper and coton paper is really expensive here in Brasil and you shoul use at least 50% cotton paper!!! I have problems with texture of paint and the time that we can paint again and try have the effect that I want , and how many layers I can use before the paper stop absorvig the paint and starting to remove paint when you pass the brush. happy new year ,a lot of prosperity and great art for all!!!
Love it! My unpopular opinion and people get FURIOUS over this: *I don't sketch.* Well, I DO sketch with graphite and charcoal if I want to make a drawing, but for paintings, I just make a few tick marks on my watercolour paper and dive right on in with the layers. Of course I'll use a few brush strokes to "sketch", but studying the subject and focusing on tonal values (after picking my palette!) works way better for me than making a graphite sketch on wc paper and going from there. When I've made a proportional error (or even a color error), It's usually light enough (I don't use staining paints to start!!!) that I can adjust during the painting. There are some things I need to sketch more with, of course, but for animals and landscapes... paint! ❤️
The only opinions you expressed that I think could be considered unpopular or at least non-mainstream were the ones about not needing the very best paper, paints and sable brushes and the other urging the stretching of paper. At the very beginning, I used to feel bad that I couldn’t afford sable as I thought I’d never turn out a decent painting. Then I read what is involved in getting the fur and was quite happy that I had lots of nice synthetic fibres to choose from. My cats would approve. I’ve never stretched paper but on the other hand, except for the very first painting I did, I’ve never used a piece of piece bigger than a quarter sheet of 9 x 12 inch paper, the most common size for paper pads here in Canada. Except for when I was learning to use acrylics but even then, the paintings themselves were only five inches square. There were just six or eight on the canvas-surfaced paper. I will stretch my paper if I venture into larger sizes, I promise. Your method seems foolproof!
I have worked with paper in many mediums and frame my work to show the complete piece of paper waves and all. Probably this comes from being a mixed media artist not formally trained in watercolor. I like to think of paper as a an object in my work so that the paper can behave the way it wants to- waves and all!
Apparently your unpopular watercolor opinions are not so unpopular as you thought! Clearly there are many of us who agree with you. When it comes to paper, I suggest 100 percent cotton paper though as it will provide for less frustration for those trying to learn control. I don’t use Arches because it’s too precious for practice and experimentation. I’ve actually found some synthetic sable brushes that I prefer over the far more expensive sable and sable/synthetic hybrid brushes I’ve collected.
I just use 6x9 Bee paper. It's thin and at first I didn't think it was white enough, but it's affordable and good enough. I've done lots of paintings with it that I think rocks. I just paint for myself and if I want to think my paintings are great, that's my business. lol I don't stretch it because I didn't want to spend the money on special tape when I first got started and i never developed the habit. I just tape my paper down with blue hardware store tape. If I ever get to the point where someone wanted to buy my paintings but they were put off because they were all warped, then yes I'd have to start stretching the paper. At the present time I live with the warpage and I'm fine with it. You're awesome Michelle but I'll bet you hear that all the time.
i think the only time i use splatters is for star scapes. chucking a bunch of paint on top sometimes looks interesting and some artists can really pull it off but for me it just feels like a mess and reminds me of children throwing paint around. i have yet to stretch paper, they simply don't sell the tape in my area. hoping to try it next time i get an amazon order out because that is the only place i can find it, in the meantime i have just been taping it down with painters tape and leaving paintings between a couple of heavy books for a few days if it won't lay flat after.
OH, the splattering everything drives me up a wall. I've see so many beautiful paintings ruined with splatters. I see the artist do this at the end and all I can say is: WHY!!!?!?!
I have read some reports from artists who have found that arches paper has not always been produced equally well and some have been really unhappy with their purchased arches paper because they had to fight against the paper because their painting style did not suit the defectively produced paper. And for me, that rules out arches paper as a recommended paper if the quality cannot be relied upon. Then there are a few beginners who have bought the paper and got defective and don't know that and then think that they can't handle watercolour and then give up in frustration. Because they don't realize that even expensive paper can sometimes be bad due to production and storage errors.
Indeed, I had a bad batch of Saunders Waterford last year, the sizing was terrible or missing, the paint bled even on dry paper and it's usually such a good brand.
Well, my unpopular opinion is go east! You can get 2 up to 4 full pans of Roman Szmal for one half-pan of Daniel Smith and the quality is comparable. Polish and Russian watercolours are great quality and affordable - think 15 ml full lightfast tube of cobalt blue (genuine, not hue) for less than 4 dollars.
I agree, I think, with all of the opinions except number 2, I never stretch my paper. Lot's of fun, I don't know if I have an unpopular opinion of my own, I don't share my watercolour bad habits, they're secrets, but I'm sure I have a few that would shock some people.
Haha, what a great video😂 I think you nailed all of the good-for-nothing opinions that are currently trending 😂 Also, I don’t think I need a 100% cotton paper to dramatically improve my painting. I am also not keen on people being “smart” about pigments and saying you should not mix paints that consist of multiple pigments... Well, I am definitely not an expert, but I have a colour wheel next to me when I try to mix a colour and never really had an issue 🤷♀️ If people just practice instead of hooking themselves on hoaxes and “art blocks” that would be more beneficial for their painting progress I suppose! I tried to practice drawing more after I had tried the water colours for the first time in my life - the brush and water control is still kind of shabby, nevertheless it looks like I have massively improved thanks to the drawing 🙏
I have had awful,experience with current arches paper blocks, yuk! I switched to large sheets and stretching, or Hahnamulue Collection stretched. Something happened to Arches
I agree with all, yes! And I really wish the first beginner class I took (not Michele's!) didn't introduce paint splatter because it was VERY messy for someone new to painting. Glad I have found these wonderful videos!
Do you agree or disagree with my opinions? Do you have any unpopular opinions of your own? To improve your drawing skills watch this one next: Drawing Tutorial (AVOID these 10 Beginners' Mistakes!) ua-cam.com/video/X9sF9kEFeNk/v-deo.html
I like to use white paint also, quite a bit sometimes. If i want really milky pastels in an illustration it can be really useful. Some people might not really like it but that’s fine.
My unpopular opinion is that just watching an artist paint is not necessarily a learning experience. I watch yours, and I learn something. You go into great detail of why you are doing whatever, and even why you don't like things, like this video. I watch some others, and there is no real explanation or theory. This is what I love about your videos, they are real lessons. So, thank you for that!
Happy Accidents is a homage to Bob Ross who encouraged people to paint and tried very hard to make it stress free. If you make a mistake do not freak out. It is not that you are trying for, or making an accident but when they happen you think of his saying, stop and take a deep breath and keep on going.
So my opinion concerning the quality of products is that I've found high quality materials served me well in my early days. But now that I have some experience I can actually play around with more brands, and paint on lesser surfaces because I'm so familiar with how the paint and paper work.
I agree that you, as a professional painter with many years of varied experience, do indeed have the right to share your opinions. Why anyone would want to disagree with your opinions is beyond me. I appreciate ALL of your advice/demonstrations because, as a beginner, I am seeking answers. Thank you for taking time for this informative video (even tho I’ll probably never stretch my paper LOL).
Glad you like the video, thanks for watching, even without paper stretching!
Paper…. That’s a complex subject! Only Arches? Definitely not. I agree with you. I’m very curious about Bockingford as I have experts suggest it rather often as an alternative to Saunders Waterford and these artists are excellent. Now, in the US, we don’t find it easily so I haven’t tried it. I have on the other hand, tried Fabriano Studio 25% cotton with excellent results, very easy paper to lift out paint from, nice texture and inexpensive which fosters my adventurous self to paint once a day.
I've been able to find the Bockingford in 22x30 sheets at Hobby Lobby for $4.99 each. I've bought a couple, but haven't had a chance to try it yet.
@@taylors726 Thank you for the tip!
I love listening to you regardless of the topic and I highly value hearing the views and opinions of others. Whether we agree with one another or not, we should always put value in diversity. You brighten my day with your paintings, videos and most especially your opinions. I often say rules are there to be understood so that we may recognize the times when those "rules" can and should be broken as well as how to most effectively do so. Much love to you and your channel!
I appreciate that, thank you!
You know what, that was very well said! I could not have put it better myself!
So I've been an artist for more than 30 years and I must say YES! I totally agree with everything you just said. I have five high brands and 4 lower brands of watercolors and have tried duplicating a lot of paints in my time and yes some work but more often they do not. Some of my multiple pigments like or pr122 and pr101 have completely different colors to them. I have 5 or 6 of some others and they do not mix with the same pigments across the board. I never could dup cascade green so I bought it and I still don't get the color separation others do. I have used Strathmore papers for 30 years and never had a problem either. I only use synthetic brushes because one I'm an animal lover but two because I can't stand when you touch brush to paper and it's bendy and stays that way. It just gets under my skin like a tick.
Some greens are single pigment and can't be mixed of course, although artists think of green as a secondary, in science it's a primary. I don't like overly soft brushes either!
Omg, lol, that "because I can't stand when you touch brush to paper and it's bendy and stays that way. It just gets under my skin like a tick." Yes!!! So true for me as well. I'm like " what is good about that?!?!?
Ooh, I agree there is just no substitute for some of my most favored pigments from any of my favorite manufacturers. Some colors are just sooo luxurious, and move in a certain way that gives that mix a life all its own.
My unpopular opinion is that step-by-step tutorials don't really encourage you to find your own style or "voice'." I have watched many of these (not any by you) and I balk at the idea of just copying someone else's work and being disappointed if it doesn't look very much like theirs. I love your videos because a) you are an excellent teacher, and b) you teach specific techniques that are crucial but that can be used in different ways by different people. Recently I watched a step-by-step in which the artist a) never would show the reference photo, b) said things like, "Hmmm...I'll throw a bit of this colour in or maybe this one" or "Oh I don't like that ... let's just mess about a bit" and c") often mumbled unintelligbly while painting. So I appreciate your tutorials so much and have learned so much. Thank you!
I get your point about the quality of your supplies but, truly, I struggled with watercolors until I started using Arches. Being a beginner, it was difficult enough trying to get the effects I wanted, and using sub-par paper just made it all a frustrating exercise in futility. I can and have used cheaper paints and brushes, but I still consider myself a novice and need all the help I can get-paper-wise. It just makes it so much more enjoyable for me.
I agree. Cellulose paper just don't work the same as cotton paper. I used cellulose paper when I was a beginner and no matter what I painted it was horrible. I thought it was my skills and I didn't have it in me to paint until I switched to Arches. Instead of talking about brand or price, it would have been better to talk about the made of the paper which is what really matter.
I've found a few cheaper cotton papers that are good for quick studies or to work out an idea before moving to an Arches sheet. I also keep a cheap, 100% cotton block with my mini plein air set so I can capture small studies on the go, but since the quality isn't as good, I keep it to a few layers.
I'm not a novice and even I think using quality is worth it. Obviously for quick studies, sketches, putting down ideas, etc etc I use cheap. But for a finished piece I use quality. Sure a real artist can make cat shit work as a paint, doesn't mean it's a product you should choose over a quality paint. Also, I just don't want to "make" a product work. I'm lazy now in my older age and I would much rather stuff my face whilst watching horror movies and playing with my dog than spending 20 hours working on a painting cuz I need to work harder to make the products work.🤣🤣🤣💖💖💖💖
I agree with not splattering for the sake of splattering and my other probably unpopular opinions are, people who say don’t start with Cotman colours they will fade immediately. I found them a great way to introduce me to colours to see which ones I use the most and then replace with up grades. My other unpopular opinion is I really don’t understand blowing paint with a straw for every line and wash.
The problem is, it forms your ideas of colors and it’s easy to just stick with the cheaper option.
For anyone who wants 100% cotton paper for practice, try Hahnemuhle Expression watercolour paper. Its available at a reasonable price in Amazon Europe and UK.
My unpopular opinion is that beginners should NOT start by using just 3-6 primaries "to learn mixing". It is really frustrating to have so little color experience and have to mix mix mix trying to get a color you want, wasting paint by adding more more more and still not getting what you want......and then not turning out a nice little picture, after spending so much time mixing. Not to mention you don't have any earth colors. All you want when you're new is to have something to show for it. IMO, get a good student set of 24 (!) and paint away! You'll naturally start wanting to adjust the given colors by mixing a little here and there, you feel good about making some paintings, you become more confident, and then get more adventurous with mixing.
I agree with the splatter scene. I'm really tired of seeing it all over paintings. It covers the lovely work that has been done and takes away from the whole process.
Agree with you on most of the points; halfway differ with you on the materials quality though.
I think the paper and brush quality is more important for beginners than paint quality because the paper and brush have a direct impact over water control - essential for beginners to learn. The paint quality only starts to matter when using 3 colors or more in a mix but an inexpensive 24 color set of Koi watercolors has enough variety for beginner to make a nice painting without mixing more than two colors.
I’m just learning. I paint in sketchbooks but when I’m giving myself a treat I take a sheet of watercolour paper and stretch it properly. So simple to do
Thank you for helping me re-learn painting after a long break to raise my kids (I learned in oils and it was really hard to do that with kids) I'm really into watercolor now. You do a great job!
Oil paints and kids, I go quite faint at the thought!
What can I say, I agree with you on all of this.
I do not stretch my paper very often, only when I plan to work with a lot of water, but yes, you are absolutely right, it *is* the best surface. Even papers that are of mediochre quality can often become really good, if you just know how to stretch them properly.
And yes sable brushes *are* a product of animal cruelty and buying them *does* support the fur trade. It's really mindboggling how many people manage to convince themselves that this isn't so, insisting that it's all good because the brushes are made from the animal parts that the fur industry does not use. As if they would give them to the brush makers for free. Thank you for continously bringing up this issue on your channel.
Indeed. All sales of fur keep the trade going.
This is also often the case with products made from recycled resources, the manufacturers don't get the by-products from other industries for free.
Be it a jacket made from recycled plastic bottles. Cotton also needs a lot of water to grow and is often grown in monocultures, and the cotton that the manufacturers of paper buy is often waste and by-products from the textile industry.
I prefer recycling instead of extracting new resources from the earth or depleting the soil of nutrients and water for growing plants,
even if I have indirectly supported the plastic industry just because I bought a recycled jacket.
I am a beginner and you have helped me so much. I think your advice is spot on! I love the opaque colours as much as the transparent and could not imagine my pallette without them. I adore your flower colours and they are on my Xmas list xx
I'm so glad!
I agree with most of what you said. Like everything in life, it's different for different people. When I first started painting, I couldn't understand why a lot of the people I watch almost always use spatter, but I started doing it, and it is super FUN! I don't spatter every painting, but I do use the technique a lot. I also don't search out happy accidents, but I have had quite a lot of paintings where I've made a mistake, and later been very happy with the results.
“Chuck a load of splatters on top...complete madness”...You are so entertaining!! Great video, thank you
Glad you enjoyed :-)
I took a Nathan Fowkes course, and he uses white gouache mixed with watercolour to save time, so if you're a beginner doing that, it's probably fine. I did fall into the Daniel Smith trap when I started because of the advice I saw online. A lot of the Roman Szmal colours are just as good.
Yes to many of these, especially mixing pigments and opaque colors. I’ve stayed away from opaque colors, as I was told, but am beginning to explore them. They give lovely velvety looks when used correctly!
thank goodness! finally someone who doesn't splatter paint of everything, i really don't like it personally, but if someone does then 'you do you'...i am a 'beginner' and i have quiet a range of student grade paint and actually started with kids watercolour cakes - my idea was, if i could paint something decent with kids paint then i can upgrade to student quality, now though i am building a supply of DS watercolours i purchase the 5ml and they are under $20AUD so they are an occasional treat but i also think other brands have amazing colours and effects, i'm not someone who treats themselves to food i prefer to slowly purchase artist grade watercolours and there is so much difference but in saying that i still use student grade also and buy the best paper within my budget so i don't freak out if i need to bin a piece of paper.
i've just subscribed to your channel and learning so much ty
Thanks so much for subscribing ☺️
Paper stretching debate- I wonder if it depends on your painting style? Like if you love big watery washes and lots of wet in wet you’ll be plagued by paper distortion so it’s worth the hassle. But if you work slowly in fine detail on small areas with a drier brush then you probably won’t see the need.
Yes indeed. If you barely use much water, botanical work for example you might not need to stretch. I still would because I like the surface :-)
I like listening to artist opinion I learn thru others even if it's just when they are talking about issues...knowledge is passed on thru many ways, everyone must be respectful and just list it's called dialogue and communication which people are in need of nowadays as were kinda stuck in our little social groups and it's nice to be able to hear from other people that enjoy your artist likings...
OMG at last somebody speaking out against sable brushes, thank you! They are just like little fur coats on sticks and many of the synthetic ones are actually better IMHO.
No problem, I want to raise awareness!
@@IntheStudiowithMicheleWebber Well done! I recently found your channel and love it!
I am still a beginner and follow different artists’ suggestions or examples. Refreshing to hear your opinions about different techniques and their overuse or lack of thought in application, food for thought. Thanks Michele!
No problem!
I woke up this morning to watch videos and drink my coffee. I found your videos on my feed that I had already at some point subscribed to. I’ve been watching about 5 now and I feel like painting finally. Thank you.
Ah, you are very welcome :-)
It was useful again, even if only chatting. I usually end up watching your videos twice anyways (first time only listen, second time watching the demonstration) 😅
I would probably also add to the "don't buy the most expensive brands" that if you want to try something (new brand of paint, paper, pencil or a complete new medium) don't go for the largest set. What if you don't end up liking it? I always try just a small format of paper and a smaller set of colours and buy the larger formats/sets or additional colours after I have some experience. It always worked out so far and I consider myself a beginner (especially in watercolour). I think the only colour I miss of my 12 set of watercolours is a nice pre-mixed purple but I can certainly live without it and have fun trying to mix whatever I need.
I agree with the stretching (especially for bigger sheets) and I enjoy when I do a painting like that, but I have such a small place that storage of the paper on the board until it dries is really a problem, so I am not doing it very often.
I've been floundering for 10 years of watercolor painting. So relieved to find your common sense, intentional approach. Just signed up for your technique course.
Feeling sad I've wasted so much time and money on gimmicky approaches. But also relieved to begin again on solid ground.
Welcome along, Geneva. I look forward to seeing your progress! :-)
This beginner appreciates and learns from your opinions. Each opinion is based on your lifetime of experience. I trust your insights.
I appreciate that!
I love strong, but informed, opinions. 👍
Your experience is much a appreciated Michelle
Agree completely, as an improver! slowly, that is, I have made the mistakes, listened to advice, then tried the technique, but no longer surprised when it works. thank you for the common sense and inspiration.
You are very welcome!
Thank you Michelle, your videos are so informative. Can I just say, the most influential advice was to stretch the paper. Not only are my painting efforts better, it puts me in the right frame of mind ready to start my next project. Thank you again 😊
You are very welcome!
I am so bad at choosing and mixing colors and end up with a bad painting!
I should watch your watercolor mixing video and learn more!
Well as a beginner (I have been painting for 18 months now), I agree with some of the things that you have said, not using the expensive paint, paper, and sable brushes. During my first lesson of Watercolor painting I was told to use the white of the paper mostly or to use white to help lighten a color more than just adding some more water to the pigment. Right now I am still using Aztec Watercolor paints, 98 lb. Canson Mixed Media paper & every once in a while 140 lb. Canson Watercolor paper. I haven’t been brave enough for stretching my paper since I tried to do it once unsuccessfully (it fell apart doing a dip into water method). However I do tape my paper down before painting anything. I definitely enjoyed this video and will be checking out more of your soon. Thanks for sharing this with us.
Thank you! Glad you liked it :-)
I could not disagree with anything you discussed, Michele, especially about using synthetic brushes!! You and your videos have helped me so very much in my watercolour journey. Thank you so very much ❤️
You are very welcome Didi!
Hi Michele I'm still in the beginner stages and I thank God for you. Someone that explains what she's doing and why and what I should expect from the things I do. It's great to have someone that will guide you and explain why certain things will not work. I was fortunate to have really good art teachers at school that really went out of their way to ed explain things but that was years ago. Things have changed and more and more materials are available and so many different kinds of paper . And I was mesmerised by all this because there was one paper all those years ago. Maybe you might get a different colour like grey but the very same texture and not watercolour friendly either. I wont tell you what swear words I used when one of them would tear on me. But things have got so much better and the papers now do hold the water. But it's so good to get someone like you on UA-cam to give advice and tips on what works with what. So I know where I'm going. There is nothing I disagree with here it all makes perfectly good sense. Although I had to laugh at the "Happy Accident" thing. I used to love watching Bob Ross and he had this thing about happy accidents but it was more to encourage people that are complete beginners not to throw their paintings away because of one mistake and not to give up and not be discouraged, which was good and I understand where he was coming from, but I also understand where you are coming from. Both opinions are right in a sense. For complete beginners you need someone that will encourage
rather than discourage and help you to keep going but as you get more into it then I believe what you're saying is when we get near the end of the beginner stage or further then not to keep on with this happy accident thing and that it's not going to be the hammock to keep us comfortable for too long that it can be a bad habit to get into and as we get more into what we are doing we need more control and to get out of this "comfort zone" if you like and not have any accidents at all. That hammock has to go. And yeah I do agree with that. I agree. And the best thing is you are not being discouraging. You are getting us to that next stage still being encouraging but helping us to drop the crutches that helped us before because you from experience that they are not going to help as we go further along. And as we get better our habits get better. Same as other things that used to serve but no longer do, need to be dropped. That makes sense. Thank you Michele for your great advice and explaining everything to us it really makes a difference. Knowing not to do something and have it explained why and how things go wrong. I don't agree with everyone all the time there are times when I politely disagree and say why. But not here. All you said in your video made perfect sense to me. The splattering. Especially. There are only certain pictures that would take it. Not everything. But I can see how and why people, when they learn new techniques like this, they get carried away and they don't know when to stop and can really destroy a very very good painting. It's a shame but I suppose when they see your video they'll know better. Some people have to go through these phases and then realize when they see this picture and realize too late, they say Oh .... I wish I hadn't done that now I ruined it." Maybe they'll try the same thing again without the splattering. If they have the patience. That's not easy having to go back and do the same thing again. But my teachers years used to make me do it and I thank them today for that because it helped me see more where I went wrong the first time by doing it again. Yeah I can listen to my mistakes all I want but by actually doing the picture again I learned more. I thought it was about 5 steps backwards when they told me to do a certain painting or drawing again. But No. It was the best thing they ever did. I learned so much more and improved and they told me that I did. Learning curves!!! But after school life got in the way and the drawing came to a s reaching halt. But I will never forget these teachers they were fantastic at that time. And you remind me so much of them. I had 3. We had one in the old building and 2 in the new building from the age of 13 to 17. They were so good to me when they knew I loved art. They really went out of their way to help me. God bless all of them. I used to live for the days I'd have art. I made sure I never missed it. I used to go missing for the maths classes alright🤣🤣🤣. Michele you remind me so much of these teachers. I never dreamed I'd find another one so good. Thank God for you. I have learned so much from you already. Thank you so very much. My love to you and God bless you Susan xxx🤗🤗🤗🤗🙏🙏🙏🙏😘👍❤❤❤❤❤❤❤🌹
Thank you for mentioning the cruelty to animals of sable brushes. I only use synthetic brushes, and I also don't use Arches paper because it's made with animal sizing.
Great video as always Michele! I do agree with pretty much everything you said, especially about not having to start out with top of the line materials as they will not make you a better artist technically. The one thing I always suggest though is to use 100% cotton paper! I would suggest this more to an intermediate painter rather than a complete beginner, because a true beginner should just really experiment with different papers & paint to get a feel for the medium.
Nothing worse than purchasing a ton of expensive art supplies that where recommended to you and it doesn't work with your process or you just don't like the medium!
Exactly!
Another great learning video. Thank you for sharing your vast knowledge!
I am a beginner and I DO learn so much from you Michelle
Brilliant thank you!
100% agree on learning the “rules” first.
Thank you, Michele ☺️ I’m in team paper stretch, too. My first water color class was with Jim Torlackson who insisted on stretched Arches, 140 cold press. If I hadn’t deviated I’d have missed out on the joy of hot press. Blessings🙏
Wonderful!
I agree with your unpopular opinions except stretching paper but only because I've never done it. I 200% agree that you need to learn the rules of Watercolor before you break them.
Thanks Christina!
Strongly support your opinion on refusing fur brushes. There are so many different fabulous brushes available in the market which are synthetic.
I have learned a lot from your tutorials! Thank you.
Thank you for not supporting sable brushes. I like your advise. 🙏
I agree with your ideas about splatter - that sometimes it is useful but just spattering everything doesn't usually help. I am going to try a Daniel Smith colour dots card so that I can see what their colours are like and choose which ones would be good for me. I think it will be a good way to sample their paint.
I think there needs to be a balance between the discipline of learning and perfecting painting skills and the freedom to just play. I don't like it when people are dogmatic about pigments, paint brands, brushes or paper. I like to try a variety of surfaces, tools and paints and discover for myself what enhances my skill, experience and outcomes.
You have had a very interesting work-life. I enjoy hearing all your ideas. Your vids are so helpful to me. I am an 'ol timer gal and a beginner so all the help I can get the better.
You can do it!
I love hearing from u
U explain in such a way
That nobody can hate 😀
Thank you!
The very first one you mentioned! I thought I could make Quin Sienna from Quin Gold and Quin Coral. They are the same pigments . John from Daniel Smith explained how the pigments are mixed before they even add a binder.
One of the reasons Daniel Smith are so good is they have a lot of buying power. Some of the best pigments are only available in large quantities which means smaller art manufacturers find it harder.
@@IntheStudiowithMicheleWebber that’s very interesting!
Good information for someone just learning about watercolors.
Your tagline pulled me in. Could not wait to hear your unpopular opinions! Have to admit, I'm guilty of trying to mix colours according to pigment numbers to produce a very similar. Also, I've tried other 100% cotton papers , but find Arches to be the easiest to move or lift paint.
It's good paper, I find it a little absorbent for me :-)
My unpopular watercolour opinion is: Daniel Smith paints are over-hyped.
It doesn't help that they are ridiculously expensive in Europe (paint itself + intercontinental shipping + duties). They are good paints, but certainly not the only game in town when it comes to high quality paints.
Hi Michelle, one of your ardent fans here. With regard to stretching, I agree its simple to do and I follow your method. However I do a lot of realistic paintings on Hot Pressed 300gsm quality paper and some of these may take me a month to finish. I find that the paper buckles and doesn't lie straight some days. I am sure that this is because of varying humidity. The gummed side doesn't allow for expansion and thus the paper buckles. I have now changed to "not stretching" and hardly know any difference. For what it's worth!
Interesting, thanks!
I didn't hear you say anything I disagreed with really, although I do find I have the best success with Arches watercolor paper as opposed to cheap brands. I imagine if I were more experienced and precise in my painting already perhaps that wouldn't be the case as I have done some nice things on Canson or Strathmore. It's when I'm struggling and having to mess around with lifting paint etc that the cheaper papers are a serious issue for me. Appreciate you sharing your thoughts with us.
i find that to make a colour light by adding water makes the paint to loose and lose its texture, and i find it hard to control. adding white preserves its consistency as paint.
but i don't do it often. it won't work if you want what's underneath to show up clearly. it's just another option that i sometimes find useful.
The more water in a mix the harder it is to control, this is true.
I teach in person watercolor classes, mostly to beginners. My supply list asks for Arches paper and Winsor and Newton or Daniel Smith watercolors. These are the quality supplies available locally. I ask for my students to use them because the frustrations attendant upon using poor quality paper or low grade paint are avoided. When students use non cotton paper the results are very predictably poor and I feel this frustration is avoidable by an initial purchase of high quality cotton paper such as arches. They can work on technique without the paper working against them. The same logic applies to the paints. I agree that there are many synthetic brush lines that work quite well and Sable is unnecessary.
Happy accidents only happened for Bob Ross 😆. One of my college professors was an award winning watercolorist. He always said you purchase the specific color/brand or you work within what you have. Stretching paper is a must.
I agree with you!
Well, I agreed with all of that! Just to take one or two of your points, Bockingford is a very good second-league paper - no, it's not the very very best, but it's affordable, strong, adaptable, and it neither curls when the first drop of water is laid on it, nor lies there in a wet slush. Body colour - well body colour is by definition opaque, and some colours, like Yellow Ochre and Light Red, are widely used by painters who will tell you "I never use white": well if you use those two, and Naples Yellow, you are using, in effect, white - because the addition of white is how some of those colours are made; and in any event, they're not transparent. So in what way is that not using white? But I agree that white in a beginner's hands can look hideous - especially Chinese/Zinc White, which always used to come in those metal boxes of watercolours: it was intended to tint the colours and adjust them - not to be used in slabs of paint where white paper would have been a better idea. And finally - I do have a few sable brushes, and squirrel hair - and hakes. They're lovely brushes, but I'd never buy sable again (I inherited most of mine) because the hair looks better on the living animal: there's a cruel irony in destroying a life in order to create a painting.
I agree about the paper, but have found that it makes a difference if it is 100% cotton or not, regardless of the brand
I find the main difference is not the painting but the scrubbing out. Cotton paper is much more durable, if you use a cellulose paper you have to hit and run without much corrections!
Agree totally!
Thank you Michele. Love your videos & love the 'talking' ones just as much. I value your opinion very much 🙂
Agree to all!!!!! If I had to buy expensive paper and paints, I would never have put brush to paper- I would just freeze up and say " what if I mess up this expensive stuff " and just give up.
Never give up!
Thank you so much for commenting on the spatters, I am getting so tired of seeing that! Drippy paintings also!
Thank you. I agree 100%. You're the best!
Not only do the pigment numbers play a role and how much binder is being used, also the granularity of the pigments is important. To my knowledge, you can grind pigments too much, too fine.
I'm not an artist, but love to colour my Zentangles. One color I do not have in my WC sets is black, it looks too flat and creates a muddy mess. I mix black from a dark blue (like Prussian blue or ultra-marine blue) and a burnt sienna or burnt umber. Don't over-mix, experiment with the proportions of brown and blue.
I kind of disagree with you on using quality suppliies. When I first started watercolor I had some cheaper paints and paper. It was very discouraging. I followed the advice of some artistson YT and bought some Arches paper and Daniel Smith watercolor paints. The difference was remarkable. I don't think you always need the best quality. But getting the bestyou can afford is a good idea. I bought Arches on sale and cut it down to small pieces so I could practice.
love your accent and your wisdom
this lipstick shade is very beautifull in your skin color, another watercolor artist said to me to try guache because I said that I use celulose paper and coton paper is really expensive here in Brasil and you shoul use at least 50% cotton paper!!! I have problems with texture of paint and the time that we can paint again and try have the effect that I want , and how many layers I can use before the paper stop absorvig the paint and starting to remove paint when you pass the brush.
happy new year ,a lot of prosperity and great art for all!!!
Love it! My unpopular opinion and people get FURIOUS over this: *I don't sketch.* Well, I DO sketch with graphite and charcoal if I want to make a drawing, but for paintings, I just make a few tick marks on my watercolour paper and dive right on in with the layers. Of course I'll use a few brush strokes to "sketch", but studying the subject and focusing on tonal values (after picking my palette!) works way better for me than making a graphite sketch on wc paper and going from there. When I've made a proportional error (or even a color error), It's usually light enough (I don't use staining paints to start!!!) that I can adjust during the painting.
There are some things I need to sketch more with, of course, but for animals and landscapes... paint! ❤️
love the 'unpopular' opinions - nice one 👍 👍 (bar the 'happy accidents' one 👎)
The only opinions you expressed that I think could be considered unpopular or at least non-mainstream were the ones about not needing the very best paper, paints and sable brushes and the other urging the stretching of paper. At the very beginning, I used to feel bad that I couldn’t afford sable as I thought I’d never turn out a decent painting. Then I read what is involved in getting the fur and was quite happy that I had lots of nice synthetic fibres to choose from. My cats would approve.
I’ve never stretched paper but on the other hand, except for the very first painting I did, I’ve never used a piece of piece bigger than a quarter sheet of 9 x 12 inch paper, the most common size for paper pads here in Canada. Except for when I was learning to use acrylics but even then, the paintings themselves were only five inches square. There were just six or eight on the canvas-surfaced paper. I will stretch my paper if I venture into larger sizes, I promise. Your method seems foolproof!
Thanks, glad you liked it!
THANK YOU GREAAAATE - ly for sharing your time and talents VERY MUCH !
My pleasure!!
I love how you warn them first about popping off😂😂😂😂😂😂😂😂😂😂😂😂😘
I have worked with paper in many mediums and frame my work to show the complete piece of paper waves and all. Probably this comes from being a mixed media artist not formally trained in watercolor. I like to think of paper as a an object in my work so that the paper can behave the way it wants to- waves and all!
I totally agree with you years of experience love listening to your channel and learn something different from you each time 🙏💐💐💐🙏
Thank you so much!
Michelle, always very interesting! While I am not a water colour purist, I find your vids incredibly helpful....so thank you!
You are very welcome!
Apparently your unpopular watercolor opinions are not so unpopular as you thought! Clearly there are many of us who agree with you. When it comes to paper, I suggest 100 percent cotton paper though as it will provide for less frustration for those trying to learn control. I don’t use Arches because it’s too precious for practice and experimentation. I’ve actually found some synthetic sable brushes that I prefer over the far more expensive sable and sable/synthetic hybrid brushes I’ve collected.
I just use 6x9 Bee paper. It's thin and at first I didn't think it was white enough, but it's affordable and good enough. I've done lots of paintings with it that I think rocks. I just paint for myself and if I want to think my paintings are great, that's my business. lol I don't stretch it because I didn't want to spend the money on special tape when I first got started and i never developed the habit. I just tape my paper down with blue hardware store tape. If I ever get to the point where someone wanted to buy my paintings but they were put off because they were all warped, then yes I'd have to start stretching the paper. At the present time I live with the warpage and I'm fine with it. You're awesome Michelle but I'll bet you hear that all the time.
Thank you! Awesome compliments are balance by insults on UA-cam :-) But I shall keep on keeping on...
Always find your opinions are valid. Demystifying and calibrating preconceived falsehoods are required viewing. Keep going girl!
:-)
i think the only time i use splatters is for star scapes. chucking a bunch of paint on top sometimes looks interesting and some artists can really pull it off but for me it just feels like a mess and reminds me of children throwing paint around. i have yet to stretch paper, they simply don't sell the tape in my area. hoping to try it next time i get an amazon order out because that is the only place i can find it, in the meantime i have just been taping it down with painters tape and leaving paintings between a couple of heavy books for a few days if it won't lay flat after.
OH, the splattering everything drives me up a wall. I've see so many beautiful paintings ruined with splatters. I see the artist do this at the end and all I can say is: WHY!!!?!?!
Very interesting indeed. i enjoyed watching this video.. heading over to your paper stretching video now.
Thank you!
I have read some reports from artists who have found that arches paper has not always been produced equally well and some have been really unhappy with their purchased arches paper because they had to fight against the paper because their painting style did not suit the defectively produced paper.
And for me, that rules out arches paper as a recommended paper if the quality cannot be relied upon.
Then there are a few beginners who have bought the paper and got defective and don't know that and then think that they can't handle watercolour and then give up in frustration.
Because they don't realize that even expensive paper can sometimes be bad due to production and storage errors.
Indeed, I had a bad batch of Saunders Waterford last year, the sizing was terrible or missing, the paint bled even on dry paper and it's usually such a good brand.
Well, my unpopular opinion is go east! You can get 2 up to 4 full pans of Roman Szmal for one half-pan of Daniel Smith and the quality is comparable. Polish and Russian watercolours are great quality and affordable - think 15 ml full lightfast tube of cobalt blue (genuine, not hue) for less than 4 dollars.
White nights by St Petersburg are amazing too!
I agree, I think, with all of the opinions except number 2, I never stretch my paper. Lot's of fun, I don't know if I have an unpopular opinion of my own, I don't share my watercolour bad habits, they're secrets, but I'm sure I have a few that would shock some people.
Makes so much sense! Thank you.
You're welcome 🙂
So love all your advice ❤❤❤
Haha, what a great video😂 I think you nailed all of the good-for-nothing opinions that are currently trending 😂 Also, I don’t think I need a 100% cotton paper to dramatically improve my painting. I am also not keen on people being “smart” about pigments and saying you should not mix paints that consist of multiple pigments... Well, I am definitely not an expert, but I have a colour wheel next to me when I try to mix a colour and never really had an issue 🤷♀️ If people just practice instead of hooking themselves on hoaxes and “art blocks” that would be more beneficial for their painting progress I suppose! I tried to practice drawing more after I had tried the water colours for the first time in my life - the brush and water control is still kind of shabby, nevertheless it looks like I have massively improved thanks to the drawing 🙏
I frequently grab some mixed paint from the base of my palette. Understanding colour and tonal contrast are far more important.
I have had awful,experience with current arches paper blocks, yuk! I switched to large sheets and stretching, or Hahnamulue Collection stretched. Something happened to Arches
I agree with all, yes! And I really wish the first beginner class I took (not Michele's!) didn't introduce paint splatter because it was VERY messy for someone new to painting. Glad I have found these wonderful videos!
Thank you! Splatter can be controlled if you know how and more importantly when to do it!
I agree on splattering topic. it has a limited use. But it is way overused. never mind that it makes a big mess.
Great video 👍👍👍👍