Colours
From day one, as they were recommended in several artists’ books that I read back in the day when I didn’t have any experience - I acquired close connection and liking to Winsor & Newton watercolour paints. Both Cotman and Artist’ series are excellent in quality and I never needed anything else. I wasn’t even tempted to buy, although I had on occasion had an opportunity to try something else that other colleagues were using. All I will say, I remained loyal to Winsor & Newton for a reason. Their choice and longevity of pigments and ease of application are second to none.
Paper
This is the field in which I have experimented by far the most. Finest aquarelle papers that feel like silk, old watercolour papers given to me by kind friends (things no longer in production hold few of my favourite works), watercolour boards and heaviest papers I could afford, ones that feel like painting on thick velvet. Honestly - I love them all! I have no favourites because they all helped me produce individual and original work that wouldn’t be what it is had it not been painted on that particular paper. Still, smooth Fabriano makes me hold my breath as it makes me really think how wet can my washes be. I do prefer rough texture paper, maybe because I am used to it and it is my go-to paper. Although some of my later works have seen me experiment and enjoy the result on a very, very smooth surface.
Brushes
Ahhh, one of the favourite things in the whole world. As I painted on silk, I have a large collection of natural hair brushes that hold water so well and are easy to use. You can load the brush with the water and several different paint washes and then go to paint with it. These exquisite brushes produce a wide variety of strokes: from extra fine lines to huge washes (waters and skies), from foliage (painting each leaf individually is an art within the art and one of my favourite things to do) to delicate petals that each hold several shades of colour. They are a pure joy to paint with. And then it Ron Ranson’s Hake, of course. It is so valuable and time-saving when it comes to so many things. It is beautifully made and I have a small, medium and large, both in my London studio as well as in Belgrade. Then there are sables - what can I say? I stuck to painting with the above mentioned and had a great success and enjoyed the experience very much. Then one day I bought a small set of pure sable brushes, and I literally never looked back. Also, I inherited from a dear old friend of mine a bunch of her sable brushes - pure heaven. Besides the above mentioned I rarely have a reason to touch anything else (only maybe to mix a colour wash for larger washes on my palette).
Yes, you can achieve similar results even with student quality brushes, I have done it in the past, but the experience is ten times more enjoyable and easier to get right with one of the above described. You can draw your own conclusions.
Framing
One crucial factor that should never be overlooked when presenting a piece of aquarelle art is how you frame it. Please bear in mind, there is no right or wrong here, and that is not the reason why I am writing this post. I merely have a wish to document my personal experiential journey through this medium, and what has served me and my collectors the best way. That is not going to be one size fits all, so use as a guideline, but measure in your own circumstances.
When I first started, I liked to frame my paintings individually, in the mount and frame best suited to that particular painting. Then I tried to exhibit my work like that. It didn’t have the impact I wanted, nor what it deserved. Although nice individually, they often didn’t sit well next to each other and it took me hours sometimes to get the arrangement just right. I spent some time in observation and contemplation of what I wanted to achieve, and once I arrived at a decision, again - I never looked back, because this one was right for me. China White is the colour of my mounting board for 99% of my paintings. Very few work better with Pure White, and even fewer with Black mount. The frames are 99% matt black, and they are all solid wood. Again, only a few paintings wanted an off white colour frame (I use Wimborne White by Farrow & Ball usually), or just lacquered wood, or silver, and even gold - but that was the preference of particular clients. And it did work for those art pieces and for their interiors. Each painting will suggest something unique, but the vast majority will look best in the combination of China White mount + Matt Black frame. And it makes your life so much easier to present the artwork in any sort of gallery setting, or any exhibition, or larger collection display. These are all the things that might have to be taken into consideration, but it is worth informing yourself from someone who has done it all before.
I hope that you have found that interesting and informative. There is so much I could write about studio space, painting boards, portfolios, work tables, easels, etc. But that is a talk for another day. I wish you happy painting, my friend.
* * * * The Exclusive Update – 268 Days to Dream * * * *
1.
In the last few days, my focus was again mostly inward, and although I am committed to documenting my journey here, sharing will come gradually, once it becomes crystallised. The work on self, and the desire to go ever deeper and reflect with more love and grace - requires silence, observation, understanding of self, embracing the unity of all individual representations of the Creator Self, and much more.
Obviously, I am so grateful that I do work which allows me time in the present moment. My painting doesn’t get in a way of inner work, in fact, it enhances it because when I start painting, I am mostly not in my physical body and mind, but I paint in concert with and in presence with the higher self. I am me, only MORE of me. I am the best version of me in those moments and the deeper contemplation and questions and just simply going within - opens up the soul for more joy and love to flow in and out, freely and infinitely.
2.
The feeling of today is a quiet joy. My heart is grateful for this state of being and ease of communication with my inner being. People who meditate regularly, or spend a lot of time out in the natural environments will really get this. For those who struggle to find the time and free time for themselves and for inner work - I can only say: find even 10 minutes a day when you can be unplugged and alone, free from the thinking mind and connected with your soul. When you do this regularly, you will naturally want to deepen your practice as you feel more peace, joy and love permeate your life on every level.
3.
I am working on garden plans this week. I have realised that I need to come up with a storage solution that has to be a design feature, too. Playing with several ideas, one is a raised deck area with storage underneath (haven’t ironed out the + and - for it yet. It seems even.) or a glazed lean-to (this can go two ways: extending from the living area, or smaller version: from the bedroom side, and not visible from the living area, still leaving the garden space open for the largest part). I need to sleep on this and discuss it a bit with the family. Just current 365 Days to Dream project ideas for you.
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