Sunrise in a forest

Sunset

Watercolor on Moulin du Roy

Landscape is my favorite subject in painting watercolor. Nature inspires and probably this is the main force that drives me to paint. I love watching passing clouds, changing light, running water, all possible colors and reflections. And although skies and water usually are the core of a good landscape painting, for me they are the most difficult objects to portray. But there is a saying “do what you are afraid of”  - so I’m trying. Practice is the best teacher.

Lake landscape

     I have almost written off this painting - the first attempt dissatisfied, I completely messed up the sky, overworked, which lead to mud where it was not supposed to be. At the point when all I wanted was to throw a messed sheet of paper away, said “No” to desperation and decided to give it a try. Washed the colors off with large water current in the sink and started once more. Then it came. I cannot say that I’m completely happy about the outcome – it is better – but I’m happy about the persistence it taught me. 

    I’ve learned another thing – overworking in a process of learning is way better than not doing enough. It teaches bravery in fixing flaws of the painting, applying new techniques, and gives outcomes which probably would never be possible without going too far.

River landscape

Watercolor on Arches cold pressed, 300 lb

 

Seashell watercolor sketches

Landscape - Evening at Curonian lagoon

Watercolor on Arches Rough, 26 x 36 cm

Water Lily

Watercolor on Moulin du Roy, 30 x 40 cm

Autumn Étude

Watercolor on Arches

Autumn touch

Watercolor on Canson Moulin du Roy 30x40

Green fern leaves and a plastic film was used to create texture in the front. This is quite an exciting technique, as you will never know, how the pigment will sink into the paper. I used ultramarine, cadmium yellow, lemon yellow, burnt sienna, and burnt umber. The last color was a risky choice, my last three attempts with same palette were not successful - got a lot of muddy spots. This time mud was avoided by putting burnt umber directly on ultramarine, trying to avoid mixing with yellow colors. As I think of what I would do differently having a second chance to this painting - probably would make the distant trees lighter, colors less intense to create more expressed perspective.

Autumn forest

Watercolor on Canson Moulin du Roy

Recently I found out that watercolor paper moistened from both sides does dry so fast, remains smooth and does not create ripples. In this painting I used masking fluid, wet on wet technique, and a touch of white gouache for birch trunks.