There is more to painting watercolor roses and rose oil paintings than meets the eye. Here I have captured pink roses in oil and red roses in watercolor. It is difficult to tell which medium I have used for which rose.

'A côte de la Fontaine'
- Oil on Belgian Linen -
© Susan Harrison-Tustain

'Josephine Bruce'
Watercolor on Arches hot pressed paper
© Susan Harrison-Tustain

You will find it is easier to determine whether a painting is watercolor painting or whether it is an oil painting - if you view it in an art gallery of course.
Looking on-line - you will find the background probably helps you to determine which is which. The red rose is the watercolor.
I am sure you are wondering how can these velvet-looking red roses can be painted in watercolor.

Art on line Lesson:
Observation is the key. These are the things you need to ask yourself:

• What does the surface of the rose petals tell you
• What does the texture of the rose petals tell you
• Are they opaque or are they semi-transparent?
• How does is the light affected by the surface - is it absorbed into the surface or reflected and bouncing off the surface?
• Are the highlights hard-edged or muted and flared? Compare the front vertical surface of the upper, right red rose. Does that have the same texture as the inside surface of the rose? Is it as velvety? How do you know it is more shiny and smooth?
• You will have now established that the surface of the inner side of the petals is velvety. Velvet absorbs light and gently flairs the highlight rather than allowing it to appear hard-edged.
• Compare the upper leaf - on the right hand side of the painting. Can you see how that appears shiny?

Now let's take a look at the pink rose:
Ask yourself questions about the surface and textures you see on the pink rose petals:

• Are the petals opaque or semi transparent? How can you tell?
• Do the petals have a velvety texture or are they smooth surfaced?
• In this case the main bloom has a few petals that are wet from the nearby fountain. How can you tell the top left petal is wet? Think about how I have suggested a wet surface?

We can be the best artist in the world at welding a watercolor brush and mixing color - but if we do not observe and analyse our subjects well - our paintings will struggle to be more than just an attractive wall hanging.
As artists we are story tellers. Become as adept in observation as you are at painting, and you will have a winning combination.
This is how to watercolor and how to oil paint - but it is also how to create paintings that speak to the viewers of your work.
There are just a few of the considerations we artists need to be aware of when wanting to know how to paint watercolor and how to paint oil paintings of roses or anything at all for that matter. Teach yourself to understand what is in front of you and you will find your paintings will eventually become masterworks.

These are just some of the observations, good analysis of art will reveal to you. Without this information and analysis, artists would find it difficult to capture the 'feel' and the sumptuous nature of this rose - or any other subject.

Teaching watercolor and oil painting is a passion for me. My teachings, on-line workshops, one on one workshops and of course my art instruction DVDs - all with their sound and in-depth teaching - give the artist a solid base to grown from exponentially. Knowledge and understanding bring confidence and drive to move out of the usual comfort zone, off that plateau and to discover a whole new world of possibilities and artistic potential.
Have fun!
Susan

Hot pressed  watercolor paper versus cold pressed watercolor paper?

I have so often asked the following questions:

• Which watercolor paper is best to use
• What is the difference between Hot Pressed Watercolor Paper and Cold Pressed Watercolor Paper
• What is size - on watercolor paper and how does the size affect the painting

I am sure the answers to these and many more of your questions regarding watercolor paper will be of interest to many :

I have spent an enormous amount of time and dollars trialling papers, paint, brushes, tapes (you should see the huge pile of tapes I have sitting in my studio!) - all in a mission to find the most suitable products available. As you will surely know - there is a vast amount of choice out there!

In an effort to reduce the frustration, costly and overwhelming task all artists face when choosing product - from time to time I will let you know my findings. Hopefully my experience will enable you to save your time and money and keep your energy for the creation of your fabulous paintings!

Firstly I will begin by saying the products I use and recommend are chosen because they are the most suitable I can find for their properties and applications. I do not receive any financial benefit from any manufacturer - and for this reason I am free to give an unbiased and genuine appraisal of the products I have chosen to use.

Which watercolor paper to use?

I find the best watercolor paper - for my methods is chosen for a number of specific reasons. The first and most important one is the surface of the paper.

For my purposes Arches 140lbs (300gsm) Hot Pressed Paper (natural white) is ideal. Bright white is too white for my palette. I prefer a hot pressed surface to work on for the reasons set out later in this article.
I find all paper does require stretching if you are using water on your painting.

However a study painted in dry brush probably would not require stretching. Just securing your paper to your board with tape will be fine in that instance.

There are also 300lb (600gsm) hot pressed papers available. This  may not need stretching as long as you do not plan to create large washes that invariably require a reasonable amount of water.

When painting in watercolor (no matter which weight of  paper I use), regardless of paper weight - I always stretch my paper, as I use a great deal of water to create the exciting and three dimensional effects I love to create.

'Floral Dance' - watercolor painting © Susan Harrison-Tustain

Floral Dance. One of my favourite watercolor floral pieces. See the soft blending and color transitions in the petals. Compare those to the undulating leaves and 'suggested' leaves emerging from the soft watery background.

What happens when we don't stretch our paper?

• When laying in washes the water is absorbed into the paper and softens and swells the fibres. The paper begins to roll and develop troughs and highs. Imagine trying to paint when our paper has an undulating surface. This is what happens when our paper is not stretched:
• The paper swells and rolls
• Additional washes compound the issue with even more convincing undulations!
• The rises result in great troughs
• The paint pigment particles are suspended in water and is less able to settle on the rises and therefore will naturally accumulate in strength in the troughs
• This results in sweeps of light color on the rises and a saturation of color in the troughs - resulting in a stripy painting that is impossible to disguise

What happens when we  stretch our paper?

• >When dry our paper becomes as tight as a drum.

• When rewet during washes, the paper remains flat and with an even surface tension. (Unless you use too much water of course)

• Applying paint to a smooth surface means our paint has no undulations to contend with - therefore our paint is controlled and dries evenly.

• When we are finished our washes - our paper dries as tight as a drum once again - totally flat, with an even tension, ready for your subsequent washes or if finished - ready for your frame! 

 'Time for reflection' - watercolor painting
© Susan Harrison-Tustain

Time For Reflection. A painting where hot pressed paper allowed me to create the smoothness of young skin and the soft folds of fabric and gentle nuances of reflected and seamless color in her skirt.

What is the best watercolor paper for my painting methods?

My choice is Arches Hot Pressed 140lbs (300gsm) paper. I choose this paper for a number of reasons:

It has the hardest gum size (and therefore surface), which means you have more time to manoeuvre your paint before it is absorbed into the paper.
It also means it can take a lot of battering without showing distress to the surface or fibres. It is therefore much more forgiving than any other paper I have found.

Arches Hot Pressed paper is quite smooth so it is also ideal for creating details and smooth graduations of color. This is ideal when painting petals, painting skin, painting skies, painting porcelain, painting water, painting fabric, etc.

Detail of watercolor painting 'Awakening'
© Susan Harrison-Tustain

This is a detail of my watercolor painting titled Awakening. A soft gentle composition describing the Awakening of womanhood. I chose to paint silk satin fabric to emphasize the elegance and grace of this woman, this moment, this atmosphere. You can imagine how imperative it is to have smooth soft transitions of color to describe the flow of the silk, the folds in the fabric and the youthful skin.

When painting a line - I do not want to contend with indentations that cause a line to appear erratic or less straight.

Hot-Pressed paper also allows me to chose if I want to paint a straight line, a lost and found line, a wiggly line - in a painterly style - or in a more detailed style of painting in watercolor. I often use both styles in the one painting. This is a great tool to be aware of as the painterly area of a work, will guide the eye over the restful area and allow the viewer to become absorbed within the emotion and finer, more detailed work that weaves the story I want to tell in watercolor.

Hot Pressed paper is also perfect for reproduction purposes for books, art magazines, and images.

It is interesting to note that Arches 90lb and Arches 300lbs Hot Pressed has much less size on the surface so the paint and water is absorbed much more readily than it is when using 140lbs Hot Pressed.
90lbs Hot Pressed also buckles readily even if stretched.

I immerse my paper for 3 minutes. Then stretch it using water activated watercolor stretching tape.
I dry it flat and stretched on Gator Board.

The heavier the paper certainly does not equal 'better' paper to paint on.

Different weight papers have different gum sized surfaces as explained above. But each paper manufacturer will use a different set of criteria.

Be aware not all hot pressed papers are equal. Many hot pressed papers are fine - but generally the amount of size used on the surface of the paper can vary. The more size used - the harder the surface and the slower the absorbency of our water. This is important. If less size is used It is easier to damage a softer surface and the paper absorbs water very quickly.

There are different surfaces available in watercolor paper. I use hot pressed exclusively. Here is a list of other surfaces commonly available. These are good papers - but best used for different painting methods than mine:

Cold Pressed Watercolor paper:

There are many excellent brands of cold pressed paper available. In my experience I find these have a much softer and more absorbent surface. Once again these are not as ideal for my painting methods as the Arches hot pressed 140lbs paper that I love to use.

My comments above on the effects of the indentations are also true of cold pressed paper.

Cold pressed paper is wonderful for very painterly works. You can skim across the top of the paper with your brush held on it's side - clipping the surface and leaving the indentations to remain white. A wonderful way to create the sparkling sunlight on a rippled sea. But of course - not so useful when you want a beautiful smooth and gentle transition or blend of colors describing soft skin or petals etc.

Rough Watercolor Paper

"Rough" is the name given to a very rough surfaced watercolor paper. This is another excellent paper but it performs very differently from Hot Pressed paper. The undulations on the surface of Rough paper are very apparent. Therefore this paper is best kept for very painterly watercolor work. It would be very difficult to create fine detail with this watercolor paper.

I personally prefer to use Hot Pressed because I then have the best of all worlds: I can paint in fine detail where I want the viewers eye to focus and engage with my subject. I can also paint in a very painterly manner surrounding my main focus. This acts as a foil and a support to guide the viewer to my main subject.
I do hope that helps you with your questions about which watercolor paper to use for the methods I love to teach and paint.

Watch this space for more hints and tips to help you on how to paint in watercolor and how to paint in oil.

Have fun on this wonderful journey we are all walking together!
You can also find information stretching paper here:
http://www.susanart.com/blog/articles-free-watercolor-lessons

(as well as numerous other free painting articles I have written).

Check out the other reference and informational areas on my website. They are created for especially to help artists. I remember so very clearly, the time when I was frustrated and felt I was stuck on a plateau and yearned for the knowledge that would help me lift my work so much higher - to know how to paint all I wanted to paint, capture what I was passionate about, express the feeling a subject brought to me and speak to the viewers of my work. There was no one who was painting as I wanted to paint. No one I could ask or learn from.

This is my motivation in writing, filming, sharing and teaching.

Join me in my How to Paint in Watercolor DVDs:

My how to paint in watercolor DVDs are designed to extend you even further. Every day I receive numerous messages from artists from all over the world who have purchased my DVDs. (in excess of 25,000 DVDs sold around the world). It is a humbling notion that my DVDs are helping so many artists. It was my dream to help - spurred on by my own early career when I felt the frustration that came with the thirst for knowledge and understanding of painting. The breakthroughs and revelations I discovered, developed and learned on my 'self taught' journey, opened a whole new way of thinking, painting and potential. My DVDs are dedicated to sharing all the skills and knowledge that have allowed me to reach way beyond my dreams. Enjoy this magical journey!

Susan

Just click on the picture below for all the information you need to know about my DVDs - including free previews!

Free watercolor painting lesson!

This is one of my early paintings showing you how I used to paint before I discovered how to paint in watercolor using my Priming Method.

 Take a look at the hard edges, shadows and the raw washed-out colors in this early painting.

Now take a look below at the difference in the next painting (just four paintings beyond this one above).

Free watercolor painting lesson!

Teaching myself how to paint has meant that I learned to understand how to paint in watercolor and how much water to use and how to create fine layers of color, how to mould form using color temperature (warm and cool colors), how to create soft folds in fabric and petals and how to paint leaves using my yellow underwash technique. Can you see how I have created glowing shadow colors? Painting roses or fabric, the sea, the sky, a portrait, still life - all in watercolor - is not difficult - you just need to learn how to observe, and learn how to understand warm and cool color and how to build layers of color to create delicate transitions, rich depths of color and glowing richness - all without creating mud.

Here is your Free watercolor painting lesson. You will find this an invaluable tool that you can adapt to any subject matter you may choose.

It all begins with my Priming Method ©

Here are my instructions so you, too, can enjoy painting using this magical method.

My Priming Method:

In the initial stages of most of my paintings I use my Priming Method to create

luminous glowing transitions of color.

The Magic of my Priming Method:

Step 1

Wet area to be painted and allow it is sink into the inner layers of the paper.

Step 2

When the sheen from the first clear water wash has just disappeared from the surface of the paper – lay in a second clear water wash.

Step 3

Lay your pigmented wash immediately into the second clear water wash.

There you have it! That is all there is to it!

Why is this watercolor lesson so invaluable?

If you use a transparent palette of hues as well as a very finely ground paint such as the ones I use (Schmincke) – you will find your pigment will be absorbed into the inner layers of your paper. Once bone dry you can add as many washes of color (using my Priming Method) as you wish. But do remember to let each pigmented wash become bone dry.

I always build up the first few layers of my color using my Priming Method. Once I have established my initial smooth blending - if the size of area is not large – I will then progress to using a wet-in-wet method. This wet in wet method is exactly as the name suggests: it is simply a matter of dropping wet paint into a wet surface. My final layers are often wet on dry and dry-brush.

You will find by using my Priming Method on the Initial layers of your painting, you will be able to create a reality and a 'substance' in your work. You can then build your subsequent layers using the traditional wet in wet, wet on dry and dry-brush methods. There are many wonderful benefits in this watercolor lesson:

• It is a free watercolor lesson
• My Priming Method allows you to create seamless and gentle gradations of color
• You can easily multilayer your color (to create beautiful luminous depths of the one hue) or a multitude of colors laid on top of each other (once each is bone dry) and this will result in jewel-like final color that glows from within.
• You can easily create soft edged shadow colors using this free watercolor lesson on my Priming Method
• This method will revolutionize how you can paint so many subjects:

1. How to paint a luminous clear sky or sunset where the gentle transitions of color flow seamlessly into each other.
2. How to paint a porcelain bowl
3. How to paint skin
4. How to paint fabric
5. How to paint black, brown and blonde hair
6. How to paint the sea
7. How to paint fruit
8. How to paint water
9. How to paint reflections
10. How to paint animal fur
11. How to paint leaves
12. How to paint roses
13. How to paint flowers
14. How to paint figurative works

You can see the list is endless. The free watercolor painting lesson above can revolutionize your painting skills and lift your painting level if you practice, learn and use it in the early stages of your paintings. You can see how it impacted on mine!

With this method I am able to capture a true sense of being there – a presence - a substance that feels tangible - as if you can reach into the painting and smell the rose or touch the dewdrop on the leaf.

You may like to watch some of the Youtube videos I have created - this one below is the step by step layering of my still life painting for my DVD. You will see how I build soft delicate shades as well as rich deep or vibrant shades of color - all using my Priming Method:

I have created many Youtube videos that may help you on your journey. Search for my name on Youtube to find them.

My DVDs are also jam-packed full with all of the watercolor breakthroughs that have made all the difference to my watercolor journey.

Have fun - watercolor is a magical and exciting medium full of revelations!

I hope you have enjoyed this free watercolor painting lesson.

Susan

'Lost in Thought'
Oil Painting
© Susan Harrison-Tustain

Less than a week to go before my Recollection exhibition opening! It is very exciting. My favorite moment is when the exhibition is declared open and each marshal standing next to each painting, removes the cloak and reveals the paintings for the first time. There is always a moment of silence, then "Ahhhhhh!" Four year's work unveiled at one time. It is a magical moment.

The opening function is a beautiful event. Ross Bachelder who titles himself "The Flute Guy" is flying from Maine USA especially to play at my exhibition. You will have heard me say previously that Sir Ray Avery will be officially opening the exhibition and Jon Mayson will be MC. It will be a beautiful evening. So many people travel huge distances to visit my exhibitions so I love create an experience that won't be forgotten.

I love to hear guests say that particular paintings from previous exhibitions still remain in their memories. It is then that I know my paintings have spoken to the viewer. It is an awesome feeling. Humbling.

New Paintings are added to the exhibition gallery.

© Susan Harrison-Tustain

I hope you enjoy the new painting releases and the inspiration that compelled me to paint them.

I am still painting - trying to finish the last piece. It is a watercolor painting of two white doves sitting in a church alcove - with a stained glass window behind. I have titled it Lofty Refuge. When I have finished that piece I will post it here - but in the meantime - surprise!!!!!! here are some more new pieces you won't have seen yet. You can see a close up of these painting on my Exhibition 2011 page in the Fine Art section of this website.

For those coming to the exhibition - travel safely and I look forward to seeing you!

See you soon
Susan

'Bellbird'
Watercolour on Arches Hot Pressed 300 gsm (140 lb) Watercolour Paper
485mm x 190mm
(19 in x 7 1/2 in)
© Susan Harrison-Tustain

A picnic stopover at Mavora Lakes, Southland, on a back road to Lake Wakatipu and Walter Peek. So pure and so clear the Bellbird call drew our attention to this slightly nectar inebriated songster dashing amongst the flax flowers.

See more new original paintings on my exhibition page.

Mixing Greens

You will see I have created a number of different greens in this watercolor painting. Flax bushes are often a blue green on the under side and as the leaves turn away from the light - they tend to be a more yellow green on the front.
How do I create these watercolor greens? We all know that when a surface faces the sky - it is influenced by the blue or grey of the sky color. So you can see that very clearly in this painting. I use much less yellow in my green mix to give this illusion. My green mix is Schmincke Sap Green and a touch of Thalo Blue. If I need to grey the blue/green color a little - I add a tiny touch of Scarlet Red.

You can see the area away from the light is a richer more vibrant green. I use my  underwash of Aureolin Yellow Modern in these areas. I let it dry and then add my Sap Green, a touch of Thalo Blue and Aureolin Yellow. If I need a pale color - I simply use more water. You can see how I push my greens from warm to cool, light to dark, rich to pale. Painting green leaves is a fantastic way to learn how you can create a three dimension by allowing a color to dominate.

For example: more blue will give the impression of the sky affecting the green. More yellow in your green mix will give the impression that part of the leaf is away from the effect of the sky. A warm green gives the effect of the leaf being affected by shadow. Learn how to paint green leaves by creating a similar type of leaf. You will find these lessons invaluable. Not only for mixing greens but it will teach you how to apply this color theory to any of your color mixes - no matter whether they are oil paintings, watercolor paintings, pastel studies or acrylic paintings. It is all about observation. Have a look at the video below to learn more about the perfect green!
Have fun!
Susan

 

In my Art Lessons section you will find more helpful tips and articles.

If you want to learn more about Watercolor Painting and Watercolor Technique check out my Watercolor DVDs.

Part II of my Colour Lesson about creating a glowing red  is posted here.

I had so much fun creating this Red Parrot Tulip and while developing these glowing red washes, it occurred to me that I should share this information with you all. Red is a notoriously difficult color to portray – unless you know what I am about to tell you.

This is not a step by step guide of how to paint this subject. What I want to highlight are a number of points relating to painting a glorious glowing red using this study as an example.

For those who missed it - here is the link to Part I or go directly to this link for Part II

In these lessons you will find info about warm and cool colours, shadow color, color temperature, creating glowing reds, yellow underwash ...

This Parrot Tulip study will be an ongoing tutorial where I will teach you many of the invaluable lessons that will help you create form with red – no matter which medium you choose.

In my Art Lessons section you will find more helpful articles.

If you want to learn more about Watercolor Painting and Watercolor Technique check out my Watercolor DVDs.

Happy Painting

Susan

Untitled
10  1/4" x 5  3/4"
260 mm x 145 mm
Watercolor on Arches 300gsm Hot Pressed paper
© Susan-Harrison-Tustain

New Watercolor Painting release

The aged door of a dry stone cottage built in 1904. Set high on a hill overlooking Fruitlands Central Otago, New Zealand - Mitchells Cottage stands as a poignant reminder of New Zealands early settlers.  Within these walls we feel their struggles and their challenges - but this home is also a testament to the resilience and incredible natural beauty of this area of New Zealand.

This is not just a watercolor painting of the time-worn door lock and latch -  and a tongue and groove wood door. This piece has a timeless character that epitomizes an era that was austere and very real. I wanted to capture the wholesome rawness of this place, but also a feeling of 'home fires burning'. My attention was drawn to this handle and the people who have used it, worn the patina on the old brass and lived their wholesome, hard lives with focus and enduring fortitude.

I was compelled to capture the emotion I felt when I stepped into this cottage. When I look at this watercolor painting I can feel there has been a presence of these stoical people and that, to me, is what my painting is all about. That is why I paint. My paintings are a tribute to the people or places that reach out and make their mark on my emotion and enduring thoughts and memories.

Feel free to contact me via my contact form if you have any queries.

~~~~~

Learn about my Watercolor Painting Technique in my Watercolor DVDs.

Learn about how to paint in my Free Art Lessons.

© Susan Harrison-Tustain - Watercolor Painting on 140 Lb hot pressed Arches Watercolor Paper

I have just been asked a question regarding the surface of Hot Pressed papers. I will post the answer here as I am sure this explanation may also be of interest to you all:

I find the best surface for my purposes is Arches 140lbs Hot Pressed paper.

Hot pressed paper does require stretching if you are using water on your painting. However a study painted in dry brush probably would not require stretching.

There is also 300lb hot pressed available. This may not need stretching as long as you are not using a great deal of water.

When painting in my usual style of watercolor realism, no matter which weight of paper I was using, I would still need to stretch it as I use a great deal of water when painting in my style.

I generally use 140lbs Arches Hot Pressed for a number of reasons:

It has the hardest gum size on the surface which means you have more time to manoeuvre your paint before it is absorbed into the paper.

I also means it can take a lot of battering without showing distress to the surface or fibres.

Arches Hot Pressed paper is generally quite smooth so it is also ideal for reproduction purposes.

It is interesting to note that Arches 90lb and Arches 300lbs Hot Pressed has much less size on the surface so the paint and water is absorbed much more quickly than it is when using 180lbs Hot Pressed.
90lbs Hot Pressed also buckles readily even if stretched.

I immerse my paper for 3 minutes. Then stretch it using water activated watercolor stretching tape.
I dry it flat.

The heavier the paper does not mean it is a better paper to paint on. It simply means different weight papers have different gum sized surfaces as explained above. But each paper manufacturer will use a different set of criteria.

Fabriano Artistico is a good paper but the size is very soft. It is easier to damage the surface and the paper absorbs water very quickly.

It is a good paper but for different painting methods than mine.

I do hope that helps.

You can also find information stretching paper here:
Susan's Free Art Lessons

Learn  about my Watercolor Painting Technique in my Watercolor DVDs.