Painting with watercolors, for me, has a big choke factor.
When I'm working in my sketch book on inexpensive paper
with no pressure except to play, I can come up with some
pretty loose and appealing material.
This is a study I did from instructions in Watercolor Artist
magazine on carving out lights by painting around them.
Then I go to expensive paper and start on something I hope to put up for sale.
I'm working on a picture of a guy fishing in a lake.
I start with the mountains in the background and lay in
an underpainting of color for the water.
I add the trees and more detail to the mountains. I'm feeling pretty good
about it, but the next step is to wet the paper and drop in pigment to
indicate the trees' reflections. My timing is wrong plus I tried to
keep the purple of the mountains going with the green of the trees.
Long story short, the pigments spread too fast and the colors turned
to mud. The more I tried to fix it, the worse it got.
I admit it. The plan failed.
Back to the drawing board. Same drawing. This time no purple
to muck up the green. This time I have the brilliant idea of
putting in the reflections first, then painting the trees to match
instead of the other way around.
I add the trees and more details. I protect the fisherman
from the wet flow of paint by blocking him out with
liquid masking fluid.
I remove the masking and finish the painting.This time the plan worked!
The plan worked, Maurice!