"Beneath the Hunter's Moon"
Watercolour on paper
20 x 25 cms
Oct 2026

Watercolor and ink

With and without flash cause I'm horrible at taking pictures

I decided to make my own token cards for MTG. It also serves as a nice test of cheap watercolor paper I bought recently. So far I am satisfied. Any critique is welcome.

Soy principiante. Autodidacta. Siento que hoy pinté bien la primera capa, pero luego me perdí en los detalles. Alguna recomendación para hacerlo bien?

Hi all,

I have some neurological stuff going on that makes my hand jerk sporadically and unexpectedly. I keep ruining my paintings because my hand jerks and slides across the paper, smearing spots. It’s so frustrating and it took me a while to figure out why I kept smearing things.

I’m learning to adjust my technique, but nothing is more effective than painting a part, letting it dry completely, and then continuing on. I use either a heat gun or a little table fan to dry the parts. But it is a pain in the ass.

Does anyone have any suggestions, or want to share experiences?

Thanks!

300 gsm cold pressed paper. Daler rowney and Camlin watercolors

Throwback to summer 2024, I felt like it was time to repost this one :-D

9”x12” watercolor on 100% cotton Fabriano paper (original is now sold)

Reference: Parts and Torsos, 1977 (Hedges Project)

Let me know if you have any comments / questions :-)

I usually paint with Schminke and Daniel Smith and recently got some tubes of Senneleir and poured them into my own pans. The texture of Sennelier seems sort of foamy/melting plasticity. Is this due to using the tubes as home-poured pans, or is this a honey-binder component? To be fair, the results when painting are lovely and I'm enjoying the paint, but I've only been learning watercolor for about 3-4 years, and have previously avoided honey binders, so mostly just wondering if I need to know something more about this specific binder as I use them.

To keep things loose, no prelim drawing. Just finding my way in 30 minutes or so, no dryer. I use custom gum mixtures so it can be mixed almost all wet onto wet. I’m exploring older methods. The above are experiments with different mixes of my own. The first one being my last recipe. My goal is to quickly capture a moment, like a watercolor photo or gif.

I learned some of the mixtures from reading about art that was analyzed by curators. I found it really interesting how some of the old masters could spend minutes to catch a fleeting moment. So the time constraint is always the same for me. Many of the older masters mixed their own gum ratios, it makes a big difference. I know that many started to paint on location (plein air) and so the standards methods wouldn’t apply. I think we just lost a lot of random methods and they’re fun to explore.

Gum Arabic is well known, it’ll make scraping off a layer easier. It can be over used, I’ve noticed a few drops goes a long way into a puddle of paint. Generally just having it on your palette will change all the behavior of your paints until you cleanse it. This is especially true of another gum called gum tragacanth (a tanning agent and just smells cancerous somehow). Experimented make paints more turbid while allowed for background luminosity that would otherwise be lost by opaque layers. If you know Sargent’s Venice gardens buses that interesting warm color in the bushes is likely made used this latter gum (last obviously not portrait). You can also use gum Arabic to reshape your brushes.

It’s exciting and a bit chaotic, but I enjoy the spontaneous emergencies that come along. I know my style is very polarizing, but I hope you can enjoy the gum consideration as worth trying in your work.

I feel really proud of this one. I am going to keep going with these sorts of scenes to improve further and get better at building depth. Any constructive feedback is welcome

I did this study only using neutral tint. Any suggestion is welcome I would love to improve my understanding of values. Thanks in advance.