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I use cold press watercolor paper blocks and synthetic brushes. Drips and splatters of paint are often present in my work as I find them perfect for adding interest while simultaneously highlighting the free-flowing nature of watercolors. AUSTRALIA MASTER PAINTERS OF THE WORLD Anastasia Mily I use my work to explore my relationship with the landscape and the feelings of peaceful solitude and contemplative awe. [Extracted from the article]

Features A brand-new drawing or watercolor sketchbook brings with it a sense of anticipation and untapped potential. Making Sketchbooks "The jump-start for making books specifically for ink drawing and watercolor was finding a pack of Arches 90-lb. hot-pressed watercolor paper on sale", Wedding says. In addition to handmaking watercolor travel journals, Wedding also creates watercolor books that she fills with tablescape watercolor sketches, usually humorous images of beloved possessions, animal figures and flowers. [Extracted from the article]

The article offers several do-it-yourself (DIY) instructions for creative and decorative water colour art with different art effects by using various materials including watercolor paper, Spray paint in various colors, and Clear spray varnish.

The article offers information on the watercolor paintings which focus on the Japanese landscape, cityscape, vehicles and waterways. It mentions the use of hot-pressed watercolor paper with transparent watercolors and masking liquid and masking tape for highlights; and also mentions the coloring technique is a typical drawing method for the painting.

The article reviews several art products, including the Cadmium-Free paint from Liquitex, the Artistico Watercolour Paper from Fabriano, and journals from Winsor & Newton.

The article evaluates various art products including watercolor paper blocks from company Arches, the Blending and Glazing Medium from company Winsor and Newton and the Verithin pencil set from company Prismacolor.

The author discusses the "Hidden Object" technique for designing rugs. He offers step-by-step instructions on hooking hidden object rugs and choosing the colors for the design. He offers a detailed description of his designs which include "Hidden Beauty", "Hidden Lion" and "Flamingo in Paradise". His other designs discussed include "Bewitching Moon" and "Panda Rug". He also outlines the components he used in rug design, which include watercolor paper, acrylic yarn and recycled wool.

The article offers instructions for creating an art journal on the culture and art of India using watercolor paper, gum arabic and canvas panels, and discusses the techniques of creating accordion pages, making cover of the journal and assembling it.

The article offers step-by-step instructions for creating and designing a travel journal using watercolor paper, gouache paint and oil pastel.

The article offers information on the demonstration by the author to draw a female figure. Topics discussed include first step of the drawing a female figure was sketching; drawing in two dimensional and three dimensional way; and toning the sheet of cold-pressed watercolor paper with walnut ink. It also mention about the drawing materials used to draw the figure such as watercolor paper, graphite pencil, white charcoal and kneaded eraser and works of artist Scott Waddell.

In the article, the author discusses an experiment conducted by her seventh- and eighth-grade students in which they analyzed the process of printing leaves on watercolor paper using mordants and steam. Also cited are tips on note-taking as discussed in the book "Wild Color: The Complete Guide to Making and Using Natural Dyes" by Jenny Dean, and the activities under the experiment like gathering of leaves, making accordion books, and oxide immersion.

The article features Richard Estell, an artist and art teacher in Philadelphia, Pennsylvania. Estell encourages his students to paint the same subject several times so they learn to anticipate what it takes to properly handle the medium. The proof of Estell's lessons is the collection of watercolors he exhibited at the Cerulean Arts Gallery in Philadelphia, on view until July 18, 2008. No matter what the size of his watercolors, Estell always works on 140-pound Fabriano Artistico watercolor paper.

The article focuses on the drybrush watercolor-painting technique used by artist Florence Strauss on her floral images. She first makes a detailed graphite drawing of a subject on Arches 400-pound rough watercolor paper. She lays out an extensive palette of colors such as titanium white, cerulean blue and French ultramarine. She builds up layers of dark color in the background areas of the picture using a bristle brush and relatively dry paint.

The article describes the painting technique of Pennsylvania artist Denny Bond using liquid watercolors. Bond developed his skills of building up layers of liquid watercolors when he first established a career creating industrial, advertising and editorial illustrations for various companies and he use the same techniques to create fine-art paintings. He reveals his process by starting with rinsing both sides of a sheet of Arches watercolor paper and stapling it to a gray board.

The article presents suggestions for achieving satisfying results in watercolor painting. It is recommended that artists have at least one heaping tablespoon of paint in each well of a palette with a warm and cool version of the primary colors arranged logically in the wells. Artists must use professional-grade paper to get the maximum performance from their brushes and paints. Paint with pigment straight from the tube and mix colors.

Discusses several techniques used by artist Joan McKasson in painting a subject with a variety of watermedia paints. Use of a water-soluble graphite pencil into the wet paint; Objects she used to transfer paint onto the watercolor paper; Significance of converting a colorful painting to a black-and-white image to determine the center of the interest.

Focuses on the paintings of watercolorist Joseph Bohler. Type of watercolor paper preferred by Bohler; Overview of the painting technique of Bohler; Factors that influence his works.

Provides tips on stretching watercolor paper. Use of masking tape; Utilization of a staple gun; Use of a wooden stretcher bar.

Home hands-on COLOR WASH Lightly brush watercolor paper with diluted paint and cut into heart cards. filter flowers White basket-style coffee filters become surprisingly impressive embellishments for cards when dyed and cut into flowers. TOP IT OFF Use the hearts as gift toppers or stained glass in a window. wax hearts Crayon shavings get fancy when melted between waxed paper and cut into hearts. Sprinkle crayon shavings onto the waxed paper, leaving a little space between each color. [Extracted from the article]

An interview with illustrator and University of the Arts instructor Zina Saunders is presented. When asked about the role of her father, Norman, in art appreciation, Zina cited that she had watched her father in the studio create magazine covers and bubblegum cards. Zina explained in painting she starts with pencil drawings on Arches Watercolor papers, before scanning them and use software like Microsoft Paint to color the illustrations.

The article features Jacqueline Gnott of South Bend, Indiana. It indicates how she spend time arranging the objects starting with one core element and adding or subtracting aspects that support her feeling about the object. Gnott first draw a full-scale drawing of her subject on drawing paper before moving to the watercolor paper and finishes the painting with sparkling accents. Her works were shown at the "Round the Fountain Art Fair," in Lafayette, Indiana, the Art & Apples Festival in Rochester, Michigan and the Festival of the Arts in Oklahoma City.

The article focuses on the challenges faced by graphic designer in painting in the California desert. The critical issues he faced include mixing the paint and keeping it wet long enough to paint a wash. He used an ArtBin tray with 18 wells that can hold a large amount of diluted paint. Majority of his paintings are done directly on the watercolor paper without any preliminary drawing.

The article focuses on the watercolor collages of artist Carrie Burns Brown. She started with realist landscape but later used watercolor while attending the now-defunct Rangemark School in Maine. Brown prefers to buy papers with a neutral color and never uses watercolor to stain the paper. One of the crucial elements to Brown's work is surface texture.

Shares useful ideas on watercolor painting. Use of white paper for form and sparkle; Creation of interest with format and shape; Maximizing shape and texture; Construction of lead-ins; Granulation; Painting darks; Painting the inside and the outside; Giving the viewer something to think about; Contrasting the elements; Making a depth strategy; Creation of an atmosphere with variegated washes.

Presents information on supplies and materials needed in watercolor painting. Type of paper to be used in watercolor painting; Types of paints utilized; Description of the brushes; Techniques on how to actually paint a watercolor.

The article focuses on the techniques of artist Dana Van Horn in creating portraits using watercolor. He reportedly applied a contrast between background colors and flesh tones to watercolor portraits displayed at the E. Rodale Gallery of the Baum School of Art in Allentown, Pennsylvania. He also considers the importance of lighting on a figure to the success of a work. The artist utilizes cold-pressed or rough papers in painting.

The article discusses the painting techniques of artist Maxfield Parrish. It discusses Parrish's inherent interest in technical matters and concern for perfection in his work. Parrish's drawings in the late 1890s were made on Steinbach watercolor paper with ink, pencil, lithographic crayon and wash. Some of his creations are featured, which include an illustration for the book "Knickerbocker's History of New York," by Washington Irving.

The article shares tips from artist Mary Gregg Byrne on how painters can create better watercolor paintings. According to Byrne, artists should paint what excite them. Artists should also use photographs as a source material and should make thumbnail sketches to avoid failure. To enlarge the image proportionally, artists can draw grid lines over the photograph, thumbnail and watercolor paper.

The article describes the pleasure that Florida artist Heidi E. Presse derives from painting nostalgic, sentimental and traditional images. According to Presse, she has always been fascinated by the way people lived long ago and admires the people who knew how to make functional things with their hands. As a portrait painter, her painting process starts by taking pictures of people, projecting the image on a cold-pressed watercolor paper, and refinement of the drawing. Some of the colors she use are Prussian blue, cobalt violet and alizarin crimson.

The article suggests several ways to add sizzle to watercolor paintings. These include the creation of a dramatic composition that captures attention, adding texture using a rough paper, salt or glazing, intensifying the color by shifting to a warmer or cooler blue, and keeping some elements of the picture subdued. Other recommendations are to vary the size, shape and direction of brush strokes, manipulating shapes and forms, distortion of some of the shapes, sizes and angles of an object and repeating patterns and colors in a rhythmic way.

The author describes her struggle to become spontaneous in her painting. Supplies she used for her painting are a 140-pound Lanaquarelle and Winsor & Newton cold-pressed papers, a variety of Winsor & Newton and Daniel Smith paint colors, and brushes including a 2" Winsor & Newton Sceptre Gold brush, a 2" wash brush, a 1" Aquarelle, a No. 10 round and a rigger. Her process involves painting light colors and adding darker colors and accentuation of details. She also recommends some of the exercises that her students use in watercolor painting.

The article describes how art saved painter Robert Holland from becoming embittered in life after he was convicted of three counts of perjury and sentence to 78 months in jail in 1991. According to Holland, his roommates inside the prison were encouraging and thought that he was a good painter. He managed to arrange a job cleaning the hallways in the prison cell so he could have time to paint. Holland uses two procedures to control watercolor as a medium, which are removal of a watercolor paper's sizing and use of masking fluid as a paint-lifting agent.

The article features U.S. watercolor artist and professor Scott Melville who is known for creating scenic paintings. It says that Melville commonly uses a cold-pressed watercolor paper stapled on a plywood board for his artworks. According to Melville, he likes working carefully at his painting table and he wants to take his time to think, develop and savor the details of the images that he will draw and paint.

The article describes Border, Colorado artist Molly Gough as someone who plays with the light when doing her landscape watercolors on location. Gough's artistic inspiration happened while vacationing in her parents' home to face the reality of turning 40. According to the article, she does her paintings simply by doing a quick pencil or watercolor sketch of her subject and works on the perspective directly on watercolor paper. Some of her works include "Lemon Groves in Amalfi" which she did while in Italy and "Turning 40."