Interview Questions for Watercolor Sketching

My preferred watercolor techniques blend control and spontaneity. I favor a combination of wet-on-wet and wet-on-dry approaches, depending on the desired effect. Wet-on-wet, where both the paper and paint are wet, creates soft, diffused blends and organic shapes, ideal for dreamy landscapes or atmospheric effects. Think of it like dropping ink into water – the colors naturally flow and mingle. Conversely, wet-on-dry, applying wet paint to dry paper, offers more control and precision, resulting in sharper edges and defined details, perfect for botanical illustrations or architectural sketches. I often layer these techniques, starting with a wet-on-wet wash to establish a base and then adding details with wet-on-dry strokes.

For example, when painting a sunset, I might begin with a wet-on-wet application of oranges and reds, allowing them to blend naturally. Then, I’d switch to wet-on-dry for the sharper lines of silhouetted trees against the horizon.

Watercolor paper weight is crucial; it directly impacts the painting’s longevity and the techniques you can employ. Weight is measured in pounds (lbs) or grams (gsm). Lighter weight papers (90 lbs/190 gsm) are affordable and suitable for practice or quick sketches. However, they buckle easily under heavy washes, limiting your ability to create layered effects. Heavier papers (140 lbs/300 gsm and above), often called ‘cold-pressed’ or ‘hot-pressed’, are more durable and less likely to warp. This makes them ideal for intricate details and multiple layers of washes, which are key for rich, complex watercolor paintings. ‘Cold-pressed’ paper has a slightly textured surface, good for a variety of techniques, while ‘hot-pressed’ is smoother, suited for fine details and precise lines. Choosing the right paper weight is akin to choosing the right canvas for an oil painting – it influences both the process and the final outcome.

Controlling transparency and opacity in watercolor is fundamental to achieving depth and visual interest. Transparency is achieved by using diluted paint and applying thin washes. The paper’s white surface shows through, creating luminosity. Think of a stained-glass window – light shines through the colored glass. Opacity, on the other hand, is achieved by layering multiple washes of concentrated pigment or by using opaque watercolor paints. These block the light, creating solid, bolder areas. The amount of water you use drastically affects the transparency: more water equals more transparency, less water equals more opacity.

For example, to paint a misty forest, I’d use a series of transparent washes to create the ethereal quality of the fog, while the trees themselves might be painted using more opaque layers to create a strong contrast.

Color mixing and blending are the heart of watercolor. I favor a limited palette approach, starting with a few primary colors and then creating a wide range of hues by mixing them on the paper or on a palette. Wet-on-wet blending allows colors to flow organically, creating soft transitions. Wet-on-dry creates more defined edges between colors. Layering is crucial, allowing you to build depth and complexity by adding subsequent washes. Understanding color temperature – warm and cool hues – is also important; mixing warm and cool versions of the same color (e.g., warm red versus cool red) adds depth and visual richness.

For instance, to paint a vibrant flower, I might start with a base of yellow and then layer thin washes of red and blue, carefully blending them wet-on-wet to create subtle gradations of orange and purple.

Composition and perspective are crucial for creating compelling watercolor sketches. I use established compositional rules, such as the rule of thirds, to guide my placement of elements. For perspective, I rely on linear perspective, atmospheric perspective, and color perspective to create depth and realism. Linear perspective uses converging lines to create the illusion of depth; atmospheric perspective uses changes in color and value to suggest distance (objects further away appear lighter and less defined); and color perspective uses the cooler, less intense colors in the distance. Understanding these principles ensures the viewer’s eye travels naturally throughout the artwork, focusing on the key elements.

For example, when painting a cityscape, I’d use linear perspective to converge the buildings towards a vanishing point, and atmospheric perspective to subtly fade the colors and details of the buildings in the background, creating a sense of distance.

Creating washes and gradients requires careful control of water and pigment. For washes, I typically start with a clean, wet brush and mix the desired color. I apply the paint to the paper evenly, working quickly and smoothly. For even application, tilting the paper to allow the paint to flow naturally can be helpful. Gradients are created by varying the concentration of pigment across the wash. Starting with a more concentrated color at one end and gradually diluting it with water towards the other creates a smooth transition. Using a damp brush to softly blend the edges between areas of differing concentration helps maintain a soft and natural-looking gradient.

Think of it like making iced tea; starting with strong brewed tea and slowly adding water to create a lighter shade.

Lifting and correcting mistakes is an inevitable part of the watercolor process. A clean, damp brush can gently lift wet paint, removing excess pigment or correcting mistakes. For partially dry paint, a clean, damp sponge or absorbent paper towel can be used. A paper towel is more effective in lifting pigment from textured paper. For more stubborn mistakes, you can mask the area with masking fluid before starting the painting, which can be peeled away to reveal a clean area for later work. Alternatively, embrace the happy accidents! Sometimes, mistakes can lead to unexpected and interesting results, so don’t be afraid to work with them and see what develops. Remember, watercolor is a fluid medium, and learning to accept and adapt to its fluidity is key.

Choosing the right watercolor brush is crucial for achieving various effects. The key is understanding the relationship between brush shape, size, and hair type. Think of it like choosing the right tool for a specific job in carpentry – you wouldn’t use a hammer for delicate carving.

• Round brushes: Ideal for fine details, lines, and controlled washes. Smaller sizes (sizes 000 to 2) are perfect for delicate flower petals or intricate textures, while larger rounds (sizes 4-10) are suitable for broader strokes and washes.
• Flat brushes: Excellent for creating broad washes, bold strokes, and even textures. Their flat shape allows for easy coverage of large areas. Varying sizes provide control over the wash width and intensity.
• Filbert brushes (round-ended flat): Offer a blend of the round and flat brush properties. They’re versatile for washes, blending, and creating soft edges.
• Fan brushes: Used for creating textured effects like grass, foliage, or hair. Their unique shape allows for delicate, wispy strokes.
• Synthetic vs. Natural Hair: Synthetic brushes are more affordable and easier to care for, making them great for beginners. Natural hair brushes (sable, squirrel) provide superior water retention and a softer feel, resulting in smoother washes and blends, but require more careful cleaning and maintenance.

For example, I’d use a size 000 round sable brush for painting fine details in a portrait, a size 6 flat brush for laying a base wash on a landscape, and a fan brush for creating the texture of leaves.

My preferred watercolor pigments are a combination of professional-grade paints from brands like Winsor & Newton and Daniel Smith. The choice depends on the desired effect and longevity of the artwork. I prioritize pigments for their lightfastness (resistance to fading) and their unique properties.

• Winsor & Newton Artist Water Colours: Known for their consistent quality, vibrant colors, and excellent lightfastness ratings. I frequently use their Cadmium Yellows, Alizarin Crimson, and Ultramarine Blue for their intense hues and blending capabilities.
• Daniel Smith Watercolors: These offer a wider range of unusual pigments and granulating effects. Their PrimaTek paints have excellent luminosity and are great for bold colors and washes. I particularly appreciate their Luminous Quinacridone Rose and their Primatek Pthalo Blue for their exceptional vibrancy and brilliance.

For instance, I might use a granulating pigment like Daniel Smith’s Quinacridone Gold for depicting the texture of sandy dunes, achieving a naturally textured look without overworking the paint. Similarly, a transparent pigment like their Transparent Pyrrole Red helps achieve glowing skin tones in portraiture.

Color theory is the foundation of successful watercolor painting. Understanding the color wheel, primary, secondary, and tertiary colors, as well as warm and cool colors, is essential for creating harmonious and visually appealing compositions. It’s about understanding how colors interact with each other to create different moods and effects.

• Primary Colors: Red, Yellow, and Blue. These are the base colors from which all others are derived.
• Secondary Colors: Orange, Green, and Violet. Created by mixing two primary colors.
• Tertiary Colors: Created by mixing a primary and a secondary color. For example, Red-Orange or Blue-Violet.
• Warm vs. Cool Colors: Warm colors (reds, oranges, yellows) tend to advance in a painting, while cool colors (blues, greens, violets) recede. This understanding helps with creating depth and perspective.
• Complementary Colors: Colors opposite each other on the color wheel (e.g., red and green). Used strategically, they create high contrast and visual interest.
• Analogous Colors: Colors that are next to each other on the color wheel (e.g., blue, blue-green, green). They create a harmonious and calm effect.

For example, in a landscape, I might use warm oranges and yellows for the foreground to draw the viewer’s eye, while cool blues and greens in the background create a sense of depth. Or, I might use complementary colors like a fiery orange sunset against a cool blue sky to create a dramatic contrast.

Managing drying time in watercolor is crucial for smooth transitions and blending. Several techniques can be used:

• Working in Stages: Instead of attempting a large wash at once, break down the painting into smaller sections. This prevents the paint from drying too quickly and gives you more time to blend and manipulate the colors.
• Spray Bottle: A spray bottle filled with clean water helps rehydrate the paint on the paper, prolonging working time, and enabling seamless blending.
• Using a Palette with a Damp Sponge: Keeping your paints moist on the palette slows down drying and maintains pigment vibrancy.
• Choosing the Right Paper: Cold-pressed watercolor paper offers a good balance of texture and absorbency. The paper’s absorbency rate has a direct impact on how quickly the paint dries, offering more working time.
• Working in Layers: Allowing each layer to dry completely before applying another helps prevent muddying of colors and ensures better vibrancy.

I often use a combination of these techniques, for example, I might spray my paper lightly to extend the working time on a large wash and apply washes in stages, allowing each section to dry slightly before proceeding.

My experience with different watercolor mediums expands my creative possibilities. Each medium has its own unique characteristics and challenges.

• Gouache: Gouache is an opaque watercolor, offering vibrant, solid colors that are great for bold statements and detailed work. It allows for layering and easy correction, unlike transparent watercolor. However, it can be less luminous.
• Inks: I use inks for creating fine lines, expressive marks, and detailed work. Waterproof inks, such as India ink, are useful for adding strong details that won’t be affected by subsequent washes. However, inks can be difficult to blend with watercolors.

For instance, I might use gouache to paint a vibrant building in an otherwise transparent watercolor cityscape. Or, I’d use ink to add fine details to a botanical illustration after applying transparent watercolor washes.

Preparing my materials is a crucial step for a successful watercolor project. It helps maintain efficiency and control throughout the process.

• Paints: I organize my paints according to color families and values for easy access.
• Brushes: I ensure my brushes are clean and in good condition. I prepare several brushes of varying shapes and sizes according to my chosen techniques.
• Paper: I stretch my watercolor paper to prevent buckling. The choice of paper (cold-pressed, hot-pressed, rough) affects the paint’s behavior.
• Palette: I prepare a damp palette to keep my paints from drying out, enhancing the blending process.
• Water Containers: I have two containers: one for clean water and one for rinsing brushes.
• Other Supplies: Masking fluid, tissues, paper towels, a spray bottle, and pencils are essential.

For example, before a landscape project, I would select earthy tones and green shades and arrange them on my palette in a way that logically flows with the planned composition.

Watercolor sketching presents unique challenges, particularly for beginners. The unpredictable nature of the medium requires patience and understanding.

• Controlling Water: Too much water can lead to muddy colors and uncontrolled washes, while too little can create harsh, dry strokes. This requires practice and a keen eye for the right balance.
• Lifting Paint: It can be challenging to lift or erase mistakes cleanly. Careful planning and controlled brushwork helps minimize errors, while a damp brush or soft sponge can be used for some corrections.
• Blending: Successfully blending colors smoothly requires practice and a light touch. Understanding the properties of pigments, controlling water, and working quickly are key for effective blending.
• Color Mixing: Achieving the desired color by mixing watercolors can be challenging. Understanding color theory and pigment properties, practicing color mixing, and referencing color charts helps.

For example, if I accidentally make a wash too dark, I use a clean, damp brush to lift some of the color. If a blend looks muddy, I let the layer dry completely and try again with a lighter touch and more controlled brushwork.

Creating texture and depth in watercolor is all about manipulating the paint’s behavior and layering techniques. Think of it like building a three-dimensional scene on a flat surface.

• Varying Water-to-Pigment Ratio: More water creates soft, diffused washes, ideal for distant backgrounds or hazy effects. Less water yields strong, saturated colors and sharper edges, perfect for foreground details. For example, a misty mountain range would be painted with loose washes of diluted color, while the rocks in the foreground would be rendered with concentrated pigment and possibly even dry brush techniques.
• Layering and Glazing: Applying thin washes over previously dried layers (glazing) allows colors to interact subtly, creating depth and luminosity. For instance, I might start with a pale yellow wash for sunlight, then add layers of cooler blues and greens to suggest shadows and foliage, gradually building up depth.
• Dry Brush Technique: Using a nearly dry brush with lots of pigment produces a scratchy, textured effect. This works well for depicting rough surfaces like tree bark or rocky terrain. Imagine using a dry brush to quickly depict the texture of a weathered wooden fence post.
• Salt Technique: Sprinkling salt onto wet washes creates interesting organic textures as the salt absorbs the pigment. This can be used to imitate snow, frost, or a rough sea.
• Lifting and Masking: Lifting wet paint with a tissue or a clean, damp brush removes pigment, creating highlights and interesting texture variations. Masking fluid protects certain areas from paint, creating sharp contrasts.

By combining these techniques, you can build layers of color and texture, simulating real-world surfaces and creating the illusion of depth.

My approach to watercolor painting differs depending on whether I’m aiming for realism or abstraction. Realism demands careful observation and precise execution, while abstraction allows for more freedom and experimentation.

Realistic Watercolor: For realism, I begin with a detailed pencil sketch to establish composition and form. Then, I gradually build up the painting in layers, starting with washes for the background and moving towards the foreground details. Value studies are crucial—understanding the interplay of light and shadow is key. I might use reference photos and spend time observing the subject matter. Think of a detailed botanical illustration—precision and accuracy are paramount.

Abstract Watercolor: Abstract work is less about representation and more about expressing emotions and exploring color relationships. I may start with spontaneous washes, allowing the paint to flow and interact freely. I might use techniques like blotting, splattering, or pouring to achieve unexpected textures and forms. The focus is on expressive marks and color harmonies, rather than precise rendering of forms. Imagine a piece inspired by music, where color and texture convey the emotion and energy of the composition.

Maintaining vibrancy in watercolor requires careful attention to several factors:

• High-Quality Pigments: Using artist-grade paints with strong, lightfast pigments ensures colors remain vibrant over time. Student-grade paints often fade more quickly.
• Limited Palette: Working with a limited palette of carefully chosen colors helps maintain harmony and avoids muddy mixes. Experiment with a restricted color palette to achieve brilliance.
• Proper Paper: Using high-quality watercolor paper, preferably cold-pressed or hot-pressed depending on the desired effect, prevents the colors from bleeding excessively and supports the vibrancy.
• Avoiding Overworking: Overworking the painting can lead to dull, muddy colors. It’s crucial to learn when to stop, preserving the freshness and luminosity of the initial layers.
• Protective Coating: Once the painting is completely dry, applying a fixative spray or a watercolor varnish can further protect the colors from fading.

Thinking of it like a delicate flower, the more you handle it the more fragile it becomes. Gentle, precise application and mindful layering help to maintain that initial vibrancy.

Creating a detailed watercolor study from observation involves a methodical process:

1. Observation and Sketching: I start by carefully observing my subject, noting its proportions, values, and key features. I then create a detailed pencil sketch, paying attention to perspective and composition.
2. Value Study: I create a monochrome value study (using grey washes) to understand the tonal relationships and light and shadow effects before introducing color. This is like building the foundation for a house.
3. Color Mixing and Layering: I mix my colors carefully, starting with the background washes and gradually building up to the foreground. I use glazing techniques to create depth and luminosity.
4. Detailing and Refinement: Once the main washes are dry, I add finer details using smaller brushes and more concentrated pigment. I might use a dry brush technique for textural elements.
5. Final Adjustments: I step back and assess the painting, making any final adjustments to color, value, or detail.

For instance, if I were painting a still life of flowers, I would begin with observing the subtle changes in color and light across the petals, leaves, and vase. The value study would help me define the shadows and highlights before introducing colors.

I often incorporate various drawing techniques within my watercolor sketches to enhance texture, detail, and expression:

• Pencil Sketching: A detailed pencil underdrawing provides a strong foundation and helps maintain accuracy.
• Ink Linework: Adding ink lines over the watercolor washes can add definition and create a graphic element, enhancing contrast.
• Pen and Ink Techniques: I might use different nib sizes and techniques (like hatching or cross-hatching) to create varied line weights and textures. Imagine using fine lines to suggest delicate plant details and bolder lines for the branches of a tree.
• Charcoal or Graphite Underpainting: For some pieces, I prefer a charcoal or graphite underpainting to establish the main forms and values before the watercolor washes.

These techniques can create interesting contrasts and layers of visual interest. They are not mere additions; they’re integral to the expressive power of the final piece.

While I primarily work traditionally, I do use some digital tools to enhance or manipulate my watercolor artwork:

• Scanning and Photo Editing: I scan my finished pieces at high resolution and use software like Photoshop for minor adjustments, such as color correction, sharpening, or dust and scratch removal. This helps to ensure the final digital image is crisp and clear.
• Digital Painting: In some cases, I might use digital painting software to add elements or refine details that are challenging to achieve with traditional methods.

It’s important to note that I use digital tools sparingly, always aiming to preserve the character and unique qualities of the original watercolor. The digital tools are merely assistants; my artistic intention resides in the original creation process.

I’ve had the pleasure of creating watercolor illustrations for various publications and products. My experience includes working with:

• Book Publishers: I’ve illustrated children’s books, textbooks, and novels, adapting my style to suit each project’s specific needs and target audience. This often involved close collaboration with the editor and art director, from the initial concept stage through to the final print-ready artwork.
• Magazine and Newspaper Publications: I’ve created illustrations for feature articles, travel pieces, and editorial spreads, working to a tight deadline and specific style guidelines.
• Product Design: I’ve designed packaging illustrations, greeting cards, and other product designs, focusing on creating visually appealing and marketable artwork that complements the product’s identity.
• Website and Branding: I’ve created watercolor elements for website design and branding projects, working digitally to adapt traditional artwork to an online context.

Each project presents unique challenges and opportunities; learning to adapt my technique and approach depending on the final output is crucial for success in this field.

Adapting my watercolor style to different clients requires a keen understanding of their vision and the project’s purpose. It’s not just about mimicking styles, but about understanding the underlying message and translating that into a watercolor piece.

• For a children’s book illustrator, I might employ a looser, more expressive style with bright, bold colors, focusing on simplicity and emotional impact. Think whimsical characters and charming landscapes.
• For a corporate client needing branding elements, my style might lean towards a more refined, detailed approach. The colors might be more subdued and sophisticated, reflecting the company’s image. I’d emphasize precision and cleanliness in the execution.
• For a fine art exhibition, my approach would be more experimental and personal, reflecting my own artistic voice. I could explore more abstract techniques, layering and textures, to create a unique and evocative piece.

Ultimately, effective adaptation involves thorough communication with the client, understanding their needs and expectations, presenting preliminary sketches for feedback, and being flexible throughout the creative process. The goal is always to create art that effectively serves its intended purpose while still reflecting a high level of skill and artistic integrity.

Presenting a watercolor portfolio effectively involves showcasing your range and skill while highlighting your unique artistic voice. I approach this in a multi-faceted way:

• High-quality images: My portfolio features professional, high-resolution photographs of my work, accurately representing the colors and textures. I avoid blurry or poorly lit images.
• Strategic selection: I select pieces that demonstrate diversity in style, subject matter, and techniques. I don’t just include every piece I’ve ever done, but rather a curated collection of my strongest and most relevant work.
• Contextual information: Each piece is accompanied by a brief description, highlighting the techniques used, the inspiration behind the piece, and the client or project (if applicable). This provides context and demonstrates my understanding of artistic processes.
• Organized presentation: My portfolio is well-organized, easy to navigate, and visually appealing. It could be a physical book, a high-quality online portfolio website, or even a digital presentation. Consistency in style and design is key.
• Personalized approach: When presenting my portfolio, I tailor the selection and presentation to the specific employer and the type of work they do. This shows I’ve done my research and understand their needs.

For example, when applying for a children’s book illustration job, I’d showcase more whimsical and colourful works, while for a corporate job, I would prioritize works demonstrating clean lines and professionalism.

Managing deadlines and project timelines is crucial in a professional setting. My approach is rooted in careful planning and proactive communication:

• Detailed project breakdown: Before starting, I break down the project into smaller, manageable tasks with allocated timeframes. This helps me track progress and identify potential bottlenecks early on.
• Realistic estimations: I provide realistic time estimates based on my experience and the complexity of the project. I avoid over-promising and under-delivering.
• Regular communication: I maintain open communication with the client, providing regular updates on the project’s progress and addressing any concerns promptly.
• Contingency planning: I build in buffer time to account for unforeseen delays or challenges. This ensures that I can meet the deadlines even if things don’t go exactly as planned.
• Project management tools: I use project management tools like to-do lists, calendars, or specialized software to keep track of tasks and deadlines. This helps ensure I stay on track and manage my time efficiently.

For example, if a project requires multiple stages (sketching, painting, final touches), I’ll set individual deadlines for each stage, allowing me to track progress and make adjustments as needed.

Pricing watercolor artwork or services is a nuanced process that depends on various factors:

• Project complexity: The intricacy of the piece, the level of detail, and the time invested directly impact the price. A highly detailed portrait will cost more than a simple landscape sketch.
• Size and materials: Larger pieces and the use of high-quality, expensive materials will increase the cost.
• Client’s budget: While I have a base pricing structure, I am flexible and can work with clients to find a price that meets their budget while still ensuring I am fairly compensated for my time and skill.
• Market research: I regularly research market rates for similar artwork and services to ensure my pricing is competitive yet reflects the value I provide.
• Experience and reputation: My pricing reflects my experience and reputation as a watercolor artist. Established artists naturally command higher prices.

I typically use a combination of hourly rates and per-piece pricing, depending on the project. For example, I might charge an hourly rate for commissioned portraits and a set price for prints of existing artwork.

I have extensive experience teaching and mentoring others in watercolor techniques. I’ve conducted workshops, given private lessons, and mentored aspiring artists. My approach emphasizes a hands-on, personalized learning experience:

• Individualized instruction: I tailor my teaching to each student’s skill level and learning style. Some students learn best through demonstrations, while others prefer a more exploratory approach.
• Focus on fundamentals: I start with the fundamentals – color mixing, brush techniques, composition, and understanding watercolor’s unique properties. A strong foundation is key to success.
• Constructive feedback: I provide constructive feedback, focusing on both strengths and areas for improvement. I encourage experimentation and don’t shy away from constructive criticism to help them grow.
• Creative exploration: While teaching fundamentals, I encourage students to explore their own artistic voices and experiment with different styles and techniques. It’s about nurturing their individuality within a structured learning environment.
• Community building: I foster a supportive learning environment where students can share their work, learn from each other, and build a sense of community. This is incredibly valuable for their artistic growth.

For example, I recently mentored a young artist who was struggling with color mixing. Through personalized instruction and practice exercises, I helped them understand the principles of color theory and develop their skills.

Understanding copyright and intellectual property is crucial for any artist. My understanding encompasses several key aspects:

• Copyright ownership: I understand that I automatically own the copyright to my original watercolor artwork. This means I have exclusive rights to reproduce, distribute, display, and create derivative works from my art.
• Licensing and usage rights: I understand how to grant licenses for the use of my artwork, specifying the terms and conditions of usage (e.g., non-exclusive license, exclusive license, limited-time license). This is crucial for clients who want to use my artwork for commercial purposes.
• Fair use: I am aware of the concept of “fair use,” which allows limited use of copyrighted material under certain circumstances (e.g., criticism, commentary, news reporting). However, I am careful to avoid infringing on copyright laws.
• Protecting my work: I register my artwork with copyright offices where appropriate to establish a clear record of ownership and further protect my rights.
• Attribution: I always ensure proper attribution when using other artists’ work as inspiration or reference. This is crucial for maintaining ethical practices and avoiding plagiarism.

For example, I’ve had to negotiate licensing agreements with clients who wished to use my paintings in their marketing materials, carefully defining the scope and duration of the usage rights.

Staying updated on current trends and advancements in watercolor art is an ongoing process. My approach involves a multi-pronged strategy:

• Following artists and publications: I regularly follow prominent watercolor artists on social media and subscribe to art magazines and online publications. This keeps me abreast of new techniques, styles, and emerging trends.
• Attending workshops and exhibitions: I actively participate in workshops and attend art exhibitions to learn from other artists and observe their work firsthand. This provides valuable networking opportunities and exposure to diverse styles.
• Exploring online resources: I utilize online platforms like YouTube and Skillshare to access tutorials and courses on advanced watercolor techniques and explore the works of different artists.
• Experimentation: I dedicate time to experiment with new materials, techniques, and styles in my own work. This allows me to remain creative and refine my skills.
• Networking with peers: I actively participate in online and offline communities of watercolor artists, engaging in discussions and sharing knowledge. This is a great way to discover new techniques and perspectives.

For instance, I recently discovered a new watercolor technique through an online workshop, which I’ve incorporated into my own artistic practice.