Hi Becky. -.ZeS.- from Madrid, Spain (a fellow artist and a New Yorker expat living). Great video! With regards to brushes... the traveller's brush you use is a very good one (made with a mixed combination if natural and synthetic hair - which I'm sure you already know), but it does hold a lot of water and you need to have other brushes (not too many - 4 or 5 max), each one for a specific thing... I would recommend to you the following (if you don't mind me saying) and in your case for what you need them for (as per your videos): - Travel Brushes: it seems that you don't really need Studio Brushes... But buy some good ones (Escoda has very good travel sets, as well as some other brands, though there are not that many brands too many to choose from world wide that are worth the money). - Types: * A mop or quill - holds large amounts of water and pigment. Yours might do the job for the paper size you use. * Round - 2 sizes max (larger + smaller) but that they do not hold so much water as the mop or quill. * Flat - one flat is good for travelling. I suggest to get the larger size if possible. With those 4 brushes you can do amazing things in Watercolor or Gouache in a sketchbook. * Paper - I always use watercolor 100% Cotton Paper for watercolor and gouache (in my case always hit pressed better than cold press or rough texture - the smoother for me the better, but cold press, fine grain, is widely used by most). If you need more info just let me know, in case I might be of help. Paper, paint and brushes are (in that order and to me at least) the most important investment for watercolor and gouache. I hope to have helped in any way and thank you for another great video and a bit of History from Hong Kong. Cheers from Sunny Spain! 😁👍😎
Thanks for your suggestions! Paper really is very important for how colour spreads, and I love the paper-paint-brush hierarchy that you have. Thanks for stopping by :)
Hi, Becky! Ten minutes is hard in the beginning, but it does get easier! Three brushes would definitely make your life easier. As you've just discovered, the one you're using is too water-heavy for the smaller, time-constrained sketch - so a smaller size of the one you have would probably help (maybe a six or a five? I don't know those brushes, so I'm working it out from the size 8 you have there), and a fine brush (size one or two rigger - aka liner - it has longer hair, so holds more water than a standard size 1 or 2) , but releases it in a fine line) for your detail. For the paper size you're using, a 1cm flat will be really useful for windows, doors, straight edges - like the window bars - and other such shapes. Editing suggestion (plea?): you do picture-in-picture for the reference photos, so is it possible to do the same when you're talking, with you in the smaller frame, so that we can see more of what you are actually painting, please? I love both aspects of what you do, but for me, it's become top-heavy with you chatting on camera, and very little actual painting, and I think that this might be a happy compromise?
@@beckyisj Oops - I think I haven't explained very well! Sorry! 🤔I meant to use the picture--in-picture so we see you doing the painting in the larger screen, while we see you talking to camera about the other things in the smaller screen, so that we see more of the actual painting process. Sorry!
really nice job on it 🥰 having a time limit really dose put pressure on us to create something that at least sort of looks like the subject lol stress is really bad for drawing😝
Hi Becky. -.ZeS.- from Madrid, Spain (a fellow artist and a New Yorker expat living).
Great video!
With regards to brushes... the traveller's brush you use is a very good one (made with a mixed combination if natural and synthetic hair - which I'm sure you already know), but it does hold a lot of water and you need to have other brushes (not too many - 4 or 5 max), each one for a specific thing...
I would recommend to you the following (if you don't mind me saying) and in your case for what you need them for (as per your videos):
- Travel Brushes: it seems that you don't really need Studio Brushes... But buy some good ones (Escoda has very good travel sets, as well as some other brands, though there are not that many brands too many to choose from world wide that are worth the money).
- Types:
* A mop or quill - holds large amounts of water and pigment. Yours might do the job for the paper size you use.
* Round - 2 sizes max (larger + smaller) but that they do not hold so much water as the mop or quill.
* Flat - one flat is good for travelling. I suggest to get the larger size if possible.
With those 4 brushes you can do amazing things in Watercolor or Gouache in a sketchbook.
* Paper - I always use watercolor 100% Cotton Paper for watercolor and gouache (in my case always hit pressed better than cold press or rough texture - the smoother for me the better, but cold press, fine grain, is widely used by most).
If you need more info just let me know, in case I might be of help.
Paper, paint and brushes are (in that order and to me at least) the most important investment for watercolor and gouache.
I hope to have helped in any way and thank you for another great video and a bit of History from Hong Kong.
Cheers from Sunny Spain!
😁👍😎
Thanks for your suggestions! Paper really is very important for how colour spreads, and I love the paper-paint-brush hierarchy that you have. Thanks for stopping by :)
Yay! I recognised the place before you introduced it! Love Tai Kwun!
Yay! That's amazing memory right there. Thanks for stopping by!
Hi, Becky! Ten minutes is hard in the beginning, but it does get easier! Three brushes would definitely make your life easier. As you've just discovered, the one you're using is too water-heavy for the smaller, time-constrained sketch - so a smaller size of the one you have would probably help (maybe a six or a five? I don't know those brushes, so I'm working it out from the size 8 you have there), and a fine brush (size one or two rigger - aka liner - it has longer hair, so holds more water than a standard size 1 or 2) , but releases it in a fine line) for your detail. For the paper size you're using, a 1cm flat will be really useful for windows, doors, straight edges - like the window bars - and other such shapes.
Editing suggestion (plea?): you do picture-in-picture for the reference photos, so is it possible to do the same when you're talking, with you in the smaller frame, so that we can see more of what you are actually painting, please? I love both aspects of what you do, but for me, it's become top-heavy with you chatting on camera, and very little actual painting, and I think that this might be a happy compromise?
Oh that is a great suggestion, thank you so much! I will do the picture-in-picture with the reference photo a bit more :)
@@beckyisj Oops - I think I haven't explained very well! Sorry! 🤔I meant to use the picture--in-picture so we see you doing the painting in the larger screen, while we see you talking to camera about the other things in the smaller screen, so that we see more of the actual painting process. Sorry!
Liz Steel recommend it for the course “watercolor”. Maybe she has a blog about it.
Ohhh! Liz Steel is such a fast sketcher, I admire her so much for that. I should definitely look into her blog posts! Thanks for the suggestion
really nice job on it 🥰 having a time limit really dose put pressure on us to create something that at least sort of looks like the subject lol stress is really bad for drawing😝
Thank you and yes 10 mins is a lot of pressure! I truly admire Liz Steel who can put in sketches in 3-5 mins.