My Watercolour Journal

_🌿_{Keep Creating, Stay Inspired}_{Thank you for being part of my watercolour journey.}_{Connect with me on}_Instagram_{| Visit my}_Website_{I’d love to hear from you!}
_🎨_{Your creative friend, Mariel B.}

Negative Painting: My Favourite Way to Switch Off

My Watercolour Journal — Sat, 15 Aug 2026 23:55:25 GMT

I didn’t start negative painting as a relaxation technique, but that’s what it has become for me.

After a busy day, when my head is full of everything that happened, I find it hard to simply sit and relax. But give me a piece of watercolour paper, a brush, and some paint, and somehow my brain starts to slow down.

Negative painting requires me to pay attention. I have to look at the shapes, decide where the next layer will go, and slowly build the painting around the areas I want to keep. I can’t rush it. And that is exactly what I love about it.

As I paint, I stop thinking about the stress of the day. For a while, it’s just me, the paper, the water, and the next shape I need to paint.

And I usually combine it with something I enjoy listening to or watching. A good audiobook, a podcast, or one of my favourite shows playing in the background makes it even better. I can paint for a couple of hours without realizing how much time has passed.

I think that’s why I keep coming back to negative painting. It gives my hands something to do while giving my mind a chance to rest.

It doesn’t have to be perfect. I’m not trying to make a masterpiece every time. Sometimes I’m simply painting because I need that quiet time for myself.

For me, negative painting has become a little ritual at the end of the day. Paint, listen, relax, and forget about everything else for a while. And honestly, I think we all need something like that.

_🌿_{Keep Creating, Stay Inspired}_{Thank you for being part of my watercolour journey.}_{Connect with me on}_Instagram_{| Visit my}_Website_{I’d love to hear from you!}

_🎨_{Your creative friend, Mariel B.}

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The Three Methods I Use to Draw Houses

My Watercolour Journal — Thu, 13 Aug 2026 19:08:32 GMT

Drawing houses has become one of my favourite ways to practise observation, patience, and creativity. Over time, I have developed three different methods for drawing houses. Each approach teaches me something different and helps me improve different skills. None of these methods is better than the others. They are just different tools that help me reach the same goal: turning a house from a photograph into a drawing on paper.

When I sit down to draw, I usually choose one of three methods depending on my goal, my mood, and the amount of time I have available.

1. Freehand Drawing from a Reference Photo

This is the method that challenges me the most and helps me build my drawing skills.

I start with a reference photograph and draw directly onto my paper without tracing. Instead, I carefully study the image and use my pencil, ruler, or even my fingers to measure distances, angles, and proportions. I compare the height of the roof to the width of the house, estimate where windows should be placed, and pay close attention to the angles of rooflines and walls.

Freehand drawing

This process requires patience and observation. Sometimes I make mistakes and need to adjust my lines, but that is part of the learning experience. Every drawing teaches me to see details more accurately.

What I enjoy most about freehand drawing is that it develops my ability to truly observe. Rather than simply copying lines, I have learned to let go of small details and create my own interpretation of the structure.

Freehand drawing may take the longest, but it is often the most rewarding.

This house was drawn using method 1: Freehand.

2. Using a Printed Copy and Transferring the Image

My second method is a little more structured. I print the reference photo on regular printer paper and then transfer the image onto my drawing paper using graphite paper, also known as transfer paper or carbon paper. This method gives me a strong foundation before I begin adding details.

Graphite paper, or transfer paper or carbon paper

I find this approach especially useful when the house has many architectural details, such as decorative trim, intricate windows, or unusual roof shapes. I also use it when my main goal is to paint rather than sketch. Using graphite paper allows me to focus on the watercolour stage instead of spending a long time observing and drawing the initial outline. When I am eager to start painting, it helps me move quickly past the sketching phase and concentrate on colour, shading, texture, and artistic expression.

Instead of using all my energy to figure out proportions and placement, I can focus on bringing the house to life with watercolour. The bad thing though: It is hard to erase!

This house was drawn using method 2: Copy paper.

3. Using a Projector App to Trace the Image

My third method uses technology. I use an app called Projector or Camera Lucida, which projects the reference image onto my paper. Once the image is positioned correctly, I start tracing and, sometimes, I might add my own details.

Some artists might view tracing as taking a shortcut, but I see it differently. Tracing is simply another tool. It allows me to capture accurate proportions while still practicing my sketching skills.

This method helps me with the sketching process without directly copying the picture. Even though the image is projected onto the paper, I still need to concentrate on the drawing and carefully follow the lines. It feels like a combination of my first method, freehand drawing, and my second method, using graphite paper. The projection provides a guide, but I remain actively involved in the sketching process.

This house was drawn using method 3: Projector app.

Why I Use All Three Methods

People sometimes ask which method is the “right” way to draw. My answer is simple: the right method depends on your purpose.

If I want to sharpen my observation skills, I choose freehand drawing.
If I want accuracy while still doing much of the construction work myself, I use a printed image for reference and transfer.
If I want to just practise my sketching skills by completing a project more efficiently, I use my projector app.

Each method has value. Each teaches different skills. Most importantly, each method helps me create something meaningful.

Art is not a competition between techniques. It is a personal journey of learning, experimenting, and finding what works best for you.

And honestly, that’s what keeps me coming back to the drawing table. Every house tells a story, and every method gives me a different way to tell it.

_🌿_{Keep Creating, Stay Inspired}_{Thank you for being part of my watercolour journey.}_{Connect with me on}_Instagram_{| Visit my}_Website_{I’d love to hear from you!}

_🎨_{Your creative friend, Mariel B.}

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My Favourite Tools for Painting Anywhere

My Watercolour Journal — Thu, 06 Aug 2026 19:26:40 GMT

One of the best things about urban sketching and watercolour painting is that it can happen anywhere. A quiet café, a park bench, a waiting room, or a lunch break can all become painting time if you have the right tools. Over the years, I’ve simplified my kit so it’s lightweight, practical, and always ready to go.

Here are the tools I never leave behind.

A quick note: I have no affiliation with any of the brands mentioned in this article. These are simply tools I personally use and enjoy. I do not receive any commissions or compensation for mentioning them. These recommendations are based entirely on my own experience.

1. A Stillman & Birn Sketchbook

Everything starts with a good sketchbook. My current favourite is the Stillman & Birn Alpha Series. The paper is sturdy enough for light to moderate watercolour washes while still handling ink beautifully. The size is portable, easy to hold in one hand, and fits comfortably in a bag. I love having a sketchbook that invites me to paint anywhere without feeling precious about the pages.

Link: https://a.co/d/0awHZMdq

2. Ohuhu Fine Line Drawing Pens and Ohuhu Calligraphy Pens

These pens are reliable, waterproof, and affordable. I use different nib sizes depending on the subject: Fine lines for details, medium lines for buildings and objects, thicker lines for bold outlines and shadows

Having a variety of sizes helps create depth and interest in a sketch. These might seem like an unusual choice for a sketch kit, but they’re incredibly versatile. I use them for quick brush-style sketches. My favourite ones are XS and 05. I used the L brush to colour dark windows in my abandoned buildings.

Link: https://a.co/d/0b26lCvR

3. Pen Adjustable Elastic Pen Holder for Notebooks, Planners and Journals

This is one of the most useful parts of my portable setup. I use a tool wrap secured with an adjustable elastic strap and Velcro closure. It can be tightened to fit different sketchbook sizes, which makes it incredibly versatile.

The wrap holds my essential tools, including brushes, pencil, water brush, small accessories The adjustable design means I can switch sketchbooks without having to reorganize my entire kit, which is a small detail that makes a big difference when painting on the go.

Link: https://a.co/d/02zi3h1Q

4. Travel Brushes

Travel brushes are worth every penny. The metal handles protect the bristles when closed, making them perfect for sketching outdoors. I carry only a few sizes because that’s all I need. Limiting brush choices actually helps me paint faster and focus on the scene in front of me.

I have found that a Derwent water brushes are indispensable. No water container needed. No spills. No extra setup. Just fill it, paint, and go. It’s perfect for quick studies and urban sketching sessions.

Link: https://a.co/d/04vU70IU

5. Mini Watercolour Palettes

Tiny palettes are the secret to painting anywhere. I use small pocket-sized palettes that fit in the palm of my hand. Despite their size, they hold enough colour for dozens of sketches. The best palette is the one you’ll actually carry with you.

Link: https://share.temu.com/nLTHCps5KiA

6. Clips and Small Accessories

Small accessories make a big difference. Simple clips help attach supplies to a sketchbook or keep pages open when painting outdoors. They’re inexpensive but surprisingly useful. These little tools often solve the biggest frustrations of painting on location. The white one is a Magnetic Silicone Pen Holders and the other one is a Portable Metal Pen Holder.

Link: https://share.temu.com/UJvjeeVLbiA

Link: https://share.temu.com/2cUfI8YnIUA

7. A Pocket Size Water Spray Bottles

A small refillable spray bottle is one of the most underrated tools in my kit. I use it to reactivate dried watercolours, moisten a palette before painting, create soft washes and blending effects and keep paints workable during longer sketching sessions.

It’s lightweight, takes up almost no space, and makes painting on location much easier. Sometimes the smallest tools end up being the most useful.

Link: https://a.co/d/0cldv1u1

Why I Keep My Kit Small

It’s easy to think you need lots of supplies to make art, but I’ve found the opposite is true.

The smaller my kit, the more likely I am to take it with me.

Because everything is packed and ready to go. I also spend less time choosing tools and more time drawing and painting. That’s a win in my book.

At the end of the day, the best art supplies are the ones you’ll actually use. These are the tools that help me create more often, have more fun, and enjoy painting wherever I happen to be.

_🌿_{Keep Creating, Stay Inspired}_{Thank you for being part of my watercolour journey.}_{Got feedback or questions? Connect with me on}_Instagram_{| Visit my}_Website_{I’d love to hear from you!}

_🎨_{Your creative friend, Mariel B.}

Painting an Abandoned building in Watercolour

My Watercolour Journal — Tue, 28 Jul 2026 20:43:44 GMT

Welcome! Today I’m painting this beautiful abandoned house, taking it one step at a time. I’ll show you how I add soft washes, and slowly bring out all the little details that give these old buildings so much character.

For the bushes, I’m trying out a few new brushes to create loose, textured foliage with very little effort. It was fun experimenting with them and seeing the different marks they make.

If you enjoy slow, relaxing watercolour videos and abandoned architecture, I hope you’ll paint along with me. Let’s get started.

From Notes to Better Colour Mixing

My Watercolour Journal — Thu, 16 Jul 2026 20:28:16 GMT

The colours I kept reaching for

While looking back through my recent paintings, I noticed a small group of colours appeared again and again. My most-used colours were Moonglow, Quinacridone Gold, Sap Green, Buff Titanium, Neutral Tint, Chromium Yellow, Cobalt Blue, and Burnt Sienna.

One thing that stood out was Moonglow. Mixing it with another colour creates an easy shadow version of that same colour. I sketched a few simple cubes to remind myself how useful it is. Instead of reaching for black, I can use Moonglow to make natural-looking darker values.

A few colour mixing experiments

I also spent some time mixing a few colour combinations. I didn’t try every possible mix. I just picked a handful to see what happened and to give myself some future reference.

A few things I noticed:

Buff Titanium softens colours and gives them a creamy, pastel look.
Burnt Sienna and Cobalt Blue make a nice grey.
Quinacridone Gold and Buff Titanium create a warm, creamy yellow.
Some mixes surprised me more than others, and a few still need adjusting.

These little pages may look simple, but they’re becoming a helpful reference that I know I’ll come back to while painting.

Have you ever made your own colour mixing pages? I’d love to hear what you’ve discovered. Are there any colours you would add?

If you had a new palette with eight empty wells, which six colours would you choose?

Learning to Love Plein Air Painting

My Watercolour Journal — Thu, 09 Jul 2026 20:29:21 GMT

I genuinely love plein air painting. I love being outdoors with a sketchbook and a small palette… it feels so calming. Painting from life forces me to slow down, really look at what is in front of me, and notice colours and details I would probably miss in a photo.

So if I enjoy it so much... why don’t I do it more often?

One reason is that I feel very self-conscious. I know this might sound strange because I happily share my paintings online, but painting in public is completely different for me. And I hope this doesn’t come across as arrogant, but I don’t really enjoy when people stop to watch me paint or start chatting while I’m working.

Is that mean? 😂

I know people are almost always being kind and genuinely curious. They are usually trying to encourage me, and I truly appreciate that. But when I’m painting, I’m concentrating, making little decisions every second, and sometimes making plenty of mistakes! I think I just enjoy the quiet side of painting, where I can experiment without feeling like someone is looking over my shoulder.

Yesterday, I went to the Calgary Stampede and spent some time in the art exhibition. There were several artists painting live right in front of everyone. As I watched them, I found myself thinking from the audience's perspective. I kept my distance, didn't interrupt, didn't start a conversation, and simply admired their work as I walked by. I wanted to let them stay in their own thoughts and enjoy the process. It made me wonder if that's how I would like people to experience my painting too.

The weather hasn’t been helping lately either. During the day it has been so hot that sitting in the sun (or even shade) isn’t very appealing. By the evening, when the temperature is much nicer, the mosquitoes seem to have been waiting for me all day. It’s hard to win! 😂

I hope this doesn’t sound like I’m complaining too much. I’m really writing this because I’d love to hear how other artists handle these things.

The good news is that every plein air experience I’ve had has been a positive one. When I’ve painted with a group of artists, it has felt much more comfortable because everyone understands why we’re there. I’ve also found a few quiet spots away from busy paths where I could enjoy the silence, listen to the birds, and simply paint without interruptions. Those have been some of my favourite painting sessions.

I’m especially excited because I recently booked a plein air painting trip in August with a local art studio. They’re taking a group of us to Banff and Emerald Lake here in Alberta, and I honestly can’t wait. I’ll be going with a friend who also loves painting with watercolours, and I think spending the day with a large group of artists will be such a fun experience. Beautiful scenery, painting together, and learning from each other... it sounds like a perfect day.

I’d love to hear from you.

Do you enjoy plein air painting? Do you prefer quiet places or busier ones? How do you deal with people stopping to watch or chat? Do you have any tips for someone who is still trying to become more comfortable painting in public?

I’d really appreciate your advice. Maybe your experiences will help me get outside with my sketchbook a little more often.

Painting a Charming Brick House in Watercolour

My Watercolour Journal — Mon, 06 Jul 2026 04:43:22 GMT

There’s something so satisfying about painting old houses. They have so much character, and by taking the painting one step at a time, they don’t feel nearly as complicated as they first appear.

This little brick house came together slowly, with each layer adding a bit more life. I thought I’d share the process in case you’d like to paint along.

Colours used today for this painting:

Step 1: Start with a clean line drawing

Take your time with the sketch. I like to keep the lines light but accurate because they become my roadmap throughout the painting. The more careful the drawing, the easier the painting becomes. Yup! I printed the picture, used copy paper to transfer the drawing into my journal, and then traced each line with a waterproof marker.

Step 2: Paint the trim first

I began by painting the teal window frames, porch, and decorative trim. Working on these smaller details first helps me avoid accidentally painting over them later with the larger brick wash.

Let this layer dry completely.

Step 3: Add the windows and door

Next, I painted the windows and the door using Buff Titanium and browns, keeping the colours fairly light. At this stage, I wasn’t worried about deep shadows yet.

Step 4: Paint the brick

The brick is simply several transparent washes layered on top of each other.

I mixed warm quin. deep gold wth moonglow with a touch of quin. burnt orange, letting each wash dry before adding the next. This gradual layering creates richness without making the walls look flat.

Try not to make the colour perfectly even. A little variation gives the brick much more character.

Step 5: Deepen the shadows

Once everything was dry, I added darker values beneath the porch roof, around the windows, under the trim, and inside the doorway. These darker areas instantly give the house depth. For the shadows, I added moonglow to the mixes that were already used for the painting.

Step 6: Finish with landscaping

The final touch was adding loose shrubs and a suggestion of grass across the front. I kept these soft and impressionistic so they wouldn’t compete with the house. I also love adding some splashes of colour here and there.

I always enjoy watching a painting slowly come to life. Looking back through the progress photos reminds me that even detailed subjects are simply a series of small, manageable steps.

Have you ever painted a house before? If so, what part do you find the most enjoyable—or the most challenging?

The Day It All Started

My Watercolour Journal — Wed, 01 Jul 2026 20:28:07 GMT

When people ask me how I got into sketching and watercolour, I always think back to one particular day.

Years ago, when I was just beginning to explore art, I signed up for a one-day nature sketching and watercolour class at the Leighton Art Centre, just outside Calgary. At the time, I had no idea how important that day would become.

August 2021

I remember arriving with my sketchbook and supplies, not knowing what to expect. We sat outdoors, surrounded by nature, sketching what we saw around us. There was something special about being there with people who shared the same curiosity and interest in art. Everyone was focused, relaxed, and enjoying the simple act of observing and creating.

The moment I sat down and started sketching, something clicked.

It wasn’t about creating a masterpiece. It wasn’t about being good at it. It was the experience itself: slowing down, paying attention, and putting pencil to paper. I loved it immediately.

From that day on, I picked up my sketchbook, brush, and paints almost every day. Some days I painted for hours. Other days I only had a few minutes. Sometimes the paintings worked, and sometimes they didn’t. But I kept showing up.

Looking back, I realize that one class didn’t teach me everything I know today. What it gave me was something much more important: the motivation to begin.

Years later, sketching and watercolour are still a part of my daily life. They have travelled with me through busy teaching days, family vacations, quiet evenings, and countless cups of tea in my studio. What started as a simple one-day class became a lifelong hobby and a creative companion.

It’s funny how sometimes a single day can quietly change the direction of your life.

For me, it started with a sketchbook, a brush, and a summer day at the Leighton Art Centre. And somehow, I’m still painting.

The Beauty of Painting a Fuchsia in Watercolour

My Watercolour Journal — Sun, 14 Jun 2026 18:25:08 GMT

There’s something so elegant about a fuchsia flower. The graceful petals, the delicate buds, and the way it hangs against a bright summer sky made it the perfect subject for this watercolour.

For this painting, I broke the entire process into four short videos so you can follow along from start to finish.

Part 1: Preparing the Drawing

Every painting starts with a good foundation. In the first video, I print my photo reference and use copy paper to transfer the drawing onto my watercolour paper. It’s a simple way to get an accurate sketch while saving time for the painting itself.

Part 2: Preserving the Flower and Painting the Sky

Next, I apply masking fluid over the flower and buds to protect the whites and light colours. Once it dries, I paint the background using a wet-on-wet technique with cobalt blue, creating a soft, glowing sky with fluffy clouds. After everything is dry, I gently rub away the masking fluid to reveal the untouched flower underneath.

Part 3: Painting the Fuchsia

With the background complete, it’s time for the star of the painting. Layer by layer, I build the pinks, reds, and soft shadows that give the flower its delicate form and vibrant colour.

Part 4: Leaves and Final Details

The final video brings everything together. I paint the leaves, deepen the shadows on the buds and flower, and add the finishing touches that give the painting more depth and contrast.

One of my favourite things about painting flowers is watching them slowly come to life through transparent layers of colour. Watercolour has a way of rewarding patience, and each stage builds on the last.

I hope you enjoy following along with this four-part series. Whether you’re painting with me or simply watching the process unfold, I hope it inspires you to pick up your brushes and create something beautiful.

Happy painting,

Are We Not Allowed to Share What We Learn?

My Watercolour Journal — Sat, 06 Jun 2026 17:56:00 GMT

Years ago, when I was just starting to learn watercolour, I attended many classes around my city. One of them was a workshop about birch trees and negative painting. I really enjoyed the class, and the instructor was a sweet lady. I learned a lot from her and eventually started following her on Facebook.

Not long after, two friends came all the way from Chile to visit me in Canada. They stayed at my house for two nights while travelling across the country. Their goal was to make it all the way to the Yukon to see the Northern Lights.

One of those evenings, it was simply too cold to go outside. It was the middle of February, and staying indoors seemed like the best plan. I suggested a watercolour-and-wine night, and they happily agreed.

Neither of them had any experience with watercolour, so I decided to show them something I had recently learned: birch trees and negative painting.

To be honest, the evening involved far more laughter and wine than serious painting. We painted, talked, laughed, and enjoyed spending time together. My friends had absolutely no intention of becoming artists or pursuing any kind of art career. They were simply having fun.

I took a few photos and posted them on Facebook with the caption, “My first students.”

The next day, they continued their journey north in search of the Northern Lights.

A few months later, I registered for another workshop with the same instructor. I was excited to learn from her again and looked forward to spending the day painting.

As soon as I arrived, she said, “I saw your post on Facebook. You know that’s my bread and butter. You can’t teach that.”

I was completely caught off guard. I apologized and explained that I had never intended to take business away from her. They weren’t students. They were simply friends spending an evening together, and of course I hadn’t been paid.

The comment stayed with me for the rest of the class. I couldn’t enjoy the workshop the way I had hoped. When I got home, I quietly removed her from my Facebook friends list.

I also never attended any of her classes again. Not because of the technique she taught, but because the interaction changed the way I saw her. The experience left me disappointed and took away some of the admiration I had felt for her as a teacher.

That experience also reinforced something I strongly believe: artists are not in competition with one another. There is room for all of us. Every artist brings a different voice, different experiences, and a different perspective to the same subject. Sharing a technique, an idea, or a bit of knowledge does not diminish its value. In fact, it often does the opposite. Art grows through community, generosity, and the willingness to encourage others. Some of the things I know today were shared freely by artists before me, and I hope that anything I learn can inspire someone else in return.

Looking back, I still remember that winter evening far more fondly than the workshop. What stays with me is not the technique itself, but the joy of sharing something I had just learned with people I cared about. It was one of those simple moments that became a lasting memory.

I can also understand her perspective. Teaching was her business, and perhaps she felt protective of the techniques she was known for. But it left me wondering: are we not allowed to share what we learn with others?

The birch trees and negative painting techniques she taught were not inventions unique to her. Artists have been using them for years, and today thousands of artists share similar lessons freely online through YouTube and other platforms.

For me, art has always been about learning, growing, and sharing. Every technique I know came from someone else at some point. If we all kept what we learned to ourselves, art would not evolve, communities would not form, and many of us would never have discovered the joy of painting in the first place.

That is also why my Substack will always be free. Sharing what I learn, my experiences, and my love of watercolour with others is one of the main reasons I write here.

When the Mistake Stays

My Watercolour Journal — Fri, 03 Apr 2026 17:36:35 GMT

I didn’t plan this piece.

I started with a simple sketch, focusing on the structure and proportions of the house. I wasn’t trying to copy it perfectly—I let myself simplify some areas and exaggerate others. The textures were where I had the most fun. Instead of following the reference exactly, I added my own patterns to the stone, brick, and roof, building them up slowly with pen. It became less about accuracy and more about creating something that felt interesting to draw.

Then… a quiet moment, and the urge to paint this house without overthinking it. I was drawn to the textures of the building right away—the mix of brick, stone, and wood, all layered with time.

Somewhere in the middle of painting, I accidentally spilled Coke on the page.

At first, I paused… but then I looked closer. The stains had this soft, unpredictable warmth to them. Instead of fighting it, I leaned in. I made tea and started adding more marks, letting the liquid create those imperfect, organic shapes that you just can’t plan.

It turned into a mix of control and letting go. Careful line work with the pen, loose washes with watercolor, and then these random stains tying everything together in a way I wouldn’t have thought of on purpose.

This piece feels like a reminder: not everything needs to go right to turn into something you love.

Sometimes the “mistake” is the most interesting part.

A Charming House With Lots Of Character

My Watercolour Journal — Fri, 28 Nov 2025 23:02:12 GMT

Last week I sat down to sketch this beautiful old brick house. I loved the character in the roofline and all the little details around the windows, so I took my time with the lines before adding any colour.

I couldn’t record the full painting process this time, but I did put together a complete video of the sketch and painting at 2× speed. It shows the whole piece from start to finish.

I hope you enjoy seeing how it came together. Thanks for following along with my little art moments.

Keeping Track of My Watercolour Palettes

My Watercolour Journal — Mon, 20 Oct 2025 18:51:23 GMT

Having several palettes sounds wonderful — until you forget which colours are in which one. I’ve run into this problem more than once. I’ll sit down to paint, reach for a favourite blue, and then realize I can’t remember which mix it is or where it came from.

To keep things simple and organized, I started documenting my palettes. Each time I fill one, I take a photo with all the tubes lined up beside it. This first photo becomes my reference for which paint went into each space. It might seem like a small step, but it makes a big difference when you’re working with many palettes or testing out new pigment combinations.

After the paint dries, I take a second photo and use my iPad to write the names of each colour directly on the image. Then I save everything in the Notes app on my iPhone (since I carry it everywhere with me!) . I created a folder just for watercolour, and each palette has its own note page with the photos and any extra details — like brand names, pigment numbers, or small adjustments I’ve made. It’s quick to update and easy to find later.

Notes App

Some palettes are for plein air painting, others for studio work, and a few just for experimenting. Having everything photographed, labelled, and stored in one place gives me peace of mind — no guessing, no mixing errors, and no lost favourite colours.

Tubes arranged before filling the palette.

Labelled palette ready for painting.

How about you? Do you have your own way of keeping track of your palettes or colours? I’d love to hear how you organize and store yours — share your method in the comments below.

Mariel 🎨😊

Watercolour: The Gartmore House Gates

My Watercolour Journal — Mon, 13 Oct 2025 22:52:51 GMT

This piece started with a printed reference and a light pencil outline. I used graphite paper to transfer the picture onto my watercolour paper, keeping the main shapes and proportions clear — the archway, trees, and path leading in. Once the drawing felt balanced, I began building up the layers of colour.

The first washes were light — a gentle blue for the sky, soft greens for the grass, and a base tone for the trees. I worked from light to dark, adding depth with each layer. To create the texture in the trees, I used a sea sponge — it helped give a natural, uneven look that brushes alone can’t achieve. The path and shadows helped guide the eye toward the gate.

The scary part was adding the big shadow across the path. Blue ultramarine and burnt sienna are my preferred mix for shadows — they blend beautifully to create a balanced tone. You can make it cooler or warmer by adding either more blue ultramarine or more burnt sienna. It’s a mix I keep going back to.

Looking back, I think the sky could have been a bit bluer. It would have added more contrast against the warm greens. The tree on the left also ended up a little too dark; it weighs down that side more than I wanted.

Still, I like how the sunlight falls on the arch and the mix of textures in the foliage. Every painting teaches something new, and this one reminded me how small adjustments in value and colour can shift the whole mood.

If you enjoy these painting process posts, feel free to share or follow my Substack for more.

If you enjoy my watercolour paintings, consider supporting my work with a small donation — it helps me keep creating and sharing more art.

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A Fresh Look at Paintings

My Watercolour Journal — Tue, 30 Sep 2025 17:26:16 GMT

Hello friends,

It’s been a little while since I’ve shared more than a quick picture of my paintings. September always seems to arrive in a rush, and with the start of school I’ve been busy settling into routines again. Even so, I’ve been carving out small bits of time to paint—those moments feel like little pauses in the middle of all the busyness.

During one of my recent watercolour sessions, I came across a tip that has already changed the way I look at my work: try using a mirror to view your painting.

It sounds simple, but the effect is powerful. When you see your painting reflected back, it feels as if you’re looking at a brand new piece. The shift in perspective lets you notice things you might have missed—like proportions, balance, or areas that could use softening. It’s almost like borrowing another person’s eyes for a moment.

If you don’t have a mirror nearby, you can do the same thing with your phone. Snap a photo and flip it horizontally. Seeing your work in reverse can highlight both strengths and spots that need a little extra care. I’ve started doing this often, and it’s made me slow down and really study what’s happening on the paper.

So here’s a challenge for you: the next time you create something—whether it’s a painting, a sketch, or even writing—step back and look at it differently. Turn it upside down, flip it in a photo, or hold it to a mirror. You may be surprised at how much more you notice once your eyes see it in a new way.

What’s your favourite trick for stepping back and seeing your own work with fresh eyes?

My Travel Art Kit for Edinburgh

My Watercolour Journal — Mon, 11 Aug 2025 21:31:39 GMT

Travelling Light, Painting Anywhere

Next week I’m flying to Edinburgh, and this little kit will be my travel companion. It’s small enough to fit in my carry-on, but has everything I need to sketch and paint wherever I go — on the plane, in a quiet café, or while sitting on a bench near a castle.

What’s inside:

Sketchbooks – One for watercolour, one for quick pencil or pen sketches.
Cleaning cloth – A small blue cloth to wipe brushes and keep my workspace tidy.
Mini water jar – Which clips to the journal.
Small water bottle – Handy for filling brushes or rinsing between colours.
Red clips – These are actually magnets that will hold my watercolour case in place while I paint.
Pocket watercolour palette – My Meeden palette, filled with 20 half pans in a range of colours from bright yellows to deep blues. The built-in mixing wells keep it neat.
Drawing stencils – For quick guides on composition.
Water brushes – Four Derwent water brushes, each with a different tip size for varied strokes. They hold water in the handle, so I can paint anywhere without a separate water cup.
Travel brushes – Three metal-handled travel brushes that fold into themselves for protection. They’re great for detail work and larger washes when I’m painting more traditionally.
White gel pen – For adding highlights over dry paint.
Black pens – My go-to for line work and details.
Binder clip – Keeps loose papers together.
Ballpoint pens – For quick notes alongside sketches.
Pink washi tape – For adding borders or taping paper down.
Blue pouch – Keeps it all together and easy to grab.

It’s everything I need to paint on the go without being weighed down. I’m looking forward to capturing little pieces of Edinburgh life as I see them — from the cobblestone streets to castle towers.

-Mariel

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Painting The Bull House: Step by Step

My Watercolour Journal — Mon, 21 Jul 2025 22:20:35 GMT

I just finished this watercolour of The Bull House, and I recorded the whole process to share with you! To make it easy to follow, I divided the video into clear parts:

First Colours!

Roof – adding texture and those aged tones.

Windows – and some reflections…

Walls and shadows…

Details – more windows, sign, textures, and final touches.

You can watch each part at your own pace and paint along with me. I’d love to see your version of this charming house—don’t forget to tag me or send me your work if you try it!

Ready to paint? Grab your brushes and let’s bring this house to life together.

— Mariel

Messy Brushstrokes, Magical Art

My Watercolour Journal — Sat, 05 Jul 2025 19:44:38 GMT

Sometimes the best art comes from letting go of control.

One of my favourite watercolour techniques is simple, playful, and perfect for those moments when you feel stuck or just want to relax with your paints.

Start by painting random, messy brushstrokes on your paper. Use different colours, letting them flow into each other — but be careful not to overmix and create muddy colours. Let each brushstroke have its own space and personality.

Once you’ve filled your page, let it dry completely.

Now comes the magic. Look at your page the way you’d gaze at clouds in the sky. What do you see? Maybe a shape that looks like a house. A tree. A boat. A bird. A face. Let your imagination take over.

With a pen or pencil, start drawing over the shapes you see, defining them just enough to tell their story while still letting the colours shine through.