Tried all 3 techniques. Dry on dry was a discovery for me and achieved great textures, which will come in handy for wood. Discovered that each brus or watermen size gave a different texture effect. Also, the exercise gave me plenty of new ideas for wet on wet, for skies and blurry objects in the distance for depth (trees, bushes) Wet on dry was my "go to" most of the time. Will expand my techniques from now on. Thanks!

It was fun to create the watercolor palette study, and to try out techniques. In one place or another, I experimented with all of the watercolor techniques Liz modeled in this unit’s lessons. The one I had never tried was glazing. It surprised me that colors can be layered, to some degree, in the application of watercolor pigments. My prior experiences did not include the glazing technique. I don’t see watercolor as a “go to” medium in my nature journal. The waterless media are more appealing to me, as is incorporation of photographs. As a nature photographer, I will likely have my “in the field” immersion and “lost in Nature” moments with my camera… followed by the addition of art media exploration to record musings, data, and factual information.

I just did the practice painting today because I need to order new watercolors, but I can already see how the techniques can help with images. I will try the idea of creating rough textures with the dry-on-dry technique with trees. The wet-on-dry will be fun to experiment with when painting some birds with deep and vibrant colors, such as cardinals and goldfinches. Looking at other people's journal entries makes me excited to get started. I added a picture of my faulty paint set and my practice:(

Tip for those using pencil with watercolor (so mostly everyone) try using kneaded erasers, the help keep the occasional smear at bay. it also helps fade the pencil to make your art look neater. I never knew their was different techniques for water color! I'm definitely no pro with water colors so this course is helping a lot!

I think I tend to try to draw with watercolors, rather than paint - if that makes sense. The wet on dry technique works great for that. Wet on wet was fun, but I have to learn to let the paint go, and not try to control it so much. The dry on dry seemed good for suggesting texture in an area. Below I attempted to capture the colors of an early spring day in Connecticut. The wet on wet worked well for suggesting the light foliage and sky, and wet on dry defined most of the shapes in my landscape. I wasn't able to achieve dry on dry with the water brush.

I tried them all.  Wet on wet will take alot of practice!  Mine was too wet and I also noticed it buckled the paper then the color tends to pool up at least on mixed media.  I am going to use colored pencils in the journal, mixing and testing colors is too much work for my journal but still will practice with the watercolors for general artwork.

Though was using the Wet on dry method for a long time, was not applying in the nature journaling concept. It's quite interesting. But I am not sure how fast and effectively I can bring in the color palette in my journal while I am on the field. I think I need more practice.

I've done all of these techniques at other times except the dry brush. Wet on dry is what I do for most of my watercolour paintings, and I love wet on wet for sunsets, sunrises, in fact any sky works beautifully for this method. I need lots of practice with dry brush but once I am better at it I think it'll be perfect for delicate texturing like fur, hair, leaves, pine needles, feathers, etc.  I will be using that a lot!

1. Tried all 3. Had several goes with each. Wet on Wet shouldn't be too wet or all the pigment is gone. Also gravity pleas an impact on what happens on the page.  2. Wet-on-dry great for water. Wet-on-Wet great for sky.

I’m glad we were able to see various techniques, before now I was a student of as wet as possible and the pages would become wrinkled and warped as well as the pulp would begin moving on the paper. I’m glad I was able to try these techniques out as I can see how I would use them in the field to achieve various styles without distorting and ruining my sketches.

hi, I have a question if I use window and newton will I get the same watercolor effects in my paintings as Liz?

"Dry on dry","wet on dry" and then "wet on wet".I used the sketchbook to do these experiments but the wet on wet caused the 50lb paper to buckle so I would not do this in my sketch book/journal  unless it was a very small area. 140 lb watercolor paper( block) is made for that so I would probably not use that technique in a journal because the drawings or blank paper underneath would be affected.Dry on dry would be good for grasses,fur, feathers. Wet on dry would be applicable for most color studies.

1) I tried all three of the mentioned techniques on quick sketches of the two photos we were given in the previous topic. I used the wet on wet for the clouds in the landscape and for the underpainting of the bird. The dry brush I used for the trees in the landscape and for the white of the feathers. 2) I usually don't use wet on wet of dry brush but this exercise has shown me where they can be applied to great effect. I will definitely be using more of them in my journaling projects. * I also managed to use a wash for the bird background, blending for the feathers and some glazing in the mountains of the landscape.

Wet on Dry: Northern Flicker Wet on Wet: Cinnamon Teal Dry Brush: American Robin Out of the three techniques my favorite is Wet on Dry (the one I typically use) and my least favorite is Dry Brush. I will continue using wet on dry in future journaling projects, but might throw in wet on wet from time to time.