These are the scans of all the demos I did for this class! As you scroll through, you'll see how I worked through my Maine Marsh reference photo by starting with basic elements and progressing to more specific details.

Maine Marsh Example Project - image 1 - student project

I started with a Warm up and loosely painted some general elements of the scene.

Maine Marsh Example Project - image 2 - student project

After the Warm up I picked out a few different Compositions that would be interesting to explore.

Maine Marsh Example Project - image 3 - student project

Once I'd chosen a composition I liked, I tried painting it in 3 different color palettes.

Maine Marsh Example Project - image 4 - student project

Working through all of these pages, I identified two different areas of the picture that I needed more practice or clarification on technique. You can see the March Detail and Buildings Detail on the last page of the demo dedicated to Specific Details.

Maine Marsh Example Project - image 5 - student project

My demos wouldn't have been complete without one on Reflective notes, so I chose to show you how I wrote up all the info and learned concepts from the Specific Details page.

Maine Marsh Example Project - image 6 - student project

***BONUS for reading the example project!***

As I've edited the videos, I've had the advantage of seeing each page as it progressed and have MORE notes to add!

As a watercolor artist, I already know I'm constantly working to apply the right value and concentration of paint in the fewest amount of brushstrokes. Watching the videos where I added a second layer, or the paint all mixed together further backed up my goal to continue working on this. I've even seen progress in my skills since I filmed these demos in June (3 months ago)!

I applied the concept I picked up in the Warmup and first segment of Composition, where I used clean water to draw out and dilute paint to produce a sunlit effect in a study on a barn window.

Maine Marsh Example Project - image 7 - student project

In the rooflines detail, I definitely now know that I preferred the sketch BEFORE I added the extra definition on the roofs. I knew when I added it, that I didn't care for it, but editing the clips, I now know that it is because the extra strokes in the dark neutral color disturbed the nice play of light house values and dark foliage values that were alternating and keeping the eye moving. When I added the roof strokes, the area became muddled with no clear pattern of light and dark to keep it interesting.

Maine Marsh Example Project - image 8 - student project

I plan on using the information I learned in this coastal composition to take on an upcoming painting of a cornfield misted in the early morning. The color palette, layering and approach to target area of focus are all relative!

Jill Gustavis

Everyday, illuminated

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