Ohn Mar has been my ambassador of watercolor for quite some time, so I went waaay overboard with my class project. Worth noting, I’ve painted these same moths with the same color palette multiple times recently, so it was easy to keep my focus on observing the paper and paint. Usually, I have a strong preference for Windsor and Newton hot press watercolor blocks, so I mixed things up and did my experiments on cold press paper (still Winsor and Newton block). I also usually use multiple brushes, but stuck with a Raphael Kolinsky Sable round size 4 as I wanted that variable to be controlled on this project. The paints are Daniel Smith, which I buy in tubes and cure, as I also prefer my paint in pans. I do have the same Windsor and Newton Professional palette Ohn Mar uses, and highly recommend it as well, especially for beginners.

My experiments showed me I still prefer hot press paper. However, I think that is because I have quite a lot of granulating and blossom prone pigments on my palette at the moment, and the tooth of the cold press paper sort of interferes with the diffusion of the pigment granules (just my personal opinion). That has only become relevant recently, since I was physically incapable of putting the paint on the paper and letting it alone when I first started painting. 

I failed to properly time the experiments, but did pay extra close attention to the sheen and temperature of the paper while going through the exercises. As Ohn Mar mentions, everything from humidity to sunlight to heat/AC/fans can drastically change drying times. My desk is right by a double window and directly below a vent, so I chose not to time the experiments. However, I do regret not making making notes based on another system of measure, like saturated/glistening/damp/almost dry/dry, etc. And if this class had been published a couple of years ago when I first started, properly timing the experiments as recommended would have been immensely useful. If only to develop the discipline of putting the paint down and LEAVING. IT. ALONE.

One of the fabulous things about Ohn Mar’s classes is they are timeless and have been useful at every stage of my art journey. I rewatch and rework through her classes regularly, so I know I’ll have another go at these experiments before long!