Watercolor Practice - North American Marshlands

Watercolor practice.

Learned Tips
I watched many tutorials, workshops and courses: no one of the teachers have ever explained explicitly, clearly and accurately this matter.

What I've learned, in fact, as a self-though artist about watercolor is a collection of carefully gathered information that somehow leaked from the aforementioned learning material. It looks like such professional artists are not consciously aware of what they instinctively learned, or don't want to say.
Though, here comes the tip. Watercolors tend to look more saturated and darker when they are still wet; while render lighter and less saturated once dried. Therefore, if you like vivid and vibrant colors, like me, exaggerate with pigment when you mix the color, which means it should be denser (more pigment and less water), especially if you are going to use it "wet on wet".

it's a test of faith and courage. In fact, as soon as you'll put the color on the paper with your brush, you will think: "OK, I made a mistake!". You don't! Keep going, you'll see the result when it dries.

For my birthday, the last two years, I received two watercolor sketchbooks Clairefontaine: the first one is an Etival 300g single-sided glued watercolor paper pad, A4, 100% cellulose.

Despite I am not a fan of cellulose, the paper keeps water pretty well.

About the other materials, this is always my Winsor & Newton Cotman landscape palette, here I used mostly Yellow Ocre, Cobalt Blue, Burnt Siena, Sap Green, and Crimson Hue.

The brushes included a couple of small synthetic Princeton pointy brushes numbers 8 and 2, plus a Van Gogh brush number 10, again synthetic and pointy. And I used a Tintoretto big wash brush with ox sable to wet the paper.