I noticed in my last sketchbook painting session that I was getting a bit of a drag on the paper, like it was soaking up a lot of the water and drying things out. I remembered seeing Dina Brodsky using acrylic ink as an underpainting, so I thought I’d try it out and see how it went.

I used a very thin layer of Light Rose, Amsterdam Acrylic Ink, and then used M. Graham gouache paints on top. It definitely affected the flow of my paint. Generally I ended up with either too much water (paint pooling) or not enough (paint clumping). You can see in the final pictures, as I start to rough in a background, I often use a thin wash in the back and build it up until I’m happy, a carryover from my watercolor practice. The wash was breaking up over the top of the acrylic ink, and I’m not super patient in my sketchbook so I just slapped some more in there to block the color in, lol.

Knowing it feels a bit different though, I am intrigued. I think it may still give a little more control over flow if I practice a little. My next step will be a series of swatches, testing paint consistencies and layering over just paper, and paper with acrylic ink over it.

With this gouache sketch I noticed that the paper was absorbing quite a lot of water and affecting my paint flow. As I was struggling I remembered Dina Brodsky mentioning that she uses acrylic ink as a first layer in her sketchbook and that it seals the paper. I decided to pick up some inks to experiment with to see if it helps paint flow better on the page.

I’ve been using my sketchbook to try to figure out my ideal gouache painting process. I quite like outlining my main shapes in a color that contrasts the main focal points. In this quick sketch I’ve used a cerulean blue opposite gamboge and hansa yellow blend (all M. Graham gouache). The outlines give me a map to follow. I find when it’s just a pencil sketch it doesn’t take me long to lose track of the lines, and then I get lost. I also like to leave a bit of the outlines showing to bring a little energy and contrast into the piece.

With this gouache sketch I noticed that the paper was absorbing quite a lot of water and affecting my paint flow. As I was struggling I remembered Dina Brodsky mentioning that she uses acrylic ink as a first layer in her sketchbook and that it seals the paper. I decided to pick up some inks to experiment with to see if it helps paint flow better on the page.

Coastal blue and gray textured botanical seaweed pattern giving undersea vibes, with a soft sway. This ocean-inspired botanical pattern is available in a variety fabrics, wallpapers and home decor.

Peaceful green textured botanical seaweed pattern giving undersea vibes, with a soft sway. This turquoise seaweed botanical pattern is available in a variety fabrics, wallpapers and home decor.

Vintage inspired turquoise, textured botanical seaweed pattern giving undersea vibes, with a soft sway. This turquoise seaweed botanical pattern is available in a variety fabrics, wallpapers and home decor.

I’ve been using gouache this month, trying to get a better understanding of how to use it in a way that gets results that I like. I’d never had luck with gouache previously but recently realized that I’d assumed it was to be used like watercolor, and it can be, but it can also be used with much less water, as an opaque medium like acrylics. I haven’t quite figured out the process yet, but I really love the vibrant matte colors it creates.

For this sketchbook session I used a series of anemone photos as references. I wanted to try to capture the different positions of the bloom in relation to the viewer. I had initially intended on darkening the background, but when i finished the shadows, I ultimately decided I liked the high contrast and kept the lighter pink in the background, matching the petals colors

Continuing with my new sketchbook habit, with a few tweaks. I have narrowed back down to one book at a time for this kind of experimenting, the Etchr brand with heavy paper. I’ve learned that as much as I want to paint fast, each layer does take some time, so I’ve given myself space for that - instead of requiring that I finish in the 45 minute block, I can sketch throughout the week and paint throughout the weekend as I have time. This has been nice, it has brought me back to painting more regularly which was a goal.

I forgot to take in progress pics for this one! Been playing with a slightly different palette of paints and combining tube watercolors with the Derwent Inktense pencils. Unlike watercolor pencils, there is no wax in these, and they are slightly opaque, which gives some really interesting opportunities for layering with watercolors.

Vintage inspired sea green, textured botanical seaweed pattern. This maximalist green botanical pattern is available in a variety fabrics, wallpapers and home decor.

I am working on developing a sketchbook habit. I have started two books. One Etchr brand, with heavy paper, that I am using for botanical sketches, and one lighter weight spiral bound Bee Paper brand, that I want to use for experimenting with decorative shapes and patterns. Consistency has been difficult, but I think I am just trying to figure out what kind of process works for me.

Trying to focus on some floral patterns this year, so this month I spent a little time just playing with paints, getting a feel for the shapes, and trying out some different colors and mediums. I also drew a lot of finches to create a pattern for Spoonflower’s 2025 collaboration with Pantone.

This month I’ve been experimenting a little bit with process. I took this class taught by Marco Mazzoni and decided to try the process he shares with some botanical drawings.

I’ve been wanting to do more botanical and floral patterns, and have been filling my sketchbook with lots of experiments with those subjects.