Tips and Techniques for Stunning Floral Paintings

As a watercolour enthusiast, I’ve recently ventured into the world of Ampersand Aquabord, and it has been an exciting learning experience. Unlike traditional watercolour paper, Aquabord offers a unique surface that brings a new dimension to my artwork. The surface is composed of acid free clay, which is used in the mineral ground coating of the Aquabord. This clay and mineral ground provides a textured surface similar to fine cold press paper, allowing colours to retain their vibrancy without the need for glass covering.

In this post, I’ll share my journey of painting a delicate rose and hydrangea on a small cradled Aquabord panel, along with some helpful tips and techniques I’ve discovered along the way. Whether you’re a seasoned artist or just starting out like me, these insights can help you explore the possibilities of this distinctive medium and achieve beautiful results.

What is Ampersand Aquabord?

Aquabord is a unique painting surface created by Ampersand Art Supply, designed specifically for watercolour and other water-based media. Aquabord is available in various options, including flat panels and cradle profiles. The texture of Aquabord is similar to cold-pressed watercolour paper, allowing colours to retain their purity and vibrancy. Unlike traditional watercolour paper, Aquabord is made from a rigid, absorbent clay surface that is applied to a hardboard panel. This innovative surface, with its clay and mineral ground coating, allows you to achieve vibrant colours and fine details while offering the ability to lift and rework areas, providing greater flexibility in the creative process. Aquabord is also durable and can be sealed for display without the need for glass, making it an excellent choice if you are seeking a modern, professional presentation for your watercolour paintings.

My Watercolour Painting on Aquabord

Because I am still exploring this surface and figuring out how to adjust my techniques, I decided to paint on a small panel. Working on a smaller scale felt less daunting than tackling a larger panel, making it easier to experiment and learn without feeling overwhelmed. So I chose a 6” by 6” cradled panel to paint my rose on.

Before I started, I wet the surface of the Aquabord with a large flat brush and water to release trapped air. Once it was dry, I transferred my line drawing to the surface and painted light coats of Cobalt Blue on the hydrangea and Ruby Red on the rose using Schmincke watercolour paints. I also started to add some of the little dark areas between the petals using Paynes Grey. The grey on the light areas of the petals is a mix of Cobalt Blue and Burnt Sienna.

At this early stage, I focused on using a light touch with water to prevent puddling. Given that the surface can accommodate multiple layers of washes, my primary concern was to carefully apply washes of pink, grey, and blue while preserving the white areas, much as I would on traditional watercolour paper.

Then I started to work on each individual petal. I deepened the Ruby Red by mixing some of the Cobalt Blue with it for the darkest areas and I layered the paint there. I also used some Quinacridone Magenta in the darkest areas.

Layering and Glazing

When working on Aquabord, it’s crucial to let each layer dry completely before applying the next to prevent unintentionally lifting the previous layers. Like traditional watercolour paper, you can gradually build up colour; the board’s surface supports vibrant colours and sharp details through multiple layers.

I continued to add paint layers to form the shape of the petals. I also started to use a damp brush to lift highlights from some of the hydrangea petals. This is where Aquabord is amazing.

Lifting and Erasing

One of the standout features of Aquabord is its remarkable ability to lift colours with ease. By using a damp brush or sponge, you can lift or correct colours effortlessly. This technique can also be creatively employed to add highlights or soften edges. In contrast to watercolour paper, where lifting colours can be challenging, the Aquabord surface allows for straightforward corrections. For example, the delicate markings on the hydrangea petals were easily lifted out after the paint had dried. As well as that, if a colour doesn’t turn out as expected, you can simply lift it off and replace it with another. If an area is too dark, just wait for it to dry and then lift off the colour completely or partially with a damp brush or sponge. This flexibility makes watercolour painting on Aquabord much less intimidating compared to traditional watercolour paper, where mistakes are not so easily remedied.

In the image above, where the arrow points, you can compare it to the previous image. I noticed that the colour in the shadow area was too dark, so I gently used my damp brush to remove some of the paint. I went almost back to the surface of the Aquabord and then repainted it to make the shadow lighter.

Detail Work on Ampersand Aquabord Panels

Because Aquabord holds pigment on the surface, it is excellent for fine details. I use inexpensive fine-tipped brushes and sometimes work with more concentrated paint for crisp lines and intricate patterns. The smaller brushes help me control the amount of water and pigment, allowing for precise brushwork.

• Use Fine Brushes: Opt for fine-tipped brushes to achieve crisp lines and intricate patterns. The surface of Aquabord makes it ideal for detailed areas, allowing for precise brushwork.

• Work with Concentrated Paint in Detail Areas: To maximize the vibrancy and sharpness of your details, use more concentrated paint. Since Aquabord doesn’t absorb paint like watercolour paper, the pigments remain on the surface, resulting in more vivid colours and sharper edges.

Framing Without Glass

One of the significant advantages of using Aquabord is that your finished artwork does not need to be protected behind glass, unlike traditional watercolour papers. Once sealed with an appropriate fixative, the surface becomes durable and resistant to moisture, UV light, and dust. This allows your vibrant watercolour paintings to be displayed without the added reflection and weight of glass, providing a modern and professional presentation. The ability to showcase your work without glass not only enhances the visual impact but also simplifies the framing process, making Aquabord an excellent choice if you are seeking both aesthetic appeal and practicality.

To protect my paintings I seal them with Krylon UV-resistant archival spray varnish. I apply several light coats and I spray outdoors with a mask on to ensure proper ventilation.

I enjoyed painting the pink rose so I also painted a yellow rose on a 6 by 6 cradled panel.

Final Thoughts and Encouragement

Exploring the unique surface of Aquabord is shaping up to be a rewarding journey for me, and I encourage you to give it a try. Whether you're experimenting with a small panel like I did or diving into a larger piece, the flexibility and forgiving nature of Aquabord can enhance your watercolour techniques and creativity. Don't be afraid to make mistakes and lift off colours as needed - this surface is designed to accommodate revisions and adjustments. Aquabord is also perfect for plein air painting due to its durability and ease of use. I hope these tips and insights help you as you navigate your own artistic path with Aquabord.

Happy painting!

If you are interested in learning to paint in watercolour, I have over 170 online, voiced over watercolour tutorials for all skill levels.

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