Many beginning artists have trouble with one of the small techniques used widely in water painting called the wrist flick. This is the ending position of the brush stroke. Now pivot from your wrist push the brush tip up and away in a “flicking” motion. The last part of the stroke flicks out in a feathery point. Practice several times in each color you have. As you hit each stroke, vary the thickness of the strokes trying to imitate grasses, branches, or even feathers. Along with suggesting grasses, branches, and feathers effortlessly, the Wrist Flick and variants are handy when rendering hair in portraiture or wildlife painting. A little Wrist Flicking can go a long way to finishing off a landscape painting. Too much can do a painting in before you know you’ve gone too far. Masking is one of the most important techniques that you should master as you improve your water paintings skill. Masking fluid is the most common masking agent. It comes in colorless and in colors. Most artists use the colored so they can see where it has been applied. Others say the colored fluid is distracting or can cause them to alter the color of paints they use.

We know that the “white of the paper” is important. It creates the very light in the painting. White can easily get lost and once it is lost, it is hard to get back. Watercolor paints and paper have minds of their own – that quality of “happy accidents” is what makes this medium so much fun! (But also so difficult, some say the hardest, to master.)
A lot of artists will never use masking and others swear by it. Anything goes and whatever works for you to create the painting you want is okay. Experiment with all sorts of masking aids to find what works best for you.

Paintings have been framed ever since the portable image was invented, i.e. since imagery ceased being permanently fixed into or unto the wall and became mobile, hung according to the whim of the owner. The frame was a natural substitute for the architectural background of the fresco or secco mural. It is definitely the frame that gives to painting its known window effect, inviting us to peep into a different reality. In fact it is such a natural accompaniment to painting that the sudden absence of framing gave in itself to modern painting an important and surprising new dimension. The success of framing lies in its discretion. A frame well-chosen blends with the painting; it enhances, supports and serves the framed object and doesn’t steal the show. Bear in mind that our perception of the elaborateness of a frame is relative to the epoch; even the most exuberant frames in history were seldom exaggerated; they just adequately framed exuberant paintings. In regard to the object, the frame should always be subdued in design and color.

Period framing is always to prefer and in most cases the one that was initially conceived to go with the art. If your painting has lost its original frame, or if the latter is in an irreparable state, look for period replacement and do not frame against the style. A dark painting takes a dark frame, a light painting a light frame. A large frame should be less elaborated in ornament than a thin frame. The colour is best in some way assorted and will either reflect the basic tonal value or contrast with an appropriate counter-value. Ornament and elaboration is period dependent and should be considered in relation to the plastic contents of the painting. This sounds all simple and evident and yet many paintings are literally obliterated by insensitive framing. As the frame is an inherent part of traditional painting, we should train ourselves to be better aware of its effects on the art it should serve.