This was interesting and fun! Thank you very much!

This was a VERY interesting session! I smiled many times when I saw some answers and how they were similar to mine, eg, 44% need silence. This is because of the amount of sheer concentration some of us need in order to think of everything before and during a painting. Bad mood at failure? Hahah. That’s me. What was also interesting was the question about the difficulty before painting. Many, like me is NOT being able to decide what to paint, which makes me postpone it. Like today for instance. I’ll try and connect with the community, as I think it’s important. Thanks Christian.

Very thoughtful. My wife told me to start working on watercolors. Now that I have been immersed in it and gotten used to what initially seemed a backward process, I have become enchanted with what watercolors can do. For me there is no turning back. As far as blues go, the Antwerp blue variant of the pb27 pigment has been found to be somewhat fugitive, so I would not use it. My favorite blue is a complicated question. PB15:3 as produced by Lucas and called Cyan, blends and makes warm sky effects and reflected light on water so it is a dream to have on the pallet. Daniel Smith's French Ultramarine, PB29 is so versatile and needed for making so many wonderful combinations, that I could not give up having either of the two. On the subject of black, my take is very different from most peoples. I keep four blacks on my pallet. Black pigment is strong and less expensive than a mix of more pricy pigments used antagonistically to darken with. It makes no sense for the majority of a painting, and all of the shadows, to be darkened with strong mixes of colors better used for painting flowers. Ignore your pride in being able to mix paints to make black. It's a useful skill, but most of the time it wastes paint. A little bit of lamp black will do nicely. If you have a few spare pools of wet pigment that you need to use up, by all means make dark tones with them, but if you need dark tones and you have managed your mixes well, just use black. Daniel Smith's Perylene Green, PBk31, is a wonderful black for green tones in shadows. Daniel Smith's Lamp Black, PBk6, is a wonderful pure black that mixes well to deepen tones. Turner's Neutral Tint is a convenience color black ideal for evenly reducing values, and it has a slight violet shade to it like you will see in some woodland shadows. My last black is Mission Gold's Indigo. It is a convenience color, very dark blue with a green tinge.

Enjoyed this and found it interesting that we answered similar. I especially agree with mixing you own black. It’s much more appealing to me than black from the tube which seems dead or dull to me.

Thank you, Christian, for the thought-provoking questionnaire. I look forward to your future polls mixed among your other videos. A "missing" question I would have liked to see was "Who is your favourite watercolour artist/influencer?" As for my own watercolour journey, 90% is "en plein air" so listening to nature (or the hubbub of an urban setting) is my studio setting. I value critiques and art discussions. Again, thank you for your insights.

Interesting! I will have to check out your community page :)

Christian where is this community channel with these polls on? I would like to see you paint the painting on the easel for a tutorial please.