The World of Watercolor Painting with Birgit O’Connor

The Creative Seasons of an Artist – A 4-Part Watercolor Podcast Series What season are you in as an artist? In this four-part podcast series from The World of Watercolor, we explore the creative stages every artist experiences — from beginner hesitation to long-term reinvention. This season covers: • The courage to begin painting • Overcoming comparison and self-doubt • Building momentum and artistic rhythm • Working through creative plateaus • Rediscovering joy and redefining success Whether you are new to watercolor or have been painting for years, understanding your creative season can help you move forward with clarity and confidence. Artistic growth is not a straight line. It’s seasonal. Join Birgit O’Connor as she reflects on the emotional and practical realities of developing as a watercolor artist — and why every stage matters.  Online courses Join the mailing list

In Part 4 of The Lonely Artist series, we ask the big questions. Are all artists a little crazy? Can you really be successful as an artist? Can you support yourself doing this? And perhaps most importantly — do you actually want to? In this episode, we talk about: • The myth of the “crazy artist” • The emotional highs and lows of creative life • Art as healing and mental health support • The difference between loving to paint and choosing the life of an artist • Financial sustainability and realistic expectations • What success truly means in a creative career Being an artist is not just about talent. It’s about resilience. It’s about clarity. It’s about deciding what kind of life you want. You don’t have to starve. You don’t have to suffer. And you don’t have to fit someone else’s definition of success. This conversation closes the series by asking one honest question: What does being an artist mean to you?

In Part 3 of The Lonely Artist series, we talk about something practical — but deeply emotional. Do you even have a place to paint? What if your “studio” is the corner of the laundry room? What if your supplies are tucked away in a closet and hard to reach? What if you feel isolated not just emotionally — but physically? In this episode, we explore: • Feeling stifled when you don’t have a dedicated art space • Painting in shared or temporary environments • The emotional weight of not having room for your creativity • Creating a portable or flexible home studio • Overcoming the belief that you “can’t really be an artist” • Giving yourself permission to claim space — even if it’s small Being an artist doesn’t require a perfect studio. It requires intention. Sometimes it begins at the kitchen table. Sometimes in the laundry room. Sometimes in a quiet corner no one else notices. But the act of making space — physically and emotionally — is where identity begins. If you’ve ever felt like you don’t quite have room to be an artist, this conversation is for you. Online courses

In Part 2 of The Lonely Artist series, we move from isolation into connection. We talk about what it really means to grow as an artist — not just technically, but emotionally and professionally. How do you find your tribe? What if workshops aren’t for you? How do you continue learning when you feel unsure or stuck? We explore: • How to grow as an artist at your own pace • Finding and building creative community • Imposter syndrome and how it quietly shapes our confidence • Why workshops aren’t the only path forward • Pursuing your creative journey in a way that feels sustainable • Looking for meaningful creative support • Women in watercolor and shared experience • The realities of marketing yourself as an artist If you’ve ever felt like you’re doing this alone, this conversation is for you. You don’t have to stop painting just because you feel unsure. You don’t have to follow someone else’s path. And you don’t have to grow alone.

In today’s episode (Part 1), I sat down with several of my artist members for a heartfelt conversation about something many creatives quietly experience — the life of a lonely artist. We spoke openly about imposter syndrome (because it keeps resurfacing), painting by yourself, and what it truly means to call yourself an artist — even if it’s “just” a hobby. We explored: • How to get started when you feel stuck • What to do when life feels grey • Why live workshops may not work for everyone • Starting your own art group • Finding a safe creative community • How to rise up and paint when confidence is low This conversation only scratches the surface. In future episodes, we’ll continue unpacking what it means to pursue art in a way that feels authentic, sustainable, and supportive. If you’ve ever questioned whether you belong as a watercolor artist — this conversation is for you. Online courses

In this episode, I share a short segment from my Nature’s Abstraction exploring how intuition can guide composition in floral abstraction. Rather than planning or arranging elements in advance, we look at how to listen for what the painting needs — noticing movement, balance, and where the energy wants to settle. This approach allows composition to emerge naturally, through awareness and response rather than rules. If you’ve ever felt unsure about where to place forms, when to stop adjusting, or how to trust your instincts, this episode offers a gentler way forward — one that values curiosity, observation, and letting go of control. A link to learn more about the full Nature’s Abstraction course is included for those who’d like to continue exploring this way of painting. See the video on YouTube Yellow Rose & Calla Lily online course

Feeling stuck can make even the smallest step feel overwhelming. In this episode, we talk about why getting started feels so hard—and how to gently remove the obstacles that keep you frozen in place. This isn’t about pushing harder or forcing motivation. It’s about understanding what’s in the way, softening the resistance, and finding a simple, honest way forward. White Gardenia – Workshop 

In this conversation, I sit down with student Gloria Andison to talk about her journey painting the Northern Lights in watercolor. Gloria shares how she transitioned from acrylic to watercolor, what it took to let go of control, and how learning to paint with atmosphere helped her express light, mood, and movement more freely. We talk about trusting water, embracing softness, and finding confidence through an expressive approach to landscape painting. This is a thoughtful, inspiring conversation for artists interested in atmosphere, emotion, and growth in watercolor. This conversation reflects ideas explored in my Atmospheric Landscapes course, which focuses on light, mood, and expressive simplicity in watercolor. Website     Facebook Page 

First get rid of the expecations of what you do in the studio, and be willing to learn a lot about creativity, focus and a get ready to have some fun, consider Plein air painting.  Here easle I used is a Traveler Series Watercolor Package click here View the Beach painting demo on Youtube Online courses Join the mailing list on my Home website Instagram

Based on my "Fearless flowers" courses, in this episode, we explore when painting how to get out of your comfort zone, and grow to be more bold and dynamic. In the Fearless Flowers series, both the interactive and independent study options are available. For immediate access to any of the lessons I suggest the independent study option, full courses Single lessons Schedule of interactive courses Join my mailing list, courses, brushes and more at www.birgitoconnor.com

Today were talking about what if you’re doing a painting and use photos that someone else took as your reference material, can you use it for a show, can you sell it, can you claim it as your own? Are you using your artistic vision or copying an image? What if you took a class and are inspired by the instructor, and use their lesson and reference material, is it now yours? Is there a subject matter that you would like to hear about? Drop us a line and let us know  Online courses Join the mailing list

Pushing through the fear. Do you feel the need to always be perfect? What kind of artist do you want to be? Do you want to have the control you want over your brushstrokes, and if you don’t it can depend on the brush and the amount of water it’s holding? Are your paintings to weak and wimpy, and are you afraid of the darks? Try to relax and think of every painting as an experiment. We will be looking at a few white flower paintings and talking about the brushstrokestrokes, background and where do you want to direct the viewers eye? How to get the wobble out of the paper, try ironing it. Framing options When painting on a half sheet size painting 15"x22" the standard size frame I usually use is a standard 22"x28". The standard mat never seems to work as well so I have mine custom. You can go to your local craft store or framer for more information or custom frames, which can be pricy. I was looking online for online frame options, and the standard frame size can work but again, I'm not sure if the online mat option is as good as custom cut. I like Cheap Pete's but they don't ship the larger size frames Here are some online companies you can try, but you may want to call them before ordering. ArtoFrame Picture Frames Website  www.birgitoconnor.com Online courses Watercolor courses The course we reviewed today was from the interactive 6-week course Interactive white flower (runs in sessions)  Independent study  

Sometimes it’s difficult to get started and paint again, it can be because of some life circumstance, the holidays, or we're just not inspired.  Not everyone enjoys the isolation of the studio or is a self-motivated artist, some enjoy painting with other artists, especially watercolor. With the pandemic, many people haven’t felt creative and have been absolutely paralyzed, so what are some of the things you can do, let’s talk about it.  If you’re interested in taking an online course, or joining “Watercolor in Motion” take a look at my upcoming schedule on my website or go directly to my school 

In this episode, we discuss the approach of painting a cluster of Monarch Butterflies. We will be covering what you might think might be a failure could be an incredible abstraction, along with paper surfaces and color mingling. Online Courses Website  Monarch Butterfly Mug  Monarch Tote bag

Values help to invite the viewer into the painting, so in today's episode we are having a discussion about why they are important, to help create a push pull effect and prevent paintings from looking flat.    

In today's meeting will talk a little bit about how to get that fine spray in a painting by using an atomizer, a Kemper tool or a toothbrush. We will also discuss a value study app and talk about some of the challenges you can face when doing a plein air competition, and how all these challenges can help you grow in your creativity. Value study app Kemper spatter tool Monarch garden online course all levels Monarch Migration Full course Shop Home website

In this episode will be having a conversation about where your inspiration come from? Have you ever thought  of where you painting from in your body? Is it your head, your heart, your fingertips, wrist, arm, full body and what kind of experience is it for you? What about commissions, do you enjoy doing them or is it a chore, and how can you move away from realism into something more painterly. These are just some of the things that will be talking about  in today's episode we're going to be talking

Today Ann told us today about Ranger inks, and how much she is enjoying them, especially the distressed inks. Then our conversation took a turn into what's the difference of inks, alcohol inks and water color pigments and can alcohol inks be used in watercolor competitions. Personally, I found this fascinating information, I hope you will too. www.birgitoconnor.com Birgit's online watercolor courses Ranger inks

When I first started painting years ago, the art store where I did my first demonstration gifted me with the largest brush that I had ever seen, a #30. I had no idea what to do with it, or how to use it, it wasn't terribly comfortable in my hand, I thought the brush they gave me was nice, so I just put it to the side, because most of my brushes that I worked with at that time, were the smaller #3, #8, #10 and maybe the largest brush being a #12.  Then one day, I was a little tired of being fiddly with my strokes and I wanted to simplify my painting style and expand the size of my paintings. I found it challenging to get the results that I wanted with most of my brushes and I learned quite a bit just by testing different brands and types of brushes. Most were either be too soft and wimpy or stiff, so, I gave the brush from the demonstration a try, and it worked beautifully, I was not only able to expand the size of my paintings but grew as an artist.  View on YouTube https://youtu.be/6BP7z-o_ocs If you have seen any of my earlier videos or demonstrations then you would have noticed my white handled brush, and over the years the ferrule loosened, and I wanted to share this great brush with my students, so I searched and it was nowhere to be found. I found an alternative that worked almost as well but I still loved my original white handle brush, and since I was not able to direct my students to this brush I put it to the side and focused on other ones.  The funny thing is after 20 years or so, one day I found myself struggling with a piece of paper for a demonstration where the sizing just wasn't working for me, I grabbed that old brush, and it felt like an old friend, the comfort and ease of how well it worked, I thought just take another look around, and I found it, I was stunned. In the video you will be able to see the brush as I tested it again for the first time and it may be something that you might like to explore for yourself. You will now be able to find them in my store. am now carrying the brushes in my store on my website www.birgitconnor.com Visit my store  Cats Tongue Wash Brush  Blog Online courses

Today I will give you a glimpse inside my process as I discuss an article by Cherie Dawn Hass from Realism live and how my work has changed over the last decade. Click here to see the full online article  For online courses and workshops visit my website