(4x7)

While I was painting this, I kept thinking of Charles Hawthorne's advice: Never try to repeat a success! Though this lady looks concave, and has a pinched expression on her face (funny how the tiniest shape can convey an expression!), there are things I like about it, particularly the hat.
Advice from Laura: Always paint people in hats.

(5x7)
Here I was applying the same method as yesterday, and when I thought it was finished, I was a bit disappointed--it seems (is?) "weaker" than yesterday's. But now I look again, and I think I can see that this is a bit of synthesis; this is just more "me."

Yesterday Jennifer asked what paper I use. Today's and yesterday's were done on scraps of Fabriano Uno I found in my closet. It's great paper--strong, "workable," which to me means you can lift and the paint seems to sit on the surface longer.
I don't think they make Uno anymore, so I've been using Fabriano Artistico.
The full sheets are great--the cold press is a little smoother than Arches.
Recently I bought a couple of packs of 10 11x14 sheets and I found that paper to be a bit more flimsy; it can't take too much water. Though Fabriano blocks--I have a small one (6x8 I think?)--works great and is very handy; an the CP surface is really nice.
I'm always trying different papers--Arches, Whatman, Winsor & Newton--always looking for that magic bullet!, and Fabriano suits me best. I do also like the Sennelier block, which come in small, odd sizes, and not at all, I think, in full sheets.

I'm always looking for a watercolor paper that has a "wove" surface, if you know what I mean (if I know what I mean). It's briefly described under "paper finishes" on Handprint: I like the uniform, linear pattern that shows through. I think Sargent used it for sketches ... I don't think it's made anymore; at least, I can't find it.

Thanks for asking, Jennifer. I should ask you what paper you use for your beautiful paintings. Your palm tree really appealed to me, and that was on paper you didn't like!!