Okay, let’s talk about this Mariana Rojas technique I’ve been trying out. It’s been quite a ride, honestly.
Getting Started with the Idea
So, I stumbled upon some artwork online, really vibrant stuff, and the name Mariana Rojas kept popping up. It wasn’t like super famous, just this distinct style, especially with how she blended colors in watercolors. Looked almost effortless, you know? And I thought, “Hey, I dabble a bit, maybe I can try that.” Looked simple enough on the surface.
First Attempts – Yeah, Not So Simple
First thing I did was grab my usual watercolor set. Nothing fancy. I pulled up a few images of her work, trying to figure out the process just by looking. Looked like wet-on-wet, but with really bold pigments right at the edge where colors meet.
So, I wet the paper, loaded my brush with some bright blue, touched it down. Then quickly grabbed some yellow, tried to blend it nearby. Big mistake. It just turned into this muddy green mess instantly. Not that smooth, vibrant transition I saw in her paintings. Tried it again, different colors. Same result. Frustrating, really.
- Wet the paper too much maybe?
- Or maybe my paint wasn’t the right kind?
- Was I working too slow? Or too fast?
Digging Deeper and Adjusting
Alright, clearly just guessing wasn’t working. I spent some time searching, trying to find if she ever shared her process. Didn’t find a direct tutorial from her, but saw some discussions on a forum where people talked about achieving similar effects. The consensus seemed to be about a few key things:
Paper quality was crucial. My cheap practice paper was buckling and couldn’t handle the amount of water needed. So, I went out and got some better quality, thicker watercolor paper. Cost a bit more, but okay, let’s try.
Paint consistency. People suggested using paint that was less watery, more like cream or ink right from the tube, especially for those sharp joining lines. My usual diluted washes weren’t cutting it.
Timing and water control. This was the trickiest. You need the paper wet, but not soaking. And you need to lay down the second color just as the first one starts to lose its super wet shine. Took a lot of practice just watching the paper dry.
Making Some Progress
Armed with the new paper and this advice, I went back to it. Wet the paper carefully, making sure it had an even sheen. Mixed up some thicker paint. Laid down the first color. Waited… maybe 15-20 seconds? Then touched the second color right next to it.
And boom! It worked! Well, kind of. It didn’t turn instantly muddy. The colors sort of bled into each other right at the edge, creating this really nice, soft-yet-vibrant transition. Much closer to what I saw in Mariana Rojas’s work. It wasn’t perfect, mind you. Sometimes the bleed was too much, sometimes too little. Getting it consistent is still something I’m working on.
I spent a whole afternoon just making swatches, trying different color combos, different waiting times. It’s surprisingly meditative once you start getting the hang of it, even if it doesn’t always turn out right.
Where I’m At Now
So, yeah. I wouldn’t say I’ve mastered the Mariana Rojas style, not by a long shot. But I feel like I finally cracked the basic technique. It involves better materials than I started with, and a lot more patience and observation than I initially thought. It’s more about controlling the water and timing than just slapping paint down. Still practicing, still making muddy messes sometimes, but also getting those occasional flashes of brilliant blends that made me want to try this in the first place. It’s a process, right?
