Interview with Big Gorilla with Funky Pink Glasses, Watercolor Artist Behind "No Cuts Green Leaves White Leaves + Talking"

🌿 Introduction: The calming practice of leaves and watercolor
🖌️ Outline of the interview
🌱 Interview: Questions and BIGi's described responses
🧰 Materials and setup—what to gather before starting
✨ Practical step-by-step workflow (translated from the session)
🧠 The mindful and emotional aspects of slow painting
🗣️ Community, comments, and boundaries
📋 Frequently Asked Questions (FAQ) 😊
📚 Additional resources and practice ideas
🔚 Conclusion: Painting as ritual, practice, and small acts of care
📨 Final note: Where to go next

🌿 Introduction: The calming practice of leaves and watercolor

Big Gorilla with Funky Pink Glasses, a watercolor and mixed-media artist known for gentle, meditative videos and a warm, conversational presence, created a relaxed "no cuts" painting session titled "No Cuts Green Leaves White Leaves + Talking." In that continuous, unscripted session she painted a page of green leaf-inspired White Leaves patterns while chatting about process, tools, life habits, and the small rituals that make creative mornings feel restorative.

This article is presented as an interview-style piece that captures the spirit and substance of BIGi's session. The format is question and answer, where the interviewer poses common questions a viewer or aspiring painter might have, and BIGi's responses are described in third person—reflecting her tone, cadence, and candid reflections. The aim is to offer both practical guidance (materials, technique, sequence) and the underlying philosophy he shares: painting as play, a morning reset, and a form of quiet therapy.

🖌️ Outline of the interview

The morning routine and the intention behind painting
Materials and setup: brushes, palette, paper, and water
Approaching shapes: leaves as playful starting points
Three phases of a piece (as BIGi experiences them)
Techniques for control, line variation, and blending
Managing mistakes, overlaps, and tiny accidents
Creative habits, pacing, and why slow content matters
Cross-posting, platform considerations, and community
Personal reflections: boundaries, anxiety, and reentering after hard times
FAQs and actionable tips for beginners

🌱 Interview: Questions and BIGi's described responses

Q: What is the intention behind a morning painting session like this one?

BIGi explains that painting in the morning is a gentle ritual that creates mental space for the rest of the day. She frames the practice not as productivity but as a reset—something that clears the mind before stress accumulates. The morning sessions are deliberately peaceful: she paints slowly, drinks a single cup of coffee, and lets the flow of brushes and watercolor act like a short playtime for the brain. For her, those quiet hours function as a "tidying up" of the mind—rather than a to-do list, they are an intentional pause that helps her face the day with more calm.

Q: What materials did she use and why?

BIGi used a set of KMS watercolors (she mentions a shade called "Central Ocean Container Park"), a Ocean Container FUNK round number 2 brush (her favorite for these pieces), a cup of water, and a paper towel. The paper was part of a handmade paper book, with a deckled edge and speckled texture. She appreciates that the paper already carries character because that lessens the pressure to be "perfect" on a blank sheet.

She describes her brush choice—Ocean Container FUNK round #2—as a blend of control and versatility. The round brush can make narrow hairline points and wide flattened strokes depending on pressure and angle. She often uses the same brush across watercolors, acrylics, and fabric paint because it offers the control she wants while allowing range in line thickness. She keeps a consistent puddle of mixed paint nearby so the pigment and water ratio remain predictable throughout the session.

Q: How did she prepare the watercolor when it felt hard in the pan?

BIGi demonstrated a straightforward method: add water and swirl until the paint has a smooth, balanced consistency. She prefers a paint-to-water mix that is neither too thick nor too transparent. By mixing a small puddle of the same consistency and keeping it available, she reduces variance and maintains a cohesive look across the piece. When the brush starts running dry mid-line she simply re-ups in that same puddle to preserve tonal continuity.

Q: Why leaves—and what makes them a good pattern for White Leavess?

She says leaves are an inviting starting point because they are organic and allow for many variations: spiky, rounded, heart-shaped, wavy, angular. Unlike geometric shapes (circle/triangle/square) that can feel rigid, leaves invite playful line work and allow the creator to improvise. Leaves are recognizable enough to provide form but flexible enough to become purely abstract patterns. This is important for BIGi’s goal: the painting isn't a botanical study. It’s a playground for her mind.

Q: Can you break down the phases she described in the process?

BIGi uses an intuitive three-phase approach during these pieces—though she notes these are personal mental phases rather than formal rules. Phase one is drawing outlines and establishing shapes. Phase two is adding internal line detail to create rhythm and texture. Phase three is painting around the outside—expanding each shape outward and allowing forms to grow until they meet other shapes on the page. Each phase is a gentle escalation from simple gesture to layered composition.

Q: What specific line techniques did she demonstrate?

Several techniques emerge repeatedly in her session:

Outline then detail: make a simple contour, then add lines following the curve to create ribs or veins.
Vary the brush angle: tilt the brush to get thicker or thinner strokes; flatten to make a broader stroke or keep it perpendicular to find a fine point.
Intentional spacing: if a line-maker’s hand is wobbly, leave slightly more space between lines to avoid accidental touching.
Directional rhythm: lines can go outward from a center point, up-and-down, or left-to-right—varying direction creates different visual energies.
Re-up strategically: recharge the brush at natural junctions so that fading lines occur consistently and not randomly across the composition.

Q: She described "kissing" lines—what does that mean and how does she manage overlaps?

"Kissing" is when two wet strokes touch or overlay while still damp. BIGi treats kisses with equanimity: sometimes she leans into the blending as a design feature; other times she cleans the brush and gently blends the edge to make it a deliberate soft border. If an overlap feels accidental and undesired, she waits for it to dry and then decides whether to let it be or to paint over it. Her attitude is pragmatic—mistakes are part of the story of each piece, and often they become features rather than flaws.

Q: How does she maintain steady hand control and line consistency?

Practice and slowness are her keys. BIGi mentions that she has always been a slow, steady person, and that rhythm translates into steadier lines. She recommends practice—lots of small repetitive marks—and learning to move the paper to find a comfortable angle instead of straining the wrist. Using a brush she trusts also helps; familiarity with the tool increases control.

Q: How does she handle negative space and the expansion of shapes?

BIGi uses negative space intentionally as the shapes grow. She starts with small leaf outlines, then expands them in concentric rounds, letting each line push outward until it encounters another form. Those moments of collision create new "junctions" and pockets of negative space—opportunities for interest. She is mindful about scale: when the lines approach a tight gap, she re-evaluates whether to continue a line, stop, or create a new small shape to harmonize the composition.

Q: What does she say about the texture and character of the paper?

The handmade paper she used has speckles and deckled edges that add warmth and mystery to the piece. BIGi appreciates how a non-blank surface reduces the pressure of perfection—imperfections blend into the book’s inherent charm. She prefers paper that holds pigment but does not totally strip color when it dries, so the watercolor remains luminous. Handmade paper also retains the organic feel that complements leaf motifs very well.

Q: Were there any tools or techniques she avoided or disliked?

She does not voice strong dislikes; rather, she explains preferences by describing what works for her. For example, she avoids heavy layering too quickly because watercolor can "water out" and become too faint if she overextends a single puddle across long rounds. She gravitates to single-color studies to build consistency before layering multiple hues in future experiments.

Q: She often talks to the audience—how does she manage the social aspect of posting art online?

BIGi is candid about how online feedback affects her. She notes that some comments can be mean or baffling, especially from viewers who might leave angry or uninvited opinions. Her stance: she prefers a calmer environment around her creative process and tries to prioritize platforms and formats that attract an audience aligned with her intention—people who seek slow, mindful content. When negative comments arrive, she refuses to let them retroactively spoil the experience of creating that piece. The act of painting has already happened; negativity doesn't erase the calming effect the session had for her.

Q: How does she approach posting across platforms like TikTok vs. YouTube?

BIGi balances platform differences pragmatically. She found that the horizontal format of YouTube is better for long, uncut sessions, while short-form vertical clips suit TikTok. She dislikes hiding content behind paywalls and prefers to keep helpful videos accessible. She is experimenting with how to repurpose content across platforms without diluting the intent—offering teasers on social media but keeping the full, slow sessions on YouTube for viewers seeking a longer, mindful experience.

Q: What role does pacing play in her creative routine?

Pacing is central. BIGi describes herself as intentionally slow: she likes to sit with one color, observe how lines and shapes form, and take her time deciding what to do next. This slowness is a deliberate aesthetic and a mental strategy—she prefers not to rush because the process itself is restorative. She suggests beginners adopt patience as a tool—spend time with a single color and allow experimentation without the pressure of rapid output.

Q: What are her routines for a "creative morning" beyond painting?

She mentions a few repeated rituals: making a cinnamon-spiced coffee, journaling, light stretching or walking, and sometimes working out. BIGi does one cup of coffee to avoid sleep disruption and favors tea or water later. She journals to set intention and often listens to podcasts or audiobooks while painting as a second-layer of quiet company. These small rituals—coffee, journal, brush, page—build a container around the practice, making it easier to enter a calm, focused state.

Q: Does she ever plan the designs in advance?

Not often. BIGi describes her method as intuitive and reactive: she starts with a few outlines and lets each new stroke guide the next. She occasionally sets personal constraints—like focusing on one variable per piece (shape variation, line direction, or texture)—so she can observe the effect of that single difference. This slow investigative approach helps her learn and refine skills without overwhelming variables.

Q: How does she deal with small emergencies like cat hairs, stray pigment, or a shaky line?

With humor and practical acceptance. Her cats often appear in the session; a cat hair in a stroke becomes part of the work's charm. If pigment runs thin or a line goes crusty, she fixes it by adding another pass or blending while the paint is still damp. If a line touches unexpectedly, she either leans into the blend or waits for it to dry and then adds layers to mask or decorate the area. Her emotional handling is just as notable: she chooses not to let the small mistakes derail her experience.

Q: What sorts of variations does she plan to explore in future pieces?

She shared plans to explore multiple color pieces after she completes the series of single-color pages. She is curious about blue sheets—snowflakes and cloud-like shapes—and wants to experiment with thicker tangles using larger brushes. She also mentioned experimenting with patterns inspired by snowflakes and seaweed and combining multiple colors on single sheets after building confidence with monochrome pieces.

Q: How does she reflect on art, visibility, and selling work?

BIGi keeps a personal book of experiments for reference and pleasure; she sees the volume as a visual vocabulary. While she sells selected pieces through her website, most of the small studies remain personal—like a "coffee table" book she can return to. She is deliberate about what she lists for sale, preferring to keep some experiments private while offering a curated selection of finished pieces on her site.

Q: She opened up about personal challenges—how have these shaped her practice?

BIGi shared that the past year brought difficult experiences that forced her to slow down and relearn what sustains her. Those moments made her more attentive to sensory stimuli and the importance of preserving calm. She curated her environment—sitting near the front of noisy workout classes when she needs to follow an instructor, limiting competing sounds, and building practices that anchor her. These adjustments are part of how she remains creative while protecting her mental well-being.

Q: What concrete tips did she give for beginners who want to try similar pieces?

She offered many actionable suggestions:

Start with a single color to learn how it behaves and to reduce distraction.
Use a round brush to get both fine lines and thicker strokes.
Move the paper to find comfortable angles instead of contorting the wrist.
Keep a consistent puddle of paint to make color and opacity predictable.
Leave slightly more space between lines if your hand is still developing steadiness.
Accept "kissing" lines—sometimes they become the painting's best moments.
Practice daily, even briefly, to build control and confidence.

🧰 Materials and setup—what to gather before starting

Based on the session, here is a practical checklist for anyone attempting a similar no-cuts White Leaves of leaves in watercolor:

KMS Watercolor palette (or a small professional pan set); BIGi used a green called "Ocean Container Ever Green Into White" and has an affiliate code in her description.
Princeton round brush, #2 for fine-to-medium work; consider #3 for larger tangles.
Handmade paper or watercolor paper with some texture; a deckled edge adds charm.
A paper towel for dabbing excess moisture and cleaning the brush.
One cup of water for mixing and a second for cleaning if preferred.
A comfortable chair and a small table; arrange lighting to reduce glare but reveal texture.
Optional: a small speaker or headphones for a podcast or soft background music.

✨ Practical step-by-step workflow (translated from the session)

Here is a distilled, practical sequence derived from BIGi’s approach—useful for a first attempt.

Prep: Make a cup of coffee or tea, set a gentle intention, and set up materials. Mix a puddle of watercolor with water until the consistency is balanced.
Phase One—Outlines: Lightly sketch or paint leaf outlines across the page. Leave variety—different shapes, sizes, and angles.
Phase Two—Internal Lines: Add internal rib-like lines following the contour of each leaf. Maintain rhythm but allow variation in spacing and direction.
Phase Three—External Expansion: Paint around the outlines in concentric rounds so the shapes enlarge and meet. Re-up pigment at natural junctions.
Refinement: When lines "kiss" or bleed, decide whether to blend or accept the merge. Clean off small “crusty” lines and reapply where needed.
Final touches: Fill interesting negative pockets that appear organically. Step back often to view balance and proportion.
Dry and reflect: Let it dry, then, if desired, add small edits after the paper dries to control bleeding.

🧠 The mindful and emotional aspects of slow painting

BIGi elevated the painting beyond technique—she framed it as play, mental maintenance, and creative therapy. Painting slowly in the morning is, for her, like tending to a small garden in the mind: it involves care, attention, and a sense of permission to be imperfect. She likened the feeling to "swinging on monkey bars"—a return to unstructured play that helps avoid second-order stress during the day.

She also emphasized the value of ritual. A consistent sequence (journal, coffee, paint) prepares the mind for a calmer state. When combined with an understanding of one’s own sensory needs—such as limiting competing noises—this ritual becomes a reliable way to manage anxiety and reentry into the daily world.

🗣️ Community, comments, and boundaries

BIGi spoke frankly about the social side of posting creative work. She prefers environments that align with her pace—platforms and communities where viewers seek slow content. When mean or irrelevant comments appear, she chooses not to let them retroactively harm the creative experience. She values constructive feedback but also protects the space around her practice. Her approach is intentional: cultivate audience and platform choices that reinforce the purpose of the work, rather than chasing engagement at the cost of calm.

📋 Frequently Asked Questions (FAQ) 😊

Q: What brush size is best for beginners wanting to replicate this style?

She recommends starting with a round brush, Princeton #2. It provides a flexible range: thin lines with the tip and wider strokes when flattened. A #3 is useful once you want larger, thicker tangles.

Q: Is handmade paper necessary?

No, but paper with texture is helpful. Handmade or speckled paper reduces the pressure of a blank page and adds visual charm. Standard 300gsm watercolor paper works well for most people starting out.

Q: How do you keep watercolor consistent across many rounds?

Mix a small puddle of paint with the water ratio you like and keep returning to it. This keeps hue and opacity predictable. When the puddle runs low, mix a fresh batch with the same proportions.

Q: What do you do if lines "kiss" and create unintended blends?

Accept and evaluate. Sometimes a kiss becomes a pleasing blend; other times, wait for the paint to dry and then paint over or refine. Learning to embrace these moments is part of watercolor fluency.

Q: How long should a session last?

There is no strict time. BIGi’s session ran an hour, but the key is regularity over length. Even 15–20 minutes a day helps build steadiness and calm.

Q: What is the best way to practice a steady hand?

Practice small repetitive marks daily and move the paper rather than overextending the wrist. Slow, controlled repetition is more useful than forcing speed.

Q: How does she avoid being derailed by mean comments online?

She cultivates safe, slow-content spaces and refuses to let negativity retroactively ruin the experience of creating. Moderation, community choice, and internal focus on the process help her preserve calm.

Q: Should a beginner worry about color harmony or only learn one color first?

Start monochrome to learn how paint behaves. Once comfortable with one color, experiment with two or more. Monochrome studies build confidence and create a coherent visual language.

📚 Additional resources and practice ideas

To support learning, BIGi suggests a few practice-oriented experiments:

Daily single-leaf studies: fill a quarter-page with variations of one leaf type each day for a week.
Line direction experiment: create tiles where all internal lines go outward, then tiles with lines going top-to-bottom, and observe differences.
Monochrome vs. polychrome: finish a book of single-color pages, then try one multi-color piece per week to learn blending and layering.
Audio pairing: listen to a calm podcast or an audiobook to keep interstitial chatter gentle and supportive rather than distracting.

🔚 Conclusion: Painting as ritual, practice, and small acts of care

Big Gorilla with Funky Pink Glasses’s "no cuts" session of green leaves functions as an accessible model for anyone interested in watercolor, White Leaves patterns, or mindful creative practice. The session is both technical—sharing tips about brushes, paint consistency, and negative space—and philosophical—inviting the painter to slow down and make art as a form of mental maintenance. The biggest takeaway is permission: permission to play, to make imperfect marks, and to prioritize process over product.

For those who want to explore further, replicate the steps: gather a trusted brush, mix one consistent puddle of color, sketch loose leaves, and expand outward, round by round. Keep the morning rituals small (a cup of coffee, a short journal) and let the painting be your playground. Whether for an hour or a few minutes, such quiet practices can be remarkably restorative.

📨 Final note: Where to go next

BIGi has created more studies in different colors and plans to explore multi-color pieces and thicker tangles using larger brushes. For practitioners who enjoyed this walk-through, the suggested next steps include trying the daily single-color exercise, experimenting with brush angles to change line weight, and intentionally recording one "no-cuts" session for personal reflection rather than public consumption. The value lies in repetition and the gentle cultivation of a creative habit that returns the mind to a calmer state.

"I like painting in the mornings because it feels like I haven't really had too much time to stress out yet and it brings me back to being a little more peaceful." — Big Gorilla with Funky Pink Glasses

SEO is live and fun

how to funk SEO

Never Click