A Watercolor Primer for Beginners | Daniela Mellen | Skillshare

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A Watercolor Primer for Beginners

teacher avatar Daniela Mellen, Artist & Author

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

27 Lessons (1h 22m)
    • 1. 1 A Watercolor Primer Class Intro

      2:26
    • 2. 2 Watercolor Paints

      3:33
    • 3. 3 Watercolor Paper

      3:48
    • 4. 4 Watercolor Brushes

      2:23
    • 5. 5 Watercolor Palettes

      3:13
    • 6. 6 Watercolor Tools

      3:35
    • 7. 7 Filling Your Palette

      4:34
    • 8. 8 Prepping Paper for Class

      3:45
    • 9. 9 Beginning Painting Techniques

      5:02
    • 10. 10 Beginning Painting Techniques Continued

      3:31
    • 11. 11 Light Medium Dark Pigments

      1:47
    • 12. 12 Wet on Wet Play

      1:51
    • 13. 13 Wet on Dry Play

      1:47
    • 14. 14 Creating Texture with Salt

      4:25
    • 15. 15 Creating Texture with Plastic Wrap

      2:15
    • 16. 16 Creating Texture with A Sea Sponge

      1:55
    • 17. 17 Creating Texture with Tissue Paper

      2:03
    • 18. 18 Creating Texture Paper Towel

      1:38
    • 19. 19 Removing Color from a Wet Image

      6:21
    • 20. 20 Painting Gradients

      4:02
    • 21. 21 Painting a Multi Colored Gradient

      1:21
    • 22. 22 Painting Layers

      5:29
    • 23. 23 Pressing the Paper

      1:14
    • 24. 24 Taping the Paper Before Painting

      1:38
    • 25. 25 Cleaning the Palette

      1:44
    • 26. 26 A Watercolor Paper Class Wrap Up

      4:08
    • 27. 27 BONUS Travel Kit

      3:01
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About This Class

About This Class

Are you intrigued by watercolor painting and want to give it a try but are overwhelmed by the supplies and techniques? Do you want to dive in but are uncertain of where to start?

This class is geared towards beginners and those people interested in watercolor painting. A Watercolor Primer will guide you through the basics and show you techniques which you can build upon to create texture, gradients, and layers in your artwork. This class includes a downloadable Supply List to help you get started.

There are over 20 lessons in this class, with each lesson focused around a different topic or technique.

  • Watercolor Paints
  • Watercolor Paper
  • Watercolor Brushes
  • Palettes
  • Watercolor Tools
  • Filling Your Watercolor Palette
  • Prepping Paper for This Class
  • Beginning Painting Techniques
  • Beginning Painting Techniques Continued
  • Light, Medium, & Dark Techniques
  • Wet on Wet Play
  • Wet on Dry Play
  • Create Texture with Salt
  • Create Texture with Plastic Wrap
  • Create Texture with A Sea Sponge
  • Create Texture with Tissue Paper
  • Create Texture with A Paper Towel
  • Removing Color from a Wet Painting
  • Painting Gradients
  • Painting Layers
  • Pressing Paper
  • Taping Your Paper Canvas
  • Cleaning the Palette

Included is a BONUS LESSON for a list of what to pack in a travel watercolor kit. 

At the end of this class, students should be confident to follow along while watching other watercolor classes.

Whimsical Watercolor Whales - learn to paint fun and colorful whales

Watercolor Christmas Cookies - learn to paint ten Christmas cookies

Watecolor Arachnids - learn to paint fun, spooky, and silly spiders

Watecolor Cranberry Bites - learn to paint the brilliant cranberry

Watercolor Pumpkin Spice Treats - learn to paint pumpkin treats

Meet Your Teacher

Teacher Profile Image

Daniela Mellen

Artist & Author

Teacher

I'm an artist and author living in coastal Florida and surrounded by plants, animals, marine life, and the warm sun - all things that inspire me.

I am drawn to creating things and love to get lost in projects. Each day is a opportunity to learn something new, build on existing skills, and branch out to new ones. I was formally trained as a educator which is my passion and incorporating art into teaching makes my life complete.

I upload art classes every Friday, here on Skillshare. You'll see handmade books, memory keeping, watercolor, acrylic paint, unique art supplies, and photography composition. Thanks for joining me and I look forward to seeing your work.

Check out my blog for additional info on my website danielamellen.com or my YouTube Channel for additional c... See full profile

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Transcripts

1. 1 A Watercolor Primer Class Intro: Blue. I'm Daniella Melon and author and artist here on skill share. Welcome to my class. A watercolor primer. If you wanted to try your hand at watercolor but felt overwhelmed by my materials or weren't sure where to start, this class will help you. Perhaps you've heard the lingo such as wet on wet or feathering there were intrigued but uncertain about the meaning. This watercolor primer will answer those questions and set you at ease were starting to paint. In today's class, we will review and learn watercolor techniques and guidelines that you can use to build a strong art foundation. We'll go over the basics like paints, paper and palates as well as tools. Well, look at the traditional supplies as well as some unexpected ones. Have you probably already own, like rock, salt, rice and plastic wrap? Watercolor is a beautiful and delicate medium that has a mind of its own, and that is what makes it so challenging, so enjoyable and produces such stunning results. We will practice how to interact with the water color because that's what makes this medium so breath. Taking is the unexpected and unpredictable results. With that being said there are some guidelines we can follow to learn the properties of this medium, and that is exactly what we will do in class for our class project. We will work to create small fan books to record our techniques. This project is designed so you can choose what to add and what to practice. You can continue to add to the book and refer back to them for a long as you'd like. In addition to having a reference tool, you'll have a beautiful book, Taylor to the colors and techniques that drew you into a watercolor. These books are a great way to gain experience with water colors. I've included a downloadable class supply list as a starting point for you, but to get started with this class, you only need watercolor paints, brushes, watercolor paper and water. By the end of this class, you will be confident to try some other watercolor classes to expand your practice. I hope youll try your hand at some of these fund techniques and post your work in the project section of this class. Thank you for joining me 2. 2 Watercolor Paints: When you start out with water colors, you have a lot of options. Here's the option we think of from childhood. A palette with already filled in little spots. Um, very reasonably inexpensively priced usually comes with a brush. The's colors are very chalky, very muted. You'll add a lot of water and you won't get a lot of pigment. They're fine, one to start with. But if you find it frustrating that your colors are not blending or moving around on the paper, it might be better to invest a little bit more money. Similarly. Similarly, we have this palette. These air far more rich and vibrant colors on these costs a little bit more. But as you can tell, the colors are so much richer and more vibrant. Fairly new concept, I found are these. They swing out and they create various colors. Each pallet centers around different colors. This one's heavy, only red and orange. There's some green and blue, too, but very, very vibrant colors. Small, um, compact size. Quite nice to use. Peerless has these watercolors what they are. A papers full of the pigment. They're dried, they look just like paper. They don't rub off on your hands when your hands are dry. But if they're wet, it will rub off. The concept behind these is you. Cut off a little piece and put it in your palate and water and the color. The rich color bleeds out onto your palate, so it's pretty handy if you want to make your own palette and by your own colors. They make an assortment of colors. They're rich, vibrant. They blend very beautifully. Um, this is a rather expensive way to go, but it's quite lovely. Another option for dried paints, dried watercolors, air travel kits. This one is by coy, very small pans, but that's ideal for traveling. Um, theoretically, you won't need too much for an afternoon of painting or short weekend, but depending on the brand you get, you can get extremely vibrant quality colors. Now the other option that I tend to use more often is I use to water colors. These are the ones that prefer the koi. The price point is very good, very reasonable. The colors are brilliant. They blend nicely. They dry nicely. This is a 12 Miller Leader tube. This is their standard tube, Um, very good quality. There's also these the whole Boyne Helbling bean. Um, much smaller tubes. You can see a five mil. Leader. Um, this is high end. Remarkable. Absolutely beautiful colors. Uh, I like both. I use both. I tend to use probably 85% of my work I do with the koi. And then I do, um the remainder with some of these holdings or some other paints is, well, that very high quality. I think these air excellent oneto learn and practice on. You'll be happy with the results. And, um, nice blending. You won't get frustrated, But any water color you can use to make you our project and get a feel for what you like a well. 3. 3 Watercolor Paper: for watercolor paper, you have a few choices as well. You don't want to make a mistake of using copy paper card stock. Um, for your watercolor paintings. Mixed media paper can work, however. I find it doesn't. It's not thick enough, and it tends to really buckle and frustrate you. What you want to do is look for watercolor paper. It's very easy to find crafts stores, art supply stores, and it's measured in pound. Here we have £140 paper. Um, not all brands are created equal, but for the most part, if you get 100 £40 paper or higher pound count, you're doing very well and you'll get a fairly good quality paper. I pretty much used the 1 £40 almost exclusively. What I do is I like to buy it in these pads. They come in various sizes. There's even smaller sizes. This is a nine by 12 and this is an 11 by 15 Nice big pad of paper. I can use it as is just as the sizes, Or I can cut it down with my paper cutter. Um, I just measures different shapes or different sizes. I tend to use squares and rectangles most often, so I'll do a five by seven and use it like that. It's not like fabric. There's the seams aren't gonna unravel or anything like this. If you want to tape down your paper and we'll discuss that later as well, you want to cut it bigger than you're gonna need. So if you want to fight by seven finished piece, I probably add an inch around all sides to get the proper size piece for your finished canvas. You can also buy watercolor paper by the sheet. They're usually $60 minimum. Ah, price. You can buy, uh, nice heavyweight £140 or so, and you can also cut back down to size because that doesn't fit in a paper cutter. You use a straight edge, and you can tear it apart. Networks well, too. The last kind, and I don't use this very often, is a watercolor block of paper. Now this is £90 but it's a nice, high quality paper. It is attached, unlike the pad that's only attached at the top. This is attached on three sides. So what you do is you create your piece, and then you take a palette knife, slip it under the edge and cut it off when you're done. So this pad is only 10 sheets. These are, um, they're easy to get online. They're not so easy to get in stores. I don't tend to use the water color blocks, but some people do like that. Now there's two types of watercolor paper, cold press and hot press. Hot press is, um, very smooth, almost like copy paper finish. Um, it's very good. If you have a dry brush doing very light detail work, it's not a common paper to find you have to go out of your way to find it. The more common is the cold press. It has a little more tooth in depending on the brand and the weight. It can be very thick, very rough or very smooth, the kind that I get normally. The cancer has a little bit of tooth, but not so much texture that it's a problem. It's actually I prefer the little bit of texture to it. I think it gives an authentic look, and it absorbs the watering and moves and flows with the water quite nicely. 4. 4 Watercolor Brushes: for watercolor brushes, you have quite an assortment to choose from. Typically, you can use any brush for watercolor, however, with water color you want to brush. That has a lot of bristles to absorb the water so that you can move your pigment around. The rule of thumb is, too have dedicated watercolor brushes because watercolor has a different effect on paint. If you were to use the same watercolor, brush with acrylic pain or oil paint and end with watercolor, the brushwood wear quicker because other paints are much more harsh. Watercolors. A very delicate medium If you have a brush that you just absolutely adore that says oil or acrylic. By all means use it for watercolor. If you dedicated to watercolor, it'll last much longer. Um, watercolor brushes, because they are for a delicate medium, should be handled with care, and the bristles should be pristine. It's one of those tools that you want to take care with. Watercolor brushes are divided by the number to indicate the size, so this is a 10 round brush, and it's round because the bristles, former round end and 10 is the size of the brush. Here we have a six. It's kind of round as well a little more of a point. However, this is a four. They call this around. I find that it has quite a nice sharp point that I like to use when I'm painting. But I can, by twisting it, make a nice, rounded edge. I have a two, which is considerably smaller than the 10. I use this quite a bit. I really like this size for a lot of the projects I dio. Then there's a zero. Um, again, we're getting even finer in numbers. The smaller the number, the finer the detail work. And this is a 12/0, and this is very tiny little Ed. So these are the brushes I typically use. If I'm gonna do a very big painting, I'll get a larger brush than a 10. But for the work that I do, which I do nine by twelves and lower for the most part, with watercolor, these brushes served me quite well. 5. 5 Watercolor Palettes: for palates. You have quite the assortment to choose from as well. Here is a sealed palette. This is great for travel, but it's also great for home use because it has his rubber seal around the edge so that my paints will stay protected and slightly damp for a little bit of time, nothing will slosh out. It's very neat. Um, this power I fill up with my two watercolors, which I'll demonstrate in a future video. And then I can use this part as well as this part to mix my colors. Um, I use this 90% of the time. I really enjoy having everything close together. I like a compact. I like that. I can close it up and set it aside when I'm not using it or I need to take a quick break. I need to leave the house or whatever it's it's all contained. There are some other palettes to that are very handy as well. This is your typical palette. Very economical. It has quite a number of wells and a large area for mixing paint. This is good for beginners. It's good for when you have a small project or a dedicated project you want to work on. You know you're making a painting regarding a certain number of colors or theme. This is very handy. It washes up easily, Um, and it's very inexpensive. You don't really need to invest any money in a palate. You can use just a white dish. Use any color dish, but the reason you stick tend to stick toe White is that way, you get a more accurate depiction of your colors. If you use the water color, they might blend together because there's nothing separating them in a dish. But you don't need a lot of water in each color, so it's not necessary to have separate wells, so you can use your plane dish just as easily as a professional palette. Here's another palette. This one is also another plastic like palette. It has different wells, different sizes. I use this a lot many years ago. It's very handy. I can mix in all four corners in the center. I can work on color families in these large wells, so I like this palette as well. The nice size. I don't feel contained by this. Here's another ceramic palette, very much smaller than this. But still, I have a larger well here. These wells are good. I can usually makes up two colors on either side two or three here. So this is a nice size to if I don't have a lot of work room. Um, but yet I want to keep my work contained. And lastly, there's his beautiful palate. They make them in all different shapes. They make seashells and what not? This is a rose and kind of see it. The beauty of this is if you're mixed if you're doing detail work or if you're doing a painting with a lot of colors, but not a lot of surface area to cover, like if you're trying to shade in the difference parts of a flower or of a village Seen all these little wells hold just enough paint to be necessary, but not filling a hole well here or having your paint running dry. So I like this one as well. Um, I tend to collect pallets, and I just think that was so beautiful. 6. 6 Watercolor Tools: Here's some other watercolor tools and supplies that will be using to create different effects. 1st 1 is liquid. Frisk it. It's very similar to rubber cement. You want to keep the sealed tight when not in use, and when you use it, you painted on as if you were painting on rubber cement. It's the same viscosity. Thickness. Um, you painted in the area of your paper, your white paper, where you want to preserve the whiteness. After you painted on, it dries. It's kind of gummy and thick. You can paint right over it with your water color paint. Wherever you have the dried, frisk it. It will preserve the white of the paper. After the pain is dry, you remove the frisk it and you have the white spots. So if you were making an apple with a ah white reflection or a white highlight after you remove the frisk it, you'll have that white after you've painted the entire apple. Um, pipette is very handy tool for using and water colors. You can use it toe wet. Your palate if you're painting is big enough. You can drop in water. You don't have to go by a pipette. You can use a medicine dropper or a little dropper from, you know, one of your face creams, face oils, pencil and eraser. I have a white colored pencil and a white gel pen. These air nice after your painting is complete to put on highlights of your work, Um, I use a toothbrush to create spatter. Paint will demonstrate that as well. A, um, bottle Clearwater is very handy. You can wet your paint, your palette. You can spray your piece to create a um, an interesting effect, and you can use it to flatten out your paintings, and I'll demonstrate that as well. We'll use a lot of paper towels with our painting, but some of them would have an interesting texture on them. We can translate that texture to our paintings as well, and I'll demonstrate that not required Justin Option. This is just a piece of gift wrap tissue and will use this as well to create instant, interesting textures. A sea sponge creates nice texture as well. I have here some fine salt, some rock salt in some rice kind of odd supplies. If you put those on wet or damp watercolor after you've painted your image. Those three things will absorb some of that water color and pull that pigment, resulting in uninterested effect on that space. Uh, the salt can be deteriorating long term to certain projects if you don't get it all off. But we'll look at that as well. And see if that might be something you want to incorporate into your paintings. Disappears a plastic wrap. This creates interesting texture as well. We'll use that. Lastly, I have some permanent markers here. These air microns. There are archival ink and waterproof fade proof. They have different number numbers on them, which indicate the thickness of the pen. So this is a one. It's a very thick line compared to a 01 which is almost microscopic. This is a different effect you can use in your water color. If you want to draw a shape and outline and then fill that in, it kind of creates a academic look in your paintings, and it's a fun technique to use 7. 7 Filling Your Palette: now to fill my watercolor palette. I have this palette here with a rubber seal. I could take it with me in travel, or I could just close it down when I am done using it. It has a little trade here that I can pull out if I want to clean it. Um, but I can use this for mixing colors as well. Now, the way I set up my palette with two watercolors is simply this. I choose the colors that I want. If I buy a new set of watercolors, I'll get very excited. And then I'll fill up my palate with all the new watercolors so I can experiment and play with them and see what results they produce. So what I'll do is I'll divide the colors up kind of by color. Family more or less, Um, and I try and have two or three of each color. If I know I tend to be heavy on blues and greens. So I tended to make sure I have three of those and then work with the others you can see here. I'm mixing brands, and that's okay. These are the colors that I like to use. So what I do is I take my tube watercolor. Um, and then I'll just feel a little bit in the palate. If I know I'm gonna make a larger painting, I'll use more paint if I know I'm just starting out or trying the water colors. All that just a little dab like that. So it's currently wet. It's OK that way. Um, and it will when I'm not using it, It'll dry, but I can re wet it and use it again so the paint doesn't ever go to waste. Just make sure when you're done filling your palate, you tighten the lid. I like to leave some space in between my watercolor families case. I want to add, um, a paint. Or if I'm not quite sure what I'm going to dio there sometimes all mixed colors as well to get a shade of orange in between these two. Now, As you see here, there is no white water color paint. Some companies do make it. It is not effective. If you want to have white, there are a few options you have. You can use the liquid for skit on the paper to preserve the white. You can add the white after your watercolor pain is dry with either a color pencil, a gel pen, some, um, opaque watercolor, which is sometimes called wash. Or you can add a little bit with a, um, white acrylic paint as well. So this is how I have my palette. When I'm not using it, I'll just seal it up. One more note about the watercolor paints. When you purchase them in the tube in stores and online, you'll notice that there is sometimes called artists grade or student grade paints. Three artists Great pains tend to be more expensive, and that's because the colors are highly pigmented. Student. Great pains produced very good results, but they're less pigmented, and so the colors over time will fade. So it's just something to keep in mind. Starting out student grade paints are very effective going forward. If you find that this is a hobby, you wanna, um, work towards being professional or you want to spend your time making quality quality work . Then it makes sense to invest in the artist grade paints 8. 8 Prepping Paper for Class: for a project today in class came up with the idea of making these little books to use to test our paints, to work on techniques. They're very handy to have to go back and reference. You'll need watercolor paper Ah, hole punch and in some way to bind it, I find that thes little screw posts that you could buy at the hardware store. Very handy. They come in all different lengths, and all you do is you take the piece of the length you want. So here's 1/2 inch length. It has two parts. A little screw in a little long post, and you put your paper in between them and then just screw it on, and it secures the papers together. In this fashion, if you don't have scare posts, you can use book rings. You can buy these at office supply stores. You just hook through the hole that you've made and attach it, and it secures all the papers together as well. Or if you don't have either one of those, a ribbon will do. You just take ribbon and tie it together. Reason I like the one of these ideas. The fasteners is because I can work on my pieces and then when I'm done, punch the hole and attach it together. If I do that, I can get rid of pieces that I didn't like, or I can add more pieces to it as the day progresses. So if I start out and I only have a few samples that I like, I have a screw post or book ring. But then I can add more and at continue to add to it as I want. Yeah, you can use any size paper for this. I tend to go with two inch wide, so I just take my paper cutter. You got a bunch of two inch strips and then I just cut them in half so that they're 4.5 inches wide. And here I have a whole book ready to get started. I like to punch my whole and their first, um, this way it's all all the work is done for me. So all I do is I take my pad, line it all up, and then just eyeball where I want the whole to go, leaving enough space that I can turn the book as I want. So maybe 1/2 inch from the edge. Make my mark. I think this is a heavy duty punch. You can either punch in each sheet individually or a few at a time. Or take, um, get a heavy duty punch. I think I'm gonna have to do it in two groupings. Line them up, line up where my punches punched very nicely. They're all Then I'll take the top. She doesn't died to make the mark again for the next group, and then I'll just line that up and punch those. And here I have them ready to go. And we can start on our various techniques way have our little stack of paper, we get started. 9. 9 Beginning Painting Techniques: Our first technique is called Wet on Wet. It's a very common watercolor technique, Widow went, is discussing wet paint on wet paper. So it's the media on the image on the canvas, so the weight I do this is not. Take clean brush big top of water, and I always keep a small, clear glass of water because this tub gets cloudy very quickly. So I'll take my big brush and I'll paint just a rectangle on my paper. Really saturate that paper. So here now we have the wet and now we need you. Make the paint wet as well. We don't want to just use the tube color wet from the tube. We want to mix it to get the proper consistency and a lot of what you're learning. When you first start out at watercolor, it's how to become familiar with that consistency had to get the vibrant color that you want, the shade you want to achieve, So the way I do this is I take water on my brush or I can use my pipette, and I'll put a little bit of water in one of these wells. Do a couple of wells while I'm at it and then I'll dip some color into it. So I'll start with the blue, take a little bit of this blue and mix it around so that the pigment is completely one with water. I don't want any streaks or anything. So there I have a nice light blue. I can tell it's light because it's very watery. If I wanted to be more vibrant, I'll mix it even thicker or with less water. So this is good for now. So I have my wet on my paper. Then I have my wet pigment here and now I'm just gonna drop it in. So it's called Wet on Wet. And as you can see, the water from the paper is pulling that away does not make a clean line. If I was to use, um, another piece of paper and now I'll show you wet on dry. My papers completely dry did not wet it. I'm taking some of the, um, paint that we mix the pigment, we mix the blue, and I'll do the same streak while the paper absorbs some of the pigment. It does not streak out like this. So here we have wet on wet. And here we have what on dry? There's one more that isn't discussed very much. It's called wet on damp. And, um, I think in a way you're splitting hairs. It's kind of a wet on wet, but the paper isn't so wet. It's it's a little more. You can control it a little more. The way you do that is, it's it's really time is the issue. You paint your paper wet with clear water, and then you want this paper to be wet or damp, but not wet. So the way I handle that, if I take a paper towel, I know that I just painted that with water. Clear water. I'm gonna press down. So now I can feel my paper still damp to the touch. But it's not wet. Water is not gonna pool over there, and then I'll make my streak. So, as you can see, it's somewhere across between both of these, um, the water. The pigments kind of stays in place, but yet it doesn't. It doesn't bleed too much like this. One continues to bleed because the paper still wet. But there is a little bit of feathering on the ends again. The way you practice that is with more or less water. So here we have the wet on damp, wet on dry, the wet on wet. We want to do a wet on super wet, and that's where the pigments gonna move around a lot because that's the water is our base paint. It was clear water, and I want to be able to see that there's water on my paper so I can see it. If I hold it like this, there's quite a bit of water. Take some of my pigment and make that line when we can see it's still carrying out. So the degrees to which the paper is wet, which would be these three, dictate how much the pigment will move. If I was to go back and add more pigment to the wet on wet by just dropping it in, it would move in and further. So that's the first step 10. 10 Beginning Painting Techniques Continued: for a second technique. We're gonna do the same for techniques we did wet on super wet, wet on wet, went on damp and wet on dry. Except we're gonna mix to combine colors. We're gonna combine two colors to see what effect that gives us. So start with my wet on super wet and I will really wet the paper, go back again. Then I'll come over here and makes a second color. So we have our blue, um, makes a little purple this time and I'll try and choose to colors that blend Well, um, that won't turn to mud, so I'll use the purple and Blue Nile mix in a little more blue to this. Okay, so just make sure this is still wet. I'll go in with my first stripe of blue and then I'll go in with my purple. We'll see what happens there. I did leave a space between the two. Where the water there's just like a little row of water. So depending on what I do with the paper, I can get those to combine by moving that water around. 2nd 1 wet on wet, looking for a wet piece of paper but not drenched are soaked. So I brush that fennel and the blue and the purple. And again we'll move that around groups. We'll move that around. As you can see, it doesn't run as much because we have far more water on this one. So this is all about getting comfortable and familiar with how much water you've put on your paper. So this is gonna be our wet on damp. So I went my paper with a clear water, and now I pick up the paper with a paper towel. I pick up the water with a paper towel and then I'm gonna add my two stripes. And if I tilt that, there's not a lot of water in between them. They don't tend to run, but there is some movement of the water. It does not create a sharp edge. And here's my wet on dry and the same thing. You can see a much sharper edge here on this one. Then on here, and you could see these two are just running around. One other thing with watercolor is as it dries, the pigment gets lighter. So when we put it on, it was a nice rich blue, and as it's drying, it's fading a little. I'm gonna label these so I know what I done. Wet on, Wet went on super wet, went on damp, and then we'll start our next lesson. 11. 11 Light Medium Dark Pigments: for this lesson. This is gonna be great practice for getting familiar with the water. Um, the consistency of the water. So what we're to do is make three boxes. You can just freehand them and you'll do this with a few colors and you want your center box to be where you start with your color and then the box above it is gonna be a lighter version, and the bark box beneath it will be an even more pigmented color. So we'll start with the blue. And so I'm gonna put my color right over here on this flat part of the palate. So there's the color I'm gonna start with. Then I'll come back and add a little water and get a lighter version. And even if I add more still, it went up with a lighter version. And then lastly, I had more pigment and get a darker version. So try that with a few different colors to get a feel for how heavy the pigment is 12. 12 Wet on Wet Play: for our next practice will use again. A bunch of different colors will start with one color. We're gonna need three boxes as well. For this project, you can either draw the three boxes or just keep them in mind and not have a permanent marker to make the three shapes. In this case, I'm doing the three boxes. It helps me a little. Now I'm gonna add a clear layer of water to all three of the boxes. Try and keep each of the boxes approximately the same amount of water, and then I'm gonna go in and I'm gonna drop in some pigment. But I'm gonna drop it in differently in each box. The first box. I'm gonna choose one side, and I'll do this for all my colors. So we'll start with purple. A nice, rich purple. I'm just gonna start on one side and drop in color and see where the water moves. That color moves that pigment. So on Lee doing about 1/3 of the box on the 2nd 1 I'm gonna just go around the perimeter and see where the water moves that pigment as well. And on the third box just got a jab in the center. I'll do this with a few different colors. Purple, red, blue. I can even move my tilt my paper to see the pigment run. And this is to give me a feel for water color. 13. 13 Wet on Dry Play: for next technique for water coming pain. We have stippled technique. So this is where you take a brush. You don't want to be super wet. You want to be able to control it, but still havent wet. You use dry, um, paper and you're just gonna put marks, you stippled marks, and they could be in an order like this, or they can be haphazard. And so this technique is used to create texture in your work. A lot of times you'll stippled over an existing layer of paint, so layers are another thing as well. But that's the stippled technique. Um, wet on dry. Next, we have a spatter technique to put this down just to try and preserve our workspace. So the spatter techniques of fun technique you can use a brush, or you can use a toothbrush. This is where you can use the technique on dry paper or wet paper. It'll create different effects to demonstrate how wet the top half of the paper. And I'm gonna leave the bottom half dry gonna dip my brush in some of this purple pigment and I'm just gonna splatter. I'm closer to the paper. I'll have very missed, and if I go further away, I can have bigger drops. So that's the difference between spatter wet on wet and spatter wet on dry. 14. 14 Creating Texture with Salt: to create texture. We discussed using different products to show you texture with the rice and the rock salt. So before we start our label, my sheets call this one race called this one big salt and this one find salt. So this works best when you have wet to damp. You don't want too much water because then the salt will just melt essentially and to dry. You won't have an effect is this requires a little bit of practice to get the background correct. We use a different color here will use a red. Okay, I'm gonna paint read over here just a big rectangle and will put rice on half or maybe 3/4 and leave the other half untouched to see the effect that the rice gives. So here I have some water pooling some pigment pooling. I don't want pigment pooling, but I also don't want it drying. So I think that should be okay. I'm going to take my rice and Sprinkle it on. We'll see what happens. Well, let that dry for the next one. The big salt mix more that color red. Paint it on. So now we have a rectangle and I'll just drop in some of the large salt chunks. You can automatically see how it's whisking away some of the pigment and, lastly, the fine salt. Just putting a little quick layer water. Now add my pigment and then I'll drop some of the fine salt. We'll let this dry and come back and see what texture it has made. Here we have our rice, salt and fine salt. What we're gonna do is just brush it off and see what results we have here with the rice. It's dried on, and when I remove it, it's picking up some of the pigment, so it gives a little bit of texture again. It's not necessarily a result you want all the time, but it might be handy. In some instances, it picked up the pigment, and so you're left with a white exposed underneath. These are the large salt chunks, and as I brushed them off, this gives more of a model texture. You can see how the salt turned pink from the pigment. You want to make sure you're painting that is completely dry when you do this. Otherwise you'll smear it everywhere, and lastly, the fine salt again. It left a different texture than a plane. Um, red rectangle. So these are three effects you can get introducing various elements into your wet paint. 15. 15 Creating Texture with Plastic Wrap: for a plastic wrap texture. Nobody's choose a different color. I'm actually use two colors to see how they blend. Use this deep orange, deep yellow in some of the steep orange paint, clearer rectangle. And again, this is a matter of finding the right time. When the paint in the pigment are at the right stage, they're not too wet, but they're not too dry. I'm gonna add some of my yellow first just in different spots. Then I'll drop in some of this orange. I want to make sure most of it the rectangle is covered with pigment, and that looks a little wet. If I turned the paper, there we go. I'm seeing a little bit of movement. So now here, I'm gonna get my plastic wrap already. What I do is plaster graph. When you pull it taut, it's perfectly flat. But if you crumple it up, you get a lot of texture. So I'm gonna make that texture, press it into the paint and just let everything dry. This way, we'll come back and check it out when it dries. I believe the pigment under the plastic wrap is dry, although it's hard to see sometimes, but I'm just gonna gently remove it. And where the paint pulled up from the plastic wrap, you're left with an interesting texture. So once again, another texture. You can use these air all unpredictable textures, but they do give a certain look. 16. 16 Creating Texture with A Sea Sponge: There are two ways to use a sea sponge in water. Water color. 1st 1 is when you gonna want to remove paint. So here I have a liquid clear water in a square and I'll use some blue panel. Drop in some turquoise as well. Now we need that to be just a little bit drier, so I'm gonna let that sit for a moment. But the way to add colors to take your sponge, wet it and then wring it out so it's damp, not wet, and then you're gonna go over and pick up pigment and just dab it on. It kind of creates a spatter effect, but it's a very interesting effect. Then rinse it off to remove paint. You want to have a dry brush, so I rinse out the pigment, come and go in with a paper towel and dry my sponge. I'll do it again just and then I will go and I will pick up. I will press into the paper, the wet paper with my sponge, and then I'll remove it and it picks up some of the pigment. When it dries, we'll see a little bit more texture 17. 17 Creating Texture with Tissue Paper: now to work on the tissue paper texture sample tissue paper will interact very similar to the way the plastic crafted except the tissue paper has absorbed qualities where the plastic wrapped is not so. I'll make my rectangle with clear water. This time I'll drop in three colors. We'll drop in blue, some of this yellow and lastly, the orange. Then I'll take my tissue paper and I crumpled it up somewhat. I'm gonna set it right down. We'll pick it up and I can see I've changed some of the texture. This one. I'm just gonna make a bunch of folds, set it down and let it dry on this section, and we'll see what happens in a few moments. So here's the tissue paper that we added. When are rectangle was wet? Here you can see where out of the tissue paper the first time, and it created a little texture. And now when I remove this tissue paper, it creates much different texture. So that's another effect you can get from introducing foreign objects into your painting. 18. 18 Creating Texture Paper Towel: here we have our, um, a piece of paper. I wrote down paper towel texture. So that's the next one. Were to try this paper towel has a like a hexagon texture. Little bumps here. It's quite interesting. So it paints the paper with some clear water. Then I think I'll add a little green and maybe some of our blue as well. So I'm just dropping in some green drop in a little blue, moved colors around just a little bit. Then I'm gonna take the, um, actually get into the 30 seconds or so to dry. Then I'll take the paper towel. I can see the hexagon through, so I lined that up. Gently press over it will let that dry remove it, and I can see some of the area, some of the texture 19. 19 Removing Color from a Wet Image: now we'll talk about ways to remove color. We already discussed that you can't get white pigment a white paint with watercolor. But there are ways to, um, somewhat lightened the area. You can do the frisk it, which we discussed earlier, and I'll demonstrate that right now. So I take my first gift, and I take a dedicated for skit brush. This is a brush that, um I I know is not gonna last very long, but I'm going to use it only for frisk it. And the first get is a very thick, um, gooey thing, and I put it on, and then it's in a dry and create a watertight seal toe where replaced it. It's kind of hard to work with. It requires some patients, and you're not sure what end results you're going to get, but it is a valuable tool in your watercolor arsenal. So here I've painted it on, and now I'm gonna let it dry before I paint over it. If I paint over it while it's wet, the water's gonna move the frisk it around, and it's gonna be a mess. So I really have to give that time to dry now my brush is full of brisket. I'm good. I'm gonna do is just leave this to dry when it drives and I'll pull it off and I will wind up pulling off some of the brush hairs. But that's why I use a brush that is dedicated solely to frisk it. So what? The first way to remove color is when the paint is wet, you're gonna want to take a paper towel or rag, um, and pull some of the color off. So here I have some of the purple. Let's see, I was making a rectangle, and I realized I went over an area that I wanted to leave, Um, because I wanted to put in a blue center, so the first thing I would do is while it's still wet, take my paper towel and really absorb as much of the pigment as I can from that area. It doesn't erase the paint, but it does remove some of the paint I can go in, and depending on how I roll my paper towel, I can get more of a precise area to remove it. Basically, I'm acting like a sponge and pulling up some of the pigment. So if I go back in here, I can add pigment. And now I can go back. After this dries. I have possibly resurrected that little space that I wanted to use toe. Add a different color after it dries the next way to try and pull off color. Remove Color is again if I have a rectangle here, and I realized I wanted to have space in the centre, um, for a different color, a yellow perhaps. I take my brush, make sure it's clean, and then I dry it. And then I pull the color away, always drying it and cleaning it in trying to remove some color again. It doesn't erase. It doesn't bleach the paper, but it does. Try and remove some of the pigment that you can get while the paint is wet. When the paint is dry, your best bet is to go over it with either white, wash a gel pen or are colored. Pencil may be able to do it one more time, so that's another method. The last method is not as precise, um, take a little red, and that is just dropping in water. So here's some clean water, and sometimes the water will move the pigment around. So we'll let that dry, and then we'll come back and add to our first kit and see what this what result This has my first get has dried my first get his dry. And as you can see, the color is much deeper. So now I'm just gonna take my color. I'll use a yellow and I'm gonna paint over it in a rectangle in the areas that have the frisk. It, um, will remain white. And the areas where I paint over we'll have the pigment. So once this dries, I can remove whoops. This one came off. I guess this wasn't quite dry. Um, when it dries, I can remove the remaining pigment. Their remaining frisk. It's and we'll see what happens while we're here. I wanted to show you some of the ways you can retain white or not retain one, But add white back to your image. So here we, um, removed some of the pigment with a paper towel. So after it's over, after it's all dry, that could go back in with a white covered pencil and add a layer of white. So that's an option. Here. We remove the color with a brush when we absorb some of the pigment so I can go in here with a gel pen. It's not the greatest solution, but it does give a little bit more white to the painting. And then here we dropped in water. Didn't really make a circle. It did light up some of the pigment, but not in any controlled fashion or anything predictable. So now the pigment has dried on this yellow rectangle, and I have my dried frisk it in spots. So I'm just gonna go back in and rub them off, just like if they were dried. Robert Smith. So here you can see after I remove the frisk it, the little dots are preserved. 20. 20 Painting Gradients: So now for this lesson, we're gonna make radiance or blends. We're going to start with a two color blend. I'm gonna take my brush and make a Clearwater rectangle have enough water in here. So my pigments, when I place it on the rectangle, will move around and I'll start with two colors. Use a nice yellow Philip about half with yellow, maybe a little more than half, and the other half I'm gonna do with some of the orange started the base, go up and I see how they're bleeding into each other, and I'll help it along by tilting. And I can see that the pigment is running into each other. If I want more of a blend, I'll go back. Make sure I have a lot of the yellow pigment give getting that orange somewhere to run, and I'll go back and make sure that the orange there's plenty there to move around. Been to make the blend quite nice. I'll go back in and drop in some yellow. Well, let that move around and dry, and we'll work on a couple of other colors. Pig of blends 21. 21 Painting a Multi Colored Gradient: for a last project. We're gonna make a length, um, a blend of multiple colors. So I'll start with my brush and clear water. And I'm just making a very rough rectangle. More like a wave shape. Gonna start in the center with a red drop in some red, then on one side, all at yellow. Any other Seidel at a blue. Then I'll go back in here at a little purple over here at a much lighter yellow on this side and then all out of green Here. I used a lot of pigments, a lot of water, so it's very wet, and I'm just letting the colors run. It's not a controlled piece. It's very much light. Well, let that dry. 22. 22 Painting Layers: our first layer is gonna be a solid color. I gotta use Clearwater and make a big rectangle and then under a drop in pigment, my goal is not to fill the rectangle with pigment completely, but to let the water run and move the pigment toe where it wants to go. And then we're gonna let that layer dry, going here with a little darker blue on this side. Move that around and we'll let that first layer dry and here will work on another one as well. Same procedure will use two colors on a big rectangle. Okay, go back and add a little more here. Well, let that dry. Most starter, second layer. So now that our first layer is dry, we'll go to our work and have a second layer. Will use some of the techniques we referenced earlier. Stippling the spattering, um, the dry brush or wet brush on dry technique. So I'll start with this one here. I want to use a deep blue, and I'm just gonna stippled some color. This will give a little texture. I'm letting some of the undertones peek through, so I'm not trying to fill it all in but I am giving it a little bit of texture on top of the existing pigments that have dried. I think I'll add a little spatter as well. To this one. We go, and this is not in effect. You could achieve when everything was wet by adding it all at once. Next. Here for a 2nd 1 I think we're just going to, um, we'll paint in with some light yellow. Some light orange will mix these two colors together, and we'll paint some flowers right on top of the existing one, just as if we were using um, acrylic paint. The water is not flowing and causing the paint to move around and again. This is in effect you could not achieve if everything was wet. The colors are just blend together. I had one more over here, just slightly off a rectangle. I'll go back in here and add some spatter. I'm gonna try and go for bigger chunks of spatter, so I'll move this to protect this, and I think we'll go with a black, take a little black here. Oh, that's brown. That's okay. We go. So I load up my brush with lots of pigment, and then I'm gonna smack it on my finger. And there we have wet on dry because our first layer was all dry. 23. 23 Pressing the Paper: sometimes watercolor will buckle will cause the paper to buckle, um, and rise up. It's not a big deal, but it can look so much more professional when it's flat. I have found a simple way to make them flat afterwards. Some people like to tape their paintings before they use them, and I'll go into that in the next chapter. But for now, what I find most effective is I take my painting. This is a very small one, but this will work just as well as this one. My bigger painting. I take my paper and a very fine mist of water, and I spray the water on the back of the paintings, being very careful not to let the front. Then I take a paper towel and I put it over my image completely. So in this case, I get a separate paper towel, and then I take a heavy book or stack of books and praise. Place it over. I leave it there overnight, toe let it completely dry, and then when I remove it the next day, the watercolor paper will be completely flat 24. 24 Taping the Paper Before Painting: another way to prevent my piece from buckling is what some artists do is. They take their piece toe aboard before they paint it. If you damp in your paper and then tape it down, um, it's less likely to buckle. So what I do is I want this finished piece to be four by six. So this pace is actually five by seven, and I'm going to tape around all four edges Now, even though this is painting tape and it's supposed to be removed without damage to the paper, I have not found that case. Some artists use masking tape. I have not found that to be removed either. So what I wind up doing is cutting it out. When I'm complete, my project is complete. Um, because it's painting tape, I can pull it up, but ultimately I have to trim down my painting so I can pull it up. And if I pull off my tape, But in most cases, I take some of the paper with it. That's OK, because I've allotted for that by making by canvas bigger than my intended painting. So for a four by six, this is about a five by seven, so it gives me 1/2 inch all the way around to play with. So that's another method if you don't want to press your paintings afterwards. 25. 25 Cleaning the Palette: to clean my watercolor palette because it's watercolor doesn't require any particular cleaning fluids, but I do like to clean my palette trey quite a bit. If I want to remove some of these colors, I'll soak the whole palette in water, but I'm still gonna use these colors. But for now, to clean the palate trade, I just take a damp cloth and I go over it a few times. The clear trays tend not to get stained, but if they do, it's OK. The color won't bleed once it's permanently stained. These trays will stain with color, but I can get it cleaner than it is now, some taking just a damp cloth and some friction with my fingers. If I was to soak the entire trade to remove the watercolor, I might go over it with some dish detergent. But for now, this will give me the palette that I need to use so I can start my painting again with a clean slate. Essentially, I can also go in with my Mr and spray any stubborn areas with water and pick them up. So they're my palate isn't pristine, but it certainly is quite clean and usable 26. 26 A Watercolor Paper Class Wrap Up: So here's the results of our work today in class. These are all tools that we can use to refer back to, to see different techniques and to work on practicing them as well. Watercolor isn't about experience and the time you spend getting to be familiar with the pain to selected. But the water, the viscosity, everything like that. So here's how we did the wet on dry, what on damp, wet on wet went on super wet, and you could see the elite different bleeds in all four of these. So these air a fun way to get used to your paints and to try working with new colors. Here's how we did the textures as well. I really enjoy the textures we did this stippling the plastic wrap the paper towel and you could see a little bit of the paper towel texture where it lifted the tissue. Paper removes when wet removed. When dry the rice after removed, the remove the rice how it picked up all the pigment in the areas where the rice waas, the fine salt remodeled texture. The big salt chunks a little bit more like snowflakes. Almost. Here's the sea sponge when we lifted some paint off, gave a slightly model texture or only applied paint with sea sponge, and it gave a beautiful texture. And then, lastly, the spatter spatter on wet. It's better on dry. These are fantastic to look back to. To refer if you're looking for a particular technique or you want to play around for our class work. We worked with using wet square in adding pigment in various spots on one side and the perimeter in the center. Here, we worked on pigments of different shades, medium light, which at was more water or dark, which was more pigment, we added on trying to remove color or preserve the whites. We preserve the whites with the frisk it. We remove color with the paper towel. We remove color with the dry brush and the water moved the pigment around but didn't really remove any. Here. We did some Grady INTs, and I think they look great when dry. These colors are very vibrant here. We did the longer greedy with all the different colors. This is a very abstract piece. It's beautiful. Here we did the multi layers. We had first layer of two pigments turquoise and blue. And then we did a layer on top of that of the stippling with tight staples and then looser and very loose staples. And then a spray layer over top gives a lot of texture and a lot of depth. And our last one, We had our dual colored rectangle with highlight in the center. From just where the water moved the pigment around. We had our next layer of flowers and then spatter again. A very nice look. Here are some other ones I did using the same techniques here. I did the technique with the medium color, the darker and lighter color. Except I did not outline the boxes with permanent marker. I love how that looks. Think that's a piece of art in itself. Here I did, the boxes all wet, and I dropped in pigment different sections to see how it would move around again. It's somewhat unpredictable, gives a little surprising results, and the colors are just fabulous. And here I did a little Grady. It's between two colors. This is a great way to experiment with color, to get a feel for different colors, particularly if you're mixing brands of color So this was another fun project, I hope. Youll try your hands at some of these techniques and post some of your work in the project class section. Successes are or failures. And if you have any questions, please leave those in the project section and I'll try and answer them. Thank you. 27. 27 BONUS Travel Kit: when I want to pack my supplies to travel with. If I want to take pictures and do paintings at a park or museum or beach, I always take a strong backpacker tote. My supplies aren't that heavy, but I do try and streamline it, so it's easiest for me. I pack an old towel. I never know what type of place if my table that I'm working on, it's damp or dirty. Or if my seat perhaps should be lying to the towel, I'll take one of the two pallets. Travel light. This is the one I showed earlier, the water color, the travel watercolor palette, which I like very much. But because this pallet is watertight and airtight, I can take this one as well, which everyone I take. However, I always take a giant elastic and put it over the top. Just toe. Reinforce it further. I'll take one of those in my bag as well. You take a bottle of water that I use for painting solely for painting, not for drinking. Um, and I always have this in a very brightly colored container as well. Take a bottle of water or ice tea for me to drink as well. And I purposely put this in a different container so I don't confuse the two and I don't leave it on my workbench. All either Put it by. My feet are Leave it in the bag. I have a spare cup that I use. Um, I'll fill from the water jug into this cup and then I can empty it when it gets too cloudy . My spray bottles Very handy to have. I always pack that. I keep spare watercolor paper cut to various sizes, and I keep that in a plastic bag to protect it. But I like to work on a clipboard. This is just a acrylic clipboard. It holds my work, and I don't have to tape anything down. So those going to the bag as well? Lastly, I take just a shoot a few assorted brushes, two or three pencil racer permanent marker in the pipette because I want to protect those things. I have an old rag, fairly sturdy. Good one. I opened it up. Put these in the center and then I roll my brushes inside of it. I took this into an outside pocket so that I always know where it is, and I know that I'm not gonna press up against it. And lastly, I take paper towels. I take twice as many as I think I need, because I use them all inevitably, and I don't want to use the supplies at a park or anything as well. I'll bring my cell phone in a camera sometimes just so that I can document my image if it's too pretty to paint or if the light changes and I don't have enough time, so that's what I take for my travel.