Abstract Watercolor Landscapes - Part 2 | Jean Lurssen | Skillshare

Abstract Watercolor Landscapes - Part 2

Jean Lurssen, Jean Lurssen Watercolors

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4 Lessons (21m)
    • 1. Introduction

      0:52
    • 2. Letting Go: Loosening Up

      4:05
    • 3. Letting Go: Abstract Shapes

      4:34
    • 4. Inventing The Colors of The Landscape

      11:29
18 students are watching this class

About This Class

This is Part 2 in the series Abstract Watercolor Landscapes. This section contains three videos including a warmup exercise, an abstract shapes watercolor and a painting where we invent the colors of the landscape.

Using the techniques above will enable you to create your very own loose watercolor paintings. Be sure to also post your painting in the gallery to share with other students in order to get feedback. I love to see what students achieve and will help with any issues you may experience.

Transcripts

1. Introduction: Hi, I'm Gene loosen, and this is the second part in the series of painting abstract landscapes in watercolors. The first one, which are uploaded recently was way we painted an abstract landscape in all neutral colors. Now in this second part of the series, we are going to delve into color and do a loosening up exercise and invent the colors of the landscape. This whole series is all about thinking outside the box and learning to be more creative and make your paintings unique. I hope you enjoy this second part of the series on inventing the colors in the landscape. 2. Letting Go: Loosening Up: So I thought it would be good to start off just by doing some simple loosening up exercises. It's always a good thing to loosen up before you do any kind of painting, whether it's for abstract landscapes, it just helps to get the juices going and get things flowing smoothly. I think we should always do these kinds of loosening up exercises. And the ones that I'm going to do in this section is just put down some color and see what happens. Maybe nothing will come of it. Maybe I can make a painting out of it. And when it turns into something that just becomes very exciting to me, I think you will enjoy a two. Now, don't be afraid of having failures. So let's do a few exercises. I'm going to take a dark color, like Indigo. I love this color and I use it quite a lot in my paintings. And then I'm gonna take a color that's considered an analogous color. It's green and this has green gold. And I'm going to put that below. Maybe I'll sprayed with my little sprayer to make it run a little bit. Let's see, that's interesting. And then I'll take some more of the in-degree and added at the bottom here. See, I wasn't thinking landscape, but look already, it looks like a sky. The green has run into the blue. It's like creating distant bushes. The whole purpose of this section is experimenting. If you don't want something to happen, you can always shield the top while you're doing the bottom section. So I think I'll ads and moved green here. Just to get, creates a more texture here. And that's that one. These are not finished paintings. But my aim is to show you that you can create these without thinking about what you're going to do. Just put down your color and loosen up and let go. Don't worry if it doesn't turn out to be a real painting because they know they weren't all turn out to be real paintings. What you wanna do is have these happy accidents, which I think this one's going to work out quite well. You learning about your colors and how they mix with each other, how they work on the paper, whether they granulate or not. This gives you a mine of information which is very important. You see how this dried very lightly or even the indigo is a really dark holler, but I'm going to spray the bottom and add a little bit more indigo, like the way this ended up at the top there. I'm not gonna touch that. We're going to just add some more indigo at the bottom and that's going to dry lighter. Take my number one script brush and just do some very thin grasses representing the wild fennel that we get around here. This is just demonstrating how you can use the abstract background. And I didn't really want to do anything more than the net. I like that the way it is. 3. Letting Go: Abstract Shapes : For this one, I'm going to use a color code connected unburned orange. And I wanted to be weighted than that. And just getting to come on a diagonal like that. And then I'm going to use Taylor turquoise and run it into the connected unburned orange. And see what happens. We're going to make this run a little bit just now. And let's put it on the other side. And this is, this is great exercise and these are great exercises to help you think about abstracts. And I'm going to add some more connected and orange because this does dry a lot lighter. So I want them to run into each other. So I'm going to spray the turquoise and let it run down a little bit. You don't want to overdo it. And then I'm going to take my saran wrap and I use the premium Saran wrap. I didn't like to advertise for people, but this is the only Saran wrap. I feel I get really interesting shapes because it doesn't curl up as you take it off the row. And, and then you can just put it down present on. And you get these interesting shapes. So we get some texture going. And you'd get another piece. And you wanted to put it on the burnt orange. Let me put this flat. So let that dry and let this paint run-down and me hold it this way so you can see I want some of the color to run under the saran wrap and mix into the band orange, you see on that side it's done that. So I'm going to just add some Underneath. Yeah. And hopefully it'll run on the other side too. And you can tilt it and just put a little bit of really wet paint underneath it. And look at this fabulous colors. This is getting to draw light and it's going to be a little bit boring. So what I'm going to try, who knows it may not work, but I'm gonna try it anyway. I'm going to put some daily Roni white ink into the blue area. Maybe one day. They see it flares out because it repels the ink. And maybe a teeny one, they just won. So I wanted to tie these together. I still feel that this is a little too round. So maybe I'll just drop some border injured or yeah, that's making it disperse in different shapes. And you can sort of wiggling around to make, make it move. Oh, that's much better. And we've got some interesting texture they, without adding too many garish colors. So this is really, I need two colors. It's Thaler, turquoise and connected and burned orange nigger beautifully together. So I'll wait for that to dry and we'll take another look at it. I was really pleased with the way this turned out. Look at the lovely texture there that was created by the cling wrap and the mixing of the turquoise with the inaccurate and burnt orange and the white just gives it an extra dimension. So here it is with the white mat, which just finishes off the piece. And I think this is going to be a keeper. I really like this one. 4. Inventing The Colors of The Landscape: In this piece, I'm using a slightly larger piece of paper. This is about eight by six. And I'm going to do a landscape, but I'm going to invent the colors, thereby making it more abstract. And the first thing I wanna do is wet the paper. And I've got a little bit of color on my brush, but that's okay. Not to wear, to just wonder. Keep the pet lit the paint flow. Now I'm going to take Indian yellow and quinacridone purple. Now, if you know your color wheel, which I've mentioned before, these are opposites on the color wheel. So when they meet, the purple will have the effect of toning down the yellow. And and that's can be a good thing because I don't want it to be too bright and I'm going to keep it a little wetter, so I'm just going to spritz it a little bit first. Now I'm going to take a watercolor pencil, which is also purple, and just get some gracias going. And I wanted to take some white ink, the delle Ronnie white ink. And you can use any white anchor doesn't have to be this particular brand. And I'm going to put some on the back of my palette knife just a little bit. And how the palette knife like this that you can control where it goes. And look how lovely that isn't getting natural. Blossoms. And this is going to dry a lot lattice artists and going over it a couple of times. And maybe wanted to do some stems just down from these flowers just to create some texture. And I also want to take some of the purple into the yellow. Because yellow is, I put it on a little too bright so we can turn it down. And get some flowing down like that. And is a little tree coming up by itself then? I didn't want this. Yes, I'm just getting to block that out with my tissue. I'll leave that. And I want to do a bit of scraping just for some more texture. Could depict rocks or whatever. And then I'll create these grasses, which is lovely, just gives it some more texture. And creating this tree here, we can go into the purple for that. Just do that and spritz it. And you might want to make it a little bit taller and have some. It should actually be even told us I really wanted to do it a little larger. And it's miles. It's quite a lot of fun. And some of them have faded, so I am going over them again. And I feel like the sky now needs a little bit of cholera in it. And I don't want to do too much because the emphasis he's down here. So I just, but I just wanted to get rid of the pure white. And in this is to spreading out a little too much. So we're just fix that. Maybe just some more of the same color and make it look like a berries on the tree or something. And I liked the way that's flared out there. Now Habit doesn't flare out anymore. You can do some more little bushes maybe. Yeah, I kind of like that beta. And maybe there's too much, yes, I can just go into my Indian yellow and get rid of that and spits it a little bit. I think maybe it needs something here, some some bushes or something. Maybe just a couple of small bushes here. And Yeah, I think I think I wanted to put some order into these dots that I did here because they were a little too pronounced. And I think maybe just a little more there. And I'm going to spritz this a little bit clear. Just to make it run. Dan did some texture. I might get into the white ink and just create some interesting textures down the bottom here by just adding a few stems. Just makes it look more interesting and I'll add a little bit more spatter of the white ink. I think. Just there where I wanted to get some here. We need a bit more. Yeah, I don't want it any more than that. But look, see. Invent the colors for your landscape. They may fix this year. It's flaring out a little bit too much. But I like the tree just sort of flaring out like that. It's kind of fun. And maybe a little bit more purple in the sky. Just to, just to cut the white out a little bit. And not sure I'm going to do much else to that except to get rid of this here. And maybe do a few small crosses. But the pencil, and I think these rocks are a little too hard. Let's run a little bit. So you can do a mixture of purple and yellow, which turns down the yellow. Lack that now though it's there. Maybe just you can end up ruining it. Of course, I'm just going to soften net. And it had run in to the yellow. If you like the yellow. It's still a little bright, so I'm just sort of turning it down with it through a nice light touch of purple. And I'll leave it brighter yellow here with possibly the sun is coming down. But my imaginary landscape. This is just an idea that you can abstract the landscape, invent your own colors in venture owned textures, your own designs, and use your imagination. That's what it's all about. So I'm going to let this dry and we'll take a look at it. I just scraped a few lines into the wet paint to give it some more texture with the back of my paintbrush. And here too, the rocks were just a little too well-defined. I'll just scraped through them with my palette knife. He has finished piece where the white matter around it. And I was, I'm quite pleased with it and I love putting a matter around my finished pieces just to get an idea of what it's going to look like framed and it just finishes off the painting.