Advanced Watercolor Class; Brushes, Values, Layers & More | Robert Joyner | Skillshare

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Advanced Watercolor Class; Brushes, Values, Layers & More

teacher avatar Robert Joyner, Making Art Fun

Watch this class and thousands more

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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

10 Lessons (1h 52m)
    • 1. Introduction

      6:35
    • 2. Explore Mark Making

      9:45
    • 3. Study #1

      16:08
    • 4. Study #2

      18:24
    • 5. Finished Demo Part 1

      5:27
    • 6. Finished Demo Part 2

      4:28
    • 7. Finished Demo Part 3

      4:57
    • 8. Finished Demo Part 4

      13:22
    • 9. Finished Demo Part 5

      13:05
    • 10. Finished Demo Part 6

      20:14
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About This Class

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In this class you will learn how selecting the right brush for the job is a critical part of painting successful watercolor art.

The class features several demonstrations starting with quick, simple sketches and ends with a finished landscapes.

It also features detailed breakdowns of brush types I commonly use along with specific target areas where it will be employed.

Who is this class for?

Beginner to advanced artists that want to learn more about how brushes impact artwork. It's an informative course for all levels!

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Robert Joyner

Making Art Fun

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Transcripts

1. Introduction: in this series, I will go over brushes and how to select the right brush for the job. Now this first talk about brushes now I believe in good quality watercolor brushes. They really can't be replaced, and they're designed to do specific jobs now typically have about four types. What are color brushes that I use for every painting? The 1st 1 I will go over is the squirrel mop brush. Obviously, these have very large bellies, and they're designed to hold a lot of water because they hold a lot of water. They're ideal for covering large areas, but they do have certain points in certain parts of a painting that they aren't designed for. Okay, and then I will go over that, too, as this Siri's progressives. But the mob brushes again are wonderful playing in blocks of color because you have different sizes. Each one can cover a certain amount of area. For example, uh, this sheet of paper here is 22 by 15. It's 1/2 sheet of watercolor paper. If I were laying in a wash for the entire surface or area, I would probably opt for number eight brush if I were putting in a wash for a smaller area and on the paper, I would out for the number five because that would, I could low that they control it much better. Then the number eight okay, and for the number two same thing for were wanted to put a wash down in a smaller area, Then this will be an ideal brush. Now these are very soft, and because they're very soft, there's a certain quality of stroke that they make, and I'll get into that in the next lesson. But for now, just though the squirrel Mont brushes are ideal for laying in areas, um, a large wash, they can also be designed to create a certain amount of detail. But they do. That does come with limitations. Okay, now the point it around these air a Skoda Prado's. These are very, very important for watercolor painting. They are appointed because they are designed to create a certain type of stroke. They are useful for adding details to get around edges of of your subjects and things like that. Again, they come in a variety of sizes so that if you're working with larger details or smaller details, you would choose the one that's appropriate for that particular task. Now these are much firmer. Then the squirrel mop brush is okay and they're firmer for a reason. They don't hold as much pigment, but because they are firm, we can. They will hold their form a little bit better than if I were to apply pressure here using a CIA. Put pressure down with my mop brush and it will fan out putting pressure down here. It's still holds that point much better, then a softer bristle brush. You have to know what job you're trying to do, what you're trying to achieve with a particular stroke. And if you're trying to create capture details, sharp edges, things like that, then this is an ideal brush. This is a Kalinsky, very similar to the point around because CIA has a little bit wider bristles to it a little bit larger belly and not quite as pointed. Okay, so if I start to put pressure down, you will notice how that fans out much easier. Then the pointed around. This is ideal for laying in areas off pigment, but you want to achieve a softer edge, and this is ah wonderful brush toe have handy, and I know highly recommend getting something like this because you're going to use it to create a certain job or to finish a certain job. So this is a number 12 Skoda optimal and again softer than that of appointed around. If fans out, Morsi wouldn't want to use it to create sharp edges and things like that, not suited relief for detail but very useful for creating softer edges and to put in a small area off of watch. Now the last brush I will discuss is the needle brush. You can also use what's called a sword brush. This is, Ah, wonderful brush for adding thin lines. So if you have a telephone poles with wires, if you enjoy drawing into your paintings with really thin calligraphy type strokes, this is the brush to use. As I pressed down into the paper, you can see it holds that point, unlike even appointed around, where it's going to fan out a little bit and you won't get its thin of a line. So that pretty much covers the four types of brushes. So again, the squirrel mop brush very soft, ideal for washes the Kalinsky. Ah, good for small areas of wash and softening edges the needle, which is great for adding small details and lines and then the point of rounds for capturing details and hard edges. Now, in the next lesson, we're gonna take this a little step further and do some examples of making marks for each of these brushes. 2. Explore Mark Making: now what exercise you should definitely do to explore your brushes and mark making is it takes muskrat paper and give yourself funny of room and just take one brush at a time and get to know it a little bit if you start to develop. Ah, better understanding for the range of marks a brush can make and kind of find the strength and the weaknesses of it. Then you're less likely to create bad marks. If you think about it. A painting is just a series of marks, so if you can eliminate problems and uncertainty, then that's one less thing that's going to get in your way for making good art. So now this is my number 10 pointed around, Um, and you could hold this in a variety of ways. You can do the overhand grip, you condone underhand grip. You can use it in a standard writing method as well, and this is typically how most artists will hold their brush. And when you hold it like this, then the tendency would be to use the point. So you're just getting into what this brush can dio, so I'll just draw a little line here Of course we can just We can touch the paper and create no dots and marks weaken, touch and just kind of drag it in different ways like that up and down and really just still using the point and just dragging it up and down, left and right and going to make this a little bit darker Hue here. So making sure you see it eso Another thing you can do is you just be impressed a little bit harder, right? So I press harder is basically the same thing as this, but they're exaggerated. Now, instead of pressing down with the tip, I can also reverse it. Impress, uh, I compress it up this way. So pushing up versus pulling down, I can also put more pressure into the surface and create ah thicker type of line. Now, another method you can use with a brush like this is loaded up in use the side of the brush . OK, so basically creating this sort of thing and you may already see it, but you can easily take something like that and combine it with a brush that's really good at creating some nice lines, and you can start creating a tree, your branch or whatever it is you need. So that again, is it my point around, Uh, this look at the Kalinsky. A very similar brush, you know, drawing a line here so I can start to do the same thing, just just using the point, because see, right away, very hard to get a fine point, like the pointed round, Then I can just use the point and just kind of scribble up and down was calligraphy type of marks just getting used to how that paint flows and how turning the brush. And lately touching the paper as I do it gives me a very a variety of strokes there and again if you just If you get caught doing this sort of thing all the time and all of your strokes, we're gonna look the same so you can get used to making your marks in different ways. Uh, then you're going to, you know, eventually develop a repertoire of brushwork and skills that you didn't have before. So this is where just taking 10 minutes of your time sometimes can go a long way. Now I can take the same idea live with a loaded brush and this you the side just skimming the paper and created very, very similar mark. Now you start to get the idea. Things seem Canby done for. This is like a cat's tongue type of brush. Okay, I could do the same thing. Use the sides, used this side, used the tip, all that good stuff. But what I would do is I'll kind of leave off with the mop brush. Now I feel like this Mom brushes underutilized because his name on I typically described as a brush we want to use for big wash areas. And it's really not the case. Yeah, it's great for that. I certainly wouldn't argue with anyone about it, but, I mean, you can't come in here, and it's still create new, smaller marks with it. We could do the same thing. Kind of do some calligraphy stuff. It requires a touch, so you have to be able to glide the tip across the paper. Obviously, if we start to press into the paper on with any sort of meaningful pressure, this is going to get very wide strokes. But notice what happens when I load it up and then as I get that paid off the pallet. Okay, I give it a little twirl or little spin, and then that gives me my point. And this is a kind of a hard thing to demonstrate without being up straight up and down, because I know being your way a little bit, but I'll try to kind of demonstrate real quick. You know how you can use the tip of your brush to create some interesting marks with this again, most people just use it like this for us wash, um, purposes. But for the most part, I will tell you can use it to create details to Now you're limited to how fine of a detail you get with it, but it can be done. And obviously you can use the side of it, too, to create Newsome. Nice, blurry soft edges and kind of same ideas here. Then we get into a smaller mop brush. They clearly you can create some even smaller lines. So you can really see there how brush like that can come in here and create actually some some really good detail, and it is really under used for that sort of thing. So now I encourage you to experiment and just do these little exercises so that you get to know your brushes better and know how you can you use the tip of, um, you know, and just use it in a more of an upright manner. Utkan chilled down on the grip and get more detail. And this sort of thing happened. Um, and of course, we can hold it with an under and handgrip and do sides and different things, but experiment Play with it a little bit. Get to know him so that when you, um, again get into your artwork, you're you should always very the strokes. They shouldn't always hold the brush the same way and use the same part of the brush. Okay, You should have ah, range of brush work and ways of holding the brush and applying the pain to the surface so your marks become more interesting and not so flat and predictable. 3. Study #1: So now let's look at first set of brushes here, which will be the mop rushes. Okay, Now, I'm just going to work right in here. So let's say we have an area. Crossley 15 five out, maybe eight. Um, and I wanted to cover the entire thing. So I'm not worried about doing just a small space, But is there a reason why I couldn't use this? The goal, I think with a wash is to get the job done and as few strokes as possible. So to keep the wash simple on this use what's on my palette here and maybe at a little other hue once I get going. So pretty much this thing is fully loaded. So is there a reason why I fully loaded number eight squirrel Mock brush can go all the way across this paper and they cover the entire section. Okay, that we have had a tough job getting the job done. Okay, The number five, I think, would I would probably had to load it maybe twice. All right, now, let's say I want to and a very viewed wash to this so I can take a little bit of my poker here and say I want to warm it up in the sky and that's fine. You see, I loaded it two or three strokes and I'm out. So now let's say I want to do the same thing to the bottom, but this time create a slightly different hue. And again, the ideal brush for this sort of thing isn't large. Ma on the reason Why is it that's a mission before it gets the job done in his few strokes . Possible now for the large mop brush. For a task like this, I would probably say, I'm done. I'm going to add a little another washing here. But because the area is so small, this would be the ideal brush, OK, because once I put it to the paper, it's going to fan out and it's not going. I'm not going to be able to get some of these edges that I want. Okay, so we're going to switch to another mop brush. I'm gonna show you how versatile these mop brushes can be. Okay, But before I do that and add the next wash, I want to let this drop, so when it dries, I'll come back and then we'll take the next size squirrel my brush and add the next layer. Okay, Now I want to take the number five Romano brush and put in my next watch. You may be asking. Well, why don't I use the point and around? Well, at this point, I don't really need a lot of fine details. I can put the wash in and then come back and use this particular brush toe iron things out to get some of those little nooks and crannies and edges. And there now, if I started with this brush, I would have to go back and forth too many times. So ideally, we want to use less strokes, as I mentioned before. So I will start with this and it's using these neutrals that are already enough palette, and I'll touch a little crimson and a little bit of ah, Fokker in here. Just a warm things up. A little touch of lavender to really used for color for creating some graze. Now I think something like this a work may go a touch darker and really just grabbing anything here. That feel will give me a little bit darker hue. Now this is loaded. Okay, Because because I did all of this mixing, and here the brush is charged. Now, before I put it down, you can see how it's kind of flat or thin here, and then it gets kind of flat. So I'm kind of rolled a brush a little bit in my palette and get a nice even sheep to my bristles. And that's what I want. And that gives me just a little bit of control. Now what I can do is just run a line right across and then because this boat is a little bit closer to us, I can just take it and running a little bit lower. And here, so something like that. Now I have another area down here. I just kind of pulls it, see on this kind of bouncing it back and forth, just kind of get an uneven edge and just basically doing the same thing here. Now I can drive it off a little bit and a little bit more. That's to create some dry brush in there. Good. Now I will clean that so I don't forget to do so. Put that down and then I can switch to this brush. Always. What? Your brushes. That their drive. Okay, we're not let they're not ready to paint. Go right into the same mixture. Okay. And now I can start to work into this a little bit and get some of the shapes that I want to die, Elin. And of course, with a mop brush, this just is impossible. And just a few more. I think in here, and that's fine. Now take my Kalinsky, which is my softer brush and just wet it. Now that's all I want to dio and just tap in to a few areas and what that's going to do. It just creates, um, soft edges and something like that is fine on. And we'll just shape the value of the boat a little bit more and just drop some Hughes and different things in there now because this is closer to us, I'm going to add a little bit of hue to it. Now, that's a little too dark. But I could just take some of this and right over here, this is gonna have a little more Ah, little bit darker. And perhaps a few more details as to details as well. And so I could just kind of start tapping that in there. And now I'm just gonna run some of this right up in there where there will be some rigging and probably some sort of crane. And that's good. No. Well, that's what I could take my needle and work right into this. I'm gonna go a little bit lighter so I can take this hue over in this area, a little bit of water to it. And now I can get in here and get that illusion, some detail of things happening in this boat, and that's pretty good. I think I could go ahead and finish this quick demo if I just dabbed that out a little bit with a paper towel. Now we'll go a little bit darker because the elements I'm working on will be closer to me. So using this little brush right here, we'll save you a lot of heartache when it comes to these things. And again, a lot of artists just simply don't use the right brushes. They don't have the right brushes. And I think if you start to build up your experiencing a repertoire and your supplies a little bit. You're going to appreciate having the range that you probably didn't have before. All right, so now all this is pretty dry. I'm going to use the same brush, but rural week because I'm gonna work in the background here. Just add maybe a little feeling of a bridge. It could be something happening here. Maybe some more cranes, uh, is a distant no yard. They're happening as well. And now course we can come in here, anchor that bottom of the boat a little bit. And for this particular job, you'll see how how much of this was created and possible by using You're right brush. And now, using my Kalinsky because it's smaller and has a nice round edges to it to create little billow or puff a smoke here on something like that? No, that's good. And I could lift a little bit with this soft rush to, and that's pretty good. But when they come in here now with a slightly darker blue, um, and just add that feeling of some waves are just some movement in the water. Um, I could do that with deklinski as well. All right. If I want to. I can come in here with appointed around and little bit of blue here. Not much. Okay? And take a little more of this. These neutrals, Well, that's straight down. And we can create a feeling another little booth anchored right here again pointed around. I want to create a little bit that some hard edges. So that's the right brush for the job. Bounced back to my needle because now we want to create. Find your lines. Maybe there's a little road. They're going to a buoy. Maybe we have a mass coming down. Something like that compress a little bit harder there. I was probably too hard and now switched to my pointed around Yeah, and create. We'll sail there and we can anchor a little bit more, even touch a little bit of red in there. And now we can create some finer lines I use in the needle again. Now, this is possible if you don't have the right brush. All right, So again, just a quick little demo there to show you how is taking the right brush at the right time to do the right job is all you need to do to help prevent a lot of common issues. People have watercolor painting, and some of those problems are just simply using any brush this handy to you or just not having the right brush selection. Okay, now, I would do one more demo for you, and we would just illustrate a slightly different subject, but basically using a similar idea. 4. Study #2: all right, This demon will do the same thing, selecting the right side brush to do the job. We have a large area toe watch now in the background here, they're some way buildings that will be up against kind of some hills in the background with a little bit of sky area. And here there'll be a little bit of water with some boots Sprint would in there, and that's it. So in terms of the wash, there are a few different sighs spaces. We have the small, medium, large, and then we have some different things happening here. So a good way to do it is just to use a light wash in the beginning. So I will activate what's on my palette over here with some clean water and draw that all. And now take a little bit of poker in there. Clean water. We've got too much water on my brush there, so I just drive it off with a sponge. And that's nice a week. So I will use the real week washed okay for the large area. Now I'll let that dry and we'll come back and start tackling, uh, the smaller areas. But before I. But before I do, I can go ahead and lay in my sky. To do that, I will clean my left hand side and because this is a smaller areas, those sense and charging or loading my number eight, this would be a good one for this could work. But as you can see, I would have to do a lot of strokes. This I could put down maybe one or two strokes, I'd be done. That's pretty good there. There's something like that worked fine. And now I'll let that dry and then we'll come back and do the next layer. Now I'm dealing with the background, so from the background I will work forward. But pretty much putting the background and is going to define mainly what's going on in here is well, so looking at that area, I could use something like this. But again, I had this large space over in here that would have to kind of go back and forth, does this belly of this brush. It isn't going to hold enough. This would make more sense, so I will start there before I get into it. I have to ask myself there were the particulars off this shape that I'm doing, and there are a lot of little nooks and crannies and edges and different little things shapes, I guess, that want to reveal. So it's not just a straight line or one little curve. It's actually kind of a complex. So what I would do is I will cut in, Um, after I lay in my watch. Okay, so what I'll do is I'll use a bigger brush, which is what I have here and this using a little bit of already in and a little bit of poker here. I'm just one agree that out with a little bit of Kobol and probably great out a little bit more. And I think something like this should work Fine. So go ahead and do my big edges first. And then as I get to the smaller things you see, I'm taking my time. If I get to a place where I feel like the brush is just too big, then I would go to a smaller one. But for right now, I'm just going to mix this you up a little bit about Addison Gray right now is actually doing pretty good, but you have to be careful once you get to some of these edges. Okay. Now switch to my smaller Ma. What it saying, Hugh and a touch of green into this touching my poker, too, and kind of draw that off a little bit and just kind of create a few lines. Some soft edge is going on in here. Some dry brush dry it off even more just to give the illusion off something happening. Make it kind of interesting. And now maybe switch into a little bit of my red with a little bit off burnt sienna puzzle game booze in that two. To warm it up. No, that's doing is just creating a little bit lighter values, okay? And just kind of making the wash overall just a little more interesting. So that's pretty good for now. And I had that my brush, though. I'm go ahead and start running that into the water. As you can see, that wasn't the right size brush too small. So I'll go to my next one in line here, which is the number five to get the job done. No, dad, with this up, so create assault edge. That's pretty good. So at this point, I'll just let that dry. And when it does, it will come back. Select the weight size brush and then add the next layer. All right, nice and dry. And at this point, no, I'm looking probably at smaller shapes and figure lines. So let's look at the brushes, obviously smaller shapes that airlines, the product or the point around would be the way to go. I have two sizes to choose from. I think the smaller one would be ideal. So what I will do is just using some of these neutrals that are already on my palette. Yeah, just come in here and just start adding feeling of some windows and just different things that are going on on the building. You were here. I'm not worried about it, and maybe we can anchor it a little bit more of the bottom here. And issues aside that brushes pretty drying out. You can use a sign that brush to to get some bigger marks in there, and that's good, but still dealing with smaller shapes going on here so I could just keep the same brush and now at you know feeling of another boat there again pointed around ideal for capturing nice , strong edges like that, and is letting that reflection run right on down into the water on may be dab another boat in there and we'll stick with that blue theme here and notice. Um, he used the point of this brush became use a side of it, too. And the son of it is a nice way to get some dry brush. They cover a little more ground. Okay? It's always, you know, look at what you're trying to dio and mix it up a little bit and I'll give you a little exercise at the end of this too experiment with. And now I want some softer edges in the foreground. I like a lot of hard edges and here, So Kalinsky is the way to go. The point around has that point, and it's not gonna give me as soft oven edge as this one right here. So now I can just run that right into that boat and take some of these blues. We can kind of anchor that a little bit. Maybe just to catch the tip of this boat and the tip of this one and clear dark boat in here and now going with the needle to create a master too. Right way kind of use it. Uh, a little calligraphy and just different things that could be happening in here. If you drag it really quick, it's much. And you're trying to say loose. It's a much better way than painting slow. Um, now I can grab clean this off really good. And just to mix it up, a little bit of whitewash Teoh and a little highlighter to starting to drive. Use a little bit of the yellow new game bows. Curious or Gamboa is nova for whole line. Create feudal buoys in here, floating around Good. And now we'll let this dry. But before I do this water is pretty dry. I'm gonna create some soft little edges in the water just to create a feeling of some waves . And this is about have here, you know that this dr will come back and put a wrap on it now. I just had a few details right in here. Now I don't want points. Okay. So I don't want Humanae sharp edges. Yeah, I want that sort of thing. I want more of a blunt and kind of rounded tape of point. So I'm just going to mix up a little bit of neutral here, nice and dark, that on the side of the paper here, just get some of that off. And this kind of dab some of that in here. Ah, and weaken Put a little bit of blue into that as well. And it's basically anchoring this time the boat a little bit, and that should do it. Take a little bit this orange over here, maybe a touch of my hooker and just kind of create a nice hard as they're not. Not too much. Okay, well, that concludes this part of the demo. And again, just illustrating with these quick sketches and studies that just choosing the right brush is important. It helps you eliminate choppy marks that are basically created because you pick a brush is not suited for what you're doing. So in watercolor, you're trying to put things down in a very fresh, crisp manner. I am. Part of that means getting the right brush so that you can put as few strokes as possible in the majority of the places and then you can come back and ADM. Or to it, um, if you want to capture detail, but for the most part, always keep it fresh, keep it loose and try to get the right brush to do the right job. 5. Finished Demo Part 1: welcome to my studio and this lesson. I want to cover a few ideas off for watercolor painting and most of those involved just being prepared and then also selecting the right brush. Size brushes come in all shapes and forms, and it's important that you know what's one to use at all times. If you choose the wrong brush, you can easily ruin a painting. So I hope that this tutorial will bring a little bit of clarity to that area. Now before I get going. No, My first talk about my materials. As I move into the demo, I'll talk a lot more about brushes and just staying prepared in general. OK, this is 100. This is a piece of £140 cold. Press paper 22 by 15 Masking tape around the edges, about 1/2 inch border all the way around. With some Gator board as the backing, it's important to have a firm backing and the have it take down that will keep it from waffling and buckling as you start putting water on the paper. Oh my right is two reservoirs of clean water won't be used to mix or clean the brushes, the other for clean water. For my paint mixtures, this is a sponge. I use that quite a bit to take moisture off my brush and you can see I have it set up right near the reservoir. So when I get the water on, you take moist around. It's right there. I don't have to reach across my paper palette or anywhere else. I also have a dish towel down and this keeps a lot of the water from pulling up around my workspace. I like to keep things neat and organized. So that kind of focus on my work This is my palate. This is a leak. Proof how it here. And it has enough reservoirs for all the paints and Hughes that I use. This is cerulean blue, cobalt blue, ultra marine blue can read people ism, crimson, burnt sienna. This is Meridian, which I probably will not use. Gambo Genova or new Campos You, Loker Mutual 10 and lavender, three reservoirs, which is again all I need. I use his main one on the right for my big wash areas and even little wash areas that didn't come up with a nice crisp your color. This is where I go. Hagi's areas reserved for neutrals. I use a lot of neutrals in my art. And so this pain always stays on their their leftovers from previous works. Okay, always have some clean paper. Cowell's around on Mr. Just in case. I need to soften some edges. And then I have another sponge here that I'll take and put at the top of the board. All right. Last but not least, is a number two pencil that I'll use for my sketching. Okay? Or my design brushes. I have a number eight squirrel mop brush. I have a number of five and a number two. Okay, large, medium, small. But these are very versatile. Many watercolors on Lee used them for a wash, and you could do a lot more with him. And again, I would discuss this as I move forward. But I like to keep all three sizes and for painting this big 1/2 sheet, I can use all three of them if our working with 1/4 sheet, something smaller that I may take this one away. But for this project, three will do fine. Point around number 12 and a number 10. Okay, These are very important as well. They are firm. As you can see, they don't have large bellies, but they can hold quite a bit of water. The point around gives it that nice point where we can start. Teoh kind of dial in some hard edges and details. I also have a soft Kalinsky around much softer than these. The appointed rounds here and this is an escorted number 12 optimal good for softening edges do laying in small areas of color. And their last but not least my lovely needle brush. Wonderful for lines, details, things like that that we'll cover my materials and now we will start to lay out the design . 6. Finished Demo Part 2: So we're using a number two pencil. I've seen some artists do this now. Would do this occasionally, Hold the pencil and a very regular writing way. But I would recommend on underhand grip. Now we sketched this way. Then the lines tend to be a little bit later. Okay? What I like to do first is fine. The horizon line, which really comes down right in here. So not quite halfway. Now I will start to lay in the left hand side. And as I do this, let's start. I think it's important to finish. So in other words, I try not to lift the pencil off the paper so you can see a kind. Let it drag around Brill Light and that keeps me from stopping and starting. So in other words, you don't want to start here. Then come down here, then go up here and balance around you better off the start in an area and then just work, you know, lightly. Keep the pencil on the paper and this Keep it going. You can see here I'm just continue to work from side to side. And now just finding a few edges and some other shapes on and, you know, whatever you're laying out drawing two, you don't really have to get every single shape in there sometimes is good, Teoh. I'll leave a few. Okay, So in other words, a songs, you get the bulk of it, the main shakes, then through the rest can no come in Later. You can add those as the as the painting develops, okay? And I think we about have it here for this stage anyway, That's pretty good. It's pretty simple layout. As you can see, I have one more. A tall building. I think I will add rating here and still trying to use the underhand breath. I think I'll raise this just a little bit. So we don't have We have a little less equality, a little more interest here. Oh, yeah, yeah. I think for now that will get the job done and we can start focused. Someone raises building a little bit, and now we can start to focus on some other areas which is basically starting to league in some color. Okay, so that's pretty much some tips and ideas on laying out your composition if you want to go in there and erase certain lines. You can do that, but I kind of have a visual of what I'll do and where which lines I will keep as our pain. So that concludes laying out the drawing, and now we're gonna get into putting down some wash. 7. Finished Demo Part 3: putting down a large wash. Obviously, the big mop brush would be my go to brush. It wouldn't make sense to use the number five. I would have to go back and forth more times so I can get the job done with less strokes. That's the way to go. All right, So a little bit of water, couple of shakes, and then I get a little bit pulling up and my clean side reservoir. Okay, Now, there are a few ways to attack this. I can start with sky or the top and work my way down. I can start in the middle and work now and then come back and do the sky and let that bleed into the middle ground, okay? Or no. Start at the bottom of work my way up. That isn't something I would recommend. I would either go with starting in the middle and then doing the sky letting that bleed down into it. So that's what I would do for this particular. All right, So now I'm going to start with a nice, warm Hugh here and probably a little strong for what I wanted. Dio and now kind of go in here leaving some gaps here in the air of the white. And this kind of lay in loosely awash here something like that at work. Now, just so I get a little bit of variety, I will take a little bit of crimson. Ah, crimson can be a very, very strong color if you enjoy using it, I would say always go a little weaker than what you think you need, because it all for you. Now, I'm gonna go back to my neutrals here and go right into my water with loaded brush. So I want this to read really week in here. Okay. Now, Krewson, extremely weak. And this kind of letting that trickle. And here and again, this is a wash. This is really weak, and it's not intended to be controlling too much. Okay, So don't panic if it starts to mingle and run in different directions. Watercolor has a mind of its own sometimes, and I think you need to respect that and let it Lee let it run. And then with initial wash like this, if you can always come back in the next wash and phase and tighten things up and now just a little bit here in the sky, and maybe I'll let it be a little bit stronger. Their top Sprinkle that down here in the street. And now really, it's about filleting the board and letting these washes run a little bit and let these colors mingle so that we get a nice, um, interesting initial watch. Now we don't We don't want things to be flat and boring. So I will let this dry off camera and and then we'll come back are the last thing I want to show you that before I let you go. It is just to always wipe up excess water around your board on the tape because this will run and bleed back into your art. Sometimes that could be interesting. Most of the time is undesirable. I'll be back when this drives. 8. Finished Demo Part 4: nice and dry from the big brush. OK, number eight Squirrel mop. It's finished. Put that aside and moved to my number five because I'm working in the smaller spaces. I don't want to use a larger brush. If I do, I'll put too much pigment down and it's hard to control the brushwork and things will get really sloppy really quick. Now, the goal here is to now consider the background and then work my way down. So the decisions I need to make our do, I want to add more Hugh intensity to any of these buildings. And also, I need to decide how do I wanna work it? Okay. Don't wanna work it left to right. Right to left and that sort of thing. Those are important questions because you don't know. It's kind of like when I mentioned withdrawing once you put it down, you try. Let stay on the paper until you're done. Well, same thing with the wash When I start to work in the area. I don't want to balance around to different places. So if I start over here, I'm gonna stay over here and do as much as I can before I move over here and I'm going to start here, and I just I will add this a little bit of intensity to these buildings. So we want to use a little bit of the gambo a little bit of my Oakar and just add a pop of color. Um, well, some of these areas that are getting full sun okay again, it doesn't need to be in every single one, but I think a little bit I will go a long way and you can see that this one right for that Oakar right here and mix it on the side just to get a slightly different hue. And that's all pretty good. Now, I can just Sprinkle some in here, and that's really all I need. Now you can see I got a little splash there, but I'm prepared. I conduct that off and move on with my business. Now I have the buildings over here. They're gonna be taller and mawr and further away from the viewer. I want the used to start to gray out. I've got a little bit of wash down, but not much, so Okay, It just kind of right in there. So I'm thinking I can use that to my advantage. That could go ahead and work this area. If I had this wash all the way across. I may wanna let that dry before I'm further because I want some hard edges in there. OK, but I got that dry area and hear that. Get those hard edges now. Still use this brush. Now clean my area off. I'm going to use a little bit of cerulean and a little bit of my crimson. I want that to have almost a pink glow to it. Another thing I always have around. There's a scrap piece of paper and that will tell me right away if I had the color I'm after. And that's about as close as I want. Right there. Now back in here. So big deal. I can do something like that. And then we have a lighter side and here and good. Now I can start to bring that down and to some of these edges, and that's just going to basically negative paint some of these places on the building. And then I could just run that down into the building like that and let that mingle and that's a good way to soften the edges. Now I want Well, I had that color in my palette. I'm going to switch to my number 10 throwing it around. We get a little bit of moisture only here and now I can just kind of lightly indicate a few windows and a few details that could be going on in here. And we don't need much, but, um, we want something and just kind of blotting that. Now you can see I'm just softening some edges there and now to some clean water, and it's letting that bleed out right on up into their Okay, that's pretty good. I mean, I don't think and needs to be much more than that for right now. And now I'm just going to tell the board, encourage this a yellow to run down a little bit. And I think, Well, this is dry. I should be able to start getting start to put in this area. Now, this is a smaller area, so I'm going to switch to my number two a Z. You can see when this is what it has a really nice point to It is big enough though, that I could get plenty of pigment in there. And I like that. Um, whenever I'm looking at a brush, I'm always deciding. Well, how much detail? Yeah, hard edges do I mean, and can I select a brush that will cover more ground? And the others? Now I can use appointed around to this would be fine. But I think for this particular wash, I'm going to go with a softer ma brush. And now I want this area to be a little bit darker. So this will be really where my from shadow is. I'm just going to lift a little bit of that paint there to give the illusion of light kind of hitting the top of these buildings. But anyway, I'm going right with neutrals that I already have a one pallet and just a little bit of water on the brush will activate that. That's not fat. But I think I can get with a little bit of, um, burnt sienna, a little bit of ultra marine and start, you lay in some of these shapes. I'm going to go with the main shape first, which is this area. They run that right down and then you see him dragging that back and forth, getting a few of those highlights in there. And it's a little bit of dry brush in here and leaving some of those gaps in the paper. And this is a tough angle for me to paint at and not covered up. I'm going to do my Brit best here to ah, do not do that. And it's trying to just get the angles rate and now to some clean water, and I can start to let that just kind of mingle a little bit on. Now. I'm just see, I'm getting a few of these little details and and pretty much coming down to the figure here. And I believe, trying to leave a little better that original wash their and that's good for now and now I can look at how this is going to blend over here. I want some soft edges and also need some hard edges. So I think for now I'm just going to let all of this dry. But before I do, just get a few details in there, and that's fine. Now that's all working pretty good, and this is starting to dry nicely, too. So I think this brush would be too small to work the shadow over here. So I'm going to get a little bit bigger brush here, and I will use the same neutral mixture down here about Want to warm it up a little bit? Just so it's not the same is what's going on over here, and now I can start to capture this area that that's in shadow. You have a nice edge there. It's gonna catch the top of this car, something like that. And now just kind of drag some of these shadows and stuff in here. I don't want to come down too far, so I don't want to work in the foreground the middle ground yet. So what I'll do is just drop a little bit of this color that I have left in here. And I'm just trying to loosely capture a few details because it's wet enough that I think it will, um, dissolve a little bits. You can see how is running, but not so wet that it will completely lose my edge. You see, I'm taking my finger. I could take a paper towel on Block two Well, I think for this for this part that's about right. So I've got some soft edges happening in here, and I don't think I need to do much more with this particular wash. Okay, so I'm going, Teoh, let this dry, and when it does, I'll come back. 9. Finished Demo Part 5: all right. Nice and dry. Showing all this up too. I am. They got. Once you do a little lifting, someone's gonna use firm brush. So for lifting use a firm brush because it's gonna agitate the paper a little bit more. I'm just going to lift the right in here. Now, when you're lifting with a really good brush, don't work it back. And four to the point where you ruin the integrity of the bristles. What I'm doing here, we went to a smaller one is just letting the brush there and then just laying it almost press into the paper, the clean paper towel toe lift. And I want to highlight here on top of this car, and that's why I'm doing I think that will do the job right there. Now I'm going to keep this brush because I want to start to do a few details and one of the area I'm sorry I wanted to lift is right here. I think Sam is letting that pressure stay into the paper, and that should do it now for details. I'm not worried about the buildings in the background. Those were done going to move on but I am going to work in here quite a bit. I'm using my number 10 pointed around. The point around will give me the ability to get some nice thin lines, some more some thicker lines and to get detail. And this is the perfect brush for what I need to dio. It wouldn't make sense to use that or that, because it doesn't quite come to the point that I need when it makes sense to use this because that is intended for much smaller detail. I'm not ready to go there yet. We use a little bit of burnt Sienna Lumina, ultra COBOL neutral tent and possibly a new little more neutral and now contest that That's pretty good. So the idea is just just to hit a few of these lines. You see, I have a clean paper towel there. I'm just kind of dance hit it, had that line, the so few places, um, to lift some of that paint. Now I'm just going to take the paper towels, tweeze that back end of the bristles, not the point. And that's going to help me create a little bit dry. A brush here to create a dry brush technique. So that's all working pretty good. Um, and now this. A few more details now can start to run that and to the front part of the buildings and nice loose strokes for the windows on and like that and they weaken, get a little bit stronger here, the bottom. And I'm going to find this awning here, get the angle right and then just kind of run that down with the side of my brush. OK, I'm not using the point, the sign of the brush to get that dry brush look. And then I can let that run right over the top of that car and we can run a nice tall window. There could be a doorway as well. That's all looking pretty good. Ah, now we can just kind of hit. Something's happening back in here as well. That would go a little bit darker just underneath that, just to give it a little more dimension. Now it's going to wet the brush here. Just add a little bit of a shadow in there. I kind of find some of those edges now can take This is still wet, and this kind of drawing that out a little bit, softening those edges like so that's good for now. I can take the same Huberman, put a little bit of blue into that just to switch it up and squeeze the bristles right near the feral. And then that will help me, uh, this create more of a dry brush. Look to some of these now more blue and a little bit weaker here, some adding water to it and catching a few details on some of these distance distant buildings. And that's pretty much good way. Don't want to overload it, and that's easy to do with details. So now I can move right over here, and this kind of creates you're losing off something happening here, and then we can do some windows. And because this building is really just it's not that important. We don't need to get crazy with it. I think something like that is fine and that, you know, that wraps all this up. But before I get away from it. But it burnt CNN with this squeeze it and, uh, it's going Teoh A few details in here Now it is wedding, the brush and the base of the building is making a little bit darker. And now I kind of get that feeling a few details in here and this kind of blending it with but the finger as well. All right, that's all looking pretty good for the background. And I can go ahead and start you. I'm moving to the next face comes new. I think I'm gonna work with the cars. So the car that won't touch a little bit of this green in there, that's probably a little too much. And we can something like that mixing some neutrals in with it and and just kind of let that run down and some nice neutrals and the window for now is fine. And we can kind of indicate something happening over there. Now I want to find the back of this car, and that's going to be you're very much. Ah, nice gray. I've got a little white of the paper showing there, so I'm going to use that to my advantage and try to keep it. And this is a perfect brush to get all that done. So this one can really get a lot of detail in there as you can see. And if you don't have one, what Holly encourage you to do so. The initial investment. Understand it can be expensive, but for a brush that you'll have for a long time, I think it's well worth it. So coming along pretty good, we'll put a little blue shirt a little blue. There will eventually be a shirt and the little blue there as well. So now that had the cars on there. I can start to look, Um, although we can't bows with this red, but start to look at, um, the shadows. And that's important because the shadows are going to really help me bring this together. No. And I'm going to mix a good batch use. Everything is over here. So blue, neutral CNN, even a touch of crimson. I wouldn't go with a large wash brush here because if you do that thing, the color will be too saturated. 10. Finished Demo Part 6: it would be saturated enough. This smaller brush, you can load it and get a nice saturated stroke out of it. Okay, so running that right along in this area and we'll have another one right below it, connecting with the car. And, yeah, something like that work for car self going to let all of this bleed. I want nice little hard edge for the shadow on here somewhere indicating where some tires could be. And now you see to get some more of this down in the foreground. So dry my brush off and create, uh, slow, dry brush on there, and I can see just clean water, letting some of this leave right on down. It was fine. A little bit thicker on the pigment Here. Create hard edge there. And now this going to tell this board around, take a small brush year, this kind of agitate that read a little bit that and now I could just I've had that on my brush this color. So I'm kind of dab into it a little bit. See, I'm doing that and just kind of created dragging that up into this a few areas just to create some detail now. Neutral tent burnt Sienna. Now one of figure right in here. And this is all dry, right? That part. Remember, I put that blew down and helped create that figure and dinner that over here and maybe we have another one in this area. And now, while that's what a little bit of Randall bit of poker, I kind of let that bleed down a little bit. We'll get some feeling of some skin tone, something like that on. You see, I got that point around for a reason that's going to allow me to create some nice hard edges. And that's what this stage is all about. Okay, go the bigger mop brush now, because I'm going to this splash around and just tie these shadows and a little bit better . That's good going with just a dry pointed around number 12 that will put a little bit of water in it, just for I do that, I'm gonna put it a little little bit darker hue and some of this when curves that to mingle a little bit, I take a small brush and just lifting some of this. Oh, good. Maybe we can take the other fix some of this off the edge here, feeling about the figure in the air? Sure, now the key really is to get a really good blending of all this in the foreground. So I think I'm going to actually let a lot of this drive, and as it does, I will told the board a little bit back and forth to encourage toe went to settle in pockets. But I think it's good enough. Kind of run a few lines in here, and that's pretty dry. I think I can create this, A feeling of some tires or something going on in there on just droppings color. And here I'll be back in this dress, all right? Nice and dry. You see, the lifting lines did really well and almost not bad. The things I'd like to do but being sorry for the bump. Just add a little shape to the back of that car there. Maybe a little bit harder line, and there's well, so just clean water. Letting that fade and you can see those tire marks didn't quite make it either. But a little blue on my brush there. That's gonna happen. That's the nature of the beast with watercolor. So you come, you're dealing with washes and that sort of thing. Some of these will make it. Others will not, and just want to lift it here a little bit. All right, now I want to use my liner brush here and about pointed around. That's a little bit too big. I'll go right in here. It's time to look at details. So I went to mix up a little bit of neutrals here and maybe push that Teoh Brown and you'll probably be in your way a little bit here. I'll try to stay out of it, but kind of hard to do. So stroke there. I don't like it to be the same Hugh all the way down and and just running some little details and there as well, and that's pretty good. Now this side on, drive a brush a little bit and huh same color, different brush. Now I'm going to my needle, and this is where you will be very thankful you had one. These things are irreplaceable, and I really couldn't couldn't do without, and it's hitting a few details on the buildings as well as I go. And though a few details in the car to just a few lines here in the air, um then hurt, I think I'm going to use my Kalinsky. This is where this brush is really handy because it's soft. They will put some color down and absorb really well. Um, but it's not so hard that it it's going to leave a heart us edge. So these make some really good strokes. And again, you gotta have the right brushes in this business and now just kind of blending some huge there. That's pretty good. Get back to this one. Maybe we can turn some of this, you little dots in the burns and it's using up some of this color here. That's good. I think at this stage, a couple of highlights being brushed off good before we get. And to do that, always make sure your brushes links and clean little white wash says hold line. Um, I don't get my pitch. My make sure you got a nice point and really just bringing out some of these figures in here on, You know, the key is not to go too far, and that's ah, easy to do. Maybe we could do a little white sign in there. I think I'll just, uh it's a little more of a rat. It's a mess over in here like that. And now I will tidy up and take the people. That's when I guess you can judge it a little bit better. I was working rights. Here we are with this tape off everything, and I think, Oh, no, it turned out good. I'm just going to use a little bit of my red again. GAM bows to make it official. One thing. You. Now that I have the tape all getting a little bit better visual, I will just a little bit harder shadow in here. And I just looked a little bit of that in a few places. I think this thing that creates a little more separation there with the buildings, but unless you do it all right, so again, always have your brushes ready to go. I always have a good selection of brushes. Are a lot of I think artists and watercolorist will tell you you can get away with not having certain brushes, but I really don't spend a lot of money and brushes of the squirrel brushes can be pricey. But if you take care of them, they will last you a long time. But you can see that this is a very limited selection. So I have again two point rounds, my needle three months and my Kalinsky. And that's all I use from a watercolor. And these will last me for years and years and years. And they allow me to produce what I feel is a good of level of artwork. If I didn't have the brushes, then I honestly tell you the level of our wouldn't be the same. And I've been there and I've done that. And I know that the importance off, you know, having the brushes on hand big something on the other side. And I tried to produce a quality painting and just other brushes. Just simply don't get the job done. OK, All right. Well, thanks for watching. And I will see you in the next one