Alcohol Ink: Painting with Metallics | Lois Gardiner | Skillshare

Alcohol Ink: Painting with Metallics

Lois Gardiner, Paint Ur Art Out

Alcohol Ink: Painting with Metallics

Lois Gardiner, Paint Ur Art Out

Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
9 Lessons (1h 1m)
    • 1. Lesson 1: Introduction

      2:02
    • 2. Lesson 2 Materials and Metallics on a tile ‐ Made with Clipchamp

      9:11
    • 3. Lesson 3: Painting with Photopaper and Gold

      9:07
    • 4. Lesson 4: Painting with Silver

      11:09
    • 5. Lesson 5: Painting with Brass

      10:11
    • 6. Lesson 6: Project - Step 1

      7:06
    • 7. Lesson 7: Outcomes before Embellishment

      2:04
    • 8. Lesson 8: Adding the embellishment

      7:54
    • 9. Lesson 9: Final Outcomes

      2:41
  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels
  • Beg/Int level
  • Int/Adv level

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.

52

Students

--

Projects

About This Class

f816f532.JPG

This is my second alcohol ink class that I created about working with metallics.  Many people are interested in this and they can be a bit tricky depending on the type of surface/paper. This class builds on my first class and explores working with gold, brass and silver.  The materials required are ink, paper towel,, Yupo paper, stone paper, photo paper and a tile.  Isopropyl alcohol 99%, a hair dryer and some white jelly roll pens.  Depending on ink colors you choose you can get some jelly roll colors that work with your palette also.  Hope you enjoy this next step in working with this fun and fluid medium.  I upgraded my audio so hopefully this one is a bit clearer than the last Class Alcohol Ink Basics. 

Meet Your Teacher

Teacher Profile Image

Lois Gardiner

Paint Ur Art Out

Teacher

Hello, I'm Lois. I am an artist and love working with lots of different mediums but lately have come to enjoy working with alcohol inks more.  I enjoy how they can look so different on so many surfaces and are such a versatile medium on things like mugs, and ceramics.  I have enjoyed learning from other artists on this platform so thought I would share and make a class on basics with Alcohol Inks.

See full profile

Class Ratings

Expectations Met?
  • Exceeded!
    0%
  • Yes
    0%
  • Somewhat
    0%
  • Not really
    0%
Reviews Archive

In October 2018, we updated our review system to improve the way we collect feedback. Below are the reviews written before that update.

Your creative journey starts here.

  • Unlimited access to every class
  • Supportive online creative community
  • Learn offline with Skillshare’s app

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.

Transcripts

1. Lesson 1: Introduction: Okay, So welcome to the second paint your art class. This class we're going to do some work working with metallics as promised. And I brought this example of this painting that I'd like to show, which is a, one of the ones that oh, the light is really getting that nicely. But there's lots of beautiful metallic in this painting. And as a kind of effect that we're going to go for, perhaps with these colors a little bit different. I'll show you a few different ones. And what I do want to do though, is show you this is brass actually. And I'm also going to show you what gold and silver look like in different contexts because they all react a little bit differently. And of course react differently depending on the paper. If you're wondering about different types of paper, my first-class went through a little bit of that. But the first for this class we're going to work with Nora paper and also with stone paper. So those are the two papers that I'm going to show you, but you can use whatever you have even if it's, um, you pro, or different type of tone paper, you can try watercolor. Remember though that it's absorbent. So I'll go over the materials in the next next job. The other piece of it at the that I do want to show you and incorporate in this might be a little bit closer to white we're going to create, but with metallics in it. But just to give you a bit of a feel for where the project that I hope that we'll do certainly aversion of. So it'll be interesting to see how it turns out at the end. And I really look forward to working, working through this class with you. The second class of paint your note. Thanks. 2. Lesson 2 Materials and Metallics on a tile ‐ Made with Clipchamp: Okay, so first we're going to have a look at the materials that we're going to use. And this time, the last class I showed you how to move the paper around with straws and if air, et cetera. This time we are going to use a hairdryer. You can see I have one that I've used. He's quite a bit. And any sort of hairdryer will do particularly best if you have a low setting. And and I, I will actually show you a little bit using my air gun as well. But first we're going to start with the hairdryer. So the colors that I have today are all Ranger inks. Actually, I do have some pin yada when I think about it, but I have stream ranger and aquamarine ranger. And then I have these two, Jaccard, so Safra blue and a Senor Rita, magenta. So this is kind of a pink, pinker color, but the thing that I promised about was the was the metallic. So you can't really tell, but this is Jaccard brass and it is important that you shake them up well enough so you can actually cure that ball. Swish around in the, in the paint when you get it brand new, you usually have to do it quite a bit like I've actually had this gold sitting here for quite awhile. And it's actually God, and you still can hear the ball. So you have to really shake it until you can completely here the ball moving around, they're just finally started to hear it. And once the ball's moving around, then the paint is mixed up enough so it's helpful that they put those in there for you. This is the silver. It's a little bit lower, so as you can see, it's easier once they get you start using them a bit more. The other thing that I have as usual is the isopropyl alcohol, and it must be the 99 percent. You can now get it because of COVID everywhere. But it's available, it really good costs at Costco. And today we're going to start with the tile, actually, I decided and I have Nora paper and I also have stone paper. So I wanted to show you how this works because honestly the metallics work quite well on the tiles and I use these tiles. I make coasters and make hot plates. I may come candle bases with these, with these four. For many clients, actually a lot of people like them. So with that being said, what we're gonna do is start off with putting down a little bit of one of the colors that meeting. So if you remember from the last class, we're just going to, I'm actually going to use a little pipette. To take some alcohol, actual alcohol itself out of and put that just a little bit of it on the tile so you can see it's not too much, but a little bit. If you do want to wear a mask while you do this, you can. I honestly don't because it doesn't really bother me, but I know for some people, it does so use your judgment. It is, you know, by standards it's recommended, but I find I don't just as a bother me that much. So I'm gonna put down a little bit of blue there. And this is sapphire blue. And I'm also going to put down some aquamarine, which is a little bit different color. You'll see, see it's a little bit different shade of blue, so you just kinda want those different differences in the piece. And I'm going to just put a tiny bit of pink as a starting point. So I'm just letting that float around a little bit just so that we have a bit of reaction happening. And then I'm going to actually take the hairdryer and you don't really hear me, but I'm gonna, I'm gonna blow this around so you'll see what I do. So you can see it's the same color theory as I spoke up before, that you can see how the answers starting to react with each other. So that's what started to happen. I'm going to just move that around with they're a bit more. And don't worry too much if it doesn't go exactly where you're thinking you want it. Because this again, is a little bit about flow and letting honestly things happen. It's one of the healthy things about this. So what I'm gonna do next is I'm going to show you the part about adding the metallics and some of the things to, to think about with the metallic. So I'm just going to move a little bit of this around a bit. And I usually like to get a little bit of my, I'm going to start with the gold. I like to get a little bit on my ink down first and then add, add the metallics again. I'm going to use, in this case a stopper to grab some of it. But well, maybe not that one. Let's see. I'll just put a few drops in. Not too much. So you don't wanna go too crazy with the gold. Now what happens with the gold or brass or silver is it will sink to the bottom. So I'm just going to move this around. You'll see what I mean. So you see how it's sitting? Some of it is just sitting on the tile and it's not it's not moving around as much as I would like. And that's pretty normal, that bad effect happening with the goal. So this is where you do have to use your judgment of it and use a little bit more a little bit more of the alcohol to add it in and let it pick up more of the actual model because it is actual, like gold flakes in metal that's in need. Like the gold is not inexpensive like you. You do. Like I think that big bottle that I have evidence is $45 or something. So they're not like sod entirely for the faint of heart as far as using the metallics. But they do go a long, long, long way. So you can see how you serve two eyes. You see that it's hard to pick up a bit more. It's getting those nice edges and just keep moving, moving the air around. And I'm getting, I'm getting an effect that I really, really like. So I'm just going to add a little bit more alcohol to this one. You can see. And move this around. I want a bit more effect going out to the edge chair with the blending of the colors. Now if one thing when you're doing metallics, feel like there's a spot where there's a little bit too much metal, that's stage. One of the things you'll find is when you put the actual ache on where the metal is, it's going to pick up a little bit more, more of the metal. So if we actually put that on there, you'll see how it's reacting. I got a bit more, but oh, well, it's reacting and see how much of the metal it picked up in the I don't know why that happens to be honest, but it does happen. So sometimes if I'm wanting more metal pickup, I'll add a little bit more ink. And that ink will pick up the metal and it creates a nicer, a nicer deeper effect. So I'm going to move this around a bit more and see how it picked up all of that metal. Now sometimes it means you, you get rid of something you really light and that's, that's just the length of the neuron really. But I'm going to keep moving this around to see if I can get this metal to go in, some nice the globe to go and some nice lines. See how those nice lines are creating. And that's really just like playing with the hair dryer and the air and getting it to getting it to react. So I do like that. That's like a pretty nice tile and make a nice nice gift for someone. I usually would then resin that and make that work. So we're gonna do the metal, different metal but metal on different surface next. So the IPO paper. 3. Lesson 3: Painting with Photopaper and Gold: So the next one I'm gonna do is more. This is actually a photo paper, and I've actually never tried photo paper before. Well, photo paper is a very cost effective use. So this is going to be actually a fun experiment for me. And I'm gonna give this a try with my usual techniques and see what comes out. So this, I'm going to start with actually a, this is some alcohol ink I made with sharpies where you and I mentioned this before, but you can actually just take Sharpies. Old Sharpies, put the inside of the Sharpie in a bottle with some alcohol. Let it sit for several days and you end up with some really nice, rich, rich, different colors that come out and you can make your own colors. So I kinda like that because it won't always. I like being able to have my own specific colors that I use that times. So we're going to do that color and we're just gonna do a little bit of the aquamarine blue. So this is stream, my own pink and blue. So I'm not too worried about those extra dots. It happened because I'm actually going to pour more alcohol on this and see how this moves around on the photo paper. The photo paper is a similar texture to like a UFO. Oh, interesting. Okay, So the photo paper is actually taking on the 8th quite readily. Somewhere in-between a watercolor paper as stone. Oh, I quite like it. Hey, this is really interesting. Okay, well let's, let's add some italics to this. So I'm going to add brass to this and see how the grass goes. So we have the brass here that we recently xik up there, shake it up again and notice some came through that. Well, it's still pretty good. Okay. So we're gonna put some grass on. And this is she actually just going to pour it in the cap here because I don't I sometimes do it this way because it's quick. Okay, ooh, look at that with that purple, that's going to look amazing. Okay, and I'm going to add a little bit of this other color over here because I want to spread that out a bit and I'm going to add some more some more alcohol. So let's see alcohol itself. So this is just the, so I'm going to put it where I put the metal again, same principle that you're going to want it to pick up. Pick up a bit because I can see that it's. When to the bottom, you see it, see how it's at the bottom there you can kind of see. So we're going to just spread this around a bit more. Oh, I really like how this is looking. I don't know, right? You guys see this on here. It's really vibrant, beautiful Jewel, jewel tones and Mary Jane, there's a reason you find colors in nature. They really do work well together. And the colors in a peacock feather actually are interesting to me because they are these ones. So again, I've got quite a bit of metal here and I want to pick up some of it. So I'm gonna put down this stream color. And a little bit of my pink I made. And again, this was just from a from a sharpie pen and a little bit more alcohol. And let's see what this, how this goes. So I really, really like how this is a merging with some very rich beautiful colors. The trick with the metals is to not add, in my opinion, too much metal and to keep using the alcohol to move it around. Now see how the, you know, it's like your natural science stuff. It, it is going to pick up and move no two edges. So like this, you can end up doing and like this and you see, it's actually getting rid of some really nice met metallic work I had over here. And that sometimes happens with this process like they're going to do some layers. But interestingly, the metal will keep picking up and it will keep reacting with the other colors. And you keep getting this really interesting, interesting effect. Now sometimes if I want a little bit more, I like one of the other things that I think the interesting is with the darker colors obviously, and the metalloids creep do create some contrast. And so that's sometimes a really nice effect that you're going to get out of this process as well. Now I don't love how this is looking over here. So I'm going to actually put some ink down again to pick up that that brass metal. And I wanted it to react with the color there because I put a little bit more of the blue green. It's actually called stream. And I'm going to have it react on this side over here and create a really nice effect. Okay, I'll show this all more closely to you. But I do have a couple of things that I'm it's drying. I want to fix. So this in the middle, I want to fix a bit because the metals there, but it's just kind of in little blobs and I like it better when it kind of creates these, these lines. So what I'm gonna do is add more, add more alcohol and see if I can get it to pick up pick up the Inca bit. I want to let it sit for a minute. And I am going to add a little bit of blue because it's getting quite dark because purple. And we'll see if we can't get that to connect over here. So a beam up and whether or not we can get those to go in a bit more lines. So interestingly, with the photo paper, it does seem to stick a bit more to the bottom. So if I really want to get lines, my only option is to is to add to the but you don't need very much. You'll see this will go a long way. Just those few little drops. And we'll add just a little bit more alcohol. And we will spread that around. So you can see with the, with the metallics, it is a bit more effort around layering and layering. Oh, I like how this is truck coming. Layering and getting hacked action based on moving the anchor around and you do have to work. I'd save the alcohol a bit more to make the metallics come to life the way that you might Y. Okay, So actually like how that's looking. And for me this is usually like a base. Some people could leave this as painting as is. And it's got some beautiful tones in it. I like the photo paper actually I think I'll work with is very economic economic solution. So we'll, next, we'll do some different colors with the actually next rule, do Nora paper. 4. Lesson 4: Painting with Silver: Okay, So next we're going to do caramel and actually some black. And I do have a little bit of gray from CAPEX. So this is the other type of inks that I've talked to you about before. And we're going to try this with silver. Now. I'm gonna be honest, I find silver sometimes kind of frustrating. One of the things I like IT policies on some black mugs that I use because it kinda gives coverage that's kinda little bit like white. It will give coverage and new down the tones of things. So with the black, it sometimes works quite well. So we'll give this a try and see how it goes. I don't always use. So I'm going to lay down some alcohol first just so we have that foundation. And then I'm going to start with lain down the lightest color because I am. Yeah, one thing sorry. One thing with black is you do have to be really careful how much black you actually use. Because it will really completely cover your, your painting up with this. All of the wispy, nice kinda cloud-like effects you lose. So I think I'm actually going to in this case, lay down some of the gold right away because I don't want to, I do want it to be throughout. So we're going to just put a little bit in and you'll, you'll see this is going to give more gray tones to the painting. And so we're going to blow it around now. So same, same concept using using the hairdryer. And I uses to create more of a foundation for what I wanted to build on. So like if I, if I'm going for a really minimalistic look where I want lots a wide obviously will use less and lasts less coverage. This is going to create a really nice space. Shimmer foundation for the paint chain. That is, is actually turning out quite lovely. So I think what I'm going to do now I sometimes like to stop when it hasn't completely dried yet because this is a good way to add. Actually, I'm going to, I'm going to change a bit. I'm going to add some Prussian blue to this just because I think the dark blue, we'll add a dimension before we add the black. And I'm going to add a little bit more, um, alcohol on this. Ooh, that's okay. And we're going to blow that around. But you can see how this silver is reacting and it really is toning down that Mary Grey Prussian blue ink that I originally laid down. Now, that's okay because that can be kind of a nice subtle effect. But if you're going for a brighter I just would warn you that silver is not likely going to be your friend. But if you're looking to kinda have it be a little bit more toned down, then it can be really, really good. What is these to be careful of with both Nora and you bookkeeper with the hairdryer though, is you can aggregate to its class or grades so you can kinda burn the paper. So I usually use like a lower or even a medium setting. Actually, I would unhide, analyze and to make sure that I don't I don't actually burn burn the paper. So the next thing I'm gonna do is I want it add a little bit of a flowing, darker feel to this. Because often when I do my overlay with my white jelly roll pens, after I like to have something. It's nice to have some dark areas to work with when you're creating those shapes. So the next thing we're gonna do is be a bit more strategic. And I'm going to just go kinda try to start at this end. This end. Can you see that actually I should move this around a bit. I'm going to start at this end here. And I'm going to start working my way here with the darker, darker colors. So I do want to put a little bit of gray down here first. Do you want to keep some of this gray in the mix? But I do wanna going to shake up the black because I sometimes find black. Does settle, settle a bit more and we will oh my goodness, I'm going to get this off. I hate these one type of lids but aiming. Okay. So we'll put that down a little bit of black and you're gonna see how much impact the black has like here, it's really gonna go black. So you kinda gotta be careful how much of it you use. Arguably, I even maybe use a little bit too much. But we'll work with it. And I'm getting keeps working my way up with this with the black and see how it goes. So I'm actually not going to add any more ink to that because it's all plenty color for me. And I'm going to work this way up the center a bit more. So I have a bit more varied tones in the, in the painting. So you can see this silvers still working in. You can see some silver coming up in a painting like I'm going to bring this up so you can see, so you can see how the silver is still moving around in, in the painting. But it starts to get less and less because it just has a in effect to how it works as far as a metallic option in my opinion. Okay. This is what being quite good overall. Easy. I just keep moving the hairdryer in different angles to do the paint. So what I am going to do is just because I want a little bit more darkness here. It's gonna put it down a few drops, a bit more gray. And actually I do want a little bit of more blue here. You can tell. So blue over here. So kinda want to balance it out a bit and have a bit of blue there. So I'm gonna put down quite a bit of alcohol now this time because first of all, I wanted to pick up quite a lot of the of the silver and I also want to get some coverage on the painting. So with both black and the blade. So let's see what I'm going to do here is make this painting is going out a bit more, covering more of the paper. Now, I'm purposely doing that in a bit of stages because and you might go in there and she does react to it. I liked it before and that can be the case. And sometimes, while many times I've I've made a decision to do something and you know what? Oh, wow. It isn't what? It didn't turn out the way I hope. But the great thing with things is you can just go again and often as you layer and keep layering, you end up getting something really interesting and cool that you just can surprise you. So I really like how and the gray and the silver and the blue here are combining to create this nice subtle sort of stone wash look. But I do want still a little bit more black in my center here. So I'm gonna put black actually done there. I hope I didn't do too much. We'll see. Because I wanted to just move around with what's already there. Well, the more than I wanted, but that's okay. I do want this to get out over here. Okay. Oh, I'm liking this. I'm like you now a bit more of the book, Deep Blue is showing up. And as I spread this out, I'm getting a nice gray, gray effect on the paper. Now one of the things about Nora paper is you could actually, if you didn't like this, take alcohol to the Nard paper and you honestly would just completely wipe it off. It doesn't have not nothing really soaks into it. It is truly cost it. So we're almost there. I know this has been a bit longer. But I wanted to show you the effects that can be made. I do just want to put one more bit of black in rate at the very end because I think it's going to create some contrast that we will like later on. Okay, look at that. Oh, very beautiful. Okay, so you can see how that has come together quite nicely. It needs a little bit more drying time, but it is lovely. See, I'll probably take this. I don't like this spot that happened over here you can see. So I'm actually going to take this is a good example to show you how the in our paperwork and one of the reason a lot of people like working with it now is like see, it's gone. So that thing that you didn't like, so he gets some droplets are things you didn't like. Like actually I don't really like this, this little tail that came here. So I'm going to actually get rid of that. So this is one of the nice things about the Nard paper is that you can, you can create quite a different effect with it by just taking a Q-tip or something to edges. So I like this one and I liked the little bit of whitespace we have here. I'm just going to clean it up a bit with the with alcohol. And I like this one. 5. Lesson 5: Painting with Brass: Okay, This is the last one and I'm going to use this nice kinda periwinkle blue, this bright, bright yellow, greeny. And I think I probably will use brass to be honest. I used brass more than gold now because I just like, I think it's a nicer greater impact that you get with the brass. So I will admit to using it more often. And I'm gonna try and do this one where I've kinda more so the one color on one side and the other color on this side. So it'll be like this is a bit of a technique with the hairdryer or that I'll show you. And then I am going to add in some oh dear, I didn't have that completely closed, so I got stuff all over. Not ideal in way that happens sometimes. That's why I have stuff from the floor. Anyway. It's frustrating. Okay. So we'll just laugh about that because that's all you can do. And I'm going to pick up some of this brass here and we will put it down on the paper. Okay. That should be plenty of metallic. So you can see when using the metallics, you don't necessarily want to use a whole bunch of it. We are going to have some. So the thing about those stone paper is that it does soak in a bit more and I can tell like we already have some soaking in happening there and there. So I'm going to add some ink because I, I do want it to sit on the paper. Okay, So first I'm gonna do this and get the yellow side. And then what I said before is I kinda want the blue to stay where it is. I don't want the colors to mix quite as much because I, it may still happen of course, but, but my goal is to have a little bit more contrast. And you can see like the stone paper is a bit interesting because it drives away quicker and it does soak up more. But interestingly, I usually find the metallics don't move around as much either. So we're just going to add a little bit of blue into those metallic spots that I wanted to pick up. The metallics more because again, remember what I said about the metallics picking up. And I'm going to add in lot. And same thing here. I'm going to add in a bit more alcohol because I want it to spread around a bit. Oh, that's coming out really nicely. Yeah, very beautiful. Okay, so same thing here. I'm going to and again, because I want the yellow to kinda stay separate. I'm not the district that I'm just moving it around a bit more to keep the yellow as a separate color. And it is farming this lovely purple as a result of the, of the yellow. And I am getting gorgeous lines on this one. It's interesting sometimes how it turns out I do like this settled t down here that I've achieved. So I am going to just kind of put a little bit more yellow instead down here. Because I want to see if I can create a bit more of a subtle shape over here. Sometimes they make my shapes purposefully, sometimes they form and I go with it and I see what I see why that happens. I like doing both and make it just depends. Okay. That's really pretty okay. So this is one of those things where I sometimes step back and I look at it overall and I think, oh, do I like, do I like all of that? In this case, I wanted to try and add a little bit of balance of the yellow to the blue. And I do want to, I am going to put some yellow up here because I want to try and see if I can balance that out a bit. And I'm probably going to get a little bit more mixing happening because it's just not actually what would happen. Yeah, see, you get little bit more subtlety. The with the blue and the purple. And in this case, same thing here. I think I do want to put some blue, blue here because in this case I'm not wanting as much white-space. I just, I think I just want the colors. And it's just the way it really, it's evolving for me that I make that decision. Sometimes, especially if I'm gonna resin now, I tend to not leave white because unfortunately it just yellows. And that people will say you can stop it, but I've had limited success with that, so okay, again, we're getting some beautiful lines with the, with the metallics here on the stone paper. And I always forget how much I like the fact that it goes. But then gets some of the nicest effects. Now I don't, I'm, I, I know some people like them, but I'm not a huge fan of these fingers that can happen. So I will get rid of them. So I just put down numeral II and I move it around until those fingers are going. Now sometimes it means you may lose some of the metal. But oh my That was a good choice because look at that. You're getting this beautiful effect. See yoga metal moves around in the line. And then if you run a really, really good line, you can just do more moving it. This is one of the reasons I, I've probably shown paper more than 50 percent of the time. So the final piece of this that I just need to fix up a bit, I think is just adding a bit more yellow effect here and here. So I'm just adding in a bit more. I'm not going to add any more metal to this. It's got lots of metallics in it. And I think this is going to pick up some of the metallics as I lay this down. Same thing here. I'm purposely wanting this to mix a bit more right here. Because I'm going to get, I am going to get a green tone. So be interesting by liking it. So that's why I was trying to keep the yellow more yellow until the end. So I hope you can see that. Okay. Um, as I move through the metal around. So it really is just a matter of experimenting, trying a few things, keeping, moving the, the ink around a bit more. And just in the case of the metals, especially the more you pick up the metal over and over, The more the more you can get these nice line effects that many people like to try with the, with the alcoholic. And I would see with something like an air gun, you can have even more control. But I find I find it's maybe a bit more contrived than I like. Like I prefer. I just want a little bit more yellow than green happening here. So I'm going to add that in the smallest amount of alcohol. And okay. That's not my favorite looks at just happened there, so I'm going to have to fix it up, but you can get you can get a feel for what, what has come together here and how you can use the blue and the beautiful colors that have emerged. 6. Lesson 6: Project - Step 1: Okay, I am going to do this last one which is more easing monochromatic and I'm going to use stream, largely stream and aquamarine to make this. So I'm just gonna make it and it's using the same techniques I've been teaching you. And you can see this is like a, uh, for me, it's a bit of a process because I first like to lay down my lightest area and in this case I am going to first put down some cool gray. So I do like to lay down a lighter lighter tone. I'm going to move that around. And you'll see I just keep adding ink sometimes more than you might think. I know. Some people like to work with very, very small amounts of ink. I prefer. That's how I think. I think it's held my pieces. I end up a little bit bolder. Sometimes is I have more, I have a bit more ink, but if you are going for subtler, you can just add more alcohol and you will end up with this subtler looks. So I'm going to show you how this really light gray ends up with a quite subtle look once it's all dried with the Herder. I always think, I think it kind of looks like clouds. It's resolved, drying up. You'll see at the end like there isn't as much of this, this tone that you're seeing because it's very subtle. I do want to put it, in this case a little bit more out on the edges here of the oh, I just added the dark gray. Okay. Well, I guess we're going to have dark gray out there. I didn't need to do that. I meant to add the lighter one. Okay. While it will add the dark gray next. Now, sometimes things happen, okay? And then you'll see how this works. It will still be subtle. The one nice thing about the sunlight, this stone paper, is that it doesn't really bubble. It. It can take a lot of heat, is it is actually a stone or minerals. And so that's one nice thing about it. So now that this is still wet in here, I am going to add some of the color that I wanted, which is more this stream color. I'm going to add in quite a bit. 0s can see I think quite an amount. And and Wednesday just move that around a little bit and make sure. Got it. Kinda mixin. I do see some spots where I know I'm going to need a little bit more alcohol because you want what you'll find as you start to learn the, you know, the amount of ink and alcohol you need to get the impact that you're looking for. I'm going to add brass in here because like I said, I use my bras than any other color, usually not going to add that much. And then Darn it. Going to add that in. And then we're going to move this around. And don't worry, don't worry too much about those fingers. Or if you have something that you don't exactly like how it went or you're like, I'm losing my eye, my gray. That's okay. Because we were I'm gonna I can tell already I'm going to take the gray out to these areas and and make them italics work with the rider painting that so you can see how much italic went into that one spot. It's crazy. So we definitely will want to move that that around unless you like that. Like some people want that much in one spot, which is absolutely fine. There's really no right or wrong with this. So I'm going to just fix up this top part with the with the gray. And you can see how this is going to react with with the greeny blue, which is this stream which is a color. I honestly love. I use it quite a lot. And I actually really like how it's reacting with this gray. And I'm going to just add a little bit of more of the pure, pure ink color in here because I want it in more of the center to have these darker areas that I spoke of. Not quite enough. Alcohol button. You see, I didn't add very much because I just want enough so that it can move, but still keep a lot of the rich, rich color and in the feet. So I'm getting some nice deep tones in contrast with these lighter, lighter pieces. Okay, so I'm gonna keep working on this and finish this up. You know, you guys are kind of getting the picture of how you work with moving everything around. And then what will what I'll do next is show you how to add the embellishment to the paintings. 7. Lesson 7: Outcomes before Embellishment: Okay, This next one is the tile. And you can see how it turned out. My quiet, I always love how inks where Khan tile. It's got a very 3D effect. It's beautiful. And this is the stone paper. So this is what the stone paper looks like, like the multi-colored effect we got here. And the brass looks so nice with the blue. You really get a beautiful composition in this one. I think it's kinda cool. It'll be nice once it gets embellishment on it. Okay, So this is the photo paper one and this is what it turned out like. So quite like some of the colors we achieved here. And we've got an Ace peacock jewel tones happening. And I like the way the photo paperwork to I'm definitely doing more of that. And this is the silver. So you can see the silver is a lot more like subtle. There is a shine to it, but it's more than their tone. It's probably the way I did it too, that I did it at the base. I kind of like it better that way, but I like how the black and the green and the blue came together in this one. Last but not least of all, I think this one is my favorite. I don't know, I just love this stream color, but I really, I don't think I've done the gray with the stream before and I really like how the intermingled and these effects I got. So this, I didn't, when this is all embellish, it's going to be very stunning. But we'll see this is part of the fun in the process. 8. Lesson 8: Adding the embellishment : All right, So what I'm, what I'm gonna do is have these Jelly Roll pens. I have a few different colors, some gold. And I've got kind of, I think it's called ice cream, yellow and some different sizes of tense of whites. So 10 and 8, I think this one is. So it gives you some, some to work with. This is actually a blue a blue color I brought. I don't always use the colored ones, but sometimes they try them out first. So with, with the putting the, what I do with putting in designs down, some people just put a design over top of this that they like, like they might see some fish in here and then they draw on fish. That's an option. But what I like to do is use the actual shapes that formed as a part of making the art. Because then every piece is super unique. So what I usually do is find some of those shapes. And I will start drawing in some lines on that. Now I'm going to show you the white one. So that's white. And if you can see that, and then I'm going to show you, I'll draw little bit figure of gold ones. You can see what the gold looks like. So sometimes, as I'm trying to decide if I want to have white or gold on it. I might do one beside the other and make a decision. As to what I like. I do like the gold mysticism and tell CS class. So what will happen though is the gold gets a little loss. So it just depends if the contrast you're going for. I think for me, how many combinations? So you guys can kinda see how both will help, both will work. So I start picking out the shapes. And then I start working with the shapes that are here already too. So I'm just gonna do a few of these. He can see the technique. Now, I, I like to make these and off It's a Japanese leaf or a flower. But I like to make kinda of these leaves. And if you want to add a little bit more dimension in, you can put some dots and like because it will create more feel of it actually being a three-dimensional. Especially if you kinda angle the lines a bit and create kind of movement in the leaf. You see how I've just chosen to use the shape that's here and work with what's here. And like I'm in this case going to turn this into a bit more of a clear leaf with my adding some dots and texture to the leaf. So I'm going to hold that up so you can kind of see a little bit more closely what that looks like. Okay, so that's a one option. If we go more with the white, I'll do a wait, wait one here, inter, intermixed. And again, I might make this a bit thicker, maybe might not. Just depends what I'm feeling like that day and what's striking me. Sometimes it depends. Like if I honestly make a bit of an error and I, and I want to I want to fix it to make it smoother than I'll make a thicker line. So it just depends. But there, Let's go with that. And I'm gonna, I'm gonna make this into, I'll make this into a bit more of a leaf like this. So you can see it's just a matter of playing. And you can imagine like when you do a whole large piece, it does take a bit of time to get all of the all of the pieces in. So so really wet. What I do is I keep I keep going with this. Like sometimes I'll outline a lot of the, the shapes first. And let's see you. I did that shape and I'm like, Oh, I don't really love, want that and wide I want it in gold. The way that jelly rolls pens work is you can pretty much cover up the, the white. So it's easy enough to convert it to this color. Or let's say, let's say I don't, I don't like that. Wait, that's there on the edges anyway and I want more green to go with the green and the painting. So I can do this and I will get rid of the weight. So there also is an ability to kind of fix what you did if you end up not loving it. I will sometimes do a little bit of line work where I do the whites here. And then when I get over to this, to this gray portion over here, I might, I might actually use black in here. So and no end those. I use, I like the Micron pens. So it just depends what you have, but you can also just use a Sharpie, because Sharpies are actually just alcohol ink. So Sharpies are a great economic choice to add color and textures to your alcohol being paintings as well. So you can see this. I could sit here and you could watch me draw for for an hour, but that will, will be kind of boring. So I'm just gonna do a little bit of a speedup section here so you can see where and how I got to finishing. And I AM. And then we'll just talk about the final the other final projects I did because I did do this different versions of it on at each of the paintings that we did today. And, and so you can see, see what, see what that looks like. So just really have fun with it, play with it. The input dots in. You can, you know, create some little leaves. I have whole books of doodles. I mean, kind of getting to a place where I have some doodle concepts that I like, that i've I use more often. And so like it's just a matter of working with it and getting started. So hopefully that's helpful. And we'll we'll just finish up with the last look at all of the pieces that we made. 9. Lesson 9: Final Outcomes : So this is how this turned out. I'm not sure if I like it actually better ways, just ODD lines, but it, the white does pick up really brighten the photo paper, which is really cool. So I'll definitely use up for some different things, but this is what it looks like. So on this one, I did silver Jelly Roll pen. I love how it turned out. So this and see what I mean by some of the credit darker space in the middle. The accentuate when you do the jelly roll. So I really like how this one turned note. So in the spirit of the gold, I tried to set it to do gold on this one too. And gold Jelly Roll pen coat or note. It looks nice. I think this is another one where I could have not bothered with C embellishment, but I do find it quite relaxing. I cathartic. I have books of doodles that I created over time to get to where I had doodles and I like to make. So. And then I'll show you the next one. I now finish this up. I think I like how it turned out. I said a little bit later out here in the gray edges. And a purposely doing this light to show you how I'm afraid it can look. But interestingly, it can also look quite different in less shiny. So I'm going to bring it over here and show you how it looks a little bit different. So can really achieve different effects with different choices. I actually this one analog because I wanted you guys to see. But you can certainly go simpler to and only add in a few embellishments. This just shows you a lot of the different things that can be done. So I hope you enjoyed that.