Beginners Watercolour techniques. Back to basics, learn how to paint wet in wet and wet on dry. | Cally Lawson | Skillshare

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Beginners Watercolour techniques. Back to basics, learn how to paint wet in wet and wet on dry.

teacher avatar Cally Lawson, “Paint like no one is watching"

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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

14 Lessons (54m)
    • 1. Introduction

    • 2. Materials you will need

    • 3. Tips on water

    • 4. Pencil guidelines

    • 5. Pen drawing

    • 6. Photo tip

    • 7. Colours

    • 8. Wet on dry

    • 9. Wet on wet

    • 10. Petal practice part 1

    • 11. Petal practice part 2

    • 12. Petal practice part 3

    • 13. Final project

    • 14. Conclusion

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About This Class

This class is aimed at beginners to watercolour and those who want to refresh and practice their watercolour techniques. There are lots of hints and tips along the way, as well as detailed tuition on applying the paint. You will learn how to apply paint wet on dry and wet in wet.


Meet Your Teacher

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Cally Lawson

“Paint like no one is watching"


Hello, I'm Cally. I am an Artist situated in Cumbria, North West England on my family's dairy farm. I particularly enjoy teaching beginners drawing and painting, focusing on building confidence and emphasising the importance of relaxing and having fun whilst you paint. I have been teaching and demonstrating on YouTube for the last few years, where I cover a wide variety of media and subject matters. Here on Skillshare I will be aiming my classes solely on beginners, watercolour and pen & wash. Please feel free to contact me if you have any special requests for future classes.



You can see examples of my own work on my website and by following me on Instagram. I work mostly in mixed media, especially liking using ink dip pens and al... See full profile

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1. Introduction: Hello. Welcome to this skill share Beginners, watercolor class. I'm Cali and I enjoyed teaching beginners, painting and drawing here in my home studio and also online on skill share and YouTube in this class today, I really wanted to go back to basics for those of you that were new to water colors, but also for those of you that want to refresh your memories. And they want to get a bit more practicing to become a little bit more confident with watercolors so going to be split in this project into two parts. The first part is a practice on what we're going to be doing is drawing a flower in a nice , simple, easy form so that we can just paint each petal individually using different watercolor techniques on This is just an exercise in getting to know you want to call up paints on the amount of water that you need to apply in the different techniques. What you feel confident and comfortable with your practice piece. You can then go on to do a more finished piece with lots of flowers. So I'm not going to be doing the finished piece because I really want you to have your own import into that and to show some member of your own style and have your old composition of color choices to make it an outward That's very much individual to you. But don't worry. You can ask me along the way any questions that you like. You could always come top may. Well, she's doing the class. If you worried about anything in particular, you can contact me through my website. My email address is on the website. You can also contact me quite usually through Instagram Messenger Service. If you want to follow me on Instagram, it's quick and easy way to get in touch and asked me any questions you might have you go along. So I chose us a very simple shape of a flower, as I said, because it's an easy thing to practice on by using the individual petals so chosen a cosmos flower. And I've put some pictures from photographs there for you to download and have a look at yourself. But of course you can get some more off the Internet if you want to. So this is the example O with a big doing using different techniques wet on dry, wet in, wet, etcetera. On. This is what you'd be gonna be doing initially before you move on to your full project. So I'll come back at the end. In the meantime, enjoy your painting. Like I said, just get in contact if there's anything you need to ask me 2. Materials you will need: before you begin, you need to have all your materials ready to hand. It's much easier than scrambling around later looking for things. If you're a little bit prepared and have everything ready, it will make the whole painting process easier. So to begin with, we've got a lovely reference photo. You don't have to print this out. Of course you could just use it from your monitor or from your phone. A lovely clear photo of a cosmos flower there on all this photograph, along with some others, will be in the reference section for you to download. I've put four pictures. They're all, of course, moss, but all slightly different. But of course, you could have also have a look on the Internet and get some more pictures. So apart from that, we've got our paper overseas. So this one is a saint. Cuts mill one, the Bach inferred block on its £140 in weight, which is 300 grams. I would never recommend anything less than £140 in weight. You could always have something more than that, and it's a not pressed one, otherwise known as a cold pressed so just popped up to one side and look at the brushes amusing. So this one is a number six round synthetic brush on this one. Here is a more number 10 rounds. Synthetic brush. I really just got this one out in order to lift the paint, I often see beginners trying to lift the paint out of the pans using a very small brush, and it takes a lot more time. Haven't have a bigger brush for lifting the paint out, and you will need it for other things as well. But also get always get a brush that's got a good tape on it so that you can get into the corners when you paint him. So I have a lot of different brushes. I'm using synthetic runs today because I'm aware that that's perhaps what you'll be used in . The main difference with the animal brushes is theme animal hair brushes. Is it that they hold a lot more water? And again, you're not having to reload. You brush all the time, which means that you can work a little bit more freely and things aren't drain Justus quickly. Apart from that, I've got a pen so this affair, but Castell one on. It's an artist pit pit pen on that one's black and exercise medium waterproof. Unlike first, a pencil this one's air to be. And as you can see, I use a knife to sharpen my pencils. Not a pencil sharpener, which can snap them quite easily. And you get a much better point by using a knife. Have also always got kitchen towels, that something that you need handy all the time. And, of course, we need our paints so you can say about this 10 a long time on. I just keep refilling them. I actually refill them from the tubes into the puns. I don't buy pans anymore, are by tubes. It's much more economical. And then I fill the pans with the tubes. But whichever way you want to do that, that's entirely up to you. There's no really advantage to either way, and I use a nice, heavy ceramic palette. This is quite an expensive palette, but you don't have to buy one like this because you can use anything that's white. You can use an old white plate. Just don't use something colored because then you call us when you put them on to the white palette are going to show the same as they would do on your paper. If it was a color palette, it's going to make it slightly different, and you're not going to be able to judge the colors that you need to have a white palette or a white plate. Anything like that will do. It doesn't need to be anything expensive, and it could be a plastic one. It doesn't need to be a heavy ceramic one like this. The thing about this being quite heavy is it sits nicely on the table on. It's less easy to knock off, so and then you need two jars of water or containers of water. Nice clean water on as you go along with your painting process. Keep changing these. Keep using some nice, fresh, clean water. Don't use the same water all the way through. You want it to be clean and fresh, and that's how we get that clean, fresh feeling that is so sort of evocative of a watercolor painting. So you have 21 is for cleaning your brush. On the other is for a playing to the paint on the paper, so try not to get those mixed up, clean your brush and then load your brush with water to use in your painting. Don't use your cleaning water to put onto your papers are always have to on a thing that's about it. I may have forgotten something, but I think that should be about right. Of course, if you've not got to Penn, you don't have to use one for this exercise. All my skill share things are done using income watercolor on. I like ink drawing pens, but you can also use pencil. If that's all you've got, that's absolutely fine or even just paint. You can always draw with your paints so the principles still apply. The drawing techniques still apply the same as do the painting techniques. And really, don't worry if you haven't got a pen 3. Tips on water: before we continue. And this is something I have touched on in previous videos. But I really can't stress this enough. How important this is is about the amount of water that you use. Watercolor is all about water. And as a beginner, if you can really keep remembering that and keep thinking about that, you'll find you progress much more quickly on there are three things you need to think about with the amount of water that you're using. So firstly is how much water you brush holds. So this is completely dry. It's been sat overnight drying. Now. One thing also to remember here is when you don't you brush in water. Can you see here? I'm not sure how well the camera will put is up. You can sometimes get little bits of water just on the brush itself, there on the handle. And if you sometimes start painting and that drips off, that can cause a problem. So do be aware of that. Just not that off on the edge of the jar, on a bit of tissue or with your finger. But be aware that you can have quite large bits of water on the side here that might later drop off onto the work that you do in and cause a problem. Such another little tip. But we just see. See, now we've put the brush into the water and just look how much that drips off on how much there we've got. That's what it holds now. Every single brush will be different, whether if it's anther synthetic, our animal hair, etcetera, all be all your brushes. Depending on the size, the shape, the quality will hold a different amount of water. So you need to get to know your brushes and the amount of water that your brushes hold. It's not something I can really teach you. It's something that you will pick up the more you use it. So if you do it every day a little bit, you'll soon get to know your own materials. So the second thing is how much water you paper absorbs on. This will actually depend a little bit on the weather. This is particularly relevant at the moment cause we've got quite warm weather here on things. Do dry out a little bit more quickly, so you might need to adjust the level of water that you use in depending on the time of your and how warm it is in the area that you're drawing and paint him. So how much you brush holds, how what she paper holds and then how much you add to your paint. So just pop some water in there on a tiny bit of paint, and you can. The ratio of paint toe water can vary massively. Obviously, this is very, very watery, so it's gonna be a very, very light color. So you've got to be aware all the time that what makes your watercolor painting quite a tricky medium to work with, actually. But what makes the painting look so light is that the amount of light that's coming through those colors is the amount of water that you're using to allow that color of the paper to shine through your colors. But it also means that you can have room backs and things if you have too much water and I can't teach you that you can only learn that by repetition because I don't have your paper . I don't have your brush. I don't know how much water you put in into your palate, and I don't know how quickly things air drying in your home, depending on the heat. So you need to practice over and over game on. Find a paper that you like, and if it's not working, it may be that you've got cheap materials. It's a good idea if you can do to buy the best you can afford is better to have a few expensive materials, a couple of expensive brushes than lots and lots of cheap ones that don't hold any water because when they don't hold a lot of water, what you find is you constantly having to go back to your pains to refill your brush and then the edges of where you're painting a drying out, and it makes life much more difficult. You'll find that you you progress on your paintings, become better if you just invest a little bit in having some good materials right from the start of my painting. When I first started learning, I bought artist quality paint. There is so much more pigments. There's nothing different in the colors, the same colors, but they've got much more intense pigments. You're not having to pick up lots and lots more color on that process of you When you using beginners student paints of having to really lift the color often used to try and get more marcouiller in onto your palate from your puns slows the whole process down, and it means that things are drained too quickly, so you need to adjust the levels of water that you use in all the time. So I hope that's not been too confusing. But it's really just to say you need to think about that and think about getting to know you materials and practice, practice practice. 4. Pencil guidelines: before you commit your drawing to ink, which, of course, you can't remove from your paper. It's always a good idea to do a few pencil guidelines. I do this even when I'm confident about my drawing because, like I say that that ink isn't removable on, Do you want to be sure of what you're doing with something like a flower? It's not too essential because if the flower has a little elect irregularity and it, nobody's going to know because nobody's gonna have this original picture here. But if you're doing something like a person where you have to have the features just right and the measurements just right, you might want to use your pencil a little bit more before you begin. So if we look, we've got 12345678 petals on a nice center. So I've picked Cosmos because there are very simple shape to draw very daisy like open flower. To draw this one is slightly on its sights. Or rather than fitting into a circle, it's fitting into an ellipse shape, so everybody draws differently. We will develop our own drawing style and techniques, but for flowers, it's a good idea to start by drawing the overall shape of the flower rather than starting with doing individual petals. So to begin with, I'm gonna move my arm nice and keep this nice and big. And I'm standing to do this so that I get a nice, sweeping motion of this ellipse that the whole flower is going to fit into on its side there. And then I'm gonna look at where the center is. And again, I'm not gonna worry too much that its exact because as long as it looks like a cosmos and we get that feel for the flower, nobody is going to have this picture later on to compare the two. Unless you're one of those people who really likes doing a knocked a realistic painting and you want to measure, that's, of course, up to you. So a good idea when you're doing the stems is to start your arm. Because the stent we can't see whether stems attached. But we know that it's attached to the back of this, and you don't want it to look as if it's coming out of a petal or not attached in the right place. So think about it coming from thereby start in your arm there a moving it along and then we can look at putting the petals. Um, and this isn't a hard and fast line. This can't move. Can't older things slightly regard along and again? I'm not gonna worry about every little bending curve in this petal. I'm just going to get a feel for it in the way that it's going out there. So and then this one is overlapped. So look at where the overlap look at the next one. I look at the negative shapes as well, and this one's curling over a swell, very easy to do a curling over petal. You just put a little extra line in there, sort of mean about the negative shapes. Is this shape here? So if you look at that shape, that helps to get the shape of the petrol on the same here. So I just carry on now and do all those guidelines, and then we'll come back in a moment and put some income that 5. Pen drawing: Once you're happy with your drawing guidelines with your pencil, you can go ahead and put your pen on now for this particular exercise. What we're actually going to be talking about is the painting itself, how we're applying the paint and the water colors so you don't really want to do in a very complex drawing. That's why I picked this simple shape of a very daisy like flower. We want to keep it very simple, So don't be putting every single line on just on indication of some of the shapes of the way it's going into the center there, but not every single line we're going to be practicing with our pains. We don't want to have an over complicated drawing. We want to keep it simple, so I'll go ahead now. You could use a different size pen to May with flowers. You don't want anything too heavy because it's obviously a nice, delicate object, and we'll put one or two of these little shapes in as well in this center to give it a little bit more character. So I want to do the whole thing using the same pen you could to use different pens, different sizes if you really wanted to. But I'm gonna make it easy and simple Way, - way , - way , - way . 6. Photo tip: one should be raised all those pencil guidelines At this stage, you may like to take a photograph of your work because you might want to print it off later and color it in with different quality. Could use it for all sorts of things. So it's quite nice thing to do is to take a photograph of you work at this stage because those of you that are good with computers on, with lots of different maps and things on there, you might even want to tolerate indigenously or something. So it's something that nice that you can keep on your computer, and you can maybe using a different design another time. So just take a quick photograph of your work at this stage before you carry on. 7. Colours: Now we need to prepare our cause. And I'm really not gonna worry too much about the colors themselves because the exercise today is really more about getting used to your pains, and they used to use to the application and how we apply the paint. So I'm not gonna worry too much about the actual call has been exact to the photograph. You can if you like, You can spend a little bit more time choose in them. But I'm just going toe get something straight off the pan that I've already got Not worry too much about mixing other colors into that. So I'm going to use this nice rose color that I've got here. So it's a bit more pink than the one on the photograph. The one on the photographs, more of a blue pink and will at some of some blue are some violet into that to make the darker shadow cause. And you can see that's quite thick And we may need to make some more close it as we go along. I'm just gonna make four for now. So again, I'm gonna get the same color. And for some of those shadow areas I'm going to add some violet. So this is Windsor Violet that I'm not into that rose color there and just a little touch. I'm not going to overdo that and make it too dark. No. And then I'm gonna make a thicker shadow. Callers to the same two colors, a little bit thicker with less water in there, but also with a bit more of that violent to go a little bit darker. So don't forget when you apply your callers to the paper that they're going to dry a lot lighter than you put the mom. So you don't be frightened to go nice and dot with your coolers. And of course, we need some yellow for the center. The so I want to use new gumbos. You could use a cop, man. I like gumballs. It's nice and bright. If you wanted it to be more opaque, you could use the cadmium yellow, and that will do for now. But we may mix more up as we go along, but it's a it's a good practice to get into mixing. You cause up before you start on. Really? I'm not a great advocate for this because I tend to mix, cause a puzzle. Go along. I'm not a very organized person, and that's how I tend to work on. I work very quickly, booked because of the nature of water cooler and the way things drought very quickly. It is better to have some colors at least made up before you start. 8. Wet on dry: the reason I chose today to do this flower such a simple shape was because I wanted to show you different techniques on the different petals. So as a beginning, you hear all these techniques and you may go to an art local art group of something, and you may feel like everybody else knows what they're talking about. And all the different techniques and things that dimension on you might think, What on earth of the on about on one thing, the first thing you're here maybe is about painting wet in wet and wet on dry, and they're really quite self explanatory. So the first thing we're going to do today is paying one petal, and we're actually do a couple because we've got eight. There's we're gonna have you no extra ones to have a go on as well. But the first battle that we're going to do, we're going to use a wet on dry technique. So basically, that is putting wet paint onto dry paper, all putting wet paint onto previously dried paint. So we've got dry paper here, and we're going to use the lightest color to fill in completely one of those petals and it doesn't matter which one on it. We're not really looking at the reference photograph here because we're using this as a technique, a practice technique, using this shape. We're really not copying the photograph. It'll we're just learning techniques. So look how much paint my brushes holding. I can cover quite an area of this paper before I have to reload my brush. You don't want to be having to stop and reload. You brush all the time as things will be drying out along the edge. So I'm not going to do a whole petal with one brush load. But you can see are managing to do quite a bit. And this is a synthetic of brush. It's not an expensive one, but it's holding plenty of paint. So by having that pain ready by using a good quality brush is making life a lot easier. It's starting to run out a little bit now, so I reload the brush. You'll notice I just put the tip of the brush into the paint there and allow it to take that pain joke from getting old here or anything. By having a good take on the brush. You can keep your drawing within those lines as well have gone over a little bit there, but I'm not gonna worry about that. Can you see here where this was drawing a little bit and I could say We've got warm weather at the moment. It's starting to dry. Just blend it in a little bit there and keep an eye on you. Water cooler as it's drying, you might end up with it a little bit patchy if you don't keep an eye on it. So what you need to do now, because this first battle has got to be all completely wet on dry is we want that petal to be completely dry before we put any other colors on. So allow that to dry. Go and have a brew on. Come back in a moment to do the rest of it. To check that it's completely dry. Use the back of your hand. Don't use the front of your hand because, as I've said in the past, you've got oil in your fingers and you might damage the surface of the paint there for the rest of the paint, sticking to it, so make sure that is completely dry on you will notice the difference in the cooler to before when it was wet. It drives a lot lot lighter, so look at that. You can see how much lighter that calories, so that's something you need to bear in mind when you mix in your cause up. So now we're gonna take the next cooler slightly darker, and think about where some of those shadows are on making the shape of this petal. So this is where the tip of your brush comes in handy. You need a nice tape on there to get some nice lines of the shadows going up, so have a look at your reference photograph, but don't follow it slavishly. Just use it to get the shapes, because if you think about a flower, it's a cup shape. It's not flat, it's not. The petals aren't flat like that, the cooked shaped so the shadows going, going around that cop. I'm just very roughly popping in a few lines to some of these lines of shadow, and some of them are veins of the flowers, so it's a bit of a combination of the two, and when you're painting on top of dry pain that's already there. Somebody once said to me, It's like Like Think about it like painting on glass. You don't want to disturb the paint underneath. I'm putting very little pressure on this brush. You'll see. I'm holding the brush quite loosely on flick in that paint. I don't want to lift any of that paint from underneath and disturb what I've already got there. And again. Once you've got that second color on, leave that to completely dry again. Make sure that's absolutely dry before you put the next color on. So now we're gonna go for the very darkest color. And Dr Blitt don't obliterate that drawing that you've already done with the mid second color that you did. But you can see if you look on the picture there that we've got some areas there little a little bit darker, and it's all gonna help with the shape of the flower, getting some of those much darker lines in on. We didn't put one or two of those in with the with the pen itself. It's quite dark down here, obviously, because, like I mentioned earlier that cooked, shaped to the flower from behind that center point there, and that's probably enough. We don't It's a delicate flower. We don't want to overdo it with lots of shadows. Looking at this side, get that line of it straighter along there. But again, don't worry too much about the photograph. Just get that impression one of these lines to go all the way through. Actually, you'll see how I'm using the very tip to get some nice fine lines there. Don't obliterate all up painting that you've already got underneath. Okay, so that was our first example. Painting wet onto dry on, allowing it to dry every time. And if you're a beginner and you do in a big finished paint in, this is a very good way to work. It's much, much less daunting than working wet in wet. You don't have to worry as much about the consistency of your paints as you would do if you're working wet in wet because each layer is drained in between. So for learning, this is a good starting point 9. Wet on wet: now, the next technique that you'll hear mentioned a lot is wet in wet waiting. Wait is either paint in wet paint onto wet paper or wet paint into wet paint. And don't think that you have to do one of these techniques or the other. You can do a combination of both. You can allow wetting wet peace area of the painting to dry and then go over it like you had done in the first pickle. But learning these techniques separately is going to get them in in your mind, and it's gonna be very good practice for knowing how much water you brush holds etcetera. So do every single petal. So we're gonna go into this petal now, and I'm going to start by covering the whole petal in water. So, like I said daily, you want some nice clean water, and you need good eyesight now to make sure that you're not going outside the edge with your water, because when you aren't paint into this dump area because the paper here is dry, it won't bleed out into it. Now, One mistake people often make myself included is to not just allow a few seconds or a minute for that water just to slightly start sinking into the paper. Don't immediately put your paint on. Just give it a few seconds to start going down into your paper. A good watercolor paper should be absorbent. That should stop soaking down. So if you put your water on an ordinary cartridge paper like the one that I'm I've got underneath my part here, it won't sink into it. It all It'll just sit on the top of the paper. So if you put your head on one side, you'll see the sheen go off that water as it sinks in. But it will be still dump. So you want to be working onto damp paper, not sopping wet and again, it's a judgment and a practice thing. Just give that a few seconds, and then we're going to go on and do exactly what we did on here, Really? But we're going to get a very different effect. We're going to stop with the lightest color. This color has got slightly more watering than the next world. This has got less water and more pigment on this one has got even less water. Andi, slightly more pigment. So that's the only thing you really need to remember about. Painting Wet in wet is that your subsequent layers are something of the colors need tohave more pigment in unless water when you add to them the other way around. If you started with a higher concentration of paint with less water and then you added a much more watery mix into it, that's when you get mistakes and Messi's, because this is dryer on it been it attracts that water out of that and then that Paul's that way and it pulls the pigment with it, and then you get message. So now that's nice. Nicely sung Kim. But it is still dump. So I'm just gonna again over the whole thing, more or less. Then you won't need much paint because it's moving out. You can see a very different effect to the one we have there. You sort of drop in that pains into that dump paper and allowing it to move itself, really just sort of guiding it along with your brush in a way. And he wanted to leave a little lighter areas, perhaps the edge of a petal there where the sun might be catching. What's gonna happen is because it's dump he's gonna bleep letting nicely away. And some people much prefer this technique because of those nice effects that you can get light up. Okay, so it's still wet again. You could leave it for a few seconds, but you don't want to leave it to dry or completely, particularly in this dry weather. So then we go with the next core and again, you just guiding it around, thinking about where it might be a little bit darker. But you're not getting the distinctive lines that we got here. So it's a very different effect, and then we'll go for the doctor cool and again, you just drop in it in and sort of pushing it around the paper a little bit and guiding it in if you wanted at this stage, and this is something I often do is you could get some call a straight from the tin, which is very, very thick with hardly any water. And if you wanted a really dark area around these little centerpieces, you could just pop that in, and that's just gonna bleed into the other. Cool. Is that an end up, given more of a shadow in the area and see how we've got the light on this area where we let that paint run out. And then we've got much darker shadows here on. Then you can leave up to dry. And like I said, there's nothing to stop me once it's dried coming back home with mark paint. But you can see that very different technique, and you may want to do a whole flower using that technique. 10. Petal practice part 1: no else. We're leaving that to dry Will do 1/3 petal down here. Maybe this one, even on what I'm going to do with this one, is quite different to the other two. I'm going to just do it as if I was coloring it in in blocks on allowing those to dry. So you don't want a very wet bush and you want to just look at the areas on the petal. Little lighter Phil lows in rather than cooler in the whole, things were going wet on dry for a much more stylized way of painting. And then we allow that to dry and then do the other cause because if they talk to each other, of course they're going to run into each other. You're not gonna get the same depth that you do with this one, but you may like it because you might want it to be lighter. So it's all going to depend on your style and your personal preferences gain. I'm not really looking at a photograph too much. I'm just varying some lighter and darker areas, making it like I said, a little bit more blocky and stylized in the previous two petals. Can you see how I had quite a lot of pain? Tom? A brochure. And that's perhaps a little bit thicker than I'd like it. So you can lift that out with a damp brush, and then we'll leave that to completely dry. And while such drain, we could go on and do some more of the petals using these other two techniques, and you might want to do one like this and then paint over the top of it as well. Or what you could do is dio I'll do it now went one of the petals, this one here, like we did before with the water so very carefully, go around doors, edges in. Try and remember which bits of your drawing a petal in which your where the sun was coming through the petals. It's easy to make mistakes. We don't look back our picture in the drawing. So what we're gonna do with this world and you could do any combination of these ideas? Just a proper taste. Fill the whole thing in each petal different slightly differently. With this particular battle here, I'm gonna pop this caller in like we did at the first stage of this. So we get that nice, subtle, delicate, flowery Petaling look Because petals, you know, the sun shines through them, the light comes through them. So this actually is a little bit more solid than you might like. Now, can you see? I've gone over the line down here, So if you squeeze all the war trapped of your brush, I could just lift that nicely off whilst it's wet. Don't ever use a wet brush to tide your pledges like this because you're introducing more water to your picture there. So that's now dry. So I'm going to do is get the second cooler and again pop some blocks. So this is a bit like, not painting by numbers, but, you know, a similar kind of coloring book type style because we're not going over the top of the other layers below. That remains very light. We're gonna have three different colors, three different tones, but they're not gonna be is dark in tone as they were on that first petal and again leave up to dry. So I'll carry on now and fill in these in different styles on you have ago doing lots of different combinations of the wet on dry on the wet in wet. So this one, I'll come back when that's dry and paint some lines over the top of it. And I might do so more like this. Maybe try and get one slightly lighter. But the whole each petal should be slightly different by the time you finished, because this is an exercise in practice in these techniques, not in having a finished masterpiece. Okay, so I will come back when I finish this and we'll talk a little bit more about what we've been doing on. Then we'll go on to do a much larger project. 11. Petal practice part 2: here are just speeded the video up a little bit. While start filling these remaining petals. I'm doing them quite quickly. You may want to spend a little bit more time. Think about the things I said with the previous two petals of the two methods of Wet on Dry and wet in wet and use a combination of those use things that you think you're enjoying the style off more on like So take your time with this little section of filling in all these petals on. Don't forget to allow things to dry in between. When you are doing wet on dry techniques, it could be very easy to think things a dry they might may look dry, but actually there may be is still a little bit dump and things come bleed into each other and also filling and paint the center of the flowers well on the stem, you'll see how I actually allow some of the colors to flow together. When I do the stem quite often with flowers, you'll see a little bit of the cooler in the stem from the actual petals and things themselves. So don't forget when you're painting wet in wet that, Taper said, about making sure every concentration was a higher concentration. And as you go along, don't ever put more water into what you're doing. And another said this before and I know I'm repeating myself. But if you start introducing water into the paint that you've already done, that's when you're going to make a mess on. Actually have a try at that gets, um, roof paper, some scrap paper that you're not bothered about, a piece of watercolor paper that maybe you've drawn something on that's gone wrong. Whatever that. You keep the scrap and always do. Keep things for scrap. Don't throw everything away. They come in handy. Andi, just try and put some paint on there. That's a low concentration and then just drop, so that's a high concentration of paint to water on. Then drop extra water in there, something of a thinner concentration, and you'll see what I mean by making a mess and producing cauliflowers because that pigment moves out into the wetter areas. That's also why it's important to keep areas dry if you want highlights and things. The easiest way on this is something I must asked a lot by beginners when the making mistakes and things and one things that bleeding, absolutely the easiest way to stop your pain bleeding onto an area that you don't want it to do is to keep that piece of paper dry in that area. So I'm gonna carry on now and get this finished, and I'll come back to in a moment in the next part of this petal practice. But it's all good practice, and you might want to do more than one. Don't feel that. You just have to do this one practice before you go on to the next part of this project, you might want to do a few different flowers and you can do some imaginary daisy shapes and things. You don't have to just do this cosmos, so have a go at doing a few different ones before you move on. If you feel that you need that confidence boost to do that extra practice 12. Petal practice part 3: Okay, so I did that quite quickly. You might want to take a little bit more time. Think about the different technique to use you're not using on each petal on right next to it. So right next to each petal exactly what you've done, whether you've done wet on dry or wet on dry, and then put wet on wet on top of that etcetera, etcetera, which combinations you've done on each petal. Write it down and keep it for future reference. Keep it for future reference. Now, if you've got any mistakes at this point, I mean, because this is only on exercise in learning techniques and things. I mean, it doesn't really matter. But if you have a little bit areas that you want to tied you up, as I said before, use a damp brush making very clean. Make sure there's no water in there or sorry. Make sure there's a tiny bit of water in there, not a lot. And then you can just very gently tied you up edges and things with that, without introducing anymore water onto your paint. Him also something that you really need to know about as a beginner is highlights and leaving highlights Now we didn't talk about this is the beginning. I just wanted to talk about the application of the paint. But there are a few different ways in which you can leave highlights what is just to leave areas like this, where you've no actually added any paint? Another, if that would that was actually wet there, but because I dropped it in. But this end, by the time it got here, the paint run out when you've got that nice sort of soft bit of light on the end there. Also, you could leave an area of paper completely on play unpainted and completely dry and go around it. That's another way for a highlight, or you can lift out is much easier to lift out wet paint than it is to lift out to dry paint on how successful lifting out is really depends on the quality of your paper, but it also depends on the color. Now, because this is a red base color, it's much more difficult to lift out than a blue color. Red tends to stay in the paper, so you might have it might be a bit tricky lifting it out and again. If you've got cheap paper, it might also be a bit tricky, so we can see here. This is still slightly dump. I've got a damp brush. You can see it's glistening in a little bit. I've got more water on the than I had just a minute ago. But I'm no introduced in lots of water to the picture and you can lift out. You basically washing the paint off so and then dab it with a tissue and you can see how you can get a highlight there you cannot. She more or less drool with that as well. If you wanted a line. Now, if we look at this petal up here, this is completely dry, so that was a little bit damp. It was quite easy to lift out. This is gonna be more tricky because it's dried, so you might need to sort of work the paper a little bit more, but you can see how you can bring a little bit of like back to you. Your picture there. So you need a good quality paper. That's the trick for this. When people have said to me, I'm the struggling with lifting the color out. It's usually because the paper isn't a very good quality. But don't forget that red will stain. So once it's completely dry, you might not be able to get this exactly back to the color of the paper. So highlights either lift out all leave you paper dry on Dwight to begin with. One last thing I should have mentioned before we move on is you will notice When I was doing wanted to of these petals, I think it was maybe this one on Dhere where I did the center. You might want to allow the colors that haven't quite dried to touch each other and run in a little bit on. They also put a bit of the purple e pinky color into the stem as well, Often with flowers. You'll see the colors of the flowers do go into the stem, and again, it just makes the whole picture bit more combined. If you've got those colors throughout the picture, so just let you call his run now and again, don't be worried about if they touch just a little bit with this petal touch. The yellow and the yellow run down a little bit into there, and you'll see it's just giving it a little bit of a shine. So it's nothing to worry about too much. If the colors run, some people like them, like them to run all the time into each other, and it's really, really depends on your style. You might like this style. You might like it to be much free and to be more like this. So it's all going to come over time. You just practice in these techniques and doing them every day to find your own style and find what suits you the best. If you're a very tidy particular kind of person, you might prefer the wet on dry. Wet in wet isn't for everybody. Some people don't like the mess that you get what they call it Mass. I wouldn't call it mess, but you know how you get the colors running into each other. You can get some beautiful causes well, just by allowing them to run into each other and having a surprise what it makes. So it really depends sort of a little bit on your personality as well as to what style that is going to suit you, so that's worth bearing in mind. 13. Final project: Once you feel a little bit more confident with all those techniques and you've made notes around your petals and you know which you prefer, you can then go on and do a much bigger project. So what I would like you to do? I hope you get chance to do this. And to show me your work afterwards will be to do get another sheet of paper and to get some more images of some cosmos, the ones that have provided. And you could also go online if you wanted to and have a look at some more images of flowers on. If you wanted to introduce a delivery I ity of flour as well. You can do that on do a bit of an imaginary gardens scene where you've got a few flowers on one sheet. So I'm not going to show you how to do that, because I wanted to be your style on how you fancy doing it. But just think about getting flowers that are a few different sizes. Some, maybe some are a little bit further away and some are closer to us, so you're going to get a variety of sizes. Try and get them facing in different directions so they don't like soldiers in a row. Try and keep them a little bit. Higgledy piggledy how flowers grow. You don't want their a very natural object. You don't want them to look too static, so get a sheet of paper. You might want to get one bigger than this. It actually, if you've got some. If you haven't, don't worry, this is just in a for fill it nicely with flowers. Do your ink drawing and then start by doing the background. And once you've completed the background, then do each flower individually, using the stale that you prefer on. Allow it to dry a little bit in between so that your background isn't running into your flowers, etcetera. But I didn't want to show you the whole process of doing that because I want to see your own style into that. Really. So when it comes to do in the background, you might like to do that wet in wet so that it looks quite hazy. So if we look at this here, it's quite hazy. So what you could do? I'll just get some green paint very, very quickly. Just to give you a quick tip about this. So what's a nice, watery green prep pain there, nice and light, And then you would just wet your whole background brushes have got a little bit of green in it that go around the flowers that you've drawn, wet the whole background and then dropped the coolers in some green, maybe some flowers in the distance and allow that maybe some sunshine in the distance, even on allow that to fade on, dry in between each flower. And then you've got a very hazy summary background like this here without having to think about it too much, make it very impressionistic and just reserved the detail for these flowers that you're going to draw with your ink. Okay, so any questions about that please do ask on, I will help you with that. But I didn't want to give you a full demonstration because I think it would be a good practice for you. Get in a few different reference photographs together, making up your own picture because art is about making an artwork. It's not about slavery. Actually copying a photograph, you need to make euro by choosing your own subject. Choose in the flowers that you want to choose on the colors because the colors don't have to be the same as the photographs that you've chosen. You can choose whatever cause you want. You could do it completely. Wacky callers that wouldn't naturally grow as a flower. It's entirely up to you on. I really look forward to seeing you finish work at the end when you, because they will all be completely different. 14. Conclusion: Okay. I hope you enjoyed that class and love something from it. Please do let me know what you think in the review section. And if there's anything I could improve on anything that you want more detail. As I've said throughout this video on in previous videos, the main thing about watercolors is really to try and get to know your materials and use of every day. It's something that you cannot really stress enough. You're not gonna improve with watercolor painting if you don't try to get familiar with those materials, it doesnt said earlier in this video, A lot really does depend on materials, especially your paper. Don't go with a cheap paper if you can afford to buy something a little bit more expensive . I really do look forward to seeing you finished pieces, especially as I haven't done an example Peace myself. This time, as I have done in previous skill share classes, I thought it was a good way to work to really try and free you up and get you to make an artwork that was individual to you. So I look forward to seeing all those in the blood section wait all your works like Big. It was in the back of the previous classes. It's lovely to scroll down to the bottom there and see everybody else's work and have a look what everybody else is doing. And even when you're all working from the same reference photographs, how you get such a wide variety of styles and colors and things and it's just love literacy . So I really do look forward to seeing your work. So if you have any problems that loaded it, are anything just again just to get in touch or touch with skill share, help us. There were two people. How just quite worked out how to love the work. I'll be back again very soon, hopefully with another skill share costs. In the meantime, don't forget every week on YouTube every Thursday afternoon, with smaller shops of courses and demonstrations. Thank you very much for now, and I hope to see you again soon.