Brush Lettering Blending Basics - Blending with Watercolor | Kolbie Blume | Skillshare

Brush Lettering Blending Basics - Blending with Watercolor

Kolbie Blume, Artist

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13 Lessons (2h 2m)
    • 1. Welcome!

    • 2. Materials

    • 3. What paint should I use?

    • 4. What paper should I use?

    • 5. Water brush vs paint brush

    • 6. Water control

    • 7. Blends + bleeds

    • 8. Monochromatic blends

    • 9. Multicolored blends

    • 10. Advanced multicolored blends

    • 11. Drop shadows

    • 12. Frequently asked questions

    • 13. Watch me paint in real time!


About This Class

Love colorful watercolor calligraphy? Not sure where to start with blending colors? This is the class for you! In each of these videos, I go over all the resources and techniques I personally use in my watercolor blending. I also include a video on FAQs and a real-time example of one of my original designs from start to finish. 

This class is an intro course, exploring the basics and foundational knowledge I’ve found invaluable for watercolor calligraphy blending. Each class builds on the other and prepares you to paint your own beautifully blended watercolor calligraphy piece fit for any home! 

I recommend you have at least a bit of experience with the basics of modern calligraphy, as I don't include classes on basic strokes or techniques of using a paint brush vs a brush pen. But other than that, this course is designed for any level of expertise! 

For more resources on modern calligraphy, check out my practice sheets on Etsy


1. Welcome!: Hi there. My name is Colby, and I am here to tell you everything that I know about blending colors together in watercolor calligraphy. I would have to say that blending in watercolor for brush lettering is probably one of my very favorite things, and some might even call it my signature style When it comes to a watercolor calligraphy, I'm on instagram this writing desk, and you may have found this class through through my instagram or you may have stumbled upon it just searching through skill share. Either way, I want to teach you how to create beautiful pieces like this one for this one four to this one. I love taking colors and blending them in different ways to get stunning results. And that is what I want to teach you in this class right now. So this class is all about the basics of water color blending. I will say you probably should have at least a little bit of experience with brush lettering or watercolor calligraphy before you start this class, mostly because I don't go over basic strokes or how, like the difference between a paint brush on a brush pen or anything like that in this class that is all in different classes that I'm going to teach. Um, so I'm Onley focus on the different techniques that are best for blending watercolors together in brush lettering. Ah, and this is a basics class. So here I do a thorough deep dive of all of the foundational knowledge that I think is so helpful to create beautiful blended pieces every time I When I first started lettering about two years ago and watercolor lettering about year and 1/2 ago, maybe I had no idea what I was doing at all. I just kind of fumbled my way through and figured it out and watched other people dio try different techniques and try the techniques they were trying and and through a lot of trial and error, I have come to a place where I feel really comfortable and always ready to learn more. But I feel like I have developed kind of a signature style, and I really want to teach you all of my secrets so that maybe you don't have to go through all of the growing things that I went through. Ah, and you can have some of the techniques that I wish that I knew about when I first started . Now there is no substitute for hard work. That's something that I like to say a lot. If you want to get better, it's gonna take a lot of practice. I there's no secret there's no secret recipe or method to get better. The secret is practice. I have spent hundreds and hundreds of hours over the last two years practicing this craft, and I intend to spend thousands and thousands more in the future. So that's what I have for you in this class. I like I said, I go through all of the steps and processes that I think our basic and fundamental to the art of blending. And then in a future class, I'm going to do maybe a little deeper dive into more advanced techniques. But this class is all about the basics. So I hope you enjoy. And, uh, right now I want you to think about your class project, which is going to be just a simple blended piece. I want you to pick any quote you want, probably for this class. It would be easier if you picked a little bit of a shorter quote, but that's not necessary. Uh, but I want you to pick one quote, uh, that you want to design for your final piece and then at the end of the class, Once we have gone through all of the techniques and you follow all of the prompts, you're going to have a beautiful a beautifully blended calligraphy brush, lettering Kliger, VP's and I would love for you to post it in the Projects gallery. And I would also love to see your process, your progress. So be sure to tag me this writing desk. Um, if you post on instagram and let me know if you have any questions, so without further ado, let's get started. 2. Materials: Hi there. In this video, I'm going to go over all of the materials that you will need to be successful in this watercolor calligraphy blending course basics. I I have over the, you know, years I've done this slowly gathered insight into the specific kind of materials that I like, and it's not all intuitive. It took some trial and error. So I'm going to Cheryl that knowledge with you right now. And I hope that it's helpful, as you were gathering your materials and getting ready to get started on your project. So first and most important, in my opinion, is paintbrush is deciding what paintbrush you want to use. Now you could, uh I'm also gonna bring in a water brush because I know a lot of people like those and I have a video that talks about the differences between the water brush and a paintbrush in this course and, uh, my pros and cons with both of them. For the purposes of this video, I'm gonna put down my water brush because I really prefer to use riel paintbrushes. And my go to kind of paintbrush is a round number two watercolor paint brush. So that's size, too in around. That's the kind of paint brush it is. Um, Rounds just means how the how the bristles on the brush are formed. So my very favorite paintbrush, my very favorite rounds Number two paintbrush is this Princeton heritage. Siri's. It has this red like stem. I don't know if that's what you call it, but, um, and it's synthetic sable hair, which means that this is not really hair taken from an animal. It's synthetic, and I actually prefer for lettering, synthetic sable hair to real stable hair paintbrushes. And for those of you who have, like, looked into professional art supply, sometimes sable hair are way more expensive and higher quality. But for lettering, I actually prefer synthetic because I think it holds its shape better and holds the right amount of water that you want for lettering. Not too much, not too little. So Round number two Princeton Heritage is my favorite, but I have other favorites, too. I really love this. Round number two. You trekked serious to 28 paintbrush. It has like a black stem. I picked it up at a Blick art supply store. I live just around the corner from it, which is awesome. And this is it's also synthetic sable hair and two for me. It has done the best job at mimicking the prince and heritage Siri's. They are very similar, in my opinion, so I love using this one as well. And then just one more. This is a Windsor and Newton Cotman, which means it's in there. It's in there student grade line common as Windsor Name, student grade line. But I really love this one for lettering. For all the reasons that I love the other ones, I think that the bristle holds the bristles hold their shape really well. Um, and I it holds the right amount of water. I think this is really conducive to good brush lettering, so those are paintbrushes and you can pick up any of these up art supply stores. Or if you look on Blick online if you don't have a blick by you, that's where I would recommend So next. Most important, um, is paper. I do a deeper dive into paper later on in this course. So if you're interested in learning all of the reasons why I choose this kind of paper than check it out. But for the purposes of this video, I'm going to say for lettering, I prefer student grade watercolor paper, cold press, so that might surprise you that I'm saying I prefer student grade watercolor paper. I have you. I use professional grade watercolor paper all the time. But honestly, for lettering, I think student grade is has the right kind of texture, and it's smooth enough but also thick enough that it works for watercolor. Professional grade watercolor paper tends to. It's usually made of 100% cotton, which makes it a lot more textured. And the brush catches on the paper a lot more often than it does on student grade watercolor paper, which is usually a mix of some kind of cotton or fabric, cotton or wood pulp. Uh, so professional watercolor paper is great for landscapes and great for most other watercolor painting. But for blending and for lettering in general student grade, I think, is the way to go. So I used skansen. Um, most often I have both £90 which I picked up off Amazon and £140. So again I go over those in my paper video more. Um, but student grade cancer is what I use for most of my lettering. Next is, uh, probably the third most important thing Paint. I also have a video specifically focusing on paint and the different kinds of paint you can use. Um, so for a deeper dive into paint, go and watch that video. But for now, just know my favorite to use for water color. Blending, uh, is liquid watercolor and specifically thes royal talons equal line watercolor line. So these air die based, and they blend like a dream when you use them the right way. So those aren't my go to. I use lots of different kinds, though, so I'm not just a one paint kind of a person, but those equalizer definitely might go to Next. Up is tools for embellishments like drop shadows, which is something that I talk. I have a video on drop shadows if you're interested in watching that. So, um, most important is this pen right here? It's the Tom Bo food on Oh Suk, a dual tip pen. So it's a soft, small brush tip on both sides. One is grey and one is black, and I used his pen for almost every blend watercolor blending piece that I dio mostly the gray, sometimes the black, but they both work, and it's probably my favorite brush fun. Um, I also use fine liners or micron pens. I've been kind of obsessed with this pilot fine liner lately. So, um, I this is for more detailed work to get a really thin line, not a brush friend. Um, And then last but not least if you don't have ah, dual tip Tom a food Umenosuke This is a soft tip, Tom. Both food and Yosuke Uh, that's black and perfect for drop shadows as well, or outlining or anything like that. So those were the main tools. Obviously, you're going to need a paper towel to wipe off your paintbrush, and then I would recommend having two cups of clean water. One of those cups of water is going to stay clean, and one of them could be your dirty cup. But I would always recommend having two cups of water so that you can always have clean water on hand. It's so important for blending to make sure you have clean water, so it looks like that's about it for materials. Um, so you're prompt for your class project now is to gather all your materials and decide what quote you want to use. You want to let her as you go through all the videos I'm gonna hone in on, uh, you're preference for specific techniques and materials that you want to use, And then at the end, hopefully I know you're going to have a beautiful watercolor calligraphy piece to show all of your family and friends. Don't forget once you finish to post in the project gallery and or on instagram and tag me this writing desk. So I hope this is informative. Watch all the videos, do all of the blending. I'm so excited to see what happens and what you come up with, right? Let's get started 3. What paint should I use?: Okay, In case you haven't guessed it by my initial layout here, this video is going to focus all about the different kinds of paint that you can use in your water color Blending for modern calligraphy. When I first started, I was so overwhelmed with the different options that I had with paint because it just seemed like there were so many choices and I had no idea where to start. I think I just picked up some of the lake cheapest, tubed watercolor and which these air, not them. But I just picked up some of the cheapest tube watercolor I could find and I got going. But I have since learned that amongst all of the different kinds of paint, the most important factor when it comes to specifically watercolor, calligraphy and blending is that the paint is in Dunton Ah, liquid form. So, obviously to me, the easiest way to get the pain in this liquid form is to buy liquid watercolor. So when I do watercolor lettering, that is the liquid watercolors. Definitely my go to. But there are lots of there are different ways to get to this liquid form. Even if you don't have liquid water color, and we're gonna talk about that a little bit later. But for right now, so I'm just gonna push thes different kinds of water color to the side for right now. I'm before we get to that we're going to. There are two different types of liquid watercolor that you need to be aware of. Four watercolor lettering, and that is there is die base to a good watercolor, which means that the color is chemically infused into the liquid. So when it dries, it's the color doesn't really lose any vibrance it doesn't need. It needs water to activate it, but the liquid is what the color is. If that makes sense, I'm sure there are a lot more technical terms, but that's what Di based means. Pigment based watercolor is when the water color comes from a pigment, which is more traditional kinds of paint. That's what you see in pound based watercolor. That's what you see into based watercolor. That's what most watercolor artists paint with, partly because die based watercolor is not light fast, which means that when it is in contact with the light, so if you create some kind of peace, and it sits and sunlight for a long time. Then the colors will eventually fade, not like into oblivion, but those they'll start to fade and not be is vibrant but pigment based, uh, typically, if you buy professionally, if you buy professional watercolor that is pigment based, like Windsor Newton, or like Dr Ph Martin's, it is light, fast and so and archival so it can stay for a long time. Also, the difference between Die based on pigment based is die based is not archival. So it, I mean it can sing your skin, which is annoying. But when it comes to being on paper, when you put when you spill water on it, it's going to start to bleed everywhere. But pigment based is it's more likely to stay and to keep its shape, no matter how many layers of water you put on top of it. And that all depends on the different kinds of paint that you use. But that's just kind of a basic rundown of the difference. Now there are, it seems. I've given these this list of pros and cons, and you'd think that based on that, you might always want to use pigment based, but that's not always true. Specifically, if you want to get really sharp blends and bleeds and um, we talk a lot about blends and bleeds in a different video. But with all of the pros of pigment based, dye based is by far superior in terms off getting the most immediately vibrant color and having them bleed together and just push colors out of the way. And I'll show you that in a little bit. Um, so just to give you an example of of the different kinds of paint you can use of liquid watercolor, you can use that or both of these kinds. I think by far one of the most common kinds of paints you'll see his eagle line by royal talents, and this is die based liquid watercolor. So again, die based means that the color is infused in the actual liquid. So equal line is die based. And honestly, I would have to say Equal line is probably my favorite of all of the paints that I use to color with. Oh my gosh, I didn't close all the way. Well, there you go, folks. That's real life for you. um, so I'm not, but I use equal. I'm probably the most often of all of the paints that I use for this specific kind of littering and blending. But there are other different kinds of liquid watercolor and probably the most. I think the best one that I've found that's pigment based is Dr Ph Martin's Hydra Us. Um, there, Doctor Ph Martin's puts out a lot of different kinds of liquid ink and watercolor. Um, and the Hydra s line is the one that is pigment based. So, um, just to kind of show you an example Don't mind my spots there. Um, I did this line die based with Iko line, and I did this line pigment based with this doctor Ph Martin's hydra us just to give you an example. So both of them look really good. I diluted the pigment based a little bit when I put it into the well over here because it had a lot, um, of pigment in it. So unless you want really thick paint strokes typically with pigmented watercolor, you need to dilute it a little bit to make it the right consistency for lettering. Even if its already in liquid form, but with die based, you don't really ever have to do that in my experience, unless you want a lighter shade. So let's get down to actually using both of these options. So I, as I mentioned before in the paper video I'm using, um, Kansan watercolor paper. And the thickness is £90. Um, so it's a little thicker than card stock. We've already gone over this, Um, and I just want to give you a little example of what these different kinds of pains we're going to look like when you blend with, um and or rather I think this is where in your project it would be good for you to experiment with and determine the kind of paint that you want to use. So here I'm going to use some ICO line and just do a broad little swatch there. This is red pesto or past all red, and that I'm gonna get another color. I believe this is red Violet and just barely touch it. See? See how that pastel red just just jumps right in to the red violet. And now let's see what happens when I hope that wasn't red violet, that was light. Rose, This is Red Violet. Um, yeah. So this is me blending with die based ICO line. And now I'm going to do a little bit of blending with Dr Huge Martin. So I'm going to start out, and this is again the hydrates line, which is pigment based, which I have diluted a little bit with water. So I've put maybe one or two drops in this well, and then I foot maybe three or four drops of water in along with it. So I believe this color is, um, gam bows. And I'm just gonna mix it with, um, a deep red rose which I have diluted like the same. And see pigment based watercolor doesn't quite like jump into the other colors as well as die based. And so to get them to blend you, do you have to do a little bit more manual work, but it still works. It's just not quite as, um, seamless of a blend. Whereas I'm not naturally seamless, but not quite as easy of a blend as Di based. So let's just like show that one more time. So I've put this like a yellow car I'm going to call it down on the paper and I'm going to do the same thing and instead, off the color like up here. It just immediately like pushing a color out of the way like die based does because the it's the pigment is so strong, they kind of more blend like water blends together, which is not bad. You just have to do a little bit more work on your part to make it look, maybe the way that you wanted to. Okay, so that's a little demonstration off Di based versus pigment based and really quickly. I want to talk about all the other different kinds of watercolor that aren't that don't automatically come in liquid. I'm sure there are even more that I'm bringing up here. But the two most common, I think, our tubed watercolor and pan watercolor, and I think both of these work really well. They work just as well for watercolor lettering. It really just depends on your preference. But the key again is you have to make them in a liquid form and not just liquid, like making a little puddle in the pan, but making them liquid enough to really seamlessly write the letters that you that arm that you want to write. And I think where I'm gonna talk a little bit more about that I talk a little bit more about that when we go over water. Um, so the key here is to make them liquid. And with that, you really just need a well, so I'm just going to demonstrate here with the pan really quickly. Um, I'm gonna bring take a little bit of color here and put it inside this Well, this. For the record, this pan watercolor is prima marketing watercolor confections. I have a lot of different kinds of theirs, and I just don't mix them together. But see, when I take some of that pigment in the pan because pan watercolor is typically pigment pigment based, and then I add some water to it. It will be the right consistency that I need. It won't be quite as vibrant as one. It is when it's completely pigmented. But when it's completely pigmented with no water dilution, it's also really sick and, uh, not quite pasty. But it's not easy to write letters with, so you really have to get this liquid consistency in order to write to dio your calligraphy . So yeah, that's how you blend with a different kind of paints. And I hope this is really informative again, I think. My favorite kind to my favorite paint Teoh do watercolor calligraphy, and especially blending is liquid watercolor particularly this E. Coli in water color. Um, but there are so many different options, and I know that you you just have to figure out what works best for you. Do you? Just the most important thing again for the third time is to get it this liquid form. It has to be liquid enough to be able Teoh easily form your letters. Um, yeah. So next on your on your project is to test out some different kinds. If you have them, I'm or just test your the watercolor that you do have to get it to the right consistency so that it can blend easily like this. All right, thanks a lot 4. What paper should I use?: Hello, everyone, today's this demonstration is going to focus all about paper and the different kinds of paper that are going to be conducive to the best watercolor lettering and glass you can dio . As you can see, I have several samples of different kinds of paper that I use frequently, and I'm going to talk to you about what are my favorite kinds and what I would recommend specifically for watercolor lettering blending because that's what this class is all about . I I will say I'm this is more going to be a brief overview of what I know about watercolor paper, and hopefully we'll have more of a demonstration than anything but in a future class or in a class that, um, that's not my watercolor basics, my watercolor blending basics class, I go much more in depth into the different kinds of paper and why they matter on. So be on the lookout for that if you're interested. But for now, I just want to focus on three on really on two different things to do with watercolor paper . So the first is there are two different kinds of paper watercolor paper that I who specifically for littering. There are actually three different kinds in general, but I don't really talk about the 3rd 1 in this class. So the two. But you need to focus on her hot pressed watercolor paper and cold press watercolors over. So this just to give you an example, this is hot press. It's really smooth because it's been compressed with heat so that the materials and the watercolor paper are just They're so packed, packed really tightly, and so the paper is really smooth, cold press. The materials are not packed quite as tightly, and it has a little bit more texture, as you can see or tooth is what we call that on the paper. And you can imagine that as you know, like it has little teeth poking out trying. Teoh, I don't know, catch your brush. So I used both hot press and cold press for watercolor lettering. I will say that hot press is not really good for any other kinds of watercolor projects. I've tried to do like landscapes with it, and it's It's just not quite doesn't have quite the absorb INTs Theodore mint quality that cold press does, but when it comes to lettering because you're not necessarily putting down a big wash. Watercolor hot press can be really useful. So, like I said, I use both hot press and cold press. Um, I also use mixed media paper, so it's possible to use that. But I will say that mixed media paper buckles more easily. Then watercolor paper does even thin watercolor paper like this Cancer in Excel £90 watercolor paper. So I do use this, but definitely probably only more for practice than anything else. I've also been asked if Bristol watercolor paper can is the same as hot press. I mean, not this is not watercolor paper. Bristol paper is traditionally used for, like drawing cartooning, and to me, they have been pretty similar. But I know that the makeup of hot pressed watercolor paper is different slightly. Then Bristol paper, so hot press is probably preferable. But Bristol also works. Um, so that's kind of up to you. Um, you also might have noticed these numbers on here and what these numbers mean. It's the thickness of the paper. I feel like that's pretty self explanatory. But £140 just means that when there's a big block of this paper, meaning 500 sheets of a block all glued together. It would weigh £140. So £140 watercolor paper is pretty typical from what you'd see, like on Amazon or art stores. I'm probably then I mean, the weights vary, but £140 is probably the most common that I've seen next to £90. Um, the highest you can go that I've ever seen this £300 but that's really expensive. The upside Ah, £140 watercolor paper is it's cheaper, Um, the But it does tend to buckle a little bit more stand £300 watercolor paper. So Okay, that kind of covers the basics that I want to talk about mostly. But there's one more thing that I've gotten. And I were gonna go into demonstrations and just in just a second. But I have been asked, um, if you need to get quote unquote professional watercolor paper like artists grade watercolor paper in order to do watercolor littering, and the answer is no. See cancer in Excel and this piece of Strathmore paper are both technically student grade watercolor paper, which means that they're not 100% linen, and they're not 100% cotton. Um, and also makes them a lot cheaper than paper. That is 100% fabric. So this peach of this piece of arches watercolor paper is professional grade. And while I do love it for my landscapes for my lettering, I don't like it quite so much because my brush catches. I'm going to demonstrate that a little bit more. But for now, the answer is student grade, in my opinion, is the best for lettering Specifically. Okay, So really quickly, we're going to do a little demonstration. I mostly want to show you the difference between, um it's hot press and cold press. And then, well, I'm gonna show you what I mean. Ago arches. So here I have a cancer and excel £140 watercolor paper. This comes from I'm sure if you've looked into it all a pad like this, I you know, they sold them on Amazon, um, at art stores. It's very common. It's pretty cheap watercolor paper and which I like because I actually really like using this for my lettering. This is far Briana Studio, which means student, the far Briana student line of student grade, hot pressed watercolor paper. And I've used this for lettering also, but I just want to show you the difference between how the paint comes down on it. So with Kansan, I'm just gonna do a quick A. Okay, it looks like. And if you've never used watercolor paper before, the benefit is, that is way more absorbent, and it's made so that the water color can stay on top of the paper a little bit longer. It stays wet a little bit longer than on normal paper, which makes it perfect for blending. See, I'm already doing some blending here. Okay, so this is Skansen. £140 student grade watercolor paper. And now I'm going to do the same thing on this hot pressed watercolor paper, which is still watercolor paper. But it's not quite as thick, and because it's compressed, it's not quite as dense or absorbent. So if you watch, it still stays pretty wet, because again, it's watercolor people. But it's not absorbing quite as vibrantly into the paper, as it does own cold press and it dries a little bit more quickly in some places, depending on how much water and paint you put on it. I don't know if you can see this, but you can see the line here. I have to rub that out of it. You can see the line from where my stroke was before because it just dries a lot more quickly. And honestly, I think sometimes it's dry marks or cool in watercolor lettering, so that's totally up to you. But this is just a demonstration of how of what? The differences between hot press and cold press They both work. I've used both of them, and I've been very happy with the results of both of them. Um, I probably go to cold press a little bit more than hot press, but they both will work. So lastly, I want to show you the difference between this student grade watercolor paper and my professional grade watercolor. People arches when it comes to lettering. So I'm going Teoh just kind of do the same thing to show you. Here's a a Okay, that was pretty smooth. My paintbrush went down pretty smoothly. Now, here you might not be able to catch it on camera. But let's see if what happens See my paintbrushes catching a lot, See, like here, where it's not quite even and up here, where it's not quite even. That's where my paintbrush, the bristles, caught in different spots, and it is just not quite as easy. See now I feel like we've just put this up a little bit more. It's not quite as easy to get that smooth line on the letters. So let's see if I can focus in. Do you see how it's a bumpy? I was using the same pressure and the same technique on this paper that I was on this paper , but it's just a lot more bumpy because it's more textured. And that's awesome when it comes to, you know, like landscape watercolor lettering, which I love to do also. But when it comes to not water, not, Lance gave lettering but like just landscape watercolors. But when you're trying to form letters, it's much better to have paper that a smooth and you don't want it to smooth because you don't want to buckle. So my in my whatever a professional opinion student grade watercolor is the way to go for lettering. Specifically, I'm not going to say that for every watercolor, because that would be dumb but force for a watercolor lettering. I have found that it's a lot easier to form the letters, so that's it for now. My prompt for you, for your project, is to test out the different watercolor paper you have. Or if you don't have watercolor paper, I would suggest you buy some. You can honestly get pads like canceling on Amazon for sometimes six or $7 for 30 sheets. Um, so it's you. There are cheap options out there. You don't have to go for arches, which is a lot more expensive. And like I said, not really conducive to lettering anyway. So there you go. That's my brief overview on watercolor paper specifically for blending, and I hope you enjoyed it 5. Water brush vs paint brush: Hello, everyone. This video is just a quick, deeper dive into the difference between a water brush and a paint brush. So here I have a pen tele quash water brush in. Fine. So this is the smallest that it can get in. Penn Teller quashed. And this is a Windsor Newton Cotman round number three watercolor paint brush. Both of these are excellent choices in my in In my materials video. I go over all the different kinds of paint brushes I use, and I think this is a good one. I have. I have I use lots of different kinds. So and as far as water brushes go, I mostly on Lee, use pen tele quash. So I have used other ones. So you may ask yourself honestly, what's the big difference between a paintbrush and a water brush? I mean, physically, obviously, a water brush has this, Um, I don't know what you would call it Cartridge container. I'm sure there's a name for it on that drips onto the actual paintbrush itself, so that's the brush with the bristles. It's a real brush, and this is filled with water to reduce the the times you need to go back to your to your water cup here. Water brushes, air also excellent for traveling If you are just dying to watercolor on a plane or on a train or on a mountain or somewhere else, that is not conducive to bringing a cup of water. Ah, water brush is a really good choice, because again, you just have to squeeze down here. I'm gonna pull my hand down because I don't know if you can see where it kind of has drift onto the thing, but the water just drips right onto the brush. If you squeeze too hard. So you look, if you squeeze too hard, it'll drip onto your hand like it's doing right now. So you don't want to get too much in there, but it makes it so your brush is ready to go. Um, one thing to note about the water brushes is because it already has water into the brush. When you try lettering with it, I've already dipped my lettering, my water brush into into the pot. You can control how much water you want to put onto the letter. So when I first got this, when I first kind of put this letter down on all trying again. It was a little bit dry and not diluted. See how I have this little white thing here, but no worries, because I just squeeze a little bit, put a little bit more water on there, and I get it to be more of the consistency that I may want for my brush. I'm not really sure what this letter turned out to be. Kind of a mix between l. A and E, but so that's how I would do it with a water brush. One I will. I will say, I know a lot of letters who love twos, water brushes, and I think they common handy for a lot of different things. But honestly, I really prefer to use paintbrushes. Ah, and here's why the water brush. When I first showed you, it kind of first of all, it didn't. The paint wasn't the right consistency. On the first go, I had to go and redo it. And night might just be truth time here. My technique, Um, with the water brush. I think if I pushed down on the water like I'm doing right now, when I first put it down, it probably would have been the right consistency. But I have also found that when I pushed down before I dip it in the well, it dilutes the paint a little bit. So you know, it's just kind of up to you what you want to do. But I will say water brushes are can be really convenient for lettering, especially if you need to put water, um, really quickly in a spot to make sure that your blend happens the way that you wanted to. So and in order to get rid of the pigment, you just take your you just take your paper towel, which mine is completely full of gross things, and push the water down at the same time, as you know, just kind of wipe it off here. And it should be good to go. Um, one other thing to note about water brushes is if you leave them too long. If you dip them in the well too long, particularly with die based paint, sometimes the paint will go and kind of dilute the water. So that's really just something to be aware of. Its, um, everything has. It's all these things have their pros and cons. I use a paintbrush way more often than I use. Ah, water brush. And I'm That's why, for all of my videos, I'm using a paintbrush, so I'm just really gonna quickly show you. Like what? I mean, I've just found with a paintbrush. I'm able to get at the right consistency in the way that I want it every time. But that, honestly, I think, is a personal preference. It's totally a personal thing. I a lot of my friends who regularly do blending like this much prefer a water brush. So there is just a quick rundown. I hope this was helpful. Feel free to ask any other questions you have. And I think that in terms of your project, the most important thing is to decide. Do you like water brush better or do you like a paintbrush? Better? And I would try. I think they're both super handy toe have. So I would definitely try both and have both in your reserve of art supplies because they both come in handy. I've definitely been glad. I'm glad that I have both in my supply. So there you go. Let's see which one you choose in for your project and your lettering can't wait 6. Water control: Okay, Friends, this is just a quick video to talk about something that I I have had a lot of problems with , and, um, have figured out some solutions and I get a lot of questions about and I get a lot of questions about it. I think that how much water you use and have on your paintbrush and and honestly, how much paint and water color you have when your paintbrush matters so much for lettering and I'm gonna show you why. So you can't have too little? Because if you don't have enough paint slash water, then you don't quite you don't have enough paint on moisture in order for conducive blending. So if you see, I did that, I didn't have quite enough water on that first stroke, and it dried almost instantly. So when I try to blend again over here, it doesn't blend. You see, it just kind of I have to go in and make it blend and make it so I can't see that stark line, and even then, it just looks like I have a pink l and an orange e, and that's no good. So we definitely know that not having enough water is one of my be one of the problems you're having. If you can't get your blending to do exactly what you wanted to be to do now, another problem is having too much water or too much paint. So I'm gonna dio e right here and see honestly having that much pain. That's a really that's a really fatty, So I'm going to do an E was so much pain and so much water right there. And when I try with eagle lines, it is a little They just kind of do what they want to anyway. But you see how I I put down the orange for the next stroke? And instead of like, blending where bleeding seamlessly, I get this puddle right here. Um, it's not because the liquid is just kind of sitting on top of the paper, are not going anywhere. And so I have to get some of that off before I can actually make it do what I wanted to dio . And now that I've taken off some of it, I can blend it more easily, and they're now that looks like a more beautiful and not muddied, not moneyed um, word or it's not a word yet, but that's what the dangers of having too much water or too much paint is that it's gonna pool and it's not going to blend. It's just kind of kind of sit there in a blob, and when it dries, it doesn't always look like you want it to look. So really, what you're looking for is enough water and enough paint so that you can see that the, um that the letter is wet all the way through. But there's moisture all the way through, because unless there's moisture throughout the whole letter, it's not going to blend the right way. And I talk a little bit more about this and some of my other blending videos in this class . But you need to make sure that there's moisture all the way through, and especially at this very end. And when you do that and, uh, and honestly, the way that I do that is, I dip it in the well, and then I kind of scrape it on the side. So see you don't see many puddles. It's wet, which is what I want all the way through. But it's not pooling anywhere. It's just kind of going where it's supposed to go, and, um, it might be pulling a tiny bit. But it's enough that I can blend it without needing to pick it up to pick the paint back up again. So there you have it. That's just a little video talking about one of the most frequent problems I have seen people have when they feel like they just can't do watercolor blending. Um, most frequently I see this where you don't have enough water. This can also happen when you're using pan watercolors or you're using, um, honestly, just watercolor. That's not in liquid form. And that goes back again to what I was talking about in a different video, which is your water color needs to be liquid. So if you're for a watercolor lettering, if you're using pan watercolor, I recommend you getting a palette like this and putting some of that pan watercolor in a well, and then putting water in it so that it is that nice liquid consistency. But even when you have liquid water color, you need to make sure that it's either diluted with water or that you have enough paint, and it's the right consistency. So it gets you the strokes that you want every time, every time. So not too much, but you definitely enough to make the whole color wet and moist. Okay, great. So, um, for this prompt for your homework, I need you to practice. And it is for these kinds of practices. It's good to see if you can get the mistakes down as well as you can get the correct techniques down, because then you will be able to recognize the mistakes when they happen. So all right, happy practicing. 7. Blends + bleeds: today we're going to focus on or rather right now. If you're watching them all at once, we're going to focus on the difference between blending and bleeding. Really, they're just two different ways of blending color together. But I think you may have heard these terms and been curious about what the differences. And so I want to spend a quick couple minutes to show you with. The difference is, look in my ex stained hands sign of ah, watercolor calligrapher So OK, blending to put it simply blending is probably the more traditional kind of blending where the Grady int like, gradually goes in to another color where it's not like you see Ah ha! There's the exact spot where it started to be another color. It's more gradual, whereas bleeding as you can see here, it just kind of erupts. So, um, it's destroy mint a little bit more obvious in this e right here, where it's it's this pastel read this like coral red kind of color. And then there's just like a cloud of paso red right here, amidst all of the pink, as opposed Teoh appear like all the different colors, just kind of gradually blend together so the most. The easiest way to get bleeds, I have found is with die based liquid watercolor like ICO line. And we talked a little. We've already talked about the difference between die based on pigment based liquid watercolor and die based watercolor is easiest to get bleeds blending almost always you have to do a little bit of manual work to get it to the to be that Grady int that kind of Brady into anyway, no matter what color you use, so no matter what kind of paint you use, so let's put this into action. So I'm going to show you a bleed. Um, so I'm gonna do a little swatch of this pastel red right here, and the key to bleeding colors into each other is not to have too much of this first color , but not to have too little either. So it's not wet. I mean, it has to be wet, but you don't want it so wet that it just kind of blobs. You want it just enough so that when you touch the next color to it, it just kind of bleeds into it like that. Um, and with die based. I've actually found that, especially with Iko line. I've found that the lighter colors bleed a lot more easily. Then the darker colors. But not always the case on you just kind of have toe. Try it out. But see, this kind of blend is definitely more like bleeding, because is definitely more bleeding because the color like plumes into this other color. It's like forcing its way in as opposed to blending with it. It's saying this is my space. Now you can move over here. Okay, on that block, that kind of blend can look really, really cool, too. I have This is from a different video. But like, if you see this how this blue kind of pushes into the green, that's a bleed. Um, blending is more smooth, and sometimes it requires a little bit more work. So if I'm gonna put down this past this light rose right here and I'm gonna put in this pastel red that naturally wants to, like, bleed, you see how that's bleeding? So in order to make it a blend, I'm gonna pick up a little bit more of this light rose and just kind of work it a little bit. And when you're trying to blind lighter colors into darker colors to make sure that you don't just completely overtake the lighter color with the darker color, you always want to go light to dark as much as possible. So it looks like I have put just, like a little too much water, so it's starting to puddle a little bit, so I'm just gonna push this out a little bit more so the water has a place to go. But now I'm gonna pick up. See? Blending just is a little bit more work when you're trying to get it exactly right, especially if it's like not in a specific if you're trying to get in a specific way. So I'm trying to always go light to dark. Okay, so let's try that in a letter. Um, the best letters Teoh bleed into are when you can go into like, you know, in calligraphy, you always end on an up stroke so that you can more easily go into the down stroke for to bleed, to make it something bleed into the next letter. It is a lot easier when you have like a thick down stroke to go into it. So let's try this. Be going into this straight out with no loop arm. So I'm going to pick my lighter color and I'm going to draw or, um, for my B. And I want to make sure that there's enough pigment. I mean, there's enough liquid and paint in this little loop right here. Um, not too much. So that pulls out. But I don't want to dry either, because then it won't work. And now I'm gonna get my pastel rose and just go down. So I'm barely. I barely touched this little part. Um and sometimes you'll see where the pigment where the paint has pushed the pink out of the way it pulls up here. If you don't want it to be so concentrated in that area, you can just get a little Q tip and make it not quite so pigmented. But, um, yeah, that is a demonstration of a bleed. So that's what a bleed looks like. I'm the best way to get that bleed toe happen. Like I said is to just barely touch this spot where you're going to go into the next letter . So that the paint can do its thing. Okay, so for blending, we're going to do the same thing of the being the l. I'm gonna start with the Rose, though, for blending. It's more. You have to pay a lot more attention and work a little bit more quickly. Teoh, Make sure the blend and the Grady int is really smooth and not a stark as it was before, as in a bleed. So see how this color naturally wants to bleed into this Be. But we don't want that right now. We want to blend. So I'm just kind of pushing this rose into the past. I'll read a little bit, but I also talked before about how, in orderto make sure that the lighter color maintains its maintains its place. So it's not completely over taken. You kind of want to go from lights too dark. So I'm gonna do use a little bit of pigment from this l two and push that into there and blending like really seamless blending if you only want to do. Blending sometimes is a little harder. It takes a little bit more work, but I'm going to call that good and see, it's not quite a stark the the pink goes a little bit lighter before it turns into this past All red. So there is a basic rundown of blends versus bleeds. Now you try. I want you to pick one word out of the quote that you chose and try blending and bleeding. Now keep in mind you don't have to Onley pick one method for your peace. In fact, I typically do both blending and bleeding and all of my watercolor pieces, but it's important to know the difference, especially if you're going for a design that you really want to utilize one or the other. So for your project, pick one word off the quote that you selected and practice both blending and bleeding and a mix and make sure to show your progress. I would love to see it either post it on our discussion board or post on Instagram. I would love to see it and highlight the great work you're doing all right. Happy blending and bleeding everybody 8. Monochromatic blends: all right. Are you ready to get started on some monochromatic blends? Now that we've talked all about the different techniques and materials that I think are important for the basics of watercolor blending, let's get started on one of my favorite methods. So monochromatic just means one color but lots of different shades. Or it can be one based color and different tones of that color. Um, basically just means if you are choosing to do blue, you stick with lots of different kinds of blues. So we're going to talk about to maybe like, three ish different methods. But mostly one is using all paint, and one is using paint and water. All right, so here I have my trusted eagle lines. And if you want model, monochromatic blending can be like hombre blending. So if we do own break blending it amusing, only the paint, then that is starting off with light and then getting darker, which I have mixed up my color. So that's not how it's gonna be. But that's OK, Um, so I'm just really quickly painting using my, uh, eagle lines and blue, and this is what I mean by monochromatic blending using Onley paint. See, I dipped into the paint every time as opposed to diluting the paint with water and to get a more own brain. Now that I have the pains all lined up together, let's see if I can do that. So what I'm gonna do is start with the lightest and then while I'm still in the light, I'm going to really quick dip it in the next shade and maybe get a little more light in there. So it's just a shade lighter. This is really similar to when you make color palettes. Uh, you're just trying to get the next highest shade possible. So now I am gonna make it just a little bit lighter. I'm still in the middle color. I'm using three colors here. So now I'm going to dip in the middle color and then barely in the darkest color, maybe a little bit more of the darkest color, and then I'm gonna dip it finally, all the way in the darkest color there that is definitely more obre than the top. Okay, so that's a method of monochromatic blending. Using Onley paint on both of the years demonstrate different kinds, So if you will recall back to the blends and bleeds video. This hombre word has used bleeds a lot in several different places. And you'll also note Remember, I talked about how lighter color sometimes tend to bleed more than darker colors in my experience with equal lines. And that's definitely true here. So while this hombre is a more natural Grady int that we have manipulated the color to make it be exactly what we wanted to be, um so both are really fun ways to do monochromatic blending this we requires a little more manipulation and a little more thought. And this way, it's just kind of if you put down whatever color you want and make sure that the color is wet enough, Teoh, take the blend. All right, so another really fun way to dio monochrome chromatic lettering is using one color. So I'm gonna choose this ultra marine light right here using one color and some water. Um, I really love using water to dilute colors and to make them do different things. So we're going. That's exactly we're going to do. So I start by dipping into the into the well, I'm gonna paint water here, so I'm dipping into the well. And then next time, instead of dipping into the well, I'm going to dip into my water like it's my well of paint. Okay, so I didn't wash off my paint, didn't wash off my paint. I just dipped into the water like it was my paint. So what we're doing is re wedding the brush and therefore reactivating the remaining paint that's on here. So it's lighter, see? And I am not dipping into my paint. I'm just dipping into the water and I gets lighter and lighter as you go. And it works just as well, since watercolor is, you know, activated with water in order to get it to do what it's supposed to. So there you have it. It's pretty cool. I really like doing this bottom with it because, um, the water can dry and really cool ways. Um, I also like this top method because it's a little more hands on and sometimes more vibrant . But there are my two favorite ways to dio monochromatic blending. So your task now for your homework for your class project is to similar to when we did blends and bleeds is to pick one word from your project and try out some monochromatic blending. Try out all these different ways, whether it's using paint and going back and forth between three or four different colors of paint or just using one color and using water. So paint up here water. I'm came down here and both are really fun. So how about it? Can't wait to see what you come up with. 9. Multicolored blends : Hello for this lesson, we're going to talk about all about multicolored blends. As you can see, I already have a word laid out for you. Laugh, one of my favorite words, and I'm basically just going to go step by step through my blending process when it comes to multicolored blends. Because I know sometimes they can be tricky, and you're not exactly sure how artists have got have attained the result that they have. So I'm going to go step by step with you. What I do to achieve blends like this, I will say before we start, the more colors you use, the harder it can be. And there are different methods to achieve different colors. I think that the biggest method, I mean the biggest, the two biggest methods or differences and artists that I know of is whether or not they quote unquote double dip their brush into different pots. So that means like I have, I've dipped it into this purple, and then I lay it down, and before I wash my brush, I dip it into a different color. I do that sometimes, but I also do it the other way, so I have a video talking specifically about double dipping, and so go check that out. If you're interested in hearing more of my thoughts on that, so now I'm going to dive right in. So first I'm going to choose this light rose color. And for my first color, I like to get like, a decent amount of paint we talked about in the in the water video. How much is too much and how much paint is too much, and you kind of just have to test it out for yourself. Each brushes different. Even so, um, that's a practice thing, but I like toe have enough that it lays down a good amount of color so that I can see that it's wet. And sometimes I have to kind of tilt my head down and get to a different level to see how what it is. But the all of the letter has to be wet for me in order for this to work. So the next key thing when you are specifically blending calligraphy and wanting to blend different letters together is putting most of the moisture where the next letter is going to be, because that's where It's the most important for the colors to blend together. So almost always that's gonna be this little tail upstroke right here leading into the next letter. So I'm gonna dip really quickly and move on to my next letter. No, see, I didn't quite get enough as much paint as I wanted, and that's this could also be the paper. Sometimes paper has inconsistencies in it that leads to resistance. And you might need Teoh go over that and fix that manually. So I just added a little bit more paint here and now I'm going to try to fix what's happening in this. Oh, so it's kind of pooling and not in a way that I really like. I mean, this is bleeding. Technically, it's bleeding into the L, but I'm not sure that I like how that looks. So I'm going to do a little bit more work to make it blend. And what I'm doing here is dipping my brush into the water and just going over the letter so that the whole letter is wet again. And this is a technique. I go over a little bit more in the frequently asked questions video. Um But just so you know, that's what I'm doing. So I can get a little bit more of an even blend and their to me that definitely looks a bit more even. So now I'm gonna look down at this a to make sure it's still wet. And it mostly is, uhm, I'm going to get a different color and put down the next stroke and see, I know that it's still kind of what because it's definitely bleeding into this purple, but it's also stopping so the purple isn't going anywhere, which I think means this is a little bit dry, which is OK, I don't mind leaving it like that. I have mentioned before that I like having a combination of blends and bleeds. So I did the second stroke of the A, and now I'm going to get a different color for the U. And it's kind of bleeding right there, and I think similar with this all, I wanted to be a little bit more of a blend and not have this color pool so much at the top of that you. So I'm just gonna move it around and make it blend the way that I wanted to and even putting a little bit of this color. It's kind of like I'm dipping into unequal right here, because there's so much paint and moving it over here. You don't have to do that. That's just kind of what I'm feeling right now. So, um, there we go on that. And, you know, actually, instead of dipping into paint right now, I think I'm just gonna dip into water similar to how I did in monochromatic blending, because there was a lot of paint on this you that could that needed to go somewhere. And so rather than add more paint to it, I just added water so that it went somewhere. And it's a little more diluted than it was before, because that's what water does. But I still really like the outcome is a different shade of purple. Then where done anything else. So and that looks great. All right, Now, I'm not gonna clean off my brush quite yet, and I'm gonna dip into this ultra marine light again. So you might notice when you do this that sometimes the upstroke line kind of stays and it depends on the paper, and it depends on the quality of water color you have or the kind of watercolor you have. But you can kind of scrub that out. So that's what I did. This looks like See, watercolor is so different. It's such an interesting medium because it really is, like, it doesn't always act the same. And it looked like I didn't use quiet enough watercolor before, So the G started to go a little dry. So that's when I added a little bit of water to it to make it wet enough so that when I did back in the purple, it will be fine and blend right in there. Okay, So now I'm moving some of this moisture into this g. And I'm double dipping really quickly to make it a more red violet color rather than just pink. But now I am gonna wash out my brush and finish off like that, and then color still even blends in a little bit over here, and I'm just gonna carefully go over it now. This takes practice the first time that I tried doing this. Especially like going over letters and places where I have already gone over them. I know It's tricky to get it in the right spot, but it really just takes practice. Okay, so there's my multicolored blend, and I hope hearing my step by step process was really helpful for you. I check out my next video when I tackle lots of different colors. And, um, we're going to go a little bit into a color harmony on that video as well. So But for your homework prompted this time, I want you, Teoh. You guessed it. Take one word from your quote that you selected for your final project on test out some multicolored blends using these techniques and figuring out what works best for you. So, believe me, once you get to the end of these videos and you've tested out all these techniques, it's gonna be really fun to push out your final broad your final project. All right. Thanks a lot for listening. I can't wait to see what you dio 10. Advanced multicolored blends: All right, let's continue with our multi colored blend practice, but this time we're going Teoh. Add in lots of different colors, so I'm going to talk about what to do when you're trying to blend colors like four or more colors into one piece. It can be a little tricky. And before we start, I'm going to talk just a little bit about color harmony now color harmony is I mean, it's a whole big science that you can go Gle your heart out and learn so much about. I've learned a lot about it, uh, from a lot of different sources. I particularly liked General Rainey's explanation of color harmony in her everyday watercolor book. Um, not paid. I just like the book. She didn't. She'd probably I don't even know we're not friends or anything, so I don't know that she even knows that I own it. But it's a really awesome book, and she talks a lot about color harmony, so I would recommend reading up on that. But for the purposes of this video, I'm just going to say it really matters when you're using lots of different colors. What order the colors air in And that's a really simple way of figuring out how to combine colors that might not be quite so good together with other colors that can't that are good together. And the most important thing to remember when you're trying to figure out what colors go together and what colors don't, in my opinion, is the rainbow. So I, um, going Teoh demonstrate to you what I mean by choosing when and where to put colors and why it matters. So I have just so many colors here. I don't know if you can I'm gonna with the camera little bits you can see. But I have lots of different colors here and not all of them go together. For example, let's put down some light orange right here. Some nice bright light orange. And this orange would probably go really well with this light Rose. Let's see. Yeah, I think those colors work pretty well together. Those oranges a lot looks like it's a lot stronger than the rose. Um, but when I tried to makes the orange with se this light green over here, what color do you think it's gonna be? Yeah, like this poop green Muddy color, so that's not super appealing. And we don't want that. We don't want that to show it, but our lettering. So we're making a mental note that orange and green probably should not go together. Um, and what I want you to dio when you were doing lots of different colored lots of different colors in the lettering, peace is to figure out which colors can go side by side and which colors really can't. So that's just doing a quick test, saying like okay. And even you can do like, let's put purple down right here. This is red. This is blue Violet. And on one side, I'm gonna put this green and see if that works and I'm not gonna lie to you. I actually kind of like purple and green together, though I think some people might not, Um and then on the other side, I'm gonna put this blue and see if that works. So it's just kind of testing to see what colors you think look well, like work well together. And what colors don't necessarily work well together. So and with purple and green and kind of depends on the color, the shades that you get, see even like with this lime green this light green on this blue violet, you still kind of get that muddy color That's not the best looking for blending. So I'm making a mental note that I really don't want to put that blue violet on that light green together. So this really is the process for making the most of your multicolored blends that are floor or more colors. So I'm just going to get going and I'm going to let her you are enough. Okay, that's one of my favorite phrases. So I'm going to start with this orange right here, Onda. I'm gonna use orange for the why. And next up is this light blue. But I'm not sure if light was gonna go well with orange. So instead, well, I'm going to do is switch and use this light rose that I know works well and it looks to me like it's kind of turned. Since orange is such a strong color, it's kind of turned this rose into a darker orange and so I'm going to keep putting a rose here. Okay, look, just I mean, just look at how strong that oranges. It just goes through all of these different colors. Okay, so next up, I'm going to do this light blue and I, um, going to dio looking at these colors that I have ahead of me I know that red would work well with blue and blue and purple Would will work well with blue And also a green would work well with blue And since I don't really want to blues together in this multi colored blend I'm gonna go with a green here And I wanted to look like it's blended So I don't know if you know it's but it kind of stood The green kind of stopped up there, but I wanted to be a little more blended and look a little more seamless to get kind of this in between. Minty color. That's showing up right here. Okay, so what color? Go, Continue Will go well with green. I think of all these colors here Blue is probably my best, but so I'm going to use his darker blue instead of the lighter blue and see what happens. There we go. So the green is bleeding into this blue right here, and I'm okay with that. I think that looks pretty cool because it's made this turquoise colorist right here. And yeah, I like that effect a lot. So now the color that I haven't used yet is purple. So I'm gonna put some purple down. And when you're doing multicolored blends, I mean, you can dio all of them different colors. But it's also important if you want them to be, like, have a theme to tie the colors together and have colors that are, um, and use the same colors in a phrase. So I'm going to use this light rose right here because I know that that goes well with purple. And yeah, that purple is just coming into. And then what color do I know? Works well with this Rose. Oh, I know the orange does pretty well. So before I had orange first and rose second, but now I'm doing orange second and rose next. So what Color goes well with orange food, it looks like I've already used Rose. I'm not sure if I want to use Rose again next to the orange, so I'm going to see I know that blue and orange or complementary colors so I think they might look okay together, but instead I'm going to go for this purple right here. And to be honest, this is going to be a little bit of an experiment, and that just kind of bled into the purple. And I'm I'm kind of digging it. So I don't know if this is hopeful for you at all, but as you have seen in this video, I just kind of, you know, must around with these colors and figure out what I like the best. And, um, based on what I see and what I like, that's how I decide what to keep and what not to keep. So then the secret toe. I mean, if if there is a secret toe blending with water colors and different color, it really is to pay attention to your colors and to test things out an experiment and not be afraid to try out different colors and different methods. So that is about were I feel like we're about done with this lesson. Um, there's my multicolor watercolor creation with lots of different colors that might not go well together. And not every color goes well with all of the different colors. So like we found out, that orange kind of blends into purple. But the orange blends and really like the best of all these colors with the pink. Don't mind my husband's sneezing in the background. And, um, in order to make these colors all work together, it really is about matching them with their complementary colors and or not like complementary in the color science, um, definition, but finding out what works best and putting those colors together so they can only go seamlessly. So there is the lesson on multicolor blending with four or more colors. And now that we've had all three lessons on the different kinds of blending, your challenge is to one experiment with all of the with with four or more colors. And if you decide to have your final project to be that then to start working on your final project. But ultimately it's to decide what kind of blend in you want to use for your final project Is that monochromatic? Isn't multicolored is a super multicolored with four or more That's totally up to you. Figure out what works best for your quote, and I can't wait to see what you come up with. 11. Drop shadows: Okay. One of the most common questions I get is Oh, my gosh. How did you make your lettering look like it jumps off the page? How did you make it look? Three D? And my simple answer is drop shadows. So a drop shadow is when I draw like a shadow on my letter on my word. And I have to tell you, figuring out how to do drop shadows did not really come naturally to me. It wasn't until I imagined having like a son beyond this side off the paper, shining down on the word and like seeing where the shadows went that I finally figured it out. I remember watching videos of people doing shadows and thinking to myself, How do you know where the lines are supposed to go? And so that's my trick is to imagine that there's a son right here. So I'm going to draw a little son and the shadows go like that. Okay, so I'm gonna show you four different methods I have for drop shadows. Four methods. Okay, So my most common method for drop shadows with watercolor lettering is to use my Tom both food and Yosuke dual tip pen. This is a soft tip brush pen on both sides. One side is black and one side is gray. And I'm most often use this gray side. This I mentioned this in the materials video that I do and now I'm going to show you how I do the drop shadows. So if the sun is coming this way, that means the shadows are always going to be on this side. So if there's if there's some shining here, there's not gonna be a shadow there, right? It's gonna be on the opposite side. So I'm gonna remember to draw my shadows on the opposite side of the sun. So there always has to be this thing blocking me from the sun. Okay? And so the reason that I use brush pens is because they're flexible and the shadow isn't necessarily going to be the same thickness throughout. So if you'll notice, like when I did the h on top, I just did like a little thin thing. And then I got thicker. Um, so I'm just Those are tricky, but here's again. I'm doing it thin on the top and then thicker when I get to the side, then thin on the bottom again. And that's just so much easier to do with brush pens. So I am doing this drop shadow on my first word here and almost soon. And that is how almost all of my lettering you'll see on my INSTAGRAM account is using this method with the gray shadows. And I I think it just honestly makes it just, like pop off the page. It's really fun, so gray is usually my method of choice. I have also seen I've also done it with, like using gray water color as a drop shadow. I will say that with this die based watercolor that I used, that means the paint is going to bleed a little bit more into the shadow, which can be cool. That could be really cool and maybe old you a video about that another time. But for now, I would say the safest bet is to use the small tip Tom, both food and Yosuke uh, the dual tip with the gray end if you want a great drop shadow. I've also tried doing it with Tom Bo dual brush pens with their bigger brush pens that are they have lots of different shades of gray awful one out. Right now, I know a lot of people who use, like this brush pen to do shadows, and obviously this is too big for this word. But honestly, even for bigger words, I like to use the food on Kosuke because I think it's a little bit more manageable and it just looks cleaner. So I would recommend using the food in Yosuke. The great thing about the food in a souk a pen is that also has ah, black tip, which you can use to do shadows as well. So I'm going to show you what this looks like with a black shadow. And you have to be a little more careful with black because it's obviously you can see it a lot easier than you can see the gray with the gray if you mess up and put the marker in places you weren't intending to, which is a lot easier than you might expect. So accidentally drawing places you weren't planning to, uh, the greatest kind of blends in, but the black really sticks out, and if you accidentally do too much like right there, I could easily have gone just a little bit further and painted over this stroke, which is, I mean, drawn over that stroke, which is not what I wanted. So you have to be really careful when you're doing black, because it's a lot easier for to look a lot more messy and make your lettering not quite is clean as you want it to be for a final product, but when it's done, it definitely pops off the page. Um, I think black was the first method using blood black brush tip pen was the first thing was the first method that I used. I learned how to do drop shadows, so I think that works really well, um, kind of building off of off of the black one way that I like toe utilize this black drop shadow even more. To make a word pop even more is to first outline the word in black. So I'm not doing a shadow right now. I'm literally outlining this word in black, so it's gonna take me a couple minutes, and I'm glad that thes skill share videos are real time because you can see exactly how long it takes and this is after years of me practicing. So I did not go this fast when I first started doing these methods. Believe me, it took me way longer. And even now, when I'm going too fast, it's a lot easier to make mistakes. Like, just happened right there. See boobs. That's okay. Um, gotta keep going. So that's one thing I'm going to say. It wasn't planning to necessarily say in this specific video, but if you make a mistake, not the end of the world, it's OK. Um, the beauty of arts and this craft is a You can have lots of different methods to make it look like it wasn't a mistake. And B even if it waas, I think if your art was perfect every time, there would be no use doing it. I think that making mistakes is part of the process and part of the beauty of this kind of art of any art. Really? So Yeah. There you go. Okay. So, yeah, forgot to do that last stroke. Okay, so now that I've outlined it sometimes I used to just, like, leave things outlined all the time, But one day this is kind of by accident. I accidentally made one of my strokes thicker than I was supposed to, and I realized it looked like a drop shadow. So what we're gonna do is, after you've outlined in black, go over again with the same color black and add in drop shadows, and it really just makes it pop out that much more. It's just a step up from regular black drop shadows. Uh, I'm sure other people knew about this method long before I did, but I remember feeling super proud of myself for realizing the power that I had by myself. It came. I learned about it through my own experimentation. That doesn't mean I was the first person ever use it, because heaven knows I definitely wasn't. But it's really fun when you're experimenting and you figure out cool things all by yourself. Even if they've already existed long before you started doing this, it's I just think it's really a need experience. So okay, there's still a little black line. I don't really know how to fix that, but we're just gonna call it good. So that's my third method of drop shadows. Now, my fourth method on this is not all of my methods by any means. But my fourth method is, um, adding more of an outline. Drop shadow. Now, what I mean by that is I'm using, like a fine liner. This is a pilot fine liner pen. Or you could use a microphone pen or anything like that. Instead of putting the shadow right next to the letter, I'm going to put it just a little bit outside the letter. So it's almost like the drop shadows actually in white, and the black is just outlining it. So this is really tricky. It's a lot harder to do, then regular drop shadows, and it's a lot easier to mess up because The'keeper's to make the outlines the same thickness. And I am still really bad at it. If I'm being honest with you, I'm sharing this method with you so that you can practice just like I practice, because the results can be pretty cool. So I am the only time I'm having the outline touch. Anything is when it's touching another outline, so it's never, ever touching the letter, and there you have it. It looks like it's just kind of outlined and white there, so Those are my four methods of drop shadow Thought I'm sharing with you for now. And they are how I make my watercolor lettering just really pop off the page. And it just really ties everything together. I think so. This is for your final project. This is gonna be your last homework is to practice drop shadows. And now I want you, Teoh, do your drafts and and figure and really just do your final project with your quote. Now that you've learned all of the techniques and all of my different thought processes, it's your turn to really put down your quote on paper and figure out how you best one how you like it best, how you like, how it looks better and everything like that. So it doesn't matter honestly, what matters the most is that you love what you do, so keep going until you find that sweet spot can't wait to see your projects 12. Frequently asked questions: all right, you have made it. You've made it to the frequently asked questions video, which means you are almost done. The last video is a real time video of me doing my final project along with you. And so this is the last place really where I'm going, Teoh, talk about specific techniques for you. So I have compiled a few questions that I get asked a lot and I'm going to do my best. Answer them for you. So number one is how do I keep my paper from buckling? So this is tricky. And I know that some people think that as long as you have watercolor paper, you're going to be fine. But that's not the case. Even if you have watercolor paper, the papers natural tendency is to expand and buckle, which is what it does when it warps. When when you put water on it. Um so unless you get really, really heavy paper like we talked about, the most common paper is £140 even this is going to buckle If you look at my instagram videos. If the heaviest paper, if you get £300 or more weighted paper, You probably won't have a problem with buckling, but that paper is really expensive. So the best ways to keep your paper from buckling is to either keep it on a block. So if you buy blocks of paper instead of pads of paper, blocks of paper mean it just means that it's all glued together. I don't have one just to show you right now, because I don't typically by my paper like that. But if you keep it all in a block of paper, then it'll prevent the paper from stretching. But a way to do that, I mean from buckling. But if you don't have a block, I would use painter's tape or masking tape to tape it down to the table. Now it's still going to buckle. So don't. So. Don't be nervous when it buckles, because it's going to. But if you use tape, it won't buckle quite as much. And if you leave it there taped to the table toe, let it dry. It should minimize the buckling, but I am going to say to if you're going to frame your paper, if you're gonna frame your piece, buckling is fine. It won't show. It shouldn't show if any, if at all, in the frame. Once you've put it behind the glass and it's firm in the glass, I have, um, for example, here is a framed piece that I have, and it buckled when I when I first painted it. But because it's in the frame saves in the frame, it doesn't buckle. So I mean, it doesn't show that that the paper is actually buckled so honestly for lettering, you will be just fine. The other way to make your paper, not buckle, is to stretch it, and that requires getting your paper wet and putting it on a stretching board and waiting for it to dry. And that's a little more extensive, and I think it depends on the kind of project that you have, but especially if you're going to frame whatever piece you're working on. I think it's totally fine to just stick with what you have. Okay, number number one is done. Number two my what happens when my paint dries too fast for me to actually blend something ? We kind of went over this in one of the videos. I think it was multicolored, but The trick to making sure you can still blend when your paint dries too fast is to re wet the letter completely so you can't just re wet part of it. You have to re wet all of it with just a little bit of water. Not too much, but a little bit. And then you should be able to continue blending. It's tricky because you have to go over water in the exact spots that you went, the that you initially formed. The letter on that can take practice, but I know you can do it. So that's what you do for that washing my brush in between strokes. So this is something I talked about in multi colored lettering, particularly with four more colors. That video. And as I mentioned in that video, this is kind of a personal preference thing. Some people call it double dipping when you dip your paint and you dip your brush in one well of paint and then dip it in a new color without first washing your brush off. And sometimes you can get really cool color combinations by doing that, but you do run a risk of diluting whatever the second color is because, inevitably, a little bit of paint from your paintbrush is going to come off into the next well off color. So it's a personal preference. You need to know the risks. You also need to know that I've double dip for a while and I haven't and I haven't had any problems. Um, but I've I doubled it really fast, and that's what I do. So the next question What's the secret to getting better faster? I have so many people message me, asking me what I did Teoh to develop this skill. And if there is a special class or a secret or anything like that And honestly, the answer is there is no secret. The secret is practice practice practice. I practiced so much when I first started, and I still do. I practice every day and for hours a day, Um, so if you want to get better at this stuff because I'm self taught, I didn't take any classes. I watched some people do it, and then I figured it out. And, um, if you are watching this class, you're already step ahead of the game from me. Eso you can probably get better, even faster than I did. But it's just practice. So there you have it. The frequently asked questions. If there are more, feel free to message me and, um, keep working on your projects. I'm so excited to see what you guys come up with and watch the last video for a realtor time showing of me working on the same project that I gave to you guys, so thanks a lot. 13. Watch me paint in real time!: okay. On this beautiful sunny morning, I am going to take you from start to finish through one of my calligraphy blended pieces. This'll is a real time video and it's more like a bonus. Teoh, this whole course, hopefully you've gotten to the end of it by now, when you have started to create your own piece and this is just so you can see why do from start to finish. So, my quote is bloom where you're planted and I have chosen some of my favorite color combinations here. This is forest grain, Prussian blue and turquoise from ICO Line and let's let's get started. So I honestly don't always have a plan. When I start these things, I just kind off do what? Do what feels right. And after a lot of practice, I, um, I have, you know, learned what I like to do and what I don't like to do, and in terms of blending in terms of composition. So what I'm doing now is just putting those techniques into practice, and I wish I could say like, this is exactly what I'm thinking. But what I'm thinking is I really love how these colors blend together, and I want to see them blend more. So let's see if you can spot some of the techniques that I'm doing. That's a nice kind of bleed blend over here. And right now, I'm kind of doing in the same order all the colors in the same order. Um, this this blue is kind of pooled in his greatest kind of stopped. So right now I'm going to see if I can blend that just a little better because I don't want it pooled anywhere. I would really like it if it's blended more seamlessly. So there isn't a hard stop. All right, that looks good. OK, no, let's move on to the next word. And sometimes I do by stroke, not by letter. So that's kind of what I did there. And if you'll you'll notice just talking about the double dipping thing that I've talked about in the past, sometimes I do. And sometimes I don't. So it really just depends like I did that time. I didn't wash off the green before I went into the turquoise. Um, well, I'm washing off the turquoise right now. It looks like this is starting to dry a little bit. It's in the sun. Whenever you paint in the sun, the paint dries faster, which might seem obvious, but good to know. So I'm also running out of room here, so I want to be conscious of where my letters were going. I know that a lot of people drawn pencil before they even, uh, put their letters onto paper. And I think that is so commendable. And I do that sometimes what I have to say. I don't always, and perhaps there will be another course on composition, but for me, it's just kind of trial and error on sometimes I myself and have to start over, so maybe I should use pencil more often. Um, so now I'm continuing on that green kind of overtook the turquoise a bit, so I'm going to use turquoise again after I have washed off the green. Sometimes you'll notice I just barely, like, tip the colors, so it starts to go in to the next letter. Before I formed the stroke, I, uh, do that if I want to make sure that the colors blend together, um, instead of just bleed, I mean, it still bleeds, and I have to go in like I talked about in the blending and leading video. If you wanted to really blend, you usually have to manually make it blend. But I found the adding the color before going down on the stroke. Sometimes help so And to be completely honest, it looks to me like the composition I'm using here is not gonna be centered. See, there's no room for planted right there. So sometimes when this happens and I don't want to start over, I just make it off kilter on purpose. So we're gonna put planted down here like this. Sometimes it works. Sometimes it doesn't. We'll just have to see what happens this time. But I do love these colors together. I think blue and green, especially for spring, are just so gorgeous on the Eagle line. Blues and greens are so vibrant in pretty I love them. So just continuing on it looks like it's gotten a little dry up here. So that's what I'm doing, making it not so dry so that it plans together. All right, so I have my words down. I actually kind of like this off kilter. Look that I have going on, and now you can either wait for it to air dry or if you have a heat tool like this. Ah, in bossing Greece heat tool that I have and I used frequently. You can do that, so I'm going to hurry and dry this piece. If you don't want to hear this heat tool, then go ahead and turn off the volume for a little bit. Um, but I'm going to keep talking so it shouldn't take too long dry using this, because when you're delivering, you don't really use that much. But you don't want to use the tool in one spot for too long. Otherwise it could burn the paper, which is definitely not. Sometimes you get parts of the paper like this little piece right here. It's kind of cool. So that's why I go back for a little bit, which might not be the best technique, but it's one that works best so and then I also back because I found the water seeps through the whole paper thin thing right. I think that's about good. And next is the drop shadows. So I'm going to use my trusted Tom, both food and us UK, and I'm going to do great for the drop shadows. So like we talked about with the drop shadows, it's pretending like the sun is right here or right here if you wanted to be on the other side. But wherever the sun is, the shadows need to be on the opposite side of the letter. So I'm doing my go to on this side and drop shadows can take a while. Ah, if you do them right, if you rush them, it can. They can kind of get my stuff, which is why I like to use gray honestly, because gray isn't quite so obvious when you put them where they're not supposed to go. But some dressed slow and steady doing my drop shadows here doing them so they're actually like shadows. And maybe you can start to see it. But when you put drop shadows in, it really just makes the lettering pop and jump off the page. I've gotten so many questions from people who asked me how I make my lettering look like it's three d How I make it look like it just like jumps off the page. And this is how using using shadowing techniques and drop shadows is the way to get letters look like they're three D, and there are a lot more, uh, complex and extensive techniques and the one I'm using right now. But this is a basics class, and this is the easiest way that I've found to get my brush lettering to pop off the page, especially if it's blended letters which, as you know and should know by now, is one of my very favorite ways to do brush lettering and to make it look gorgeous. So all right, almost done. Got the first row. No wonder starting in the second row. Sometimes when he used gray, the gray picks up, especially when used dye based liquid watercolor. The great picks up the pain because, um, because this pen is water based and, um, die based watercolor easily re hydrates. So when the ink, which is water based, touches de di based watercolor, it kind of thinks like it's water. And so it reactivates and blurs a little bit and blends into the shadow, which I think sometimes can look really cool. So I don't know if you've noticed that in your own work, but That's what happens with mine sometimes. So I am just finishing up here being careful, also going fast. I did not go this fast when I first started. Just so you know, drop shadows took me a long time to learn. Um, And when I first started, I talked about this. My drop shadows video. But when I first started doing drop shadows or watching other people to drop shadows, I was like, What the heck? How did they know where to put those shadows? Um, and that's why I came up with the analogy of the sun, like, Okay, if their shadows, that must mean that if you pretend like there's a light source, then it's easier. I'm such a visual person. So that's exactly why that works for me. Um, and I even do a little diagram of it in my drop shadows video. So go check that out. If you're interested. And all right, just about done. So there you have it. That is just a simple method for brush lettering, watercolor, calligraphy, uh, using all of the blending techniques that we have learned in this course. Now I cannot wait to see all of the work that you've done Please, please, please post your projects to the project gallery so that I can see and everybody else can see all the hard work that you've done And also attacked me on Instagram If you decide to post it on Instagram because I'd love to see all of your progress in the hard work that you've done. Thank you so much for joining me in this class. And I am so thrilled to see the art that you are going to contribute to the world. Thanks again. See you next time.