Create your own Christmas and Holiday Cards - using easy and effective watercolour techniques. | Emma Woodthorpe | Skillshare

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Create your own Christmas and Holiday Cards - using easy and effective watercolour techniques.

teacher avatar Emma Woodthorpe, Illustrator. Author. Artist.

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

9 Lessons (51m)
    • 1. Introduction

      0:38
    • 2. Tools you'll need

      4:46
    • 3. Watercolour techniques

      10:55
    • 4. Different finishing effects

      16:12
    • 5. Some thoughts on size...

      1:00
    • 6. 1 - A decorated tree

      6:08
    • 7. 2 - A frosty snowflake

      5:02
    • 8. 3- A snowperson silhouette

      5:44
    • 9. Final thoughts

      0:38
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About This Class

In this class we will learn some simple yet highly effective watercolour techniques that you can use to lift your watercolour projects to the next level.

I will then show you three holiday card designs that you can use with these new techniques to create some awesome seasonal cards for your friends and family.

There are downladable example templates in the 'Project' tab.

This class is suitable for beginners and beyond.

For this class you will need:

-Watercolour paper (I prefer Cold pressed paper, 300gsm/140lb)

-Masking tape

-Watercolour paints

-Watercolour paintbrushes (I use a Round size 6 brush, and a Flat Wash size 3/4 brush)

-Rock salt

-Ground salt

-Water

OPTIONAL EXTRAS:

-Ink/inkblocks

-Masking Fluid (I use Masquepen)

Video Music:

Hip Hop Christmas by Twin Musicom is licensed under a Creative Commons Attribution license (https://creativecommons.org/licenses/by/4.0/)
Artist: http://www.twinmusicom.org/

Meet Your Teacher

Teacher Profile Image

Emma Woodthorpe

Illustrator. Author. Artist.

Teacher

Hi I'm Emma Woodthorpe, also known on the internet by my business name Embers & Ink! I'm a freelance artist and illustrator based in Sheffield (UK). Using my background in Art and Literature I'm  currently writing and illustrating children's books!

I work in multiple media and have created a range of art using many mediums ranging from charcoal and pastel through to acrylics and oils to pencils and watercolours - and many more!

Find out about the Children's books I've created on my Author Website and follow my Author Instagram page @emmawoodthorpe for regular updates. You can find me on YouTube where I post weekly videos exploring my art and life as a full time creative. You can also join my exclusive gang over on Patreon where I offer a range of exclusive con... See full profile

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Transcripts

1. Introduction: Hello. Welcome to my school share class. I'm Emma. I'm a freelance artist and illustrator, and I live in Sheffield in the UK. I'm thrilled to be here today on my second school share class, and to celebrate, we're going to get all seasonal. I'm going to show you some basic but effective watercolor techniques so you can create your own seasonal holiday called You can pause at any time. You can rewatch sections whenever you need Teoh. Right? So without further ado, let's get started. 2. Tools you'll need: create your heart. You will need a brush. I'm using a round brush. Number six. This is a watercolor brush. The rounded point will give you control. A bigger brush will hold more water and will make it easier for you to produce your art. The fact that this is a round brush will give you control compared to a flat brush like this where you won't be able to be as defined in your mark making you will also need water . For obvious reasons. We're going to be using a wet on wet technique, so water is going to be very important. Now I'm going to be using cold pressed paper. You'll find that cold press will produce the best results of the technique that we're going to be using. But hot press is fine as well as I always say with all of my art pieces. Take some time to play around with your materials. Only then will you see if you're getting the results that you want. I always have a play around and see what you prefer. You're also going to need master paper or must on tape. I'm very lucky because this paper is on a block. The older the sides are going down so that that's like a basket masking tape, as in, it stops the paper buckling too much. But if you've just got a single sheet of paper, you can use masking tape to tape your paper down to the surface. I might do that with this anyway, just for ease. You may also find the addition off masking fluid quite useful. Mustn't fluid is a latex blend, and you can get in different containers. Mind comes in a nuzzled kind of squeezing tube, and I like this because you can use it to drawer onto your paper, but you can also get it in a paint on version. Okay, so you will also need cloth. Awesome kitchen roll. I like to use a cloth because you're not wasting resource is by using additional piece of kitchen roll. But I've just been traveling, and I forgot my cough, so I did use a little bit of kitchen roll. The good thing about kitchen roll is that it's stronger than toilet paper, and you can also dry it out so it's completely dry. I want to reuse that, so you'll need to cloth or kitchen roll to clean your brush. But also it's useful to remove excess water from your brush so you might find it useful. Just have it on hand. The last thing that we're going to need is color, and you can get your color for this technique from a variety of sources. Firstly, are watercolors. These are my pounds of color. No you need to do. To activate these is to add water to them, and you can mix colors in your mixing palates, which gives you a variety of color options. Another thing you might want to try his watercolor pencils. I have a collection from dough into, but there are many different brands out there on what color pencils are essentially the same. But seeing pencil full, many people like to use watercolor pencils. When they are sketching outside, they become water soluble. So after you've drawn on the paper, you can add water to them. I'm not going to use watercolor pencils in that respect today, but there is another tip that you can do with a wet brush. Paint with the watercolors tip as you would a watercolor pan. So if you've got some watercolor pencils that you like, and you've got a color that you want to use. You can use your watercolor pencil in that respect. One last thing that I like to use in my wet on wet art ink blocks Again, I'm using Derwent because they do a nice range of intense in clocks and that you can use other in clocks from of the company's or also liquid inks themselves. I just inverted my 10 so I've got the leaders a palette, but you don't need to do that. You can see that the dough went intense. Range is quite extensive. I got my color swatches. Here. You can see all of the colors that you can get from there, and these blend together quite nicely. One reason why you might prefer inks over what colors is that the banks tend to give more vibrant finishing color. But as I say, experiments have a play and see what you like. So next let's have ago. It's experimenting with some of our materials 3. Watercolour techniques: so, firstly, I'm going to prepare my paper. I've gone ahead, and I removed my paper from my tape block just by running a knife around the edge. Like I say, if you've got a paper block, you don't need to do that because the gun edges around the outside will provide a strong enough surface to keep your paper from buckling too much. However, I have removed my paper just so that you can see what to do with your paper. If you just have a single sheet, no long going to do is get my masking tape and tape around the edges. Make sure that you do press the edges of you must take down now. If you were going to be using your masking tape to create a border, for instance, if you're going to be painting in the background completely right up to the edges, you would like to make sure generally, that your must take is an equal distance away from each edge, as I'm not going to be doing that, and I'm going to be keeping the background white. I haven't taken as much care to get an even border first. They'll show you the wet on dry technique. A wet on dry technique means that you use west paint for pigment on a dry service. Make make sure that you load your brush up. If you've got too much water on your brush, you might want to do stab it against your kitchen cloth. Now west on dry technique. Our paintbrush is wet and up. Papers drive with a wet on dry technique. You can see that the edges are very crisp, you know, brush off if you go into the color, the west and wet blending together. And that's a very small indicator of the type off style we're going to be using. So I show you once again, the West on dry creates sharp edges. Okay, wet on wet water from mayor my table. See, it's always good to have a kitchen tell on hand. Wet on wet tends to be if you If you load your brush it with the water, just brush on clean water. I'm gonna do exactly the same as we did here with the same colors, you're gonna see the different ways that the pigment reacts. So first we're going to get this pinky red color we're gonna do a book in the same way you see the pigment feathering out from the edges. It's much more fluid, organic, much more natural. You don't have those crisp, defined edges. It's clean the brush off to put the blue next to it before it drives. It's not this one gonna put the blue next to it. I believe it's going to spread out as well. Where the two colors meat. You can see that they're blending together to create a purple color. Put some green off you see. He's a nice, crisp calls. It's Wiggles Lever. Do that on wet paper. Once again, I think the pigment is just going to feather out. It creates a much softer image, and also it creates a much more blended organic look. That's label is up west dry. What's gonna wet on wet? So now we'll show you how you can use your watercolor pencils in a similar way. Traditionally, what color pencils are used by sketching when you want Cole to be and then applying water on, you can see that it just blends up. But poor in, However, when you use a watercolor pencil, you can often see the pencil marks underneath, which is fine if that's the kind of look that you're going for. But I'm not. So sometimes I tend to get my watercolor pencils with a dump brush, and I just did my my brush around the never. It's just essentially watercolor pigment. So here's my wet on dry technique with a watercolor pencil. It's actually just bled into the water. A little bit less angle house starts again. It caught the water from my wet on wet. I just did it. He so you can see effectively. How you can use your watercolor pencil in the same way creates nice, defined ages when you use the West own drawing technique. Now the water is still a little bit west on the paper here, but we're gonna have a little bit more because it has dried up a little. So the papers wet, and now we're gonna add wet paint to it, and it just works in the same way as with the watercolor pounds, the edges feather under less defined than the wet one dry. Next, let's experiment with our Inc. So we'll do some wet on dry. Clean my brush off, right? Try find a similar type of cola. So maybe that one inks tend to be more vibrant. When they drive, you can see already how vibrant that color is compared to. The watercolor is a different pigment, slightly different color. So don't don't be judging it entirely against this. You can just see the vibrancy of the color things. What on dry, basically in inks. Underwater colors. You can see that you can get nice defined itches. Okay, let's try the inks with wet on wet technique. Nice, vivid pigments that you've got there very clearly defined even in the water where the pigments come further out for You can see that the more water that I add around this, the more that the pigment gets pulled down into it. Just try it with a bit of the green. You can predict what's going to happen there. The cool is going to bleed out. You don't get so well to find an edge, so let's write that down. Wet on dry, tense and then wet on wet, intense. I'm going to be very quickly how to use the masking fluid. Remember, the masking fluid is a liquid latex, and it does need to dry before you put your paint anywhere near it. So I'm going to apply this. Wanna go Africa tea through the magic of editing. When I come back, it's going to be dry. So you can see once the must pen is dry while it's still Tuckey, It can't be smudged. What the must pen is done is created barrier between the paper and the paint that you're gonna put on top at the same time showing you how the must conclude works. I'm going to show you one mawr benefit of using the wet on wet technique when you were first placing your water from the paper. If you place it in a patter, I will do in s shaped quickly life. I'll make it quite big so you can see the effects of the musk pin through it. Okay, so I've just learned an irregular shape. Okay. Make sure that's nice and wet. You don't want to be too dull. Api. So it soaks, um, that with a Dr brush. Okay, So with the water, you have created a shape from the paper. One of the benefits of wet on wet technique. Is that any pain that you put in that shape will stick to the boundaries off that shape, just as we did with the color blending appear, the colors are going Teoh blend together, but there are going to stay within the boundaries of the shape that you created. If you want to blow them slightly just to help those coolers blend together and what we're going to do is just leave that to dry. And then I will show you how the musk fluid can be removed. Now that the ink around it has dried, I can start to remove the masking fluid. All you want to do is get your finger and start to pay it off so you can see that whether musk includes being it's completely masked the paper from the watercolor and from the pigment so you can create intricate shapes without the need for painting around an image. And you can also see how the pigment has followed and traced the water template that we put on the 4. Different finishing effects: before we get started on our final projects, I want to show you a few ways to affect the outcome of your watercolor. Before this, we're going to use course, the ground, salt, rock, salt and water. So let's get started. Before we begin, I'm going to create a few swatches and I'm going to make some colors. These are the two colors, but I'm gonna use for my wet on wet technique. And then I'm going to use these things here to effect a change in the outcome of the watercolors. So to begin with, any wet on wet technique, you to start with water, put some water down first in my first swatch. Firstly, I'm going to load my paper ship with the green, took with green, don't around which lines on the top and then clean my brush when a loaded with purple dips and more Okay, personal green in adults Keep the pigment highly saturated. Right. You could see that I'm using watercolor to start with. I'm gonna reserve this area here for watercolor on this area here for ink just so that I can compare the two mediums and then I'll decide what I want to use my final project. So in the first box of use my wet on wet technique and I'm just going to Sprinkle on some coarsely ground sea salt to me, Any kind of salt do you think In some parts and sitting of this. Okay, I'm gonna leave that to drive. It's again. Wanna do another swatch? I feel that just with water. Okay, I wouldn't do a similar thing. My brush it with pregnant, one side, the other trying to some dots in between. Sort of mix. You can see that there are already blooming into each other. And now I'm going to add some thicker rocks. Old. I want to add it, Victor, in some parts of Syria and the others you so you can see the final effect in the final technique. It's going to be using the water. So I'm going to start with For what Swatch do you feel in the same way that I did with my other boxes? Greens purple. Okay, you can see that they're starting to bleed into each other. I'm going to do now is just add water and pools and the effect that this house is that it pushes the pigment out from the center, so you end up if you can see that you end up with areas circular white. It looks a little bit like tie dye T shirt. You cannot as little or as much as you like. It's a little bit more. See, what does you see? That the pigments being pushed to the edge of the circle. Okay, so while not dries, did you write down What? What She's were so cool to color and crown Salt. What color? Rock salt. And then here is what's cooler. No water. Okay, so for the bottom half, I'm going to swap from watercolor. But it's going to be the same wet on wet technique as above. So I'm going to start in the same way by adding water just for transparency will try and pick some similar colors. Okay, so it's hard to be crowned salt onto the next swatch, where we just flood that patch with color. Flood that patch of water. Sorry, did the same pills again. Let's add some rock salt, and they will flood our final swatch with water. A dark Olis. Let's try the water. Dropping my brush. You can see that the water dropping is still working on the ink, but I think it worked better with watercolor a bit more. You can see that the more water that you had with the ink the pigment is actually separating, huh? Think blocks and water. Okay, so I'm just going to leave those to dry and then I'll do a close up on the effects, show you what they look like. So that's all completely dry now. Could put my hands on it and only the salt comes off. So let's have a look and see what effects the salt has going to. First off watching this, you can see that the salts taking on the color so it's absorbed some of the moisture on the pigments along with, So let's have a look at the water cooler. First with the ground sold, you can see that the salt is absorbed. Some of the moisture and it's pulled this water in. Leaving a a junket organic line around it looks a little bit to me. Like frost. I think I'm going to use this salt technique to show a frosty scene, but let me on. That's what the ground so you get more of a crispy area here on D A jacket. The organic line there. I like that a lot with the rock salt, you can see it's created a similar effect to with the water. So you got these jagged organic lines where the pigment has I met an area of non pigment. So in this case, is water. In this case, it's where the salts we, uh, taking the water in. I like this. I like that. You can see where the rock salt bead underneath. But I think I prefer this more because you get more of a gritty Christie. Look to this one, then. Obviously, this one was the watercolor with the water droplets in it. I like this. I like the feathered look, I like how soft it is, but I have lost some of the pink pigment there. So maybe it have to be a bit more cautious about where I applied that water. But I do like the effect that's created with the watercolors. I think the effects have worked very well now, with the thinks we can see, even though he thinks you've still got the vibrancy of color, I'm not sure that the effects have worked quite so well. So I'm already thinking in my project, I'm going to be using the watercolor as opposed to the inks. So this is the water color and the ground salt. You can see it looks a little bit frosty like that. Look a lot watercolor on the rock Salt. What color with water since the ink blocks with the with the ground sold. So that's the books with the ground salt in blocks the Bruxelles and then the influx with the water can really see how the pigment separated. Finally, before we start our project, I'm going to show you how to create a umbra or radiant wash. This technique is useful for backgrounds. All I've done with my paper is mask the edges to stick it down to the surface, and then I've masked across in the middle to create four sections. Our number wash is going to fill the whole sections. So not only will you get to see the Grady in Wash, but you will get to see how to use your masking tape to create clear defined edges, even though I'm pretty sure I'm going to use the water color. I'm going to do two methods in watercolor and two methods and ink. Just to see how they compare to create your umbra effect, you may want to use your flat wash brush. This will allow you to pick up more water and also more pigment in your round brush, and will allow you to get the job done quicker and more effectively in fewer strokes. Sure, it just doesn't have too many pools of water on there. It does. Just get your brush, dab it onto your cloth circuit. Some of that water. We're going to fight to the edge where the masking tape is, and then it's a low job worship pigment might not actually have enough on their Actually, we'll see. We'll see how that goes. And we're just going to do one washing on the top, maybe two. This effect works better if your art is on a slight angle, because gravity will pull the pigment down. But that is what you gonna do. You're going to leave that now and let the pigment naturally progress into the water for the next effect, going to load up some more pigment into my palate. That pounds of the size of the watercolor block, and I have got half pounds inside my palate, so it's easy to mix with the smaller brush. Okay, so for this one, you need to do something slightly different. So I'm gonna load. Are paintbrush dumping it slightly and then take off the excess load Are paintbrush book with pigment? Okay, I mean to do one wash on the top. Gonna try and do this in a few of strokes as possible. And then instead of loading my painted one So my papers again, I'm going to just have a little bit of water into my brush. Not too much go underneath. The water will pull the pigment down towards you. Some water on my brush again. You might get more pleasing effect if you do this on an angle. But it's not necessary. You could see more. You can see how the water is pulling the pigment towards it. So we have a stronger pigment on the top, going to a light pigment in the Boston for transparency. Let's see what the ink comes up with. So let's leave that to dry and see what that's going to look like. so very, very carefully Peel off your masking tape. Now is going to be the time when I see if I've actually pushed Must take down hard enough A little tip. When you do take a masking tape off, do it nice and slow because sometimes if you push masking tape on really heavily, it can pull the paper off. So nice and slow. Okay, I really like the look of all of those, and the water color on wet has actually worked better than I force it would. When I first put it on, I thought that because the paper wasn't on an angle, it wouldn't blend quite so much. But it has blended, and you can see where the paper tape waas, where the masking tape waas. You can see where it's very light color down at the end, so I quite like that. What color? With added water. I think if this was on an angle, it would have worked a bit better because the water started to push back and you can see where the waters flooded back into the ink there. I still like this technique that still like the way that looks. I like how you can see green and blue, where some of the pigment hasn't been properly mixed in my palette, and it's it's blended two colors together. I do actually quite like that effect now. The inks have actually been better than I thought they would with the umbra Wash. The vibrancy of the color works quite well. Be careful, though, because remember, if you have too much water, the pigment will separate a little bit like it's done here. But that's because I added too much water, and it's it's began to push the pigment like it did when we added droplets of water. But still, overall, I think I prefer the water colors, so I'm gonna use the watercolors on my finish projects. It's up to you, though. Whatever you like, whatever you want to use 5. Some thoughts on size...: Okay, Just a quick note. Before we get started, I have a think about how you want your card to be mounted. You come by pre creased paper stock cards ready, made for card making, and these were available readily on the Internet when they come with envelopes. If you're going to be using something like this to create your seasonal card, it may be worth cutting down your paper to slightly smaller dimensions than the dimensions off your card front. Then when you mount it, you will have a nice white border, and it'll look really nice and neat. You'll even have space to sign if you want to. So just for the ease of the projects, I've just cooked my paper two in a six size. That's the cold press 300 GSM that I was using before I'm gonna tape it down in the same way I want to take it down. I'm going to be very careful that I created equal border around there 6. 1 - A decorated tree: So the first image we're going to do in our first card is a decorated tree. You don't have to do yours decorated, but I'm going to use my masking fluid to create the effect of tinsel on my tree. If you're not going to use masking fluid, avoid doing this step and carry on from when the Baskin fluids dry with something shop, it'll put the lasting fluid lead or a pin or needle. So I'm gonna further it out. So it looks like the front on a garland of tinsel. I might go ahead and just put a couple of bottles on there just so you can see the effect that it makes now, just let it dry completely. So what we're going to do now is do the west on wet technique. But instead of wetting the whole paper, we're going to wet the outline of this tree that we're going to do. So there are a couple of designs you can do for your tree. You can do whatever design you like, but the ones that I tend to like basically to have one 40 down. Can you come up with Franz coming up? This is just a really basic one. With your water, you could make this this central part of the tree sicker so you can see more of the details of the tinsel if indeed you are using the mosque. But this kind of like a basic winter decorated tree shape or with your water, you can just do a big squiggle. That's a really nice modern look. I'm not going to put pencil on my paper because I want to keep it cleaner. And once you watercolor over pencil, you can to raise it. So I'm gonna do it freehand. What? I want to do it first. Get some colors ready on my palette so I can see the outline. If I tilt my head down, could see the outline of my tree and water. I want to make sure none of those branches dried. Make sure it's not too many big pools of water in there because, as we've seen with some off these sections here, there's too much water. It will push the pigment. Okay, so all I'm going to do is to color blends. I'm not gonna put any salt on this ongoing adding the water drops. I'm just gonna let the wet on wet technique give me a nice color blending tree where you have had the musket take. Each of these sections will act as a different section, so you will need to put different blobs on there. Hopefully, this will look. It's in pigment on my brush. Let's try the green sections first. More. Waltrip is not spreading as you like. She get right to the edge of those branches. It's more people from there. Yeah, I need to really load my brush for this way. See how it's all spreading out a little bit now using the musk intake. Don't forget to go over. Your tinsel is well, it's all of those edges, right? What we do know is clean my brush a little bit. It's in blue on there. How do you want that to be more green than blue? So I might go over again in a second. You can use which ever ecology, like I really like these two colors. That's why I'm using it if you want to use with green, blue, yellow, pink and purple ever colors you like, because he was quite a lot of water on that engine, that have more pigment to it, so it doesn't bloom like it did with you. The experience Boudou earlier. I like that. But when I had a bit more green because hey, I love it. There are still some white marks that what he's blending together be nice, organic looking wet on wet watercolor seasonal card. So once again, or we're gonna have to. Do we let that dry? Okay, now it's dry and the fun part can start. If you've used masking fluid, this is where the magic is going to happen. Quickly hustled, dried inside. Otherwise I might smudge it, so I think it is all dry inside. The proof is in the pudding. If it doesn't go right, we can just starting the areas where we put the masking fluid have remained white. So the bull balls in the tensile, and I think that creates really nice, modern looking seasonal card. The last thing to do is very carefully remove. Must take Now you might be able to see on here that my must include has left a slight yellow mark. That's because I was trying to rush and I put the hair dryer on it to make it dry quicker so I could finish. This video just goes to show it doesn't pay to rush, so if you leave your must include to dry naturally, you will not get this yellowing. But I think that's created really nice, really modern looking seasonal holiday card, only using the technique that we learned right in the beginning of wet on wet blending. In our next project, we're going to be using another one of our techniques that we have learned, and it's going to be adding salt to our paint. Let's go. 7. 2 - A frosty snowflake: for project to the image we're going to do is a snowflake. We're going to produce the image on the paper in the same way as we did with the tree card . By tracing the snowflake image that we want in water and filling it in wet on wet technique with the pigment color that we choose thes air to snowflake images that I've done quickly again. I'm not going to use a pencil underlay. I'm just going to paint my water on free number, but I will make some snowflake images available to download below, in case you want to practice some snowflake images before you get going on your own. So because I want my snowflake to look icy and Chris, I'm going to use two colors. They're going to be cold colors, so I may use the two blue colors that I got. And then I'm going to finish with my finally ground salt. Thank you. Bushes clean before you start. You don't want to be getting any other pigments involved in ruining the color scheme that you want on there. Okay, so with my water, I'm just going to create my snowflake image in the same way that I did with my tree. Okay, Just soak up some of the bits that pulled quite a lot because we don't want to happen. What happened earlier with the water pushes the pigment. That's not the effect that I'm going for. If you're going for that effect, that's fine. Keep the water there. Okay, so I'm gonna what? My snowflake To be a nice, cold image. I'm gonna get some blues. Just don't those around. It's a nice and cold and frosty. I'm gonna use it differently. You want to? You can make some cosmic, some whites and greens. In fact, I might put a little bit of green in there. A little bit of this green. You might need to help a pigment mixed just at the edge of these. But we're not going to be relying on the wet on wet mixing for us for ah, finishing effect. We're gonna be relying on assault for that. So don't worry too much that you're using a brush to mix the colors together. Okay, which is a little bit more billy treatment. You can see the waters pooled. It's, um, pushing the pigment out little bit, so help It's a longer look, a bit like that center. Bigger. Seems they have messed up a little bit, but that's fine. What color is very forgiving. Okay, so I'm gonna leave it like that, and I'm gonna get my salt involved before it dries. Which pick up yourself. Just Sprinkle it away. Over. This is gonna create That's frosty lip. Okay, well, we need to do. Let's leave that to dry. I've left this for about 20 minutes or so. So what I'm going to do now when I get a dry brush, Very gently brush those off because if it is still where I don't want to smudge it. It's very carefully that nothing goes well. Here we go. So you can see that the salted dried pulling in that pigment. And it has created this frosty, crisp looking snowflake. If you wanted to, you could add more snowflakes in the background That's completely up to you. I like this nice and simple the way it is. So there is another way that you could do this snowflake card, and you can do that by using the masking fluid. So instead of painting on with the water, that snowflake image he could paint on with the masking fluid and then over the background . You could do a wash in the snowy, icy colors and then put your salt effect on the background. Leave it all to dry white, the salt off. Peel the masking fluid off and you would have a white snowflake in a blue background. I like it like this, but it's completely up to you right on to the final seasonal image. 8. 3- A snowperson silhouette: for our final project. I'm going to use our number effect. Or are Grady in wash? I'm going to use the water color instead of the ink. Okay, So because I'm going to do a wash, have made sure that my masking tape is evenly spaced. So I've done a centimeter border. All. Besides, just making sure that's well pushed down. My finish card is going to have a silhouetted image of a snow person against my Grady in wash. Now, I want this to look like a cold winter's day fading into the sunset. So I'm going to use a dark pigment blue. Okay, So with my flat wash brush, Yes, um, water on my brush and then dub off the excess just so it's ready to absorb that pigment. Okay, make sure that my brush has picked up as much pigment as it can, and then I'm going to do a wash of color along the top. Remember, this is time sensitive, so you want to be ready to clean your brush often on water underneath fairly quickly. Okay, A little bit more. Okay. Can you brush off at a medium wet brush underneath? Used to pull that pigment down. Okay, I can see that's already starting to bleed down. So I think that's actually tried really nicely. The color has faded down into the white. It starts with a more intense pigments at the top, blending down, fading down into a light pigment almost white along the bottom. And that's going to be a really nice background, my snow person, because the bottom part does look a bit like snow. The top part looks like this guy. So for my next part, I'm going to do a more intense pigment image over the top of this. It is really important to make sure your background is completely dry because otherwise what you'll be doing is creating a wet on wet technique, and that color is just going to blend out. Just let this. So you really want to make sure that the paper is dry, so you do wet on dry, so you get a nice, crisp overlay because my image is going to be a silhouette. I am going to mix of black. I don't ever use any black black pigments, so I'm gonna do it's clean off a pilot. I'm gonna show you how I like to mix flux for some ways of making blacks or saturated colors where you mix the opposite color on the color wheel so red you'd makes a green and you make a de saturated color. I quite like mixing ultramarine blue on brown. I think that makes a really nice depths of color. So in my clean palette, I'm going to get some blue. I want to make sure the loss of pigment in here, so I'm going to just sweep that pigment off into my pellet. Okay, You're not off. And I went out of it a brown keep adding that in just till it goes like great black, it'll be more like a deep, intense, de saturated blue. Good. It's about Right. Okay, so I'm not going to get a very wet paintbrush. Someone a dab the excess off there and I want to go free hunt on this if you want to. At this point, you can very lightly do an outline of what you want, but I'm just gonna go free hand. It's no person is going to be three bowls snow. I'm going to give it a top hat. Maybe some stick homes to win a carrot nose because it is a silhouette. You don't need to worry about any detail on the inside of that silhouette. So now let's just let that dry. And then we can take the masking tape off and see if I've actually stuck it down strong enough. And it's not pleasant to me if your heart is not the end of the world, because we can trip around it and then mounted on another piece of cold. But let's see fingers Trauma announced. So there we are. I think that's a really nice, effective way of using our colored radiant wash. We've also learned how to create black with the colors in our palate. So even though I've been a snow person silhouette on here, you can do whatever seasonal silhouette that you would like on that. And you can use any color in the background that you want to and also to add to your color Grady in in the background, you could add one of the effects that we had earlier. You could have had some water drops, some ground solve for some rock salt to create some lovely effects in the background. It really does depend on the effect that you want to create 9. Final thoughts: So there we have it, half finished projects. Using just some simple watercolor techniques, we've managed to create some really effective and modern seasonal cards. And remember, you can let your imagination run wild with these techniques. I hope you have fun making your own cards, and I'd love to see the end results. Please upload some in the project section below, so all that's left is for me to say, happy holidays and happy creating.