Creating Textures in Watercolors | Jean Lurssen | Skillshare

Creating Textures in Watercolors

Jean Lurssen, Jean Lurssen Watercolors

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4 Lessons (19m)
    • 1. Introduction

      0:51
    • 2. Textures Using Acrylic Inks

      5:40
    • 3. Textures Using Frabrics

      5:00
    • 4. Textures Using Cling Wrap

      7:24

About This Class

I've incluced three demonstrations on how to create textures in your watercolors along with some examples of how I use these textures in my watercolor landscapes.

Transcripts

1. Introduction: Hi, this is Jean. Listen again, And in this course I'm going to show you three different ways to create textures in your water colors. And at the end of the course, you should be able to use these techniques to create textures in your water colors and make your watercolors unique. I love stretching the boundaries of water colors, and I use a lot of textures in my watercolors. And sometimes I even use other watercolor media's to make my painting's unique. I'm deliberately not going to give you a list of materials. Except do you look around your house for some cheesecloth netting, acrylic inks used whatever brushes you want, Whatever paints you want, this course is all about experimenting, experimenting, experimenting. So let's have some fun. 2. Textures Using Acrylic Inks: So I'm going to share you how I created this interesting texture. Here in this semi abstract landscape, you bring a little closer so you can see I did this by using acrylics inks in conjunction with my watercolor. And this is something I often do to create interesting textures and to love painting semi abstract landscapes and just stretching the boundaries of water colors. So I'm going to show you how to do this. And this is our shoes. Hot pressed paper. I love painting on hot pressed paper because the colors sit right on top off the paper. And you it just the colors from er more vibrant. And I'm using peril in green by Daniel Smith I love Daniel Smith colors. They're just so vibrant. And I love having drama in my paintings and lively colors. So, e, um, I love using their colors. I do use Windsor and Newton also for certain things, but this'll is a quinacrine and burnt orange, by the way and then for the sky just I think I believe I did a very pale, um peril in green. And since I'm not gonna worry about the sky too much because we talking more about granule ation. I am. That painting that I showed you earlier was a painting I did many years ago and it's sold or release. I was just showing you a print of it. No, you're gonna I'm going to take my daler Rowny artist acrylic ink. And this is the color sepia. Give it a good shake and just put a little bit. Because when the acrylic ink meets the watercolor, it flares are because they're sort of income promised incompatible with each other. But that gives you interesting results. So, no, I mean, take mine. Windsor Newton granule ation medium. Put some in a drop her like this, this little dropper, and I'm going to tilt the painting and run the granule ation medium into the acrylic ink and get some interesting results. Now look at that. You see? Look at that lovely granule ation there, and I'm gonna leave some of the dark ink where it is I like because I like that too. And just going to give it a little spritz at the bottom here just to give it some more Interest for that painting are also used a color in the Rowny acrylic inks called Purple Lake, and I just did a little bit a teeny bit for interest in the You can put it anywhere, really, and I just let that run. Not gonna put them granule ation medium in it or anything, but it just creates a more color interest in the painting you could do. Use whatever color you want in the landscape you don't have to use. I mean, I'm not a realist painter. I love painting semi abstract landscapes, taking the CPR Inc again, and I'm putting it up into the sky to get some twigs and sewn and bring it down here to give it some foundation. I'm going to take my spray bottle and just lightly, very lightly spritz to get some interesting textures going there as well. And you know, if you feel like you need a little bit more, you can add some more. Do you like that? And while it's still wet, you can also take away. If it's spread too much, add some more of the orange, so you know it's really you can do just about anything. And the other interesting thing is when these inks dry there fast and they don't lift because they're acrylic, so you can paint over them with water colors. If you find your water. Colors have faded too much from running the regulation medium down the paper and you can retouch your painting. And so this is just a little card. Size five by 7 may be a good one to to experiment on and see what you can get. When this is dry. I'll probably put some cerulean blue in the sky and use it as a birthday card for someone like I'm kind of pleased the way it came out, so I just wanted to show you a little close up. It's not dry yet, but you can see the interesting textures there. And I'm just going to put up a few paintings that I did with with acrylic ink so that you can see how I used them. So have fun and experiment experiment, experiment 3. Textures Using Frabrics: for this, I used cheesecloth. Now you can get cheesecloth, I think, at the um supermarket. Or you can get it at the fabric store to I bought this of the fabric store, and when you cut off a piece, you wanted to be irregular, and you want to pull it in different directions. And that's not all uniformed that the little squares inside, not all uniforms. So we're going to use that. And then I used another material that I found at the fabric store, and this is really, really cool. It's a netting, but it's not the regular sort of round netting. It's it's got a patent in it. That's interesting. And when you use it in landscape, I use it a lot in my landscape paintings that creates really nice textures. And again, you just want to cut off a piece irregular. You don't want it to be totally round. You want to pull it around a little bit, too, to even change the some of the patterns within that I'm going to do these demonstrations on small pieces off border color paper. So it's so we're doing a hill. It comes down here and I want to take my cheesecloth, pull off a piece of cheesecloth and maybe put that in there like that and just add some more paint on top of that. See how that looks? See? How are we getting that design in within the, um, landscape. And it's just you can have a lot of fun with this now when a clean off my brush and put some quinacrine and gold in here. Also, just in the bottom area you want. You want to use the pains young. Mix it in like that, and it's add the green that we did up here is this makes a nice combination, actually, off colors. Now that green is a little thin if we're going to put a patent in it, so you want to make it a little bit thicker. And I think for that I'm going to use a piece of this netting that I brought and I'm just going to they it down like this. Press it into the paint, take my paintbrush, add a bit more paint on top like that. You don't actually don't overdo this in terms off, um, making the paint to thick. So what? I may also do to make these patterns work well, is take a piece of cellophane, put it over the paper, see, even I press it down. Even the cellophane creates a nice pattern in the designed it. I'm gonna put a heavy book on this, and when it's dry, I'll show you how how the pattern comes out. Now I want to show you how this first demonstration came out. Look at the fabulous textures here. But this is what was with the cheesecloth, and this was with the netting that I pulled apart. And this texture appear was just by putting the cellophane over the wig paint and pressing it down with a heavy book that I'm going to show you one more thing that I did on this painting and that was the branch, the tree that I had coming up here. And I'm going to take a straw, a regular straw and just start blowing just to blend this bottom part in. I'm just going to add a little bit of, um I just do this. Maybe I was squirted. Actually, I just want to blend the tree trunk in because it would look funny. Just standing on top of the paper like that. So I just want to do some foundation for the tree. But you can get some interesting results in all sorts of different ways. And, um, I'm quite happy with that one. I think that 4. Textures Using Cling Wrap: So I'm going to show you how I use cling wrap to get different types off textures in my watercolors. On the first demonstration I'm going to show you is how you can get leaf impressions in watercolors by using cling wrap. Now let's say you were doing a painting of them some flowers and you surrounding them with leaves and drop some balloon. This is a mixture of French, ultra Marine and quinacrine and gold, which makes a really lovely green. And I'm just going to spritz the ends a little bit because it's hot today and the colors are drawing out pretty quickly. You don't want to make a too thin, Um, so I'm just gonna add some more there. Let's say we're gonna add a flower here so we'll leave that open. Now. I'm gonna take my cling wrap and scrunch it up and just lay it down like that, and you can see already how it's creating interesting patterns that are going to look like leaves. And where the cling wrap is raised, the color will come out lighter, and where it's touching the paper, it will come out darker, so we'll let that dry and I'll show you how I use it in landscapes for painting a cliffside , for instance. So I'm going Teoh skin off my brush and I'm going to use, um, some exotic colors I'm going to use peril in Violet. Two lovely color love this color. And you I'll show you are hearing your painting that I did with this using the um cleeng rep and then some quinacrine and gold and then a color called permanent brown, which actually is a miss no more because it's more like a deep red. And it's a lovely color really, really, really like that. And I want to, um, just sort of touch on the fact that I won't. When I use the cling wrap for the cliffside, I won't do it over the whole area because it will end up being way too busy. So I'm going to leave the top part and just concentrate on this bottom area here, maybe go slightly into the top area and then just stretch it out a little bit so you don't get too much. Too much of a busy pattern full. Um, the cliffside. I mean, I wanted to look like leaves we wanted to look like rock so you can maneuver this up to a point and get the results you want. And I'm going to just with the sky I'm going to touch because this this peril in violet runs when you see how it gets sort of natural grasses looking there. And I'm going to just add a little color. You always want to make your paintings harmonious, and you want to. If you have some color up here or down here, you want to add it a little bit up there where you have some up there, you want to add it in the sky. You want to add it into the landscape, and that's what gives you harmony in your paintings. So well, it both of these dry and let the sky run down a little bit just to give it more interest. Okay, so really, that drive and I'll show you. Um, while we are waiting for it to dry, I will share you two paintings that I did using this technique on. He has one painting where I used this technique. And as you can see, I didn't use it right throughout because it would have been too busy, so I only wanted the texture down here. So you need to decide that when you think about your composition, where you're going to use the cling wrap and how you're going to place it. I love the sky here I used Taylor Turquoise by Daniel Smith purchased a new color for me. It was the first time I'd ever tried it, and I didn't think it was gonna work out. But I absolutely love how it came out. That's just one painting that I used. That technique, this is and he has another painting where I used the colors that I used to demonstrate earlier. And I also liked this combination of colors the peril in violet, the permanent brown and the quinacrine and gold. And in this one, I actually also, um, dribbled under the cling wrap, some sepia ink, and it gave some interesting effects also, So you can see that and I use the same C p A Inc in burned number for the trees and the bushes here, which just gave a little more interest. And you see what I was talking about when you whatever colors you have in the major part of your painting to include it. Also in the other part, it just ties the painting together and makes it more harmonious. But so this is now dry, and you can see the interesting designs that look similar to leaves. And you can either work on this further by darkening some of the areas which in this case, maybe a good idea because it's all one monotone, and it's nice to have some variety in the greens, so you could do that. Or Liberty is as a more abstract design, which I like to do. Actually, I would add a few darks and if this were an actual painting that I wanted to put up for sale, and I just wanted to give you an idea off the different ways that you can use cling wrap to get different types of textures and the other one for the landscape again, I was quite pleased with how it came out here, and if you wanted to finish, this offers a painting. You could put some trees appear and some bushes over here and a distant mountain even, and there's all sorts of possibilities. So I just wanted to give you an idea off two different ways that you can use cling wrap to create textures in your water colors. Hope you enjoy this.