Creating a Watercolor Techniques Sampler | Rebekah Lowell | Skillshare

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Creating a Watercolor Techniques Sampler

teacher avatar Rebekah Lowell, author/illustrator/designer

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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

22 Lessons (1h 2m)
    • 1. Creating a Watercolor Sampler

      1:06
    • 2. The Sampler

      1:24
    • 3. Materials & Supplies

      5:37
    • 4. Preparing Your Paper

      3:19
    • 5. Flat Wash

      2:07
    • 6. Gradated Wash 1

      2:08
    • 7. Gradated Wash version 2

      2:18
    • 8. Glazing in Layers

      4:41
    • 9. Variegated Wash

      2:05
    • 10. Wet on Wet Blooms

      2:44
    • 11. Lifting Out

      3:41
    • 12. Variegated Scene

      3:03
    • 13. Negative Painting

      2:39
    • 14. Sponge Painting

      3:39
    • 15. Plastic Wrap Lift

      2:06
    • 16. Scratching

      3:44
    • 17. Crayon and Oil Pastel Resist

      2:16
    • 18. Liquid Resist

      5:39
    • 19. Salt Effects

      3:18
    • 20. Alcohol Effects

      2:23
    • 21. Taking the Tape Off

      1:46
    • 22. Final Thoughts

      0:28
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About This Class

Watercolor is a beloved medium, but it can feel overwhelming when you don't understand all its properties, or realize all of its capabilities. 

In this class we will explore all that watercolor has to offer by creating a Watercolor Sampler in which you will learn various techniques to experiment and play with in your watercolor practice, discovering how flexible and versatile watercolor can really be in the process. 

We will also cover the many forms watercolor can be found in including, tube paints, concentrated liquids, pan palettes, watercolor pencils, and watercolor sticks. I'll show you my favorite go-to brands, brushes, and papers as well. 

In the sampler itself, you'll learn a variety of techniques such as how to paint a flat wash (this is harder than it sounds), and how to use secondary materials with watercolor that you might have lying around your home, such as salt and alcohol, to achieve different effects. 

This class is for anyone who wants to learn watercolor for the first time, or the seasoned watercolorist who wants to expand their skills. 

 

Materials needed:

 

-Watercolor paints (in the form of your choice ie. tubes, liquid, pan etc.)

-1” white artist tape

-Watercolor paper sheet (22” x 3” ripped in half)

At least 140lb, either cold or hot press, your choice

-assorted watercolor brushes

       1” flat wash brush, various size rounds and/or filberts, at least one stiff brush for lifting

-plastic wrap

-a fork or other sharp object

-liquid frisket/resist

-white crayon or oil pastel

-paper towels (I love Viva best because they’re smooth)

- sponge (either a kitchen one cut up in a small piece or small natural sponge)

-table salt

-rubbing alcohol

-palette (could even use a ceramic dinner plate for this)

-dish for water

-a hair dryer can be helpful, but is optional

Also optional would be a bone folder

and a homasote board for taping your paper onto. 

Meet Your Teacher

Teacher Profile Image

Rebekah Lowell

author/illustrator/designer

Teacher

Hello, I'm Rebekah— a children's author/illustrator, and surface pattern designer who loves the natural world. I grew exploring the woods and fields of Maine and haven't stopped. I'm also a homeschool mama of two amazing daughters, who also love to explore the wild with me and stay creative. 

My debut, an illustrated, middle grade novel in verse, publishes with Nancy Paulsen Books/Penguin Random House, spring 2022. I also some other exciting news, I'll soon be able to share! 

I earned my BFA from Rhode Island School of Design in '04 and my MFA from Hollins University in '19. 

 

 

See full profile

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Transcripts

1. Creating a Watercolor Sampler: Watercolor is that the beloved medium, but it can feel overwhelming if you don't understand all of its properties and capabilities. Hi, I'm Rebekah, an author, illustrator and designer from Maine. I first fell in love with watercolor while earning my BFA at the Rhode Island School of Design. And further explored the medium while earning my MFA at Hollins University. In this class, we're going to discover all that watercolor has to offer. By creating a water color sampler will cover a variety of techniques, such as how to paint, a flat wash, (it's harder than it sounds), wet on wet, glazing in layers, salt effects, and more. By the end of the class, you'll have a deeper understanding of all that watercolor has to offer. This class is for anyone who is looking to broaden their watercolor skills or dive in for the first time. I'm glad to have you here. Let's get to work. 2. The Sampler: Thanks for joining me. In this class. We're going to create a watercolor techniques sampler. By doing so, you're going to learn a new technique within each block that we paint. I first learned how to create a watercolor sampler while studying under Ashley Wolf at Hollins University. During my graduate degree, I like to reference this project while I work, because it reminds me of all of the wonderful capabilities of watercolor. With each block that we paint, we're going to learn a new technique. It's going to be lots of fun. We're going to start with flat wash and move on to gradated washes, glazing. Then we'll learn how to blend colors with a variegated wash. Wet on wet, lift out some colors, we'll try a variegated wash with a silhouetted painting. Negative painting. We'll try some sponging plastic wrap lift, scratching on the paper. Then we'll try some resists, pastel and crayon, liquid. And then we'll try salt effects and alcohol effects. In the next lesson, I'm going to explain everything that you're going to need on hand for this project. See you there. 3. Materials & Supplies: In this lesson, we're going to talk about materials and supplies. But before we do, I wanted to dive into the different forms that watercolor comes in so that you understand all of your options. One popular choice are tube watercolors. These are your standard watercolor tubes that you squeeze out onto a palette, add some water and get painting. I love these because you can see the color straight out of the tube. You can use it as concentrated or diluted as you'd like, as with all watercolor. But there's something great and easy about tube watercolors. Another popular choice, which I also love, are watercolor liquid concentrates. These come in dropper bottles with the dropper included, and they're highly, highly concentrated. So a little goes a long way, which adds to the longevity of the material that you're purchasing. Another great choice is pan watercolors. This is my travel palette from Cotman, it comes with a small brush. You bring along some water, and like so, paint on the go. And also like to use watercolor pencils. For these, you draw on paper, wet a brush, and smear it around. And suddenly it's watercolor paint. These are by Derwent and I love them. You can also layer to mix colors. And last but not least, is a new form of watercolor, to me. Watercolor sticks. These also, you draw first, much like the watercolor pencils, but they can come in a stick, so it's just a different form of drawing. You make some lines with them, add some water, smear it around and it's a really nice effect. So there you have it. These are some of my favorite forms of watercolor. And let's talk about your supply list. First of all, you know, you're going to need watercolor paints, in some form. For this class project, for the watercolor sampler, something that's either at liquid concentrate or two, would work best, but you can also use pan. These sticks and pencils won't be sufficient, but I wanted to explain them because they're fun and something that you could try out later. You're also going to need a variety of brushes. You will need a one-inch flat wash, and then some other sizes that might be your favorites. This is called a cat's tongue brush. I love it because you can get a wide stroke, but when you lift up pressure and you get a smaller stroke. This is a small mop brush and it's very absorbent, so I love it for the amount of water and paint that it holds and it can really get a lot done in a little amount of time. And then you're going to want something small for smaller line work, details, maybe there's just one tiny area you want to fill in. So a size four round works great. Also a size two round or size six, somewhere in that area. Another fun option is an oval wash. And you know, you might add another round. So it depends what you want. But even if you only had brushes, you know, something like this, you'd be doing great. You will also need one inch artist's tape. This is for masking off the different blocks that we will be painting in. You will also need masking fluid for the resist. And a white crayon or white oil pastel. Some palettes. A small flower palette or a tray palette will do. Or even just a tray like this, or a plate. If you don't have a palette, a plate works great. Also, rubbing alcohol. I put mine in a small dropper for convenience ahead of time. But you have one straight out of your medicine cabinet that works well, too. Some table salt, for salt effects. Sponges. These are synthetic. And scratching tools. These will be for the lines that we'll be scratching into the paper. Also some plastic wrap and paper towels. I love Viva paper towels, but you don't need to use Viva. The reason why I like Viva is, look at that smooth texture. It doesn't have a like a quilted texture that would show in your paper as you're dabbing it. But even if that's what you have, that's fine because this is a playful watercolor sampler. It doesn't need to be perfect. It just needs to be fun. I'll see you in the next lesson. 4. Preparing Your Paper: One thing that we need to prepare is our surface. So in the materials and supplies list, I had mentioned that you needed a 22 by 30 piece of watercolor paper. And what we're going to do with that is fold it in half. And at the seam, you're going to take some water and you're going to wet the edge using your fingers. Wet the crease, after you've folded it. And this will help with a nice smooth tear so that you don't tear into the rest of your sheet. This is a trick for folding and hand-tearing watercolor paper. I like to flip it over, fold it the other way. Sometimes I use a bone folder and that helps get a nice line. And I like to wet the other edge so that both sides of my crease are dampened before I try to make the tear. Once I feel that that's wet enough, I start with a small tear with my hands and then I hold down the edge and I pull away from it. And so I pulled out and up, after my edge has been wet. And that helps with a nice smooth tear. I'm only going to be using one half of this. Now that we have our paper ripped to the right size, we're going to start taping it off. I have mine taped to a piece of homasote board. I like to tape it to a board because it lets me change the angle of how I'm working. If you don't have a board to tape your paper to, you can tape it to your work table in the space that you have. I have my taped off on the edges. And right now I'm going to start taping it off for our 16 squares. So our first piece of tape is going to go straight down the middle. Our next piece, is going to go down in the middle, horizontally. This is our one-inch artist tape. Now we're going to tape a piece down the middle on both sides here. And across on the top and the bottom. Cat fuzz. That happens. Now we have our 16 squares, and I will see you in the next lesson where we'll begin with our flat wash. 5. Flat Wash: So now that we have our board all taped off, the first square we're going to paint in is a flat wash. For this, you're going to need a one-inch flat brush, a dish of water, and some paint. The paint that I'm choosing to paint with is a French ultramarine blue by Sennelier. It's a tube watercolor, so I've gone ahead and squeezed out some paint into the dish and added some water until I achieved a nice rich blue pigment. It's a beautiful blue. I'm excited to use it. To begin. I'm gonna paint one stroke across. What you see here forming is called a bead. And for that we're going to follow the bead with the next stroke, and because my board is tilted a little bit, gravity is helping to bring the pigment down. I'm going to go over it one more time because of these white spots that didn't get pigment. Now I'm going to let it be. It's going to dry evenly, and if I were to go back in and about a minute or two, it would be too late. The only way to rework a flat wash is immediately while it's soaking wet. Because if you go in to paint another stroke, it can lift the paint. This is tricky. So the most difficult thing about a flat wash is learning how to leave it alone. So I'm going to set my brush aside and let it dry. I'll see you in the next lesson. 6. Gradated Wash 1: Up next, we have a gradated wash. We're going to create a wash going from dark to light. For this square, you're still going to need your one inch flat brush. And some paint. I'm going to use green. This is paint by Daniel Smith extra fine watercolors. It's called Amazonite Genuine. It's actually made from rocks, which is super cool. So I'm going to take a nice rich pigment. I added a pea-sized drop to the dish and some water. And paint one strip across like we did for the flat wash with nice rich color. And instead of grabbing more pigment, I'm actually going to rinse my brush. I have my water dish here on the side. So I'm actually going to rinse my brush and go across again. And because I have my board on a tilt, gravity is pulling it down. Little more water and we'll go one more time. And again. And that gives us a really nice gradated wash. Gradated means that it has graduated steps, and in this case, there's no steps, you don't see them specifically. I'm going to add a little bit of pigment on the top to give it a richer darkness while it's still wet, not waiting too long. And I'm just going to smooth this out. There. That is a nice smooth transition from dark to light. And I'll see you in the next lesson. 7. Gradated Wash version 2: Hey there, Welcome back. We're going to create a gradient wash again, but this time going light to dark instead of dark to light like we did in this square. We're going to need some paint and a brush. I'm going to switch things up a bit and try a mop brush. So far we've been using a one-inch flat wash. And now I'm going to try and mop brush just to show you the difference. This color is called Aureolin. It's by Daniel Smith, and it's a tube paint. So I have some squeezed out onto my palette. I'm going to grab some water and just make a nice circle of pigment. That looks good. But first, now that I have this, I'm going to rinse my brush clean with water, because we're going to be going from light to dark. So my first stroke is just clean water. I'm wetting my brush again, I'm going to grab a little bit of paint. And the next stroke, It has a little more paint in it, and I'm also adding some water and blending. I'm gonna wet my brush again, grab a little bit more pigment. Wet my brush again, and grab even more concentrated pigment for the bottom. So each time that I made a stroke, going from light to dark, I added more pigment to my brush. My first stroke up here with a clean brush. Then I added a little pigment and continued on until the strongest is at the bottom. And that's how you make a gradated wash going from light to dark. I'll see you in the next lesson. 8. Glazing in Layers: Now that we've created a flat wash and two types of gradated washes, we're going to try glazing. This is one of my favorite techniques in watercolor. So I'm going to continue with the mop brush, and a dish that I'm going to add water to. Now I'm going to show you how I use liquid watercolors. Glazing can be done with tube watercolors, but to show you something different, I'm going to grab my liquid water colors. I'm going to mix two colors. I'm gonna mix Dr. Ph. Martin's Vermilion hue with Dr. Ph Martin's Hansa Yellow Light. So I shake them up really well. I'm going to add a drop of the red. Maybe a couple. And a drop or two of the yellow. So at this point, I have really nice coral. And for glazing, the first thing I'm gonna do is paint a flat wash on this square. Getting a nice amount of paint on my brush, getting it soaked. I'm gonna go over to smooth that out and then let it dry. Once this is dry, we're going to add another wash and another, and another, all on the same square. So we're going to give this a minute and we'll meet right back. Now we're going to add another layer on top of our glazing square using the same exact dish of paint. I'm going to use the same brush. I'm not darkening this pool of pigment at all. I'm just going to paint one more layer of wash. You can already see that it's darkening. It's like it's multiplying the color. Because you're adding one layer on top of another layer of the same shade. So it's stacking. The trick about glazing is that you're underneath layer has to be completely dry before you add on another layer, otherwise you will lift off color. So I used a blow dryer in between. And that helps speed up the drying process. You may want to do the same. In a moment, we're going to be adding another layer and we'll see it dark in even more. I blow dried that second layer, and now we're going to add a third layer using the same wash, same brush. I'm just gonna go over it one more time, bringing the color down like we did with the flat wash. And now we can start to see this color building, not by darkening the pigment, but by adding another layer. I love this technique. And like I said before, the trick is to make sure each layer is dry before you glaze on the next. We're gonna do this one more time, right after it blow dry this layer again. And we're back for the fourth layer on our glazing square. Taking the same wash with the same brush, on my dry square, I'm going to add one more layer. That's a beautiful, nice, rich pigment and you can see how it's stacked. Light to dark. And I'm really happy with how it came out. I'll meet you in the next lesson. 9. Variegated Wash: For this next lesson, we're going to be creating a variegated wash. We're going to use three colors. Blue, yellow. and down here I have red. I'm going to start with the mop brush. I cleaned my water dish. That's one thing that might be helpful in between some of these squares so that you can start with pure water so your paint doesn't muddy your water. I'm gonna add some blue, make that a little wetter. Now here, the goal is to blend these colors, to create other colors in between the blends. So here's my blue. Now, unlike our flat wash here, I'm gonna switch the color. But like the flat wash, I'm going to paint touching my stripe above. So I have yellow on my brush. I'm going to touch the edge of the blue and it's going to blend into each other. Smooth that out just a little on that edge. I'm going to rinse my brush well. Grab some red. Here's, some red on my dish. And touching the yellow, I'm going to pull this color down, too. And notice the nice blending effect that has taken place. It's almost like a rainbow. I'm just blending this edge to create a softer transition. And that is a variegated wash. I'll see you in the next lesson. 10. Wet on Wet Blooms: In this lesson, we're going to paint wet on wet. It's going to create blooms on the paper for a really cool effect. I'm going to try a new color. This is called Opera Rose. It's by Winsor Newton. It's one of my favorite shades of pink, and you'll soon see why. I've added some to this dish. I'm going to grab some water, create a pool of pigment, and set it aside for just a moment. The first thing that I'm gonna do is create a pale yellow wash. So, much like the flat wash, but not as strong. This is for the color, the pink, to bloom on. So making sure my paper here is very wet. I'm going to take my pink with a new brush. This is a round, size 10. It sops up water fairly well. I'm going to wet the brush first. Grab some of this hot pink, Opera Rose, and drop it onto the yellow, and you can see it bloom. Painting wet on wet is unpredictable and that's part of the fun of it. If I were to make a line, It's not going to keep a sharp line. And wherever my brush picks up from the paper, it leaves a drop. To create stronger tone. You just add more pigment to the center of your drop. It blends with the wash underneath. Unlike the glazing where the edges were sharp, wet on wet leaves soft, fuzzing, reaching edges. I'll meet you in the next lesson. 11. Lifting Out: For this next lesson, we're going to practice a technique called lifting out. You're going to need a color that is quite strong with pigment. So I chose Amazonite Genuine by Daniel Smith. It's the same green that we used earlier for the gradated wash, from dark to light. But this time, I'm going to paint it a little stronger. So I've squeezed out some of my dish and mixed it ahead of time, so have it ready. It's a beautiful pool of strong pigment that I'm going to paint down and a flat wash. Then we're going to let it dry. You need a medium to dark value so that you have something to lift out from. If you use a color like a pale yellow, and you lift out, there won't be enough contrast for you to see it. So whichever color you choose, choose something dark. That will allow you to see the effect of pulling color out to create light. Now I'm going to let this dry and I'll meet you back. Now that this square is dry, I'm going to show you how we pull out color to create light. Using a stiff brush, this one is called a scumbler. It's very interesting. The bristles are stiff. They're not pliable. It's not one that I paint with a brush that I use just for scrubbing out. And then take some clean water and a paper towel. And I'm just going to pull out a small scene. I'm going to start by a hill. And you'll notice how easily and quickly that color lifts out. Getting more water. I'm gonna wet the part that I want to take out. And I'm not scrubbing too hard. If you scrub your watercolor paper too hard, you could make it tear slightly or pill up. And you don't want that to happen. So if you start seeing that happening, you know, it's time to stop. So now that I've scrubbed this and it's wet, I'm going to take my paper towel, press down gently and pull it up. And that has pulled up quite a bit of color, more than I was even expecting. Some paints lift up easier than others. I'm going to make a few clouds. Maybe a person. I think I'll put a person on this hill. For that I'm going to use a smaller brush. This is a Winsor Newton Series 7. It's not a very hard bristle brush, but because this paint lifts up so easily, I'm just gonna see what happens. I put a small person on this hill. What does it look like? I don't know if it looks like a person, but it looks like something's on the hill. You can imagine it's a person. I'll see you in the next lesson. 12. Variegated Scene: Remember that variegated wash that we painted? We're going to try that again, only this time after it dries, we're going to create a scene on top of it. So it's going to be a wet-on-dry technique, giving us a sharp edge while using a variegated wash in the background to create a sunset sky effect. I have some colors here. I'm going to use Opera Rose, Aureolin, and that peachy-coral that we mixed before. I'm going to choose the mop brush. I've got some clean water because my water before it was getting a little muddy. I'm gonna start by wetting the paper. I'm gonna try it just a little different to show you the different things that we can do with watercolor. I'm going to go for a little bit of the Opera Rose pink at the top. Then I'm going to grab some of this coral, layer that in, and last, some of the Aureolin yellow at the bottom. Once this dries, we'll be able to paint on top of it. I'll see you there. I've tried this with the blow dryer and now it's ready for us to paint on top of. I'm gonna try a new color. This is Dr. Ph. Martin's Cobalt Violet. I'm going to add some clean water to my palette dish here, and drop in some purple. Three drops. Take my brush out of the water. And using that round brush from earlier. I'm going to grab some of this, and I'm just going to go ahead and paint a scene on top of our variegated wash. Nothing too complicated or fancy, just to show you what can be done. It's sort of a silhouette effect. And I chose a dark purple, so we would have some contrast. Gonna paint some happy little trees for Bob Ross. And this tree needs a friend. There! And that's how you paint wet on dry with a variegated wash. I'll see you in the next lesson. 13. Negative Painting: For this technique, we're going to practice something called negative painting. We're going to lay down a light wash, let it dry, and paint filling in negative shapes with a darker color after. I'm going to use yellow and paint on a wash. This one doesn't have to be as flat. So you just want to fill in the background with a light color. Nothing too dark because you want to shine through once we paint the negative on top. Now we're going to let this dry. If you have a blow dryer, feel free to use it. I'm going to use mine. Now that this yellow has dried, we're going to use a darker color and paint shapes on top of it. I'm going to grab some of the coral. You can use purple, blue, green. Pick a color that's darker than yellow. And we're going to start painting the negative shapes of a tree. Think of a hardwood tree. So this is the outside. I'm making the trunk. The yellow is going to be our tree shape. Not the orange. It's different to think like this because you're not painting the branches, you're painting the shapes in between branches. You can draw it out first if you want to. I'm just kind of winging it. It's not going to be perfect. I can tell. It's just a different way to think about shapes and to think about how you can use watercolor. You can fill in negative shapes and leave the light behind, which is what we're doing. And that's a different way for your brain to think as well. Now, this doesn't exactly look like the prettiest hardwood tree you've ever seen, but you get the idea. I'll meet you in the next lesson. 14. Sponge Painting: At this point, we're more than halfway through. You're doing great. For this lesson. We're going to learn sponge painting. We're going to create a wash on the square. I'm gonna go with the purple, but not super dark. I'm adding a little bit of extra water on the side. That's a little too dark, so a little more water. And I just want a light purple wash over this square. I'm just filling it in. Doesn't have to be smooth like a flat wash. It can be. This is just going to be your background color. That's a little dark, so I'm going to add some water, blend that around. Spread that pigment. You can almost correct anything with watercolor as long as you catch it while it's still wet. Now that's got a nice purple tone. I'm going to blow dry this and meet you right back where we're going to use some sponges to create texture. I've dried our purple wash about 90 percent of the way. I wanted to see what the sponge paint does while it's still slightly damp. So I'm going to just grab a piece of synthetic sponge. It's just a cut up dish sponge. And I'm going to dampen it. So I dunked it in the water dish and then wrung it out. Now it's able to absorb paint. Taking this same blue from our flat wash and dipping the sponge into paint. Just one side. I'm going to add some texture. That's a really neat texture. I'm going to try adding some purple, but first I'm gonna rinse out the sponge. Now I'm going to grab some purple. Really saturated here. Try it up here in the corner. So this is a little bit more paint than what I had here for the blue. And it's going to fill in more of the area. I'm gonna try different sponge. So this is just a sponge that I bought from an art supply store. You can usually find it in the pottery section. It's also synthetic. I'm gonna dampen it and grab some green. I just want to see what different sponges offer for different textures. This one has more of a solid shape to it. I'm going to layer. 15. Plastic Wrap Lift: In this lesson, we're going to try plastic wrap. You just need a piece, small like this, and some paint for a flat wash. I'm going to go ahead and use the same blue that we used in our flat wash on the first square. It's going to give us a nice richness and variation when we lay down the plastic wrap for the effects that it will offer. Now we need to let this dry or blow dry it. Now we need to lay down the plastic wrap while it's still wet. Crinkle it a little bit, then set it down, pressing it onto your square. We're going to leave it here while it dries. I'll meet you back to see our results. Now that our plastic wrap has had time to dry, let's take it off and see what it looks like. Came out pretty neat. How did yours come out? I know that one thing that is tempting to do is to keep checking it. It took about 20 minutes for this to dry. I used the blow dryer, sparingly, because I didn't want it to blow it off. This area is still wet. You can see my paper actually has a wave to it, which means it is still damp, but it had dried enough for me to take this off. If you wait until the next day and it's completely dry, your lines will be even sharper than what we've achieved here. It's a really neat effect, even if it's lifted before it's completely dry. So, how long you leave it on varies, the sharpness of the lines. I hope you've enjoyed learning how to use plastic wrap. I'll see you in the next lesson. 16. Scratching: Hey there, welcome back. Remember those scratching tools that I said to gather? Well, we're going to try them out now. In this lesson. We're going to learn how scratch into the surface before and after paint is applied. So I'm gonna take ahh, this one I think. It's just a pottery stick. And I'm kind of make some lines. I'm pressing fairly firmly, giving a good amount of pressure. Now I'm going to add some paint and then we'll scratch on the other areas. I'm gonna use a mop brush. As you can tell, I really like this brush. Let's go for some coral. Covering the surface, you can see the colors pulling in the areas which I've scratched. I'm going to add a little bit more Vermillion to my pigment here, so that the color can become a little bit stronger. We might see it better this way. Now I'm going to use the blow dryer, dry this up and we'll try scratching after it's dry. I'll see you in a minute. Now that this is dry, I can see that the lines I made before don't show up too much, but you can still kind of see a subtle scratching. The color ended up moving away from the scratch lines while I used the blow dryer on it. Different colors have different results when it comes to scratching. Now I'm going to try the same tool. While it's dry. The result is even more subtle. I'm going to try a different tool. This is causing some tearing, but it's kind of a neat effect if that's what you're going for. Here's another pottery tool, just gonna see what this does. Smaller tears. I'm going to make some more marks in the center here, and add more paint. Gonna grab some of the coral. Now you can see how it is pooling into the scratches. I'm going to try it here, too, over the tears, just done a few spots. Just gives you a different idea of the possibilities. I'll see you in the next lesson. 17. Crayon and Oil Pastel Resist: For this square, we're going to use crayon and oil pastel to create a resist. To do this, I'm just going to take the oil pastel and draw under, where I labeled it. So I know which is which. I'm just going to draw a leaf. I know it's hard to see right now, but once I paint on it, you'll see it. And then I'm going to try the crayon. Just making a swirl there. Now I'm going to take the mop brush, some water and a little bit of turquoise blue. by Ph Martin's that I've mixed into a dish, and paint over it. Instantly, you can see the paint beading off of the waxy resist. So wherever we drew with the crayon or oil pastel, paint will not stick. It creates a really neat effect. The only thing is, is you can't use it as a masking area that you want to add something to later. It just has to be an area that you would want to stay white. Or another use for it is you could create a light yellow wash like in the negative tree. Let it completely dry. Then draw on top of it and have a light yellow show through. It may not show through as much on the oil pastel because of the opacity, but you could always try it and see what happens. So I'm going to let this dry and we'll move on to liquid resist in the next lesson. I'll see you there. 18. Liquid Resist: In this lesson, we're going to use a liquid resist, much like a crayon and pastel resist. This has a similar effect. The pro to using a liquid resist is that you can rub it off after and paint where the other paint beaded off from. I'll show you what I mean. I'm going to shake it up, take off the cap, and start drawing. I'm gonna smooth out some of it. So the first pass, like right now, I'm squeezing a little to get the resist out. The second pass, where I'm smoothing it. I'm not squeezing. I'll draw some more leaves. Later on if you wanted the veins of your leaves to have a lighter color, and not just white, but an actual color. After they gets rubbed off, you'd be able to paint over it with a light wash. And then when I cap this back, notice how there's a little bit extra on the tip. I wipe that off so it doesn't get clogged, and then carefully fit the prong that goes down into the tip inside and cap it tightly. Now we're going to let this dry. I'll probably use my blow dryer. Feel free to do the same, and then I'll meet you back to apply the paint. Now that this is dry, let's try some paint over it. It might feel a little sticky to you. That's normal. Liquid resist is similar to rubber cement. It might even squeak as I paint across. I've gone ahead and mix up some orange with water. This orange is by Ph Martin's. It's actually called Chrome Yellow, but it reads as an orange to me. So we're gonna give this a try. I'm going to use the mop brush. Yup. It squeaking. It's a really pretty color. All right. We're going to let this dry now before we can rub off the resist. So I'm gonna use my blow dryer and I'll meet you back when it's ready to remove. Now that this is dry, we can try to remove the liquid resist. One of the most important things is that you do want to make sure your paper surface is completely dry because it will rip if it's not. I'm going to test a little area, see how it does. It's looking really good, so I'm going to continue. I'm just pulling in one direction with a little bit of pressure, rubbing it off. This is what comes off of it. Now I'm going to rub the other direction. Moving onto this leaf. It's coming off fairly easy now. Sometimes you can pull it off, but not always. Most of the time, you just have to be patient and work with it piece by piece. Even when it seems like I've gotten all the pieces, I like to brush over the whole thing. So just to show you what you can do once you have the resist away, you can either leave it white or you could do something fancy like add, add a little bit of yellow maybe? Where the white is? I'll try it on one leaf. I'm just pulling some yellow from one of our previous dishes. A little bit of water. And there you have it. We've got some yellow where the white was and I think I'll leave the rest. Looks pretty neat. I'll see you in the next lesson where we're going to try out some salt. 19. Salt Effects: Only two more squares left. In this one, we're going to try out some salt to see what kind of effect it produces. You'll need your water, some paint, and a small dish of table salt. Himalayan salt, sea salt, whatever kind of salt you have hanging around. It's a good idea to use a dark color. I'm gonna go ahead and use purple. By using a dark color, when the salt displaces the paint, you will see the effect better. I'm going to add a little blue. Make a really neat sky-looking color. Almost an indigo. So now that I have it nice and wet, I'm just going to give it 30 seconds to a minute to let it dry part way. Only because if I were to sprinkle salt immediately when it's soaking wet, it might be too wet for the effect to work right. There's a sweet spot because if your paper dries too much, when you lay the salt down, it will just sit on the surface. It's looking pretty good right now. So I'm gonna give it a try. Notice that I'm sprinkling from a distance. I'm not putting it right on top of it. This is because I don't want too much to clump together at once. For this square, I'm not going to blow dry it because, if I do, it will speed up and sort of fast-forward that displacement process and it wouldn't work correctly. What we want to happen is we want the salt to dissolve and displace the water at the same time, like a starburst. It's a little bit of science and art happening together. So we're just going to watch paint dry for a minute. See what happens. I'll meet you back to check out our results. Now that it's dried, let's take a look. I really like the textures in here, and I even like this cluster of salt that stayed behind. Sometimes I wipe it off, but I'm actually going to leave it. I'm gonna zoom in so you can see a little closer. We've got some nice vermiculation. Down here. Right down here. Nice vermiculation, which is the term for that desired effect of watercolor as it starts to interact with the paper's texture underneath. We also have some really great scalloping and just a really neat variety of texture that's happening. I'm sure yours looks a little different because no matter how many times I use salt on watercolor, it's always different. And that's the fun of it. 20. Alcohol Effects: In this lesson, we're gonna be trying out some rubbing alcohol. It creates a really neat burst. And I'll just try it out to show you. I've mixed this Opera Rose color again into this dish with some water. And I'm going to apply that to the square. Just lots of it. Such a bright color. I hardly ever use this full strength in my work, but it's a really neat color for showing off what watercolor can do. Okay, there we are. I'm gonna open up rubbing alcohol. If you just have it in a jar from your medicine cabinet, that's fine too. Let's see what this does. That's so cool. So I'm going to let this dry now and meet you back and see what happens. As I was watching this dry, I decided I wanted to add some more, so I turned my camera back on to show you. I just want more of the effect. I want to see what it does if I just add a lot. It pushes the color away from wherever I drop it. All right. Now that's a pretty good amount. I'm gonna let this dry and meet you back. Here we have our final, dried, alcohol effects. I used the blow dryer for a little bit towards the end, just to speed things up. Pretty neat how we've got some really light areas, some darker outlines, and some pooled pigment on the edges. And just like the unpredictability of using alcohol. It would make a great texture. Congratulations on completing these 16 squares of different watercolor techniques. And I'll see you in the next lesson where we talk about some final thoughts. Thanks for following along. 21. Taking the Tape Off: I've zoomed way out so we can see our work. And so you could see how I take the tape off. I pull off at a corner, pulling away from the paper, not up, but away. Because you don't want to tear anything that may still be damp. This is the fun part. I love seeing those crisp edges. And there we have it. It's beautiful. The alcohol effects didn't quite stay in their boundaries. But that's okay. Sometimes watercolor plays how it wants. The next thing that we're going to do is label it. Those names that we had on the tape have now come off. Go ahead and label all of yours. And here we are with our final, fully labeled, tape removed, Watercolor Techniques Sampler. I'm really glad that you decided to give this a try and I hope you had a lot of fun. I'll meet you in the final lesson to talk about final thoughts. 22. Final Thoughts: Thank you so much for joining me in this class about creating a watercolor techniques sampler. I hope that you've had a lot of fun and learned some new techniques along the way. When you get a chance, please post your finished samplers in the Project Gallery of this class. I can't wait to see what you've created. See you next time.