Creative Watercolor Techniques: 6 Ways to Paint Clouds | Danielle Heitmuller | Skillshare

Creative Watercolor Techniques: 6 Ways to Paint Clouds

Danielle Heitmuller, Animator/Illustrator

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11 Lessons (1h 29m)
    • 1. Introduction

      0:43
    • 2. Materials

      13:20
    • 3. Opening a Block

      2:38
    • 4. Graded Wash

      10:12
    • 5. Cumulus Clouds

      9:39
    • 6. Cloud Cover

      11:46
    • 7. High Alititude Clouds

      8:24
    • 8. Thunder Clouds

      17:32
    • 9. Additive Clouds

      9:15
    • 10. Gouache Clouds

      5:14
    • 11. Final Thoughts

      0:24

About This Class

In this class I will walk you through a variety of surfaces, brushes and materials to make successful watercolor paintings. We will then focus on different techniques to create compelling clouds. The techniques will vary based on desired look and the surface you are painting on. Painting landscapes is so much fun, and the sky is the first step. Join me for this enjoyable and informative class!

Transcripts

1. Introduction: Hi, I'm Danielle. Height Miller. Welcome to my class on how to paint clouds and watercolor. Six different ways. I've been painting since I was about eight years old. I really love it. It's a lot of fun, and I'm looking forward to sharing these tips and techniques with you. Professionally, I work in motion graphics and visual effects. So I do take my work back and forth between the traditional and digital sphere. I hope to show you guys a lot of fun, traditional techniques in this series, and hopefully they'll be future classes where we talk about the digital side of things coming up. Next, I have a video on all of the materials that you'll need in order to complete the work in the class. I think we're gonna have a great time. And I'm looking forward to working with you all 2. Materials: Okay, So an overview of the things we're going to need in this class pretty much everything that I'm going to teach you. I'm gonna work on two different kinds of paper with the hot press and a cold press. But most of the techniques you can use on either one There are certain things that I think look better on hot press and look better on cold press. And that will be indicated in each one of the videos. But for this class, I'm going to be working pretty much with arches, watercolor blocks and are just watercolor blocks. Um, come in a variety of sizes and finishes of the paper. So I have, ah, wide range here. Most of the time, we're gonna be working on this middle size here, which is a 10 and 1/4 by 14 and 1/8 inch paper, and you'll see it has a cover. And when you open it, you have a nice surface, and this one here is hot press. It's very, very smooth. Good for fine detail work. If you're doing illustrations and you have very kind of fine detail, Look to your stuff. This is a great paper and that one has the orange cover. Thes blocks come in three textures. They come in hot press, cold press and rough. And I believe the hot presses, the orange you can see here it comes in the smaller size to if this is more affordable for you than absolutely work on the smaller size. There's nothing wrong with that. If you want to get comfortable and get into it, that is totally fine. And then the cold press comes with a green cover. We opened this one up. We can see there is a little bit more texture to the paper. If I run my finger over it, it's got like a bumpiness to it. This is really nice for more naturalistic paintings. The, um, finish tends to really grab pigments and hang on to them in those little pockets on, and it gives you, ah, little bit more of a natural finished here edges than you would get on a hot press paper and rough, which I don't work on all that often because I do have some fine details and you can still do find details on a cold press for finishing work. But on a rough It's really, really hard because the rough surface is just a little bit more rough than cold press. So for papers, I'm pretty much going to suggest get ah, hot press and a cold press block in whatever size you can afford. This one's the largest block that I have right now is a 12 by 16 and they have ones that are like, long and skinny. If you do more panoramic work, they have different sizes for this, the drawback to working on a block is that you are locked into whatever sizes they offer, but the benefit to a block. And I'm actually gonna go up one of the smaller ones because it's a little bit easier to see. The benefits of working on the block is that it has this nice black adhesive all the way around the edge off the block, and I'm gonna show you guys a Brandon walk in a few minutes and open it for you and show you how it works. But the block has adhesive all the way around, except for the little part where you used to release the paper from the block. This means that your paper is essentially pre stretched for you. You do not have to soak the paper and staple it down to a surface to keep it taut and keep it from warping when you're working and that's the advantage of the block. I find them really great for playing air painting. I love taking it out in the field because I have it and you can see on my little one I have a little loop. So and I have a clipboard that I attach it do so I can hang it if I want to, Um, and that that works really, really well for me out in the field. If I'm doing something where I'm working in the studio, a lot of times I will stretch paper, but that is a little bit more complicated, and I didn't want to make the class any more complicated than I think it already is. So I recommend getting a block again. They come in different sizes. I'm primarily gonna be working on the 10 and 1/4 by 14 and 1/8 but you can definitely work on the seven by 10 if that's more affordable for you. So those will be our paper and I really like arches. It's a good surface. It's very durable. It reacts world of the pigment. It allows you to lift some other papers if you're working with different brands. If you're working with a far Briana, where you're working with the cancer, they will react to the pigment different differently. And I cannot guarantee that all my techniques will work in the same way on different paper . Different paper gives you different results. So some of the other things that will need we need brushes. I recommend having a range of brushes. I have a bunch of round brushes ranging in size from Smallest we're gonna use is a six, and, um, the largest will use this one's a 20. You don't need anything quite that big. I think you can get away with a 12. That's a reasonable one. I do recommend if you can swing it and you can get three brushes, get a 12 and eight and either a six or a four so that you have a big medium and small in the round brush department. Then the other brushes we're gonna be using is a good wash brush. If you were working on the size paper that I have indicated. If you're working on the medium or larger block, I think that a one inch wash brush synthetic bristle is really good to get. Good coverage for are graded washes and when we have to lay in things really quickly. If you're working on the smallest block, the seven by 10 guy, then you might be able to get away with something that's only half an inch because you don't have as much surface to cover. Um, but when you're doing the great Wash, you go really fast. If you're on the small paper and use the great big one inch brush and then the last brush that we will use is kind of a special if expression, we only use it once. So if you have any bristle brush, it really will work. I'm using a one inch expression Simmons brush, and it's very course it's It's a very coarse brush. It's not what you would usually use for watercolor. I think this would be more likely to be used for oil or acrylic painting, but we're going to use it for some dry brushing when we make our thunderclouds and it's nice to have on hand if you have, um, any bristle brush, that's Ah, square brush. A flat will work well for that. Ah, but I like this one because it's so wide. Nice wide one inch brush. I can work quickly, which is important in that technique. Sometimes you can just let the watercolor sit most of the time, you have to really be paying attention and really be on it paints. We're using a lot of blues, a little bit of purple and gray and some yellows. So these are all of the pigments that I use in the class. There we go. So I have a wide range of blue because we're mostly working in this guy. And most of the time, unless you're at sunset, this guy is gonna be blue. So I'm using, um, m Graham and Windsor and Newton primarily with this stuff. I do have a couple of whole line and a couple of Daniel Smith pigments. Those are also great. It just depends on the color. What brand I'm gonna choose. I really like the M Graham pigments. I think that they work really beautifully. And for Windsor and Newton, I have certain colors that I really love in that line. So I have a pain. Zgray, an ultra marine blue, a cobalt blue, a cerulean blue aan ultra marine violet, A new gambo. Zhu from Windsor Newton loved this yellow so good on and then a business yellow from I. M. Graham. And then the last thing that I have on the list is an opaque wash, its white designers washed by Windsor and Newton. With all of these, I am using professional grade pigment. I recommend that you use the, um, the best pigment that you can. So if this is if it's too expensive for you to get all of these pigments, look at the student grade pigment, which under Windsor and Newton, the brand that you're gonna look for is actually Cotman, and that is a Windsor and Newton pigment. But it's the student grade of it, and you can get all of these colors in the common brand, and that will work for you. If if you're just starting out, there's nothing wrong with starting out with student Greg payment. It just means that it has a little less of the color in there and a little bit more binder . So with these, you're going to get richer colors faster. It's entirely up to you. I have always worked in professional grade pigment. I feel like I'd rather buy one tube of professional grade pigment that will last me a little longer because I have to use less to get the intensity. It's It's a personal taste thing. And if for some reason you want to just start out and you're saying OK, what is there anything I can trim out of this? Um, I would say Try to get all of these colors because I talk about all of them. If you absolutely can't, I'd say you can get away with only one of either cobalt or surly and substitute in with whichever one you choose when I talk about both of those colors together. So, for example, we do a graded wash, and we're gonna use cobalt and surly in. And if you decide not to get cobalt than you would use ultra marine and cerulean, or if you decide not to get certainly and you would usually cobalt so. But there's not that many colors, and it will definitely be useful to you going forward. You can never go wrong with the primaries, blues and yellows air. Very useful. Other things that I have on hand. I have a palate from cheap Joes. It's a piggyback palette, which means that it has this extra little bit that sets into it, which I took out because I was cleaning it. And you can have you have extra wells in here and we'll use this. I use this part when I'm mixing up, uh, pools of color. So if I want to have a lot of one particular color mixed up, you see, I will mix that in here and then in my larger palette. This is where I have all of my colors. Please don't get overwhelmed. You do not need all these colors for this class. So this is the kind of style of hell it I like. It's got lots of wells for lots of different colors around the edges. I keep my warms over here, and then I work around into by cools. Generally, when I'm mixing, I keep my cools on this side and my warms on this side. Obviously, I had a couple of colors that I changed out on the palate, so they're not perfectly in order. But you try and get a color wheel going so that it's easier for you to mix things. So that's the palate. But there's nothing wrong with working on a simple butcher tray or working on one of those small plastic travel pallets. Any of that is just fine for this class I do have here. This is similar to a butcher trey. It's called the Jasper Trey. This one, I think, came from Cheap Joe's. Most of my supplies come from Chief Jo's dot com or from Blick. I also have to show you the traditional butcher tray and for the Butcher Trey. What I've done with mine is you can use this as a mixing surface, but I keep my rag and my sponge here to dry off my brushes when I come out of the water on and I find that works really well. The other thing. You need plenty of water. This is my water bucket. That's I think, actually, a shoe container. But I fill it up about this much because when you clean your brush, you want to make sure that you have lots of room for the pigment to settle. People see me coming with this much water, and they're like, Oh, my God, what are you doing? But this is I think I get the best results. My water content here keeps me from getting muddy in my colors and just to ensure that I keep an extra bucket of clean water just there for when I need clean water to lift something or many and clean water to you Don't use this toe. Wash your brush. You keep it clean. Um, I always keep a bunch of rags handy. They're really good for cleanup. Um, paper towel. I try not to use too many of these cause, you know, they do come from trees, so I do try to use rags wherever I can, but when I'm cleaning out my palette at the end of the day, I do use a paper towel because it's just so messy, and I want to get rid of some of those pigments. The Windex bottle. I have felt this with water. It is the greatest spray bottle ever. It's hard to get these that most of the time you get the trigger ones, and those are just too intense for watercolor. So you want to look for this stock from gas stations that target wherever you shop? If you find one, grab it. Um, you can also use the kind of spray bottle that you can get from the art supply store. These are nice. They don't have the same kind of spray as the Windex bottles. So I actually have both because I do use books for different techniques. But in this one, he'll see me use the Windex bottle all the time. Coalescing box of tissues. Very important. Keep that handy. We use that toe lift and get nice cloud shapes. And I think that about does it for our supplies. We're good to go. Let's start painting. 3. Opening a Block: let me show you how to open a block. So we remove the cell. A vein crab. Once you do that, you'll see that the block has paper and this is a cover, and it's very, very so Please don't take this off. Um, we'll just push it back. And here is the block. Now, of course, you're not gonna paint watercolor on this black, um, imprinted paper. We need to release that from the block before we even start. So the way you released that from the block is you can fold back the cover, get yourself palette knife. This one is a thin, flexible straight metal palette knife. I really recommend for this kind of thing when you're releasing something from the block that you work with something metal because they're much thinner than the plastic ones. Also, I prefer to get a straight one as opposed to an offset one I liken offset one when I'm mixing oils or acrylics or something like that. But when I'm trying to release something from a block, it's just easier if I have a long, straight surface to work with. So I'm gonna come up to the top of the block and you'll see there is about well over an inch here that does not have adhesive on lots of space there to get the knife in. So I'm gonna look for the spot just between the black and the white paper. That's why it's black. So it's easy to see and I'm gonna slip my palette knife in there and I'm just gonna start going back and forth a little bit and sliding along the edge Go. I'll turn it so you can see kind of using a little bit of a sawing motion if my adhesive is getting too tight. And if you get to the point where you're adhesive is really tight, you can try and, like, slip underneath it like that. Just be careful. You don't want Omar the surface of the paper underneath. Um, and when you're releasing paintings, you want to make sure you don't rip the painting that you just made. So if you reach a point that's a little bit tricky, just go slow. Work slowly. Give it a little jiggle like you're flying through some bread, I guess, and like so, release your beautiful white paper that you can work on and then you have this piece of black archival acid free paper. So if you do collage, I really love hanging on the black paper. But now we have a nice clean surface to work on. We're ready to go on. We'll start painting on these guys. 4. Graded Wash: So we're going to start out by doing a graded wash with the grated wash. You can use either whole cold press or hot pressed paper for this demo. I'm using the hot press, the one in the orange, and I'm gonna start out, Uh, get my surface, leave it there for a minute. And I'm gonna work on mixing paints because we're talking about a grated wash. You want to have a good amount of paint mixed up, ready to go. So this is where I used the piggy back part of the chief JoJo's piggyback palette. The piggyback is this little guy that sits on top and he has some wells, and I know many people use it for extra colors of Pete. I is it to mix up, um, clean pigment, so pigment that is pure pigment that comes from only one source. So I'm gonna mix up a little bit of cobalt and a little bit of cerulean blue, so cobalt blue and cerulean blue. And that's what we're going to use for grated wash and these air. Both, um, the M Graham artist color watercolor said of paints. Serious pain. Um, so cobalt and C I've done this a few times. These are my most common wash colors. Cobalt Answer Lian. And then I have pains grand there, which we won't be using for this particular demo. But I do tend to use a lot. There might be some separation notice. I'm being fairly generous with my pigment again. I do not want to run out, so I'm gonna go in there, and then I'm just going to grab a little bit of clean water. And you can do this with an eyedropper, or in my case, I haven't have a pipette handy. So I'm going to use a pipette to pull some water out of my clean water, and I'm just gonna drop it in there. Think it needs to That looks good to me on Do the same thing Get this early. Makes a great noise, doesn't it? And then I'm going to grab my mixing brush. I'm gonna mix these up a little bit, so I just want to make sure that all of my pigment is dissolved, but it's good and juicy and that I don't have any lumps in there. All right, cause lumps are your enemy. When you're talking about trying to get a smooth graded wash. You want to make sure that you have lots of pigment. It's like that's light and watery and kind of like the consistency of skim milk for this one. Um, I'm just making sure I'm going around making sure it's good and mixed, because when you when you don't mix properly, you can end up with these little granular pieces of pigment, and those will make stripes in your wash, so ruin the illusion of perfectly smooth sky. Do the same thing with cerulean. Give it a good mix, mixing it up, mixing it up, all right. And we do this in advance because once we start painting, we're gonna have to go quickly to keep from having our paper dry out on us. So with a wash, we're gonna be working wet into wet. Make sure that's trillions good mixed up. There's a lot of binder in that one. Civilians funny. It always separates always separates, and the tubes almost always leak. Doesn't matter what brand it is always the same with the cerulean blue. All right, so we've got our pigments mixed up. We look pretty good and now I'm gonna really quickly spray down my surface and again you can do this. I'm going to brush over this so you can just directly brush the water on. I just find and get better, quicker coverage if I give it a good spray first. Then I grabbed my sky wash brush. Conceives a little, a little damp. He's been working pretty hard. Ah, and we're going to This is ah, Robert Simons. Sky flow brush one inch. You want a nice, big, flat brush that holds a good amount of pigment for something like this. So I'm just going to take clean water and I'm gonna brush across. I'm gonna brush across, and I don't I don't go back in too much because I want this to be wet, but not soaking wet. I wanted to have a good bit of water on the surface so that we're releasing some of the sizing from the paper. And sizing is the glue that put in the paper that helps it retain. It's smoothness, its shape. It keeps it from being fibrous, and it also makes it easier to lift pigment out. So if you find that you've stretched something and then you put a ton of water on it, you might have more trouble lifting pigment out of there. So I'm gonna look at it. I'm going to give it a little tilt, See if I can see any spots that I might have missed. It all looks very wet, which is perfect. So when you're making a wash, remember that. This guy has darkest at the zenith and lightest towards the horizon. So we're gonna start out with e cobalt blue, which is our darker blue on the top. And we'll just make sure our brush it's ready to go still using same sky flow brush. And I'm gonna get a good amount Hoping that in there and I'm gonna work across that looks a little light to me. Little life. We might need more pigment in there. See? Work back. Yeah. This might be a little to light a little too. What? So every make this wash? I'm not 100% convinced on what I'm doing is I'm carrying across the pigment in a bead and you want to make sure that you're pulling it across and that you as you go back over the other way, you're trying to make sure you catch the bottom of the previous stroke you've made so that I don't know if you can see that I don't want to get too many stripes in here. I want to try and get smooth, even coverage. And I'm gonna pull the cobalt down about halfway. And since this is so what, I can go back in and work it. If you're finding that it's starting to dry, be careful because the more you go back in and work the surface, the more likely it is you'll have a run or a crawl back in there. I'm going to just clean up the edges because I got it very, very wet. Um, so now I'm gonna grab more pigment and see if I can get a little more of this down in there again. You want to make sure you're going across the length you want to do long even strokes, and then I'm gonna grab some of the cerulean, and I'm gonna work over all right. And again, I'm not gonna I'm not gonna panic too much if I get some stripes in there because we're going to tilt this when we're done and get the colors to blend a little bit that way. So again, go back over where you painted just a bit. You want to kind of catch Catch the Pete, spread it out. You can see if your brush starts to run out of pigment. You get hold of dry brush texture. That's the sign to go back in and get some more. All right, something like that. That that looks okay to me, but I am going to tilt it up so that the pigment runs down. This is something that you can dio a home in it. Don't try and tilted a little bit so that you get a better view on the camera. But see how the pigment is starting to run into one another, especially down here. I'm getting a nice blend between those and I still have a stripe in there. So because I know I have a stripe in there, I'm actually gonna prop this up this way and I'm gonna go back in cause it's still wet enough that I can I can still grab a little bit of the cobalt because this is in the cobalt section, all right, And I just want to try and blend it in and again because it's at an angle. It'll start to do the work for me. Um, grab a little bit of cerulean. And again, this is good, cause this is through the middle. So this is where we're trying to get that nice blend of the two colors. We're getting a bit off wetness on the edge there. So if you have this situation where you're getting a pool, just grab a rag, come up the side hand. Really, you can fix it, but the paint will kind of fix itself. It'll bleed back into their because the paper is still wet. Uh, and you also won't really need to worry about it unless you plan to frame this in such a way that you are going to see the edit. So if you do a float amount instead of a traditional matted frame, that would be the Onley way. You would see this you probably would not choose that if you had a blank spot on the edge. So that's looking pretty good to me. And again, I might just give it Oh, tilt up, see if I can handle this again a little bit better for the camera. That's pretty good. So we're getting a nice blend. If it's still, what would you should be at this point and you want to have some more blending, just prop it up a little bit for drying purposes. I have, ah, tiny little shipping box that I keep here that will work well to prop up underneath. But you can also, um, you can also use a roll of tape that's our grated wash. And now we're gonna use this same technique to paint some clouds. 5. Cumulus Clouds: for the next demo, we're gonna be doing some puffy cumulus clouds inside off degraded wash. So for this one, since we just integrated wash on hot pressed paper, I'm gonna do the grated wash and the cumulus clouds on cold press paper. This technique works with either hot press or cold press. So call press is the green one with a little bit more texture to it. So we'll open up to a nice blank page in our block and I'm gonna mix a little bit more pigment up. So I'm gonna add a little bit more of the cobalt blue to my piggy back. Trey, that looks good. Maybe a little bit more of this early into. I didn't. He's quite as much of that as I did it. The cobalt, um, this really ends a little bit warmer, a little bit more green to it, So just a little bit of that in there Once again, I'm gonna grab my mixing brush going to mix up my blues. So give it a good stir again. We want kind of the consistency of skim milk. Not not too watery, but the consistency is get milk. And I think this really in has enough water in it that I don't need to add any more. Actually, assay mix paint feels right. Um, I'm not sure how to tell someone how the pain feels right Just again through the consistency of skim milk, I think is the most effective way to describe it. Clean off my brush and I might need a little bit more water in the cobalt. Let's see, that's pretty good. It's a little a little bit more like whole milk in there, so give that just a little bit from the pipe. It just a little not too much. Don't overdo and mixing, mixing, mixing till we're sure that we have good, consistent pigment. Nice mix up, ready to go. So now I will spray down my service and then grab my sky flow Bush again. One inch guy flow brush ready to go grab some clean water and I'm gonna just drag across and again. I want this to not be soaking wet. Um, I just wanted to have a good coat of water, and you'll find that with, um, cold press versus hot press. I need a little bit more water on the cold press because it has a little bit more tooth to it, so it grabs the water a little bit more again. You can always do this just with a brush if you don't have the spray bottle handy. But really, I don't think I could paint without a spray bottle. I used it for all kinds of things. It's very handy. So going back down, see a couple of dry spots and get them again with and again. This is This is the house painting technique where you're going kind of fast and back and forth, and you just want to get it covered with a good coat of water. And if I tilt it up, I can see you do have. We do have two pretty big dry spots in there is what I always tip it up because it's It's hard sometimes to see um, particularly, you know, filming lighter lighting set up. But even then, I always give it a check. That a little bit of something in my brush. All right, there we go. That looks good. Get my brush ready to go Grab some nice cobalt blue pigment. Make sure my brushes good in loaded and I'm going to go quickly back and forth and again. This is one of those ones where you want to keep it. What? I want to make sure you're getting good coverage. And you wanna work quickly because what we're gonna do, um, once we get the wash down, make sure we get good coverage. Good. Even bead pulling pain across. Maybe grab some paint and go from right to left instead of left to right. Trying to get a nice even coverage again. Remember, if you can at all possible to go all the way across because if you stop in the middle, you will get some mark some brush marks in the middle of your beautiful, smooth, great wash that you spent so much time on. All right, so we're doing pretty good. Doing pretty good. Gonna start adding this really in in. All right again. Make sure I've got a good beat of paint going across there. If you feel like the transition is a little harsh, go back over it with some of the cobalt without cleaning your brush. And that should make for a nice, smooth transition between the two of them. They are fairly similar in color. But there's enough of a difference. This early in is enough warmer that we have to think about blending chest a bit. All right. Oh, a big, dry spot. No need to panic. Just clean my brush at some water. There we go. Now I can go back in with pigment. Remember, panicking? Never got anybody anywhere. Especially what color watercolor is a Zen place where you just sort of have to let things go and the paint will do what the paint will do, and that will be what you end up with. All right, so now we have a pretty good wet wash I'm gonna grab. That will be that. I just made it the edge there with my rag, and I'm going to tip my wash up just to encourage it to run a little bit. You can see the pigment sort of running, and I don't want to spend too much time weaken. And if you want, you can go sideways or can tilted up the other way. Um, if you're getting a huge beat, a paint on the bottom and you feel like too much of the paint has run away from the centre . But I'm just gonna do that a little bit, and then I'm going to go in and I'm gonna take out my clouds. And this is where you are. A very scientific equipment of a tissue comes in handy, so grab a tissue and I'm just going to start blotting and lifting out. And so I'm gonna lift, lift, lift, All right? And I'm trying to get kind of Ah, puffy cloud and I'm kind of twisting as I go in. I don't want to grind too much in because you are actually going to put the pigment further into the paper. But you want to get on. If you get too much paint, go to a clean spot of the tissue and again just dab and dab like so. And if you find Oh, you know what? I actually wanted a little bit less pigment in there. Then you can just go in with a brush. I recommend a round brush for this one. Clean water 123 Which means take it over to your rag and go 123 and then just come in here and lift out a little bit more so like this bottom cloud. I feel like it grabbed onto the pigment kind of a lot. So I'm just gonna do some circular motions and I'm gonna come back over and again. 123 I'm going to lift out a little bit more on this one, and I'm just, you know, making circular motions. These air really subtle clouds. We're gonna make a lot of clouds in this class, and some of them are more subtle than others. I think this is nice if you're painting something like a now outdoor landscape and you just want to indicate a little bit of cloud in this guy, you don't want to say, Oh, the clouds were the focus. You want the landmass to be the focus. This is another thing that when you're painting, you want to choose something to be dominant. So if you're landscape is the thing you want people to spoke to, focus on more than the sky. It's good to have very subtle clouds. So I feel like these are pretty good at, like how this one came out. So I've got some pretty decent clouds in here and watch out when you go in with the water. See how I'm starting to get a little bit of a hard edge there. I'm getting a little bit of a crawl back because my, um, lifting brush was a little bit wet. I come in again with that issue and I just go into that spot and I lift a little bit more. And then the hard edge stops appearing and we're happy and we have good clouds. So again, tissue, a box of tissues is one of the best friends when you're painting watercolor. So something like that And this is again very subtle clouds, subtle clouds when we get into painting or thunderclouds and things like that will have much more overt clouds. But for right now, this works pretty well as like a puffy, far off cumulus clouds. 6. Cloud Cover: puffy cloud cover. So what we're going for something like this is the piece that I painted for a film that I did. Um, sometimes I paint things in layers, meaning I paint them on individual pieces of paper, and then I take them into the computer and I layer them together there. And sometimes I paint all in one piece of paper for this. This one. I painted the background by itself so that I could get the most cover for my clouds. So we'll take it will take a stab at this one for this. We're working on cold press paper, so you can see here again. The green one is a cold press open to a clean sheet. And I'm gonna set up my colors for this technique. I work a little bit differently, so I'm gonna activate my colors. But I'm gonna activate them within the wells. And I'm going to also put a little bit of color out here in the mixing service water. That's a little sick again. Um, for this I'm trying to It's a little bit thicker than some of the other techniques. This one's a little bit more like whole milk than skim milk for its thickness. So I get that activated and I make sure there's lots of water in the well so that there's plenty of paint for me to go back. Teoh Um, and since I was doing kind of a stormy, stormy day here, I'm gonna choose slightly different colors. So I'm gonna choose ultra Marine blue, ultramarine Violet and Payne's gray, so we'll activate our ultramarine violet over here in the corner and make sure there's plenty of water in there. I'm just dripping some water and make sure it's good and mixed up very soupy in there, soupy and active and plenty plenty to go around and same thing with my Payne's gray when you come over here and make sure he's good and soupy and pull him out onto the mixing surface, and the reason I do this is most of the time with this technique that we're gonna use. The mixing takes place on the actual paper itself, so most of the time I'm gonna be grabbing directly from the paint wells. However, every once in a while I want to have a more transitional Hugh, so I will make something in the mixing area and then pull it in as well. For this one, um, I'm gonna be working with a different brush. I usually work with my big, fat sky wash, but this time I'm gonna be using this fellow My round low, Cornell size 12. Um, I love these brushes. The ultra round brushes. They have the red band on their neck because they always come back to a point that really pretty great and pretty workable, which, if you've painted for a long time, you know, that's the big challenge with round brushes. Um, and I do have other round brushes. You're more of a fan of the the more rounded tip. This one's a little bit more pointed. You can work with something like this. This is ah ah, you trekked Brush in size 20. So, for this again, as you can see, these brushes are really big, big, fat round brush for this technique. And I don't I know some people prefer Filbert the rounded oval brushes. For this I don't care for those as much, so I'm gonna start by getting my surface very, very wet. I'm gonna get very, very wet with the spray bottle again, Mr Windex. Good friend. Go out here. I'm gonna notice that I'm spring is down a lot more than I sprayed down for the grated wash because I want to make sure I'm getting good covered. It's OK. There are a little tools you don't want it to be pooling all in one area and working because the paper the block is great because it will hold the paper. But it does still start toe warp a bit. So what I'm trying to do is get most of the surface went, but then leave. Ah, few little pockets where the paper is not wet, which is something that I have never been able to do with the brush only with a spray bottle. So I'm gonna make my brush good and wet, give a little dab on the rag and come in here. And I'm gonna probably not talk that much time to try to remember to talk through this because I once I put the color down, I start to work very, very quickly, so I'll start off and I'll just go in grabs in that blue. I'm gonna just start doing circular kind of motions like this and I'm gonna make this. And it might look scary at first because that that might that might look scary to people. So we're gonna just get in color as much as we can again. You want to think, Think brush strokes that look like clouds Think puffy round brush strokes that look like clouds. So I'm gonna try and get some of these gray blues in here, All right? I'm just mixing Payne's gray and ultra Marine and I'm working fast, working fast because this is this is about speed, that speed as much as it is about shape. And again, if you start to get an area that's too much, one color it is grabs, mother and go right over it. Because again, you wanna have some areas of dark and light, and it's OK if we have some areas where we've got white showing through. We're going to hit this with a spray bottle again afterwards and move some of the pigment around. So again, I want to make sure I'm grabbing some of the purple and working that in may Be too strong. All right, all right. And I'm not really cleaning my brush a whole lot. You notice I'm working kind of one color on top of another to keep the colors harmonious. And I want to get good coverage, keep trying to grab some Indio because I also like to put that color in here. All right, so get as much of that as you can down the blue in there again. You want to make sure that it looks pretty pretty even throughout. All right, Now, you'll have areas of light and dark. Definitely need more pigment over here. All right. And don't worry. You'll get some places where you are totally saturated with water and paint, and that's fine. Like, it's OK if you don't have too many open spaces and then I'm gonna hit this with a little spray bottle. Start toe, Go around those areas where I have the white and soften them up a little bit. Right. And I'm going to take my brush, Gonna clean it off, go into my clean water, make sure I'm super claimed. 123 On my rag case, you're wondering what I mean by that. If I have my rag, I take my brush, put it in the water and I go 123 Flipping it over, making sure I get the water off and I'm gonna go back in, and I'm gonna blend right. And you have to do this every so often. You have to clean again. And 123 and come in here and blend and blend. And if you want to, you can. You can. If you want darker colors, then you don't need to clean your brush. But if you want to preserve some of the whites, then go back and wash the brush. 123 and come in here and blend away. All right. So again, watercolor is Justus much about using paint as it is not using paint, so we're gonna break up some of that. That looks a little chunky in there, and you know, you can always go back in and don't allow, but I don't want to add a little bit more texture to it and just add some paint. And then again, as long as your paper is still wet, it's only when your paper starts to dry that you run into trouble. It's, um, blending some of this. This is a lovely texture, but it's not very appropriate for clouds. So I am gonna try and smooth some of that out. I love that kind of texture for rocks and stuff. It's it's the creeping crawly kind of texture, and it does really make for some nice things. Then clean my brush again and lift out a little as I go because I got a little dark in there, all right? And again, if you see something like this is starting to look a little strange to me because I have so much white over there, So I'm again, and then they just grab a little bit of blue and work back in, all right, And that kind of makes it look less like there's a circle there, um, and blends it in a little bit more. And if you're concerned that you're losing texture, just go back in. And don't worry, these these strokes might look hard right now, but because this is so wet it will dry, much softer. So and like over here, say, I have a little bit of purple that got a bit intense. I can just come back in and again land away, and I'm just brushing, and I described a little bit of Payne's gray to kind of pull things down a little bit. And again, we have something there where that's a little bit strange. That looks sort of like a twinning thing going on. So I'm gonna make sure I grabbed water and brush through that. Ah, and I'm probably gonna add a little bit more blue and violet together in that area again. This is all based on what you see and what you like. So keep looking around your painting. See what you have. See if you feel happy about the white spaces. If something looks to on the cloudy to you, just go in there with a little bit of pigment or with a clean 123 brush and you can start lifting through. And that keeps the lightness. But it drags a little. Did a pigment through there. So we're getting some softer cloudy or shapes and again, just anywhere See it You're like, Oh, that needs mawr X Y z Just add whatever color you think is appropriate, right? Like down here, I feel like we need I need to bring back in some of those blues, right, Something like this and If you're incorporating this technique with a landscape, then just make sure that you leave room at the bottom or mask often area for your land mass because it's it's hard to do this without masking cause you need to get the surface so wet that it's difficult to control areas that are kept dry. So I tend to mask those off either with tape and paper or with masking fluid. Whatever is your preferred masking method you don't have that's okay and see how that shape that shape Do that look cloudy enough to me? So I just went through. But I like that that little highlight there. I believe that because that looks cloudy to me. So now I'm just going to take this, tilt it up a little bit cause I'm getting a bit of glare and say, How do I feel about this? Does this look cloudy to me? E. I think it looks really good. Actually, I'm I'm very happy with how this one came out, so I'm gonna stop painting. That's another. That's another tip. Always stop painting when it looks good. Um, it's really easy to keep going in a big like I'm just gonna overwork this to death because I don't want that there were. I don't want this there, so I'm gonna put the brush down. I promise. Put the brush down right now, and I'm going to just set this up and again with this one. Um, I can leave this flat to dry. Some of the time. We're gonna tilt things up to give them a little bit more blending. But this is so wet that if we tilt it up in our clouds will start to run, and then our clouds will have a downward direction, which might be good if you're looking for something that looks like rain. But for just a cloud cover like I showed you before, I'm just gonna let it sit and dry and should be all good. 7. High Alititude Clouds: All right, So in this technique, we're gonna be doing kind of wispy cirrus clouds, something that looks a little bit like this here. So when you have clouds that are high up in the altitude and they're not going to rain on you anytime soon, there just kind of passing through those or you're serious clubs. They have a little bit of a wisp, and they live really, really high up there in the sky. Um, and we're gonna make some of these. I find that these clouds come out best on hot press paper. So I'm working with my hot press block and flip it open. It's nice and clean since very released a piece from it earlier. And I'm gonna get set up with my colors before do anything. Ah, this technique, many of the techniques, it's better to have. Your color is ready to go before you. What? Your surface down. Um, that way, once you're wet, you're ready to paint. You don't run the risk of having your surface dry out on you. Uh, that's most of what you're fighting when you're painting. Watercolor is drying out and not having enough pigment. So for this one. We're gonna makes up just two colors. I'm gonna grab some more of my ultra marine blue, get a good amount of that going, all right? And we're going Teoh grabs and more cobalt, these air Two of my go to blues. Really, I have. There are many colors on my palette that I use all the time things like, uh, in two go cobalt Payne's gray, ultra marine, blue ultramarine violet, cerulean blue. And then I have colors like, um, Windsor Blue, which is a fellow that I use sparingly because they are so incredibly intense. But I still like to have them there, just in case. All right, now I've got a good amount of blue mixed up. I feel pretty happy about that. Not gonna be using any purple in this one. And I'm going to take my wash brush again. Big wash brush. Most of the time, I'm choosing my wash brushes based on the size of my surface. So the painting that I showed you a minute ago, this surface is a lot smaller for this one. I probably would use or I think I used if I remember correctly, this wash brush which you can see is only 1/2 an inch across, as opposed to a full inch. But for the larger pieces of paper, I find it much better to work with a larger brush again. You want to choose the tool that is most appropriate for the job you're doing on. We have a fair amount of surface to cover here, and I find that this guy, Mr One Inch get him over the white so you could see him really good is the best one for this kind of work. So I'm gonna grab my one inch. I'm going to grab my clean water, could see him here, and I'm going to just dip in, get my brush good in saturated, he concedes, like dripping all over the place. And I want to spread this across my surface. That's why you should keep the surrounding area clean and not near your iPad. Even the life sometimes forget because I do tend to throw water as I paint. So I'm just brushing across really quickly. This is like I'm house painting. I'm going really fast. I'm trying to get as much water as I can onto the surface again. This is all within reason. You don't want a soup sliding across your surface because then you will have removed too much of the sizing. You know, you've done this when your whole block starts to lift off from the backing board doesn't happen to be very often, but it has happened once or twice when I got a little too overzealous with my water. So I've got water, water, water. We look good and wet. We want to keep this very, very wet. Working what? Into what? And we're going Teoh, grab some of that ultra Marine and this is one of those word ones where I actually work from the horizon up. So I'm gonna start at the horizon and I'm gonna start pulling my cloud shapes out like this . See how I'm just going back at an angle and grab some more blue this time? I'll grab the cobalt right, and I'm going to brush that in and again anywhere. I want a cloud. I'm kind of leading that white, and I'm trying not to get too precious about it. It's it's real easy to feel like I want exactly that shit cloud. This is not the technique for exactly that shaped cloud. I'll teach you another one that will do that. But this is not the technique to get a precise shape on your cloud. And again, you want to kind of let let's, um, some of the white show through. That's how we get those cloud shapes in there. All right, We're bleeding a little bit, but that's okay. So sometimes if you have too much of a bleed and you're seeing that if you tilt your surface up remember I said you could do that before, Um and I'm just gonna grab a roll of masking tape. Stick it because I don't want it quite up a high as I had it before on that little box. But that should keep me from rolling upward, and that'll keep my my bleeds going down. Now, if I have something like this, this is actually pretty good. I'm gonna leave a little bit of space at the bottom with the idea that I'll have Ah, great big sky kind of the thing with some landmass down here below. So I'll leave that part blank. I'm gonna take my brush, clean it off so that now it's just a clean brush. It has no pain on it. It's pretty damp, but not dripping. So I I dip it into the Clearwater and then 123 I take it. And when I say 123 I take it and I go 123 on my rag And now I have a brush that I can lift with. So I'm gonna go in and just sort of smooth out some of those crawls. All right, So wherever the crawls air bothering you or wherever you think I'd really like more of a cloud there. And after a couple strokes, you have to go wash off your brush and then dip it in the clean water again. And 123 come back, see where it what else do it. What to clean up. That's all looking pretty good. Well, maybe this one. Give him a little blend towards the edge. You can see I scrub a little, Not too much. If you scrub too much, you will take off the surface because it is so wet right now you will gouge your paper. You will damage or paper actually go back in and get a little bit more paint in that corner looking a little empty Me. So I'm gonna go back in here and again. You have to work quickly and have to be paying attention to the surface. Because if it dries, then you start to get some really noticeable crawl backs. And it's very obvious that you went back in there. And I see I have hard edge there that I am not loving. So I'm gonna go in and again I've washed off my brush, go into the Clearwater 123 Too much. All right. Not too much delicate work again. We're trying to get this kind of clouds at a high altitude blowing through this guy. And if you feel like you've gotten too much white as long as it hasn't dried yet, you can always go back in and add pigment. Like if I feel like, uh, it's just too much cloud here, too much club. I can go in and blend that in to what I have going on. As long as I keep my direction. My stroke consistent. I've got that again. Wash my brush dip in the clean water 123 and pulls him back out I can't. I find that watercolor is not just about putting down pigment. It's about taking it off just as often as it is putting it down. No, it's looking like over here. I can see it's starting to dry. So, like this area, I need to just let that be for right now there is no no going back in there. If I go back in there, I'll start to get those ugly blooms that looks sort of like cauliflower on your painting. So I want to stay out of that area right now, but I think this came out pretty good. I have some nice wispy clouds. You see these on clear days when they're just the clouds air up high, playing away from you, and they're not threatening to rain on any parades or anything. They're just hanging out. Um, and now I have a nice area that I can come in here and at a foreground with some land and maybe some trees. Maybe you want a beach. Look to you. That's season to taste. 8. Thunder Clouds: So we're gonna be doing the thunderclouds. I've grabbed cold press paper, right. That's the one with the green cover. So for this one, I'm gonna be working with a couple of new colors. I'm gonna be working with new bimbos. That's Windsor and Newton color. It's this nice orangy yellow. It's got kind of a buttercup color to it. And then I'm gonna be working with bismuth yellow, which is a more lemon yellow. And this one's Ah, the M Graham artist watercolor. And I have those out on my palette here. And then we're also gonna be working with our old standbys are friends from From Previous videos will be working with Payne's gray, ultra Marine, blue and ultramarine violet. So I'm gonna crab some color, some to start with the business, which is very yellow, very, very lemony yellow, and I want to get a good saturated, lemony yellow out on my palette. Sure got plenty of water in it. I'm going Teoh clean my brush, make sure it's good and clean. I don't want to get any contamination navy grabs and clean water and go into my new GAM bows, which you see here nice and buttercup e Such a pretty color. My favorite. Ellis, Get that can not a little bit more water just to get a pigment off the brush. So we've got plenty of that down, and we'll work our way around here. We'll grab some violet ultraviolet, get that nice and crept. Good, rich, saturated. And again, this one, we kind of want the whole milk consistency more than the skim milk. So so much water. We'll give it a second. It'll dry quickly. Come back around, grabs adultery. Look, get that ready to go. Did the amount of color down nice and leaves and I pains, right? Good mix. Get down. I felt pretty good about that. So on this one, I'm gonna spray down like the top third of my paper, and I'm just gonna get some some water going from the top third of my paper. That looks good on that. I'm gonna go in with my brush. And for for this technique, I'm actually to be using two brushes. So you wanna have them ready for most of the painting? I'm gonna be using this fellow, which is just hes a Chinese brush that I got at the art supply store. I like these because they use it on natural bristles instead of synthetic. And to this technique, we need something that's gonna hold on to more pigment. And that's the advantage of using a natural hair. Bristle versus a synthetic is it'll hold a little bit more pigment on a little bit more water. The other brush that you want to have at the ready is a bristle brush. So I have this one. This is a Simmons one inch course called expression Bristle brush You can probably see in the video. It's got a very different texture from my usual watercolor brushes. It's very very course and keep him over here and we'll go back into our Chinese brush, grab some water, clean water this time, and I'm just gonna kind of musch this around. I don't want to push all of the water in. I want little pockets where I have some of that Ah, lovely texture that you get from the spring. But I do want to have some areas where I have some good water. I can see this when I tilt up my board. I wish that I could show that on camera. It's very, very hard to capture how wet the paper is. So minutes started out and I'm gonna work light to dark. So I'm gonna get my brush really loaded with this nice business, yellow Sam. Just one roll my brush around in it until I see that the palate is starting to become clear . I know that the brush has soaked up a lot and I'm gonna start working cross, like, so create some patches of light and I'm working kind of close to the end of the brush and I'm more dabbing at the paper. I'm not going in and brushing When I brush, I get a different effect. So I'm kind of just dotting in the color. Ah, long here, trying to create pockets of interest, right? Got a little bit more of that business, something like that, leaving careful to leave some white space in there, and then I'm gonna go in and I'm gonna grab some of the new Gambo je. And in this case, I'm not gonna clean my brush in between cause I kind of want them to blend a little bit. Most of the blending is going to take place on the paper without you doing anything we want a dab in. But by keeping the brush loaded with both colors, we are aiding that. Which is what it will be so important in a second for us to rinse our brush before we switch into our blues and purples. Otherwise, we can get mud really fast in something again, Persian. Just the whole thing. That in there, right? Something like that, right? Not that looks sort of pockets of light. That's good. So I'm gonna clean my brush now. I wanna make sure clean it pretty good dried off on my rag and I'm going to grab some of the other colors in to start with the blue, I think, and to start working in some of the blue Now I'm gonna at times dab this in and at times brush with the technique that we used in the cloud cover to create those puffy clouds. Right, because again, we're trying to make a storm cloud that looks something like this. So we want some areas where it's puffy and then some areas where the light shines through like the sun is behind the clouds. As the storm is coming in. So we're gonna get some of that by just dabbing in these colors and you'll see when we get close to the yellow. This is where we have to be careful, because we want colors to blend, not mix. So we want the colors to kind of mix together on their own rather than us forcing the mixing. So we're getting some of that here, all right? And then sometimes we're turning green, so we might have to go in and blend that away, cause we don't want green thunderclouds. Um, at least not for this one to go in again. I'm just kind of dabbing in the The idea is to get the colors throughout first and then go back and mix them in. And this is why you want to have your surface pretty wet before you start working. And if you get to a point down here like see how I touched that and that was not wet, that was dry. Just come back in with a different brush. I'm gonna grab glam brush. I have handy you, in this case, is my round one, and I'm just gonna work into it with water and I'm gonna do that and that's going to pull the water down, um, and is going to prevent me from having a hard line there. And this means I have to much water. So if I get yourself into that situation, take your handy dandy a tissue. I don't care what brand it is, um, and just touch very, very lightly to the area that has that run going on, right? You'll see. I have picked up just a little bit of the pigment, and I'll keep my tissue handy because that's super useful on and you can see it's gotten rid of that sort of trough that I was getting. So I'm again. I'm talking too much. Ah, this is a technique that requires speed. None of them. None of them, I guess, take too long. But this is one that definitely is a speed based technique. So you see here where I've gotten to dry, I'll just come in and I'll just add some water. This is just clean water, and I just want to make sure that I have a good buffer. Basically, what I'm trying to do is keep about an inch or so of clean water between the drive heart of my paper and the pigment part of my paper. So I've gotten to to dry and the edges. I'll come back in and do that. So now I need to move swiftly. As I live in a dry climate on, start getting in some of these purples again. Purple. Be careful around the yellow because those are compliments and they will mix together if you don't watch out. So again we want blends. Not Mexes. When I try and work through here getting some of that, all right, see how we're starting to get some of that neutrally color coming in and some of that is good. You want a little bit of that? You just don't want too much. Now we go back in with Payne's gray and pains. Very is just. I know some people object to having convenience colors on their palate, but Payne's Gray is just one of my favorites. It works so well. It's so good for things like this. Um, I use it all the time so I can come in here and it It's a great um in between for these colors, because it's not the direct compliment off the yellow or the sort of yellowy orange of new Gambo. It's a neutral color, though it does lean a little cool. It is. It isn't neutral color. So that allows us to work in here and get some really nice things going on. I get that some thunder cloudiness that's was under cloudiness. All right, so now I feel like we've got some pretty good areas in here. I'm going to do a little bit of blending to make the puffiness of the clouds come through. So I'm going to clean my brush and I'm gonna start doing this with a wet brush that doesn't have pigment. I might add pigment. And I'm just gonna start sculpting in some of those fluffy cloud shapes and every so often cleaning brush so that you get some sloppiness in there. And if you feel like you've gotten to a place where not loving that color, just grab some pigment, might grab a little bit of the blue and the gray and just come in, Had some of that back in right, and that's gonna gonna keep it. Keep its Luffy. So we want scary, fluffy clouds, I guess there, um and I sometimes like to leave little pockets white. I don't want to. Many, like some of these near the edge, can be distracting. But like some of these, I kind of like and we would like to leave alone, if at all possible, might come in with a little more The yellows. Make those fluffy through here and again. Be careful. I'm starting to get some of those mixes. So I want to be being mindful of that. We go now. I'm blending a little bit more with a clean brush, and that's kind of taking away some of that. But notice I can get some cool things. Watercolor is one of those things where some things you just have to be Zen and accept what it gives you. Sometimes you get the chance to come in here with really heavy pigment on. Do say, I want this. I want these shapes and sometimes it is having the last laugh, and you just have to accept what it's giving you today. Oh, just put those down, Um, get a little bit more. I feel like we need something else in that corner. So when it had some darks against the lights to give me some more contrast. All right, Something like that. Um, breaking this. I said, I got that. Now, when I just take what brush? Gonna blend where I think it needs it. Leaving some of the white spaces, some of And then when I feel like I've got something that I'm happy with, we're almost there. You wanted to not look too much like lightning just yet. It's a fine line to walk between too wet and too dry. But when you get to the point where you're starting to see some good so good crawls in there, sometimes girls are good. Sometimes I know so often people are like, Oh, crawl in your water color. But sometimes they make really interesting things really natural shapes that you couldn't get any other way. So I try to exploit them a little bit and make them work for me. All right. Once I have my clouds in a pretty good place, I can see I need to move back in and adjust some of them. But for the most part, they're doing all right. But we're starting to dry out down here before it gets any drier I want to start doing my rain technique. So this is what we do to get these sort of beginnings of rain Pulling down away from the clouds is I'm gonna grab my dry brush brush big, bristly one, and I'm just gonna go across and pull down and I'm gonna start a little bit above the line . See, I'm starting a little bit of above the line where it's dry and I'm just pulling down, pulling down, pulling down, right. And you want to try and get enough pigment so that you're starting to get ah, more natural rainy feel to it. Um, And then, if you dare, you can clean off your brush on, go back in. But you have to really dry it pretty well, because otherwise you'll start to get some leads. But I'd like to adjust that because I feel like we have to. Even it's too much of a square there. So I want to start pulling down some of this and again if you get it wet, dry it really well, like I'm I can't see this got stuck it. I'm really working this into the rag to try and get the excess water out of it, which makes it a little bit easier for me to come back in here and pull down and pull down and pull down. So then we have kind of this rainy surface, and then, from there we can go in and add are foreground if we like, um, and now, now that we've gotten to that, that's the real That's the real time. Pressure with this technique is you have to get that when the paper is just right, when it's just a little bit wet still, so the paint still moves, but not so wet that you're dragging too much paint with it. And if you want, if you're feeling super brave, you can go up. But you can see you start to get hard marks in there. So again, just if you if you try this and it's unsuccessful, don't panic. Panic. Never got anybody anywhere in watercolor. Just grab your brush, make sure it's good and dry and pull back down, and you'll be able to smooth that out a little bit. Like so again. Beware, pack panic Is your enemy and watercolor all right? I was looking pretty good. I might go in here and soften up. Some of these get a little bit more cloudy shapes. At this point, we're starting to get a little dry, and I don't know if I had a chance to mention yes, the rule with watercolor. If you're gonna work back into something that's starting to dry, you just have to have more pigment on your brush that is already on there, because otherwise you'll get those cauliflowers going. So just make sure you've got a nice pigment loaded brush, blend and blend and blend like here. I feel like there's some interesting things here, but it's also getting a little bit muddy, so I might need to come in here with something really strong, create something like carries across all right, something like that and that that makes me feel better about that area. I feel better about it, all right. Think that about does it for this technique again, it's a management between wet and dry here. If you have too much water than you'll get, too many bleeds going, and if you have not enough water, then you won't be able to do the blending. This is one of those ones that I will probably set this up on my teeth to dry just because I think my clouds, they have a downward momentum with this rain. And this way I can keep it, keep it going down, keep it moving downward. Also, you can company. All right, so I don't want all of those feathers that I'm getting. So once I have it propped up with a clean, dry brush So washing the clean water, I am doing, like, six. Not 123 But 123 And 123 again. And I'm just ever so slightly lifting in that area where I had those really big feathers. Don't do it too much, though, cause then it'll start to again get money. That's that's what we're trying to avoid. All right, that about does it for the thunder clouds. 9. Additive Clouds: okay for this next technique, we're gonna be doing something a little bit different. We're going to be doing more of an additive technique. We've done some additives, some subtracted techniques. But for this one, we're gonna be more painting. Ah, shape that we draw and and making a cloud that looks like these two that I have here. Um, and this is something that you can do on a blank piece of paper. And the news isn't part of a Photoshopped collage. Or you can do this by drawing in your clouds on your paper for a painting and then masking it with masking fluid and then washing over to make this guy in the background and then remove the mask and you can paint the clouds this way as well. So I'm going to draw one more cloud can say I have one really light cloud right there. I'll draw one more, too, so you guys can see me draw this on camera and I'm using a prison color turquoise to H pencil for this, uh, you can use whatever pencil you favor, but I recommend using something with a harder lead. I find that to H is really good. Some people like to use four h because you want to keep it really light. You want to stay away from your Tubize, your four base your sixties, though they're just too soft and they're gonna make your surface to dirty eso for the drawing portion. I'm just gonna come in here and I'm gonna do a cloud so you guys can check it out. And I am generally kind of thinking circle draw from the elbow and circle and circle and we're just trying to get cloudlike forms and you can see here. This is not this does not require any great, uh, impressive drawings. Gill. I am just doing circles very loose, rough circles. And we have a pretty decent cloud, which I believe you can see try and darken it a little bit, cause I want to make sure you guys can see the drawing that I'm doing on. That's That's the level of drawing I'm looking for is a group of circles together. Um and I do this because it helps me think about going around the forms as I'm painting. And this will turn into a really nice cloud. You won't see all of this under structure when you paint it in. Additionally, if you do get to dark like the other side looks a little bit dark, I probably wouldn't paint it that dark. What I would do is I would grab and needed rubber eraser. I am get it twisted around so we have some clean side to work on, well, cold yet, so it's not quite twisting as much as they should. But get a clean side of the eraser and just tap down. Where were you? Feel like you've gotten too dark? So see how I feel like gotten too dark there. If I just tap it out, see how it starts toe lighten and you want to go in and really a race cause that Camara the surface of paper. But you just tap tap tap if you have something super dark and give it a little twist. But again, you don't want to grind the graphite into the surface of paper, so be careful on that one. Let's give it a tap tap tap stepped up job So they have something light, um, dark enough that you can see, but not so dark that it's gonna be distracting from your finish painting. So that's looking pretty good. All right, so now we're ready to return to the painting, so we'll put it back, and we'll be ready to paint for this one. I'm gonna be using primarily my low Cornell size 12 round brush with a good tip, and I'm going to activate some paint. Gonna get myself for this one. We don't really need very many colors. You can see I just used to colors for this woman. You some ultra marine blue, some of that out just like that. And then I'm gonna put downs. Pains? Very. I don't need a lot of Payne's gray, so those Probably enough. And I'm keeping it very light. Notice how? There's not a ton of pigment in that Payne's gray because I don't want him to get to dark. Too angry. These are supposed to be happy. Puffy clouds in the spirit of Bob Ross. That's what we're going for. So I'm gonna start out and I'm gonna work a little bit wet, So I'm gonna grab some clean water on just the tip of my brush and I'm going to go in and I'm gonna brush where I think the shadows are gonna be so you can see I kind of established that already that the light is coming from the upper right hand side. This upper right is where the highlights are. And then the lower left is where we're gonna be getting most of your shadows. So where we want most of our shadows, That's where I'm gonna brush in some clean water, just brush in a little bit. You don't want to get the whole cloud wet because that's part of the magic. We have to keep some of it dry again, grabbing, grabbing some water. And, um, you know, being careful not to get too soaking wet, we want to keep control. The more water you have, the more the pigment will move. And in this case, we wanted to move. But we wanted to move on our command, give a little bit more in here kind of a big did going on something like that, all right. And there's luckily a little bit of blue in my water, so you can kind of see where that is. It does make it a bit easier. So now I'm gonna grab some of the old Marine. I'm just gonna go touch it in to those wet areas, touching it in, touching it in, not brushing too hard again. Keeping it gentle is letting the paint kind of flow in there. I don't want to grind it into my paper Russian in like so. And then I'm going to go over and I'm gonna clean my brush, and I'm gonna tap it off. I'm not going to do my usual 123 on the rag because I want to keep this brush very wet. I'm gonna use that to pull up into the highlight side of my clouds. Get something like that and you want to follow the contours of cloud. And if you get to what just, you know, brush off once on the side rag and then you can scoop that up something like that again. You want to work quickly, but you want to keep it controlled. So I'm just brushing off when I get too much on there. And then if I feel like right now, I can feel my brushes getting kind of dry so I'll come back over, get some water. This time I will. 123 it off on the rag cause I'm in the smaller area of my cloud And again, I'm just pulling, trying to encourage those shapes to form Trying to encourage my circle killer cloudlike forms here and again wherever you touch, the paint's gonna go. So remember that as you pull around puller think circular and poofy So we're going for circular and poofy. That's nice. Gonna get that off. Well, brushes to dry. Come back for more water. Tap off on my rag. Something like that. Yeah, we're Rio. I'm going in with a side to get those nice big swoops, my clouds, something like that. I feel I feel pretty happy with this. And now I'm going to just add a little bit more shadow. So I'm gonna clean off my brush, grab just a little bit, A little bit of pigment. And this is one where you want to make sure it's still pretty wet. When you do this, I'm just gonna touch in so little bits that pains group. Not too much, just a touch. And if you find like, it's starting to get too heavy. All right. So I feel like I'm starting to get a little bit heavy in there. I'm gonna clean my brush, dry it off a little bit and grab some more ultra Marine and just tap over. All right, that's that's looking pretty good and pretty satisfied with that. Actually looks really nice. So we're trying to let the paint mix itself whenever possible. So I feel like that looks pretty good. Get again if you get, um, like, I was starting to get one of those Harry crawls in there, I can just go in and lift it out with a nice, clean water brush. So again, I dip into the clean water, tap a little bit on my rag, and then I can come in here on again. I try to work from the highlight down through, so that if I do haven't haven't more water than I think I do remember. It's gonna be starting in the highlight portion, which is the part that I wouldn't want the water to hit the most. So there we have a lovely cloud and, um yeah, practice this. Try it out. Try mixing it in to some of your other paintings and and see what you get 10. Gouache Clouds: all right for this last technique, we're going to do something very different. We've been painting up to this point with transparent watercolor exclusively. So I brought back are graded wash from the first demo, and we're going to paint some clouds on top of it. This time, we're going to be using an opaque medium we're gonna be using quash. Gosh, people don't do love or hate wash. I find that it is good in limited quantities. I like it for things where I'm trying to get something very graphic something, um, a little bit more, um opaque. I can add whitewash to my color, and it does make things more opaque. The downside to it is that it will make things a little bit cooler and a little bit chalky . So you have to be prepared for a little bit cooler than you see and a little bit chalky. So we're gonna just put down some quash and you can see I've switched over here how my palate is set up. So now I have my Jasper trade, and I'm going to put out some whitewash so thick compared to the watercolor so thick, but it's good and I'm just using the Windsor and Newton designers wash, and I'm gonna grab my mixing brush. And this is this is the thing where you have to be a little bit careful. I'm gonna activate the gua sh, and it's gonna have, ah, very different texture to it. As you start painting, you'll see that you get a pretty, um, kind of. It looks milky, but it's got a drag to the brush. Uh, that tells you that you're working with something that's much more opaque than our traditional transparent watercolor. Um, and once I got the white activated, I'm actually gonna go over to my watercolor palette with a clean brush. Um, right now, amazing 10 round. This particular one is a common brand, but ah, good 10 round. I use different brushes with wash than I do with straight watercolor just because I need to clean them a little bit differently. So I'm gonna grab some of the colors that we use for this wash of this wash if everybody can remember back was done with cobalt and Cerulean. So I'm gonna grab some cobalt, and I'm just gonna put some cobalt out because I think that's a good shadow color. And I'm also going to crab a little bit of throughly and as well, and I'm just gonna put it next to it, right, So there'll be some blend where they blend together. And that's really all I need, cause most this is gonna be about the white. Most of this is gonna be about the white. Ah, and then I can come in here with some of this activated white, and I can add it, all right. And I'm mixing up a semi opaque mixture of light blue. So I'm going to clean up that brush. Gua Shi is one thing. You have to be a little bit more diligent about cleaning your brush. You always want to clean your brush immediately, but with wash. If you don't, it will stick in there. So now I'm gonna go with my big brush, and I'm just gonna kind of try and brush in some clouds just with the white. So I'm gonna take the fairly loose squash going to create some cloudy shapes, all right? And this again is going to be much more graphic than anything else we have done. It is not the same as the nice, naturalistic look we get out of transparent watercolor. But sometimes you want something a little more graphic. Sometimes that's more appropriate to the work that you're doing. So I'm gonna make a cloud shape, something like that. Clean off my brush. I'm actually going to switch to a slightly smaller brush. This is a size six, and I'm going Teoh, grab some of that blue that I mixed up. I'm just going to start pulling that in to the shadow side of the cloud and again to keep things consistent. Since we've been working primarily with light coming from the upper right will continue that way, and I'm just gonna brush it in, brush it in. I have a little bit more Russian and I'm trying to do the same thing. A similar to what I did with the other clouds. Ah, that were additive. I'm just going to try and add to the shadow side and you'll see this gets a much more subtle effect between the light and the dark side of the cloud. We're getting much more of a blend between the two because we're working opaquely, and I have used white in my darker color. So something like that. And then if you want to make the highlight side a little bit harder, just grab a little bit more of the white. Mix it out with the water. Andi can had some more pronounced highlights on that after right side again trying to think about how this form sits. Three dimensionally in the world. So I was something like that. Get very happy. Puffy cloud look so nice, Right? Put a kite in something pleasant. All right, so that's how we make a cloud using wash. 11. Final Thoughts: that about wraps it up. I hope you've had fun painting the six different types of clouds with me. You know, have a gallery of six pieces that you can take with you and display as they are. Or you can use them in digital collage. And hopefully, next time we'll get a chance to do that together. But you have the techniques. You can take this and paint lots of paintings and hope you have fun. Uh, thanks so much for painting with me.