Ron Mulvey✏️, Artist / Art Teacher

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11 Lessons (1h 40m)
    • 1. Still Life Preview

    • 2. Materials /Set Up

    • 3. Tonal And Final Drawing

    • 4. Ink,Local Color,Neutrals

    • 5. Still Life 'Directions To Go

    • 6. Major Chord With Thalo

    • 7. Discovering Neutrals

    • 8. Deepening Neutrals/Colors

    • 9. Deepening Major Chord

    • 10. The Final Touches

    • 11. Still Life Abstract


About This Class

Doing Still Life: From Real To Abstract 


This class will teach you how to paint vibrant watercolors using Major Chords and Neutrals with two types of art: Realistic and Abstract.

Class will start with a tonal drawing and then a simple pencil drawing of our still life set-up.We will then ink it and add local colors and some first wash of neutrals. A major chord will be developed with brilliant color notes. Two easy abstract studies are added halfway through to teach major and minor chord tonal values.

We will finish up with an abstract watercolor using all the skills from the realistic project,

Realistic painting is when you render your subject in a realistic manner.
Abstract painting does not attempt to represent an accurate depiction of a visual reality but instead uses shapes, colors, forms and gestural marks to achieve its effect.We use the word abstract as a verb that means to separate or withdraw something from something else.

We will learn 2 different ways to make neutral colors.

1- By blending two complementary colors together.

2- By blending all three primary colors together.

Neutrals are usually described as greys. Variety in grey is achieved by mixing complementary colors I.e. Blue, orange; red, green; yellow, purple.


Major Key and Minor Key Painting

Minor chord tonal values feature predominantly light tones with a few well placed major dark tones.. Paintings are light airy and fresh.

Major chord tonal values contributes to a moody, dramatic, mysterious ambience enlivened by lighter accents. These are our feature paintings for  today. Notice the Major Chord Dark Tones in each painting,


 In this complete introduction, you will learn how to handle watercolors effectively by becoming acquainted with the essentials of theory, technique, practice, and design principals. Unfold the tricks behind:

  • Choosing the right materials and tools, along with discerning differences between brands
  • Mastering basic skills, such as composing, rendering shadow and light, and perspective
  • Understanding color theory, harmonies and chords
  • Painting still life realistically and abstractly

The Secret To Artistic  Growth

  1. You don’t want to orphan your core strengths. Keep becoming a better artist.
  2.  Always develop skills that extend your impact and make you more confident and relaxed.


Don't search for more of the same type of skills

Challenge your concept of yourself. I was useless with mechanics and gardening. I got an old tractor and learned how to fix it and then started a small market farm with garlic. Just because you are a poor at drawing realistically does not mean you can't learn to excel at design.

Find a skill that will amplify your core skills. Today's class will most certainly give you this.

Here is an email from one of our most devoted students that demonstrates all of the above statements. I have watched this student progress and blossom as an artist with their engagement in class and with class projects. Questions always lead to answers. Here is their email.

"For drawing I'm lacking confidence in making the initial sketch en plein aire. I've seen you demonstrate it with paint and you also show your sketches from the ferry or traveling. I probably just need to make time to practice it, but some reassurance of how to get the scene drafted could be nice. I rely on my camera, maybe too much. Also, you're so good at landscapes, I could use tips on how to see shadows and get them in my first draft and how to add them when I am imagining a scene. Love your classes!"

 This student is looking for some new skills so let's get ready to learn some in this class.


1. Still Life Preview: welcome to still life. You know, I still life still has life. Lots of people do still lifes with fruit. You can see the orange and blue here will be learning a lot about design in this class. Still, lifes are the best thing for learning about design and we're going to do is still life and I'm going to show you how to do it. Have fun and accomplish something you may never have accomplished before. I'm Ron Movie. Welcome to the class. Let's get going Still, life is a time honored method or we might call it a genre, a way of painting and approach to painting. It's very good because it teaches us how to look and even more than look how to see artistically, we very rarely ever look at something for a long time. We glance at it. The average time of a museum is about six seconds. If you're lucky, mostly two or three seconds and then we go and look at another day Vincey or another Rembrandt. So our eyes are really used to not looking at things. We see things, but we don't really look deeply into them. This class will teach you that you'll be able to use some great techniques that many many artists have used through the years. One of them is called neutrals. Neutrals make other colors really stand out. Or we might call pop or sing right behind the orange like that. It doesn't have to be a vase, be anything. The colors are very, very true and realistic. And that's how we make a realistic picture is by using major and minor chords, which we will show you in the class today and by using good values and neutrals the materials very, very simple. We're going to be using £140 watercolor paper, not too big so that we get her project finished and we can put lots of effort into it. We'll also be doing a few non objective. I don't like to call them exercises, but I like to call them experiments in color. I enjoyed these more than anything. They were fast and furious and easy and clean. We're working and struggling and overcoming things, overcoming the idea that we lack creativity. We don't like creativity. I'm going to show you in this class the process of being artistic and getting some creative ideas out on paper 2. Materials /Set Up: a Sharpie that doesn't bleed. Some of these new ones have to wait. You have to wait a couple minutes before they become dry so you can go with a standard big fat sharpie. Or you can go with a what's called a fine tip Sharpie. And that works just fine to whatever you like. You can even use a pencil. I use graphite sticks. I have all kinds of tools and instruments to draw with. Just remember, erasures don't get rid of mistakes. They help you draw paints. Paints are really quite amazing, because if this was a Windsor and Newton Cobalt blue might pay $30 for it. I go, the Graham paints. There are very good professional quality. The price range is quite reasonable. Underneath that is the Cotman, which is from Windsor, Newton and Windsor. Newton, of course, probably inventor of two paints, almost have been around for hundreds of years. They make a great student grade product that is fairly light. Fast, light fast means it won't fade. Using the Failla blew the Eliza in crimson, the azo yellow. Secondly, I like to tape my pictures. Today I will be taping with blue tape and when the picture is finished, I pull the tape back this way so it doesn't rip the paper. I will be using a Windsor Newton paper today. Very good quality. I love the way it responds. It's as good as arches, and you can use skansen paper, which is a little smoother. £140 cold press paper. This is a good all round paper, £140 cold press professional watercolor paper. We're going to pay today with two brushes, just a basically a round brush. It's probably about number six or seven and a little flat brush. I picked this up before. I think it was $5. Get some attitude positive and let's get going and start our project. 3. Tonal And Final Drawing: so major chord and minor chord. Here's a little sketch that I did waiting in a waiting room. That's good place to wait and at a few minutes. So I did our little still life. There's a major chord, you see very dark against light, and this one's more of a minor court because it's not quite so dark against the light. Now you'll notice. Here I've used just lines and I just taken are still life and played with it and have some fun with it. Let me just show you how that works. Let's just put in our orange and our little Vause, - and I'm going to show you a major chord now. So a major chord would be quite dark right here. And let's make that cloth sort of bend up a little, maybe make it a little rounder there. There we go. There's a major chord, C. And I like to use a stump. If I'm pushing this stuff around this. Is that a cold pencil? Corte? Maybe I'll put a little bit down in here. Now here's a minor chord right now. Take a little more here. It's Ah, soft transition seat from here to here T here say there was a shadow on the wall. Whatever. So you'll see that have a very major chord right here. Now, if my painting or picture is all major chords as in here, I just start adding a few more very dark sections. Now. Maybe it's not quite so dark, is there? I mean, this isn't as white as this major chord here, but it's still a major chord right here. So major chords are very dark against very light and a minor chord painting would use all softer, not know, really dark, dark, dark spots. Although there may be some dark spots, not a lot of them. So here we go. And I'm just building up this picture. I'm thinking my light source is from here, so I'll just keep adding a few because this vase or this glass ceramic container it is white. It would never be black. So now I'm adjusting values, values just dark and light. Major chord has a lot of dark values, so you can see that we've got that going here and just distributing this beautiful little pencil colt A or cold pencil. Kant a Conte whatever. See when t We're just Let's just call it a charcoal pencil. Very hard charcoal. Here we go, and there's a light value, so maybe I'll just pull in a little soft. There's a light value. We'll leave that there. And I think I want a little dark value right in here. See how this works. Just playing with values, dark and light, major chords and maybe some minor courts. Maybe I'll put another major chord in here, so it doesn't have to be something. It doesn't have to be a table. Just think of values. Think of it has to be some value rather than a thing that's not bad. There we go now appear. I've lost the spoons and I see my original drawing here. All I have to do is make some darker spoons. The inside of the spoon is darker. Can use these like a pencil. See, it's blending stump so there is a fast what we might call it, a value study more than you draw your picture from memory the better, because then it becomes instead of a copying, translating it instead of just transcribing it, softened the edge there. Look at that texture. Maybe it's an old wall. The orange gonna have some texture on the orange, the texture of the cloth 4. Ink,Local Color,Neutrals: I usually go from here to here with one strong line like this. And Paul, this is a very fine pen. I could also use a thicker pin like a Sharpie like this. This is really a dolly. I call them dollies because they're dull. Look, see, it's kind of dull, and that makes a nice line to see it just site sizes. The line in college or makes Oh, there's that little one like that. And there's my orange. Just lightly. There's the center with little lines. Okay, - Today I'm going to be using the sale of Blue, the Eliza in crimson, the azo yellow, and I have the cadmium red, some burnt sienna, some ultra marine and some cobalt. These three are grainy pates or granular. They tend to stay on top of the paper, and they give a great effect. The cadmium makes a great highlight, So first thing I'm going to do is do our local colors. The local colors are very simply when you make an orange orange and you make ah, blueberry blue a red apple red. So there's my two colors. Clean my brush every time important to keep your brush very clean. had a little more red and add a little more of the azo yellow. And let's just check it on a piece of paper. Like to have another piece of paper beside me just to check. That's just fine. And all I'm going to do is give a flat wash to my orange, so I probably have far too much paint on it. So what I want to do is get rid of some of the paint after I put one stroke on, and then all I do is boss it around. Leave a little bit of white somewhere on the orange. Just leave a little bit there. Now take my brush, clean it, tap it, make sure it's dry, and I'll just push back a little bit of the orange here, kind of lifted a little bit and then add one more good, solid touch in the shadow area. That's complete. Now, if I take a look at my orange, just put it right there. You'll see that it's close to what we have now the light sources from here on the orange. But the light source of my picture is from here, so that's why I've left that little area untouched where the cloth iss I'm going to just darken it a little bit. Just tap it it like that it off. It's a matter of putting the paint on, drying your brush and softening the edge, leaving a little white. There we go. That's a good start for the orange next, once the local color of the spoon. Well, actually, it's brown, and a good way to make ground is take orange and add a little green to it. So I'm going to start with a fairly warm red orange on the spoons. We call that an under painting, seeing just, very simply, you know, it's really not much different than coloring. When we were little, there's nothing hard about this is just calculated, and very I know it's just fun to do. This was green. All I need to do is make a very light green, so I'm gonna turn my little palate around here. You know, art words, air funny. Some people call the paints, they're using their palate. Some people use call the thing, they mix the paints on their palate. So in either case, both are right. So I'm gonna take a little bit of the azo yellow. Add a little water. Remember, in the beginning stages of a water color. Keep the paints thin. Thin means more water. I clean the brushes. He No, I take just a smallest touch off the final blue and watch what that does. Not too bad. Think a little more. I'm looking at my cloth. Here's my cloth. See the cloth. It doesn't have to be exactly the same, but I'm going to try and get a facsimile of the color. So a little more blue here. That's pretty decent. It's a cool green, and I give the cloth of flat wash once again flat wash. Now there's different ways to do this. You can point the brush at the edge, your painting, and if you're ambidextrous, you can use both hands. I just like to twist in turn and there we go. There's the cloth, the little Berries. I'm going to bring in a little cadmium for the Berries. If you don't have cadmium, that's quite all right. You can just use look at the cabinet was just pops right out. Hey, if you ever have your paint do that, you can pull it back into the tube. That's enough cattle and provoked 10 pictures. But this little guy was one to come out. So I take a tiny bit of the cadmium, very little water. And, you know, there are Cabinet and light Cagney and medium and cadmium dark. This is the dark, and I just do a flat wash with the paint is fairly thick, but it's not like pasty. Just put a little bit on, and what I'm going to do is I'm gonna let that dry, and later on I'll model it. I'm just concentrating on the local colors. Now. I'm going to do some neutral colors now. Neutral colors. Air. Quite interesting. They're sometimes called gray, which in a way, they are. You've grade them. You've made them less pure. The true word is neutral and basically a neutral colors and mixture off the three primaries red, yellow and blue. So here I've mixed a little bit of the green into the orange. It's made it a little dirtier, but you know, that's pretty. I'm just looking at that. It is a grade color or a neutral brown, and I might put a drop of that into the already wet spoon, you see, because we're tending towards Brown now. So how do I make it very brown? Well, a little bit more sale. Oh, should bring it down. So now it's getting to be a green greenish. You see, a little more say alone, a little more of this. And as I play with it, I can get a pretty close to what most people would say is gray now for painting gray, if you're using the tint tone, shade system is black and wait. But for here, this is working out nicely now. It's not a very attractive color yet, so I'm going to bring up the blue spectrum. It's gonna bring a little more blue into it because I'm thinking I'm gonna have I'm going toe have some pure blue somewhere. So there is a very attractive, great, great green, and what I'm going to do is I'm gonna take a little water and I'm going to establish some gray tones on the picture. I don't have to cover everywhere. I'm going to skirt over the paper here to get some texture, see the texture there. I might even turn my paper around, wiggle that brush right in there. Drop the painted, come up and leave a little texture here and there. Here we go. I'm going to be pretty careful around here because the orange is on the spoon and I don't really want it Toe bleed into my neutral color here. This paper, if you've never used it, I would advise you get a little piece you could buy a sheet for probably $12. Now, did I leave a little white somewhere? Yes. Look, now I'm pretty nice. I'm pretty pleased with that color now, because the paper is wet. I can draw being a few dark areas, especially on the right and the left side off the picture there. That's a good start. Now I want a neutral color on here also. But this is green. So I'm thinking I will pull a little more orange into my neutral. See? See the little bit more orangey color. I was gonna drop that in. It's warm, just just very gently putting it on. Careful with the cadmium. Even though the cadmium is dry because it's very pasty, I just have to touch it and it's going to bleed into here. And if it does, it's fine. I don't care. It won't hurt it and up. Decide. Now, why am I going up the side of here? Well, like I was saying, you need some words when you're painting. This is a reflective surface. This is a surface, so light is bouncing everywhere. So a little bit of the warm table would bounce up into the side of this little cylinder on both sides. There we go. Okay. Really, I'm not been very complicated here. It's fairly straightforward. That's spread out nicely so I can clean my brush again and maybe out a little more. Another drop or two. See, that's a little warmer. A little bit of the table color, so modeled is nice. Modelled means it's not smooth everywhere. A little bit of everything. Look, it's kind of blood a little bit there, but I don't mind. That's great. There we go and maybe take a little bit of the wall color and just model the bottom of it. It won't stay like that little change and suggest the first shadow right there. No, I haven't done anything here because I'm not sure what to do there. No, let's take a look at the picture and talk design things. A flat wash, which is great. It has a warm dominance, meaning the painting is on the warm side. Now, I don't have any gradation here yet. So what I'm going to do is drop some of this in the corner. Gradation is when something goes from dark to light, rough to smooth gradually. So there we go. So have a little bit more interest in this corner. See, now the cardinal thing for the cardinal activity. The main activity, let's say of a watercolor, is that it dries lighter, not darker. So if you're watercolor looks really good wet and you like it when you come back, you'll find it's not quite as attractive issue thought, because the paints will have sunk in that you see, that's collecting on the side. So I'm going to while I go away and let this dry. I put my brush under it so that it bleeds and I'm gonna take a little break 5. Still Life 'Directions To Go: so I wanted to take a little break here and show you the realistic and the abstract. We're in the middle of the class right now, and the abstract will definitely help the realistic, just as a realistic picture will help the abstract picture. So let's look at this little study which is coming up next, and you can look at it any way you want upside down or downside up. The important thing to realize is that this little study of neutrals in a minor key will help you end your bigger picture and you're realistic picture. Now, I'm very, very confident that if you do this one when you're halfway finished this one that it will assist you in the final stages of doing this picture right here. So I just wanted to give you a heads up on that. You can continue and finish the realistic picture all the way and skip over the little section here that I'm going toe put in after you started this. Or you can just follow the sequence of the videos as they appear and go from one to another . I'm going to end up with this one and there will also be a small little Wehrli picture like this. That is really good, because it shows you how deep you can make your colors. It creates a little monochromatic painting in fellow blue, so follow the process. Pencil sketches, charcoal or pencil blending total sketch, a little sketches I did in the waiting room. Little studies here, and they'll all lead to the final product, which is the realistic picture and the abstract picture. So good luck. Follow the class and we'll see you at the end and see how you did. 6. Major Chord With Thalo: So the major chord is very, very simple to understand. You don't have to go any farther than its the dark part of the picture. So here, let me demonstrate now And let's say the sailor Blue is quite strong and I'm just going to put a shape not gonna be too particular about what it looks like. And there it ISS. And because I'm using watercolors, I do like to add a little bit of water around it just to soften the edge. Might as well take advantage of the medium. So there's my dark accent color, and you can see the white paper is a perfect foil before the wider area. So if I was doing a major chord painting, I would continue with quite a bit of the dark. This one's going dark into the wet. I would take a little more, see how dark I can get. Reminds me a little bit of Kandinsky and Miro. They were a lively lot, very creative, very imaginative and very much into collar. Okay, so you see how the colors is a beautiful example how watercolors get lighter as they penetrate the paper and disappear into the paper. All the little fibers in the rial water card paper filled up with the pigment. And that's why watercolors get darker as they drop. I get lighter as they dry. That's getting a little too dark there, so just had a drop of water to it. I don't like my watercolors to be pasty. It's not a good technique. Okay, there we go. Now. It's still going from dark to light, but it's still a, uh, a minor down here. So what I want to do is get some more major colorant. Member major means strong and dark, fully saturated minor. Think of pastels. Now, I would say that we have successfully see how that water just soaks up the color. We've successfully done a major interval or a major color. Are you seeing how much paint this is taking? Good paper likes paint. It sucks it right up. And I would just lighten around it, adding my what you might call the minor chords. Now this is monochrome chromatic, so you can think better if in the idea of chords is that there are other colors or tones. So to complete this, I'm going to add a little more dark in spots and I am thinking design here. This is the biggest, and I'm not just randomly putting them in. I have a little bit of a method here. Have three there, and I think I'll just do one swipe through here, there. So as I look at that and I put a little frame around it, maybe get rid of the circle idea at the bottom, spread it out a little more like that and then contain it in a space such as this in a very short time, I've done a major chord painting. Now picture. If you had added maybe one more color or if you had used some neutrals with the pure color . Neutrals make colors sing very simply. 7. Discovering Neutrals: and let's take two opposite colors. Let's take some red all used the a lizard and let's take some blue But it can't be blue. It has to be green. So I had a little bit of there. Now I'm using matte board here. That's why the paint just syncs syncs. I like that Would sinks, sinks right into the paper. So there's my three look too low balls, and this is how neutrals work. I used yellow and blue here. You know, you can think about this or you can read about it and it won't make any sense to you until you actually understand the simplicity off three collars Brad, Yellow and blue with neutrals. If we mix these together, if we take some water colored paper, got a little yellow on that one, wet the paper so that it drifts together. Little rag there. So it takes, um, just some pure water. There's a little yellow in it, but that's OK. That's not gonna hurt it because it's part of the neutralising. So it takes some red. Put it right there. A good good shot of that beautiful a lizard crimson. Look how it disperses, You know you can actually do some great little paintings just practicing this color experience. Now, that's the first color. The red. Now I need the green. But the best green to make is when you combine the two and mix them on the palate. Now we're going to use the dry here, but we're going toe separated by a little bit of space. Here, see dry paper, clean it off, always clean your brush. A little bit of the fellow mixed into the yellow. And now we have a lovely green, but it's not quite dark enough. Gonna go a little darker. There we go. So there's are green Now if we take a brush and we make sure it's clean or exit clean a sort of clean. And we put some water in between just the soften the edges. I left it white here for just because I like to leave a little white. Now I'm going to mix the three collars. Okay, here we are. So I'm gonna take the Liz Aerin and the blue and the yellow. And now we've mixed up what is called a neutral color. You might call it brown, but I can change the brown with a little more blue is seeing. And when I'm doing a neutral color, I can make one of the three colors dominate like it could be a blue. It could have a blue hue to it, or red hue or yellow hue or any kind of hue. I want depending on how I balance it. So I'm going with the dark one here. Now I'm going, Teoh, just experiment here. I'm going to put it near each color first seeing, and I'm going to think a little design. Now that little yellow parts Great. Just gonna cover that like that. Okay, so now I have two of these. Three would be better, don't you think? So, let's put a little neutral right here. Just another little neutral section 123 There's my big one. Or we might call this the mama or the Papa Bear. It's the biggest. And now I'm thinking, as I paint, I'm adding quite a big neutral area around the red, and I'm thinking I'd like a little more red in that neutral. So I had a little bit more of the red to it, and now I might want to drop a little more in. I think I need a little more red, especially over here, cause the red and the green Now I'm thinking on my original was the opposite color red and green. So why not have a little bit of red peeking into the neutral here and there? Well, then I'm thinking, Why not have a little bit of more green? So add more yellow to certain areas. It all becomes very, very, very intuitive. After a while, when you learn some theory and you practice it, your intuition can take over. And now it's you painting with ease your actually having fun. Peo Look at this. That kind of echoes this big one. This laws in Jere is echoed here. Thinking edges hard edge. Um, this edge here is a little strong little hard. So what I'll go is I'll sneak in here, softened the edge, just bring it down a little bit. No wonder what would happen if I took this little edge right here and added a little just a little bit of the red, pure red. And what would happen? It's going to mix with the neutral Now I'm going to think major chord this is a minor chord painting. There's a little bit major there. There was a little hint, but it's still a major chord with a lot of minor tones in it. So I'm going to darken up a little by adding making the green and adding a little bit of the Eliza in and not to worry about paints getting dirty now because I'm working in the neutrals and I'm thinking right here this will create a dark because there's my lightest area. Oh yeah, that's nice. And now I have this little baby bear over here and I got a mama bear or a Papa bear. And you know what? Here's a very good design rule are it's actually the psychology of color. The heavy part or darker part or major chord should be at the bottom because our eyes read from heavy toe light up from the bottom up. If you look at something this way, it doesn't quite read Aziz Well, because the heavy parts up here, that's what my feelings Well, I can see another one, but sometimes turning it upside down, we'll give you a few little hints of what to do. You know what now I'm getting some really good stuff coming in. Lots of words, Lots of words. The word orange is coming orange y orange because we're doing a lot oranges. But also to me, this needs warming up. And the best way to warm it is a little bit of a lizard and this little cadmium yellow medium on the side. Here I've noticed it's still a little bit dirty, but not too much. I hope it works. And let's just see what happens there. That's called a color note. I call it a collar note simply because it just sticks out. I'm thinking one of orange. Look at the nice, beautiful color things going on here. Should I put another one over here? Oh, thinking cool and warm. You know what opposites coming in? See, here's a little bit of se lo pure sale. Oh, and orange and blue. So I'm into this neutral, which is still a little wet. Probably going to drop a little bit of blue, but it's gonna be a little smaller than this one. It started to bleed. Should I touch it? Never leave. It should put another one in. No, I don't think so. Should make this one bigger. It's drying. Does this look like a shoe? Yes, but only to me. So there we go. See what that looks like Under a little frame or even against black. I don't know if you know it, but black mix colors vibrant more than any other color. Black works really, really liking what this is like. If that's director, so this frame doesn't quite fit. Or maybe this way. Oh, yeah. Oh, my boots got. Look at that. I mean, honestly, what you think leads to what you paid and don't ever doubt it, And empty mind will produce an empty painting. 8. Deepening Neutrals/Colors: we have the green. We have the orange which could really use this. The little Berries air find their cadmium is but this neutral area. If I think of the edge of the vase as right here, I could use that here. So I take my neutral color, which is right there and the papers totally dry. So now we're going to be popping in and spreading out. So I popped that in, I'd leave a little bit of the white, and I want to pop it in on the other side also. Now, you should actually point your brush at the edge, because then you can control it. So notice when the papers wet, just dab the colorant. Now, I have two things I could do here. I can follow an older way of painting used by the English watercolor painters called stippling. Or I could add water like the California watercolor painters and spread it with water. So I'm going to use a combination of both. I'm going to use the tap method, and I'm going to use spreading with the brush with water. Now, I want to keep this paint on this brush, so I'm gonna take my flat brush, clean it and tapping on the rag and just kind of come to the edge and give a little little wipe. See, it's a great way to do it and the paint will follow. See into where it's wet. No, I'm going to turn this little picture this way because water runs downhill, as I've said before, So if you tilt it, I don't want to get rid of that white yet. I don't know why, but if I get rid of it, I'll never get it back. Now you'll see here it's being a little stubborn because I waited a little too long, so I like this vertical idea. Repetition or echoing an echo is when you make the picture, have a repeat somewhere. The verticals are here in here, I suppose the spoons. But really the spoons air the round part. I can get more vertical just by popping up like that. See, And maybe besides, it's gonna be a shadow beside here anyway, so I'm just gonna have a little bit right beside their and soften the edge. Since it's almost gone here, I can clean that brush and I can soften the edge there. Okay, Now I'm going to mix up something a little stronger and take the sale. Oh, and by the way, if you want a really strong black fei lo green makes a fabulous black. So to make our neutrals, I'm doing it once again, I'm mixing the green, and I'm not going to be using those colors pure anymore so I can mix them all together. Now there's a very strong neutral, and what I do is just drop it in right there. There's are very, very dark dark, and I think I'll put one on this side, too. Okay. And that's really accents this little vase and then another one along here. See, I'm just checking out. How does the paint disperse? It's soaking into the paper. I don't think I want one up there. But now I think what I'll do is I will take a look at my little picture here and go for a little more orange. So I'm gonna add a little more yellow to it, and at first it's gonna look a little green. But as I had a little red to it, it'll orange up a bit. Okay. There's my brownie. Orange and let's put that in here. It's quite sexy, and we're going to do the same thing we did here just by adding a little water. And then I'm gonna clean the brush right off, and I'm gonna come at it from here. Clean it off every time and clean it. I'm adding more water, you see, And when I add more water, the paint gets thinner and I'm not disturbing it. Once you start rubbing, then you can get into trouble, because by rubbing on it, you disturb the drying process. I'm thinking I might bring this right around a little more like right here. Why? Because this color here is far too light compared to this. And I want this darker. And by offsetting the dark and light, I'm creating some interest. You know what? I think I might just bring it right down here. There we go. Little bits work better than a lot. Okay. Now, in the shadow, which of the two would use from the shadow for here and here, this one or this one? Well, for the orange, we would start with just a pure blue because the opposite of oranges blue and from observation. Not from reading and books, although you can find it in books. The shadow always contains the opposite. A little bit of the opposite color of the object. Now we have to be a little careful here because I got this little cherry here number. Get right up in there and I'm going for longer shadows pretending maybe the lights coming through some window on its in the evening, creating a little mood I hear I'm gonna put little blue into you'll notice it's got a little green tinge to it. Then I'm gonna run a little bit up here in the blue and a little bit of blue into here. Maybe a little blue in here. See, I've just taken little blue shadows Traditionally, our blue, they're cool. They don't have to be blue, but they're cool. Just adding a little bit of form to the cloth. Stronger color here is quite strong, and I want it. Uh, it's gonna be cool, but just gonna put a little drop in right here, see what happens. Meme remember, it will dry lighter. There we go. And for the orange, Let's, uh, let's get a little of this color if I can find it again. I just need a little bit of the cadmium yellow light. It's a bit of an orangey color. There we go with a little red. There we go. And we should drop it right in here and let that add a bit of blue to it just to drop. There we go. Let that dry out of fact, I'm gonna let everything dry. Come along here with this. 00 that's nice. That's the green kind of a neutral green. I like it underneath this. Let's see the You know, it's looking more like a window than a picture fade. I like that hard edge to it. Sort of goes there. Okay, Last thing for now, really clean my brush. And I'm going to put a supersaturated orange color. And I'm looking over here at that one. So I'll take a little bit of this nice collar. And you know what? I'm going to clean this up and head over here where the pallets clean, add a little more yellow, had a little bit more a lizard in, had a drop of this, and I think that's about the right color, and I'm going to take, get rid of most of the color like that and do a little dry brush that's probably pretty dry right down the bottom. Here is put that I don't Have you ever heard the wood boat orange? It's kind of a color Look at that and also right in here, where the oranges tucked in beside the cloth. I've put it in. No, it clean it all off all that effort for that little spot. But now I'm going to mix right on to make sure that's clean. So we're getting red near the end of this session because everything's getting dirty. When things get dirty, it's time to get clean. So here's some pure cadmium yellow, just a little bit. I put it right on top with not even any water, just dry brushing it on and now a little bit more. And now I'm going into the burnt orange and tapping it. The paint is a little thick, but not so thick that it would go against the rules of good watercolor technique. There we go. There's that little really bright little spot near the bottom, which you get when you look at an orange Beautiful, just going to take a break now because this kind of got a little out of control here. Didn't not to worry. All I have to do their softened the edge. I didn't notice what that was doing. You know, paint could be a little capricious at times. I'm gonna wipe that right into here. That's the beauty of good paper is you can amend things. You can touch them and move them around. There we go. I think that's a little better there. And let's let that dry from this move on after it's dry. 9. Deepening Major Chord: Let's get back to our neutral again. And let's take this beautiful red orange and add a little bit of our blue color to it. And there we go. We have a fairly strong dark, which I'm gonna put right one shot right there. See that? Ready? Neutral. Beautiful. I don't want to put the red near here, but let me think I'm going to clean it off. Remember, a little bit of paint sometimes works better than a lot. And I'm going to leave a little bit around the edges here and just come down. Notice how I'm supporting my finger here and just moving my fingers like this for the fine work on the spoons. I'm leaving this edge here. You know, I'm going to use a little graded idea here, and I'm gonna put this one right in the shadow, except for one little spot. Now I'm gonna clean my brush off while the paint is drying on the little spoon, I take a little water and I saw from the edge Get it a little more of a three D effect. Now, this this one here, I'm gonna I took a little more of it. See and because it's wet, I'm going to drop it in. Remember, watercolors? Dry, lighter. You know, if you have something really finicky, you can always use a colored pencil. Later, colored pencils were great. Hey, we're getting some late little bleeds here, See, because it was so dark and it wasn't dry quietly. Yeah, I'm going to see if I could get the same thing in this corner here. Yeah, see that little model defect? I just watched that for a minute. And along the shadow here, a bold stroke there. Why a bold stroke? Well, when you're getting really fussy, it's good to be bold. That's going to dry quite a bit lighter, so I wouldn't worry about it. I'm not going to worry about it a little bit in here because it is the table or whatever it is. And you know what a stroke. That, too. Now it is drying, so gonna soften the edge on that one and soften the edge on this one. Once it's in there for a second, you Oh, you can see what's happening there. That's nice. It's almost like wavy, which is fine. Next, we're going to enliven the cloth with some clean green now to make clean green. I think it's wise to make a clean spot on our palate to make the clean green, so I clean my brush really well. Best way to make it clean green is get a clean yellow. So by adding some very strong yellows in the shadow areas, you see, you'd think that they would be where the lightest. But it's not true. The shadow areas have more saturated color than the light areas, light areas, meaning where the sun or the light is hitting. So think of where your shadow is going to be and put your strong color in there and you'll see that it looks good. I think I need a little more yellow on here. Remember, we were just adding some strong yellows on the orange. Just tap him on there and maybe a pinch of read into it. There we go. And this is the light area. So I'm going to be keeping it less orange. Just a little pension There. There we go. And I think I'll use the end of my brush, take my neutral color hair and just check it first. Yeah, this poor little dark spot right in the middle. There we go. How about those little Cherries? You see? A little have done to this, right? We take. I think we used a cadmium, didn't me. There's Academy and we'll take a little in neutral. See the neutral sitting there? The neutral was just the mixture of way back when we started the or the red and the green put together hooky. Drop on one side of the cherry. There we go for a little accent. Now it's not red enough, so I'm an adult, more red to it. I might even just take that off with my there. That's even better. And here we go. Just touch it. Ah, that's right. Little touch. They're beautiful. Let's go with that cherry color. A little bit of the base of this every time we dark and we get a more major chord. Remember that major court? There's a little echo of that over here, just a little bit like that. Keep the edges soft. Shadow edges. Air. Always soft. Now orange needs a little more orange on it. So I'm putting some of the red over just to create more of ah, stronger looking orange. You know, my cloth is just a little wimpy looking. I'm going to give it a good swipe there. That's pretty green. But I'm not gonna worry about that because I'm gonna put a little bit of the green up here on and but come down there. Yeah, that warmed it up nicely. The window and here, Still in conflict. But I can see that I can pull this down here. I might be able to pull a little darker. Uh, down over here yester those verticals air coming in. Uh, this here a little bit there. Just subduing it a bit, making it a little bit less bright thinking that little white areas. Good there. Let's warm up. Thea, this with a little brown to There we go, and we'll put one more down here and a little bit there, and this kind of stops here. So I'm going to move that over a little. Well, I don't think we want that brown up there. There we go. Make those spoons kind of stand out a little more. Okay, Now we need that dark in there and over the window. They're ago. Could be an old cabin and we'll deal with that window next. This 10. The Final Touches: Well, here we are. Near the end of this painting, I'm going over all my reference materials the major chord, whether it's a large dark with a smiler court of light or a major court of dark with a lot of minor chords. And we did some exploratory work here. I'm attracted by this dark gray here or what we called a neutral and, uh, this these two shapes, there's actually three. There's a little white shape here, white shape here. So they're all verticals. This I worked out in this little drawing here. I thought if I had some light coming on an angle, that would add a little bit of difference Contrast because everything else is thes air verticals, lots of verticals. There's only one sweep this way. So I'm thinking maybe what I won't do is I will bring some light coming across here. Leave this light area, which is right here and just dark in this corner up. Now it's a little smaller here than here, but that's fine. I think the important thing here is that this white is going to be the whitest white, and I'll make this subordinate to it, or I will another way of looking at, as I will make this dominant and this subordinate and I'll probably darken up the shape in here. And I might add a little vertical here to see what it looks like. So I've worked out what I'm gonna do. I'm going to commit to it and let's get down. And we'll leave all this reference material here to keep us on track. So a little water and cleaned all the palate up. It's gonna have a little blue here, which is fine. Let's just see what it looks like. I'm going to also thin down this area here, So let me just wet it with a little bit of this blue that's probably left on my brush. Fellow blue hangs around for a long time, so I'm just wedding that so that I'm subordinating the white just by going over with a little blue will do the job. The water is soaking into the paper. I'm going to give it a minute, and I'm also going to do a wash over here on an angle like this. As soon as I get this going here now, I'm gonna pull over a little blue and What I'm going to do is I'm going to key my colors. Keying your colors means adjusting them, making them fit. So I'll put some blue in pure blue. Remember that little white area there? I'm going to leave it right there. And I thinned up the little frame or whatever it is. So I think I'll come right up around the whole frame here, leaving just a little bit showing clean, using the away Ezrin. I don't want to use the cadmium because it could get a little pasty. So here's the purple or violet, which I'm going to drop in like that purple, you know I'm going to do is I'm going Teoh, just put a pinch in here. Amazing how just little bits of color can deep in the picture, remember, we're going for that cross across like that. And of course, the papers very dry here. So now I'm going to softened my edge. I'm liking this, uh, kind of angled thing here. I think it's going to work, creating a very bold cross light. And then I just sort of faded out like that. Maybe put one more right in there. There. It's subtle, but I like it. Okay. Now I'm going to go into here with the neutral red with the blue. Probably have a little bit of yellow over here somewhere. Gonna keep my colors clean because I just washed them off. Take a little bit of the hat. See yellow. That's quite a bit. And steal a little bit from here. There's a green, and we're going to need a little bit more red in this. So, like two jugs of water, one to clean the brush and the clean water for thinning the pates. It's ah, good method for operating. Okay, there's the red ready orange. Put that in there and see what happens. Remember, it's wet, so it's going. Teoh put a little bit in there, too. It's going to spread, you know, as I put some somewhere, I add just a little bit somewhere else to keep the harm and he's working. So I almost have a reflection of the orange here, so I don't want to get rid of that. I would bring a little bit up in here. No, it's just adjusting, adjusting, adjusting warm and cool. A little more sale. Oh, you see how I have to keep adjusting the color clean the brush every time a bit more red rather than trying to make all that the right color. I just add a little bit on the edge. Well, look at that little drop there. That was kind of nice. Now I'm working with some words like watercolors Dry, lighter, major tone. If the hard thing I find in watercolors is not being afraid to go dark, you see the dark will be lighter when it's finished. And, uh, knowing that I can always go a little darker in places now, why did I do that? Well, of seeing these little shapes here, I'm duplicating a few of those in a echo or what we call a repeat, especially right there like that. Maybe one more there. See how that dispersed. And over here it's, Ah, over the window. It's warm, so I'm It's not spreading very much there, so I'll take a little bit, you know, I'm gonna take a little cadmium this time. Just a drop and just add a little more right there. It's a little warm Red sea that picks up this red. Maybe one more little red there and then I'm gonna let that just fade out there. Let's look. Look how that red spread. What if I took pure red? These air called color notes? See what happens to that? It may disappear. Why would there be read there? I don't know. Because I put it there. We'll add a little bit of the dark next to it. Two mysterious dark area here with that little red. Maybe come up a little bit here. Oh, yeah, It's getting that coming right across like the picture. Maybe just a little bit right in here. Now, you see, the little white distance between here and here makes this really come forward. This is too dark, too quick and the papers wet. So that's OK. It's gonna add a little more there, more cross. And this echoes this little shape here. Just add one more dark here because I know that screen to spread up there. That red is still there. I like that. And just shape it with my feel it. Yeah, the edges just barely wet. No, Watch this. There's the angle of the light there, and I'm just gonna pull off a little bit. It might just look like glass. Just pull it off a little bit. There we go. Have lifted that up. For now, it's given it a little bit of shine, and this is too hard the edge. So I'm going to soften that edge simply by coming at it from this angle, just rubbing it a little bit. There's a little bit of water on the brush, which will soften the edge. There we go. Maybe a little bit more, just a little bit of a pull down in here. When you have a big, dark space, it's good to put something there. Okay, The moment of truth. As they say, taking off the tape. It gives me the right idea as to what exactly I need to finish, because now it's looking more special. I would say, uh, people give it a little respect when it's covered with white on the outside, and now I'm going to put it against the black. And standing back from your picture is a great idea because you get to look at what's going on. You were so involved with it, you may not have seen certain things such as Little Black Spot in here that really sat on top of the paper, and I'm thinking would be a great little berry just to add another little pure cadmium. Just take that pure cad me on tip of, ah, damp brush. Just roll it a bit and we don't want it to bleed, so I'm going to check a little bit more. You could also use a Prisma color colored pencil, something of equal value. No, just watch this. I'm just gonna pop it on there. Oh, I like the way it snugged up against the little vase. Another one. Just touch it. See those three? 123 That's very nice. Have a little bit of a darker accent underneath the cloth. The cloth doesn't look like it's floating in the air. So I just take a little bit of some of the remnants that are all over the place a little bit on the red side because this is green. I don't have to be careful here. I'm just gonna put a little bit of a dark wine, maybe Like that, it just makes the shadows come out a little more. I like this little spot time at the end of a painting where you just put in a few of these great little accents. Color notes. We like our shadows toe have a little color in them. Makes the more attractive. Well, that was good. Caught a little bit on the end of the brush. Might soften that little with a little water. Bring it right in here. Just gonna add one more little spot in the window with this little better blue and red. There we are. Grillo shadow in there. Each time you do it, it will dry and it will produce a little different effect when it's dry right there. A little bit of texture on here. Texture is a great thing. It adds interest to your picture. Put my name in it. You know, I'm going to use a my fountain pen for my name Check and see if it's working. Yeah, that's working. And I think I'll put it right here where it's not wet. There we go, putting your name. It is important. Small stroke this way. So the cloth looks like it's sitting on the ground. These little lines give distance to your picture, makes it step back. A couple more little verticals and I'm making this more into a mirror, giving some dark highlights to it. Just looking at it. You're always gonna have one area in your painting that gives you a little lesson. And this was my lesson adding this little shape when we were drawing it. But I'm glad I did it like a little bit of struggle in the painting. And then you skirt over the paper gives a lovely texture. See, And I'm going for more of a textured wall. Could be plaster textures, one of the elements that we use for design. 11. Still Life Abstract: way have everything that we've used so far. The realistic picture, the little minor chords study in neutrals and our major chord motto Chromatic study in fail . Oh, blue. Here's the finished product. Now what I want to do is recreate it again in a relatively short time and not fussed with it. Using some cabinet and medium and azo yellow notice, The orange is a little bit off center. Clean off my brush. Take a little bit of the red. This is the cadmium red deep Pop it in. I like the idea of a reflection. So I'm going to go down a bit. Remember, this is an abstract picture. Even though it's a thing, we're abstracting something from it. And I think what all abstract from it is the form and the darkness and lightness. Okay, next up is a little bit of fellow blue. Let's get moving. Here they low blue, full strength. Just a good shot right up like this. Great. Up to the top, A good strong vertical coming up to the orange and stopping just passed halfway more water straight up again making that beautiful shape. Just that Look at this happy accident here I'm gonna leave that there. I'm going to put a little bit of orange around it. Why? I don't know. Because it's there. And because the idea came to me and it's a little small echo of this, remember, I'm gonna keep my soft forms, and I'm going to be careful that I keep some white. Let's take another look at this little fella here. Okay? I did some more verticals. I really like this here, coming up the sides. So I think I'll go back to that for a little bit of this in a little bit. The orange in it's almost like putting the colors I'm using up the side. It's a lovely, lovely green there, a little bit of that with just a pinch of the azo yellow, azo, yellow, very permanent cadmium yellow. Very permanent. And I also have the lizard crimson permanent. Make sure your lizard crimson says permanent. Otherwise it'll fade and I'll just take a little bit of the blue that's on here. Hey, there we go. That's getting little hard edged here, and I can see I need to take some neutrals. Now. Take a little bit of the Liz Aerin, get a nice shape on there. Come down the side. A little more of this. Let's get a dark spot in here. Oh, yeah, and we'll take a little bit more of the cadmium appear so that is really good there. Cadmium and fail. Oh, make a very strong neutral. So there's my cadmium coming in with some verticals here. And here's my se lo going darker now See how madding mawr water not afraid to go dark, dark is important and the painful holy go where it's wet. I have to darken that up so I'll take a little bit of the neutral I'm getting here notice I'm mixing my neutral right on the paper. This time we would like this over here. I want to make that a little thinner, I think. But I don't want to lose that shape like that. Shape this candle or this boss has to be a certain size for it to work more brown And, of course, more cadmium yellow. Here, A little bit of cadmium yellow up here who are like that. I'm not over mixing more blue in here. We'll look at that. Oh, that's nice. That's that's very dark. You can't really go wrong with the sale. Oh, blue, Because the fellow blue is a Stainer color Stainer colors sink. Well, look at this. I'm just don't look at it for a minute. I thinking a little more. Just a little shop dark here. Let's do the Eliza Rin and the there's a little bit of cold vault here. Lizard and cobalt. There we go. Where else? I liked his pure color here, but I want to get what's bled into the orange. There. That's good. Gonna come around this one like that round shape. But sure what? That is going to hit it with some cadmium yellow medium. Andi. So cadmium red and leave that little white spot. I think I might even lifted a debt. Look, this lifted out a bit and then add a little bit of gelatin. Having a lot of fun with the technique here. Lots of fun, like, Oh, that's blood in there. I think I'm gonna redo that red in the corner with some pure cadmium. Oh, yeah. You see that cabin? Him? See how it just sticks on top? I'm going with a few of those. A few little cadmium here and there. Oh, the little Berries. I haven't paid any attention to down here yet. Let's do the three little Berries. Remember the three Berries? Let's get a strong horizontal now. And I think what I'll do is I'll use a neutral a little bit of read a little bit of blue and yellow. Come right across and lower this one a bit. Lower it down. Let's get this orange picked off here. Let's see what happens and see if we could lift that off of it. It doesn't have to be an orange, remember, Could just be a shaded. Oh, look at this is a great shape here. I'm going for some more orange on the side. I like that hard head shape there. That's working nicely. Let's go with that reflection thing again. Was popular light in there? Let's pretend it's candle gone in your picture. There's some pure yellow up there. Clean it off. Put a drop of the Eliza it in, put a couple drops of a lizard in here and there. Remember, they'll bleed and disappear and what else we have here? We have to get to green and okay, let's take that as oh, and Let's pull it right over like that. Go for some strong yellows. Maybe we were That's a nice edge right there. Uh, be careful here. Yes, I like this. This shape here is coming out nicely. Oh, there's a dark here. We need darker here. Neutrals. Coming right down here. Let's get that cloth green green cloth who pull it right in like that. Here we go. I'm watching the flow. Very important to do that more neutral. Over here. Coming down. Leave some white for the candle. Afraid to use darks. Darks are very effective fable green and should make quite a dark color mixed with the permanent lizard. Almost black parts are getting a little loosing in a bet. So what I'm going to do is add a few darks halfway up here. Almost looks like another light. There. See that green coming up? Put some in here, too. Gives it some distance. Light neutrals. Very important testimony here. That's good. Okay, very careful to get some good strong oranges in here. And the candle. I just liked it up. Pull it up. Remember, you can't get the white paper back, but you can certainly lighten areas. Good work here. Well, this is quite nice hair. See that? What you've wedded paint doesn't really go in until the pain papers drive. Okay, uh, this is time now for that beautiful bit of orange. And remember, it's going to get very strong when it drives. Take it off a little bit. Here. Say, I looked at my original picture over here. Do you have that comes off beautifully. And now a few violence. We'll pick it up just right. Especially right here. Things were getting dry and I'm strengthening a few of the horizontal this purple here or violent. Very nice. A little mist to make it softly. That at it. Look at that. That's perfect time for some strong color notes. Pure cadmium, some pure has oh, looking around for some strong color notes, See, adding the pure read and has o into this color alleviates the darkness, give some interest and also it a bleed into it End cause it to form a neutral. A couple little adjustments. I want this to go all the way to the edge. I want a little harder edge here. Gonna pick this up and then put a little reflection in the water of it. Remember? Always pull the tape away from the picture. That way you won't rip the paper. I'm just really glad you came to this class. And you've got to the very end with me through all those projects from realistic toe abstract. I think that we have all learned something here. And let's put it to work in our daily practice. And I'll see you in the next class. I'm looking forward to it. Bye. And thanks for coming.