Easy Watercolor Paintings | Robert Joyner | Skillshare

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Easy Watercolor Paintings

teacher avatar Robert Joyner, Making Art Fun

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

35 Lessons (4h 20m)
    • 1. Introduction

    • 2. Materials

    • 3. Palette Tips

    • 4. Managing Water And Palette

    • 5. Prepping Paper

    • 6. Resize Large Sheets Of Paper

    • 7. Color Mixing Basics

    • 8. Common Wash Techniques

    • 9. Three Common Mixtures

    • 10. Layering Basics

    • 11. Exploring Bristles & Brushwork

    • 12. It's All About The Water

    • 13. Working Into Wet Washes & Paint

    • 14. Odds & Ends

    • 15. Colorful Eggs Project

    • 16. Project Birch Trees

    • 17. Project Moody Forest

    • 18. Project Feathers

    • 19. Project Colorful Forest

    • 20. Project Variegated Leaves

    • 21. Project Negative Space Forest

    • 22. Project Three Trees

    • 23. Project Water's Edge

    • 24. Project Friends

    • 25. Negative Space Circles

    • 26. Negative Space Simple Landscape

    • 27. Negative Space Mushrooms

    • 28. Negative Space Mushrooms Continued

    • 29. Veggies

    • 30. Veggies Continued

    • 31. Wine Glasses

    • 32. Coffee Cup

    • 33. Egg Beaters

    • 34. Hand Tools

    • 35. Projects & Recap

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About This Class


Welcome to easy watercolor paintings; the absolute best beginner course for learning basic fundamentals and developing quality techniques.

This watercolor course is designed to start you at the very beginning and ease our way into a series of easy watercolor projects that will make you grin from ear-to-ear. You will be amazed at your results so make room on the fridge for the new artwork!

Lessons are grouped into three sections; getting started, basic techniques and projects.

Getting started: we will go over materials, affordable brushes, paper quality, color mixing basics, prepping paper, resizing paper and good palette management.

Basic techniques: you will learn the three common mixtures, layering basics, explore brushwork techniques, managing water, working with wet washes and various skills.

Easy painting projects: you will put your skills to the test and complete a series of paintings. Each project is designed to use certain techniques and skills. It's a great way to bring all the lessons together and create some easy, approachable artwork.

Need Watercolor Supplies Shared In This Class?

View all materials and purchase links here

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Meet Your Teacher

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Robert Joyner

Making Art Fun


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1. Introduction: Welcome to easy watercolor paintings, the ultimate beginner course for anyone that wants to explore painting with watercolor. Hi, my name is Robert joiner and I've been a full-time artist for the past 12 years. My style is loose and expressive, and I love to paint with acrylics, watercolor, and mixed media. I've been very fortunate to work with many popular brands, such as Kentucky Derby, Carnival Cruise, CBS to just name a few. And I currently have over 12 thousand students that follow me with my online courses. And this class I'm going to share many ideas and techniques for painting with watercolor. Start at the very beginning. And together we will work through each of these ideas and skills wanted a time. Once we cover materials, we will get into some techniques. I will teach you some color mixing basics, some good brushwork skills. You will need to know how to manage water, which is a very important part of what recolor painting, some common washes you will use all the time and so much more. There's a lot packed in. I'm sure you're going through loves all of these lessons. And these are very important because it's going to help you build your foundation. Once you understand the techniques and foundational aspects, we will get into some projects including some colourful feathers, some abstract eggs, simple objects like birch trees, some approachable landscapes to just name a few. So it's a lot of fun. There's a lot to learn. And if you wanted to get started with watercolor painting, let's do it right now. 2. Materials: Let's go over some materials. These are the supplies I used in this class. We will begin with the brushes. All of these are extremely affordable and have lasted me years. The mob brush, this is a number eight Princeton Neptune. This is wonderful for laying down large areas of pigment. So when I need to paint a large area, this is my go to brush that brings us to the Princeton Neptune number four round. Ideal for details and it can do some really good line work as well. Princeton, Neptune number four, round a great brush for adding small details and accents. You definitely want to have a small brush on hand. And that brings us to the last brush, which is the Princeton Neptune, three-quarter inch sword. A wonderful, very versatile brush. As you can see by the shape of the bristles, it can do some very fine Lindberg and some wonderful calligraphic strokes. I also keep a graphite pencil to B and a kneaded eraser on hand. Obviously will be doing a little bit of drawing later on as we move forward into the projects. And now we have paper. I use Blick premium watercolor paper. A 140 pound cold press. Cold press has a little bit of texture to it, as opposed to hot press which is very smooth. I think this is an ideal surface and Blick papers are very durable and very affordable. That brings us to foam core. I will use this for backing. So I will take my watercolor paper to this and then I'll give me a firm surface to paint on. I usually cut these so they're just slightly bigger than the paper on painting on. That brings us to the paint I use Holbein, this is artist grade paint. This is one area you want to splurge a little bit. My colors are cobalt, turquoise, ultramarine blue, surly and blue cad Red Light Alizarin, crimson, yellow ochre, cadmium yellow, lemon, burnt sienna, neutral tent, and then a little bit of whitewash. I've used Holbein paints since the year 2 thousand. I highly recommend them, but any artist grade paint will do. Again, you do want to splurge a little bit and have premium paint because it does make a huge difference and you're colors. That brings us to some miscellaneous items. This is a role of 2-inch archival masking tape. I use that to tape the paper. I have a small MR This is good for having to spray paper. Then also to spray your paints that they dry up and the palate. I recommend having one of those around. Next up is a water reservoir. I have two of these. This is a one core plastic reservoir. I like plastic because I tend to be a little clumsy and if I knock it over and as glass it'll break and that's just a mess I don't want to deal with. Next up is my palette. This is a John Pike deep well palette has plenty of reservoirs which I rarely use. I tend to keep my palate limited to about nine colors. As you can see, I have a large top area there as well. The John pi gives me plenty of mixing area, and I've had this one for about seven years. I highly recommend having an old towel around or you can opt to buy some paper towels. You will need this to wipe out any excess water on your brush. Also, it can really help remove water and pigment from your surface. Then there is the hairdryer. This is good for speeding up the drying time. So I'll will use that as well and some of the demos. So that covers all of the materials. I will leave a link in the description in case you have any questions. 3. Palette Tips: Palate tips. In this lesson, I will cover some ideas on how to get better usage out of your palate. I will begin by putting the colors and the wells along the top will be my main Hughes. And then along the right-hand side there will be my neutrals. I will cover that more as we move forward. It's important that when you put paint in your wells, you squeeze out a lot. Do not be too stingy with your paint. If you only put a small amount of paint and your wells is going to dry up much quicker. So the more paint you put in there, the less likely it is to dry up. So again, do not do this. Go ahead and squeeze out some more and move on. So going over my palette here, starting left to right, I have ultramarine blue, spirulina and blue cobalt, turquoise, cad yellow, lemon, yellow, ochre, Alizarin crimson, and then cadmium red light on the right-hand side as my burnt sienna and then my neutral tent, the white gloss. I do not put in the wells, I keep that separate. So basically if I need it, I will use it straight out of the two. As I mentioned earlier, all my colors are grouped together, so the Blues, yellows, and reds. So that's pretty much it. Now let's look at the top. The top is good for mixing a large wash, but also I use it to tilt my board. As you can see, I will put my palette in there, but stagger in a way that the board is angled down. This allows the paint and the excess water to settle towards the bottom. Eventually you're going to have a lot of water settling there, which is a much better place for it. Then moving back up into the wells of your paint. So always angle your board downwards away from your paint. You can also prop it up with an object. So if you don't want to use the top or if you don't have a lid for it, just opt for something else. But again, make sure that your palate is angled away from your hues. As we move forward, my palette will always look like this. So if you're ever curious about my colours, it will always be set up in the same order. 4. Managing Water And Palette: This is a very important lesson about managing palette and water. And believe me, as we move forward, you will quickly understand and realize water plays a huge role in the outcome of your art. The first thing we'll talk about is avoid excess water a build up in your mixing area. We did touch on this and the previous lesson, but again, I want to remind you that your mixing area is important. You always want to have full control over how much water is mixing with your paints. The next thing is, always be aware of how much water you're brushes absorb. So basically I have a mop brush. And whenever I dip that into water, is going to be fully loaded with water, which is good because let's face it, in order to paint a, well, your bristles should be wet. It's the only way they're going to absorb pigment and water. So this is a dry brush and you would not want to dip that right into your paints when it's 100% dry. If you wanted to work effectively, you want to wet it and then tap out the excess water, will talk about that more in just a moment. Obviously, the larger the brush or bristles, the more water is going to hold. As you can see, a lot of water building up in the palm of my hand. And if I were to put that brush MI wells, all that water would discharge into my colors again for best results, wet it and then use your tau will or paper towel to remove the excess water before going to the palette or paint. This seems like a very simple lesson to learn, but it does take a little bit at a time to form these habits. So use good technique and always remember, water can easily invade your colors in your palette, making it difficult to paint effectively. Bad technique. So again, you'll see my brushes fully loaded here and look how that water is already starting to pool up. And to that well, and that she has one brush full of water. Imagine doing that over the course of an entire painting, a mess. So I will repeat myself, clean the brush or get water, tap out the excess water, and then you're ready to mix paint. Always pre whet your brushes and avoid bristles that are 100% dry. You will notice that your towel or paper towel will start to build up a little bit of excess pigment there, which is normal. But your palate and paint are in great shape. 5. Prepping Paper: In this lesson, I will cover how to prepare your watercolour paper. As you may or may not know. Watercolour paper tends to buckle and warp when it gets wet. Perfectly normal and all paper does this in order to avoid some of the buckling. We want to stretch it, this will help reduce some of the warping and give you a little more control over your washes. First, you want to use clean water. The largest mop brush that you possess. Again, let your brush is nice and saturated and this is where some excess water and your bristles isn't going to hurt you. The goal here is to cover the entire surface but avoid too much water. The goal is just to wet it and not Ford to puddle or pull up. Also, you want to do the front and the back. This will give you the best results in the least amount of buckling, which is pretty much what we're after in this lesson. Once you're finished, let it dry. A hair dryer works well right here. So if you have one handy, use your hairdryer to speed up the drying time. Now this paper is 100% dry. It's been stretched and I'm ready to go. I will use some archival tape and tape that to my foam core. Some artists like to go around all of the edges with their tape, which I think is fine for finished art buffered smallest studies and the things we're doing in this course, I'm just going to tape my corners. Sometimes I will roll the tape up and then put that underneath the paper as well. So what's hidden? Now I'm ready to paint. So all of the demos that I do in this course, that paper will be prepared this way. 6. Resize Large Sheets Of Paper: Let's talk about how to resize large sheets of paper. I tend to order full sheets of full sheet is 22 by 30 inches. So that's pretty big. I don't often paint that size, but when you buy large sheets of paper like this, you tend to get a better deal than buying very small sheets. So again, 30 by 22. And what I will do is fold that on the long side. Once I fold it, I'm going to crease it firmly with my fingers. Once I had the first side Don, I will fold it and then do it in the opposite direction. Again, crease it and press it firmly, which will help me when I'm tearing the paper later on. Repeat this process a few times until you feel you have a really good crease. Once you're done, tear it very slowly. I tend to hold my hand right there, the crease that will be the left hand. And then use my right hand to pull slightly until the paper starts to tear. So this is a really good way to take large sheets and reduce them to smaller sizes. Now I have Q half sheets, they are 11 by 15. I will reduce that to quarter sheets. So folding it in half along the long side there, I will end up with 211 by 15 inch pieces of paper. Again, repeating that process, making sure I get a good crease. And then pulling ever so slightly until that paper starts to tear. And I end up with these really nice rough edges. So those are my quarter sheets. And I'm going to reduce those again, folding it on the long side and then repeating the crease process, I will end up with 2.57 by 5.5 sheets of paper, which is what I will use for my demos. 7. Color Mixing Basics: Color mixing basics, a very important lesson to understand some basic color theories. I will start with introducing you to the six primary palette. Back in grade school, they told us there were only three primary colors, but truthfully to mix color, well, you're going to need six, basically. Not every blue and yellow make a good green. We'll prove that later on. Let's turn our attention to the chart i have drawn out. So I have my circle and up top I have a smaller circle. The y will stand for yellow, the R will stand for a red, and of course the B stands for blue. So I have a smaller circle for each of those primary colors. And I've drawn a line down the middle. On one side is a C, which stands for Kool, and the w on the other side will stand for warm. More on this as we move forward, you will always start with a clean palette. If you have other colors on your palate as going to taint are Hughes. We don't really want that for this exercise. Let's begin with our yellows. Again. We had the C on the left and a w on the right. On my palette, I have two yellows. One is a yellow ochre, which I am using right now. The yellow ochre is a warm yellow. And the cad yellow lemon, which I am using now is my cool yellow. And you're asking, well, why is that? That's because yellow ochre has more red in it. So when you compare that to the cad yellow lemon, you can kind of see that. So that makes the cad yellow lemon my cool yellow, which I will put in its appropriate place, and then I will clean my brush. This will give me more control and the best results. Now that it is clean, I can use my yellow ochre. Be sure to leave a little gap in between the hues. So we don't want these Hughes to mingle with each other. We want them to stay separate. So now we can compare those side-by-side and see that these are both yellows, but they're very different. This will come in handy later on. Now let's look at our reds. I have Alizarin crimson and cad Red Light. My Alizarin crimson will be my cooler, red. And that's because it has a little bit of blue in it. I will place that Alizarin crimson, where the sea is. Am I read swatch area? Then I will take the cad Red Light and place that MI warm swatch area again, leaving a little gap in between so that they don't mingle. Now we come to the blue's, my two blues or ultra marine and Cerulean Blue. Ultra marine. I'm pointing at now is my warmer blue. And that's because ultra Marine has a little bit of red in it. So I will mix up a thin wash of that ultramarine blue and then add that to the W where the blue swatch area is. As you know now, I will use these Cerulean Blue, which is my cooler blue, and then add that to the c. As we look at these primaries, we start to notice a difference between all of these, Hughes, even though they may be reds and blues and yellows are all different. So these are the six primary Hughes I will be using in this class, which also happened to be the main colors I use all the time when I paint. Now let's do the secondary hues, starting with orange. And order to mix the best orange, I will use my yellow ochre, which is my warm yellow, and then my warm red, which is my cad Red Light mixing and equal amount of these two will give me a good start. If I need to adjust the color, I can always add more yellow or more read accordingly. So that will give me my orange, which I am adjusting here and then I can move my violet. So to mix a good violet, I want my cool red, which is Alizarin crimson, and my warm blue, which is my ultramarine blue. I will mix an equal amount of those and do the same thing. Oh, put my swatch down and if I needed to adjust that, I will just simply add either more blue or more of the Alizarin crimson. So now for my optimal green, I want to mix my cool blue and my cool yellow. So my spirulina in blue and my cad yellow lemon should do the job just fine. Again, an equal amount of these. And if I need to tweak it, as you know now, you can just add a little more blue or a little more yellow. So by using the correct primary Hugh, we were able to mix these secondary colours. Now we have tertiary Hughes. So these are colors in between the primary and secondary colors. So we will start with our orange and we have a yellow orange. So basically I have my base orange there. In order to mix a yellow orange, I will just simply push a little more yellow ended that mixture. And then I get to my red orange. By now, I'm sure you're getting the hang of this, but I'm going to talk my way through it so I don't leave any guesswork for you to figure out on your own. I'll add a little bit of my cat red light to that base, orange until I get something that pushes it more towards a red orange. Now I get to my violets. I'll want a magenta, which is also considered a violet that has a little more red in it. So well, to push that more towards a read, I would just add Alizarin crimson To make a blue violet. I will just simply push that by adding more ultra marine. That brings us to our greens. So I'll want a blue-green, so we'll add a little more spirulina in to that base green. And that'll give us a beautiful turquoise color. And then a Lamy yellow green by adding a little more of the cad yellow, lemon. So those are the best tertiary Hughes we can create. But no, none of that will be possible unless we used the six split primary color mixing theory. I was a mouthful. Here I'm mixing ultramarine blue, and yellow ochre. That simply doesn't make a good green. It makes a good gray, but not a good green. Little green spots up top. I used spirulina in and yellow ochre, which didn't work too bad if you want something a little more earth year and gray. So now let's try a violet. I'm going to use cad Red Light and ultramarine blue and yuck, the head is a lovely gray, but certainly not a violet. So those are some tips on how to mix colors. And I hope that serves you well as you move forward through this course. 8. Common Wash Techniques: Let's talk about common washes. Watercolor is basically a series of washes. That's what we call them in this business. Here, I have drawn out some rectangles. Each one will be a slightly different wash technique. Now i'm going to angle my board downwards using the roll of masking tape multipurpose materials. If you have it flat, the wash tends to sit on the paper, which isn't ideal because you can't get a good BDE gone more on that later. So the first technique is the wet and dry wash, and this case the paper is 100% dry. I am using wet paint obviously to apply that to the first rectangle. Notice, because my board is tilted, how the water starts to bead towards the bottom of that wash. And with each brushstroke allergist join to that bead or the bottom of the wash and guide that in the direction that I want it to go, which is downhill. So if you do this correctly, you should end up with a nice even flat wash. So that is washed number one, again, working on dry paper, wet and wet wash is basically where you're dealing with a wet surface. And this case I'm just using water to pre-web the rectangle. And this example, I will use my cobalt turquoise and a very thin mixture here, which we will talk about later. And then use the same technique. So starting at the top and working downward with each new loaded brush will a paint. I will just simply go to the bottom of that bead and then work downwards. Again. If you do a correctly, you should end up with a nice flat wash. So that is working wet into wet. Very similar to wet and dry, but with a wet surface, the paint tends to disperse quicker than working on a dry surface. Now again, these are flat washes, so there is no variation of color or gradation going on. So basically one color and that's it. Now let's talk about a variegated wash. So a variegated Wash means you're using two or more colours. I'll begin with a dry surface. So I haven't pre-web set this particular rectangle. And using Alizarin crimson, i will start forming my bead and working side to side. Now I'm going to mix a little bit of the turquoise. End to that, again, starting with the bottom, notice how I'm joining the bottom of that wash with each new loaded brush, I can blend that back and forth. It's okay to work into wet paint like that. Again, we will talk about these techniques much more as we move forward. And I will end with a little more Alizarin crimson. So as you can see, that technique was the same. The only difference was I use more than one HW. Now let's talk about a great aided wash. This is when you have multiple values and a particular awash. In this example, I will have a darker value towards the top of the wash. And then it will get lighter as it goes towards the bottom. You can use multiple colors on this, but to keep it simple, I'm going to use only one. Now will opt to use a little bit of a violet color, which is ultramarine blue and Alizarin crimson starting at the top. And again, this is a dry rectangle, so I'm not working into a wet surface. This is a dry surface, but this can be done on a wet surface as well. Now as I get to the bottom of the rectangle, I'm going to add more water to my base mixture and that's going to give me a lighter value. So even with that subtle change, you can start to see how this wash appears a little bit differently than the, say, the flat wash. Now I want to increase the value towards the top. So I'm going to mix up a little more violet. This time there is a less water and more pigment into that particular mixture. So I'll start at the top and then lightly blend that towards the bottom. As I get to the middle, I can add a little more water to my brush and then blend that out as evenly as I can. That is a gradient and wash. I'm having a tape to the board as I do here, allows me to tilt it and whatever direction that I want the wash to move in. So here we are. We can look at all of these common washes. I do recommend that you grab a sheet of paper, a few hues, you create a similar wash study. That way as you move forward through this course, these things become a little more familiar to you. How you handle your washes will have a huge impact on your watercolor paintings. 9. Three Common Mixtures: Common mixtures, there are three you need to know about. Let's talk about how they work and how they will impact your artwork. The three labels I give them, our tea, milk and honey, things we all are familiar with. And each one is slightly different. So this began with the very first one which is T. So T is very watery. So when I'm mixing a t mixture, I want to use more water and less pigment. And this case I have a lot of water and a little bit of CAD red light. So that is very, very faint. You can barely see that hue on the paper. Now let's talk about milk. So milk is a little bit thicker. And in this case I'm using more pigment and a little bit less water. And that brings us to honey. Honey is very thick and very sticky. So a little bit of water and a lot of paint. And that's going to give us the three base mixtures you need to know about. Each one has its own purpose. And a really good painting has all three. So again, as a reminder, T has more water unless pigment and makes it ideal for a sky or an area where you don't want a lot of color or a very rich value. We will talk about that more later on. Milk has less water and more pigment, as I mentioned earlier, more color, a little more saturation going on and very useful for building up a painting. So when we get to honey is extremely saturated and it tends to show the texture of the paper a little bit. So you can see the little white specks peeking through some of that paint. So with a t mixture is very transparent. So you can typically see through that layer with a milk mixture is going to be semi-transparent and obviously a little more colorful. So you lose a little transparency, but you gain a little color out of it. With the honey mixture, you're dealing with a very opaque layer of paint. Typically, you're going to use all three of these mixtures and every painting. So a painting is built in layers. One layer stacks on top of another one. It's important to get the order correct. Typically, you will start with a key layer. And as you know, these are a very watered-down and ideal for tone in the paper. Or adding a very light value to a Sky or something of that nature. So usually you're going to stack then two thicker layers. So if you start with a really thin Tea mixture, the next layer will be slightly thicker and you will get that by adding a little more pigment and using a little less water. Now this would be a good place to use a hairdryer. So if you put down a t mixture. Use your hair dryer, speed it up, and then you're ready for the second layer. And as you know, this would be slightly thicker paint. So I want to avoid a really water down t mixture. If I start stacking too many of those on top of each other, that painting will start to read week. We will discuss that a little later in this course. So as you can see, my Violet is a milk sort of mixture. So I can put that down and it reads really well over top of that first layer of t. So I will move that over to the right. And then I'm going to use a little bit of water and my brush. Blend that into the left-hand side of that milk mixture by adding that water to that mixture, is basically stacking two key layers on top of each other just for comparison. Now I will use a hairdryer to speed up the drawing. For the third layer, I'm going to mix up something close to honey. No, it doesn't have to be honey as long as as slightly thicker, it usually works pretty good. So in this case, I'll just use a nice dark green and layer that over top of this section on the right here you can see how all of these layers read well. And this is basically an overview or an exercise and how you want to stack your layers. So again, slightly thicker as you go, tends to work better in most cases. So let me show you a bad example here. I'm going to put down a t mixture of cobalt turquoise. Again, you can see it's about the same as I used in the beginning with the CAD red light. Again using a hairdryer to speed up the drying time. Now, instead of going slightly thicker, I'm going to use a very lottery mix of CAD red light. It'll go along pretty good. It doesn't really bad. But no, as watercolor dries, it tends to dry a little bit lighter. Just for demonstration purposes, I'm going to add some swatches here. So the first watch is the blue, which is basically the T mixture I used in the beginning. I let that dry and then I added a swatch of the cad Red Light, which I put over top of that dry blue. So as you can see, it's not too bad. So to mixtures like this can work, okay, but as I add this third layer, which is a violet, It's going to start to look washed out. Subtle contrast may work well in some cases like a background. Well, you wouldn't want to build your entire painting around this. So ideally, you would want the paint to have more variety. So having some key mixtures is fine. But if you start stacking too many of those on top of each other, it will just look washed out. So just be a little bit careful as we start getting into some of the projects later on that you're not using too many thin mixtures. And just for comparison, I'm going to do that same little study, but this time builded up using thicker paint as I go. Again, it's good to have that comparison. So trying to match the Hughes, I started with my week, cobalt, turquoise. And now I'm going to add a little bit slightly thicker layer of red. Again, there's my swatch, so we can kinda compare that to the other swatches as well. There goes my read and already you can see that particular awash has a little more body to it, so it's a little bit easier to read. Obviously, I'm using my hair dryer here just to speed up the drying time, just so I can stack these layers more quickly for you. So once this is dry, I'm going to add my violet and this is a little bit thicker violet. So when you start looking at my swatches, you can see the difference. So stacking two layers is okay. I think it'll work fine for most cases, but avoid, again, building your painting around a bunch of thin mixtures. Once you get into the 34 key mixtures and a painting, that then it tends to just kinda fall apart a little bit. So it was not enough variety and value there to make it interesting. So thin to thick is kind of the rule of thumb we want to use. Now for your project, you want to create a similar study. Explore a little bit of the key milk and honey ideas. Create some small swatches and just stack on so that you start to build up that connection with the different mixtures and how they read on the paper. 10. Layering Basics: Working light to dark. Another good idea to consider and put to use when watercolor painting. And this lesson, I will give you several examples of what I mean by working light to dark. I will begin by putting down a mixture of cad, yellow, lemon. Again, that's going to be very light and value for two reasons. First of all, cadmium yellow is a light value. And then also a t mixture is very weak, as you already know. So you're dealing with a color that's inherently light. And then 80 mixture which will dilute the color even more. Now this is a little bit different from what we just discussed, and tea, milk and honey. And that's because we're going to focus more on a colours value, which as we move into this lesson, it will start to make a little more sense to compare the cadmium yellow to something else. We're going to mix up another T mixture of burnt sienna. So I'm using about the same amount of water and pigment as I did and the cad yellow. And lastly, I'm going to put a swatch down, again, a T mixture, Alizarin crimson. And now I will take a hair dryer to it to speed up that drying time. And the main thing we want to observe here is that the cadmium yellow lemon is a very light value. So even though I use the same water to pygmy ratio on all three Hughes, the cad yellow is just simply a lighter value and color. So let's talk about value for a second. To do that, I'm going to use my neutral tent. And I'm going to create a swatch or a value scale on the left-hand side of the paper. And it's going to work from light to dark. Obviously the lighter value is towards the top and then the darker value is towards the bottom. So that cad yellow lemon value is towards the top of that scale. So pretty much one of the lighter values you can probably mix with a color. The burnt sienna is just below that. And I would say the Alizarin crimson is in between the two. So the cad yellow would be the lightest, then the Alizarin crimson, then the burnt sienna would probably be the darkest. So again, just because you mix a t mixture doesn't necessarily mean that you have a light value. As I add a little bit of burnt sienna over the yellow, you will see it's very effective and that's because the yellow lists so pale. So if I did another layer over the burnt sienna, which is Alizarin crimson and about the same water to pigment ratio is not as effective because at burnt sienna was simply a little bit too dark. So I'm letting you know this stuff because it's important to understand that each color has its own personality and colour characteristics. Oftentimes, we will get in a habit of mixing the same amount of water with a little bit of pigment. And we think we have a t mixture. And because it's a T mixture, we have a light value. But if you're using a color that simply as darker and nature out of the tube like burnt sienna or even Alizarin crimson. Then we have to water that down even more. Where other colors like cad yellow light is light anyway. So a little bit of water will go a long way and making that a very pale wash. So again, you have to remember a watercolor painting as a series of washes stacked on top of each other. And in the end, we want to have a painting that works well. And part of that as just understanding the natural value of a color. And he wants to use lighter values in the beginning, seeking stack darker values and thicker paint on top of them. When we look at cad yellow, lemon, that may not be an ideal color to use and late stages of a painting because it's so light and value that is not going to sit while over thicker and darker values. Over time, you will start to develop a better connection to your colors and how much water it may need to get it to a certain value. So for your project, I would recommend you do a similar study. Just use the colors you have when you're palette. Do some splotches and tried to mix up some really light values that you will use for an initial wash. And take notes and observe how each color is slightly different than the next. The ultimate goal is to have more control over a colours value. And in order to adjust the value, you may have to decrease or increase the amount of water you mix into the pigment. 11. Exploring Bristles & Brushwork: Now let's have some fun exploring brushes and in brushstrokes, each brushes very different, but there are some similarities that you need to know. So here's my big old mop brush. I've got my pointed around, my small pointed round and then my sword brush. This began with a large mop brush. Obviously, this is suited for large areas. It has a huge belly on it and it can hold a lot of water and pigment. So a loaded brush means is holding the maximum amount of water and pigment. So whenever you have a brush like this and you fully loaded, it can really cover a lot of area. Now, I can use either the tip or the belly, the side of the brush. So there I'm using the side of the brush. I can hold it more upright and then use the tip to create these more calligraphic sort of strokes might be nice for trees. Adding texture to a building, some details, different things like that. Let's explore the same thing with the number ten round, which is suited for small washes and details. So I will load it up. So again, loaded means I had the maximum amount of water and pigment and the bristles, and then apply that to the paper. Now notice again I can use the belly or the size of the brush, which will give me a broader stroke, which obviously we'll call it, cover more area. And the tip of the brush will create finer details and thinner lines. I can hold the brush more upright, which I know I'm covering up my strokes, but this will create these nice linear strokes. I can do that sideways, I can do that vertically, whatever works. So again, using the size of the brush to create a different type of stroke works good. And then using the point or the tip of that brush to create details. Obviously, a brush like this is suited for more detailed work and smaller washes. So that's going to work better than, let's say using a mop brush for details, which wouldn't really be ideal. Now let's look at the number four pointed round. I'm dealing with a much smaller belly. So it's very thin. So ideally, we would want to use it for more details. So I can load a brush up like this and create a series of lines is good for adding accent colors and things like that. Note with all of these brushes on not just using one part of the bristle, I'm actually using the tip, I'm using the side, and getting a variety of brushstrokes. So each brush is very versatile. You just have to get out of the habit. If you're N1. Of using it the same way. So get familiar with applying paint with different parts of the Brussels. Here you can see I'm adding some small areas of wash. And then using the tip of that brush to get some details. But the brush like this is fun to add little dots. So if you're trying to add new leaves or some sort of texturing going on. This would be the ideal brush to use. So again, Number four, pointed round is a lovely brushed to have at your fingertips. And it can certainly do much smaller strokes in detail. Then let's say at number four pointed around. But then again, we wouldn't want to use it to put down a large area of wash either. Here I'm painting a couple of telephone poles here, and I'll use the tip of that brush to ask some wires and things like that. So just a little demo here to just show you the versatility of these brushes, kinda what they're suited for. And then you can kind of explore these things on your own. That brings us to the wildcard, the three-quarter inch sword. This is a fun brush to explore. We got the really fine tip, which is suited for a thin calligraphic lines and strokes. And you're going to find that's pretty handy. And most of you are painting subjects. We've got the side of the brush which can create these really unpredictable, uncontrollable, almost sort of strokes and results. Again, ideal for a lot of things. So if you're doing a trees and we're just trying to add some texture to the ground. And you don't want it to be too uniformed or predictable. This is a great brush to work with. I've started using the sword a lot the last three years. And I just find it just a very, very handy tool to have around and I use it and every single painting. So if you'd like to do a thinner line work, if you're doing subjects that require things like that, that is great. If you like to do strokes or beneath strokes that are somewhat irregular. They're good for that too. So here you can see I'm showing you the tip of the brush. Then I can add all of these nice little detail of strokes. And then of course, you know, I used abroad side of it as well, put down larger areas of pigment. Knowing the versatility of your brushes is key. A painting is basically a series of brushstrokes. So knowing that you have a lot of ways you can use a brush is important on that way it gives you and you're painting more entrust. So when you're using a variety of strokes, it looks more interesting than just using the same sort of stroke with different brushes. So again, we've got the belly of the brush. We've got the tip of the brush. Be sure to experiment using all sides of it because this is where you'll really start to and Joy and embrace applying paint and getting some fond, spontaneous results. Alright, so for your project, I want you to create a similar chart as I did here and enjoyed getting to know each brush and how versatile it can be. So that way when you get to painting, you have more familiar equity with strokes and the range of strokes you can make. 12. It's All About The Water: It's all about the water. Believe me, the more you understand how water effects watercolor, your brushes, the better off you are. So remember these exercises, tea milk, honey, using water to dilute the paint. We're going to do something similar, but we're going to do in a few different ways. I will do a few swatches. I'll do some Alizarin crimson and then put it down on dry paper. Now, dry paper is very thirsty. So what's going to absorb that water and pigment off of the brush? It's going to literally pull it out of the Brussels. Again, that's dry paper. Now I'm going to take a loaded brush that's loaded with water and pre-web an area on the paper. Now I'm not going to over what it I'm just going to dampen it a little bit. So it's wet, which means there's already a water there. And once you put the same wash end to that paper. Now the observation is slightly wet paper isn't as thirsty as the dry paper is still absorbent, is still going to take the paint. But it doesn't extract it as quickly because it's not as thirsty, all right, because it's already wet. So two scenarios there of painting on dry paper and wet paper. Now for both of those examples, my brush was wet or damp, so wasn't overly wet. And we talked about that earlier when we said, hey, what your brush, but tap it out a little bit. You don't want all that water on the paper or palette. Now with this brush, I'm not gonna do that. So I'm going to let it, but it's going to be a little bit sloppy. So I didn't really take any of the excess water out of it. Now, I may have some issues on the palette where things are piling up. But as far as the papers concerned, when I apply it to the dry paper is going to still slurp it right up. So that's because the paper is very, very thirsty, wants that moisture is going to extract it. Now if I use the same very, very wet brush into an area that's already pre wet, which is what I'm going to do now. Notice how it doesn't really slurp that pain up as much. It tends to kinda puddle up a little bit. And what we're slowly observing and learning here is that how wet a surface or a brushes will greatly impact which way the paint or water is moving. So in this case where I had a very, very wet brush and very wet paper, the paper almost started to reject the paint, almost like there's a battle going on over which one wants to refuse the paint more so, so fully loaded and wet brush wants to discharge, get rid of the water and pigment. But if you have a wet surface is not going to accept it. But we'll do the same idea. But this time with slightly wet paper. And just to be clear, the paper isn't as wet as the condition that I just did, but I'm still going to use a really loaded brush. But the paper accepted the paint better. And that's because the paper was drier than the fully saturated brush. So one of them was ready to accept the paint more so than the other. Again, this is all about understanding how water works. Basically, when the paper is drier than the brush, it's going to pool water and pigment from it. Simple as that. So just to compare that to this scenario, I will start with a very wet swatch. So again, completely saturated and kinda piling up on the surface here. And then I'll add some very, very wet paint to it. And you will see the paint does tends to puddle up as it did before. So we did a very similar swatch. So when both of them are equally wet or overly wet, makes a really bad environment or condition to pain in. So let's watch as I remove the moisture from my brush, it will extract paint from the paper. So yes, water does move uphill and in the right environment. So that just shows you if the brush is thirsty, if is drier than the paper, then it's going to actually pull pigment from it. It just like if the paper is drier than the brush, then it's going to pull pigment from the brush. And remember that brushes need to be slightly damp to work well. Dry paper can accept paint at any point, but a dry brush, this doesn't release the paint very well. So make sure you have a damned brush, but always pay attention to the conditions. Pay attention to how wet your surfaces and how what your brushes are you trying to extract paint? Are you trying to put paint down if things are too wet, you may have to let it dry a little bit to add more pigment. To explore these ideas, I recommend creating a similar study. Kinda go back and forth with really wet paper, really wet brushes and just note how the pigment reacts in certain conditions. Try really wet paper in a very dry brush to understand how it extracts paint and certain conditions. Okay, I hope you enjoyed the lesson. I'll see you in the next one. 13. Working Into Wet Washes & Paint: In this lesson, we will be working with wet conditions and learning a lot about timing, when to add paint and when not to add paint to a wet wash. To do that, I will begin with a flat wash. I will use my good old mop and some Alizarin crimson for this exercise. I'm not going to overly wet the paper. I will say this is like a t mixture applied to the surface. So I'm not trying to push it in any direction whether it be too dry or too dark, district good ol average wash. Now I section off the area on the left hand side that is very wet because I just applied the wash. Now I'm going to immediately add paint, a team mixture. Note too that wash. So this blue is a very thin mixture into the wet Alizarin crimson. Now, when I work into that wet wash and I do it quickly is fine. You just have to know that because I'm working in a wet environment is going to disperse quickly. So it's going to really dissolve that T mixture to a point where there'll be a subtle change, but it won't be too much. Now I'm going to mix up a milk mixture and then add that again to the wet wash. And note how the milk mixture doesn't dissolve as much. So the paint, the wet paper, I should say, has a more difficult time kind of eating into the thicker paint. And now the last swatch there was honey. So I added a very thick mixture into that wet paint, barely dissolved it. Now, when we look closely at it is going to have soft edges. But it didn't really dissolve it as much as of course, the team mixture. And it didn't dissolve as much as the milk mixture. So the thicker the pain is will determine how much dissolving or dispersing you get. So a thin mixture again is going to dissolve and disperse a lot and then the thicker paint, not so much. Now as I've done this demo, the middle area has dried quite a bit. So it's probably about 50% dry. So I'm going to repeat the same three mixtures. Okay, again is slightly drier. Timing is everything. So Bob mix up a t mixture and put into this area. Now, what's going to happen is it's going to start to cauliflower. So I waited too long to add the key mixture to the slightly drier paint. So when you're doing a thin layer like this, and then you add a thin layer to it that's mostly water. If you're too late, it's going to start to balloon and cauliflower. So you'll get these kind of funny-looking watermarks in your washes. Now I will add the milk mixture, so a slightly thicker paint go on into the surface here is still semi dry and notice it works fine. Ok. And that's because it has less water. So the t mixture kinda started to cauliflower and that's because the water is moving the paint now where the thicker paint didn't really had that same impact. Now if I add honey through that, that works fine as well. Again, it's going to have soft edges, but the edges are going to be harder than the first one. And that's because the paper is a little bit drier. For the last swatch, know that the paper is dry. I mean, that is probably 95% dry. And it's going to respond differently. Then the semi dry or very wet paper and the previous swatches. So starting with my thin team mixture, I will add that to the bottom and notice no Kali flowering gone on. So again, timing is important. So with paint that's almost dry, you can add a T mixture over it and it's just going to sit on top. And notice the edge quality to the edges are very hard as opposed to the very wet conditions. The milk mixture is fine, but because the paper is pretty much dry at this point, I'm going to have very hard edges. And when we look and compare those to the previous examples, you will kind of see how the edge quality is impacted by the wetness of the paper and the wash. Now honey, as you know, is going to be very stiff and it's going to have very hard edges. At this point. It will probably show some of the texture of the paper. So again, timing is important when you're dealing with a wet wash and you want to work into it, you have to know where you're at on this scale. When the wash is wet, you can certainly work into it just fine, whether it be tea, milk or honey. It's not going to have a huge impact or negative impact on the results. This is probably one of the more challenging aspects for beginners, is getting their timing, right. So working wet into wet with no delay shouldn't be a problem at all. So I just showed you that again real quick and that little demo. So in the next example, I put my swatch down and I'm going to semi dry it. So we're going to get it to a point where it's say, 50 to 60% dry. And because it's a very thin wash. You have to know when it's at this stage. If you go back into it with another key mixture, is very risky. If you go back into to the stage, you will want to use slightly thicker paint so that you don't risk Kali flowering, getting those watermarks that are oftentimes undesirable. Again, thicker paint, you have no problem going back into it. Alright? And also know that as you work into wet paint, the dryer, the washes, the harder the edges are for the paint that you're applying. So that's a really good lesson on understanding how to work into wet washes, something you're going to do a lot as you move forward with watercolor painting. So have a look at my results here. And then for your project, create a similar wash study, experiment with different conditions. Tried to create Kali flowers so that you understand why it's happening. And then tweak your timing and tweak your mixtures so that you understand how to avoid them. So good luck, have fun, and I'll see you in the next one. 14. Odds & Ends: Let's talk about some odds and ends. Various techniques that you're going to want to use at least know about as we move forward, I will go ahead and put a swatch down. Now you've kind of seen this before, but I want to make sure you understand their proper technique on how to use it. So again, a whitewash. Now once you lift or remove some of that wet paint, a good way to do that, simply to use a brush. You could use a paper towel or a napkin, but in this case, I have a damp brush is not saturated, is only dance. So I'll let it, I tapped it out. And because it's drier than the surface of the paper is going to extract that paint. So an easy way to lift, which you will wanna do. And then let me show you the bad technique. So this is where I have an overly wet brush. As you can see, the water is dripping off and I'll go into that wet paint that's going to create the Cali flowering. So the water is going to eat into that paint and you will be left with watermarks. So try to avoid lifting with a brush or any sort of material that is too wet. I'm sure by now you know how important understanding water is to the success of your painting and all of these techniques huge. Now let's look at softening edges. Occasionally, you will apply stroke or two and the edge quality is just a little stuff. And in this case I'm just putting down a little bit of bread and just some other random color here. So the paint is still wet. But notice the both edges are extremely hard. Now my desire is to soften those edges. I have a damp brush, but it's not excessively wet. Again, as you probably already know, this is the ideal situation for removing or softening edges. So that little bit of moisture and my brush is going to soften the edge and just get that paint to loosen up a little bit. Now with an excessively whet brush. I've got a bad situation all my hands because all that water is going to discharge into the paper. And that's because the paper is drier than the actual brush which was really wet and you know, which way the water is glimmer Ron and that environment. The last one is scraping or scratching into paint. You can do this with wet paint. You can also do it with dry paint if you have the right material. So basically in a situation like this, maybe you want to create some texture or maybe you just want some sort of detail in your painting. So I will put down an area of pigment here. Again, just a random color is not overly wet. But notice that if you scratch into a too soon, while the paint is really wet, it may backfill into that grew. So when you scratch into the paint, what you're doing is you're basically creating a little groove and the paper and obviously wet paint will want to go back into that groove. I'm going to speed up the drying this a little bit here and get this paint words semi dry. And this is a really good condition to scrape. Now I can use my fingernail and scratched some marks into the paint and it's less likely to backfill. Another thing you can try as an exact DO knife. And this will give you some really fine lines. Now that pane on the right-hand side is very dry. But notice how it lifts and scratches that paper and adds a little texture. So that's lifting, suffering edges and scraping or scratching. And to paint three odds and ends you will probably use. And you're watercolor painting. So I'll create a similar study using these techniques that way. When it comes time to needing them, you know exactly how to do it. 15. Colorful Eggs Project: Welcome to your first projects, colorful eggs. This will be a lot of fun. You're going to explore color. You're going to explore all of these techniques we've been learning. So I'm going to create a series of four lines and then fill those up with some eggs. Obviously, my eggs are imperfect because I want some different sizes to explore. This project is great for exploring. Remember the brush strokes we talked about earlier, where we use different parts of the brush to create different variety of lines. That's what we wanna do. In this lesson. The first row I will dedicate for my Mach brush and I will apply some key mixtures so very thin. And again, this very random. Now remember this lesson about water. I'm keeping all of these things in mind. So how, what is the paper, how wet the brush? So as I add layers, I need to remember that timing is important. So I want to avoid ballooning. Now, want to have control and at least explore these different conditions. So here I'm using some neutral tent, some random colors. And as I get into it, I want to think about some of these different wash varieties to so the gradations, the flat washes, variegated, just mix and mingle all of these different techniques into it. There I'm working into the wet paint, adding slightly thicker paint. And again, going back into the red eg, adding slightly richer pigment into it. And remember, if my telling me is incorrect, then I'm going to start to get that cauliflower going on. So ideally, I'd want to end this project with some interesting looking eggs, but I don't want the technique to be poor aren't won a bunch of Kali flowers and stuff going on. Now, again, just working back and forth the 1-sum variegated eggs, don't want some gradations, different things into that. And now I can work a little bit more wet into wet. So to do this, I can use just random pigments and just mix into the wet paint. Knowing that if I do it at this stage is going to be pretty safe because all of these washes are still very wet. Now I'm going to switch to a smaller brush and I'm going to try lifting. So the brush was damp. And I just want to again experiment with that technique. Now I'm going to let that dry a little bit and then go down to my second row. And I will dedicate that to my number ten pointed round. Notice how I used a series of lines. They're working back and forth to create a shape of the egg. Here I've painted a big o. And you can see as I get further and further into this exercise, I'm kinda doing things more randomly and spontaneously. All the while trying to use good technique, timing, the amount of water and so on. But again, mixing colors, dropping different pigments into it is kind of a great exercise to explore color combinations. Because painting and learning sometimes can be so rigid is good to have these really expressive projects to do and exercises debt. Well, just kinda losing you up a little bit and bring a little bit of that spontaneous energy and fun back into the creative process. Again, this, these washes are still wet enough that can work into it with even key mixtures or milk mixtures or even thicker paint. With my number four pointed around, I will do another row, again doing the same thing. Now I'm experimenting with dots. So instead of painting a flat wash or agreed aided wash, basically filling the egg and making the shape using dots. Now I can use a series of lines and so on. So just having some fun getting familiar and exploring brushwork, letting the colors mix a little bit. Again, a great way to explore and discover a lot about painting here without putting a lot of pressure on yourself. There was nothing but dry brush. So I use a damned brush and very little water into that red and created that dry brush egg. So I'm backing that up with a thin layer of blue. And all the while trying to just come up with more ways and fun ways to paint the egg using some diagonal strokes. They're getting used to using that small pointed round for lines is wonderful for adding a linear interests key or art. And here just kinda working that gradation quickly with some orange. And now again, that paint is really wet. So it's the timing is perfect to work what into wet. That's fine. I won't do it with every single one. I want each one to be a little bit different, but feel free to explore and do whatever feels right for you. Here I'm dropping thicker red paint, enter that blue. Just observing how that thicker paint doesn't disperse as much. So tends to hold at that shape, that brush stroke a little bit more. And now I get to my wildcard. One of my favorite brushes, and that is my sword. Now this one's a little bit harder to control. This flimsy. It doesn't have that snap back that a good point at around has. But that's what I like about it. There are times when you don't want to control every stroke and you're looking for something a little more abstract and random. So here just exploring some curly lines, little curlicues, dropping thick pain into it. And just having a good time just getting to know the brush a little bit. And of course exploring and trying to refine techniques and timing. So then washes thick Bosch's mix and matching paints. Not every egg has to be colorful and beautiful. Some can be gray, dark, sketchy, that sort of thing. Here, you know, experimenting with short lines, long lines, and whatever else suck and come up with. But the main thing I want you to explore as just no good technique and just getting familiar with putting paint down and getting the timing right. And all the things that we've talked about up to this point, there's been a lot of information thrown at you. So experiment with this, putting really dry paint down that thick honey mixture, dropping water, this really thin mixtures into it, seeing how it mingles. Because that's a huge part of being a beginner is just getting familiar with the medium itself. So now that the eggs are mostly dry, I'll want to work into a little bit. And obviously timing is risky here. If you do it wrong, then you're going to end up with a bunch of Kali flowers. If you're mixtures are too thin and weak, again, you're going to have cauliflower. So depending on how wet the egg is, would depend on how thick paint you need to apply. So just make sure you kind of pay attention to the conditions and then apply a quarterly. And remember when working into wet paint like this, the thicker you go, the safer you are. But at the same time, you don't want to just put a bunch of thick paint down. You want to just know like okay, well, can't be in between tea and milk somewhere and put it into this wet paint and still do okay. So you're you're starting to kinda find and discover those boundaries, those areas where it may, timing or paint could have been a bad choice or like, hey, I got away with something that I didn't realize I could do. So that's what this exercise is all about. And the whole time you're creating some pretty fun artwork, I must say. But these are the conditions you're going to be painting in, working wet into wet. And again, the timing and, and getting your mixtures right. I mean, that's, that's the key to understanding watercolor. I mean, there's other things like drawing and composition, design and all those things. But for now, it's just about getting your feet wet. And the lessons in this course are really dedicated to eliminating a lot of the things that I don't want you to think about now. So you can focus on what's important. And that's just simply becoming familiar with watercolor. And notice how I just use water in that one egg where all the dots were. Just to blend that up a little bit. And all those dots stay there because they're, they've stained the paper. So watercolor has pigment. And those pigments are like die almost. And they sit on the paper long enough, it's going to kind of permanently mark the paper. So even though I dissolved it with the water, some of those marks stayed because they they've staying the paper and they're dry enough to where they're not going to be impacted as if I know what it right when I painted it. So anyway, again, using my sword here to explore some dots, do some difference sort of line work. So much fun. And again, so much you can learn from this exercise. So that should pretty much wrap it up. So there's a look in my eggs. You want to create a similar project and just have some fun. And I look forward to seeing what you do. And again, if you start to see allow my colleague flowers and different things happening in your eggs, then you know, you need to go back and think about your timing and your mixtures. 16. Project Birch Trees: Now we're going to paint some birch trees. Nice, easy, approachable project you can do. You'll end up with a nice little painting, something you can keep for yourself. Hang on the fridge or give outcome holidays. Using my number 10 around, I'm going to mix up a little bit of neutral tent. And think about a milk mixture here. So we don't want it to be too thin. So slightly thicker than t. And I'll create some random dots. Now I'm going to work vertically up to paper here. I want the dots to be kind of have a nice variety to them. You don't want all of your dots to look the same. So birch trees have a certain texture to them. And that, all that texture is just very random-looking. L curve the, the tree a little bit so I don't want it to be too upright and stuff. A lot of that will become more apparent and obvious as we move into the demo. But again, just no difference, different sizes, different shapes but all fairly small. And then give it a minute to dry, but not too long. So you want the paint to still be wet? But we don't we don't want it to be so dry that it is going to be impacted by using a wet brush over it. So again, I've whet my brush and I've kept it out. So I'm using a slightly wet brush, wet brush here. And we're going to drag that down on the birch tree. Now I'm using a good amount of pressure there too. So I've got that brush into the surface pretty firmly so that it will dissolve. Some of those strokes, as you can see, this nice and blurry looking. So we got a little bit of tone on a birch tree. And now I'll go back into it with thicker paint. And just the neutral ten and add a little bit of value, some darker dots into some of those areas of the tree. Not all of them, just a few of them and be very random about it. Don't try to up, to predict it or kinda go back and forth in a zigzag pattern is do a random nature is very random. So there's no sense in trying to control it too much. Now using my number four pointed round, I'll add just branches and different details to the tree. Try not to have all of the branches of the same size or the same angle or shape, all slightly different. And now using again my number four pointed around a really light key mixture of yellow ochre. Just to kind of break up the grey a little bit and you add a little bit of earthy color to it. Some of that yellow ochre is thinner, so you can use even more water at the surface to look to yellow. This add a little more water to it. And then I'll just kinda tone that color down a little bit or yeah. And and so just dropping that into certain places and because the tree is still wet from layer, I know drag the water down into the trunk as just kind of taken that paint and dissolve in it nicely. So here just a little bit of burnt sienna, mixed them with that ochre. And that'll create subtle variety of yellow and just make it a little more interesting to look at. So the purpose of this one is just to experiment with working with wet paint, getting your timing right, and also manipulating the wash a little bit so that you get it to do a certain job for you. So here I'll do the same thing, creating a series of dots and lines, but this time I'm using my sword brush. So the soar brush, I'm not going, I'm going to have different quality marks. So things aren't going to be quite as predictable as using my pointed round because I have an irregular Kip on that. But the technique will be pretty much the same. And again, letting these dry just a little bit so that we don't get too, too blurry. We don't lose those, that texture of the birch tree. So this is semi dry now, so I'll let it dry a little bit. And I've got my wet brush and dragging that down. I really like how that brush works. In this version of the tree, I think looks a little more natural, perhaps more believable than the first 1, first 1, but here using a little bit of the yellows. And to that just to again break up the greys and a warm it up SOM. And there, there's a little bit of that color. And yellows and browns and birch trees, if you look closely enough. So now I'm lifting so a damped brush and extracting just a little bit of that paint. And here I'm just using some kind of more intense yellows along that Trump. So looking pretty good. Again, this is a really subtle, kind of a graceful, almost fond painting to do where you're manipulating a whitewash. So we put down, saw a series of dots basically. And then we used a wet brush and dragged it along those damned paint to create the trees. And again, kind of an interesting way to paint an explorer. And who worked with these subtle wash techniques. Even though these aren't, this isn't paint that's applied to a rectangle or the entire sheet is still a wash. So I'm basically I'm working now. A wet into wet and that wash some I'll wash is just simply a straight line as opposed to a rectangle. So anyway, so the techniques we worked with there was just basically putting down, you know, paint and then working wet into wet. So we had that light gray trunk and we dropped a little bit darker and perhaps more intense pigment into it to create our lovely little birch trees here. So a fun thing for you to try. So for your project, create two similar studies. And again, this is all about timing. And then using that wet brush to drag along into it with just enough pressure where dissolves that paint just a little bit. And then he can start to drop a little bit of paint, ended that gray to give it some more interesting color. 17. Project Moody Forest: Welcome to the Moody Forest Project. And this one we will explore some wash techniques, mostly working wet into wet or what into damp, and then also working with some dry conditions. I'm going to use my large mop to pre-web the painting area. For this particular demo, I will leave a little border around the edges, so I'm not going to wet the paper from edge to edge. If you decide you want to do that, that's perfectly fine. So I'm trying to evenly coat the water so there's not one area that is pulling up. Using my neutral tent. I will mix up a key mixture to lightly stain the paper. Keep in mind that watercolor is going to dry a little bit lighter and value. Some people say even up to 20%. So maybe a little more than a little. But the point is, go slightly darker than you think you need. Once I had the paint down, I'm going to encourage the washed to go downhill to do that. I'm just going to use my tape to encourage that. But before I break away from this, what wash, I'm going to use water to run down into it. And what that's going to do is give me a lighter value up top and then slightly darker as it goes down. I wanted this to be semi dry before moving forward. So again, we're talking about, you know, maybe 75 to 80% dry at this point. So we're still slightly damp. Now at this stage, I cannot use a mixture that's too weak. I have to make sure that my brush isn't too wet and that the paint slightly thicker than what I put on originally. It my brush has too much water and not enough pigment. I'm going to get those Kali flowers. I want to avoid that. So having a wet surface or wet wash like I do now, you can see those edges are very soft, so that's dispersing a little bit, which creates soft edges. I'm going to allow that to dry about again, 85 to 90%, as you can see as lighter, but is still slightly damp. I'm going to keep that tape under my board. I want to go a little bit darker and more saturated with my mixture. So somewhere in between, probably key and milk, some not quite like in the milk stage at I'll say I'm somewhere close to it. But because my wash is still damp, you can see those edges are dissolving, so I'm not getting a lot of detail with my stroke's. Each brushstroke has gone down and then it's dispersing into the wet paint from the previous layer. This is a very, very challenging. Condition to work in. But because we're doing this kinda random forest and there's not much detail to it. And there's a lot of wiggle room for interpretation. We don't have to get too fussy with it. So here again, I've got semi dry conditions. Again, about 80 to 85% dry. I'm going to use my smaller point around my number four and slightly thicker paint, right? So each time I go into it, it's gone slightly thicker. Now want to start to create these lines that have a little more representational quality to it of a pine tree. So I'll kinda explore that on the left-hand side over there. And now I'm comfortable and we want to move into my painting now because the paint is still wet. Obviously, it's still going to dissolve a little bit. But these particular trees have a little more detail than the previous layers, which are really just blobs, but it's intended to be that way. So by adding more detail to the trees, I get closer to us and then less detail of the trees that are farther away, we get the illusion of depth and distance. Now I will take a hair dryer to it, and I wanted to be a 100% dry. This will give me full control for the last layer. There. I've got my sword brush. I want this paint to be inbetween, milk and honey. So I don't want it to be too thick, but I don't want it to thin either. So somewhere in the middle should work just fine. So now I'm using that sword to quickly add my pine trees. And noticing I'm nice and loose with it, I'm not trying to control it too much. I just want to create the illusion of a pine tree and not get caught up into doing one too many details and anything that's two exact, you know, the whole point of this exercise is to work with washes to understand, you know, the water to regain and PE ratio, getting the right color, the right value. And with the pine trees again as such a random subject that or should I say the subject has all these random shapes and we can get away with a lot of imperfection here. At this point, I've got a lot of water on that wash and I'm going to tilt my board and various directions. And that will encourage the wash to move around and not settle into these pockets. Now, showing you how I'm using my small number 4 around to splatter paint. And I'm going to load it up with a nice watery mixture here and just put a few little dots and splattered on the paper. And I'll just turn those into birds by adding and some wings to those dots. So this is an easy watercolor painting. But the challenge here again is working with those wet conditions on. That's why I put this project in there because it can be very challenging to get these layers you know, the way you want them so that when they dry, no, they read well. So while we learn here and this lesson and what we explored was this idea of using a thin wash. So a T like mixture. Of course, as we went into it, we went thicker with our paint. So we even though we were working on wet into wet, we didn't end up with those Kali flowers. And hopefully we ended up with a nice little painting and a very moody looking for us with a few birds. So for your project, you will create a similar study for the, this study and the other ones moving forward. I have a template that I included with the assets. So be sure to download those there. You will get all of the artwork and demonstrations I created. Plus you'll get these templates that will help you draw these designs. But again, they don't have to be like mine. Something similar should do just fine. 18. Project Feathers: The feathers project. Another really fun exercise we can do to help you explore colour wash techniques, putting down thin lines, thick lines, and all that fun stuff. I will begin by drawing q vertical Ss down the paper. So you can think of this as three rows of feathers. Now, each feather should be slightly different. So some big, some medium, some small, kinda random shapes too. But they're going to curve or S down the paper. I have a lot of feathers to draw. So what I will do right now is cue the music and then let you guys check it out. And when we're done, we will start with the painting process. Obviously, if you don't like a feather, you can always erase it and draw it again. That was a lot of feathers, I know, but it'll be worth it. In the end, I have my two small brushes, which is my number four pointed round and my number eight. We'll use the larger pointed around to fill in the feathers. And again, we will use random colors because these feathers have points. It's important to get a good point on your brush as you're loading it up. Give it a little turn, rotated like that, and that should keep your point to gather. I'm if you have a really good point and around it should come or snap back to a point anyway. But sometimes when you load a brush, that point will get a little bit messy. But if you rotate it like that as you're loading it, this should come back to a pretty good point for you. So now I've got a ton of feathers. Who paint? Again, I'm using random colors. I encourage you to mix. Hughes on that appeal to you, but then also mix some colors that you wouldn't ordinarily do. And that way you get used to seeing how certain colors mix. And in the end, you may discover a color mixture combination that you really like. So use this time to explore a little bit and then also use it to obviously work on some of your technique. So as I'm painting these feathers, I'm trying to, you know, cut amen along the edges and paint them well. But, you know, if something is imperfect, I'm not going to panic about it. So I'm going to speed things up, cue the music, and just kinda paint some feathers here. And when we get to the next stage, I will slow it down and we will go over what's happening. Okay? So a lot of painting, but a lot of fun. Now, once you take a hairdryer to this and make sure everything is 100% dry. If you want it to be semi wet, that's fine. That's completely up to you. But for this one, I want everything to be dry and I'm going to use my number four round and go around some of these edges and create some texture to these feathers. Again, this is really good exercise for I'll work working on your brush control. Understanding that, you know, you don't need, but just the point or the tip of those bristles on the paper to create a really thin line. And in the end, you'll have a really cool piece of art to hang on the fridge, or in your bedroom or wherever you want to put it. So anyway, cue the music, see when this is. All right, so in this lesson, we learned to put down a thin wash. We learn hopefully that, no, you can explore colors this way and wants things dry a little bit. I'll, we came back over that and worked on some of our line drawing skills using a paintbrush. So fun stuff, hopefully yours turns out really well. So here is my demo image. So for your project, you want to create a similar feather study. A great time to experiment with colour mixing, brushwork, and just have a little bit of fun with the learning process. 19. Project Colorful Forest: Welcome to the colorful Forest Project. We created our Moody forest. Now it's time to do something a little more bright and cheery. I'll start with my large mop. I'm going to pre wet the paper, but there are certain areas I'm going to leave dry. So I'm going to use my number two pencil here and draw everything out is going to be very light, but think you should be able to see what's going on. So those marks I just made are going to be bushes. And I want to wet the paper but go around those bushes. So there are a total of three. As I wet the paper here, notice how I'm not Wedding those three little areas. So the key is I want to put a wash down but keep the bushes dry for the moment. So having the water down first will allow the wash to go down a little bit weaker. And of course I'll use a T mixture. But also notice how I'm leaving random areas of the paper dry. So I'm only wedding mainly the top. And then as I get to the bushes and down towards the bottom, certain areas are left dry. So encouraging that water just to move around a little bit so it doesn't settle into a pocket. That's what I wanted to do so that it looks pretty good. And now I'm ready for my first wash. So you can see is still puzzling there. And I'm going to tilt the board and get that water to get out of those ruts. So even though you stretch the paper, sometimes it can still, that water can still settle into these little pockets. So this is truly in blue and then a little touch of cobalt, turquoise. And I want to get a nice cheery look in blue to put down initially. And again, going around those bushes. And once I paint this first wash, you'll see where some of those dry areas are. But I want the edges around those bushes to be kind of a white. So the white of the paper, but also to be kinda hard edges, which is why I kept them dry. So you can see I'm only putting blue towards the middle of the paper. And there I'm adding a little bit of ultra Marine too that wash and obviously working wet into wet. The strokes I'm adding now will disperse and bleed into the other blue paint, which is what I want. Here. I'm just tapping the board and getting that blue. Move around a little bit. I now that that is starting to dry, I can add the orange red color that I want for my bushes. I would even say there probably leaned towards a brown. So yellow ochre, cad yellow lemon should work fine. A little touch of CAD red light. And then I'll leave a little bit of white above those bushes. I'm trying to avoid all areas of the bush to bleed into that. I'll wet blue wash. So again, having the little bit of a dry paper there towards the top will allow me to maintain the white space between the two washes. For now. Now I'm getting a little more burnt sienna into that, making that a little bit more intense by adding more pigment. And also a darker hue in general with the burnt sienna. Now I've got that water and on the bottom of the paper. So I'm encouraging that brownish yellow color to bleed and kinda blend into that water a little bit. So a little more abstract approach here. And I'm using the tape to keep that. I'll wash moving downhill a little bit. And once you know the majority of that water has moved down towards the bottom, I can go back into it was some slightly more saturated colors. So it is adding a little more pigment to the yellow. And you can see there I'm just flattering some of that paint along the bottom. And now I'm working a little bit into that blue and just softening some of the edges a little bit by still had the hard edges to the top of those bushes. So that's looking pretty good and I let that dry 100%. So nothing on that artwork. What? I've got full control over the artwork again, I will use my number 8 and around a little bit of Alizarin crimson into my yellows. You see on this testing that a little bit. Now once you use the side of the brush, I don't want to use the point. So the size of the brush is going to give me, allow me to cover a little more area. And it's going to give me a little more texture with my strokes. And that's because the size of the brush is going to graze along the paper without putting too much pressure. And to the surface. Plus eyeball, these strokes to look nice and bold and not too thin. So there you can see I'm using the side of that brush and just dragging that along the surface. And that's given me some really random strokes and overlapping that orange Bush a little bit. So this is a strong magenta color. The pigment itself is thicker than anything I've used so far. So I'm building the painting up from thin to thick. I will use another A magenta mixture there, but I don't want that to be as intense as the one on the left. So I use a little bit wetter brush to get that effect. So that's looking pretty good. You can see I'm loose with my brushstrokes, are letting things blend and bleed a little bit and not trying to control it so much. So now taking a little bit of cad Red and to this, I'm going to get something that's in the Orange family. And I'll work that into some of the yellows and browns and magenta is our already have, again, very loose with the brushwork. I don't try to control it too much. This is one of those paintings that no, it is not as defined, so to speak. And sometimes with art, you know, it's good to have some studies that are more detailed. And some that kinda let the medium just work and flow a little differently. So this is one where I want it to be, wanted to flow a little bit more. And I want the colors and shapes to mingle a little bit. So I need that to dry, but not all the way. So that's about 85% dry now. Now I'm going to use my sword brush and mix up a little bit of a bluish gray. So some ultra Marine with some neutral tent should work fine. I'm probably going to take a little bit of yellow and orange that's on the palate end to that, just to soften it up a little bit. And this mixture now needs to be weak. I'm going to paint my vertical trees and Bible of the trees to kinda have a ghosted appearance to them. So I don't want them to be too dark and value. I want them to look very transparent. So here I have some shadows that I put along the left-hand side. And now I'm adding my tree trunk. This will probably be one of the darker trunks. Solow, clean my brush and now I've got a mixture that has more water into it. So you can see this trunk reads a little bit more transparent. So we're getting a variety. So not all of my trees are the same color and they're not the same value. So this painting works better if you kinda have variety versus painting, all of the objects the same. Just like I have one magenta bush that is kinda more defined and a little more intense. And then another one that's a little bit faded and kinda drifting a little bit. So you get a variety of everything in this painting versus all of the bushes and all of the trees be looking the same. Now adding some shadows, some loose marks, and now lifting a little bit. So using my sword to remove some of that paint. And now don't want some of those calligraphic strokes nice and loose into the wet paint. And there you go. So there's the finished product. And now your job is to create a similar colourful for study using the techniques I've shared in this video. And I have the template included with the assets for this project. 20. Project Variegated Leaves: Welcome to the variegated mechanicals project. Another fun and enjoyable painting that should be fairly easy and we're going to explore some wet conditions. So just a reminder, all of my paper is prepared this way. I know I didn't tell you on the other projects, but I do want to remind you that to prepare your paper so it doesn't buckle. I'll start withdrawing some stems and leaves. You will get the template for my drawing and the project assets. So be sure to download those. And these can be random sizes when you draw yours, they don't, doesn't have to look like mine. I'm you can go on Pinterest, you can go out in your yard. The idea is you have a little stem or stick with some leaves coming off of it. I think I have a total of seven. I will go behind my work here and remove some of the unwanted lines. Now in this particular project, we're going to pre wet our mixing area. So the paper is 100% dry. Now I'm going to use my number eight pointed around and just some clean water pre wet all the leaves and stems. And this will give us an environment or condition where we'll be painting wet into wet. So even though there won't be any paint down, there is water and that water will act as a sponge or a conduit to move the water in a particular shape or direction. So because the shapes are pretty wet, all i can have to do is just drop pigment into that and it's going to disperse and move into the shape of whatever I just put down. So it's a fun way to paint. It's more random. So you can't control the water and color as much as going to kinda have a mind of its own. The only control I have really is just what colors go in to the leaves. And there's no science or anything premeditated here about what I wanna do with colors. I'm kinda going random and just letting things go or unfold as I go. So, uh, using some Magenta has some grays and blue graze, Navy blues, whatever comes to mind. And just letting the water and the pigment do its magic, let them decide how they want to mix and mingle and in what direction they wanna go. I should say that my paper and board are flat, so I don't have anything propping my paper up and an angle. Having it flat like that allows the paint to mingle in different directions as opposed to moving just downhill in one direction. So an easy project, something fun to do. Again, I encourage you to not be predictable with all of your colors mix and match a little bit. And you can lift some of the color too. So I have a damped brush, but is very dry. And because the brush is drier than the leaves, then it's easily used to extract paint and pigment from the leaves. We talked about that and the lifting area of this course. So now I'm going back in lifting, adding a little color randomly. And, you know, I guess the key is not to overwork the paint. You don't want all the overwork it all the colors will start to blend into each other and you won't have any variety. So I have my sword, fairly dry brush, but again, slightly damp. And I'm using just the tip of it to create these finer lines and mostly graze. But I'm mixing in a little bit of yellow. And then now connecting the leaves with some then stems. So starting to come together. And like I said, it's an easy project. All levels can certainly experiment with this and all the other projects I've added in this course. And each one is designed to teach you a new skill and to help remind you of the things that we've learned in this course so that you can practice and get better. And in the end, you will probably have a good idea where your strengths and weaknesses are. So the skills we used were pre reading the paper and a particular shape and then dropping paint into that shape, letting the water and the paint mingle as it wishes. And then of course we use some line work. So if you have a small brush, you can do that as well. So there's my finished project and now it's your turn to create a similar study. So use a lot of the ideas I've shared with you. Good luck, have fun, and I look forward to seeing what you do. 21. Project Negative Space Forest: Welcome to the negative painting Forest project. So we pad a moody forced. This will be very similar to keep the colors very muted. But we're going to do a lot of negative space painting. I'll talk about that more as we move forward. So the idea is we will do a series of great aided washes and leaving some whitespace of the paper. There. I have a couple of kind of triangles at the bottom. I'm going to paint around those. I want to leave that area white. Again, I'll remind you the templates for these projects are in the assets for you, so you will have something to work with when you're ready to try it on your own. So for my wash, I'm using neutral tent and a little bit of ultramarine blue on that will give me an indigo sort of color. And I've got my enlarge mop brush and I'm using plain water to pre wet the area. Notice I did not wet the area that I want to keep white. I went around that vary. Then T like mixture goes into the first wash and let it dry. And now the paper is a 100% dry and I'm ready for this second layer. To do that, I'm going to use a piece of paper and basically protect the area that I want to keep White. And I use my Mr. bottle to wet the rest of the paper. This is going to allow the wash to have soft edges. So the MR bottle comes in handy, especially when you want to target particular areas of your painting. And having that paper there, of course, will help protect the white areas. So I want some soft edges, which is why I pre wet it. And I'm creating this illusion of some pine trees back there. I use a Mr. bottle there to miss the top of the edges of the trees. And now of course, I can use my brush and tilt the bore to encourage that wash. To move around. Again, I'm going to let that dry 100%, which is where I'm at now. And I want a slightly thicker layer then what I used before. So I'll add a, another layer of pine trees here. Because I'm using darker paint, these trees will appear a little bit closer to us. And now I've got my good old Mr. bottle there and I'm allowing that to bleed down a little bit. And then also it will give us some soft edges. So I want this to be a similar, Moody, Misty environment that we paint him before. But the technique we're using will be slightly different because we're going to really go full on with some negative space painting. So all that's looking pretty good. By this stage, I'm going to work a little bit of a thicker paint into these trees. And that'll give it a little more body. It's so easy for things to kinda dispersed too much. But you can always work into the wet paint with thicker paint as we've talked about in previous lessons. So I will encourage that water to move down. Now here we are 100% dry. And as you may have guessed, I'm going to use much thicker paint. So I will be inbetween milk and honey. So nice and thick, nice and intense. Really want this white tree to pop. So at negative space painting, basically what you're doing is you're Googling around the edges or the contour of your subject. And that's going to paint what it is. So in this case, I'm using a very dark value. And I'm going around the edges of this tree. Now in nature, this doesn't exist. You don't really have a bright white tree in front of a bunch of other grades for ease. But this particular piece is more random and is more abstract. So we can, as artists, we can get away with doing things like this, this, and manipulating colors just for the effect. And so in the short time, you can see I'm randomly adding some strokes. I shouldn't say randomly, some of these are fairly calculated. I kinda know the idea of the contour that I want. And then there'll be certain areas where I'll kind of let it go a little bit and is put down some random walk or random strokes anyway. So there'll be a larger tree on the left and then it'll have a smaller version on the right. As i get around the contours here, I can start to loosen up a little bit and then create this other row of dark trees behind it. So basically, I'm using that dark value of trees as a way to paint the white trees. Hence, I named this project which was negative space painting. So a fun way to paint. Negative space painting is a very, very effective tool. And I didn't want to go into a too deep in this beginner course. But you can use negative space painting and a variety of ways. And it really is an effective way to do a lot and create a lot of interesting effects, I should say, with your artwork. But so as you can see, we used layers of washes, mainly working a wet into dry, but that little mr. bottle helped to give us some soft edges. And then we use that negative space painting to create the lovely white trees and the foreground. I'm, you can go back in and refine some of the details. But you know, the key is to keep this somewhat abstract and don't try to get too fussy, but however you finish it and however much detail you put into it, of course, is totally up to you. But a fun project to try. In my opinion. It can be challenging to control the washes and then to get the negative space painting to work well. But I'm sure with a little bit of practice, you can pull this off. So there's my a finished project and now it's your turn to give this one a shot. So again, Moody forced here. But we through when the added twist and challenge of the negative space painting. 22. Project Three Trees: Welcome to the three trees project, and we'll begin using my 2B pencil. And I will quickly lay out the design. And as I've mentioned before, I will include all of these templates and the resource assets. So be sure to download those so you can easily paint along with me or at your own convenience. The beauty of this simple landscape is that we're going to focus on some simple variegated Bosch's. You remember those from the common washes lesson. And now we can put those ideas to work. Using my large mop brush. I'm going to mix up a key mixture of ultramarine blue and a little bit of Cerulean Blue. And obviously work in the wash from the top to the bottom. Important to tried to join each main stroke at the bottom of the wash. And eventually I'm going to mix in a little bit of Alizarin crimson. I will tell you that Alizarin crimson is a very intense color. You have to water that down quite a bit. So once I get this washed to the bottom, I'll do a little mix of both the blue and the Alizarin crimson. And at the very top of the blue, I wanted to make a gradation. So it's a little bit darker towards the top of the sky and then lighter as we get down towards the middle. And now the key here is to let it dry. But I'm going to leave a prompt like this. Encourage the wash to run down. Now it's 100% dry and I'm going to switch to my number 8 at around. I'm going to use the sod of my brush for most of the tree foliage. And of course, you may remember we cover that in the brushwork lesson. So you can use the tip of the brush to the side of the brush, different areas of the bristles to create a certain effect. For my green. I'm uses Cerulean and a little bit of the cadmium yellow lemon. And I'm also mixing as some ultra marine and burnt sienna because I want the green to be a little bit on the brown side. So I don't want a pure bright green. And I also need the value of the green to be slightly darker. And to do that, I'm going to add a little bit of cad Red Light, cat red light will immediately make that green a little bit darker and a little bit grayer. Now you can see that's a little bit too pale for what I need. I'm going to go into my neutral tent, which is a good color for grain and out, but also to add a little bit of value to it. So the leaves need to stand out. Against that blue sky. If it's too pale, that is just not going to make enough impact. And because the trees are the main focal point, they need to be done well. So again, getting a value that is the right kind of Darkness is key to making this piece work. Here you can see me exploit the saw the brush a little bit. And the beauty of using the side of that brushes. It's going to give you more of an less predictable stroke. And that way, you know, you get some interesting foliage and shapes versus things that are too predictable. I did put a little bit of burnt sienna end to that green. And that's going to make it a little bit darker, but it's also going to brown it out a little bit. And now that I've got the base green and hue for the leaves, I'm going to go back in with some darker values. Remember, working wet into wet can be a little bit risky. So you have to get your timing right. Also lifting paint, which is what I'm doing here, is all about timing. And as you're putting this wash down, it's a good time to do that. If I wait a little bit too long, it could easily ruin the wash. And I'll end up with a colleague flowers and the watermarks. Now I'm going to go with something a little bit on the brown side or can. So I use yellow ochre and a touch of the red that was cad Red Light. And I'm going to obviously paint the ground plane. So getting a little more Sienna, a little more yellow ochre now because I feel that wash is a little bit too pale. So I want to push that more towards a milk consistency so that it stands out a little bit. The ground plane as important as going to anchor the piece. So if the ground is too light and value, it just won't have enough there to make it believable. And now that the foliage is starting to dry a little bit, but again, it's not too dry. I can drop a little bit of color into that and that's just going to help create a little bit of variation. Now I'm going to add a little bit of a dark value there to the ground plane, and that's going to break it up, but it's also going to suggest shadows under the trees. This is only the second layer and there will be a third. But the key with this layer is to make sure I get some variation. So I don't want the trees or the foliage and the trees. I don't want the ground plane to be a flat wash. So that's why I'm mixing up a little bit different earth tones and now mixing up a little bit different Green. And I'm going to drop that into the foliage. And that way when it dries, it'll have a little more entrust to it. So now I'm 100% dry. I've got complete control over the colors and the washes again. I'm going to use my sword brush and create the trucks for the trees. As you remember, the sword brushes pretty interesting because you can get some unpredictable strokes. And I think for tree trunks, It's a good brush to use because tree trunks are very abstract. They are nothing more than a line, but the line is often has kinks in it and very subtle angles. So it's not just a straight boring line. So I've got a slightly darker value there for the trunk on the right. And now I want some variation. So I'm making the next shrunk a little bit leaner. So you don't want all of the trunks to be the same. So symmetry and it just doesn't work well with painting. And you always want variety. So the more variety you can have in your subjects, the more interest you're going to get from the end results. Now I'm using the tip of the brush and I know my hand isn't away. I have to apologize for that, but this is where you only want to use the very tip of my sword brush. And that's going to give me these really thin, faint lines, which works well for some of that branch work. Now I can use my towel and that is dry and it is clean to just touch into those trunks. And that's going to break up the line a little bit. And we'll add a little bit of variation to the overall transparency of it. Here i will strengthen the shadow a little bit. And that's working pretty well. Again, this is just a dry brush, so I'm moving now, wash around a little bit, trying to get a little bit of texture gone. And that's looking good, but I feel like a little bit of red in there would just kinda pop the focal point a little bit and just bringing a little more color and excitement to the piece. So all in all this is coming together. As you can see pretty quickly on this is just a wet brush with no color and I'm just touching that into the wash wallets wet to encourage it to run a little bit. That was just a little bit of green. I splashed into it. And so again, that's just going to indicate shadows and make a little entrust and the focal point, and in the foreground, I have some trees or shrubs and bushes and the very back, I can use a very thin tea like mixture to indicate those. And maybe, you know, hinted again towards the bottom and the base just to indicate some shadows and some a cast shadow. And that should work pretty good. So that is a good way and a good project to exploit. Variegated washes, also working wet into wet, using layers building up the painting from thin to thick. And hopefully you enjoy the project. So there it is. That photo was taken in natural light so you get a better feel for the colors. Good luck, and have fun with this one. 23. Project Water's Edge: Welcome to the water's edge project. Don't be intimidated by this one is just a series of washes, some variegated washes working wet into wet. And all of those fun, basic watercolor techniques you're starting to become very familiar with. Again, using my 2B, I will lay out my design starting with the edge or the land edge. Basically almost the Z going across the page. Once I had that, I can add the mountain or the hills in the background. And that's pretty much it. I will quickly map out the foliage towards the top and then make a few lines that will eventually be the tree trunks. I use light lines just because I don't want them to show through too much on the final piece. So you will get the templates, as I've mentioned before. I will begin with a variegated wash. So as you may remember, that as a wash that has multiple colors, I will use the Simulium Blue Key like mixture for the sky, and then quickly change to a yellow ochre and cad yellow lemon, before switching to a little bit darker blue, some ultra marine to that for the water. And it's okay if that bleeds a little bit, it shouldn't bleed too much. I've got the Board and the paper pointed downwards that should encourage though wash and any sort of blending to come down as opposed to up. Now I will get a nice bright green. So using this Cerulean with my cad yellow lemon to get that a vibrant green. Later on I'm going to add some variation into that. It's okay if these colors, the Blues and the Greens bleed just a little bit. Because again, this is the initial wash and we're going to go over it a few times. Now I've got a damp brushed this as my number eight pointed round. No color, just damp, pure water. And I'm lifting a little bit of blue end to that water. I will also do the same thing for the sky. That's just going to create a subtle variation for those two areas. So that is a variegated wash. Even though we controlled a little bit about where that a goes on, we still use multiple colors. Now this painting is 100% dry and I will move into the second layer. Again using my number, a pointed round. I will also go with some neutral tint, a little bit of ultramarine blue, yellow ochre and burnt sienna. I have a little area at the bottom that's great for testing my colors. And I'm really paying attention to the Whew, But also. Value. So how light or dark is this mixture? Because this will be applied to the mountains and the land and the background. I wanted to be a key like mixture, so very weak by needed to be dark enough that it's going to stand out a little bit. So I wanted to be a little bit darker than the water. So that's working pretty good. And now I can add the hills or the mountains and then let that dry a little bit. So again, pretty simple. And to encourage the drying time, I'm going to use the hairdryer obviously, and that's about 85% dry. Remember when you start to work into slightly wet paint, you've gotta go thicker. So if you have too much water and your mixture here, you're going to get the cauliflower and ballooning. So just, you know, don't always kinda draw your brush, tap it out, and then make sure your paint that you're laying over top is thicker than what you started with. So that gives me a little bit of layering and a little bit of interest. And the background. This is not going to be the focal point. So we don't need to do too much. It's just a little bit there to anchor the background. Now I've got the trees which will be going along the top. I want those to be isolated. So I don't want them to really touch the background. And anyway, so I'm going to mix up my green and need this mixture to be milk, okay, so it needs to be thick enough to where it's going to look solid. The trees are kind of the focal point. And because it's a vertical element, it needs to be a little bit darker and richer and color, plus it's a little more and the foreground. So these trees are obviously closer to us than the, the distant hills. Therefore, they should be a little more vibrant. They should have a little more color. And then they should be a little bit darker and value as well. So as things move away from you in a landscape, they tend to get lighter and more muted or grayed out or even more blue. So that's working pretty good. You can see I'm mixing some burnt sienna Annas and Brown's. Ended that. Again, I don't want this to be a flat wash. Like I said in the very beginning of watercolor painting, painting as a series of washes, even though this wash isn't covering the whole paper, is just to indicate the leaves. I still treat it as a wash. And I always ask myself, where does it need to be? Does it need to be key milker honey? And then do I want it to be flat variegated and so on. Most washes I do. And that you will do especially for landscape and will be variegated. So here you can see I'm working the browser into it. Some neutral tenths, even some blues. Anything to give me a slightly darker value. And to create variation, also switch to My Number four pointed round to kinda draw paint in some smaller leaves. So again, we have the big tree mass, and then we have some smaller shapes and then some even smaller shapes that will indicate the leaves. And you don't want a lot of detail in the tree mass that's farther away from you. So be sure to kinda keep it a little bit chunky In the back on the left-hand side. And as the trees come closer to you, they should break up a little bit. You should start to see a little more detail. So that's typically how things work. So here just again, working some variation, making sure the underbelly of the trees are slightly darker. The light source is coming from the top. So therefore underneath the trees, the leaves tend to be a little bit darker green. So now everything is 100% dry again. Now can move into the fourth layer. So this will require a number 8 at around. I could easily use my sword brush for this as well, but I figured I would just mix it up a little bit on using some neutral tenths and browns that are on the palette, along with some Reds. So I want this to be a fairly dark, but I also needed to be fairly transparent. So I don't want the tree trunks to be too heavy and opaque. So again, a, a milk sort of mixture at this point. And you have to remember, I'm only layering over a t mixture. So the water or the sky, the distant mountains, even the grass in the foreground. Everything I've done to this point has men very thin and water down. So it is building it up a little bit at this stage, but yet still keeping it very transparent. And that's just going to again make it not, make the trunks not so heavy. So keeping a little bit of that transparency will just kinda keep it light and airy. So as I move back to the distant trunks, I'm using a little more water and less pigment and to the mixture so that the trunks appear a little bit darker as they come towards us. And now I'm using some dark green there to add a little bit of texture to the grass as it comes closer to us. Again, just a little bit. You're trying to suggest things at this point and not necessarily trying to hammer out a ton of details. All of this is kind of the imagination. Um, so just in general, if you just observe landscapes, you'll always find that the detail is closer to you. As things move away, they, they tend to flatten out a little bit. Alright, so adding a little bit of texture to the grass area, this a few splashes and splatter of color. And that's all looking pretty good. I've got a fly on the board there. So excuse me for that. And now I using thicker paint, so it's still kind of in the milk area but a little bit thicker. Then what I've used so far to create some shadows and texture and some of the trunks. Again, using my hairdryer to speed up the drying time. I've got everything working pretty good. A few more shadows and texture on the trees. And I should be ready to add the final detail, which will be the cast shadows. So again, this a simple series of washes is all it takes a lot of time supercool off. Even a slightly more complicated design is all about the process of trying to envision. And they'll washes and how you will use them and layer them. And that's what this painting is all about as a series of washes. Understanding the basic characteristics of water color, how to layer the paintings and the paint so that it doesn't read too weak. And then of course, getting some value hierarchy in there. So things that are closer to us are slightly darker and more detail. So all, all these things we pretty much have talked about on, there may be some, a few subtle details air about landscapes in general that I shared with you in this course. I do have an excellent landscape painting fundamental course. I created that when painting with acrylics, by all of the ideas I shared with you can be applied to watercolour, digital painting. It doesn't matter. It's just a really good course for understanding how to paint landscapes and well, anyhow, so this is coming together pretty quickly. I think it's all done. So there it is. The final piece. That picture taken a natural light so you get a better feel for the colors. And good luck with this one. I hope you have fun. I enjoyed sharing them with you and I enjoy painting it. So I'll see you in the next one. 24. Project Friends: Welcome to the final project titled this one, friend's. So this is a lot of fun. Again, don't be intimidated, is a lot of easy. It's just a series of washes like all other watercolor paintings. So I will use my number two pencil to lay in my drawing. I always start with the longest line, which is the distant background. Adding now the trees or the big tree, I should say in the foreground. That tree just needs to have an interesting shape. So important. But yet so many people miss out on something so simple. So because that focal point, it will be on the right-hand side, but the two figures walking under the tree on that really needs to grab the attention of the viewer. So v does have a boring blob or balloon shape tree canopy. Then it's just Akuna work again, you have the templates that I use for these, so be sure to check that out and just spent a little bit of time looking at the overall shape. So again, pretty easy. So a few lines, again noticed with my drawings, I don't use odd details. I just put the main shapes and elements in there. And that's all you need. The paintbrush can do the rest if you add too many details. And then you're going to paint like a coloring book. And we don't need all of those lines. And think watercolor in general should be spontaneous. So a little bit of neutral tend, a little bit of yellow ochre. So a very kind of gray warm wash here. And as I've mentioned before, is going to dry even, even lighter. Now I will put a little more pigment end to that. I'm talking just a touch to because I want a little bit of a great aided and wash. So a little bit more saturation and colour towards the top, the painting. And then let it get weak as it comes down to the foreground. So that's it. At this point. We gotta let that dry and now it's 100% dry and I can move on to the next layer. I will work from the very back to the front. So I'm going to tackle the distant background area. So and that's pretty simple. Just some grays, almost the same color as I've already used. So very simple, minimalistic palette, but I'm going to build the pain up just a little bit on the aisle was still say, we're easily within that key mixture range. It's just slightly thicker. And I want that to be dark enough to wear stands out. It catches your attention, but it doesn't distract from what's going on in the foreground, which is where our focal point is. I want the shape to be interesting. So I'm using a lot of kinda random strokes. I don't want it to be too boring. So just, just enough information there where it looks like some trees, maybe a building or something like that. Now using a little bit of my Cyrillic and blue into that gray, that's going to cool it off just a little bit. So. I can do that even more or a little bit of green to it by using the turquoise and cad yellow lemon. Again, I'm mixing that N2, the gray that already had solo shifts to a another version of the gray mixture. I left a little bit of a space there between the background and the water. And it's good to have just a few gaps in there. Just sold the water and the background don't blend too much here using a dry brush and just dragging that along the surface to create some texture in that water. The water is not going to really be a huge interest here. Again, all of our focus is going to be on the bottom row, the right hand side, I should say. Now I'm coming up with a green using the base mixture, which is Cerulean, a little cad yellow, lemon, and then using some of the grades that are already on the palate, using a little bit of gray into that. We'll just keep it from being too vibrant. I don't want this color to be colorful and to punchy. I want it to be very subtle and kinda grayed out. So this color harmony is something that it takes a little bit of time to develop and work on. But in general, you, you kinda have a vision for what you want to say with your color. Like if you wanna go, you know, very chromatic and high color, or do you wanna kinda play it down and do something more? Subdue, then you can do that as well and do kind of a tonal painting. But alright, at this point, things are still damp. I'm going a little bit thicker. Very, very important. Okay. If there's too much water at this point, it could easily start to Cali flour because I'm painting under bright film lights to that makes things dry really fast. So always pay attention to how wet your paper is, how wet the washes. And know that when you start working into something that's wet and starting to dry, then you have to decide, do you need to go thicker or can you still get away with dropping a little bit of the same sort of mixture into it. So a variations. So I'm using some darker greens, using some more neutral tent into that. So I just want to create the illusion of some detail, some grasses, different things going on. On the left-hand side. I'm going to use that same color to drop into the grass under the tree. So starting to kinda indicates some shadows. And now using that again and putting that towards the background. So just kinda of tying that color and a little bit. And this adding some subtle details to what I already have. So working wet into wet is something you're going to do a lot with watercolor as you move forward. So I can't stress enough how important it is to just regulate your washes and how much pigment you're putting into it and the timing. Alright, as you can see here, I'm 100% dry. I'm ready for my third layer. So when things are dry, you've got control back in your corner. So you can kind of mix up the color and go for it. And you shouldn't really have, shouldn't have a lot of impact or disturb what's already on the paper. So I'm going to go with a deep gray, but it's got a little hint of green into it. So probably still in between that tea and milk consistency. Some Keeping it still very light and color, still very light and transparency. So I want as much transparent quality at this stage is I can keep. And then as I move forward, I will go darker if I need to add more opaque using the sod that brush I laid in that foliage. And then I use the tip of the brush to add or suggest some details. Now I'm going a little bit darker but using the same color, so yellow, ochre, neutral tint. And of course this install all still very wet so I can easily add into it. And now come at you with my sword brush. I will build up this paint a little bit more. So using some CNRS, which is a nice rich brown, some ochres and then pulling that into my neutral ten. So I'll, we'll kinda think about what I wanna do here. Get an interesting shape with my trunk. Curve it in there, kind of an S shape. And this suggests a few branches. And then I'll add another kinda main trunk here, coming down and right away, you know, that kind of tree is starting to develop. And that's a really a main shape in this design and composition. And that's why you kind of want that to be interesting. And again, if it was just a blob, then it wouldn't be enough to hold your attention. And the painting as a whole would just kinda fall apart and it really wouldn't be as striking when it's all done. So all that's looking pretty good at this point. You know, it's easy to overwork things. So you kinda have to find that balance sometimes between, you know, is it enough detail? Is it enough small shapes? Is there enough going on there that it's going to work? Because most dries then, then we're committed and we're done. So this is an important stage that, of that tree. So I'm going to let that rest for a second, let it dry and then kinda gauge it. How is Dawn later on using that same color. Okay, so basically Grey's was a little bit of a Turquoise in there. And again, keeping this palette very minimalistic, I will come up with some kind of a reddish tone using my yellow ochre, Alizarin crimson still and the milk mixture, I haven't really even thought about gone into anything thicker at this point, keeping a very light and transparent. So yeah, everything is coming together. I've got the upper bodies painted in. I'm going to add a few cast shadows here. Just get those down first. And then I will add, indicate or suggest some legs to anchor that in. But as this foreground is dry here, I can add a little bit of a darker value, slightly thicker paint, pretty much the same colors, and maybe some cast shadows. But yeah, it's a nice little weights you explore a landscape painting. Also too. Really good, good control of your values. That's, to me, that's what this painting is all about. It's not about splash and a bunch of color down. It's about handling the wet wash. It's about understanding values, getting the right amount of color and enqueue your wash and working wet into wet. So challenging but certainly doable. And I'm sure you can handle it. So here, just a few finish finishing touches. So little work around. In the green, kinda brown green area. Touch a blue and get something that's going to add a little bit of life to the lawn area. And I just want to suggest a few details. And you can see I like to splatter a little bit. I think that can be risky to splashed paint down. But if you do a minimum holistically, you know, it'll do the job and I'll suggest texture and detail without getting too fussy. Now does dropping a few dark values into a few areas. And yeah, that's all coming together pretty good. So I'm going to lift. So that's a a clean brush. It is damp but it doesn't have a lot of water and is lifting a few areas and the shadows and in the trunk and just to kind of let that breathe a little bit. But I hope you enjoyed this one. I think it's a really, a good piece to work with. A good piece to end with, because I think it's a little more challenging. So here is the final piece, obviously taken a natural light, so you're seeing a little more of the true colors. So there it is, project Water's Edge. Good luck with this one. I hope you enjoyed it. And I look forward to seeing what you do. 25. Negative Space Circles: Alright, for this lesson, I'm going to draw some circles and introduce you to the idea of negative space painting. And then we'll do some more exercises to show you how you can do this in a more organically. And, but first, let's just kinda get on the same page here. So I will just draw a couple of circles using the inside of my tape. Maybe I'll do wanna sorta half off. And then I'll use this one to get a few smaller circles. And That's sort of go. Let's go over here as fun. Now at this point, the circles don't touch. Okay? And I'm going to use my large mop brush to stain it. Mix up a decent color here. Let's go with a green. So a little bit of cobol, little bit of my lemon, yellow, and lots of water. I wanted to stay in everything first does so we don't have these bright circles. Negative space painting. A lot of fun to work with. And if you've never done it, or maybe even if you have, you know what I mean, but we've never done it, then it's going to be a tree because you can really use this and many different ways once you understand the concept. Alright, so at all that's nice and wet. So really thin tea like mixture there. And now I'll take a dryer to it. Alright, so that should do it. And now we're going to do another layer. I'll just use the same mixture I have, so I don't need to go any darker right now. And I'll paint around the circles. And they don't have to be perfect circles unless of course you want them to be perfect. It's just, we're getting on the same page so to speak. And you're just going to learn what it is. And then we're going to really have fun exploiting the idea and the sort of approach, I guess. All right, that should do it. And I'll use a hairdryer once again. Right before I go any further, just to be clear, the only reason can see these circles. Is because I added the second layer around them. Okay, so making you see a circle by painting around the subject. So that's the gist of negative space painting. And now I'm going to do some more circles and overlap them. And when I draw my circle, I'm not gonna draw into the circles that are already there. So I'll just kinda draw up to it. So one see this do and here. And they are kind of blind. There, had a blind spot. And we'll do one more right in here. So that'll work. Now I'll mix up a little bit darker color here by just adding a little more pigment to it. And again, painting around everything but the circles that I've already drawn. So and obviously still using my large brush here to do it. And there this isn't exciting to watch, but we'll get through it as quick as I can here. And you're gonna start to see this sort of layering and depth that you can get with this technique. And of course, making things up here by painting around them. And that's the, again, the gist of it. Alright, so you're already starting to see two layers, right? So you're starting to see actually three layers. You started to see 12 and then three. So again, I'll draw this off. Okay. You know the drill here. Some more circles. See ya do she was small one down in here. And I'm kinda have a blind spot there. So I think it's going to be roughly in there. We'll do see another small one. Let's do another small one here. And then we'll do a larger one here. Alright, so mixing up. More hw here, so I'll have to go a little bit darker, a little bit thicker, so less water. And again, painting around everything. I'll actually use a little bit of ultra marine and this one got a pretty easy across the top here, not much to think about until I get over in here. And we have our large circle connecting several of these. And almost done here. Alright, now we're seeing in one to three layers. Ok, so it's, they're starting to stack them on top of each other. I think we have room for one more. Not just do a couple more to finish it off here. So I'm going to read it like this. Go here and here. And let's do one small one. All to the side here. Alright, so, you know the drill. I'm proud to go a little deeper towards the blue here. And I'll go a little bit of yellow ochre just to make that nice and dark. And know what's going to draw it a little bit lighter. So I'll go a little bit darker still. Am sticking with my large mom here. And I think this last layer is really going to add some depth to it. Get those really rich, deep colors, dark and value. So pretty easy concept here in this stage. But again, this can get really sophisticated and much more advanced as we introduce more complex shapes and things of that nature, which we will do of course. But it's really a strategy. Negative space painting is a technique. But it can be done intentionally or you can do it in a strategy where you see a subject and you're like, oh yeah, I can negative space paint and stack these layers and achieve this. But for now, I think this sort of gets the point across. So we have our base to work from. We have a clear, hopefully a clear understanding of what negative space painting is. So basically taking a color, which is what we did. And painting around it. Like so. And of course we did it with varying degrees of green to achieve circles. Okay. 26. Negative Space Simple Landscape: Alright, so let's do another study here. So we'll do to sort of do some buildings and will, let's just say we've got some white buildings and here a bunch of them. And then maybe there's some water and beach or whatever. And then behind it we've got, you know, some mountains. Like so. So the buildings and here are lightened value. The water is a say, a gray blue with a maybe a little bit of this sort of muddy brown And here. So basically we have a light value surrounded by darker values. So what you can do is basically paint the buildings and negative space by painting the mountains and the water. Well, this sort of experiment with that idea. So I have some neutrals, all my palate allowed. This has just left over from previous demos. And I'll warm that out just a little bit by using a little bit of ochre. So something like that or should work pretty good. So now even just go ahead and just for giggles here. I'll add a really pale blew up in here for like the sky. And I'll draw that off real quick. Okay, now we get back to where it was before. Will go a smudge darker. Alright, so again, buildings in here and then mountains over in here. So I'll just sort of kinda quick strokes in there and then leave all of this alone because this is where all of our buildings are going to be. And then on this side, kind of a similar thing. So something like that. And then maybe as we get down in here, we start seeing a hint of some greens or something. Alright, we have all these shapes in here, down in there. And let's add, will go orange and ochre, fairly dark. My Noah's gonna dry a lot lighter. And we'll just sort of pretend we've got this little beach. I'll go a little bit more yellow and a lighter and value. As we were creep off the page here. And neutral tent, burnt sienna real thick. And maybe in here. And we've got that beach, some shadows and stuff like that going on. And just to sort of make it more complete painting here. And this is just a quick studies, quick sketch. The goal wasn't to, to do a finished painting at the stage. But it's just to sort of explore these ideas. Negative space painting. I'm leaving some little white gaps in here. What you will see why. And water. Maybe another small one in here. And maybe this will get a little bit grayer. Let Assad did around the shape that's gonna come in handy. That sort of negative space painting as well. Which again, I'll show you about that in just a moment. Okay, so we've got all this happening again for our buildings and the start with the rooftops. So I had this sort of orange. And here I'll touch a little bit of red. And let's say we've got a little something up here, maybe down in here. And what I'm doing is creating rooftops. And all the while. We are sort of negative space painting these buildings. And a lot of this is just sort of random strokes. So not worried about copying an image or anything like that. That's just working with the idea of buildings and sort of use them. What I have. And I'll switch up the colors just a little bit. So maybe some of these rooms and here are sort of a slightly different color. So just like a little village, right? And now I can go with a really light gray. So again, a really light gray. So let's say here, maybe this one sort of builds up and goes down in there, sort of connects that shape. And just kinda making shadows along these buildings here. That's sort are painting themselves just BAD dawn, negative space. And maybe we have a shadow here on that building. Maybe things get less descript as we go back in space a little bit. And is bringing these right ONE down, I guess into the bank is fine. And it will put a couple more. And here, now I can go slightly darker and add a few details. So maybe a few windows. May still be you too wet to do that. I'm back in touch a little bit. Detail there maybe. And say we've got, maybe I got that little bit. It, it's all spread in there, but I can still see it. So say we have no little red boat there. Maybe this one's got a little detail on it. So it kinda negative space painting some boats. Again, a nice, easy way. To do it without sitting there trying to needle and get every little detail. And so we're just sort of suggesting things. Yeah, I'll go back into these windows now and let's see if we can maybe drop a shadow and here couple of Windows. So getting them in the shadows first, I'll lift the load a bit of that shadow there. It's got a little bit too dark. Think I'll kinda connect. Connect these two. Maybe another little building there. I'll switch to my smaller brush here. And it will put a few windows on the light side of these buildings. Maybe a little circle there. Maybe had little sort of detail. Alright? So kind of a quick, easy sketch. Something easy. You can do a simple idea. And maybe I guess I'm kind of more dry brush and stuff in here. Alright. So a little shadow here. Again, just, you know, you know, their boats there now. So you don't have to guess what they are. There's enough information there. Say what it is. But that's it. So again, you can sort of get the idea that this can be a very powerful tool. So even in quick little landscape like this, we can look at the different ways. We use that negative space painting to carve out the whites of the buildings. So we use the mountains, a little bit of the beach. And then as I painted the water on, just let some whitespaces, four areas that could be a boat and went around. The shapes are no different than what we did here. The only difference, I guess being as the shapes are a little more elaborate. You know, we got buildings and boats and different things, but we're basically using the same concept. And just to make this may be a little more balanced. We're all balanced. I should say. I'll just throw some dark over there. This is little bit heavier over here that is, are there alright, as that. 27. Negative Space Mushrooms: Alright, we're going to add a level of complexity here. Things eventually we'll get a little more challenging for you. So instead of doing circles, we're going to do some mushrooms sold. The idea is to sort maybe start with obviously light. So same as we did last time. You have to work. Light to dark. And we'll keep that throughout the course. And maybe we'll do one more sort of. And here we'll make this actually will make that a little bit taller. And here, I'll take this up a little bit more. So we've got more above. Come with three-dimensional object there because you can see underneath it. So we, we can't get away with what we were doing before with the green circles. Okay, we have to be a little more clever and thoughtful when it comes to our values. So I'm not going to worry about the other layers of mushrooms. Well, do it start with very, very pale magenta? Will actually, i, this give more of a violet? It's all work with some violets and maybe golden yellows. So very watery. So always good to test it out. Make sure you're happy with it. I think something like this should work and put that down. So MOD ticket all the way down to my corners and take it right on up. And I'll go ahead and staying the entire paper here. And keeping it fairly weak. Again, we have to always remember watercolor is going to draw a lighter. But also we had to leave. Think about the range of Hughes since we're working in light to dark. So we go to dark on the first one. That means we want to have to push it to probably more of an opaque wash towards the end. And we don't wanna do that. So the stain up, put down now, it's just really for these mushrooms. Now this is still very wet. The wash. So what I'll do is start working in a little bit of this gold into this wash. I'll just drop that into the top here. Something like that. And wherever it goes as fine, I won't try to control that too much, but I do want that situated up towards the top. And a little bit richer and more pigment. And hear about as much as I want to go. And just putting a little bit on the side to balance it out. And now is hairdryer time or heat gun Tom, and I'll draw it off. So R three mushrooms, that'll pretty much remain that color. I will add a little bit of value underneath once I get to the next level. So I'll have another one maybe coming off in here from the corner. You know, try to keep your lines fairly light. Actually, I want to extend it up a little bit better keep with what I have. And let's see, we can go with maybe another one, creep and up in here. And it's kinda hovering behind all of this. And we got, let's do another one back in, back in here. Open like that. Alright. So we'll go a little bit darker with the magenta. So that means I will use a similar mixture. So Alizarin, crimson, ultramarine blue. And that's probably a little bit to read, so I'll just pop a little more blue under that. But still I don't wanna go too dark. We can see we're quite a bit darker than the last one, so we're in the range. So I want to go around. These guys. So my original mushrooms, the first layer, probably could have used a little bit smaller brush. But I think I can get my own way through this round. But remind me to go smaller next round. Told let me forget. All right, so just a little bit trickier here because our shapes are less predictable. Starting to touch each other a little bit differently. And it's got to be careful with it. Now as I get up and here, I'll go with another coat of yellow ochre by Mongo with a little bit of Sienna end to that as well. And kind of work that in something like that. Maybe even touched a little bit. And here, because it's the kind of blend it to the bottom as well. And now I will take my smaller brush. I'm gonna go a little bit lighter than this second layer and go underneath these guys trying to leave a little whitespace there. And if it touches, I'm not going to panic. But just know if it touches, it's gonna bleed a little bit into it. I'll touch it in a few places just so doesn't look too stiff. Alright, so that's working good. You can't really see that second layer yet, and you won't really see those until we get that next layer on. But now here's what I'm gonna do. I've got a little area up here. I'm going to lift a little bit and sort of get this other little mushroom up here. And sort of up hearing out of the shadows there. And we'll do one more. Maybe lurking over in here. Like so. I'll lift it a little bit more. And that looks good. So hairdryer time. 28. Negative Space Mushrooms Continued: And thanks for reminding me to grab my smaller brush. So now I want to go around all of these. I won't do anymore mushrooms. So I'll just go with what I have. So i'll need something a little bit darker here. So a lot of pigment there. And we'll put that more towards a blue. And so now I want to go around these. So I've got one here, I've got this little drift d mushroom Here. I'll leave a few little gaps in there. And I want to come back and do a few soft edges to sow some hard and soft edges. So this one, I'm going to put behind this guy. This one, this kinda drift. You want someone to go with something like this and maybe like that. And we had this other one here. So again, kinda tricky. I need to work quick too, because I want to come in there and blend some of that color and hear what? Brown. So again, this one's coming down and the stem is coming like this. So now you'll be able to see the other side of it coming underneath. So you can see it's sort of messing it up in there now. And we have another one over in this corner. Well, what that more brown now and now, more ochre and sort of kind of blending those off. As it moves around off the page there. So I've got all those colors down here mixing on their own now on my palate. And so I'm going to use that mix down in here where these colors are starting to sort of merge together here. Maybe a little bit. And here. All right. Now, I think we need a darker value in here for this mushroom underneath. So we were barely see you in that one. And I'm gonna lift some of that and a little bit of this. So I'm going to get some of those rich brown now, mix up a little more magenta. So we've got to get our mushroom coming off here. I think I'm just going to try to define that just to bring it back on the page and there. And that kinda move it off into the corner here. So then we need a darker value underneath this one. So this will be in front of this one, but behind that one. And I can drop a little bit darker and they're probably do the same thing here. You just have the blend it with faded a little bit with your brush. And just make sure you don't drag it to hard disk. A light feather dislike that. So it doesn't disrupt the wash underneath. And something a little darker here. Maybe something a little darker there. And we got this mushroom, this mushroom, and then we've got one sort of coming off in there. And I can run a little dry brush and there just to get a little separation from those. Alright. Maybe a little bit darker on this one. This because it's near the edge of the page. I don't want those corners to be too active. Lifting a little bit there. And now just go a little bit darker and a few spots. Don't be afraid to use those darks. That looks good. I'll take a hair dryer to it one more time. But I think before I do add a little bit of a little bit of color and a few spots on these. And to soften couple of those edges there. While that's wet. I like I like how some of these have hard edges and then some will be more diffused. Alright? I'm gonna do the same thing real quick before I get ahead of myself. And that she's taken a wet brush. And no, I've got paint around. These things that are wet. I would just encourage that to sort of blend in there. And that will just give it, again, kinda just break up a few of those hard edges. Really thick. Added tube here on that one. Alright, while it slightly damp, take my sword. And we can do a few a details in here just kinda underneath. Some of these. Now sort of keep the blue with the blue. Kinda get a grey Maybe. And this lose lines are too hard while they're wet. And I'll just soften and a few spots. Alright, so again, a little more complex then what we did before. And we're sort of working with two colors. And trying to balance that out. A little messy over here. I wish I would have clean that design up a little bit, but it's alright, it's not bad, I can live with it. But at this point, you know, you don't want to go in there and try to fix anything. I think, you know, everything is pretty well where it's going to be. And I'm just gonna tie this brown in to a few places. But yeah, get in there and started known too much right now and and we'll start to look fuzzy and right now it doesn't. I think it's a good little negative space study. And that's that. 29. Veggies: All right, Another super easy project you can do that's going to allow you to embrace and master the characteristics of watercolor, understand some of the basic painting ideas. So let's go ahead and get started. This is just going to be some random fruit and things of that nature. This is Hooker's green with a little bit of yellow ocher here. And I'm going to do, and this is a small sword brush. So I'll start with a little pressure and then sort of press a little bit harder there. Then do a little stem. I'll make this one a little more yellow and maybe a bit skinnier here. So pressing and letting the brush do the work for me. So the shape of the brush. And then maybe skinny like that. I'll do one more. We'll start skinny here. And then go really wide like that. And then finish it off like so. And we'll give that a little stem. And maybe we want those little curly cues. And we can take a little bit of ocher, a little bit of alizarin crimson, and just touch a little bit of that into a few places. And now I'll just sort of dropping water and a little more color into it just so it doesn't dry. Completely flat. So we'll let that rest. Let's do maybe a mushroom here, so yellow ocher. And now mainly water on my brush there. And we can almost just do all of that, would do some layering here for this one. And so this will be kind of the underside of the mushroom and the top. So drop and some of those greens and yellows into it. So again, let that dry. I'll guy a little bit of pyrrole red, a little bit of alizarin crimson here. You put a little more crimson into it, so more of that pinkish color. I'll do a small b here. And I'll clean my brush. So this is mainly water. And then finishing that off. And then we'll do maybe another one here. And we'll kinda bring that to a point. Good. Just so it doesn't dry flat. I'll take a little bit of that ocher into there, and that's it. So let's do a big green pepper here. So we'll hookers, ochres. And we'll do it right in here. So peppers have these sort of sections that are kinda like a small and a rectangle. So I'll touch a little bit of red into this one. Just a touch, right? That's probably too much. And a little bit of water to thin it out. Maybe letting it bleed in some places and then letting that white show through. And I'll get some of these browns and ochres. And we'll do the same thing over here and maybe make this one a little bit bigger than this one. All right. So a little more ocher here, and I think I'll make this a little bit longer on the bottom. And the other pieces. We go, and we do a stem. Let's do some little p's in here. So real small. Wet my brush. So there's still a little paint on it. And on a little lifting here and is letting that water dissolve some of that. So I'm gonna go with more of a gray. Someone take a little bit of spirulina and mix with the reds and do sort of a gray mushroom here. And we'll do a really chunky wide stem. And let's do one more B. We bring that up more to a point. Must switch to my larger sword. And we'll go deeper on the reds here. So okay, if they touch big deal, go with ocher green and make some stems. Maybe a couple out of this one. All right. I'll bring this more to a point. You go and then little lift. So let's go back to our pepper or low snap pea or whatever it is there. And that's probably still a little too wet. So I'm going to let that dry a little bit. Actually, I'll take a dryer to all of it and then I'll be back when it's dry. 30. Veggies Continued: So yeah, this guy to the p's here, I'll do a little bit of hookers, a touch of my pyrrole red. And we're going to carve out some piece. Okay, So we'll sort of go in here and do some negative space painting and do some funky font P's here. And maybe, maybe these two are sort of touching each other. They're so a layering, right? So this is all about painting. Wet over dry. And maybe one more Hoover in here. Now, clean but wet. And what I'll do is soften the edges. And that's just going to make a little more of a shape out of those peas and a stock going to be so rigid looking. And I'll take some of these darks maybe and add a little bit, something like that on these. So let's go to our mushroom here. And we'll do the same thing. And we're going to do with some negative space painting. So this stem is coming up and maybe joining right in here. So this is all the underneath of the mushroom. And now I can take them a low exacto knife and scratch into that paint a little bit and maybe add a bottom to it like that. So so again, taking some of this while it's wet and dropping it into the wet paint so it doesn't look so flat stuff. So some of these reds, and we'll keep those beats fairly simple now. I just want to add just a little bit of color to it, but doesn't need much. So greens. So same thing. So we're running it, just kinda dry, brushing it along on it just to give it a little texture, but keeping that fairly simple. So greens again, giving those beings another pop. And we have one more mushroom here that say that sort of sliced in half. So we'll go red alizarin with our blue. And maybe think we'll kinda do the same thing. Think that's working pretty good. All right. You can even do your fingernail to get a broader scratch into it. I'll do a really thin layer here to make a little more out of the top of the mushroom. And we'll go a little bit darker green here. And maybe make it a little impact out of our stem. Maybe a little bit darker at the base. All right, so again, super easy, super fun. Something he can do for yourself just to practice this awesome medium, different techniques and something you can easily do for your kitchen or someone else. 31. Wine Glasses: So nice simple project here, only going to use neutral tent. So there we go. And a little bit of yellow ocher. I also have my medium size, so we're brush, so this is a three-eights. My water is off to the side. So I'm going to start very pale. Neutral tent. Maybe I'll add a little bit of blue to that. Just to cool it off a little bit. And I'll do one bottle glass here, sort of a fishbowl. Okay, so something like that. I'll leave some of the whites of the paper and maybe skinny and I'll maybe even have a gap there. And then can let in that brush quiver little bit and just kinda giving that stem a little character like that. Now I'll move over here to the right. I'm not gonna do the one in the middle right now. I'll go a little bit higher. And instead of a fishbowl, we'll do this more of like a champagne glass, so maybe tapering like so. It can probably be a little bit bigger. And we'll go to say a little bit wider up here and then skinny as it gets to the bottom. And again, our little base there. Now while that's wet, I'm going to go thick. So we're thinking like honey here. And you'll see as dissolving, but that thick paint doesn't dissolve as easy as thinner paint. So schooling to some of those darks are going to stay in there. They're not going to dissolve completely even though that's very wet paint. I'm dropping that into. Okay, that's pretty good. I'll clean my brush and now I'll drop some water into that. So that'll get a little watermark on kinda again. I can lift paint too. So while it's wet, we can get in here and lift and create that illusion of kinda glass, right? So that looks pretty good. So a little bit thicker paint than the original wash here. I probably need to dry that just a little bit where I lifted and drop water into it that's still really wet. I want it to be damp. I don't want it to be saturated. So that's pretty good. Again, thicker than the original wash, but certainly nothing like that dark stuff. And now we can, I can create on the sort of design, maybe within the glass. So maybe this is a set and they all sort of have the similar kinda texture into the glass. Alright, so that's pretty good. Now, I'll take a little bit of ocher into this and give it this. Maybe this one has a little bit of that at the bottom there. And we'll kinda bring that around. Good. Now we can go ahead and do this third one. So again, very weak here that may have too much yellow into it because I've put the ocher into it, so I'll remix a little touch of blue there. That's probably too dark. So more water. Now we're going to overlap this. So when we overlap it is going to make it a little bit darker. So we'll get that sort of illusion of transparency. I won't overlap it on this side. And maybe we'll go skinny. And kind of just tapping into it like that just to get an interesting result perhaps. And then I'll run the base off the page there. So same thing, I'll go nice and thick here. And we'll touch a little bit in here. And maybe and here to cleaning my brush off. I'll pull some of this neutral down. I want I don't want it again to be as thick as the original wash. I wanted to be thinner. I'm sorry, thicker than the original wash, so a little bit darker. And and we'll sort of echo that design in there. I'll go nice and thick here. So maybe a little more pure and then I'll get a really thin mixture there. So maybe even touch them, let them bleed a little bit. That's fine. So just dropping some water into that and just let it dissolve, let it do its thing. And then down here maybe I can lift and just drop a little bit of water, let that bleed too. So you can also scratch into the paint, right? And maybe this is a little boring, so we'll add a little mark there. I like how that one sort of indistinct and nondescript, I guess so. Yeah, so again, a nice fun project you can try. I think these things are wonderful little pieces of art you can put in the kitchen, dining room. Gray gift ideas, I think for the right person during the holidays. So there you go. There's an easy project, fun project. You can try where we're embracing the characteristics of watercolor. Very simple, very approachable for everyone. 32. Coffee Cup: So here's what we will do that it'll be all in one go. Very simple, very flat, very graphic. But we're practicing some line work. We're practicing negative space painting and that sort of thing. So I'm not going to worry about putting a drawing down. I'm just going to go right for it. So a little bit of the yellow ocher mixed with Alizarin crimson. Now a touch of green and do that. So that green is going to make it a little bit darker. And I want that background pretty dark. So I'm gonna go a little more green and do that. So I'm going to leave a little bit of a edge up to about right here. And then come around. Come around, and we'll bring it down to a little beyond halfway. So right in here, come over. And then this will be the top of our object here. And then it'll curve right on out. So it will curve it. Okay? And we'll make it maybe this one really big. And we'll get into here, that'll be the top of our object. This will be a little handle. And then again, it takes a little bit of skill to do that, to be able to sort of envision where everything is going to be. And now laying in the rest of you here. So blocking everything in, I'll probably have to turn the page a little bit here, turn the art on out. It's fun piece though I like changing styles. So you're not always painting in one style all the time. I think that's important. So that you don't get in a rut. It's so easy to do that. Yet the work quick. I'm under light, so I have to work very quick. I'll make that a little bit smaller as it heads towards the cup. But if you don't work quick enough, then you're going to get these colors aren't going to blend. So you'll start to get these outlines. So maybe I should stop talking. Block this in. Almost done here. I'm trying to keep my hand out of your way. And a little bit more here. Now, I'm going to go in with yellow ocher and water, so we'll keep this color very simple. So I'm going to start down towards the bottom here, again, leaving that little bit of a white there. And I'll get more because I know I didn't mix enough. And now run that up until about right here. So that'll come down and around about like that. So there'll be a little saucer or they're still around. And it's okay if those blend a little bit. And that's odds Don, and we'll flip it. Do a little bit of clean up there. Takes a little bit of coordination here as well. Hand-eye coordination. Alright. Now I can make some of these reds with the ochres here. And this go a little more green into that. So red. And we'll go a little more ocher down, some mixing it down. So I wanted to lighter than the background so that steams going to come down. Let me lift that side of the brush that right into my steam. But that's all right. And then it will occur around. Again. I think I need a little more ocher into this. Maybe a little more water. And now I'm going to lift a little bit of this and here just to make sure is lighter in value. Now my take a dryer to it. All right, I'll do it in little design here. So a little bit of red. And Let's do some maybe flowers. So I'll maybe some will indicate some flowers on this. Maybe it has a little red ring around it. So maybe a white center on the flowers. So keeping the color is fairly warm now and we'll go a little more water. And maybe a flower as more of an outline with a dark center. I mean, we were seeing a few of them kinda on the sides there. And now I'll touch some pure red and taking my napkin, lifting in a few places. So again, we don't end up with something that's flat. Now, alizarin, green and blue. And I'm going to do me a little more water into that so it comes off the brush better. So we'll do some line work here. Indicate the steam. Maybe a little line work on the handle there. And I'll maybe a little something here around the cup and maybe coming off into the background there. And they'll do it. So again, super easy. Takes a thing. This was good for practicing your control with the brush. I'm adding some of those that dark color here. So again, little bit of brush control. And practicing that line work. How linework is something that does ignore. You have to really know your paint, be able to get it off the brush fairly easy. If it's too thick to thin, it doesn't always flow off the brush. So and again, just a fun project. He can try and see where it goes. 33. Egg Beaters: All right, this time some egg beaters, very minimalistic palette. I am going to add a little bit of cerulean blue and maybe a little bit of Alizarin crimson to it. So very weak to start out. So I'm pretending I'm drawing here, okay? So I've got a pencil in my hand. And I'm drawing my subject. And very loose of course. And just getting the idea down is all I'm trying to do. I'm not trying to replicate anything here. Now I'm going to switch to a blue. And we've got our little beaters down here. And we've got maybe one more over in here. And now I'll go a little bit thicker. And maybe there's wheel and the middle here, the dark. Now I'll go with these ochres. And we have a little handle here. I'll touch a little ocher into that. So nice and fresh people don't try to go back into this too much. So I'm going to let that dry a little bit. And as it does so I'm gonna go to the next one. But with this one, I'm going to start with my little bit of alizarin crimson, a little bit of yellow ocher. And I'll just sort of put that brown down and then I'll clean my brush really good. I'll go into these pale mixes neutrals that I have on my palette. And maybe even take a little bit of blue into this. And we'll do something similar, but maybe a little bit different design here. So again, I got plenty of neutrals on my palette. And now we get into our beater. So let me kinda pushed the yellow here. Now I'll clean my brush really good. And I'm just like drawing with water at this point. Pretty much all I'm Dawn and my water is dirty. So if you look into that, that water has a little stain to it. And that's really all I need to to do this part. So I'll sort of do that and then go into my neutral tent very thick. Do a handle like dry brush, right? Drag it across really fast and then drop a little bit of water into it. So those are big handle there and dropping those darker colors into different places. And now was this dries and it has been drying. I can go back in, go really thick. And again, just sort of drop in some darker hues in there. But not being fussy about it. I'm not going to do the same thing here now that is drying as few darks here, maybe a little bit of a dark there. And I'll make a little bit bigger deal out of this outside with a dash. This is, this brush is damp. So I can get in here and lift. I can also drop a little bit of water. I can splash it like this. And I'll take a napkin and press down into some of this if you want to lift it a little bit. And that's good. So again, just some simple egg beaters there and something fun you can do. Again. I know I've said it before, but a wonderful little gift ideas for friends and family. For the holidays. Everybody has a kitchen and I think they could do these little small sketches is pretty easy to lean and put in different places. So it's not so big that they've got a completely rearrange and redecorate their house. And it's fun stuff. So in either case, whether you do it for a project or whether you do it with a gift in mind. It's all good practice, okay. 34. Hand Tools: All right, Let's keep the party going on here. Again, working very minimum holistically here. So hopefully you can see the majority of these colors. You should be able to, I've got a slightly different layout, so I'm gonna go long and again, working with a simple palette, but exploiting the characteristics of watercolor. Okay, so we're gonna do some tools here. So let's start with maybe some pliers or something like that. So I'll go with just water now. And then we've got our lower jaws there. And now again, just clean water. And I'll drag that down like so I'll let that rest for a second and let's go to the next thing here. So we'll go with a handle like that, that's more of a brown. So I mixed that using ocher and alizarin crimson. So alizarin ocher, you sort of get a warm brown. They're so weak. And maybe there's like this kind of a hand bit. So that ham bit basically will have this sort of look to it. And then as it gets to the end, there just be like a little point. So again, I'll let that rest, but I think I will take a napkin there and lift some of that and do the same thing here. So we get a nice uneven wash. So I'll go thicker here. They give this point. I can probably maybe do something like that. Maybe we have a dark handle and I'll go with just ocher and do something like that. So I'll get some of these darker neutrals here. And maybe just a little bit of detail there. And ditto that here. So we've already got the darks working down here on the handle. And then maybe as it heads up, this sort of disappears, still a little screwdriver now. So maybe we'll have this sort of swollen rectangle there. And we'll go with some ocher rural week and a quick drag. And then maybe we'll go thicker at the tip there. And I think should go a little bit wider so they sort of taper like that. Again, lift super dark, super thick paint there. Do a little hack saw here. This is just my small source. I've been using this quite a bit for this piece. Yeah, She's do a hacksaw, so we'll do kind of a brown handle here. And then I'll go neutral tent, but lots of water. And and we'll get into the teeth. So I'll just sort of do this tap, tap, tap, tap to get the teeth. And then we get to the end. So we have a little handyman that you know, again, something like this would be a wonderful addition to their art collection there. And maybe a few dark teeth there. And a sort of making a little fancy design and all this. And that's good. Let's do a hammer. Maybe actually let's do another, maybe do the hammer here. And let's do a wrench. So let's do it will start a week here. And we'll sort of do this open face wrench. I'll go a little bit thicker. And they sort of have this n side. That's like that. And then maybe we'll make this whole side dark. And we'll just clean that up a little bit. So now this finished off with our a hammer. So we'll do the sort of round shape here. And we have another kind of a round shape here. And then into more of a flat like that. So maybe as metal all the way down to here, we'll get our browns. Drag it down, get that nice quick stroke in there. And then we'll go super dark towards the tip. All right, so all of this is still pretty, all of this is kinda dry so I can know we can add a little detail here and there. So our screwdriver, maybe a little dry brush in there. And I'll drop a little bit almost pure thick paint right in there. All right. So I think that'll work maybe a little bit darker in here. Few dark teeth. And we'll make it official. So again, fun, easy stuff embracing the characteristics of watercolor painting. 35. Projects & Recap: Okay, just a quick recap and a few notes about your projects. You definitely want to go through and complete all of them. And not just the projects, but also the demonstrations where I showed you the techniques and how to explore brushwork, the different washes, layering, understanding the tea milk and honey mixtures so important that you follow through learning online, can feel a little lonely because you're trying to absorb this information and apply it on your own. But just know too that I'm here for you. If you have questions about anything that you've learned, things I've shared with you. Don't hesitate to reach out. So I look forward to seeing what you do. Please follow through those projects. I want you to get a lot out of this course because I know I'll put a lot into making it take care and I'll see you next time.