Experience Watercolours Dark Clouds, Silver Lining | Melinda Wilde | Skillshare

Experience Watercolours Dark Clouds, Silver Lining

Melinda Wilde, master teacher of watercolours

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10 Lessons (29m)
    • 1. Sunset welcome

      0:34
    • 2. Supplies

      2:47
    • 3. Background

      2:43
    • 4. Mix a Neutral and Dark Clouds

      6:16
    • 5. Scumble Sea

      3:08
    • 6. Create Atmosphere

      1:42
    • 7. Scrub!

      2:44
    • 8. Remove Mask and Tweek!

      3:48
    • 9. Thanks

      0:41
    • 10. Bonus; Another Way

      5:00

About This Class

In this class you will learn how to create those beautiful dark clouds at sunset with stunning, glowing outlines. We will use minimal drawing, masking fluid, and a limited pallet.

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Transcripts

1. Sunset welcome: good day. All you beautiful, creative people. I'm Melinda Wild. Welcome to another session of experience Watercolors. I'm sending out this workshop with sincere love virtual hugs to anyone who will receive it . And while you partake in the lessons my hope for you is during these crazy times were experiencing that you'll find a peace that passes all understanding. Don't forget to stay tuned at the end for the bonus section. Thank you. And hope you enjoy Have a wonderful day. 2. Supplies : So let's take a minute and talk about supplies. I've got £140 arches. Cold press paper. If that it keeps down all around the edge with my masking tape on a board. I've got a pencil masking fluid remover and some masking fluid. I've got my one inch flat brush around that points very nicely, and I've got a little scrubber brush, which we're gonna talk about a little bit later. On my right, I have my absorbent rag, my palate colors and my water pocket. Okay, let's get started. So here's where we're headed today. Beautiful, calming sunset. So our first thing will be to draw the horizon line and very, very lightly draw the shape of our son and the shape of some of these clouds. Don't worry if they're exactly like this one, it doesn't matter. Clouds move and change and are different all the time. A couple of things to keep in mind. Have this section clouds not the same distance across the page as this section of clouds. Just something to consider for composition purposes. And then we're going to mask and we're gonna mask the brilliant lights around the edge of the clouds, the brilliant son and the brilliant reflection Because we want those to be just super white . And these clouds here that we're gonna mask, we're gonna mask on the bottom side of the clouds because the sun is here but shining up onto the bottom of these clouds and it's shining down onto the tops of these clouds. All right, I'm going to mask that right now. So, as you can see, I've drawn a pencil mark for my horizon. Very, very lightly drawn in my sun spot and some clouds. You may or may not be able to see the pencil marks that pretty fine. I want them find because they don't want to see them later. Um, then I've masked and a quick word about mask. In case you're not familiar with it, you'll need to sew pure brush. So taken old bar soap and just moisten your brush and really get soap right up into the Farrell of your brush. And then when you dip in your masking fluid Onley, dip halfway up the bristles and then you're just gonna paint it on, and it's pretty straightforward, but the other thing you might decide to use instead of a pen. Excuse me. A brush is this is called unmasking fluid pen and you just dip it in and the masking fluid pulls up into here a little bit, and then you can draw on. You're masking fluid. The beauty of this is you can just leave it when you're finished It. You don't need to worry about washing it out really quickly with your brush. Once you've mask, you must wash it out immediately. When you finished your mass job, okay, there's masking fluid and we are ready to go to paint. 3. Background : So the first thing we want to do is what, The whole page. So I'm using my big, fat one inch flat. I'm just going to make the whole thing really nice and wet and try not to leave any dry patches because we want smooth transitions. No hard edges at this point. And dry pastures leave hard edges. So I'm going both ways. Okay, then I'm gonna take some nice, great yellow. Be bold with this, and I'm gonna just slap it on right around the funny area. Then I'm gonna grab some orange and put it lo the yellow. You're nice and strong. I'm just going to take that right to the bottom of the page. That might mix a little yellow in there with it as well. Makes a pretty pretty shade a little hair on there. If you do get hairs on your page and you can't lift them just by doing what I just did, just leave them. Oh, boy, he's really sticky. You must be caught underneath my tape. You can just leave them because they'll Here we go. Let's get you ready if you try to pick up the paper too much. Well, it's what You'll bruise your page and the pigment will run in, and it will just get really dark and nasty looking. So best to leave them till your pages dry and then just slide them off. Okay, I'm gonna go for a little orange up here as well, but I want this on the top to transition into nothing. Hey, there we go. Because I'm going to take my cobalt blue nice and strong again. I'm gonna start up at the top with that and run it down toward the orange now blue and orange or complementary. So it's very easy to make mud if they get mixed together too much. So we want to have a nice, smooth transition between the two without any mud making. There we go. I think that work now. This needs to be dried before we carry on. Just gonna wipe my edges to make sure I don't get any nasty backgrounds. 4. Mix a Neutral and Dark Clouds: So now we're gonna mix a neutral, a neutral being, a mixture of the orange and the blue that we've used. I'm gonna make some Cobell and some of the orange, and it's gonna create this gray color. Also, we're gonna add a touch of violet in there and a little bit of pure orange up in here. But for now, let's just get that mixture organized. So I'm gonna start with the orange, Put my palette here because I want you to see the mixing process. Okay? You wanna makes enough of it so that we're not chasing paint. Chasing paint is when you have a picture, you makes a certain amount of pain and then you don't have enough to finish your painting, so you end up having to scramble and grab more notice. I didn't clean my brush when I went from the orange into the blue. I know that's hard for some of you guys that are neat painters, so I encourage you to maybe be a dirty painter. Sometimes here we go. I'm only dirtying the surface of my page or on my paint. Here we go. Let's just keep going. It's not quite a color that I like yet. So I'm just gonna keep playing with it until I get the shade I want. I think I do need a tad more water. So they go adding a bit of water, keeping going with blue, we'll get a color like there we go on like this. Now I said before, when you mix the two, you could get mud, and that's very true. So you just keep playing with it till you get a color you like. And if you find you don't like it and it's two brownie kind of gag, just keep adding more blue. There we go. That'll look just fine for what I want to do. You can move that over and we'll go back to this painting here and let's put on some of that lovely color in here making these dark, lovely dirt clouds that are below her son. We're gonna go right down to the horizon line, which we can just still see just ever so slightly. And remember, the light is shining from here on top of these guys. So we want to make sure the color laying down is underneath the clouds. We should say underneath the area we masked here. This little cloud is on top of the sun sewing in a paint. The cloud formation just a little bit on top of that because the latest shining up to the bottom side. Okay, here we go. I'm just gonna run this right along here along the horizon. Now, this is kind of plane, so I'm gonna grab some of my pure blue. Just drop it in there, because we can. And then I'm gonna grab a little tiny bit. Love, Violet, just cause I love Violet and just drop it in there to makes it a little more interest. My rise in line goes along here and all the way along down here. I'm not painting the clouds right down to the horizon line. Gonna leave a little edge. But there are no clouds. Here we go. All right, let's go back into the color We originally mixed and paint some of these upper clouds. I'm going to dilute it down a little bit because I don't want them quite a sharp and dark. It's the others adding a bit of water to that makes But keeping the clouds on top of where Mass this time might be a little bit hard to see. Sometimes that's okay. We can do a lot of fiddling and correcting later. Let's just get this basic color on there again. I'm gonna go straight into the blues, drop a little bit of pure blue in there. It mixes on my brush with the neutral that I had on there. So it's not gonna be exactly straight blue. And then I kind of want to keep your edges on this a bit softer, some taking the paint out of my brush. Just gonna swoop backwards on this. But take the paint out just back. I just want a softer ads, OK, It's moist now so I can go the other way. I just want a softer edge on these guys. So clean, thirsty brush allows you move along and soften some edges. And then while it's down, a lot to this step isn't there while it's damping and pick up some pure orange on my brush and just drop it in on these guys. I really liked the look that gave so just gives it a bit more life up here. Okay, I think we'll just stop right there. Oh, I did want to tell you one thing. If you find yourself challenge to get your horizons straight, then there's a little cheat you can do. You can take your masking tape and just make it less than sticky by sticking it to your pants and then pulling it off. And then you can lay it right along your horizon line, like so in that way, if you want to paint right down to the horizon, but you're worried about making it perfectly straight, you can just paint right over top of your tape. Here we go. I don't want it down to the horizon over here, but if you did, that would be a way of handling that. Just take and you have a nice straight horizon. All right, let's drive that. 5. Scumble Sea: All right, let's put a little bit of ocean in here. We're going to use the same color that we used up here. Well, and here I just want to repeat, If you're worried about getting your horizon line straight, you can use a slightly less than sticky piece of masking tape and lay it across your horizon line. Like so. The downside to that is, if you haven't stick to your masking fluid when you rip it off, it will rip off your masking fluid as well. So just something to keep in mind. All right, I'm going to use the same color, but I'm gonna put it quite thirsty on my brush. So I'm taking a bit of moisture off my brush, but keeping the color on my brush, and then I'm gonna start on this one edge here, and I'm thinking that this cloud is going to create quite a bit of depth in the water here , so I'm gonna put that in first. Actually, I just need a little thicker pigment. Here we go right along. I like leaving a little slip of light along the horizon. Then I think it looks better. I'm just using my brush rather than perpendicular Quite parallel to the page. Just gamboling thistle Ocean little pigment right through a touch of violet in there just to deepen it up a bit. I feel like that wants to darker like that. Better go straight as they come forward. I'm gonna have less list, dark feller. But I do want to have my edges a bit cozy dinner. So take the dark right to the base on the left hand side and you know, deuttel the way to the bottom on the other side. And the other thing you can think about is when you look at water from a distance, you're going to see the shapes are very horizontal. And as you come to the foreground, have some of the shapes go slightly diagonal. What this does is it creates it a sense of moving towards you. I'm also gonna add just a little more blue blocking back in here. Okay. Ready for the next step 6. Create Atmosphere: So the first thing to consider before we take off our mask is Do we have enough brilliant color around the mast areas so that when we take the mask off was brightness of it will just pop right out at us. And I'm looking at this thinking maybe not. I feel like this is a little bit bland over here. So here's what I'm gonna do and it take very soft version of this color, and I'm gonna put in a little bit of atmosphere in the sky. So it's a bit dangerous cause we're gonna be working into an area where we don't want it to look overworked. So here's a little safety net. First, I'm gonna put some clear water that I'm gonna grab this color only slightly diluted. And I'm just gonna very lightly painted into this area. And because it's moist, we've got we get no sharp lines, okay? And then I can just add I feel like I want a little more color ground where my son is just so that it's going to really pop out later. Here we go, a little more atmosphere there, and I want the same on this side here. So again, really clean brush, clear water. So we have a transition area here and then picking up our atmospheric color and glazing it in from the edge into the clear water. That way we have no soft, hard edges, nice and smooth. What makes it really looked like this in reality is probably pollution. But honestly, it makes a better painting because it closes things into our center of interest. All right, let's drive that. 7. Scrub!: we're almost ready to take off for masking fluid. But there's one thing we need to do. First, these areas here, where the masking fluid is we're going to have very sharp edges on them, and in order to make it look more like a glow, we're going to soften some of those edges before we take off the masking fluid. And that's where this interesting little tool comes in. It's an old acrylic brush that has been just really worn down. If you have any friends there, acrylic painters or maybe you are yourself, just get one of your old brushes and cut him down a little bit, and it makes it a very firm bristle. So when you moisten it and add a little scrubbing action, say around the dark areas just right next to our almost on top of where you're masking fluid is Scrabble. It'll have some clean tissue and block. Clean your brush really, really well, and repeat, and you're going to do that for all the areas where you have masking fluid scrub blot, clean your brush. Repeat. Uh, - and if you want to make a few rays coming out of your son now, is a good time with your scraper brush, just a few distinct raise. But again clean your brush often so that you don't end up just pushing that dark pigment into a hole. Something to consider is the race. Start from skinny and go to fatter. So be sure you get that happening and try not to get them all. Super even looks a bit messy, but once we get the mask off, it'll make more sense. Okay, I think we're ready to drive that and take off your mask. 8. Remove Mask and Tweek!: Okay. Finally time to remove our mask. I'm gonna use the masking fluid remover. Nice little rubbery tool. The masking fluid sticks to it Makes it Oh, just so much easier to remove. And there we go. Now we're ready for a little bit of tweaking. So there's a couple things we can do to just tweak things up and make it look a little more believable. Everyone's painting will need something different at this point. But mine, I think, needs a little more scrubbing around here. So even though the mask is off, I'm just going to give this area a little more scrub in a lot. Just make a little more glow on there. So you may or may not decide you need to do that. Some other areas you may decide you're scrubbing didn't work so well. So that's okay. You can go back and do a little more scrubbing if you want, and then another thing we can do is we may decide some of these edges are a little bit harsh Yet where the masking fluid waas so you can get in there with our original dark color and just tweak up the shapes of those edges a little bit, so they're a little bit more interesting. And I'm doing that with my little tiny or mind not tiny, but a nice round that points a bit. And then I'm gonna take my flat with a bit of moisture on it and just touch the moisture to the top of those. We're right, added some color just so that it softens it a little bit. I don't want it to look like lines. I want just to look like depth, depth of color and want a sense of light and just tapping with the damp brush. I think that makes it pop out a little bit more, and you can also then adjust some lines. Sometimes the shapes thes look a bit Line me to me. So I want to just adjust those shapes a little bit again clean, thirsty brush and just tap it so we can meander long and do that anywhere, like just to add a little more death. So I leave that obviously entirely up to you. What you think your painting needs and one more little Twinkie thing you might decide to do is just a little extra scrubbing along the horizon line. I had said to leave a little slip of light but adding a little bit of scrubbing. There is not a bad idea. It gives it a little more of a glow. Thes could be softened a little bit. Also, let's take over to 9. Thanks: So here's our watercolor sunset. Thanks so much for joining me. The colors we used are listed in the project section of this class, so I hope you'll check that out. There's some other information there for you as well. I'd love it if you followed me on instagram at Melinda Wild Facebook, Melinda Wild experience watercolors. And I would just love to see your post some of your exercises. So do please post. And I hope you have a beautiful, peaceful day. 10. Bonus; Another Way: So I wanted to show you one other way of getting that glow on the edge of clouds when you're doing a sunset or sunrise. So it's just moisten. Say down to a horizon line. Here, let's start again with my nice, bright yellow. Uh, let's create a sun spot here. Here we go. Keeping it nice and bright gravel orange break. I feel that a little bit more. Don't want quite so much, son. There a little glue. Okay, Now we're gonna place a few clouds in there. When you place your cloud, be sure that your brushes quite thirsty. In other words, a lot of pigment, not a whole lot of moisture. That way, when you lay the color down, it'll fuzz a little because you're onto wet. But it's not gonna bloom all over your page and cause you all kinds of trouble. Okay, let's just make those few little clouds there for the moment. All right? Now, at a certain point of dryness, you can take your brush. Very, very thirsty. Take, You know, all the moisture out of your brush. So when it gets to a certain point of dryness Justus the shyness leaving if you take Clearwater and just paint in underneath the clouds. Clearwater. It separates the pigment a little bit, and then you take that clean, thirsty brush that you've created and just pick up the excess moisture. This is a way of making those bright edges on your clouds without having to use masking fluid. In some ways, it's as effective. In some ways it leaves a little bit to be desired, but you can tweak it and poke at it, and it's very fresh. Looking probably gives you a fresher product, a more relaxed product than the masking fluid way. So I just wanted to show you this technique is well because I think it's fun to have different techniques under your belt. Little moisture. Let it sit for a second. Take your super thirsty brush and just pick up the excess moisture so you can get that blow around your clouds by doing that. Oh, what the heck, Let's finish this little guy. A little moisture on this is gonna be our ocean. Does my name a little bit of blow drying, so let's just leave water if you want to see this a little more, Feli explained in my sunrise Sunset glue video. It's It is sometimes get going and I can't resist finishing. Let's try that again. And then maybe one more chunk of land. Deeper cleaning brush making thirsty We go quick, Little sunset for you. Hope you enjoy this. And I hope you have fun trying it. Thanks for joining me.