Experience Watercolours, Sunrise/Sunset Glow | Melinda Wilde | Skillshare

Experience Watercolours, Sunrise/Sunset Glow

Melinda Wilde, master teacher of watercolours

Experience Watercolours, Sunrise/Sunset Glow

Melinda Wilde, master teacher of watercolours

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10 Lessons (19m)
    • 1. Sunset/Sunrise Introduction

      0:48
    • 2. Supplies

      1:03
    • 3. Background Wash

      2:37
    • 4. Mixing a Neutral

      2:50
    • 5. Mountains

      2:58
    • 6. Scumble; yes it's a word!

      2:10
    • 7. Distant land

      1:09
    • 8. Middle Ground

      2:04
    • 9. Foreground

      1:48
    • 10. Birds and Finish

      1:39
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About This Class

This is a great class for rank beginners. Even if you have never touched a brush before (even if you aren't sure which end to use!), this class will lead you through 7 techniques that will enable you to paint a landscape with atmosphere!  Background wash, mixing a neutral, mountains, distant land, closer land, still water, foreground.   What fun!!

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Meet Your Teacher

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Melinda Wilde

master teacher of watercolours

Teacher

Teaching Youtube https://www.youtube.com/channel/UCkRR5TW5Zy8zMz9BwiZ-E1g

Instagram:@melindawilde

FB: /MelindaWildeExperienceWatercolours

 

Hello, I'm Melinda. I've been in love with watercolours for 35 years. I've been teaching for over 30 and love watching my students when they realize yes, they can create in this marvelous medium. I live on Gabriola Island, Canada and love the God given beauty and inspiration this place provides. Pursuing my art was the perfect thing to do while co-raising 5 children who are now grown and gone. Teaching is my main mandate these days and I hope you'll join my first class and look forward to the many more to come!

Gabriola is a real gumboot community so I couldn't resist painting all ou... See full profile

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Transcripts

1. Sunset/Sunrise Introduction: Hi and Melinda Wild. Welcome to another session of experience watercolors. I find this one of the most fun things to teach my students. And as you can see, it creates a lovely landscape with beautiful atmosphere, very limited palate, limited supplies, just lots of fun. It's a really great exercise, so I hope you'll stick with me, paint along and have some fun. Let's get started. 2. Supplies: a Zegers I am is to get to paint. I just have to go over supplies very quickly with you. So I've got an absorbent rag, one inch flat watercolor brush, very limited palate. Today I'm only going to use the yellow, the red and the very deep blue. It's oppression, Carmine and golden yellow. You may have colors similar. That's fine. They don't have to be those exact shades, but a yellow a red and the blue is what we're looking at. We've got a water bucket and I've got my paper mounted on a piece of coral Plasse. This stuff you can get at the hardware store, I'm just gonna turn it over, see conceits. They used make real estate signs out of this or I don't know what else. But it's acid free, and it's really quite wonderful for lugging around if you're traveling with your paints, especially cause it's very, very light. All right, I've got urges. £140 cold press, watercolor paper. Truly good paper is probably the most important thing. All right, let's go to paint 3. Background Wash: all right. First thing we want to do is wet the paper. I'm just really blogging it on there, and I'm gonna wet both ways because you want to be a good weather. Make sure you leave no dry patches. Good way to do that is to go back and forth both sides, then gonna take or yellow quite thick on the brush. But you want to make it. Sure it's homogenous. Lee distributed in the bristles. So you don't get any clumps on your page, Okay? And then somewhere on the page, make a nice circle of yellow, leaving some white in the middle. Clean your brush, pick up you rid. Same thing. Make sure there's no clumps in your brush. Go on the outside of your yellow. This is just such a fun exercise. Maybe a little more red. Ok, then I'm gonna grab that really deep blue, Prussian. It's cold and just fill in the rest well, around the edges. Here, then This is very important. You wanna wipe your edges because you don't want to end up with any dribbling. So let's just wait those edges down. Then here comes the fun part. You're gonna pick this up and let it run. Just twisting and turning at all different ways so that it kind of takes away the circle aspect, actually, and it's OK. Fills in quite a lot of the yellow fields in. That's just fine. Here we go. I'm just gonna twist and turn this until it pleases me. Lay it flat. Here we go. Giving their still I'm just gonna twist this up. I know you can't really see it very well, but I wanted to really run that way, and then I'll lay it flat. You'll see what I mean. There we go. Get some nice running going on there, then. Got lots going on in the corner. Like it. Like it locked. Okay, then I'm gonna lay it flat and dry it so we'll see you back here when I get it dried. 4. Mixing a Neutral: so a few tips about drawing your piece you'll know it's dry when it is completely flat. If you turn it sideways and you can see little warps in your paper and it's not dry, it should just go nice and flat. The other thing is, let it cool before you begin painting on it. The warm paper will cause your paint to dry in different manner, and you get blotches and you know that's okay. But for this exercise may be a good idea to just let it dry, let it cool, and then we'll begin. All right, Now we're gonna mix a neutral A neutral is simply a combination off the colors that we used in our background wrote My brush is still dirty, the blue on it, but that doesn't matter because we're going to be putting blue in this mix. So I take a whole lot of yellow, a little bit of red notice I didn't even clean. My brush showed I'm such a dirty painter. Okay, then grab a little bit of the blue. The beauty of having your pigments hard like this is so you can clean easily just by wiping the surface off Okay, This is kind of what I call gag brown. So what it usually needs when it gets that way is a little more blue and a little more red . I'm just going crabs, more red. I'm aiming for a color that is like a gray, but a very pretty great I can push it to the blue or flush it to the purple if I want. The point is, I wanted to please me, and it's a combination of all the colors we've used already, So my painting will have very good color harmony, Way Dio. You want to mix enough of it so you can finish your painting so that you're not chasing paint. Jason Paint means having to mix more when you're halfway through a picture. That's kind of a drag, so let's just makes a whole lot of this. The other thing is, if you're pigment looks to something, for instance to read, then you need to add the opposites. You need to add more green, which would be your yellow and believed combination. If you're pigment looks to blue, then you want to add orange because that's the opposite of the blue. So then you need to add more red and more yellow. It looks to green this one. I was looking a bit greeny. I'm gonna add more red because that's the opposite hope. See, now that's a little too per police. When you had a little more yellow, I didn't grab a little bit of the belittle two. Here we go. OK, like that shade. You can always try it on a piece of paper. There you go. Just try it. It's lovely. Neutral at a little red and a little blue. It's a pretty color. I'm happy with that. All right, let's go to taint. 5. Mountains: So the first thing to decide is which way we're going to paint this. Now you can turn it around. It's gonna be a landscape. So I would say a couple words of caution, Uh, don't get sucked into making the yellow is part up in the sky, necessarily. It's quite all right to have a lot of the brightness in the bottom of your painting. So I'm kind of tort and thinking this way. I'm thinking this way. Mm. Okay. I think I'm gonna go this way. All right. I zoomed in a bit there so you can see what's going on. I've got my neutral gonna take my brush. Just clear water in it. I'm going to run it more or less through my That's not that clean, more or less through the center of my picture. There are at least through the light, and I'm picking up a tiny little bit of this neutral, and then I'm gonna work. So the top of my brushes onto dry the bottom is into the clear water that had just laid down a little more pigment Commander along here make it. But I think the shape of hill should go and then I'm gonna come from the other side in make another set of hills that I'm gonna clean my brush. Really? Really Well, pardon the pounding. They're gonna pick up right within this pigment and meander it through. I have to go back and forth a few times. There we go, That area of light. So what's happening is we're getting the idea that the shape of the hills are actually obliterated by the sun coming over the top of the hill. You know, I got a little spot here, so I'm gonna fix that right now. I'm gonna make that hill come right down there like that just to make the whole thing a little more interesting. Yeah, I like that better. All right. I have to drive that now because I'm gonna put another layer of hills on, but we must dryer first layer first. So let's go do that. So I've blown this dry my blow dryer. Just put that down and letting it cool. And now we get to do a repeat performance. So clear water on the brush, running it pretty much in the same spot is the last one picking up a little bit of my neutral and starting again over here. Try not to go in exactly the same shape. That's very important. Just about doing that there into the light. It's go here into the light, cleaning my brush really well, picking up within the dork and just pulling it through the light area there. All right, there's our second set of hills, and we've still maintained this brightness coming over the hill top. All right, you need to drive that again. 6. Scumble; yes it's a word!: up until now, we've been doing very wet techniques. Now we're gonna do a very dry technique going to take my brush quite dry. See, it can just separate the bristles and they stay separated. And I'm gonna add some pigment to it and this time putting the pigment right up into the Farrell of the brush, which is this metal part here. Then I'm gonna turn. I put a pigment on one side that I'm gonna turn it over and just let the moisture run out of it on the other side. Then I'm gonna turn it back over, and that's the site will be painting with Now, this technique, we start off the page, and if you can keep your brush as parallel to the pages you can, rather than using the tip, we want to use this little part right here, and we're just gonna lay it flat and start off the page and lift up as we get into the light. And you want to hear that noise because that means you're not getting too moist. And the other side same thing lifting off. Now water has to be level, so try to keep it a so flattered you can long that arising. If that's a challenge for you, I'm gonna give you a little trick. You can try. It takes and just make you tape a little less than than sticky by putting it on your pants or something and then ripping it off and then laying it wherever you think you want your water to end. Very lately, from that way, you can paint right up on top of your tape. You don't have to worry at all about making a nice level. Okay? She gonna stop the hair, I'm gonna pull that off. And what we have then is that sense of light sparkling on the water. A my horizons a little crooked there. I'm actually gonna bring that up a tiny bit on that side. Just straighten it a little. I think it's better. All right. Next thing 7. Distant land: Now we want to put in a little landmass back here and in this land mass, we're going to start to see the tops of trees. So again, we're going to start just straight across the page. I'm not gonna ended halfway. Let's go a little better than halfway and then slightly tilting my brush. And I'm just gonna make the shape that I want it to be. That landmass. As I run into the light, though, I'm cleaning out my brush, making it thirsty, and then is pulling that what's left of the pigment through the great spot. And then I'm gonna take my brush and use this little part of it just pulling up second. There we go, pulling up along here, the pigment that have already laid down. What it does is we start to see the tops of tree trunks or the tops of trees. Sorry, not their trunks. It just gives us a little suggestion. We're getting closer in the landscape, but we're still quite far away, but we're just getting a little bit closer. All right, let's go to our next step 8. Middle Ground: Let's make a chunk of land a little closer. So again, waters levels. We gotta have the bottom level, and then I'm just gonna create the shape I want it to be. Guettel. Now, I'm gonna use this old cut up credit card. I'm just gonna scratch in a little bit of beach. The pigment at this point is so thick that when I push it around, kind of stays almost like an acrylic paint. Then I'm gonna make some trees. I'm gonna use this guy, and I'm gonna rest my wrist in my fist. I'm just gonna create the trunks first. This is a nice chiseled edge on it. So different distances apart, different heights, very important. Don't have any of them ending right where a mountain begins, and then we're just going to use the little tip of our brush here. We're gonna blob, so I decide to create some trees. Here we go. Easy peasy. I think I want to scrape a little more there. When you're scraping, try not to get just the tip of the scraper on. You want to get a large surface of it onto the paper and that way you won't end up with what I call a wormy look. If you just get the tip, then you just get thin little lines. It doesn't look so great. Now I'm gonna scum below a little bit again, just underneath here to create a sense of maybe a little shadow or little slight bit of reflection. And I can kind of put a little extra right below where the trees are, but my brushes very dry. So I'm not. It's not wedding. The whole thing. I'm still getting hits and misses hitting the tops of where the paper comes up. But it's not wet enough to run into the little difference that air there, There we go. 9. Foreground: I think it's time for a little foreground grabbing a bunch more of my pigment. It's gonna be really brave. Just sweep it across the bottom there again. I'm gonna take my handy Andy credit card, push it around, create some stones. Kind of a fun thing to do. Also is just scratch Concrete's, um, grasses. I feel like I want to add a little more moisture to that so that when I scratch up there you go and pulls up. Next progresses, pulls a little way. Go no, me another. And we could decide to put a tree here. What do you think? I say? I do it just to show you make it really big one again. I don't want it stopping there or there or there. So in between and now I'm using the little tip of my brush and blogging side to side. Create our tree when we go, I don't think I need to make it go right to the bottom cause you might see the trunk. In this case, if you end up with an area where there's a lot of dark against dark, you can all scratch in so you get light against dark. Sometimes they come be quite attractive scratching a few branches. Here we go. All right. I think we're ready for our last step. 10. Birds and Finish: so the very last thing I want to do is create a few birds. I've got some blobs up here in this guy and I want to cover those up. So lives. Tournament of Birds Now birds. Let me just talk to you about those. If you think of the letter M and then just elongated out a little bit or think of the letter V and then elongate your V out a little bit, and then you can create some very nice birds. So let's put a few on here. So there's a little M that's not very Miami. It's more like a V. But that's okay. Let's make it a little bit bigger. Thing with the birds is you want to have them flying different distances, supported very much like your trees and different angles. And they don't have to be all right up in the sky. See, I'm putting some down here, and some of them can overlap. Even put one here. Another one there looks like they're all flying in for the evening, maybe one even way down here. Here we are. I think we're ready to take the tape off, so let's get that table So look around the edge Compete painting. What a lovely little landscape it has such an essence of atmosphere sun Just coming up. Maybe just going down. Anyway, I hope you enjoyed this little exercise and, uh, hope Youll try some and upload them because I'd love to see your work. Thanks for watching.