Experience Watercolours Wet into Wet Daisies | Melinda Wilde | Skillshare

Experience Watercolours Wet into Wet Daisies

Melinda Wilde, master teacher of watercolours

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4 Lessons (20m)
    • 1. Introduction

      0:53
    • 2. Drawing and Masking Daises

      2:44
    • 3. Paint Background

      6:07
    • 4. Final daises

      10:16

About This Class

Let's get wet!  This is a fun class that happens quite quickly once you get going.  You'll learn some basic wet into wet techniques as well as masking.

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Transcripts

1. Introduction: Hi, I'm Melinda Wild. Welcome to another session of experience watercolors. Today we're gonna pretend we're sitting in a field of grasses and daisies and some wildflowers. It's a wet into wet technique, so it happens pretty fast. Let's talk a little bit about supplies. We're going to use watercolor paper. We need tape to tape or paper down with. We're gonna need a pencil to draw daisies. I'm going to use a one inch flat and a smaller round. We're gonna have a very basic palette of six colors, and we're going to use masking fluid and perhaps some salt. And I'll talk to you about the reasons why you may not want to use salt, and I'll give you another technique just in case you decide out of the discussion. You don't want to use salt. We'll also use a masking fluid remover. You don't need this product. You could just use an eraser, but this just makes it a little bit easier 2. Drawing and Masking Daises: Let's talk about drawing are daisies. Now here's a super easy way, First of all, well, just drawing a square that's approximately the same format is the paper we're gonna be painting on. And let's think about making just little ellipses on your page and these will eventually be daisies. And you can just place them here and there on your page. May be odd. Numbers is good. Some off the edges. Good. Miss gives us a rough idea of where will place are daisies? Now, in order to draw Daisy very simply, he draw that ellipse and then put a little center on it. And then from the center out, just make your petal shapes go all the way to the edge of your lips. And if you make your center in a different place, it means you're Daisy will be at a different angle. So the pedals will be longer on one side and shorter on the other side. Sometimes you might decide to have ah, center way up here and then all the petals falling down. This way they look as if there may be waning a little bit. Okay, so I'm gonna get you to draw your daisies on your page by starting within the lips and then adding your centers and then erase this edge that's around your daisy at the end, and then we'll be ready for masking fluid. So I've got my daisies drawn on the paper. Now we're going to use a masking fluid to mask them out. Masking fluid will resist the paint, and therefore, when we finish our painting, we can erase it off, and we'll have lovely white daisies. So the first thing to know about masking fluid is that it will wreck your brushes. So you want to wet your brush and running around in a bar Soap. Here. This is just a old nasty bar soap. Make sure you get the so right up into the feral of your brush. Then when you dip your brush in masking fluid, only dip it halfway. So I'm gonna just take a little bit of masking fluid and just show you it's just easy as ever. You just painted on. Here we go. Now this will need to dry, and I'm going to do all of them and then when you want to dry it, blow drying, it is okay as long as you don't use a blow dryer that's too hot, or sometimes if you use it too hot, too close to the paper. You'll end up at hearing the masking fluid right to the paper, and you will not get it off the end of your painting, which is hugely disappointing when you've gone toe all that work. So blow dry, carefully lifting it the blow dryer a t least 10 inches away from the masking fluid and when it's dr will be ready to go for paint. 3. Paint Background : first thing we're going to do is what, our paper And I'm gonna make it quite juicy because I wanted to buy me some time because this whole thing is gonna happen really quite fast. And for paper gets to dry. The effect doesn't work quite as well. So I'm gonna make it nice. And what? Okay, then I'm gonna start with some yellow, and I'm gonna do big, bold strokes, maybe six or eight, right from the bottom of the page right off the page. Then I'm gonna add a tiny bit of turquoise to that yellow without even cleaning out my brush. Having do another six or eight big strokes. These blades of grass is what we're making here. Then I'm gonna take some pure turquoise. Just come in from the top here to suggest a bit of sky. Here we go. Then I'm going to go and pick up some of my red, which is car minus the color I'm using. And I'm gonna put it quite thirsty on my brush, meaning that will pick up the color and then blocked my brush on my rag. And then I'm just gonna drop it in here, and these were gonna be blue pins in the background. Maybe, Let's see. And you see, because the papers wet, I hardly have to do anything. I just have to lay down the color, just tap it pretty much on the they fuzz and they create lovely little blue pins for me. Now, as I lay them in here, I want to make sure they're different distances apart, different heights. I'm gonna add a tiny bit of ultra marine blue to that pink Teoh. Give me a little bit of a more purple e color. Maybe I can stick a bit of a purple. We've been in here too. Liukin's come in all different shades, that is for sure. Here we go. I took another one in there, and this is gonna be stuff that's way in the background. So don't worry too much if you don't get them exactly the way you want them. Because they're not gonna be that that important part of the painting, OK, now I'm cleaning out my brush and I'm gonna grab some yellow again and some turquoise again , and I'm making it a little bit deeper and darker, and I'm gonna make a whole bunch more strokes Mass is. Sometimes it's good to jump over the red. You mix red and green and you kind of get get gap around. So if you brush has really good thick paint on it, then you can afford to go right over the red. But if it's not that thick, you're gonna end up with a mixture that isn't all that pretty. Okay, I'm gonna add a tiny bit of bird sienna to this mix that we get a more believable green. There we go. And it's kind of fun to make blades of grass that come up and then turn your brush and flip down. It could try a few of those on your sketch book before you go on to painting. This just for fun. Make sure that you get the hang of it. I want to make sure I get some good rich darks around my masked daisies. Max, you're gonna add a tiny bit of Prussian blue to this mix now because I wanted to be nice and rich dark. That's about right. See how much darker that is? Give me more Prussian blue with yellow in it. Just make sure we get some good rich darks around her. Jesus. Yeah. Now I'm going to take a little bit of salt and I'm gonna just Sprinkle it in some of these darker areas. Assault takes a moment to work, so well, it's working. Let's just discuss why you would not want to use salt. What it will do is it will suck up the pigment, and it will leave a little white starry shape just really quite beautiful. However, it does D nature the watercolor paper a little bit. So if you're worried about the integrity of your work for years and years, or if you're planning on selling anything, then you may not want to use salt. So it's just something to consider. And if you don't use salt, there is something else you can do. Just wiping these edges here so we don't get ourselves into trouble with water that wants to run back onto our page. OK, something else you could do instead of using salt when your paper gets to a point of dryness, where the shine is just leaving if you take your fingers and dip them in your water bucket and shake them out and then flick like this. It will also separate the pigment and you'll get some really interesting shapes. So I'm gonna shake my fingers out really well and then just flick a little bit and you can see it happening in here. If your pages to wet, it's not gonna work. And if it's too dry, it's not gonna work. It's the same result. Timing is everything. So got some salt on here, and I'm going to just give it a little while to work. And I'm waiting on this to dry a little bit more so I could do a little finger flicking If I decide I want to as well. Here, let's let's try some over here. This is getting a bit drier here. There, you see how that separates the pigment, gives you a little white spots. The spots can be seeds blowing in the wind or something that's gone to seat. You know, it doesn't have to be anything believable is just to give you this ethereal look to your painting 4. Final daises: No one has dried a little bit, and you can see what the salt has done. It's made some interesting little shapes here, and some of these air made from salted summer made from splashing water on the page and small droplets. Justus the shine leaves the paper so I could take a clean paper tell just and then we'll carry on and I'm going to take the darkest green that I've used so far, and I'm gonna add stems to my daisies. Good idea to do this while the mask is still on, because then you can just start right up within your daisy and create the stem. One thing I will suggest is don't have the stems going all the way to the bottom of the page. Just let them sink into the grasses. They also need a little bit of leaves. So here's my leaf way of doing lease. I just put a little pressure on the brush and kind of wiggle it around and then lift off. It's pretty basic, but it gives you a nice idea of those kind of gnarly leaves that Daisy sometimes have. There we go, so we just make a bunch of them. This guy maybe could go off the page. Here we go. No good. Here, grab a little more paint. Sometimes students will make these leaves a bit to dark. Be careful not to get too dark with them, because then they really jump out at you. Okay, Now I want to add just a couple of extra strokes. Also, that will be clear. Focus. In other words, they'll be sharp. They won't be fuzzy. See how the yellow streaks that we did at the beginning, which probably seemed a little bit scary. They've just disappeared into almost nothingness. They just add to the essence of the picture. Same with the loop ins. They're just not that important, but they really add something. Okay, let's just do a few extra streaks here. Nothing too heavy. But I just want to suggest something that's right in the foreground, along with the daisies. All right, we're ready to drive this and remove our mask. So now we're gonna take our masking off, and this is a masking fluid remover. It's just feels like a little piece of crepe. Almost crepe soled shoes that we used to wear a way back when and it just makes the job a little easier because the masking fluid sticks to it. So as you erase it off just much easier, you can use an eraser and a racer works just fine. But this is just a little bit quicker. Here come the daisies. One more now we're ready to detail are daisies. So I zoomed in a bit on these couple of daisies because we're going to create the detail ing on them, and the first thing to do is mix up a yellowy orange. So I'm taking a bit of my yellow and adding a bit of carmine to it, just making a nice little puddle of it. And then here will just paint a center. Maybe I could do to them at once. I don't recommend doing all of them at once. Just put in the color and cleaning out my brush and picking up a little bit of ultra marine blue. And while those centers air damp, I'm gonna drop a little bit of ultra Marine blue along the edge of that dampness, and it'll just run into the center a little bit, and that will create a bit of a dome on our daisy Center instead of having it just be flat , so we'll do them all just like that. I don't recommend doing them all at the same time because you want that center to remain damp so that it'll take the ultra marine blue and just have a fuzzy edge on it, like so. And if it dries, then you won't get the fuzzy edge. You can always go back in, just in case it did dry on. You. Just soften the edge a little bit like that with clean, thirsty brush. No, let's get those less you done. This one's a little bigger, a little closer up, maybe again. Just dropping that off to Marine on while it's damp. And if it doesn't go where you want it to go, clean out your brush, make it thirsty on your rag and just come in from the other side. The clean into the dirty and you can soften those edges just makes him look a little more believable. Now, here I've kind of over painted this, so I've made my brush clean and thirsty, and I'm just gonna scrub a little over the top of it and what that will do is pick up the pigment that I laid down that I didn't really want in there. You guys could use a little bit of help also. So that's again just a clean brush and then making it thirsty on my rag and then softening the edge. There we go. Now we won't do something with the pedals. I'm going to suggest a very soft diluted, ultra marine blue, very, very diluted. Just hardly any paint in there at all. And then we're going to We're gonna more or less think like direction. I'm assuming my light is coming from up here. So that's when this side of my daisies is light the left side rather than the right side. And then I'm just going to take that soft, ultra marine blue just shade down one side of each of these pills. This just creates little shadow on them. So again, they're not just so flat. Well, I can see it, Mr. Tiny little bit of masking fluid there screams that we go, and sometimes the daisies dip in a bit in the center, so you might add a little more shading in there. Good. Look, some people like to use graze for this. I prefer the ultra Marine. I find it just has a little more life to it. Don't want to get it to dark Go. We might just make the odd extra little stroke toward the center of some of the broader pedals. It's to make them look as though they dip in a bit in the middle. And then I think we're ready. Just add a few little blades of grass to complete this because we might want the odd blade of grass running in front of a daisy. So I'm just gonna mix up a little I had earlier. Maybe we'll just have here. Just makes a little more believable. They don't want to be completely in the foreground. There we go. Well, I hope you enjoyed this little wet into wet flora, and I hope to see you again.