Exploding THE ART MYTH:Recreating Artistic Mindset | Ron Mulvey✏️ | Skillshare

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Exploding THE ART MYTH:Recreating Artistic Mindset

teacher avatar Ron Mulvey✏️, Artist / Art Teacher

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

13 Lessons (2h 20m)
    • 1. Exploding The Art Myth/Intro

      5:26
    • 2. Materials And Projects

      6:41
    • 3. Myth Busting Techniques

      17:17
    • 4. Start With Crosshatch

      6:23
    • 5. Color Depth And Highlight

      14:14
    • 6. Discover Why It Works

      14:11
    • 7. Pencil, Shading,Watercolor

      6:52
    • 8. Adding Layers And Contrast

      13:01
    • 9. Going The Distance/Opaque

      9:57
    • 10. Vibrant Watercolor/Lay In

      12:56
    • 11. Creating Contrast And Mood

      19:23
    • 12. Accepting The Masterpiece Challenge

      5:10
    • 13. Creating Your Mindset

      8:10
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About This Class

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You are going to learn how to reset your artistic mindset and get started expressing your unique approach to creative watercoloring.

All levels will benefit from this class. If you are a first time beginner do the Myth Busting Technique and Skill Builder section and then continue through the levels. More advanced students are encouraged to warm up with this section and then get down to some personal creativity with all the projects.

All you will need as far as materials will be given in the Class Project Outline. See the Materials and Project description video for a complete overview.


Here are the  3 ART MYTHS we will be Exposing and Exploding in this class.

Myth #1- Talent is a gift and some have more than others.

Myth #2- I Want to create but something always stops me before I can get started. I end up copying someone else's ideas because I lack my own creativity.

Myth #3- If only I could just get loose and free flowing then my work would come out perfect and easily. I want to get into that zone where I feel my art and don't have to think. Art is all about feeling not thinking.

Here is how many of us feel when we are wanting to enter that creative space. Let us assume we are listening to our own mindset talking.

"I don't know exactly what I am afraid of.  Something  is stopping me from starting. I get everything ready, watch the instructional art videos but I just can't start!".

"I just want to be able to paint and feel good about it. What is holding me back?"

"Nothing I do looks very good so I hide it or throw it away."

"I want to quit after about 10 minutes because it looks terrible."

"My paintings end up looking like mud ...mistakes all over the place." I'll never be any good at this!"

If any of this is running through your mind you need this class.

Holding onto the myth of “waiting for the muse” to show up so we can be inspired and get at it is never going to happen. GET TO WORK FIRST...and then the Magical Muse will show up to help.This is why some just do it, and others can't get started? 

In this class you will realize how and when you are being creative and approaching your art in a truly effective and genuine mindset. Any activity becomes creative when the doer cares about doing it right, or better. As you learn the techniques and skills set forward in this class you will then reboot your mindset in the project section of the class.

Explode Your Creative Myths And Create A Personal Creative Mindset

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We all cling tightly to  ideas or beliefs that are false. These become our personal myths.

II have designed a class that will give you the personal power to explode your creative myths and lead you into an exploration and development of your true creative mindset.

Decide now if you want to move forward...then take action.

Can you admit that what you have been doing is not working. Can you turn around and go in a new direction

Do you believe in the talent myth? If you don't start young it's too late when your older.

Are you holding onto a myth that says realism is too difficult?

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Are you willing to explore and withhold judgement as to what is good art and what is not?

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Are you held back by fear of making a mistake. Do you suffer from 'frozen brush' Can you find boldness and strength from exploding your myths? Do you want to find and develop a peaceful creative mindset that will bring you to a new horizon in your artistic practice?

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If you had a yes to any or all of these questions then get prepared for a myth meltdown during this class with Ron.

Find out why simple is easy to do and hard to accept.

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Why our comfort zone is making us uncomfortable. Discover why you need to do something totally different and challenging from what you usually draw and paint.

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Now, let's see how we are going to apply all the above in our Class Projects.

Meet Your Teacher

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Ron Mulvey✏️

Artist / Art Teacher

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Transcripts

1. Exploding The Art Myth/Intro: Hi, I'm Ron moldy and welcome to the class exploding the arc. Now, anybody can be creative and the accountant, a doctor, scientist, cook. Anybody can be creative. We just have to find where does creativity come from? You know, being creative as always been a passion for me, something I've always looked forward to, and I've always done it. So this class is for people who really can't get started. This class is for people who have already started but are finding and they can't go in certain directions because something stopping them from going there. And this class is for seasoned professionals, people who've been painting for years, who are stuck in a particular way of presenting their creativity. And maybe are afraid to move over and see for something different they can do. Also, being creative is about doing. It's about learning. And it's about identifying the myths that present themselves to us that are not true. We need ways to get rid of those myths. I call it exploding, the myth of art. Along the way, you're going to be finding that there are certain beliefs that you have that seriously are not true. They hold us back. They keep us from doing what we need to do. And I'm here to show you how to break through those things and explode these myths. I keep using word explode. I was thinking of something, maybe a little less explosive. Something like, let's see, overcoming. But it's not like that. Like you gotta get down and get rid of this idea. Wherever it's coming from, not coming from within you. It's seems to be coming at you. And that's not true. It's not true at all. You're going to have to battle a little bit. You're going to have to fight a little bit, learn, study, and apply some techniques you'll learn in this class, which is for people who are blocked creatively. Or maybe you're stuck in sort of a mode where everything's working out and you're just a little bored with how good you are. You're going to learn how to prepare yourself mentally. You're going to prepare your heart for how you're, what you're doing for what's your painting. And then you're going to learn how to abandon yourself and get rid of that myth. Get rid of those things that are stopping you from being who you really are as a creative person. Instead of expressing. Now, this is a series of classes. We're going to be starting with basic myths today, the ones that we encounter when we begin painting. As a teacher. When I can put myself in your shoes or your paint box and feel the things that you're feeling when you begin. This is really good because I still remember some of those myths, some of those things that made me feel insecure stopped me. I'd be painting along and then all of a sudden hit a wall, not know what to do. But then I discovered some very important things to dissemble, to annihilate, to get ready to explode the art with a thirsty brush. Otherwise you get a big line, they're lighter. So what do I do? Clean the brush off, touch the rag, dry paper. It stays a really good theme or our little mantra is, little things, make big things happen. But it needs something else. That's when I turn to gloss medium. So you see I just very, very gently glide the brush over the pitcher. Only use it as thick as it needs to color or cover what you're doing. This is looking good, liking the look of this. Especially right there. Be creative. Don't copy, Express worked together with me and will come out all right in the end. So there's where we start. A perfectly unified, beautiful, organized designed piece of white with nothing on it. Our job is to let go. Let go of those myths that prevent us from putting something on there that is meaningful. 2. Materials And Projects: Welcome to the class project and materials section. These are the projects we're doing in the class. Each one of these projects can be done solely with watercolors, if you wish. I am adding an extra dimension, actually, three extra dimensions to each picture. Although this picture, which is after the storm, is a pure water color with no opaque watercolor. This is opaque watercolor. I've used the two quite a bit. It actually dries out really easily, but it's easily made wet simply by adding water and letting it soak for about an hour, it becomes quite soft. You'll see that in the video. The other medium that I use is a gloss medium. It's this one's by Golden. But to you can get any brand, it'll work. What it does is it takes the place of most of the water. Do mix a little water with it. And then you're painting almost like an oil painting. You can glaze over the picture and add details that you wouldn't be able to with watercolor. You can see the slight shine I hope on this. And this was done with three things. Watercolor first. Then I added the opaque watercolor. And then I added a little gloss medium into, actually into the water color so that I could put glazes on. You can use watercolors with the medium. As long as you don't try to get thick, keep them thin and they're great for transparent glazes. This one started with watercolors, and then it moved to goulash, which is right here. And I ended up by adding acrylic titanium white. As you can see, I really use my tubes to the very end and I'm really bad at putting tops on. I used to put paint brushes in the end. Now I just poke it and it works so acrylic plus the watercolors. So I can mix the acrylic paint with the water colors. Once again, you can't go very dark, but it does create light areas. So mostly white with a little watercolor and some gloss medium. In the end, if you want to glaze. Glazing is like an example would be the very faint violet color in here. You can see the glazing in there. It's just with the medium plus a little bit of acrylic or the watercolors. Now, for this painting here, which is probably quite shining, I used some acrylic paints with a little bit of medium. And I use the opaque white with a little bit of watercolor. And I use pure water color, and I used a black pen to do crosshatching. These two paintings here are well worth your effort. If you can develop a good cross hatching technique, then you can actually bring it up to a higher level. I'm still going to work on this painting. It might take me another 20 hours, 15 hours. But the deaths, what an advanced realistic painting takes many, many stages. And I really feel in this class by understanding your materials and how to work with them. Whether you're a beginner or advanced. If you're a beginner, watch it, learn from it if your intermediate, give it your best shot. And if you're advanced, I think you'll be very pleased with the outcome. I used a pencil for this painting and an eraser, watercolors plus squash and medium. I used sharpie pen so that it doesn't bleed when you add water. And one note, I did use a lot of cadmium red. Well, not a lot, but I did use cadmium red for that lovely red. There's a great little painting you'll find out how to make a good highlight. And as I say, pure water close only three colors and that we had Hansa yellow, actually for a little Manganese Blue, some phthalo blue and permanent, I repeat Permanent. Alizarin crimson. Do not buy Alizarin crimson if it doesn't say permanent. These are my main watercolor brushes. They're all squirrel hair except for this one here. It has a little bit of Kolinsky sable. So a little bit pricey, maybe $40, but actually not really that pricey when you think you could pay $350 for a pure Kolinsky sable. And I kinda like to synthetics because I don't like the idea of taking little tails off animals and making brushes. So I pretty much stick to synthetics. Just, just a personal choice. So these are all synthetic squirrel hair brushes, fabulous brushes for watercolor. And then I don't spend a high amount of money on small brushes. You can get about six of these for like 12 to $20. And I use him for about a couple months and then just get new ones in there, all synthetic for all a little work to find work. These are like pens and when you get used to using them, work small. Don't try and do a big realistic painting. Keep them small unless you want to spend two or three years doing it. Well, last thing I have, of course, need water and you need a palette and you need rags. I call this a gum eraser. It's probably not I don't want later on to something I called her for years. Who cares what it's called? It's those brown erasers, they're fabulous. I think they're even better than the white vinyl erasers that you bye. Good luck. And let's really get down and break up those myths and gets you going in a new direction and direction that you feel is your direction, not direction. I'm just here to show you the road. You can take, whatever road you want. I'm going to show you materials. I will show you a technique, and I'm going to show you a way to approach your paintings in different ways. Let's see what's on the inside here and start our class. 3. Myth Busting Techniques: So we'll take a medium-sized brush and we'll squeeze out Alizarin crimson. And the first thing we're gonna do is wash a wash. I know how to do that. Yes, I'm sure some of you do. And I know how to do it too, and I never get tired of practicing. Now one of the things you want with a water color is something you can tilt. I've got this on a piece of mat board and I have some clean water. Clean waters, good. Two ways to do wash. One, I'm just going to go this way, put some water on the paper. The paper sized with gelatin and alum. So it will take a moment for the water to soak into the paper. So we're going to do two of these little strips of water. Notice this brush nice and floppy. Get yourself a floppy brush. Brush like this won't work. That's a hogs hair brush. Nobody. Floppy gets the job done. See all the drips here. Don't leave them. Pick them up with your brush by tapping your brush on the towel. Basic techniques, how to overcome myths, gets some technique. Hello, okay, don't blame it on what you don't believe. Don't blame it on what you believe. Blame it on nothing. You do somebody about it. Here we go. Now we're going to take a little bit of this red here. And it's all on the tip of my brush. Water soaked in a bit. And I'm just going to go like this. There have cleaned it off. That's one way to do it. The other way is a graded wash. No graded wash. That's a flat marsh. Everything's the same. Here's a graded wash. Take the same thing with your brush. Make sure it's mixed up nicely. Pat the brush, just the tip. You don't have to rub the whole brush. And just the tip of the brush. Now it's wet, so I'm going to give it a little sweep here and then I'm going to leave it. Tilton. Know you'll notice this type of a wash is much more interesting than this. And it requires a little bit of patients. Now depending on how wet your paper is and all much you tilt it, you'll get a nice effect with that. And that the key word here Is patients. If you don't have patients, it won't work. Now, here's a nice little trick. If you turn the paper over and keep that puddle there, see the puddle, it's all about water. And then we take a little bit of this hansa yellow. Now the portal still there. So I put a little bit in the puddle here. Just a little rub, rub, rub. Okay. And gently let it flow down old book. It's backwashing here. See that puddle. So I have to direct the water there. Have to turn it. Have to play with it. See. I got to play with it. You don't play with your watercolors, you'll never learn anything. Got a play with the water. First secret to overcoming the myth that watercolors are hard. They are not the light to be played with. So we didn't play with that. But we can write now, we can play with that really easily because it's not quite dry. I'm going to drop some Hansa yellow into it and you'll see what a bleed mark is. Look at that. That's pretty cool. So if you were doing leaves, Let's say in the autumn, see it's all dry there and nothing happens. Dry paper, it stays, it doesn't disperse. Playing with your paints is so important. If you don't play with them, you won't get very much done. So now we're going to take a little bit of this phthalo blue, very strong blue. If I can get a little dark out here, I like to paint in the pure light. So even though it's getting a little dark in here, that's okay. I can still see you and I hope you can too. I'm going to drop a little bit in this one. Nothing. Why? It's dry. Hubbard over here. Dispersing. Let's see where it's still wet. Ah, there we are. It's not cool. Look. So even that becomes now a little painting. Now if we take a little more full strength, you see little stronger and put it into where we draw the first time here, it'll drop again, but we have three colors now we have red, yellow, and blue. This will more than likely not be as vibrant as this one. Look at that one. Because two colors makes a better color sequence than three colors. Not so much better, but three colors. Makes what's called a neutral. See, when I put this on there, it's not as clear. Paper's wet. So it's going to run. That's one way of getting a graded wash and just tilt your paper. Play with these little shapes, let it dry, it will get, here's how you do a graded wash if you're going to be using the technique. So we start with some substantial pain. We'll make a little bit of a b. Let's just do a little skinny one. There's the beetle water. Little bit, bring it down a little bit more. See the bead and now I just take water, thin the paint a little Morrissey from dark when take a little that and make a medium paint. A little bit lighter. See, I think I waited a little bit too long. So what I'll do is start over. So I get a nice even flow of paint there. There we go. See that. Now. Take water, thin the paint a little bit, keep the bead going. And then just straight water. And then we have a little bit of our graded wash didn't quite turn out. I can still put it in and try it again. But now I've lost that effect. So what happened there? Usually what you do is you premix your paint, limit premix a little paint or watch it. Thought, there's my strong one or my dark. And then over here, I'll add little more water and make a lighter one. See, got two strengths. Okay, here we go. Let's try this again. Here comes the strong pain, a little bit stronger. Stronger just means more pigment. Okay. There's a good BDE. Those bring that bead down a bit. And then clean the brush. Take the weaker paint, bring it down little more. And now just trade water. Just water on my brush this time. Clean it off again. Just straight water and trail it out and there you see it going from dark to light. Strokes are always a little bit of fun. A stroke is when you take the brush and you just pull it like that. Like for flower petals or limbs on trees, it's always a difficult thing to do. He hit a little shaky. So practicing a few strokes with your brush helps knowing what kind of brush to you is. Here's a thinner brush. This brush is thinner. So it makes a thinner stroke, but you really have to load the brush with paint, see, good for those toward the stroke like that. You can even let it wiggles, stroke a little jab the strokes, little dots. Okay, let's turn this over. And let's see we can do with some sweeping strokes like this. C. C you put your brush in the water. I mean, put your brush in the paint. Lead baby fingers here. And it gives some sweeping strokes, Let's say for grass. Big things are made of little things. Look, I'm building my grass texture here with the stroke my baby fingers down. Or I can have my hand up in the air. And I'm not being fussy, I'm just getting used to that stroke. Then it makes some of them tilt tilt different directions. Put a couple down this way. So it looks like the grass is bending over all kinds of little tricks and textures. This is on dry paper. So there are some bluegrass. So stroke strokes. Instead of trying to do a painting when you're full of a few fears and feeling like you're not competent. Instead of doing paintings, just practicing strokes. Lots of different things that you can practice to feel confident with the brush it so you lose that tenseness in your arm. It's like drawing, doing your name, you know, practicing. Just kept practicing with your brush until you get confident. Washes and strokes. Okay, here we go. We've got dry paper here. I'm going to take a little more Phthalo. My brush, fairly strong. I am going to show you a lifting technique. So I go over this with another little wash. Now I take a slightly damp and I take my fingers. Wait a second, have my rag ready? And all I have to do is touch that and let it sit for a second, pull a bit, then wipe it off on the rag. Dry brush, shape it again if you want to. And if I want to do more, I do it again, but this time I wet the brush with a little bit of water and just rub it a little bit. And you'll notice each time I can get a little bit more off. Now this is thylacine. So you won't get it all off because it's a stain or color. But you can get a fair amount off. You can make shapes to just by going like this. And that's called lifting. Okay? Very important technique lifting. And of course, one of the most important techniques is picking up the drips with a dry brush. There we go. We have lifting and we have a flat wash lifting up the drips. And maybe we'll just drop in a little bit of alizarin crimson for good measure into the wet paint. Own look what it did. Alizarin crimson really likes to disperse. Let's see what it does over the lifted paint. It's also a stain or color. But look at that interesting effect. We have now some very interesting color effects there. Will the Alizarin come off, tap it on the rag, rub it on the paper. Tap it on the rag. Rub it on the paper. It doesn't come all the way off, but it is creating an interesting effect. Of course, the paper is very wet. So this time I'm going to wipe off the brush and I'm going to go back to the phthalo blue and less water. See what happens. See less water means the dispersion is less. So a little more of the alizarin, but almost full strength without water. When you use less water, you get a stronger color C, and it disperses less. But you just don't want to get too dark. Because if you go too dark or the paint is too thick and you're defeating the whole purpose of watercolor. Notice I'm cleaning my brush every time. Cleaning your brushes, very important. Well, it's getting near the end of the day here the sun's starting to go low in the sky. I love painting in my studio in natural light. To me, it's the best light possible, better than any kind of studio lighting. Right in front of a nice big six foot window. So I'm taking some Hansa yellow because I want to see what happens. I started a little bit here. When I go over half of this with the yellow, very gently. And let's see what happens to the other colors. Notice how the yellow over the red and orange here totally intensifies it way more. And over the overhear. It makes a lovely green agreements you're not going to get if you just put it on with mixed in to the blue sea. So that's called glazing. And if you rub it hard, you see you dissolved. See how the paints dissolving here. And you can soften an edge by rubbing the edge too. But if you rub all the water color, it will look a little muddy. So see, I'm just rubbing around the outside. Rubbing on failed cosine won't do a thing. And you can rub sale seen till the sun goes down and very little will come off unless you've put it on very thickly. Like here, if you rubbed out a lot, it will come off. See. So knowing your paints, when the paints on thickly, you can lift it and it will spread. See if I can pull that right over. But it's, the paint isn't very thin. There's not much to come off. But look at how you can make length beams of light is c. You want to make a beam of light going through the forest. It's lifting that will get the job done. Thing shooting out. Long as you clean your brush each time. Keep lifting it. I love doing this because definitely in a landscape, when you want some light streaming through something, that's the way to do it. And a streaming through my window right now. Surya can see that very own lots of good techniques that we've learned today. Good luck will come when we do our projects. 4. Start With Crosshatch: Okay, let's get right down to it. I wrote some notes. So just to show you having a plan, we'll get you going in the right direction. Our project, Let's explore this myth which Smith watercolors are hard. Well, there really aren't hard. And I'll tell you why if you break them down the whole process and practice the process over and over, you will discover that watercolors are not hard. It's how we approach them that is hard. So today we're going to do an ink and wash. Now you can use ballpoint pen, permanent pens, even a quill pens like this with real ink. Okay, It's going to be crosshatching. And I'm going to show you in a minute what crosshatching is and maybe some tips you don't know about it. So ink and wash, we're gonna do a design principle. The subject matter is this going to be around shape? It's not about what you're drawing and painting. It's how your drawing and painting. The effect. We're going to have a shadow and we're going to go from dark to light. Why ink? Ink, as compared to a pencil, is very different. You can erase the pencil because you think you did something wrong. You need to accept redirection. Meaning, you know, you get going on your project and I made a mistake. You need to redirect that thinking into. I'm redirecting from that particular spot. And big things are full of little things and there's nothing smaller than a little crosshatching blown that myth. This is 140 pound Canson watercolor paper. It a little green tape. Why Greentech? Well, it's not very nice to look at. But when you take the tape off, it creates a very, very pleasing border around your sketch. So first thing to do is, let's look at our notes. There's a design principle here. The top-left is where your eye always goes. I guess you notice an advertisement out when you really look at them and know some of these tricks, you'll see that this is where their words are or the main image. It works down here too, in reverse, right? Smack dab in the middle. The bulls-eye effect. It might work for laundry detergent, but not so much for great artwork. So when the next thing is we're divided into thirds. See there's three sections here. So we take the top left third. Very simple. Make a circle. Find the middle, dropped down a bit, and make two sides on the middle that are equidistant and you probably have a third, C1, 2, 3. We don't have to be measuring if you want to measure, Go ahead. Now a straight line across. I'm going to just do it on an angle here and do some feathery lines. And then I'm going to adjust because I'm going to be doing lots of little lines here. So I keep adjusting told string, saved, not fussy. Just keep adjusting. See, next thing is the cross hatch. Let's practice a few cross hatches. Let me show you how it works. There's a finger crosshatch that goes with your fingers. You see? It just pulled down like this. I'll use to keep my pen straight up like that. Because these pens don't work very well on an angle watch. See, the ink flows off the tip. So there's one direction now you can turn your paper. The next one's a wrist. Because you can't really use your fingers to the side. You can only use them in one direction. So this is with the wrist. And then we'll etching technique. He looked through some old axes, especially by Rembrandt. And then you can turn the paper if you want or if you only can go one direction, which is like with your fingers, you will have to turn all the time. So I sort of develop the, I've developed the pull down, the push-up, the flick over with the wrist. And then on the side, just move my arm of it and there's my cross hatching. Okay. First one, we're not going to do the sweet yet. We're just doing the finger cross out lines like that, using the wrist C, using the wrist, going all the way around and end leaving a little white spot at the top. Back and forth. You can do them all the same direction. It doesn't matter. Just get some crosshatching. And now as we move to the metal, we leave that little spot at the top. There's a reason for that. There, we've completed the first step. Now you look at it a bit and you think, well, it's the three-dimensional objects, so I don't see that side. The darkest is going to be right down here. So right down here I want to establish my darkest dark. I'm going this way, that way, this way to the right, up and down, down and up, back and forth. And don't try to make it look round, just get a dark space and then faded up with little strokes. Fade it up. How do we get rid of big myths? We got rid of big myths with little things. Like a new technique, a new tool, and especially a new mindset. And now we've got that little white spot in the middle. We're going to go lighter and lighter and lighter and there, okay, we've got a good start on this. 5. Color Depth And Highlight : We don't want a big, big shadow, just a little one like that. If it's law, if it's later in the day, it's more elliptical and it's longer. So they're a little shadow will work. And that's pencil. So I used a pencil and the reason being is I can play around with it. So what we'll want to do here for the shadow is just make some light lines like this. First little light lines. Very feathery on the edge. Then you can erase that little pencil thing. So when you're doing a pen and ink and you feel a little bit, you want to be a little safer. It's okay to use a pencil and then get race it. Okay, now I'm adding the little strokes at the base of the shadow. The base of the shadow is always the darkest. Now an interesting, interesting thing about shadows is if you have a blue object, you'll probably get a little orange reflected up into the blue and a little bit of blue reflected into here. So there's a little bit of play in shadows, a little, a little bit of fun. All you have to do is study them, sort of Squeak your eye and look at one. Okay, There's my little shadow. I might make it a little bit closer to the edge here. Darken this up a bit. See little strokes. Just little strokes was a very fine pen. Nothing. Nothing bold yet. And now I'm going to switch to a mechanical pen. It's a little different. This is called Lappin repeated graph used to make them. So there's lots of good mechanical pencil and I'm dotting, dot-dot-dot. Okay, why am I doing all this work? Well, it seems tedious, but it forces me to stick at something until it's done. Okay. One of the myths and art that we're dealing with is, Oh, it's hard, It's not hard. It becomes a little tedious. Sometimes. We want something immediate right away. Okay, there is a good start. And now I'm going to fill in the back with bigger. This is the risk stroke again. And I'm going to get it very dark next to the ball. I don't think I'll keep the paper this big. I might even make it smaller like this. I'm feeling sick. Maybe I don't want to spend all day doing too much, so I'm going to leave a little bit extra here. I'm going to make another picture on the other side. Okay, so here we go. See that stroke a little trick with your finger. Put your finger out and hit the finger. See it's lighter on this side. Darker here, light and dark. Now, I'm off to the races. I didn't the hard part first, which was the shape. Shapes are usually harder than little areas like this is an area behind it. It's fairly straightforward. Now this is where it's going to get a darker against the ball. So now I'm going to go this way. And this way. Ball, whatever it is, round shape. I'm going to start crosshatching. And I keep getting a darker and darker but fanning it out this way. Lighter. Okay, and now what I'm going to bear right down in here now, you might even think your pen isn't working sometimes. But keep an eye on the edge of the ball here, see the edge of the ball, and even follow the contour like with the same shape the way we go, just keep throwing in dark against that. You'll see in the other project where I demonstrate how I did a black ink drawing down by the river. And then I show you how I fill it in with paint, just like we're doing here. You can take this technique as far as you want. You can make things totally realistic using this technique. Notice how I am bringing the edges together. Seat little dots. I'm looking at dark and light, unlike this little design, I didn't do it in this one. And I left this up a little higher. That's okay. Perhaps it might be a little hope I'm making it up. It's not like I have a ball in front of the ear, a photograph and then copying. You don't want to copy, you want to express. Now you can turn your paper if you want. But I want to lose it here. It's a little, it's not a graded enough, so I just keep going over it. Now I'm going back and forth like this, really bearing down with the pen, filling in everything. There we go On of getting rid of that little halo that was there. And away we go right across. If they just pulling things across you pulling, pulling, pulling the stroke, pulling, pulling on the same angle. This will give you a nice perspective. Don't vary the angles. The angles always like that right across. You're not going 11 way in one another yet. There we go, right into the bottom. Right on, I see that's light. I'm going to make this a little darker here. I'm going to add a little more in that quarter. Always balancing dark and light, dark and light, dark and light are darker. See little dots. Block and fill it right in. Make it a little rounder, puts a little round strokes, NC. Whatever you wanna do. Just keep adding strokes. I might go a little darker down here too. Okay, so that's good enough for now. I think that's just fine. Put little texture on here. I like texture. There we go. Gradation means gradual. Contrast is one is right up against dark light, but graded is gradual and that's what we're gonna do next to put some little washes in here. Hey, you see it doesn't really matter if that line was street. It's actually better on an angle, because angles are more interesting. So you can add a little texture through here there. Next, let's get some paint ready. Use these simple things here. You can also have something like this. And you can squeeze out a few colors. But a first simple wash, I take some water. This is where the mop brush comes in, gets some water here and put it in here. Let's do a wash with two things. A primary color, red, yellow, or blue, and what we call a neutral color. Now a neutral color is like a tan. You take a little random taking a little cadmium red. I like cadmium red. You don't need much. There you go. See that little cadmium red. Clean the brush off. When I put on a rag. Take a little blue, mix it in. And we're getting a neutral color, a neutral colors and mixture of red, yellow, and blue. Very simple. Red, yellow and blue gives you a neutral color. That's neutral. Browns and perfect example of a neutral color. Okay, So I'm going to leave the white here, but I'm going to put the brown all over the background, not the shadow, a little bit of the shadow. And there there's a wash. Notice the ANC has stayed and not moved and I've left a little white here and little white here. Perfect. Anyone can do that next? Let us walk. There we go. Let's select a color, an actual color for the wall. You can select anything all and I'm going to take red. It's a bit thicker, It's cadmium. So I put cadmium everywhere on the dark spot. And then I clean my brush off. And I soften around the edges but leave a little bit of that pure white thing. Do I put a little cadmium in the shadow? Not yet. What I do first is take the opposite color and the opposite color is green. So taking a little green, checking to see is not too thick. There we go. Put a little green into the shadow first. You want vibrant shadows, use the opposite color. Now if you don't know what opposite colors are, look it up. Do a little studying, find out. Now I like that green, so I'm going to now, because it's the opposite of red. I'm going to take a little more of the green, and I'm going to put it into the neutral color. Take a little more of the red. Of course, green is just brown, is just blue and yellow. So I can take a few of these colors, get a darker color for the background. I'm adding some phthalo blue to it. And I think a little more of the green. I wanted cool, cool colors. Technique. What are the cool colors? Well, if they look cool to you, they're cool. If you think red is cool, fine, then blue will be a warm color. It doesn't matter what you call it. It's the temperature of the color. Temperature of green is usually cool if it doesn't have much yellow in it. And now if you have a lot of yellow, notice how in tapping this in. Now I want to be careful that I don't go too close so that it bleeds into the little round shape. Now as it come over here, because this is cool. I have a little little thing and me that tells me what to do Sometimes I don't know what you want to call it. Let's call it the muse. Friendly little voice that helps us, not the one that criticizes us. And then the one that gets us out of bed in the morning maybe. But not the one that says Go to bed because there's nothing to do. So be careful with who you listen to. So there I've added some yellow. And I'm going to make them mix in a bit. See, a mottled effect is when it's not quite perfect. It's like modeled. I'll put a little dark and they're just drop it in a little bit more red on the ball or whatever it is. This time it's a little thicker C, but not so thick that you don't touch it to the rag. So it doesn't drip and just tap it at the bottom. The beautiful thing about cadmium is it sits on top. You don't want to wash color over this later. You want to let the cadmium dry. Just tap it, but don't touch that green and get away from there. And here's where I put a little bit of the red in the shadow just to touch, just to drop and then lift it up. One more to touch of green. There we go. It's looking pretty good. I'll put a little bit more up here on the, on an angle I liked to angle C, The red going up in here. That's sort of compliments right there. And there we go. That's a good start and let that dry and then we'll look at it when it's dry and pull them are green on the table here. Notice the white I haven't touched it yet. Stroking in some red, brown. And the green. I've only used while I've used all three colors, but primarily I've used red and just a little bit of the yellow here. I'm kinda like him. This no darken in the corner here is to model in a bit. See, it'll dry lighter there and I might have put one more juicy dark, just one juicy dark right there with pure yellow and a little bit of alizarin crimson. Why I like alizarin crimson is because it's clear and pure and it makes a great violent violet is purple. So tap that in. The violet is absolutely a perfect foil for the green. Let me do a little trick here. Let me just bring it oversee going to tilt the board a little bit. Watch, you know, water does run downhill. So if I tilt this board a bet, it's going to run and, uh, put something underneath it while it dries. Got the drips. There we go. Let it dry it. 6. Discover Why It Works: What we wanna do is push the water color as far as we can before we start another medium. As you can see, the son just came out. I'm painting in full this afternoon sun here on the work of art. And the reason being is I want you to really see up-close and with intense light what the painting looks like. Now most paintings are looked at under a very diffused light, indoor light, but this does not hide anything. So here I am putting on a little bit of the cadmium red. I'm just going to drop it in. I want you to watch and see what happens to that. Because it won't stay like that. It will thin out and disappear and there'll be a bit of a chalky look to it. But I'm going to let it dry because I want you to really realize what paint looks like after it's dry, when it gives some more of this hansa yellow. And I'll put it right on here, see how it's a little thicker. I wanted to just, I want to see how far I can push the limit of transparency for watercolors. Now you'll notice watercolors do not cover the black. The black ink still shows through. And that's the very nature of watercolors, is they're transparent. But you can see that that yellow has added a little bit of a greenish hue behind this round shape. And the purple we put in a little while ago seems to have disappeared. There we go. I like the Canson paper because it's very, very smooth and this is cold press. So this is hanging in there. C, Let's take a little of the green now. The cool green is going in the shadow right under the ball. Now you can see that green. Now because it's wet. It's going to show up on camera. But we're going to watch it and see if it dries. Then over here I'm going to mix a green and a thylacine. And the reason I'm doing this is I want to make a dark color now. And the thylacine there is, the sun's dollar is going to be tapped in here. Quite dark. I'm being careful with the side of my brush so I don't get into the ball and I don't want to reach in front because we get so many shadows. So there we go, put a little bit in, tap it off, and then I'm just going to tap it up into what we call the mottled look. Now notice when I tap it up, the paints underneath dissolve a little bit. And there's a lot of ink on here now. There we go. Bring it over a little more. Then off the brush, and let's go with a warm, neutral on this little edge here, this table, whatever it is, I'm gonna take the green that I've already made. That's a little too red. So I'll add a little more green, or it could add yellow and blue. There we go. And I'm just going to rub on a little bit, clean my brush in the water, tap it, and spread it over a little more, staying away from the edge of the shadow and leaving this white area here. Now I'm going to mix up a neutral for the side of the ball. I'm going to take some brown and I mean, who have takes more cadmium red and mix it into my neutral color, see, it gets a quite a strong brown and just tap it into the ball. Underneath the pure color. If you want to pure color to look really vibrant, put a neutral color beside it. So if you have a pure red, put a neutral color that's tends to be a little brownish. Rather than say, greenish or bluish. See that they're going to bring that right over here. And there's my little spot there. And because that's cadmium, I can still move it around, see. And I'm going to go with the purple, the shadow right here beside the green. And there's the green is dry. So I'll just put a little purple over top and it'll leave a little touch of the pure green right there. And the last thing I'm going to do is put another tension of pure cadmium. Pure cadmium right here. Just touch it. Then a thin layer of cadmium all around here. There we go. Now I can solve for that later. I'm not going to write now a little bit of cadmium on here to warm it up. The green is ticked, usually can be a little cool. So just taking sees little bit SON here. Just take a little bit of that. There we go. And I'm going to now take the tape off here and show you what it looks like. When you take the tape off, makes sure that you pull it away from the paper and other Canson paper. Doesn't like this dollar store tape. This is not the best green tape. I have to admit. I was just looking for some tape and I picked this up and I realized it's the cheaper dollar store. Imitation. If you're going to use this tape, get the real painter's tape. Because this one bleeds faith good to know, good to know. We all make errors in our judgment and then we have to pay for that. So there we go. You can still get the idea of what it looks like when you take the tape off. Not a bad edge. There are pretty good. Okay. All in all, it's not too bad. You can see the red is still hanging in there. But look, if i so much as touch that with a damp brush, look at that. It pretty much comes off see. And actually I think it looks better if I tap it around like this. Now the highlight should actually be pure, pure red. You don't usually add white to a highlight. People do it, but true highlights are the color. See, look at that. The next fairly glows. Doesn't it? Same with over here, a little thicker paint here. And we've got something that is a great little exercise in watercolors. How far can you bring a watercolor with ink as you're beginning and starting point. Sometimes I think we just don't have enough fun with what we're doing our projects. There's really no end to something. The idea that things have to end is not quite two or that you can ruin something. I'm just taking a little viridian with a little bit of the white. And I'm adding a little spot in here too, just to kind of live it up that shadow. So there's a little bit of the yellow now. Add it to the viridian that has a pinch of white in it. And it's just little strokes. These are the kind of strokes the used in egg tempera. Asa, an egg tempera technique. Back in the day when oils were not invented. People used egg yolks and pavement. And they have to use little strokes. Many, many, many, many little strokes. But you can see it gives it a vibrance. Everything doesn't have to be smooth. Things can have what we call decoration, little strokes. So if you're feeling intimidated by making big Washington has been shaped by some little strokes. What else can we make here? Let's take a little red, blue, yellow, and a little partial to orange these days. Little more yellow. Now, a little white. Just a bit. So I'm just following along the shadow now. Putting in a little opaque watercolor. I like the idea of it being strong in one place like right here, thicker. And then as it goes around, it gets lighter. See, we'll try it on the other side. We'll stay away from the white. For now. We're just adding a little color. To this wooden thing, whatever it is. See my shadow is still there. And we'd have a little fun with that shadow. Now if you have real opaque watercolors, you can get darker colors too, and the weight is mixed into it. There's just a little introduction. So you really can't get too dark with these because you'd be just using straight watercolors instead of the opaque watercolors. Okay, let's take a little as red on thin and down. Add it to this little neutral brown from before. This out a little bit into the shadow here. Maintaining that oval shape. Pull it right into the green. I'm painting in full sunlight. You'd like it enough. Let's put a really bright little accent down in the bottom. But let's not use straight cadmium. Let's take a little pins are wide with it. And that little orange alert or is it who will resume and had little alizarin? Always think of some kind of a reptile on. I say that, Hey, if you're not having fun, you're not doing art. So we can put a little dark accents on their seats at different, different than this one. Kleon. Clean the little tiny brush and just feather out the edges. Usually I make my highlights conform to the shape there on. So server roundish highlight there. Figure that I'm kinda like on that. What about this white area here? Well, I'm going to give it a very, very thin little peach like that. And you know, I might add a little bit over on the other side to right here. So it looks like the sunlight there may be streaming through some curtains of something and call it a broken light. Hey, that's pretty neat. Like that. Okay, let's go over a few of the things we did here. Highlights are better if they're pure colors, like red and white would not make a good highlight. The best highlights aren't pure colors. Going from cool to in-between to warm is a good transition from dark to light. Cool to warm. Neutral colors make pure colors saying three great technical tips that will absolutely make your paintings better. Just with those three techniques. 7. Pencil, Shading,Watercolor: A sketchbook, very, very important to start your sketchbook practice. A practice meaning something you do on a regular basis. If you pull your phone out ten times a day, well, pull your sketchbook out one time a day and start looking around wherever you are and taking down some notes, putting down some pictures, taking it home. And then looking at it and saying, Okay, I can make a nice little watercolor out of this. We've got a little piece of land here. This basically comes across a little bit on an angle, see the triangle there. So we gotta come down a little bit lower here, little bit higher here. Just come straight across with a line. No fuss, no muss. I'm not even worried, it's not even straight. Why I don't listen to that little voice anymore. Put a little bumper to in a little jagged edge up here. There we go. And now I have a cloud here. Very simple. Another cloud here, and that's called 1, 2. And what else? Only a little mountain behind her. There we go. And I'm not sure what this is. This looks like, but well, that's another big mountain here. I'm going to put it in front of the Cloud and it's going to come down like that. So the clouds in front of the mountain. And then we have here, we have some waves. There we go. Now what does my mind say right now? It says it's pretty pathetic run. But you know what? I didn't listen to that anymore because I know anytime that I want to put effort into this, I can bring it to a different level. So let's get rid of that little voice that says, Amy, you can't, you can't. And let's use a few principles. First-principle, dark to light. Take my pencil. I'm just using my pencil. I'm a little trick with my finger, where I moved the finger along the bottom of something. Safe and it stops the pencil from going any farther. And then I'm going to go dark to light to dark, light to dark. And then I'll go back a bit just using a pencil. I'm going to show you what the eraser should do. Okay, Now, a little voice in me is saying, I don't know where these little voices come from. But the third, I'm not neurotic are crazy. They actually are kind of words that say, okay, this is looking better. Words of encouragement from hydrogen or whatever. If I talk too much, I lose it. So you'll see it's very much listening, listening to what's going on, and watching. What I'm doing. Being a spectator is better and try to boss yourself around. So there's my dark, There's my light, would take my finger. Now. You can use a blending stump if you want. I don't seem to see one handy here, so I'll use my finger for today. Okay. I'm gonna take a little bit of this and I'm not thinking that this might be a watercolor later. So I'm going to leave that little white thing there. And I'm going to just blend across and skip over some of that white area there. C o got a little voice is saying, saying, good work there run. You're doing some gradation. Gradation is going from dark to light. Okay, Now, because of my experience, I'm going to put a little bit of that on the cloud up here. Just leaving the top and a little bit here, I'm looking at my sketch again, looks like it was raining, so I'll put a little bit of lines like this. And lo and behold, my painting starting to take some shape. This is kind of the same as this. So here's where I might use my eraser. And this is a called a gummy eraser. It's a really good, they're really old school. But they're better than the vinyl ones because they don't leave a bunch of stuff. It doesn't scratch your paper or working very hard. I'm thinking this cloud could cover into here, see my erasers helping me. It's not getting rid of mistakes. There are no mistakes in art. Just redirections. Little badger hair brush. Some people Shave, put shaving cream on with it, but I use it for what I'm doing here. So now I'm going to just darken that. Put little more pencil on here and rub it with my finger. And there's my Cloud. You know what, I need to bring this cloud up. Now I'm thinking design, I need a little vertical, see a vertical. The mountains are vertical. So I need a little vertical thrust in the cloud here. I'm liking that line there. That's a little dark. So I'm going to, what I'm gonna do is I'm going to lighten it a bit, see, get my brush and just put it in very faint like that. Uh, kinda like that. I think what I'll do is bring this up a little bit darker. We see if it's raining like that, then this will be darker. How do I know that? From sketching? When you go sketching, you gather facts that you observe and you don't have to make anything up. If you don't sketch, you're going to be suffering from that myth that you're not creative because you have not observed anything, haven't experienced anything. Art is relating to an experience. And then creating. So relating and creating, get a sketch. Relate to nature or the city, or a person or a thing, or a dog or a cat, anything, relate to it, engage in it, and then participate in some artistic technique. And create. Relating leads to creating. I'll show you what I could do to this in just two seconds. 8. Adding Layers And Contrast: I started with 3 to Ramya and he gave me a few tips from his books put out by Watson ductile. And I actually corresponded with him. And this was the first thing he showed me in his class. It was called the simple wash. With one color. You don't get confused with a bunch of colors, right? So the way to get on confused with colors is to take one color, such as Thylacine. But he would mix them individually to start with. One would be light, one would be medium, and one would be darker. Or if you just keep playing with these. This is what technique is learning how to distinguish between thick paint and thin paint. Okay, so we've mixed our paint up, our brush is full of pain. And we can take another piece of paper. Put it here, and that's going to be our test paper. Let's just wiggle a little bit of color on there. It's put it on here and just wiggle a little color on, see the brush or wiggled some color on. Clean my brush off. And luck trying to do anything. I'm just using the brush. Putting color on. Here's the next color. I'm going to wiggle right in. The little darker. Not much. But it is a little darker. If I don't take the water out of the brush, it influences the next color. Okay, let's take this color now without all that water on the brush. And we'll see if it's dark on isn't all working, is the same. Why is it the same? I used too much water and I use two bigger brush to start with. In the beginning, you might want to keep your brush size down a bit, say to this size. And let's try that experiment again. Take the blue, put it in. Managing the thickness of your paints in watercolors, is absolutely the first thing you want to learn. So here I put a little water in here, though, I could use a big brush for this. This is the light blue. And I make three portals all with the same amount of water. Pretty much put my brush down. Now I take my fellow seen full strength and I mix it in here until it's all gone from the brush. As much as I can get out. We're going to mix a dark and then a medium. Now because I've come into here and not taken anymore, it's going to be a little lighter. And here we have our light, dark, medium light. Okay, let's see if that works. Light. Not clean the brush. One of the major techniques in watercolor painting we're going to use through this class, clean the brush, dry the brush. Take the medium now. Oh yeah, that's a little nuts. That's not bad. I could make this a little lighter, I think clean the brush. And now I'll take the dark. It should be darker than this one. Oh, it is. Very good. So we're getting a dark medium light is not quite. So in add little more clean water to the light, maybe three. And now I have the yeah, that's light. Now you'll notice the drips. You must pick up the drips with a thirsty brush. Otherwise you've got a big line there. Pick up the drips. Human on the light one. So you always have a rag and your hand when he doing watercolors. There we go. Meet dark, medium, light. Well now I can get my big brush. I'm on my way. All I just remember it. I'm a little nervous. Maybe I'll make a mistake, put that myth to rest, let it blow up on its own. Somewhere else. It doesn't belong to you. You're not going to make a mistake. You're going to be, come a creative person, you're going to be creating. So I'm going to take the light and just not even going to tilt the board, nothing like that. I'm just going to go over the bottom and I'll have another brush handy. Pick that little drop button. Then I'm going to go around the clouds up in the sky with the light. Would take a little bit more and just touch it like that. Tap. See what happens there. Because the paper's wet. I can go like that. Take some water. Clouds are soft, come from this angle. And just soften a few of the answers. Oh, there's what we call a happy accident. So now we're going to take the medium paint. But this time I'm going to load my brush and I'm going to just touch it to the rag so it doesn't get all drippy. Who will you see? See the drip? Still got to drippy. Touch it. Now I'm going to just stroke gently, just like the pencil. But I can see I gotta get lighter. So what do I do? Clean the brush off, touch the rag, and go lighter. They'll go right to the end. Then I'll take a little bit of the medium again. And I'll do another little code in here, make sure it's right and started here. A little bit of rain coming there. So there, there we go. What we're going to put this on an angle. So the range probably falling on an angle. Or how do I know that? Well, because I look at my drawing. Now this edge is a little bit hard. How do I know that? Well, because misty, rainy things from observing and sketching and my book often creates soft edges. Okay, now I take my light and a put a little bit here in the bottom of the cloud, clean my brush. And now I'm using the same technique over and over. Let's go over this technique. You put your brush in the water, you clean it. Take a little teeny bit of the light paint, put it on the dry paper so it doesn't spread all over the place. Wet your brush, dry your brush, soften the edges. Let's try it for here. We'll put the brush in the water, clean the brush, put the brush into the light and put a little bit of paint on a faraway mountain. And, you know, I'm just going to let it sit there. I'm not gonna do anything to it. This can lead to kinda sit there like that without like this big bright cloud here. Now this is, this paint is wet so I can add a drop to it and make it just a little darker. This is wet and this is wet. If I touch this, I know from experience it's going to bleed into here, but I'm confident enough now to realize this papers probably getting a little drier. Let's see what happens when I do that. I'm okay. And we'll put a little bit in here too that I'm not too keen on. So I'm going to spread that out a bit. And I don't like the way it goes up there. So I'm going to bring that right up into the cloud. Oh, there we go. Got clouds really only takes a medium paint now and darken this a little. Hey, I've only used one color so far, plus the pencil. So often, clean the brush. The brush. I might lose you in a minute because I'll be going into the zone and forget your I'm actually talking to you. So swipe That's called a stroke. And take some medium. Notice I haven't used a dark hip stroke. Breathe. Breathe through the stroke. Could take immediate paper's still a little wet. Saying one at the bottom. Take a little dark and touch it. See the dark, very dark. Things are closer like this part of the little island or whatever it is, things are darker. Now I'm going to go this way. That's called a flip to just see that just logical, watch the fingers and the thumb. Thumb stays steady. That bottom finger here, pushes the brush up. I'll try it one more frame rate here. There we go. I don't even have to go any farther. I can let that dry. I think that's a great little exercise to show you how to take a sketch. Bring it home, relate to it. And you can use the word translated. You know, you're translating nature, you're not copying it. You are a translator. What is important out there to bring home and then to express it here. And be creative with one color, one pencil, one piece of paper. One technique. Mix three paints. Dark, medium, light. Get three brushes. Big, medium, small. Puts your paid on light first, medium, second, dark at the end. And you know what? It's just absolutely wonderful how you can succeed with that little trick right there. Okay, here's our little project with just the one color blue. And here's what I'm going to do is I'm going to take a little bit of yellow just to spot. And I'm going to go over this with a little bit of yellow. Picking it up gently. This is done with the yellow, so it's not going to run a little bit in here. And then just warming it up. Warming up your picture. Very important. There's that background. And just warm it up. Now that we've done what we needed to do. Right here. I'm going to now show you in the next section what we can do using some different mediums to enhance this picture and bring it more into a place where we appreciated more. And you feel better about what you've done. This is basically just an introduction to a painting. You can take this painting even further. 9. Going The Distance/Opaque: This is called guage or opaque watercolors. It also comes as Chinese white. Another name for it you can get with watercolors. It's basically titanium white. And it's able to cover and give you very strong, solid colors rather than transparent. Here's the white, it's all softened up. And I'll just take a little drop of it and you'll see it's, it covers, but it just covers. You don't want to use these thickly. Let's see what the white does, pure white. And we'll put it right on here for the missed. So there I'm putting a little bit in here. And I'm going to patch up this little bit here that's kind of a little bit dirty. So you can touch up areas. You can heighten little white areas you see wherever you want. And then of course, once you've heightened them, then you can clean your brush, dry it. By the way, this is one of the little box store brushes. I've got about nine of them for 12, $13. They're fabulous for this kind of work. You don't have to hold much pain. They're beautiful, their imitation sable, and they worked fine. So see how that's sitting in there. And I'm going to fade it around here. So it looks like there's a mist coming over this little mountain. So you just touched the edges, soften it out. There we go. We'll let that sit from the same with this little triangle here. Just soften the edges a bit. Okay, that's what you can do with the white. You can also add, take another little bit. Hold your brush and you can add a little bit in here, maybe a little bit stronger, a little thicker. See, you can add some little waves shapes and go along the bottom here. Recaptured a bit. And it's nice because you can blend these paints, clean your brush, and then just soften the edge on these. Just creating a little soft veil of white over the watercolor. It's a veil of weight C. That's what do we do with the white? Now, let's add some watercolor. Watercolors and this Chinese weight or opaque titanium white, or what we call goulash, white, is easily mixed with a touch of watercolors. You put a little bit of manganese blue and clean my brush because I don't want to sully the white put the white end with it. Maybe just a pinch more. Okay, Now this doesn't look that dark, but it covers. Now I'm going to take a little bit of the yellow. This is hansa yellow. Mix a little bit of it into the blue and create a little distance with this essay. I don't mind going right over it. Bring it right forward. Look at that. A little bit more. Little bit in the water. There we go. And last but not least, I'll take a little bit of the blue again, a pinch of alizarin crimson. Alizarin crimson, very strong. Even a pinch, which means a little bit, is too much sometimes. And what I'm going to do is put a little darker in here, just work it in right there, clean off my brush, and then move it across like that. So it looks like this mist is coming over the mountain, makes the mountain a little bit darker. But behind the missed, it looks lighter. So it looks like it's coming right down. And what I'm going to do is I'm going to put a little bit up here in the sky right here. See you that. And then I'm going to work it down. Clean my brush off. Once I have a little section on and I just fan it out of that, bring it right down where I want the sky to be. One more little bit over here. And that darkens the sky enough and it makes the clouds set out of it. Perfect. Now we'll take a little bit here. And I'll put it on this mountain. And not a lovely blue. See how it's bringing it forward. Put a little bit right in here, and little bit here, a little in here. There. So here I am softening all the edges, little strokes because it's a misty day. I decided to soften everything. Little sort of spots that give texture to the trees. And they're going to just fade right down. Here. Look at this little brush. I can actually put little, little waves into the water here. It's just really nice to go down to a 1, 2, 3 size brush and add some finishing touches. The general shape and tone of the picture. And when you do this, you're going to really enjoy your picture adding some realistic texture to the water. Here's another step that you can go to get even farther on your painting. Let's say you're feeling it's not quite right. The watercolors brought it to a certain place at a goulash, brought it farther, but it needs something else. That's when I turn to gloss medium, golden, you can get different brands. They're basically a coding of acrylic medium. And this medium is filled with water. And I add maybe 15 or 20 percent water to the medium. And then I put it over the paintings. So I'm going to take a little bit here on my brush. I just dip it in. Just get a little on the end. There we go, See that little bit. You can put it in here. I just add one drop of water on your brush. Just put your brush in the water for a second and thin it. And then stroke it on the paper. Stroke and on very gently because you wouldn't want to disturb the white paint or the guage underneath. Now if it does, well, there are ways of getting around that, but if you let it dry sufficiently and gently put it on just barely touching it. You can also buy sprays. They're called fixatives. Not quite as permanent, but they work also. So you see I just very, very gently glide the brush over the picture and now we have a finish on it. Hold it up. You can probably see it's a little shiny. See that? And because I didn't put my paints on to thickly, they didn't run. And the purpose of doing this is it isolates this. And then I can go to work on it with some acrylic paints. It's amazing how just sticking to a picture. I used to throw pictures out because I didn't think already good. But then I discovered if it's not working in one medium, move to the next medium and keep at it until you're satisfied with it. And even if you're not satisfied with it, put it away for a while, and revisit it later as I say, when your technique has improved, the myth that we are getting rid of here is, oh, it didn't work out. I'll start over. Don't do that. If the pyramids were started over with, nothing would have ever had turned out. You're always going to have some type of obstacle, some mental block, some criticism from within. Someone's placed in your head. Don't pay attention to it. Work through the math, work through it, and apply yourself with good technique and change that language inside you. There are no mistakes in art, only redirections. 10. Vibrant Watercolor/Lay In: Next thing you want to try as shapes. I'm using a big brush like this. You could use a big brush like this. Try and get one that holds lots of paint. I'm just going to stick with a blue to start with. I'm going to mix a little read or what we call alizarin. Little alizarin with a little bit of yellow in it. And then over here, more yellow with a little bit of blue to get a nice neutral color, kinda like a sandy color. And then of course, I'm going to take some pure yellow. Yellow gets dirty quickly. So an clean that little bit of the palette and put the brush in here. And there's my yellow. And I'm going to start with some yellow shapes. We start with nice big shape right here. Kind of a mound. Maybe we're F to C and there's a shape like a triangle. Notice I can rub it a little bit. Didn't put it quite in the middle. Left a little room down there. And they'll try and take a little my neutral. Once you leave a little white spot between the shape and this, I want this to go down on an angle. So, so far, not too much has happened, but a swipe swiping schools when just go straight across. Now we know because that's wet. I can take another brush. Let's take just a medium-size brush, not too big, but this big. And let's take a little bit more red, little stronger red, ooh, that's too strong. And that'll more water to that. And there we go. And we're gonna put that into the neutral color to make more of a brown. And what I wanna do is I want to put a little bit about the bottom of that and then tilt my paper. So you want to tilt? There we go. Just playing with the color right now. We'll take a couple of those and put a couple of spots in here. They see that white line. I'm going to now connect the two of them. And soften the edge. Taking water. I'm going to soften all the edges. It makes everything less distinct. When you soften the edge, see that softening the edge. One of the key things you want to learn in watercolors is how to soften the edge. This size paper will buckle a little bit. So I'm just going to hold it with that. Take my other brush. It's not too big. The medium-size brush. And this time I'm going to take a little bit of green. And I'm going to go, It's right across here. But I'll put another little mound right here and leave a little white spot right there. This could be down by the East Coast. Of course, the East Coast depends on where you're living. But for us in North America, the East Coast is the Atlantic Ocean. And you see this, I don't mind holding that brush there because it'll leave little sand marks. So there's another one. Now I want to fan this up. I want to blend these altogether. So what do I do? Soften the edge C, and now I'm coming up, soften the edge just with clean water. And I'm going to really soften this edge. So I keep everything nice and blurry. And misty now comes the best part. What color will I want to make my sky? Is there going to be stormy day? Let's make it a neutral brown, gray. So taking the brown and putting in the blue, we've made a neutral gray because we've mixed three primaries, the red, yellow, and blue, and that's going to make a gray. And I'm going to go right across the top. Maybe a little more blue, just a bit wrong. Just balance that color C. And right across the top. Then soften the edge. I'm going to soften the edge of this. See how it runs down. Running down. More. Yeah, I'm just going to lift it up like this. Let us sort of drift around. Now all my papers wet, sought dropping in the color. And the sale of blue going around the cloud saying, Hey, I want to bring it down like this. Now I'm going to reshape this mountain. I'm going to make it a little darker here to make our great gray hair stronger. A true breeding yellow and blue. Storming gray. Lean a little bit of yellow shrine. Same with over here. See you nice and soft with that beautiful. That's really nice theorem. This one looks closer. We need stronger, stronger watercolors, dry, lighter. So we need to get some really good strong colors in here. It won't look like this when it dries. This is farther away, so we're going to leave that there. Take some pure blue now. Run a straight across here. Has drifting up there. Maybe a little bit in here. That's a big storm cloud turn. Think stormy clouds here. The very dark count. Kind of push the limit of the phthalo mission of good darks inherit. Don't be afraid of dark color. That was drifting quite a bit over here. So I'm going to tilt it. Tilted up, see, tilted up. Take a little more orangey red. Little more red. There we go. And now Okay, For look pretty tense for a while, didn't that? Here we are. These strings brushes are great for picking out. Once you've got all this beautiful color on, you want to lift off a little bit of the paint, see, especially their lifted. Now remember the paint underneath it was a lovely yellow. So we're going, we're right across there. Just lifting a little bit of not also going to list through here. Lifting is one of the best techniques in watercolor. You can't do it really well. You can do a little bit in oil. But when you lift you, you show the colors that are underneath. Now if I really want to get this, I'll take some paper towel. This some dry paper towel and put it right on here. The issue is wanting paper which was very absorbent, unsized paper and that would pick up all kinds of water. Still lifting a bit. Very go to brush in the water. Pull it across off the brush in the water, tap it on the rag. Be gentle. You don't want to wreck the paper. This is looking good. I'm liking the look of this, especially right there. Pull it across. Remember the brushes fairly dry. This is a little tricky spot here. And there we go. After a while, he will stay exactly where you left. It won't bleed anymore. You almost have to lose a little control. Before you get something really working nicely. See that it can create a new shape there. So the last purple into beach stuff, that's getting pretty dry it and let that dry. 11. Creating Contrast And Mood: If your paper is buckled Now that is bone dry. A simple solution before you start is just take your spreads are and you're not going to soak the paper, just going to create even tension on both sides. Tend to do that. He just spray a little water on one side. Not too much and flip the paper over. And because we've used fairly good paints without stain or paints like not a lot of cadmium is a little bit of spray here. And look at how that just flattens out beautifully, just enough to straighten it out. And that's if you're not using tape. If you're using tape all the time, then that'll work just fine. What I like to do to get rid of those ideas that you're not any good and then your artwork isn't any good. And you're not just because you've just started, doesn't mean you're not doing a good job. Is pop it into a little one of these fake frames. It's just going to map like this for two pieces of white paper. And all you do is you can measure this and change it and see what it looks like inside a mat. And you may see something that you don't see when you're not isolating it like this. So I find this a little round here. So what I'm going to do is I'm going to take a little, just a small brush. And I'll take some of the paints I had before. And what I'm going to do is I want to create so that this looks higher and this looks behind it. So what I'll do is take, I'll take a little piece of paper like this. Cover up my beach. Just write on an angle. And then I'll come around here with a little bit of a straight line like that. This stops me from hitting my beach. And then I'm going to just put a little dark, couple little dark accents in here. Just fan them in gently with the brush until they disappear. A little texture on the mountain there. And just let a fan up. Note, remember, remember, watercolors dry, lighter. So there are just add a little texture to the amount number. Take this off. Take some more of that bluish tone. I'm going to not touch the beach. I'm not going to touch this. This is where a little brush comes in very handy. And what I'm going to do is darken the water underneath it, but only to about here. So first of all, by putting a little watery color on, I've wet I've wet it. And it will be, I'll be able to drop in some color C. And we'll take a little darker one, no, little darker, same purple. And just drop it and remember, watercolors, dry, lighter. So don't go, Oh, well that's too dark. It's never really too dark. It always gets lighter. Trust me. Knowing these things creates confidence. And we're going to find this out a little bit with our damped brush. But that's maybe just a pinch mark. You're trying to create the shape for us here, down here because it's a reflection. There were any better. The paper's been sprayed. So it has a little bit of dampness to it, which is perfect for what I want here. Creating a soft edge. There we go. That's a mood happening there. So dark area right in here. So take a little more darker. Remember this is wet. I'm going to pop in a few little dark areas. Take my 10 to my brush and score the paper lightly. There. I like the way this is shading up here. Just gently rubbing on some paint and just keep adjusting it until I like it. There. We'll look at that little like a little curve. Maybe you'll get a little bigger brush. See, I'm not afraid to do a few little strokes there and get some paint on there. I have all my paints are already mixed from before. They're up on top here. There we go. We had a real nice dark red in here. Beautiful. Remember a clean brush? Now you want to intensify this very simple. We just add a little bit of the yellow, a little bit more color in here, little more intensity c and little glaze. Look at my paper. See no, it's the papers really straight. Particular little frame off. While I really like that too intense yellow to add it, just to drop more of the alizarin. I like to mix on the paper. I believe this light because it's higher here. Well, it looks like we've got some place purple here too. That's a little dark purple here. Not too dark. There we go. Down there. So adjusting, adjusting, maybe. And lots of clean water law to clean water. Just a little bit more of this yellow this faraway mountain. Check put a little bit on, clean off my brush. The glazing technique is really wonderful because it just adds more to your painting as they say a little bit of this, they will glue. See if we can just kind of blew up the sky a little more here. Remember the papers just slightly damp, which is just what I want. Just what I want. Not too dark. Soften the edge. Soften the edge. And I keep dipping my brush in the water. The slightest bit of blue down at the horizon line. They're seeing those little spot over here. Make this cloud stand out. Oh, yeah, there it is. See, choose to add in one more there. And probably one very small when Ruth, the very bottom, you're getting hardly see it. Bring it right into here. The bold dark. Something about a dark area of this. I'll clean up a bit. But there's something about a dark area that really adds something to a painting. So that's what I did there. I'm going to add a little green to this one, either. Just taking a little bit of the hansa, yellow, little bit of yellow, and a drop of the red which brings down the green so it's not too strident. See the difference? Green pulls you forward, the blue pushes things back. And I'm thinking this little area in here, popping in a few, a big shape like this needs some interests and giving it a little bit of a pop and popping in a few colors. Adds to the picture. Do you see this little cloud here? And this little cloud? They need a little tiny bit. Also. Just a very small touch of violet, very small and not too thick. You'll see the difference just when we do that. Okay, now it's going to dry a little later. And here, just to add a little bit in, that's the advance of the misting of the paper. Is things diffuse nicely. I'm going to leave them just like that. Maybe one more sort of darkish green. I'm going to come in and Wu, I might be okay. I'm sort of going with the dot theme C just popping in the men. And i'm, I'm liking that side of the picture. What I put there, I'm going to put there, see from my reflection, I don't think I'll do it as strong there, but we'll do it here. Now. Do you ask yourself, is there something you don't like about the painting? Well, of course you have to ask yourself that question. But a lot of things can just solve the problem later. By lifting like this. If you find, you want to add a little bit of something like that, the green, we can list off it, say low. So a, might be a little hard. These clouds are reflecting in here. I like that. So I'm starting to, starting to admire the little painting because it's getting a life of its own. And I know I can lighten anything or darken anything later. By lifting or just dropping in. I need a very strong and neutral. In the foreground here. Strong, brownish neutral. Add a little water to it. Looks like mud, but that's what you get at the beach. And I'm going to put a swipe here and one right down to the bottom edge here. Maybe one over here too. There. And there's our little wash that's running up and down. See this like tilta is moving. And then we'll let it lie flat and soften the edge. Soften the edge with a damp brush. Notice when you lift, you always have the color underneath showing forest. I'm always conscious of dark and light. So we have here the it's kinda of light here. So I'm going to add a little dark to it. Oh, like that. And why do I like that? Well, it echoes this dark. Now I think I've got a good balance of darks and lights. And that looks like a little bit of mud down by that. He lifted a little bit. They're lifting is really a good thing. When you're doing watercolors. They have to be careful you don't rub the paper too hard. All right. I'm looking at this and I'm seeing little sandbars down lower. And a clean this edge right here. Make sure your brush isn't too wet. Dry it off. A little bit of a rub. You come right along here. Lots of times these landforms have little rocks and things at the bottom, I will look at this. We're getting a little baby down here, a little bit of a lifetime. And here's a great little trick and lift everything off here. See how a wiggle the brush straight down, straight down. And that's the sky reflecting into the water here. Just wiggle it down, creates a light shaft going through the sea or the lake. Whatever it is, works really well when the paper is completely dry, the paper's a little moist right now. So I may refine it a little bit later. But that looks good. This is a little too thick now. Just thin it down. Water is transparent, so it loves this technique of lifting. Beautiful. Great start. Soften the edges. Like I say, you don't want to run too long. Let's give this a kind of a roundness to it by coming over it like this with an oblique lift. So we're lifting it on an angle. Echoes this line here. Don't forget it to poll one nice little wave or two into the reflection. Life that just makes all the difference. Put my little I liked my picture frame on. Please make one of these up and give you a picture. A nice little treatment when you're finished. And if you still don't like it, put it away for a week or two, or a month or a year and bring it out and take a look at it. You will be pleasantly surprised. As your technique builds, you'll be able to add what you couldn't add a month ago or a week ago. And you can bring some pictures right up to where you like them. I really like this area right here. This yellow under painting is a great idea. The myth we have destroyed here and exploded is that you can't run away from your painting just because you started, you need to adjust. Redirect learned the techniques that we're learning in these classes. And push forward with your vision and your artistic sensitivity so that you end up doing what you should be doing, imitating somebody else. Of course, we want to imitate the right attitudes or art or Tod's. And that's what I basically do for all my students, is give them a heads up, give them, you know, just tell them that. You just keep at it. It's not, doesn't run a big deal to learn technique. That's the easiest thing to learn. The most difficult is to face yourself. Be creative. Don't copy, Express, work together with me and will come out, all right, in the end. 12. Accepting The Masterpiece Challenge: Here's a pen sketch done down by the river. Let's add a little bit of this color here. I'm not going for a blue sky. Even though it tells me You need a blue sky there, Mr. Mali? No, I don't think so. I'm going to take some light green here with orange, orange, red into some phthalo, create a beautiful warm underpainting. See a little bit of the cadmium. Remember, cadmium, use it light. Don't use it thickly. It's a great color, but it looks pretty pasty if you use it thick. So there's my little orange and there's my painting. And I just have a good time to put a little orange on the rock. You see you just floating some color and I am going to leave some white on the rocks. There's lots of organic material in the water down by the river. See, you might think, oh, I gotta do the water blue because I gotta do the sky blue. But honestly, blue water is not always the case. In nature. Water can be green, purple, any color you want. Another one of the myths is you have to use the colors you see with your eyes. Well, that's not true. You can use any color you want. When you paint. You can you are the color mastered and there are no wrong colors. I have to admit some colors can give you indigestion if you're really going hard on them, I'm going to use a little blue here. Just because it's okay to use blue, wants it a lot. When you use it all the time. Red, yellow, blue, red, yellow, blue gets a little monotonous. And it actually does look a little unappetizing. Blues, a cold color. And there's a place for it. There's the dark, there's bull. I went pretty dark there. See where my dark areas are? No, I don't worry about it because I can pick it up and move it. I am avoiding all the little white areas because here's our cedar tree and I want it to stand out, but I don't want to get these nice little light areas. So take a little more of that steel, it, put it over here, see how it's coming out into focus. Liking them. Take a little more of this. Pinch a red boat as thick as I want it. And cedar trees are, have a brown hue to them. So I'm going to start with my first bold color note there. And this is a birch tree, so here's another cedar. Just bring it down. This one's more in the shade and just let that dry. Anything else? Maybe, maybe it's fall and out a little bit of the brown over here. C and little bit in the water, not too much. I want to leave a little white in the water. I can't get the white back. There we go. That's a good start. Just adding very thin washes of color. I want to make that stand out. I'm going to go a little bit darker. See that orange with the Phthalo makes a great bird color who were elected. But put that in there a little bit. And maybe a little bit in here. Yeah. There were carried away here. There we go. But I do want to darken this little area here. I'll just take some blue for now. A darken it down. A little bit of the brown dark and down with little brown. Having fun are getting bent out of shape here. Just having a little fun painting with my students. That means you, There's another little tree in the background. Okay. Let's leave that for a minute. Who? Yeah. Mr. Molly has a hard time leaving it for a minute just to see that brown now you you know, once you get going, you'll notice. I trust myself, I think trust is one of the best things you can do as an artist. Trust yourself. Trust that inner part of you that's directing you and making you go in the right direction. Okay, don't trust that myth. The myths are untrustworthy, they're liars. And there always will be. 13. Creating Your Mindset: So here's a myth that has probably hits you already and you don't even know what. And the myth is you need to develop skills before you can create, okay, So if that was the case, nobody would ever do anything because you'd be developing skills before you create it. Well, how can you develop skills before you create? You develop skills as you create, as you do. Then that's when it happens. That's when you find the need for technique. For skills. Blank pieces of paper are places where we become creative. Get an idea. Use your head. Gets your idea, select it. Choose what you're going to do in order to get the idea to the next stage. It's not what we're doing here. It's what's happening as we do it. And I'm sketching what's part of me. That's the trick to get through the myth. So if you want to get through the myth, he needed a trick. And the trick for me is to associate with what I love and paint it. This is how you break that myth of I've got nothing to do. I don't know what to draw. I don't have anything to paint. You do you need to get out and get an association with something, be involved with something, and then begin. Okay, I'm getting a little scared here. What does that mean? Well, I'm sitting here painting in front of you and little thing same but what if you make a mistake? I mean, that's silly. But on confident that I've done this long enough that I will move in the right direction. So there was the myth. There is that if you make a mistake, you have to start over. It's not true. If there are no mistakes, are just things that redirect you. So this whole picture here, which is not quite done, but it's nearing completion, is using the techniques that I'm teaching you with this simple project. Everything we do in this project with the little round shape is exactly what I do here. All the technique you will need to actually get to this level is encompassed in our exercise or what you might call our group project. That the technique and the skills you need will be honed and learned in this little project, which will enable you, if you practice them, to go to the next level. In any genre you want, whether it's landscape portrait, cityscapes, still lifes, or non objective art. Okay, let's address the myth that went on during this painting from start to finish, the myth is probably a belief that the painting has to look really good every stage of the way. And I am going to convince you by the end of this class that, that just is not true. Paintings are like ME baking a cake. I mean, everything's on the counter and there's nothing together and you mix it together and then it turns all to one thing and you put it in a pan. But it's a magic baking powder it and put it in the oven and leave it alone. And outcomes fantastic. If followed some rules, you know, it's going to turn out, I know this painting's going to turn out. Why? Because creativity is about making things happen, not stopping and starting over. So we're sharing some skills here because these myths are easy to explode. If you have the tools to do. Looking at a picture. Now, I see that I've learned so much from this. Putting your picture into a frame means let's take a really good look at why we did. And you'll see it's definitely helps your game. You are able to appreciate what you've done, distance and you're not so close to it and connected with it anymore. It has a life of its own. And you are just, they're taking part in it. Of course without you, it wouldn't be there. But nevertheless it belongs to everybody. Now, you have to lose that sort of idea that it's yours. Well, there you go. Changing your artistic mindset. Okay, here's the fallen birch. And just start out as a pen and ink. Then I went to watercolor wash and then goulash, and then acrylic. So I'm going to add a glaze on this one also. Here's how much water I have. Let me take a little bit of the medium, put in here, mix them together. One is very watery, just in case the medium gets a little thick. Now I'm going to put that on. And I'm going to start in the middle and do a little stroke. See is, it's very soft. Let's see if that guage is melting and running it. No, it isn't. So I didn't put the guage on to thickly or the opaque watercolor. Whenever use it really thickly, only use it as thick as it needs to color or cover what you're doing. Okay? So see it doesn't run and it's really shiny here. I'll take the mat off now and you'll see what it looks like when I do the whole picture. Okay, so I dip it in again and I can see where I've done it. So just tilt the paper are a little bit on an angle and I can see where it's shiny and where it is not. Now, the beautiful thing about these, why these acrylics is they're not as fussy as oil varnish is. You can go in different directions, but I like to go just vertical strokes first and untilted so I can see where I've missed very gently. I don't want to disturb the paint layer. The first coat is the most important. And if your paints run, it's because you've used them to thickly and you can get around that just by cleaning them up and depth. So here we go. Putting the final code on while putting the first codon, I'll usually put two coats on and let them dry at least overnight because we want them bone-dry when we put the second codon. Though, I know over here I didn't use much, so I can swipe it a little faster. There we go. I'm looking very carefully at it on an angle to see where if the LDL areas are where I've missed. Okay, now, I'll take the last swipe one direction across. I'm not pressing on the brush. I'm just holding the brush and pulling it with my whole arm. Get rid of that and myth that a picture is finished because it's no good. It's finished because we're finished with it. It's not that the paintings finished. We're finished with the painting.