Flowers In Vase - Explore Wet-In-Wet Watercolor Techniques | Robert Joyner | Skillshare

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Flowers In Vase - Explore Wet-In-Wet Watercolor Techniques

teacher avatar Robert Joyner, Making Art Fun

Watch this class and thousands more

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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

6 Lessons (36m)
    • 1. Introduction

      0:52
    • 2. Overview & Materials

      2:07
    • 3. Initial Wash

      4:26
    • 4. Adding First Hues

      4:43
    • 5. Vase & Thicker Paint

      9:34
    • 6. Finishing Touches & Recap

      14:42
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About This Class

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In this class you will learn the art of creating a watercolor flower painting using arguably the most challenging application method. Once you are finished with these lessons you will have a better understanding of how to create stunning florals using wet-in-wet techniques.

Who is this class for?

This class is intended for intermediate and advanced watercolor artists that have experience with wet-in-wet techniques. New watercolor artists can certainly participate but just know the wet-in-wet approach takes time to learn and there will be some challenges in the beginning.

What you will learn

  • This class focuses on wet-in-wet techniques
  • How to manage water saturation
  • Become more efficient with mixing paints
  • Work light-to-dark
  • How to work thin-to-thick

Outline Drawing

3f666590

Materials

11"x15" Watercolor paper, 140 lb. cold press
Gatorboard & masking tape (optional)

Watercolors
Ultramarine blue
Cadmium red deep
Alizarin crimson
Burnt Sienna
Viridian
New gamboge
Yellow ochre
Neutral tint
White gouache

Water reservoir

Brushes
Squirrel mop brush #6
Pointed round #12
Escoda optimo kolinsky #12

Paper towels

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Meet Your Teacher

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Robert Joyner

Making Art Fun

Teacher

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Transcripts

1. Introduction: welcome to not create fantastic colorful watercolor flower painting using wet and wet meat . Hi, I'm Robert Joyner. I'm excited to share my knowledge of painting with water color with you. In these lessons, I won't teach you a variety of tips and methods that will help stimulate in simplify your watercolor creative process. By the end of these lessons, you will embrace painting with watercolors and have more skills that will help you achieve beautiful artwork. The lessons are short science and to the point, if you ever have any questions about what I am teaching you or what you are learning, simply let me know. I'll be glad to help you out. So without any further ado, when I kick things off with the overview and a list of materials you will need for the class. 2. Overview & Materials: in this demo, I will do a wet on wet technique to create a vase with some flowers. I am doing this on £140 cold press paper, a little bit of masking tape there to keep it from warping as I go, I had that at here to a piece of Gator board. I know this is kind of ugly to look at, but this is my favorite little painting board here, so you have to bear with me on that of the colors. On my palette are cerulean blue, cobalt blue, ultra marine, cat red deep, a lizard, crimson burnt sienna already and gam Bos New bamboos, Loker, neutral tent lavender in a little bit of wash I do not know about. We use all of those. So as I use them, I will let you know. I will also use a paper towel here and there to blot out certain areas and a little bit of clean water. And for my brushes, I'll keep it very simple. I have a wash brush number eight squirrel Ma. This will be used in the very beginning. But once the paper is tended, I'm done with it. So If you don't have one of these, you can use a hate brush or something like that that will put down a nice even wash. I also have a Kalinsky number 12 scada. This is a pretty soft bristle here, so it doesn't have much snap to it. So so often good for putting in soft edges and things like that. And then they have my number 12 point it around. And this is lovely for capturing details, edges and stuff like that. My palate. I will use the right hand side here for the majority off my demonstration. This section These two areas here are used for neutrals and things like that that I will incorporate and most of my work, but I probably won't tap into it much for this one. 3. Initial Wash: for the Tet and kind of what I will do here is staying the whole entire surface of the paper that will be used. Thio, of course, bled everything. And that is the first step in working with wet on wet technique. And what I would do as I move forward is at more more pigment into the original wet wash. All right, so this wet wash has an important role because I am going to use it throughout the entire painting. OK, so this is a wet on wet technique beginning to end, and I will start right away by just getting my wash. I'm just cleaning up the edges as I go down. I imported when you mix your stain, which is what I did. Hear that you mix enough to cover your surface because it's very hard to to match it if you have Teoh ADM or to it. Now I'm just going to use a paper towel here and just wiped down around the edges. I like to keep my edges kind of dry because of it. Puddle that gets too wet. Then what happens? It will start to bleed to run back into my artwork as I add more Hughes to this, you don't have a lot of color speckled around here. Next thing you know, they don't start invading your artwork. So I'm done with this goodbye. And now the fun begins. Okay, So when you're working with and wet like this, you have to be very good at knowing how damp your paper is and then when to kind of move forward with your next layer. In this case, of course, I just wet it. I can turn it to the side. And I have no studio lights here. Filming likes that are on it. I can see a sheen to it. It's a very, very kind of very shiny at this stage. No. Now, if I were to start to add color into this, it would be too soon. It's going to disperse a little bit too much. That's what this exercise and demonstrations going to do for you is gonna make you very good at understanding when to add the next layer of pigment. And then, of course, how saturated that pigment needs to be. So, while this is dry, I'm going to talk a little bit about that. I'm working but in the wet, you lose a certain amount of control. Probably the most hardest technique and challenge you will have is a watercolor artist is dealing with wet, wet. But I can tell you you'll probably use this technique more often than not. And a lot of artists work will simply lose form. Lose shape because they're wet. Wet technique just isn't solid. Okay, now you can regain control by a knowing when to add it. So if I look at this again, I could tell that sheen is already starting to disappear. So when to add your pigment into the wet paint or the wet surface, then also how saturated your colors are. Okay, so the mixture I put down here in the wash was like tea. Very, very thin. Very little pigment. Ah, lot of water. Okay, tense. The T. I like to call that mixture. Now. The next layer I put into this will, I will start to drop color in for the flowers and the foliage, and that, too, will be similar to T. But it'll probably be a little bit thicker, so I think I've got that dry enough. I can start to move forward 4. Adding First Hues: it's all start with my crimson. Now I know that looks you're pretty intense and crimson is a very strong Q. And now I would just drop that in and again, you know, is this going to spread? You're going tohave soft edges. Don't try to control it, That's the key. And now I'll clean my brush. I'll drive this up just a little bit on my palate. They just push it to the top. And now I will use a little bit of my meridian touch of my yellow Oakar, touch a gam bows and then back to the meridian. I want to put something down, but I wanted to be very pale. Okay, if I go with, like a too dark of a hue at this stage, there's gonna be hard to go light over top of that. So, in terms of value, when you're dealing with watercolor, you always have to think light to dark. In most cases, if you don't think like two dark, then what's gonna happen is you want to get to a point where you put down too many dark values and then you will try to put life values over top of that, and that's just not gonna work. So as I mix up this mixture for my foliage, I want to go lightened value. So you see how light that IHS and I could just kind of loosely Sprinkle this in here? And it will be a little bit heavier on the left in terms of the design. So and just being loose with it is important. Try not to control it too much. So with my strokes and what not And of course, have to remind myself of that all the time. So easy to get tight in general. So All right, so for you're the fully just not bad. Now I'm going to go a little bit stronger here and then mixing a little bit of my cad red. And now I can start to drop a little bit darker hues into these flowers. And maybe I want that kind of blend a little bit here. And maybe we have a little really small one over here. All right, so now that's pretty wet. Okay, um, if I start to kind of drop into this now that I think I'll be in trouble. So I started to put more read into that. It's just going to disperse too much. But what I can do is take a drama brush off really good. I'll say that again because it's important because I'm about to do is to define some of these edges. I'm gonna go back in here, work into this. If I have a lot of water on my brush, that water is going to invade the wash, and that's going to create from ballooning and colleague flowers and stuff like that. So what I want to do now is just kind of play with some of these edges. You can see. I'm just getting a slight hint of definition by just kind of touching into these and maybe down here. I'm going to use a little bit of ultra Marine into this and maybe touch a little bit of violence into that as well. And that's pretty good. Um, I think for now I just want to tilt the board a little bit and see how what it is. And what I'll do is I'm gonna let that dry a little bit. And then again, timing is very important and when I feel it's at that right plays in terms of moisture. I'll come back in here and start to add drop more color into this and as it dries, Um, that's when you really have to start to work fast. That is absolutely no rest. So it's important to be patient now to wait for that right time. Okay, so it doesn't need to be much, but it needs to be a little bit dry it here, so I'll come back in just a minute. 5. Vase & Thicker Paint: now let this dry quite a bit, but it's still damp and this is tricky. Tricky, tricky, tricky. If the pain up hood in now is to water down, it's going to balloon. OK, it's going to get all those old collie flowers in there now. Be in some trouble, so the pigment toe water ratio needs to be spot on. And so that means I have to leave key alone and go to more of a milk consistency. Okay, so a little bit thicker here, I'll try to give you a little bit better. Look at what's going on. So crimson, a lizard, crimson and I'm sorry, cad Red. And it's always good to have a little test paper around, and that's a pretty good color. And now I can just start to lay some of this end in bits and places. OK, and you know it's impossible to get all of these edges perfectly. The same moisture. So is going to happen. Where you going to get some hard edges? But that's OK, and that's just because the paper is a little bit drier in those areas. Now I'm just going to take a little bit of the read out by adding a little bit of, uh, Coker to that mixture and just start to tap that into some other places and all That's the ones just giving a little more interest into the color. So it's just not all the same. Hugh and I can touch nice definition there, So that's looking pretty good. Now, I can, um, almost go pure now. Read right straight from the tubas. You could see. I'm touching that in to a few places, and now I'll let that dry. I'm just going to go with a damp brush, so I cleaned it off. Really good. I got all that moisture out of it. Now, what I'll do is I'll just take out a little bit of this pigment that dropped in and just create basically some soft edges. Okay, so I want some of that's more saturated pain in there, but not too much. I like the soft edge over here, so I'm just gonna take clean water and do that number. Now, go back in here to this really thick paint, maybe take a little bit out there and maybe touch a little human to there. That's all going pretty good and dropping a little bit of pigment there. I think that will be fine and keeping a loose really important to do that. Keep your brushwork nice and free and all that type of thing. All right, keep on rolling here. So I've got some kind of greenish neutral color mixed there. Oh, that is Meridian. Touch of Sienna. Catch a poker and a little bit thicker again, and I want to start to get a few dark edges for my foliage. Few dark, um, touches here and there and again, trying to remind myself all the while, too. Keep a good loose and I can define maybe a few stems. I'm going to make that a little bit darker by adding some Sienna Eveready into it. It's looking pretty good. If I get a hard edge like that, then I would just kind of clean it up. We'll start to bring some of that down into this area of the bottle, and I'll go a little red into this now that I already have that you know, using the reds and the colors are already on the palate is much better sometimes and trying to and Mawr or a different color. And then, you know, it just keeps the harmony going color wise. So, uh, it's okay to do that. That's looking pretty good. I don't think I want to go much further, and I will start to at a little bit of color to the vase now. So I kind of worked with this kind of neutral color that's already on the palate and maybe touch a little bit of blue in it on this side and can just trying to keep it loose. Not always easy to Dio. And I got a little reflection down here. I want to keep that kind of pale, So I'm kind of just being a little bit more careful, I guess. And here, All right, so a little more precision in here. So this kind of working and talking here Not always easy. It's working pretty good. Now I'm looking into my green gam pose, Oakar. Now we're just touch right in there. Leave a few highlights. Now we need to start toe and my white flour. So to do that, we're going to switch brushes. I'll get my number 12. I have a little bit of whitewash. A little bit of lavender. We don't have lavender. You can mix it just with white. Probably some COBOL, maybe a touch of red. I'm a go touch a CNN to that. And that's pretty good. Let's kind of see how that works. So nice, Strong Papa white here. Clean my brush off because I don't want any hard. Too hard edges here. I'll just go straight wash here. Oh, my brush. I'm a work right into this. And maybe it will help blend a few edges. Yeah, All right. Now, I think I can probably start to add the shadow. So I'm a touch a little bit of, ah, ultra Marine into the colors Already have pulled some of this red over. Just fix it. And a little bit of carefulness right in here. And now I can clean my brush, go into a little bit warmer. Hugh here. The yellow coker's now pretty much clean water of this dabbing where I want that shadow to be and that's going to, of course, bleed, uh, off the page. So that's a good way to kind of pull it in the air, pull that color in there without actually having a pain that you just use the water. This a little bit darker shadow on here and was tapping into it while it's wet. Of course, I'm just going to do the same here. Tapping end to this well is wet. Good. Now the name of the game is to be patient. Let this dry a little bit because again, I've got everything wet, and when it dries, I'll come back. 6. Finishing Touches & Recap: all right ever so slightly damp here. So now I can come in and start really putting the darks in. So I'll start with some ultra touch of ready in a little bit of GAM bows here, maybe a little bit more, and I think that's good. I just want a little bit more toe work with here. So again, ultra pretty in new GAM bows and really thick. Okay, so this is almost like honey in terms of his consistency. And I just want to know Sprinkle in some edges is important in terms of the design to keep the harmony and the kind of flow. Um, and I don't want to hammer darks everywhere. I just want to kind of centralize um and then maybe splashing here and there. Someone tried to work the dark s'more to the left hand side and and just do a few and you can see him just all smudge once in a while, too. And I just kind of help keep balance out the hard and soft edges. I think it's supported to do that, so I need to get back up here where I want these darks to be situated and maybe get something under here and now just clean my brush. I know I've got pigment on it and it's the same pigment and so it's not so dark green, and I can kind of start to balance the opaque layers and the transparent layer is basically I wanted again situated over here the heavy darks. Well, I kind of want to balance as I go to. So I'll hit a little bit over there and then come back over here. And that just helps me visualize how everything is gonna work, you know, And harmony, I guess, And careful to leave some interesting edges, like right in there, that little yellow and purple. And every time you do something like this is going to be different because the edges will be, they will change. Of course, you can't really duplicate this sort of technique. And now, just adding of dark center here to that flower. And now I'm getting into Brown's and stuff. I'm gonna come back to these greens. I just want to kind of let my eyes adjust to that, and it's getting into. It's a little bit darker touches into these flowers. I've got the brown was and stuff already on my palette, and that could be a center. There was going toe wet, my brush a little bit and touch that into there. And it's working pretty good, getting into this mixture again, but a little more saturated. Now. I want to bring some a little bit dark. Er's darker values over and here, and maybe we can run a little bit up into that stem. Something like that is good and maybe a little separation here. That's good. So a little bit of nice, pure red, maybe mixed with that green. It's touching some darker values in there, and I'll get some of this dark again. Touch a little center there. It wasn't too crazy about that. So try again and I don't work. Third time's a charm, all right? I'm just gonna rough that edge up a little bit to get a hard shape. I would take this for the of whitewash, mix them with some of these Crimson's now and just had a couple of highlights. End of these flowers again. You know, it is really impossible to preserve the whites when you're working this way. I still don't like that thing bugging me. Always something with the painting. There's always an area that's going to give me a hard time. That's better. I just thought it was a little bit too, too big, and I might take a little bit of the red. I want this to be okay. It take myself. So got a little bit off a little bit. The gua should be here, so I don't want them on my brush. And now just touching a few little details here and there and makes a little bit of brown. And with this, and maybe to find on edge there, I'll get with some heavy greens so overrating in Oh, trod and booze, maybe a touch of red. And I just want to define a couple of nights heavy shapes And here, too, so that the heavy greens air situated on this side I've got a little bit of this kind of violent left over Go something like that. Now, get with this. Ah, a little bit of poker I've got on my palette there. I just want to soften this edge over here. Just so one side of the vase where their glass here. That's looking good. Maybe a smidge and here to define and just some clean water to soften that edge. And now, maybe just some darks and looking for this foursome Neutral is really nothing too colorful . But I guess, um, water or paint on my palm there ought that touched that up, too. And now just touching a few little details into this glass. I can catch the edges, and it's kind of pull this into the painting as well and maybe a little bit darker. Just in a few places here, in their down about him. All right, that should do it. I think this is going to try to get that. Got a little Mr Bottle here. It's all right. If I don't, I just gotta be careful not to lift the color a little bit. Yeah, I think that's OK. Now this a couple of highlights on the glass. I'll just use this kind of greatest mixture that's already on my palette and touch a few highlights in here. And I think we'll call it a day this time that color into the painting as well. So this is just really pure pigment here and this having a little bit more fun here before I leave, you know, just catch a soft little edge and there. All right, let's take the tape off. Have a look at it. All right. Once you take the tape off and see the white edges, it really gives you. Ah, a nice look. I'm just going to soften that center. Didn't like that having a really dark center there, so I just kind of blocked that out. Soften it, and that looks pretty good. I think the last thing I'll do it off camera here. I'm just getting Ah, nice, low, kind of a neutral, dark tone here. I just want to make this a little bit darker there. Maybe I'm just wet my brush here and maybe join a couple of those darks and yeah, just give it one last look here. Just go to strengthen a couple of values over in this area, push that mawr to an earthy and just want to make this one a little bit darker down here. It's a little bit Ah, a little bit more color right in here. Just kind of popped this white flour. I think a little more contrast, but, uh, go a long way right there. Ah, you were just defining bottom of that one. Now just lift a little bit of that. That's fine. Well, there you have it. I am going to just make it official here. Still life flowers, glass vase. What about technique? Hope you enjoyed it, and I'll see you in the next one.