How To Paint With Watercolor Pencils | Jessica Wesolek | Skillshare

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How To Paint With Watercolor Pencils

teacher avatar Jessica Wesolek, Artist/Teacher

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

15 Lessons (2h 27m)
    • 1. Introduction

      6:14
    • 2. What Is A Watercolor Pencil?

      3:12
    • 3. Our Supplies

      15:03
    • 4. Drawing Some Pots

      12:23
    • 5. Pencils As Paint

      4:34
    • 6. Painting A Wall

      4:41
    • 7. Painting Pots

      13:29
    • 8. Greenery

      5:05
    • 9. Swatching Colors

      7:32
    • 10. Water Drops

      11:06
    • 11. Partly Sunny

      11:56
    • 12. Go Fly A Kite

      17:41
    • 13. Let's Go Fishing

      10:57
    • 14. Painting a Flower

      7:23
    • 15. Take Away Tips

      15:16
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About This Class

Watercolor Pencils are something that interests many artists because you apply color dry as you would use colored pencils, and then you wet it and it behaves like watercolor (sorta). Although there is a lot of interest in this concept, many artists try the pencils and aren't too impressed with initial results. This is a medium that is not as simple as it seems at first glance, but one that is fabulous for painting once you learn the ropes. By the end of this class, you will have done just that.

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I have painted with watercolor pencils for many years - mostly in my sketchbooks - and have learned their secrets. In this class, I will share those secrets with you, and will likely fall in love with a whole new way to paint. At the same time, we will create a visually exciting color chart for a basic set of colors. This is a lot of fun and I hope you will join me!

Meet Your Teacher

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Jessica Wesolek

Artist/Teacher

Teacher

My name is Jessica Wesolek and I am an artist, teacher, sketchbooker, and gallery owner living in the fabulous art town of Santa Fe, New Mexico.

My classes are about the art of sketchbooking, watercolor and drawing - in real life and digitally. They are for all levels because beginners will be able to do the projects with ease, and accomplished artists will learn new ideas and some very advanced tips and techniques with water media.

I teach complex ideas in a simple way that makes sense, and have never yet failed to teach a student to draw and be pleased with their results. I even guarantee that in my in-person classes.

My career in the arts has been long, varied, and eventful. My educational credentials are from the University of Michigan, UC Berk... See full profile

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Transcripts

1. Introduction: Welcome to this workshop everyone, my name is Jessica. And I'm going to start the introduction by telling you something about my, my history with watercolor pencils and my experience, what I know about them. And then we're gonna get into knowing a lot more about them. For most of my life. I have been a watercolor painter and I pretty much ignored the medium of watercolor pencils. They fell like a child toiled man, even in my illustration career, I didn't have occasion to use them. And then back around 2003 or so, i started his sketchbook habit. And the idea was I was temporarily, I was taking a hiatus from the gallery and I was going to do art for me. And the best way I thought to do that would be in a sketch book. And it wasn't gonna be throwaway arguer practice art. It was going to be art about my life. And so I wanted a good book. And in those days there were very few good and capable kinds of sketchbooks out there. There were though wire bound kind and the light paper for pencils, sketching, and all other things that have always been when sketchbooks have been used for practice. But I wanted a keeper, maybe a hardcover binding. And I pictured big shelves of these all finished, which I now have, by the way. But it was a dream then the best thing I could find was Molas schema, large sketchbook, the one with the purple label on it. And mole of skinner also made a watercolor sketch book, but they only made it in the landscape format. And I generally work in a portrait format. So that wasn't going to help me. And what they made in the portrait format was this. And so this was the sketchbook that I used for my first, I don't know, a dozen volumes. And it was very frustrating to me because I was not able to successfully use watercolor on this paper. The paper is odd and it is clay coded. And so when you put, it doesn't take much moisture because it's also a thing. But when you put a lot of moisture on here as in a watercolor wash the clay kind of soaks up the moisture. The watercolor won't move. If you work at it too much, the clay comes up and and roles, you know, and shows just the plain paper underneath. And then if you paint over that, you have something that looks terrible. So I decided to explore watercolor pencils to see if I could manage to get my high color illustrations into mola schemas, sketchbooks without destroying the pages. And after some practice, it was a success. And I used only watercolor, pencils and all of these original volumes and my sketching life. So I've learned a lot about them. I still use them, even though have now found perfect watercolor sketch book to use. I still use them for kinda special effects and its special subjects. So way back then, around 2005, I think I made this spread and the Molas schemas sketchbook. And the idea was that although I'm a color ranking and I own every color made by a couple of different good brands. I was also a scatter, so I couldn't carry a 120 pencils out with me. And I chose 15 colors that I thought were essential. And to demonstrate those in kind of a fun way, I made this spread where I have the color swatches and then I also did sample illustrations with them to see which kinds of subjects they applied to. And this became so popular online that I, I kept getting request and to printed to repost it. And so I thought if I'm going to teach a skill SIR class and watercolor pencils, that this would be a wonderful project. It would not only entered reduce you to the use of this medium for painting and illustrating. It would also give you a really nice essential set of colors setup and a fun, fun page for reference in your sketch book. So this is our project. We will learn how to use watercolor pencils to paint and illustrate. And we will create a color chart either just like this, which I will be demonstrating, or of course you can do is spread with your own illustrations to use the color combinations. The class is for beginners in watercolor pencil. And advanced artists who don't know watercolor pencil and want to find out about it. But also the drawing is very simple. And so if you're a total beginner at everything, you're not going to have a problem with this class. So that being said, let's get started looking at our supplies, at what watercolor pencils do and are, and how much fun we can have with them. 2. What Is A Watercolor Pencil?: Welcome everyone to what I think and hope will be a really fun adventure in color and the exploration of a medium that has become very popular. And yet very few people understand exactly how they should use it. And that medium is watercolour pencils. I'm going to refer to them as watercolor pencils throughout our workshop. But in truth, they are not watercolor pencils. They are water soluble colored pencils. Why not water color? Watercolor is defined by its binder as all paints are, all paints are pigment in there, bound by this, are bound by that. And watercolour is bound by gum Arabic. The binder in watercolor pencils is different because you have to have a hardener and something that you can dilute with water and melt, so to speak. So it is a different animal, although it provides a lot of the benefits of water color and a lot of the benefits of squash as well. It can be very Bruijn, it can be very transparent. It can also be more opaque. So there is a wide range there to play with. There are actually two brands that I feel are wonderful and I'll tell you about both of them. But of the two brands, even car and dash supra color is my absolute favorite. And the reason is it is heavily pigmented, is creamy in its application and the colors are brilliant. Now my other favorite brand in I can't even say it, but it's made by Faber Castile, and it's Albrecht Durer. And I've ever, is that artists, I've ever been able to say that. And it's d, u, r, E r. They are also very pigment rich. They go on very smoothly, but not as smoothly as these. And the color range is earlier. So depending on what you are trying to do, either one of those is a wonderful brand. No, PRISMA color has always been my favorite colored pencil. And I was excited when they came out with a watercolor pencil. And then I wasn't excited when I tried, and I just really don't hold a candle to this. And the HDR went, makes a very good watercolor pencil. And they also make something called a maintenance, which is a DI, water soluble pencil. And they are very brilliant. So, but for this workshop, I'm going to use my favorite and my dependable current dash. 3. Our Supplies: Being the complete coloring key that I am, I have the full range of color in both the current dash and and favorite Castile? One I can't Albert can't pronounce. However, I am a sketcher and so I wanted something more portable to run around with in my full set. Something that would fit in here, along with a water brush, which is essential tool. We're going to have also talked about that in a minute. A pencil eraser and and ink liner. I'll talk about these colors in a minute and give you names and numbers. Of the first, I want to talk about my philosophy of painting with watercolor pencils. I taught my students and myself a method that's worked really, really well for me and it is not a random approach. It's a economists studied approach to having everything you might need when you're outside sketchy now of course, a lot of people would say you only need yellow and red and blue. And it could be true. It's going to be a lot harder, especially with this medium. And so my philosophy is that we choose what you might call three values of every color field. And at that's a little weird because really we're also choosing three Hughes, but a trio of pencils to approach each kind of thing that we might need to draw. And so I'm going to explain that to you as we go and as I showing you the colors. But I'm going to refer to them as my values of that color. Even though that isn't really true. Like my yellow is, is a highlight here. My vermilion is a midtone and my carmine is a shadow color. That's the way that I look at it and we're going to look at it for this class. So this is my trio for anything that is hot yellow, red, orange kind of color. And my three values, as I'm going to call them, are the current dashed yellow, which you see right here. And it's called Yellow and the number is 010, so it's number ten. Now I have a warm red here, which is number 60, 0-6, o vermilion. And then I have a cold read. A car mine. In the car mine is number 80, so 080. So with those three, we have what I would call my highlight, my midtown, and my shade color for things that are going to be in that kind of a cold range. Okay, well, we're over on this side of the page. We will also grab our gray, which is the color that's totally used here. And it is number 5005 and it's just called Gray. Okay. My greens my trio of greens that I use for all foliage and grass and combinations with blue are a light, middle and dark. And the light is number 230 in the color name is yellow, green. And that's this one right here. My middle tone is to ten and called grass green. And then my shader is just called dark green. And it is number 229, current dash, all three of them. For my three blues, I wanted to cover everything from the cool blue sky to the warmer blue used in water. And so my sky blues and number 141, and it's called sky blue car on dash. My middle blue is a warmer blue. It's 171. It's a turquoise blue to be used more for water kind of things. And my shader blue is Prussian blue, which is number one, 59. I'm in the Southwest, and so I use a lot of earth tones in the Adobe in terracotta. Family. If you're not in the Southwest, you may still use those for wood tones, building, ground cover, floods of things. So there you see an extra pencil here on my trio. I had to reach outside the brand to find a light yellow ochre. High tone for my trio. And that is HDR went and the color is Naples Yellow. And to date, it is my favorite as far as that kind of yellow that you have to use as a base for, it's a cool yellow. You use as a base for, for pottery and earth tones like that. My other, my trio in Brown's IS a, my light wine is 065065 is russet And that's current dash. My middle is 159 are not 159 but 059. So just number 59 Brown. And my dark brown is a raw number and the number is 049 and that is turned as well. So these three together. Can be used to lay down the values that you find in Adobe and terracotta pots in many would tones. There's lot of range here. You can go more red, you can go more cold. So we are covered with everything that we need in that value area. And I have one more, that color way I should say. I have one more. You can use your blues and your ads to mix violence and purples. What's the difference in those two? Violence or bluer? Cooler. And purples are redder and warmer. So this one I decided to throw in because it gives me a start with purples that are a little harder to mix. And so this one is number 110, and it is called Laila, OK. And it's reddish and it looks like this. So those are our color waves. And when we are going to go at painting an object, we're going to pick the color weight, it's likely for it and the trio of pencils to apply to be able to get the tones that we're gonna be looking for. So that's an introduction to the pencils that I'll be using. Another tool that we need this very important. And I'm looking for one thing that I used them so much is a water brush. We've used these enormous sketching classes. The best one in my opinion, with the best control for something the size of a sketchbook is the small tip in the Nagy brand is made by current talky. It is not expensive. I have used these for almost 20 years. They have never leaked, they have never put out too much moisture. They have narrower. They wear out because I use them a lot. But they've never given me any problem at all. They're easy to refill water if you don't know a water brush, the water is in the handle so that you can be out sketch booking and not needing to water to have a water jar, all you need is a piece of paper towel. And with one squeeze, this cleans. And we'll talk a little bit more about how to use this and how to refill this when we get to the point where we're using it, there are other brands out there, there are other tip sizes. This is the only one that I recommend as being foolproof and the tip size is small. And that's because we're in a sketchbook. These work by wicking water to the tip as a continuous thing. That's why you're never squeeze them over your work because you get to be bottled water. You only squeezed them over paper towel to clean with a couple of swipes or to make sure that you read damp and if somehow or got kinda dry, were too full of pigment or something. Anyway, a wonderful tool. And we need it. We want a light, a kind of a hard lead drawing pencil fishing here and my mass. The reason we want to light lattice, we want to be able to erase it and draw sketchy and make our forms out and then be able to get rid of any extra lines without making a mess. This is a 3H, it's made by Tambo. Tambo and turquoise are my favorite brands. I don't know if I have a turquoise series show you. I do. This was what the turquoise brown looks like. The Hs stand for harder and harder. And the larger the number. And on pencils B stands for softer. The higher the number. The middle pencils in H B, which is a couple of steps harder than the number to be, which is a usual yellow pencil and pretty smear tree. These are both reagents here. They do not smear. And that's what you really like about him because smeared graphite really affects your collar. The page. The other two tools that we're going to need are a nice soft white eraser and that erases without damaging the surface of the paper. Some people use the needed ones. I don't like that precedent concepts, so I have very good luck with the white soft ones. I even I get them in a version that goes on the end of my drawing pencils just to make life easy. And we want to permanent ink, find liner. I prefer the pit pen by Favorite casts doll, I like small tip for things like this. They come in many tips. They are not expensive. It's a pigment ink and it goes down easily and smoothly. And it is waterproof. So if you paint with watercolor or watercolor pencils over the top, you're not going to have smearing. Important thing. And lastly, but certainly not least, is a sketchbook. My favorite sketch book is The Stillman and burn beta. And in my favorite size is the portrait version of the 5.5 by 8.5. And I loved their soft cover. It travels easy, goes in and my bag without corners catching a little more fragile than the hardcover. But over time, I have found that these just stay in perfect shape. And this is well used here. And you see how little buckling. This is a whole world, better and more perfect and lovely and work in, in the MOS schemas sketchbook was. And I have moved more to watercolor in my sketch booking in these because I can. But I still reach for, for many more advanced kinda techniques. I still reach for my watercolor pencils very, very often and sometimes work with them alone. And in the second section of this, well, not the second section, the second class coming up on painting with watercolor pencils. Those more advanced techniques and tricks are in there. And this time we're just going to play and learn how to use them as paint for our sketches and our sketchbook, we're going to use a full spread in a sketch book this size. So if you have a larger one, I mean, you can just, we're gonna try and do this kind of layout so you can adjust how you think it might fit in your book that you're using. But if you have a 5.5 by 8.5 sketchbook with paper that can take water or not even really, you can get away with colored with watercolor pencil on a lighter weight paper. I don't like to take the chance, but you can. Otherwise, I could have never done all this in a model schema. So we'll come back and we'll start to draw our beautiful narrative color chart and paint with our watercolor pencils. 4. Drawing Some Pots: My students and my friends and my non-French, your enemies, which I hope I don't have any. Well, I'll tell you that when I get onto something that I think is right, I stick there and I have some drawing pointers that I think are right. I've been doing them for 40 some years. And my students who have learned to draw from me, and that's like a 100% of them. We haven't failed yet. They have done this method and it has really worked. And a lot of people say throw away the pencil and throw away the eraser and just go for it. And I'm not one of those people because I find the pencil and eraser agree. Big permission slip. And you can not have any fear about doing something on a page just simply because you can undo it if only we had an undo key like this. In real life, you know, for the actions that we take there aren't drawing. How wonderful would that be? Every, oops, we could say, oops, and onto any way I pre draw everything with the light pencil. And I don't just get in there in incised lines. Their guidance just isn't good that way. And when I say guidance, I'm talking about this and presence that lives inside you that I call the inner guide and everybody else calls the inner critic because I don't know why. But in your brain, you have looked at a lot of things in life and in your brain, you sort of know what's right and what's not. I mean, think about it. If you drew a line ego, that is not the inner critic thing doesn't even work there. The reason you went it was because the line isn't in the right place and because, you know, it subconsciously or not, you know, it isn't. And so the u is really your inner guide gone. That line over there a little bit or over here a little bit. If you think of it that way, it is just so easy to get things right because you draw in a very sketchy fashion and you are hunting, you're hunting the right line. So I'm looking at this up here and bringing a little adobe wall in and I'm bringing it down and I'm coming over here and bring it down that far across the page. So that's just all I'm looking at it. I'm drawing it and I'm putting it in the background for us here, and that's about the right size. And then I'm gonna put pots in front of it. And as I was doing all this and watching this, I went as correcting, going up and non and rounded, see with all these little tiny strokes and that way you feel out the line. And if it's too far left or too far right or too far opera too far down. You know it. And so you can correct as you go, it's a wonderful thing. Anybody who hasn't tried it should try it. Now, I am going to draw a very hard thing right now, and she's an oval. And it's hard for everyone on earth, but it's good to know. That if you can get a thing going on like this and then touch your pencil down and keep on hunting for the right thing. You're gonna get it. If you got up and stood up and did this with your whole arm, is Legos, pendulum things you don't eventually it finds that perfect orbit. Well, it's like that here too, because ovals have to be symmetric on the outside or just a son of a pot to try and draw. But after you draw on for a long time and you drawn like this, you feel out where that symmetry is. Here's the middle of my oval right here. And this side is just like this side. I should be able to fold it in the middle and they match. You can even do that kinda thing with tracing paper as a way to copy. So here we go. And then the next thing I'm gonna do is put a color on this pot, like so. And this part of the line needs to parallel. That part of the lioness is where people get very messed up in containers. They start go, put in flat, straight, horizontal lines on these things. And that is not how it would happen. I mean, unless this ram was gonna get fat and get skinny and get fat and gives skinny. It wouldn't work if it was straight across. And, you know, cemetery is always kind of hard, I suppose if I would have put this line right in the middle, we would have made it easier. You can do that if you want. You can put this pot. So this line comes right in the middle and that's going to help you with your symmetry. Okay, I have courses on symmetry. And I think we did it with coffee mugs and their skill share classes too. So if you want to learn how to get easy with cemetery, that's a good place to go. I think it's called mugshots. Okay. Now I have my big pi and i have demonstrated a very simplistic rule of perspective here. One of the most basic and easy things to, maybe the only easy thing to understand about perspective, then something is from in front of something else. You don't see this something else that's behind it and totally illogical, right? So before I get confused when I put my other pot in, I am going to get rid of what part of the ball just isn't going to show. And there we go. Okay, now I got one more to do and it's going to involve another overall. And I'm going to put it in front of this pot to a certain extent. And it's not going to have a collar on it. This is just gonna be a plane terracotta pot. It's rounded. Now, if you are new at trying to make things symmetrical, a really good thing to do is find the absolute middle of this and give yourself a true vertical line. By that, I mean, it's not slanting this way or this way. And then just let your eye from the first side and light your I referenced the distance from this line when it's drawing this. It's so much easier for your brain. And the reason is that we have a heck of a time flipping things in our brain. So with this line in the middle, you are creating a relationship between this curve and this line, which your brain can do that without this line, you are trying to flip this curve and duplicate it. It takes years for you to force your brain into understanding so much better when you're starting out, you put that center line in because it can be raised and it's just a really good guide. You can even, and I talk about that in the mugshots class. You can even use a centerline if he's a tracing paper, traceless side that you drew, flip the tracing paper and do a ballpoint pen or something on top and it will transfer the pencil line you made to be a guide. So here is where we're going to test our earth tone colors and we need to put a little greenery in here. I kept this pretty simplistic before I put the plant in. I am going to point out the second thing about perspective that we just did. The second principle is that things that are closer to you are lower on the page. And so we just did that when we made this pot, the bottom of this pot could not be right here or it would be cutting into I mean, if we overlap it, it could if you put the pot by itself over here. But if we're going to overlap it, we're saying it's forward. If it's forward, it's lower on the page. So if if anything happened regarding that in your drawing of the pot, that's what happened. Makes sure it's bottom, is more in front. All right, now, I'm going to keep my greenery real simple doing. And I always like Yucca. Now overo plants because they're so easy to draw and they're so easy to paint. So that's what I'm putting in this one. And this one, I'm just going to be silly, like I was here and just put a single leaf stem nor anything that grows like this. Y i do Really, there's what's called a mother-in-laws tongue or something. I always kill them. You've Oregon figure them out. And just for balance, I'm going to make this leaf go this way. And as a guide for the stem. And you can just come right from the point and it come down and make your system a little bit fatter. Has substance. So our next step is we are going to ink with our fine liner. We're going to softly drawn incline over the good line that we discovered with our pencil. When that is done, we get to erase our pencil and we have our painting will kind of coloring book style drawing. And as soon as I do that, I will be back I, when I ink to make it easier on myself because this is not as easy as as pencil for that reason, sometimes I suggest that if you're not happy with your ink, use a very sharpened none watercolor, black pencil instead of the ANC is not going to give you the sharpness, but it's gonna give you like more of a feeling of forgiveness. Especially a dir r erasable colored pencils that are not water-soluble. And those are like a step between here and ink. So those are good too. But I'm going to use the ink Kleiner and not worry if I have a little bubble or whatever cause we're gonna look good ones. We put the color on there anyway. I'll be back when I have my inking done. I always draw away from myself with the ink pen. Therefore, in my classes, it becomes a real contest to watch the monitor and make sure the book and where I'm drawing is on camera. It doesn't work at all usually. So usually this is simple enough that I turn the camera off. I do And we're back, we're ready to go. 5. Pencils As Paint: We're back with our Incan drawing. And if yours isn't perfect, don't feel bad about it. In fact, almost no ink drawing is ever perfect. And the thing about ANC is there isn't any permission. What's there is there. And so a lot of people just learn to live with it. And I can't do that, but I can say that sketchy Incas, because most the time it is sketchy. So now the exciting part about painting with watercolor pencils. So I have my trio for my earth tones, but I also have a fourth one in this case, which use HDR went Naples yellow, which is going to be my base color. And some of these. And so I want to show you though at the back door here, how this works. And I'd already done one sample and then the camera didn't catch it. So I'm going to do another one now. This is pigment in a, in a hard binder. And it works in this format just like a colored pencils. So working best on paper were the tooth and applying without pushing down too hard because you don't want to crush that tooth. So I'm putting in this layer and then I'm going to overlay a little bit of this. And I could lighten up there and make that kind of shady. And I can go a little darker back in here, just for kicks. And even really dark right there at our edge. Now this is the same kind of thing that's done with regular colored pencil. But at this point, when you layer, lots of layers, you burnish and you get a more vibrant look to the colored pencil. Watercolor pencils don't have the wax or the oil that regular color pencils do. And so the burnishing at this point isn't going to change the look of it at all. The look of it is a little bit grainy and dry. And that's okay with some people. But that's not the magic of a watercolor pencils. So let me show you what it is. And you take a water brush and you go over what you have laid down there, you get magic. Now about the water brush. When you first use it. Each time you squeeze out a drop of water over a paper towel, which I just did. And that means that you have got the water to your tip and the water brush wicks The water continual flow to your tip. You can put it on your finger and you'll know it's wet. So you never squeezed this over your art work or while you're painting, you just trust that the right amount of water is happening through here all by itself. The magic starts when you come in with water brush. And I just made sure minus damp as asides. And then I'm going to wake this color up to be really beautiful. I always start in the light color. Because if you start in the dark and bring it out, it might lose some of your light color because it'll be overpowered. But look at the brilliance and comparison to how the dry pencil law. And you have more ferocious mark looking thing than you then den granule. And so that is the basis of how painting is done with watercolor pencil. Now we're going to apply that to a first of all, our wall in our sketch. 6. Painting A Wall: Starting with my Naples YOLO, my daughter went pencil and I am laying in my base color in this case is going to be my light Adobe. And the pressure, it's impossible to show you on the camera what pressure is or even to explain it. But the idea to keep in mind is that the more DRY pigment you lay down in an area, the more dance and intensified that color is going to be. But there is a line you don't want to cross. Because if you have too much going on, then by the time you bring in your water brush and you activate it, you kind of got too much pigment to move around as kind of can be sludgy instead of how you want it to be smooth. Now this is a flat wall, so there's not a lot of shadow here except behind the plants. But there's always looks a little bit, or when there is some definition of edge I find. And so I usually will run my next value. In this case it's the roses along by defining edge of the wall. And also usually if it's cut off by the middle of the page like this, I will define that edge as well. And at the bottom there's kind of some shadow. And around behind these plant leaves there will be a shadow. So I'm just working some of the russet into those areas behind this POD will almost definitely be psalm. I don't want to be a go overboard with too much of this though, because I want the main color of that wall to be very yellow and bright. But I will use my Middletown and I'm not going to use the darkness, but I will use my middle tone. Just in the real shadow areas. I'm not gonna do that up here. Just like words going behind this page supposedly. And behind the pots and the leaves, where we're going to want more contrast. And then now it's going to be, and I'm not going to use my darkest value this time on the wall. So again, making sure that the water brush is damp. I'm squeezing out a little spot, no funning. You don't have very much water left in here and I'm going to have to refill it. Alright. Starting in a light color area and getting that all wet, ready to be blunt level. And then we're going to go into a melt. Our defining edges here and see how pretty that is. It just makes it more Ehrlich, like an Adobe wall with personality. And over here, we'll go ahead and get that activated in a liquefied. And then how we're going to blend the edges because I don't want hard edges. But already, you can see here a big difference between watercolor, pencil and watercolor because you can't do this and water color, you would have a mass that went beyond believable if you kept going in with more moisture like this, because it would flow back and it would create cauliflower blues and rough edges and just look terrible. But the pigment particles are so large. And these pencils and so ready to sit where you put them, that you can almost imitate it kind of a painting saying that you would do with acrylics, oils. 7. Painting Pots: I'm going to use the same color combination on this big pot. And with more intensity though, because I want the pot to be darker than the wall. So the first difference is going to be the, I am going to apply more of the Naples Yellow. I intend to apply more of everything. And so I want the Naples Yellow To be able to hold its own. And therefore, I need a lot of the pigment on this pot. Once our Naples Yellow is on there and pretty healthy layer. I'm going to run through all of our browns, all of our earth tomes to give shape and form and shadow to it. And I'll do that quickly so I don't bore you. But again, you put it into the areas around the edge so it defines. And especially in areas where there would be shadow happening and lightest mid tone color here the russet I give the most real estate to, and the other two will just stay on top of it but laid back a little bit. So we'll have this at the edges of our around. We'll have an inside and a little more in this area because it's darker inside of a pot in here because this pot is making a shadow onto that part is, is in front of it. And here's another lovely thing you notice I went out of the line right there a little bit. Well, while they're dry, you can generally erase watercolor pencils. I always just brand. And that is so helpful because you stop in trouble before it starts. Now, the darker area inside a pot isn't the corners of the round there and down, down N. Okay, and so now if I add this little darker color into the shadow areas and edge areas and make those strokes kind of in keeping with the shape of the thing that you're painting is like no, go like this kinda thing. Kid, lighter, they're down this side a little bit, little bit there. And then I'm even going to take my darkest my raw lumber and give some real drama to the darkest area of the shadow areas. And at the bottom down here, there's not gonna be hardly any light. Back edge, not very wide because the light is coming from this way. And under the backside right here. And the darkest part of this, which is the right next to that light rail and into the corners. Now that doesn't look terrible the way it is. And when we hit it with me, you could keep it that way. It's got four minutes Fontenelle, It looks like a colored pencil sketch. So if you'd, if that's a look you like and you can just stop and not doing anymore to it. But I want to, I already did this anyway and I'm teaching you to paint with these. So I want to add the water and bringing up the drama. Blending my shadow areas here. And only the top edge back there would really be light. And you can pick this up to a little bit like watercolors. So that's a good thing. Just put a little bit of wet. Now after it's dry, not so much. You can pick it up, but no, I've got to add a lift tone more dark. But wonderful thing that you can do with watercolor pencils that you can't do with watercolor, is you can use the LED a little bit of a palate and add color. And you can do this while it's still wet or not, even after droughts. Where if you start to blend like I'm going to make my well, that turned out pretty well. But let's see down here I'm starting in the light area again, liquefying all that nice yellow. And then moving into the shadow areas and liquefying that in I want nice blending here if I know, get it, you'll see me going back in and add a little color. You see how this looks a little like. The acrylic or oil as opposed to watercolour. There's just more texture and more ability to use brushstrokes. Which in watercolor you just, you get in, you get it smooth dough, you get out. With this watercolor pencil. You have more leeway and I'm dabbing off extra paint onto my paper TO rehearse. So if you start to feel that your brush is carrying too much pigment around and feel free to blotted off at any time. And if there's not enough of a color, I'd like a little midtone right there, so I'm going to come back in a little of that and work it in. And I'm going to take that back a little bit. So you see the fussing that you can do is wonderful. This area back here and we're gonna take my darkest brown. What's happening is that the sun is moving in this way. We're getting all these shadows. But we wanted to complete that pot for you to be able to see. Now the third pot or using the same colors, I'm going to just change the order because I want that to be a darker redder terracotta. So I'm not going to start with the Naples on this one. I am going to start with the russet. That's going to give us that red tone that we need as a base color. Instead of the Naples Joel, like here. And layman's down three heavy, heavily over all v, sorry that I'm going to have just a lot, a lot of pigment fluorine or on its web, but and I'm going to put it as a base color in there till although we're going to end up very dark there. Now, the midtown is gonna go on around that edge down the side. Just the way that we use the russet over here. But this is just a whole darker idea. And again is going to be dark by the plant leaves in here and in the inside of the pot. And so I'm going to take my, my darkest color, my wrong over here and just add those actual Deep and the shadow various XHR. And that will happen along this edge over here. Long of body and thinly along this side because the light will come from this side, but it will still look darker as it goes around, then this pot looks to us. So with just those three, I'm going to activate the paint with my water brush again, starting in the lightest area. And see that's a much redder terracotta look. And then into a pick that up. Not too much because I don't want to pass down and go in. And where the shadow areas and going over the lives like that can almost always be corrected with the Clean Water blotting with a Kleenex deal that we use in water color. I'll show you that as soon as I finish this up. Anywhere that you have a liquefied the paint, you wanna do that because otherwise you'll have a granny look there. I kind of like that, but I need more shadow there because I lightened it up too much. So again, the beauty of this is being able to add back some deeper tones. When do you need to? And I don't want to die look and sound really good in there with brushstrokes. And he got quite a bit of messing around time. The other thing about watercolor pencils, NO drives quickly. So even here where we're so dry, I still have time to play around. Now. This time I am going to use the Naples yellow. But instead of being first, it's going to be last because all I am going to do with it is I am going to add a little sunshine to the highlighter area. There. You'll see a whole different thing than we had going on over here. And that just kind of turned the light side inside of that terracotta clay. And your mess until you're happy and then you stop. Now I'm gonna show you that correction. I'm squeezing my water brush to make sure that the bristles are very clean. Grabbing a tissue. And I'm going to come over here when you do this with watercolor, you have to be just so gentle because if you were to hit the rest of the pain and come flowing out, this is more forgiving, just like in all our other issues here are these pigment particles are not as ready to run around. They're more ready to sit where they landed. And that's what we like about it. Okay. So the pops and the wall on the earth tone, color way. I'm going to call this complete. 8. Greenery: Moving onto our greenery, we're going to choose a different color, red, green color away to get this going on. And our lightest color hairs are yellow, green. And so I am going to lightly put that into the leaves, the sleeves anyway. And from there, we're going to add a little Middletown out toward the edge. Is going to give it some body. And my dark, I'm going to use this time for the stems of these stems are too small to be getting very much going on with the tricolor thing. But you can bring that dark right up into the center of the wave. And then I like to put a little bit around the edge. That's our deepest grain. And this one little around the edge. And then bring that stem down and our dark grain. And that should work. So grabbing though, whatever SHE making sure it's clean from the last color. And I usually, like I do with watercolor, I just go into one side at a time just because it's easier. And it defines the shape with a little light and dark. Now, well, you're not smearing that dark from the middle across each side of the wave keeps its personality. So those look pretty good for my GAVI or yoga or whatever this actually is here. Allo I'm not going to do the JO green because they don't have a lot of yellow in them. Generally speaking, they're kind of a more blue green. So I'm putting down my Moodle grass green hair. And then I'm going to use the dark green for a little bit of shading. And right down at the bottom where it goes behind the other leaf would be darker. That would be darker. And underside and where it goes behind another wave would be darker. So when we come back with our water brush, we've got less of a yellow or green. Moreover, blue-green going on. Just a little more true to the subject again, starting with the brush and the wider color. So I don't annihilated with the shadow color. And there we are. We have a bluer plant down here. But what you can do, that's even more fun, is you can reach out to a different color way. And I'm gonna reach to blue here. And I am going to add in just a little blue cast. Because that also is a look that you see with this kind of plant. More than that yellow. You want a little more blue and see how just that tiny touch is making a real difference in the color of the foliage. So our first little vignette is done here, r, little r spot illustration, we can call it. And the next thing we're gonna do is we're gonna do our switching and our color labeling. And there's just a couple of tips about that. I mean, it may seem really obvious to you, but there are things you can do is going to make it more useful to you. 9. Swatching Colors: And I make my color swatches. I started out in a way that you would expect a normal way. And I lay down basic rectangle or square. And, and try to get it as dense as I can at the one side. Well, actually all the way across you can because you're going to dilute with the brush. So there is my Naples Yellow. Next would be my russet in this particular color way. And then while the brown, I actually I've put my Brown on the other side of the yeah, we're gonna keep it there. Never mind. Okay. I wanted to do it that way because there's brown and the other side of this and we're going to want, it should show up. So the next swatch here is going to be the wrong verb. And it's pretty dark brown in this brand of tensile. It's more like a sepia. Switches. Why I chose it, I thought it would give me the deep brown Shadow Color. So there are those three. And I go back Then I want to see order looks like wet. And it was C ouzo water it down. What happens to the color? So on every swatch, I go into, like I would say the bottom quarter of it and start to read it. But I don't stop at the edge and I bring it all the way out. So I can see what happens when this is more diluted and spread out rather than being as deep as that. And up here is the dry part. And so I also go on the bottom half and kind of liquefy that. And what I'm looking for is tones of that color. Are you going to be able to see that better on the russet? I think clean my brush. Okay. Taken it from this corner and taken it out. So I can see what I have there as far as being able to add more water and use lights. And then I go this way to see the difference between the applied color and the color that's been become vibrant because I'm writing it. And lastly here, my phone number. And when it comes out, it lightens up, it doesn't get more lively and it lines up. That's pretty cold brown in this brand. And anyway, not always, but in, not in every medium. But here it is. That is the kind of swatch is absolutely full of information for you about the scope of a particular tensile. And I've added my green swatches as well. And I wanted to point out, it probably goes without saying, but maybe not, that as you add this water and stretch the pigment out, it is giving you more than just the information about if you put a lot of water and how light it's going to get. So also giving you the information about what's going to happen if you use that pane off the tip of your pencil like we were doing, if you're going to pick this up off the tip of your pencil, you're going to be in this territory out here because you've really diluted it. You've watered it down, you're basically carrying or kind of a wash thing to the page. Now, once you have used your pencils like this, you always want to let them dry and then sharpen them because they can get a skin from being wet and then drying. And then when you go to use them dry again, you're going to find them a little more scratchy. People often ask about how to sharpen these because they are gentle, soft, and creamy lads and they don't truthfully break up badly in the good, good ones do not break up and sharpening badly. But the little handheld, a specialty sharpeners, not the ones that are just like, you know, $0.14 because at blade is terrible. But any of them that are actually made for colored pencils or for art, they'll work on inpatient. I usually use an electric sharpener or a battery operated sharpener. And in order not to overdo it, I use my 1 second method. And by 1 second, a mean, a second is 10011002. And I just used one of the hose. And on the word one, I'm inserting the pencil on thousand, I'm sharpening, and one, I am pulling the pencil back out. You may need to do that more than once in order to get as much point as you want, but you will not be breaking the pencil lead up. And that's the important part because you won't be just, you know, people jam appends onto a pencils, sharp fringes gets chewed after a while. There isn't time for that with the 100 method. So that's a tip for you. And the next thing I'm going to do is go back and I'm going to label with the number and the name, the swatches, width, just so it doesn't ever get blurred and the future with a fine liner that was waterproof. And then we'll talk about how to lay out the rest of this page with our other color ways that we're using. It's a pretty humorous thing to me that I always set out to do short classes for a skill share like other people do. And I don't know, the whole thing gets carried away. Anyway. Here is our labeling. That's just the way I did it. You can do whatever you want. You could write right on the color if you wanted to, but I like to see the color without anything else going on. 10. Water Drops: So the rest of our color chart spread at least that side of the page. We handle our light and our sky blue and our Prussian blue. And then as water and fish down here. But we're leaving this until last because it has to do with the yellow, yellow, and red color way as well. But this section right here is easy and instead of taking all the time to do all of it, I'm going to show you basically how to draw and paint a pretty cool raindrop and or water drop and then you can do whatever you want with it. I did a bunch of them because I was getting I was having fun. I was getting carried away. And then I called it a heavy rainstorm close up. And then I put my my two swatches here exactly like I did on these. So we're not going to step through all of that. It would take us forever. But what we'll do is we'll draw a very cool Wayne raindrop and then you can do whatever you want in the area of large and small are just one big one or whatever. So you start a raindrop or a water drop or any drab weather circle. And again, this is a shape that's difficult to draw perfectly. So I draw it sketchy, and they're pretty much only two things that make a circle. Another good thing, not a good circle. And that is flat and fat. So when you're drawing a circle and you just don't like this. And I really exaggerated that. But I just wanted to show you that it then I start looking for my true circle. I can tell my inner guide is going to tell me that, that, that right there is a fat and that's a flat, neither one of which we like. So I'm going to come in from the fat and round out the flat. I'm going to do it over here to now. Usually, I always turn my book when I'm drawing a circle because I just have more control of it that way. It's hard to do, like I say, and keep everything on camera, but listen to your inner guide as you draw your circle. And if it says make it a little fatter, do that. If it says make it a little flatter, do that. Ok, so once you have a nice circle, if you turn take of, I'm gonna get rid of this one because I'm not going to like them lined up that way. I just know it. Take a A capital V. And you can pretend that this is an ol if you want. But anyway, a capital V and set it upside down, right on top of that circle. You got like a, somebody in a dunce had here capital V upside down and have the ends go till they joined, till they hit the circle. That's the basis of any droplet. From here. You can make choices. This is in flower petal drawing too. You can around those straight lines of that V0. And you have a drop that looks like this. Or you can do the opposite thing and you can just push them in and pinch them in a little bit. And that's what I usually do. I just have the slightest of curves. And because I like the water to get an on petals of flowers, I sometimes do the other one on water drops. I really like to have them get real thin at this end. And then you go in and you get rid of extra pencil lines. And you can put it in ink line on that. Now, many times in painting, we lift out the highlight that has to happen here. And right now I'm making a choice as I'm talking to you, you can ink this and on the original drawing what I did because lifting and highlighting was not all that easy on this paper. I drew a highlight in. I will just show you where they are this time and I think I'm going to lift them instead and this page. And so a water drop has the lightest area on one side or the other. I always liked things from this way. So anyway, there's gonna be a lighter area here. And it's sort of a lighter area here. So in other words, your darker color is going to be all around here. Okay. And in this wider area is not very big, but a pretty hot highlight. I sometimes go back and do that with white because areas a shiny spots. And there's also a reflected highlight and reflective of what you're saying. If this is falling from the sky, reflecting this, this highlight. So usually have a little bit of light over here. So let's see how that works. And in real life, instead of theory, I am going to use an ink line around the outside of my drop. And the reason for that is that I, I like the harmony of this hole and you know, the whole spread being done the same way. So I am just going to put the outside. Ink, wine in a little ball. Billy has always in evidence are little bit crooked and they're not always absolutely symmetrical. They should be pretty much symmetrical. But they're not always because of wind blows or whatever, so you can get away with it. Alright, so we have our outline. I am going to get rid of any other pencil stuff. I'm in a greenhouse. That's why I can just swipe eraser Chrome's onto the floor. And our color way is going to be our sky blue. And our Prussian blue. I'm going to do is put the sky blue, the light blue in all the areas that are going to be blue. But not as much in this light area and hardly anything in those two areas right there. So I can go ahead and put the color and none of this is going to be real dark, especially where the fat part is because it's monitor, It's transparent. And again, we're gonna go with the shape of things. And then I'm going to take my darker blue to add the shadow area. And this side does have shadow, even though it has this little part that is a reflection highlight. Now there are photorealistic lessons out there on YouTube and everything else about Megan. Megan on water drop the zone. Perfect. That perfect doesn't really work. Here. We are making it happen and make it look good. So I'm going to start in the light area, just like we have been in order not to flood this blue into everything. And I'm going to be doing some lifting here too. You'll see are a dab off my brush. And then let this light area, what area be blended in and come back. Pick it up there. Pick it up a little bit there. We know not that highlight too big. Or this one here. This one is supposed to be a lot more slight. Just a little bit of color in here. Because I got to light down here. And I want to fill out and write up here a little darker. And blende. We want Blondie here, like that. And what I think that I will do is come back. I'm going to pick that up. And I'm gonna come back possibly with a white little white Pascal pen or signal fan and actually put a real shine spot right there because that is going to make it look even more realistic. So this is our water drop painted with our Prussian blue and our sky blue. We've got a flat spot down here. And I can kind of redefined by picking up some dark there and just padding it in like that. 11. Partly Sunny: Before we move on to our partly cloudy or partly sunny or scattered son, whether corner. We're going to finish up with these, these droplets that IP ended being in a rainstorm. When I originally did this page, I used, I've like, look, I've told you, you know, I didn't want to get too much moisture on the page and so I just use thin inclines to indicate my rain. All these years later I've thought of a new idea and I have a new paper to work on, and that's part of it. So this time instead of any inclines for my rain, I made little lines with the watercolor pencil that both of them and actually a little white and a little dark. And I did that because I could with my damp watercolour brush or you water brush. I can do something like this. And look at how that streaks and looks like rain isn't that awesome? Much more fun than the ink lines were. And you can do as much or as little as you want to get the look. But it's just got more to it than just black ink lines in the background because it's got that moisture that you see and you feel in the air during a rain. So from our rainstorm, i want to move up to a different kind of weather that I use to up here to Explore the color way of the yellow, orange, red, and the use of gray. And now you can make white and shadow just by using watercolor pencil a little bit. Now, you may or may not want to get carried away like I did with my pieces of scattered suns, more work horse. And I'm not going to do it in this lesson. I am just going to, I think the son and the clouds will be fine because I don't want this workshop to be so long. So we're gonna start again with a circle for a son. Put that where I can take a look at it. And I'm gonna do my fat flat trick here and just eke out a little sun for myself. Happens to be a very sunny day here today. So it gives you in the mood. And now I've got my son drawn and I'd see fat place. We're gonna flatten it. Gonna flatten that fat space, flatten that bet. Okay. Like so. And what I have here is a pretty good circle. Now, around that circle, I'm going to build clouds just by drawing arcs. And I've said before, the drawing arcs are really easy if you think in terms of them being parentheses, because everybody knows how to do that and that's really all they are with more or less of a curve to them. Or you could think of the letter C. And this is random, doesn't have to be shaped the same as I had before. And I'm just run a rough them in. And I got another one right here overlapping. And then I have one that actually overlap the sun itself to give us the partly cloudy failing. Okay, I'm going to go off camera, claim my curves a little bit and ink thumb, and I'll be right back. So here we go. My ANC is a little, a little sloppy Azure as well. But what I did was a game of fat and flat here to make viable arcs nice and round because I just don't look right if they're flat or if they're kinda pointy. And so I spent some time on that. And now I have to make my decision whether to do my grey for the cloud's first, or whether to use my yellow and vermillion to do my son. Now, it's a rule of thumb here, just like it is in watercolor. The reds are touchy. And so touches the right word because if you're touchy them, was anything moist, they're going to just fly right into what you're doing. So whenever yellow, orange, red, not yellow, so much as pretty tame, but the orange red, two purples family, they activate really easily. And so if they're in something better if you do them last, okay, so what we really want here, we don't want a heavy storm clouds, but we want the look of puffy clouds. And they already looked puffy with the curved lines like this. But giving them a little shadow is gonna make that even better. So I have my gray watercolor pencil, and i'm going to do this section right here for you on camera. And so you know what to do. And then we'll shut the camera off and we'll do the rest of the clouds and comeback to do that son. And so really all you want when you're trying to do something like this where something is mostly white but is going to have some shadow is draw a line inside of your incline, like so. And doesn't have to be a real fat line. And then what I usually do. So I add a little bit where something's tucked behind something else. So like right along the front edge of that cloud would be a little shadow on the part of clouds behind that right over here. And nobody's going to there are no cloud police. So not that I know of. So you can pretty make it pretty much makes us whatever you want it to be. So again, we are going to come in from light to dark. And in this case there is no light pigment anyway, but it's a paper. But we're going to start out here and come into our gray to soften it along the edge. You see how that goes and that little shadow. So I'm gonna come in here. And if you start to pick up too much gray on your brush, clean it off so that you can start from white again in the next section. There we go. And again. And I want that little shadow behind and I want this little shadow behind and this one. And pick up again, if there's gray and the white areas, I'm going to pick that up. So then what I'm left with is it cloud shape where most of the cloud is white, but where it is three-dimensional, we have put the shadow to make it look three-dimensional. So go ahead and do that with all the clouds in your group. And then I'm going to come back and we're gonna put that real hot zone in there. I've made my grey clouds and they are now dry. And I went ahead and put my color swatches for the three colors that are going to be happening here, which is grey obviously, and the yellow and the vermillion. Ordinarily, I wouldn't be putting my light tone on everything first and then come back with the midtone and put it on the top. However, this time I'm going to do it a little bit different. Wayne has got to do it. That same thing about how reds and oranges just liquefies so readily and they overkill. And so this time I'm going to put the vermillion outlining my son, just somebody that we did with the cloud's first. And we don't want too much and we don't want it behind the clouds there. We just want this to be the edge because it'll make a really hot color for our son. And now we put on the yellow. And I am going to take it right over the top of the vermillion is like sealing it in St. And this is something you can do with any colors, but what it will do, it's, it's given in a premix all bet. And it's going to slow down its power over the yellow because it's sort of sealed in is not going to get how do I explain it? It's not going to get wet as fast. That's how I'll explain it because a yellow will be wedding for some more power in the old color. Done the vermillion. So now you'll see what I mean. I hope I'm still starting with reading it in the yellow without getting anywhere near there. And then if all goes as we think it should, when I go in to wet the vermillion, I should get a nice little flow into the yellow. But not so much. The other way around Head, I'd have the vermillion on the top. It would be in here already. Kinda just going nuts. So this way, we have some control over how much of an orange halo we want to happen here. Oops. So you can just get in trouble. And what do you mean, meaning to? And I want the Sun a little hotter in the middle, so I'm gonna make it a little wider. Just pick up a little bit there. You're not going to be able to pick up too much because I put it on so heavy. But just make it glow a little bit. Go back and check any of your vermilion that is not Lucan, smoothly blended and help it. Along. And there we have our partly sunny day and are grey, are yellow, and our vermilion. 12. Go Fly A Kite: So now what I want something to show off my Y lock pencil. And at that time I came up with the idea of a kite. And I still like the idea of a kite because it's so easy to draw and they're so pretty. And you start a kite by drawing a T. And not an uppercase, obviously a lowercase t. And these are the two sticks, the middle of the kite. And then the kite itself is a line-like on the cloud's only not as curvy. And it comes down to the stick like so. And then another longer one from the tip of this stick to the tip of that stick. And we have a pretty cool kite. I went assymetry here. So you'd look back and forth and and just be sure that this looks like the flip of this. Kinda what we're talking about in pots over there. But this is going the other direction. Again, it's tricky to make your brain flip this over and match it so it isn't working out. Do the old, You've got a center line to work from, but you could also do the trace and flip if you wanted to. So this has a, Every kite has a string that hasn't gotten away from its owners. And they can be used as pretty decorative items. And there's our string and then we usually have the tail, which comes from wherever the end of the fabric is, which let's say is right there. And we're going to do another curvy line. And the tail of a kite usually has little bows on it. I just put my curvy line and a little stronger there. So letter T. Curves are arcs to make the kite a string connected to here that goes off. And a tail connected to here that comes down in a kind of curvy S curve thing. How to put the bow on the kite. Another really, really, really simple thing. And that is an axe. Start out with an axe. There's at one. There's one there's that one. You know, I don't want anything else to him right now. They're just an X. But there are going to give you everything you need to make them into a bot. So we go back and the first thing we do is we put an arc like these up here. And the end of all the axis. We put a little circle in the middle, which is the not that tied them. And you don't have to go any further than this. But you can, because you can make it 3D by doing this. And you're not gonna do it on both sides of the bow because you're only going to be, this is perspective here we're only going to be looking at one side. So up here we're kind of looking at it that way. So we'll make the bottom here, the part. And here, because we're looking up in the sky at this. And so we're not going to be able to see the top side of these. And finally, this guy. And now you've got some prettiness going on here. And I'll just let that end off. And we have our kite that we can use our Lai lot to color. We're going to use our Brown for the kite sticks also. So I'm going to be, I'm inking and I'll come right back. And this coloring is really simple because it's basically single color. All cleaned up and ready to go. I have three pencils here, my brown, my Y lock and y. Yo Green from over there. And I'm going to use all three boot. I'm not going to use them together. They're all going to be a single color. And we will create all of our, our liveliness by lifting. I'm gonna start with the brown and do the, the kite sticks. Because that's the simplest area. And you have to be very careful when you're adding water because even the small tip, watercolor pencil, I mean, water brush is kinda big and you don't wanna slop to sub2 Babbitt, I'm putting it on first and in case I do slop it up too badly. And you see what I mean? I'm going to be able to be going over it with the the Lyle OK. And the green. So I'm not being as careful as I really should be. But I am going to take the tissue and pick up method. And try to get some of that out of there and let's see how that works. It's still wet, so I don't know about doing it when it's still one, but that's not been cleaned it up a lot better than it was. But instead of just playing granny Brown by putting the water on there and we got a little bit of of light area to make it a little more exciting. Now you couldn't make your whole kite lie lock. And you could make a lilac in yellow. That'd be pretty hot because it is complement. Purple and yellow are compliments and make each other pop. But I have yellow right there in the sun. And looking at the overall page, layout font, I have yellow here, I was here. I think I want to bring some green over to this side, so I'm going to combine my Laila was the light green. I'm over here on the side. I was looking for the color chart in the other book to show you what I did the last time. And I'm going to do at this time, I really kind of like the purple and green and I'm noticing something though that are Carmine we have not used yet. And we're going to be using it with the fish. But at this chart, I used it on the bows, on the kite tail. And I might do that again because on the color chart it'll give us an idea of what the Carmine looks like all by itself. So painting with a single color is as simple as filling in the area with that color. And being careful to put the most most application, that darkest application along the line of the space. That's going to help us to create our values and make the space lively when we pick it up. So something like that makes sure that your brush is damp. Start in the middle once again and get everything wet. And then blot your brush and come back and lift. And it's very, very, very much like what we have learned to do with watercolor in my other classes. Make sure that there's no hard lines and the blending. And that gives you light in the shape, even though you don't have a couple of colors that you're using. So we'll do this one more time. In this section I'm going to do alternate sections because that is an interesting look. Once in a while. This is good to know. Once in a while when you have free drawn with pencil, especially firmer lead pencil. And you KV race that and you have inked and wonder if you can see this. I hope so because it's a great lesson from watching the monitor. Ok, you see right here what can happen. You see that white line right there along the edge. How that's because the paper is slightly indented from the 3h pencil. And that will happen quite a bit in this whole procedure and song, glad it did, so that I can show you what to do about it. In that case, you want to bring your pencil up real vertical so the point, and you might even have to sharp and to get a better point, the point gets in that groove and leaves color inside that groove. Otherwise, when you were in pain is going to look weird. In fact, I'm noticing that it happened up here a little bit. I didn't catch it. A didn't fix it. An outro has been wet and painted. You can tell this is lighter than I'd like it to be. I can go in, you know, pick up off the pencil and go in and fix it and I will. But this is what happens. If this happens and then you don't get color into that groove. So once again, here we go in with our damn brush into the center. And then into the heavier application of pain at the side. Measure everything, gets dampened and then go back and left. When you see because we went into that little ditch along an edge, we have color there. Okay. So you're gonna do the same thing and the other two sections with your green if you like what I did, you can use another color if you didn't. But I'm going to put the green like I did last time. And then I'm going to alternate the green with the Carmen. And I think it's gonna be very pretty. We'll see in a minute. Well now that I've gotten this far, I want to show you a trick called glazing, and we've already done it a tiny bit. We did it over with the blue on our GAVI there. Glazing means that you are washing out a little bit of color after the initial color is dry. And when I look at my kite, I feel like I would love it if it had a little more of that little warmth of the yellow. And so I'm gonna do that by just adding that back in from the love of my yellow upside, picked up a piece of Eraser on that council or on the brush. Okay. So I'm just picking up a little liquid color. I'm just going to glaze it on there. And it generally will not picked off the base color when you left. And see you lift that up and made it a lot more in harmony with what was going on there. So I'm going to do that down here too. This is how you can tweak what's going on. Even if you have a single color operation going on, you can come back and you can glaze to add just a touch of the other color. Had you put that on originally, you'd be dealing with a lot of it. When you're putting it on like this, you're not. And I have done these in car mine. And I lifted. And now I'm going to glaze a tiny bit more intense color right there. And right there in order to give some idea that the ribbon is going into the nut and creating a downward area, there would be darker. And I couldn't get that the way I wanted it by just lifting because I just couldn't keep it intense enough in that small area. So what I'm going to do or what I am doing is going back and adding the color as a glaze. Okay, now, the other thing is that we have a shadow area if you made your bows so that their 3D like this. We have a shadow area that we want to be considerably darker than the top. And I'm not going to get that mileage like out of the one pencil. And so for the red, we don't have a deeper red than this. So for the car mine, I'm going to use my my Brown as the inside of the ribbon. Brown can be used in a pinch to mix with or to shade red. If I don't feel that that's dark enough. Which I don't think I do. I'm going to grab my robber because that was our darkest front. I think that that's going to do the trick for us. Yeah, there we go. And I'm just going to put a little bit around the not and fill in this area and see, did we really got a three-dimensional thing going on there. When we did that. This time, I'm just gone wrong there and not involving the brown. Ok, that gave it a lot of life. And I'm going to do the same thing to these using the dark green. And then I think we're good, right? 13. Let's Go Fishing: I'm going to make another change from my original I think that I had I had a lot of water at the bottom. I don't think I need that much. I would rather put something else here for you. Then the fishing pole idea, we already have the brown in here. And and I do wanna do this because it's important. But I think I will just do it over where it's raining and it might have accumulated some water. So we're going to learn how to draw a fish in a really, really easy way. And that is again, one of my ABC things. And it's going to be based on, you can think of it as a herbs or written a script, lowercase L, or you can think of it as a lowercase e. It depends, but what it is is loop. And I'm going to have three fish. And now I'm all swimming in the same direction where she can make statements about things when they're not. Right. So that's where you start. And then you close off the tail and you can put little lines like that. And they can be different sizes. And we're going to close this one off to. The next thing that we need are a couple of fins because they're necessary to be swimming the way that you want to go. And I add some lines in those and I give my fish. And I, sometimes I give my fishes smile, not always, but once in awhile because they're happy because there's no fishing pole over here now. So they can smile. And you have a little fan at the bottom. And there can be all kinds of variety and doing that too. And you can indicate a few little scales if you want to. You don't have to. You already have a fish, right? So do your fish and ink them. And we're going to leave them uncolored, on painted until recreate our water. Because once again, are fish are gonna be goldfish. They're going to be handled with a three color combo here. There may be a two, I don't know, maybe yellow and Carmine online try that. And that would run when we come with our water. So for that reason we're going to incur fish and we are going to not color them TO redo our water. Our water is not going to be sophisticated here. It's going to be how you draw it when you're five years old. My dog is being an amazing Brad today. And so if you hear her barking, I don't know what to do about it. I've given her every treat and she's horribly spoiled and I don't want to say, and I'm going to come back and do the fatter flat thing to these two. But I put kind of a large one at the bottom and a large, these are waves of course. And then some smaller ones in between. And you can just refer them in at first and then go back in which I'm going to do and just straighten my curves. For adding the watercolor. I'm using the turquoise blue pencil, the 171. And I'm going to also grabbed my light green hair. And the idea is that I applied the turquoise blue in a kind of, as you can see, a pretty fat stripe along all my curves. And the reason I did that is because there will be a lot of pigment for me to work with. And I'm going to do that in two ways with plain water and with some green taken off the tip of this pencil. And that is going to give us this kind of a look that I got last time, where it is blue and green. So but I want us, I want us to see the turquoise blue for what it is as well. So I'm going to start out that way and go ahead and liquefy my blue along the bottom of the top curve line at a time here and there. Now that is scott, that pigment kinda running around. And I'm dabbed off my brush. I'm getting green off the tip and I'm washing that into the wet blue. I hope you can see that well enough. I have to be back our little distance in order to get the page. And and by the way, when I turn the camera off last time I realized that I had said I was gonna go straightened my curves, which is absolutely not without doing it. How is it going to make him better fix zone, you know. But So it came out, just don't believe it. What I did was did the flattened fat thing too. And I gotta get this going. So you get the idea. And once your water is all down, we're going to go in and make those fish very lovely color with our yellow and our current mine. If you have to add a little blue in places like I'm seeing that right underneath this fish. I'm going to wish that I had a little bit of blue happening. So I can just do it that way. This will water procedure can be considered a wet on wet glazing technique. I would put those two together. Everyone knows wet on wet and watercolor when you're painting into wet watercolor and a, flows and blooms and does all of this is a lot more controllable. And while we were, we were doing here really is we were activating the still color, the color that had been applied dry with actually a wash of another color and working, wow, everything is nice and wet. And I did go back in with paint from the lead of the aquifer, the turquoise, blue to blue where i thought there should be some. And likewise with the green, we have a really, really nice variegated color. There. You're, you're two colors harmonize anyway, but this gives the light and dark and the kind of color variations that you would actually find in water even when it's not a cartoon. So the next thing we're gonna do is paint a nice hot Rosie fish. And it'll pop out of this background because they're complimentary colors to each other. With a fish I have yellow and car mine. So if we want a little different look than we had on our son and trying to get to where you need them to be here. Again, the carmine is very strong, so I am using it first and I am putting it only along the edges. And sharpen your pencil if you need to. You know, we don't want overkill on us. My background still to run. Wait for yours to dry omega doll easier. Then I'm going to apply the yellow over the top, like we did with the sun and kinda try to seal little of that car mine in there so that it won't go crazy on us. And then when I grab my water brush to activate, will let that blend a little more in making kind of a rosy orange. Which I think is real pretty. I'm going to let more blend into the fins here to make them a little darker. And the tail. And then we have a pretty hot colored fish against our cool water. So go ahead and get the other fish colored. Do your swatch for your turquoise. I'm going to put mine right here. And then the final thing we're gonna do, we're gonna draw a blossom over here that's going to use the color way of the yellow, the vermilion and the Carmine together. Kind of thing that you would do in a flour where you need more than just the two playing together, you could use a little deeper shadow color. And that'll be almost less than we do. 14. Painting a Flower: For our final spot illustration, we're going to make a nice blossom here. Leaves and all just sort of looks good. Starting again with the sketchy circle, I'm going to start lower because it's going to be too big. And I'm roughing in here the circle. And then, and I draw a flower. I said this like odd times. I always think of the surplus o'clock And that's the center. And so I put in Noon and I put in 6390 clock backing out so that you can see this better. What I do then as I add a pedal inbetween each, You can also go with two. But for our purposes here, we're going to try and keep it a little more simple. Because this is a lot of hurdles for us to paint. Anyway. Now it's fat, too fat. So what I love about pencils and erasers, my inner guide tells me I am not putting it in the right place. I have the option to correct it. This was being sketched in Anchorage is be too bad. Alright. And then I think just to make it pretty relief like this, there's just showing up behind and maybe one down here. Alright. Now to ink it and then we're going to look at the combination of the color way of the yellow, the vermilion, and the car mine as shadow. And if it's not dark enough, I'm going to show you what to do about it. Or flower spot illustration is kind of a tour de force of a lot of our pencils here. And I have done the dry application off-camera so that I don't take your whole afternoon. But I want to point out what I put and where I put it on the pedal. I put our yellow all over this time. I did the, the original idea where I put the vermillion on top, a little fatter line, and the car mine. As an outline and as a couple of texture lines, they're still sitting dry and apply the water on camera. But first I want to tell you I also lead that yellow down in the middle. Why does it look different? Because I overlaid a layer of the, the HDR went Naples Yolo. I then added a little curly business like this of the russet, low Brown and the burnt umber. So I've got all three of those in here on top of two yellows and the green. These are our three greens laid down. Our light one in the middle, and the grass green in these little bit of larger areas of shade, and the dark green around the edges. We're going to start with that pedal at the top. And you'll see a lot more flow now than you did when we buried the vermillion behind the yellow. This time it's on top. I am still going to start in the light color. But once I hit this, you'll see the difference. All of a sudden we have a lot of this going on. I'm to not quite annihilate or texture lines there. So I'm, I'm just going back to the edge. And that is a nice rich yo orange combo that I think is just right for my flour. And I'm going to lift a little light into that part of the pedal. So that would be the way that you would do all the pedals on them. Blossom. Now let's go to our middle. We have a real pile up of color hair. So again, we're going to start in the center and I'm like twirling my way out this time. See that? That's activating everything and starting off a whole lot of things going on. And I am letting some of that wash into the middle. Sounds gonna give us the look of a flower center. And although texture that's going on. So that was fun, right? And then our green is pretty straight forward, starting in the white area again and activating the middle that the grass green there to add some volume and shape. And then we want to bring out our dark green that's at the edge there to create the shadow that it would happen in the middle, at the edge. And underneath there's panel where it goes. And I come back and I'd lift, I shaped back out. Let's do some modeling there and blending until I think it looks great. And then the difference, another difference between watercolor, pencil and water color is it, I'm basically go away now do something else. I don't have to watch this. If it were watercolor, I would have to babysit it the entire time because it would keep moving and doing things. And this isn't going to do much. This is going to sit there like that. So I'm going to finish my color and I'm gonna come back and talk about a couple of little additional things you will be interested in. 15. Take Away Tips: First thing I want to point out and tell you about is that you very well might get low in your water rush on water, doing something as amazing as this. And so how, you know, is you can see in the barrel and it figures down in this area you are running out of water. So everyone says, how do you best fill it? And some people squeeze in. You know, a dish of water and I used to be uninformed and but not so on and formed that I didn't know to unscrew the Barrow. I used to pry off that little black cap so that I could fill this with water and then put the cap back on. And then I went to you too one day. And this was just one of those tips. That's just so great you do about it. You take this part of the pen to your faucet. You have gently running water. This part of the barrel you will find too little on opposite sides of each other. Too little flat places that you can feel texture. Okay, and that's where you want your thumb and your index finger. And you put it up right under the flow and you squeeze it 34 times and you'll get a feeling when it's full. But it's just amazing because it just fills right up that way and no taken off the top and no fiddling with dipping this and water and using eyedropper xm. All the things people do. This is an amazing way to fill this. Now, I don't use any other water brush because I think the Nietzsche's The best or is. But I bet it works with most of them. I think current Dash makes one that has a strange kind of construction for refilling, but most of them, if you squeeze the barrel that way with the top screwed off, you're gonna be able to fill them. Great tip to Now. Here's another tip that you may or may not want to use, but you're out there with 15 colors and there's once in a while, you don't have a dark enough dark to really add some pizzazz to your illustration. As an look at my paddles here. Look at all of them and then this one, and you see this one does not have that depth of shadow. And so how do you get a darker version? Well, the simple way is that you add a black pencil, just same watercolor pencil to your make it beat or 16th pencil. And here's why if you like this, if you don't like this, then don't do it. But Here is what you can do. I have a glass palette here. I make them there on my website and this is not an ad, is just that I can tell what I'm mixing because I can see through it. And so what you'll wanna do is put a couple of drops of water just by squeezing your brush. And then you want to take a pencil and you're gonna make a mess this way and so be ready to let it dry. And then sharpen app, which you're going to put the letter, the pencil right in there. Because otherwise it will take pretty much a week to get an intensity of wash the you need. This way. It's melting the lad while you're taking color from it. When I'm skidding you. A nice deep version, which would be like that much darker than how it is when we take it off the LED, which you can keep that up till you get it as intense as you need it. And then you want to dry off both your brush and your pencil lead so it doesn't continue to melt. And when, when that's all drives going to have a skin on it. So I'll just put that aside for the moment. And we're gonna take our black pencil and we're not gonna do that, trust me, because it just happens early quick. So we're just going to take some color off like we're used to doing from the black lead and we're gonna mix it in to our Wash here. And like I said, doesn't take very much. You see your nice dark that you are getting there. And if you want a little bit more, you'd be like almost make an Bordeaux or arose matters. Something out of this are mine. So with that mixture, I went back to my flour and I would very sparingly there's clean off the brush because it'll have black in it. And you don't want anything. You want to pick up just the wash color that's in there. And pick up a little bit of it and dab it off so you're not overkill in anything. And then just gently go in to where you want that deeper color. And user. Now you're doing wet over dry, so you're gonna have to pop back in and blend in a little hard spots that you make. But that is how to add a deeper color then what you've got available in your pencil kit. Now, speaking of washes. Big, smooth washes are the downfall of watercolor pencils. It really, trust me on this, really can't be done. People have tried everything, you know, they've coloring into a webpage that really is terrible. They've tried, you know, and trying to apply a dry lead over a big area and try to keep it just so evenly distributed. But these are huge pigment particles and that just doesn't work. Because even if you go, you know, they make a water brush that's flat, that's I think a half an inch. Even if you do that, you are not going to evenly wet that background into a smooth wash isn't going to happen. So rather than really disappoint yourself if you are working on an illustration or a picture or a spot that needs a nice sky behind it, or a nice wash. Use watercolor before you ever do your watercolor pencil. Just do it the old-fashioned way if you know how to make a good wash with watercolor, put the wash area in watercolor. Now, that being said, there is a way when you're not looking for smooth, to add a little background using watercolor pencils is not a wash. I call it vignetting because it is not going to come out all even in sweet, but it's going to look good. In the other thing is it will blend away. I have to grab another brush here because I ran out of water. Okay. So I'm going to show you that up here. I'm going to say, let's have a little blue sky around behind this. And I'm getting my sky blue pencil. Well, I'm still in the keys. Okay. And it's our technique of lead as palette. But what we're trying to do in this case is we are trying to put most of the color up against whatever it is that we're van vignetting. And then the idea is we want to keep the water brush going and wash it out to white. And that's where you get vignette part. And you see if you look at that, that's nice and it's sort of smooth, right? But there's a real limit to the area that you can do this too, and keep it looking nice. So you can't do this over a whole page because overall page, it looks blotching. But in a small spot illustration like this, it looks great and I use it all the time on watercolor work too, that I haven't even done into water colored pencil. And you've seen it in quite a few of my classes because I do it all the time. I just add some unifying or background color to my spot illustrations. By doing this. And it's just another wonderful gift of watercolor pencils. So that is it. If you don't have the wear with all or the budget to buy the really high-end color pencils like the Carne dash right now, go ahead and try what you have. I will say that many of the student brands are worse than student brands, you know, Reeves and surge and the ones for little kids. This will really frustrate you because there's just hardly any pigment in the pencil on you work really hard and you don't get this kind of vibrance. Now, on the other hand, you can be surprised. This is a set that was, I don't know where I got it. It was very inexpensive, 24 colors, low Cornell, which is a craft manufacturer. And you would think these are gonna be slosh in. And they had so much more vibrant than I thought. Now if you look carefully though, this paper was cruddy too, and I no longer have to show you on the good paper. But if you look closely, that's not bad. That's fun for Sketch booking, but you're blending is not the same in this scene over here was something on a refresh nor can. And so I just thought, What can I do with these new seeded, the vignetting thing doesn't work very well there. It's pretty streaky on the blends. The flowers were done with opaque guage or something like that. So that's not an ballgame here. But the rest of this was done with these. And I mean, it's not terrible. It's not wonderful. But, you know, I I don't use the lower grade because I already know that I'm going to start swearing and tearing my hair out. But if you're just starting out and you want to make this charred and make it kinda similar. Give it a shot, you're gonna know right away when you do that, much of that, if that is, if you wanna do this, all this work without low-quality pencil could be, No. I do intend to do a more complicated, advanced class about watercolor pencils and mixed media. Lots of interesting things can be done with them in combination with other pains and other processes and other surfaces that won't be down the road for a while. But in this class, I think you can walk out the door, do your project. I mean, when your project is done and please show us and go ahead and use other spot illustration subjects if you want to. When your project is done, you're going to pretty much be accomplished at using watercolor pencils in the basic way that they were intended to be used and as a possible replacement for other media because that is pretty good looking. I think that this looks as good as the illustrations I do with water color. And it's faster for Skechers. You just sit there and apply everything dry and then all you got to whoop roof in UV haven't blended and you haven't painted in. You don't have to wait for all the drying time and so on. So I hope you have really enjoyed this class, and I really hope you will explore watercolor pencils, even though they're not watercolor. There's still fun and they're a great tool.