How to paint water using watercolour paints. Beginners step by step ink and watercolour lesson. | Cally Lawson | Skillshare

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How to paint water using watercolour paints. Beginners step by step ink and watercolour lesson.

teacher avatar Cally Lawson, “Paint like no one is watching"

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

10 Lessons (1h 6m)
    • 1. Introduction

      2:47
    • 2. Materials

      3:42
    • 3. Pencil Guidelines

      7:15
    • 4. Pen Drawing

      17:59
    • 5. Painting the stonework

      8:36
    • 6. Mixing greens

      3:50
    • 7. Painting the greens

      10:07
    • 8. Painting the water

      8:47
    • 9. Extra projects

      1:31
    • 10. Conclusion

      1:46
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About This Class

A step by step course in ink and watercolour. Learning to draw and paint a canal scene. Studying how to paint water using watercolour paints. 

The class covers choosing materials, drawing simple pencil guidelines, making a loose and impressionistic pen drawing, mixing paints, painting wet in wet, painting wet on dry and more.

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Meet Your Teacher

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Cally Lawson

“Paint like no one is watching"

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Hello, I'm Cally. I am an Artist situated in Cumbria, North West England on my family's dairy farm. I particularly enjoy teaching beginners drawing and painting, focusing on building confidence and emphasising the importance of relaxing and having fun whilst you paint. I have been teaching and demonstrating on YouTube for the last few years, where I cover a wide variety of media and subject matters. Here on Skillshare I will be aiming my classes solely on beginners, watercolour and pen & wash. Please feel free to contact me if you have any special requests for future classes.

 

 

You can see examples of my own work on my website and by following me on Instagram. I work mostly in mixed media, especially liking using ink dip pens and al... See full profile

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Transcripts

1. Introduction: Hello, welcome to this skill share costs. In today's class, we are going to be looking at painting water using watercolors. As with all my other skill, share courses. I'm going to be working in ink and water color. For those of you that are new to Moscow share courses, you will see the trauma causes are don't in ink and water colors. There are plenty more for you to have a look at. If you haven't seen those. For those of you that are returning and the abdomen plant some of my other courses. Thank you very much for joining us once again and I really look forward to seeing your work at the end of this course. The subject I've chosen for this course is a canal bridge on the canal. And the reason for this is because in the canal, the water tends to lie very flat and you get lots of nice reflections. So for a beginner, It's a good way to start painting water and start thinking about those reflections and the shadows, et cetera that you get. So I've chosen a very, very simple picture. So this is in the reference section. You'll also find as another couple of more complicated canal scenes in section as well that you can go on to do at a later date once you feel confident about doing this one. So going to be doing the whole drawing and keeping it very simple, keeping some simple colors, not putting too many colors together. Just nice greens and Grace for the bridge. And then really looking at how would pay that water. As with all my courses, you'll find that I sort of quickly go through everything I'm trying to give you hints and tips along the way. Do it step-by-step. But please do be aware that I'm doing it quite quickly in order that you are not getting bored whilst you're watching me. If I was doing a painting of my own, for my own work, I would obviously be spending a lot more time. So I want you to spend more time than I do Getting your drawing correct and looking at the details that you might want to include are indeed the ones that you don't want to include. Thinking about composition, etcetera. So I hope you enjoy this class. It really is aimed at building confidence with painting water and really start thinking about layering up those paints. Again, I only got a couple of layers on, but you can work on this over a period of a wave come off and just really build up the layers to give some depth to that water. Okay, so I'll come back again and have another word at the end. I hope you enjoy this class. If there's anything you want to ask along the way, please feel free to do so. I'm happy to help pretend each time. And you can always contact me here on skill share or an Instagram where I see easy to message me as I used Instagram quite a bit. And also on Instagram you'll see examples of my own work if you want to have a look at those. So enjoy the rest of the course and we'll be back again with you at the end. 2. Materials: Before you start a project is good to have all your materials together and handy. You don't want to be stopping halfway through doing some paint into Gong vinyl material that you've forgotten about. So just spend a few moments getting everything ready before you start and you find the whole process much more easily that way. So I've got my watercolor paper here. This is a, a loose pad. So you'll see that I've just take it down using some masking tape just to stop that lifting. I don't take it all away around because I'm not going to be put in lots and lots of water on, but you might like to, or you might like to take it to a BOD. If you use in loose sheets of watercolor paper, you may have a block in which case you won't need to tape it down. So this is a 140 pounds cold pressed paper. And I've got a pencil and an eraser, very standard. I'm sure you've all got those, so that's just a 2B pencil. I tend to sharpen. My pencil is using a knife. I do find it keeps a nicer and adult snap as much as if you use a pencil sharpener. I've also got a ruler there for putting a margin around. I liked, but imagine around before start. It gives you somewhere to test your cause, but it also makes frame in more easier if you do decide to come to frame your work afterwards. The brushes, I've got both synthetic round brushes. So when you choose in your brushes, make sure you get ones with the nice points. So when you go to buy them, make sure they've got a good point on because as well as getting plenty of paint onto the paper with a nice big brush like that. You can also get into those corners to get your precision with your pain Tim. So that's a size ten and that one's a size five. You don't have to have the same sizes is majors work with what you've got for doing the drawing. I'm using a nought 0.5 size, black European fine liner. And that one is waterproof and vague proof which of course is important when you're going to be putting water color on top of it. Then got my pains. My paints or Windsor and Newton artists quality paints, you just worked with whatever you've got. And then I've got two pots for water. Always use two parts you want one for applying to the paper for mixing your, your paints with. And you want another one for actually washing your brushing. Don't use the same one for both because then you end up with muddy colors and make sure you use clean water all the time. Keep changing them regularly. Of course, you'll need your reference photograph. This is the one we're going to be used into work from today. And I've chosen a very simple shape for this bridge here. I've also included in the reference section to further pictures that you can work from a later date and a slightly more complicated and a little bit busier. So you might want to practice first on a simple one and then as you progress, have a go at doing the other two. I've also got here some kitchen role, very handy for mopping up spillage and making any corrections. Always have some to hand and foot to adapt in your brochure on if you brushes to wet as well. And I almost forgot you also need your palate. So I use a nice heavy ceramic palettes that's not gonna move around too much on the table, and it's white so that your colors show well. And the good thing about this one is it's got a few different sizes. So you can make some larger washes and then some smaller, more concentrated washes in these ones here. And it's got places to put your brochure as well. Okay. But if you've not got something like that, a white plate would be just fine. Just don't use anything colored because they knew the coolers of you paints won't show correctly again, state. Okay. So I think that's everything for your materials. So once you've got all your materials together, find somewhere comfortable to sit. You want to be comfy whilst you work in some weather, you can relax to do your painting and drawing. 3. Pencil Guidelines: Before I start to draw and I'm going to do a margin all the way around. And it's just handy to do it in the same size as your ruler. And you may want to do it slightly different or you might want to make it the exact same proportions as those on the photograph. If you're if you're a bit worried about your measurements and making it exact, that's entirely up to you, but I just like to use the ruler and do a ruler's width, makes it simple. Like I say, if you really want, you can use the sides here to test your colors. But also, he did want to frame you picture at a later date. It does make it much easier to frame when you've got that margin there. Okay, so firstly, we want to put some guidelines in with a pencil. These are going to be a raised later on once we've got the ink drawing on. So we don't need to go into masses of detail with a pencil. It's really just getting the basic form of where things are going. So I mean, the main focus of this picture is the bridge. But the reason that we're attempting this today is to really think about the painting of the water and the reflections. Now, I am going to completely leave out this person is entirely up to you whether you put them in or not. But I think because we want to make this as simple drawing and we want to practice the drawing of the painting of the water, which was the exercise for today. We're going to leave the personnel. If you want to put them in, then feel free to do so. It just make it a little bit more complicated. If you find them a destruction, you could always put a bit of tape or something over them if you don't want to draw them in. But I'm just going to stick to doing the bridge so that actually this line looks like it's straight but it isn't, it's curving slightly. So that's the line that we want to get in. Now you might want to alter the composition slightly. We've got a lot more foreground here. Then we have trees above. You might want to put more trees above. Again, that's entirely up to you. What we're concentrating on really today is getting this water if a field. So I'm just going to start and put that one big line in first of the top of the bridge. And I'm going to make it quite high up. So say, leaves us plenty of room down here for doing the water. And it's not a big curve for big slope, but it's not a straight line. So it's slightly lower at their side. Ok. So that's enough for that line. And then look at the arch. Ok, how far down it comes here? And then lots of Canal bridges, they seem to have the arch there. And then this last little bit is a lot straighter. Now, if you want, I like to work from my eye. I don't like using rulers and things too much if you want. And you're much more into the architecture than I am, and you want to be sure about all these measurements. Do feel free to get your ruler out and compare this measurement here with this one here. I mean, if we look at that there, the depth of that there is actually about twice the width of that. So from there to there. That's about right. Maybe just a little bit further there. Okay, so you can check things as you go along by measuring and comparing. The best way of measuring is actually comparing lens of things. So if we look here, that height of that there is 12 there. So if we go in at 12 and then the height there wants to come a little bit further along. So that's a nice steep slope of that grass coming down. So we'll get that in as well. If you are doing this bridge and it was a breach near where you lived and you wanted it to be exact and you wanted it to look exactly like that bridge. Then of course you want to do the measurements. So for the purposes of what I'm doing, I've just swapped it to look like a nice pleasing picture of a canal bridge. So if you look at those stones there, they're actually culminate and that's where the keystones and you can't actually see it. You can see very faintly where all the stones coming here, but only very faintly. So I'm not sure we'd need to draw those in. Again, that's up to you how patient you are. This comes further down than there. So I think maybe that should have been a little bit. So you can correct things as you go along. So again, look at where things line up because I'll have grass going up and then this wall is coming round so you can see the end of the wall here went down. And then you've got a corner here where it goes back. And you might want to put this gate in over here or you might know, I think I'm going to leave out. Don't think we need to go into complicated over here will just keep it green and have that line going away of the toe path. So the toe path comes out and around. So like I said, I'm ignoring that person. And then it goes down into the water. So the lines I'm drawing now here adjust the ones of not the reflections. These are the ones of the actual wall. We won't draw any of the reflections in with the pencil or the pen would just do the reflections with the paint. So don't draw anything in natural water itself. So shrill that banking. And you can draw the line of the banking behind where it's finishing. You can see that total cost going off there and you can imagine a little bit behind that person. We'll just pretend that person isn't there. And then we've got the inside and the bridge as well. We can see a little bit off. So you can spend quite a while to just refining this and getting all correct. So the thing about architecture is it doesn't want to look to the person that's looking at it as if it's going to fall down and eliminate needs to look as if it's a solid, well-built object. So just if there's anything jarring to the eye and not looking quite right. Just slightly alter things as you go along. But don't think that's too bad. So like I say, don't go putting lots of data. Don't want any detail in the war to, we'll leave that for the paint. You don't need to put lots of detail with the trees, et cetera. You might just want to put whether trees actually come to because it's nice to have that little bit. If you just say here, it's a little bit of sky showing because we're gonna get that reflected down here. So just the line there. We've got the road coming there and passed down. So this helps us see where it's green and where it's there's a wall here and that's IV hanging down. So just have a look at things and think what they are, what slums beneath that green or how it's built, how it's constructed, and that will help you get the whole picture together. Ok, so I'm going to leave that now for the pencil drawing. I think that's enough for that. And I'll come back in a moment. Madu The pen drawing. 4. Pen Drawing: Now we're going to move on to the ink drawing. Like I said, this is a size nought 0.5. You might want to use something John Kerry's entirely up to you and your style before you start doing the draw and just have a little think about things that you might want to leave out and how much detail that we're going to add. So if we look here, we've got a signpost and we've got better something else here, another post. I will probably leave those out because they're just detracting from this nice line of the bridge. And the thing about the bridges, it's a very solid object with his very definite line. So you trees and things want to be much more flow to you and curve a compared to that, and that gives us that contrast. So think about that as well, but we don't want to be put in every little last little leaf and every bit of data we want to give an impression of those trees. And how much of this weed you put on the bridges well, is entirely up to you. And you might want to just indicate a little bit of that with your pen and then the rest of it just do with color with your pain later on. Pick up one or two of the stones here, like I said before, you can't see every stone. It's a very washed out and bleached kind of stone. It's obviously got the sudden straight on it and it's been weathered. So you're not seeing every little stone bit of stone work that there is such just indicate it and get some of the most more important bits in there. You can just see the inside of the arch. Sarah didn't see that before. So this is the thing that the more you look, the more you say you want that little line of the inside of the arch and there's a tiny bit there as well. Obviously you need this line in here and some of these and get some of the grasses in with some little slips of the pen. Try and keep it loose. Try not to go too much detail to the outside of the picture either. And it's nice to keep you detail to the center and just let it fade away when he do in an Incan and water color like this, not have it all detail at the edges they accept tends to lead the eye out of the picture. Again. So we're, we're forgetting about the lady here. You obviously need this to be correct because this is the toe path you want not drawn in and you obviously want this chair to be drawn correctly. So you need to suspend a little bit of time concentrating. You might want to put some shadows in with the UPENN. You might want to put some of these dark colors him with a pen because it'll be easier to do that than to get them in later on with the paints. And it looks like it's midsummer. It looks like we've got lots of lush growth going on there. And so that makes very, very dark shadows because you've got the midday sun and you've got all that growth in the canopy of the tree, which makes it very dark underneath. And that's all going to help you get that sense of the time of year there as well. So I wouldn't recommend doing a drawing in the water and just leave the water for now and just finish here, and finish here. And we want this latch. So I'm a little bit of a line back here and indication it's very difficult to say too much about that. It's very, very dark, lovely green. Ok, so I'm going to go ahead now and do the ink drawing very quickly. And it will start again. I'll start with a line of the bridge. So if you look at these all stones are quite whether you've got a bit of a curve on it. And sort of this is broken, this lines broken because we've got the line of the IVR, whatever is around it. So just use a little short. Movements of your risk there to get some sort of flips of the pen rather than doing a solid line so that we can give that impression of where the foliage is going across. You don't want it to be too solid that similarly along here, you've got bits of wispy things going up, weeds regularly, the weights that are growing on this part of the bridge here. So just break that line up and then have it a bit more solid in places. You'll see how I do little flicks, shorelines, it's much easier to get a nice line. The shape that you won't see it. Doing short lines like that than it is to try and do the whole thing in one. And you don't want to do the whole thing in one because it is broken up now and again. So here we've got a nice big grouping of IV that they cannot lovely shape down the corner of that wall. And you can see where it has to go over there. So it's going over and around. So as you draw a nice even light when you're drawing hair on the person. Just think about the weights falling down and falling over the bridge and then it's got to go over that next stone. But like a waterfall really. Another moment, you can't tell lots IV, it's just a few little lines. But when we put some green on a afterwards with the paint, it will make all the difference. So you need to indicate a little bit of that line there to show that that's wall's coming towards us. A little bit of perspective in there. And of course we can see that N stone and we can put that in. Again, don't make these lines to solid. Really depends on your style and how you were. But I didn't really want it to be too to solid. And it will look different again when he took the pencil out of that as well. So you got a bit of a rim there, here going around. So it's two lines, Rayleigh rather than one. Do the same on the other side. And those are all little bricks. So you might want to indicate some of them rather than all of them. But occasionally lines. And then here I wanna put that stone in that sent to stone. And then they become smaller down to a point and there's a bit of a round mark in there. That's probably the number of the bridge. John, I saw sons in law and I think it says but you can't you can't see it. It's too far away, but I think that's probably got the number of the bridge on. So join the top line. Now before I draw the line of the back, again, can't see this on the photograph because of that person on the bike. But you can just marvelous work out where that goes. So not looking too about adult thing. And we've got all these ivy again coming down, trickling down. You'll have more time than man doing these quite quickly. For the purposes of this video. But you might want, you'll be spending a lot more time on this, just thinking about what you want to leave in and what you want to include. Here, I'm going to put some of this shadow. We all have different ways of doing shadows. I like to do just little lines. You might want to use dots, whatever you want to use. And we've got lots of green coming up here. Just to indicate some of those we debates going around. And again, you've got a lot to shadow in here. So out in some of these dogs now will help you draw and lecture on undergoes shadows on here of the waves as well. A note is going to know afterwards that you haven't got those weeds in exactly the right play side. So under here it's quite dark because this is comin out. These little stones are casting a shadow on the rest of the bridge. So you want to get that a little bit shady onto their customers shutter on itself here a little bit as well. So as soon as obviously slightly more from this angle, this is all in the shade. And I'll think before a carry on too much with the foreground. So I'm going to get some of these background trees in. So I'm just going to do these very, very loosely and Impressionistic. Can you say I'm just doing a little squirrels and squiggles. And again, you can spend more time doing this. You can have more contrast. So those are some weeds growing up there in the foreground. And then you've got the trees in the background. And you've got more than one tray trying to EPA if different definition between them put some dogs in and you've got little bits of Skype into it as well, so you don't make it all to dock. You've got some nice branch is going up. See how loose lab holding the pen as well. I'm not holding the pen too tightly. Trying to keep it nice and loose and try and keep it free flowing with more impressionistic. So some vertical lines here of things growing widths and then some, some leaves going down. And of course some branches coming down as well because branches don't all just go up. And these trays will look different again once we get some colors on them. Because if you notice on the photograph, we've got lots of different shades of green, lots of different planets. And that's going to make it look much more like the separate rather than just one big massive grain. Then so soon going up, some going down, some little leaf shapes, little squirrels and squiggles. Very random in place is make it a bit darker. Because like I said before, the sun was not necessarily getting underneath those kind of pace. So just some shadow in hearing that. And that's gonna give us a definition between the trees and the bridge as well. Because the bridge is the lightest thing in, in the drawing really isn't. It's very light. Or this quite a bit of shadow. And I say I'm rushing a little bit. You'll have a need to draw in the NIH will open. And so let's say we've got a couple of bits. So breaking that skyline that it starts with G where they put all those they know not what have we debates is very overgrown area, lots of nice thick trees and shrubs. Except mid-semester it's very overgrown. I'm not bothering with that lamppost. Was even some nice flowers in this bit here I think will be quite white flowers. And then a nice big bright yellow broke bush at this side. So we can have a nice play with similar colors later on. Get some of those yellows and greens all mixing together. But not too much detail towards the edge of the picture there. And again, some nice shadow going on. Just now. And again, just to show you a few squiggles and go a little bit harder on your pen and make it a bit darker. Okay? Now this line here is the line of the road of ego in a way, that way or path. It's a road or it's a path and I'm just going to indicate some were didn't put that gate him, but there's a hedge of something that's enough for that. The grass coming down the edge of that wall and the wall slope in a way. And then we've got all these green on the edge of that. And coming right down here, there's obviously Wallenda here. This is all Canal wall here. People wanted to straight lines. We can see that was bricks at the end, just indicate them and then put the green in amongst them. And it just gives you the indication that that's where the canal bank wool is sloping out a bit. Somebody's taking the weight of what's above it there. And some weights. Fanny froms to indicate one or two stones you can do. There's a notice stone kinda going right there. I'm not gonna spend too or over thinking. What's under there. I'm gonna just put that line in. We've got a line of the Stones going around and just put wanted to shapes. So we come out from the back of the eye with a toe path. And then that goes around to there. And then for some reason it can slopes right down there. We've got, so we've got a path and then we've got a piece of grass. And again, some of that's gonna go in with the caller's lay to Rome. And you might just want to indicate that that stone by put in one or two of those straight lines in. So we can see that that's a slope down there actually. So we can see that those are stones and then making a wall. But again, don't go overboard with a detail. This, this adopts you like it's concrete. So let's just make keeping back the toe path. Let's go nice, I drawn it. Like I say, you can spend a lot longer doing this. Bits of weeds growing up there. Some bits of weeds growing down into the water. We're not actually drawing in the water. And then this is a nice moment of grass which obviously been maintained. Okay, so commercially on the side and we don't have a toe path and they side where we have lots of bits of weights and things growing handsome grass. I'm going very quickly now because I'm aware that you guess im bored what she may draw and making it very sketchy, but that's quite nice with your urine. Can you wash? It is just to get that little bit of a balance between some form with a pen and those nice washes of color with the pains. I actually quite like that just as it is. And go on to overdo it with drawing too much of the grasses and things down there. And the only bit that we've forgotten about Rayleigh now, what come a little bit into the water with some of the grasses? Assume that is this bit further back. And really that's all trees. So these ones over here, you want to be made to look like the coming further down and very, very dark. So get some squiggly lines in so we know it's foliage. But also we want to make it nice and dark compared to the. So if we look at the photograph here, look how dark that is compared to that. And that's gonna give us a lovely contrast. And actually, now that I'm looking at it, you can really see the edge of that wall. Is obviously a wall going around this. Let's put batting, make sure that's there. And then we'll go in with some of these darker areas and don't be frightened to go to doc. That's what's gonna make an interesting picture. Don't forget you've got all that dapper light of the soma going on. So there will be bits of light coming through, so don't make it solid. Do apologise for the noise. If you can hand out next door's children are playing outside in the garden, which is nice. Okay, so you could go on and have a bit more intricate than I've got it. You might want to spend more time on the bridge itself putting more of those bricks in. I'm just looking now thing of what some of those weeds coming up with miss those out and say that grow in off the top of those bricks there. And it just helps you that feeling that it's a very old structure as well, that we've got all those weeds growing up permanent will be nice as soon as we go along, we did, actually, wouldn't it? But I think we were quite lucky where we live. We have the canal truss due, really maintain the bridges really nicely and look after them. So I think I'm going to leave that for the drawing. And I'm going to let that you'll strive for a few moments and then take off the pencil with the arrays a and G, you will see a big difference in that when we get rid of some of those pencil lines as well, I'm just looking here making a bit darker. So I might just do a little bit more fiddling with this and a bit more going darker in places. Before I come back to you with the painting. 5. Painting the stonework: The whole idea of doing something quite loosely like this in income watercolor. Israelis gave a very fresh field to it. And for it not to get into too muddy colors, not to be too heavy to keep it nice and light. So we don't want to over-complicate the colors and we don't want to have too many colors. So to begin with, we're just gonna do the bridge. Now, if we look at the bridge with this little bit to tenths of yellow in there, but it's very pales to little bit of blue, little bit of yellow gray. So you want to keep that very light with plenty of water in it. So I'll have a look now at what we think we might use. So stick to some of the earthy colors with it being There's natural stone. If you stick to some of the earth because it will look more natural. So not to Brown. We're gonna use the raw sienna for that little touch of yellow. I'm hoping you can still say that. I'll just move it along a little bit. So some raw, raw sienna. We're not gonna need too much cooler because it's very bleached out and have plenty of water in their frontal to scale a little bit more water. And then I'll make a gray out of the same colors that are used here. So I want to get another section here. And gray, Of course it's made out to be three primaries. So got that yellow and work to think about what Blue going to use. I think just an ordinary cobalt will be fine. Cobalt blue. Just a tiny bit of that and a little Alizarin. Now the moment that's quite a brown grey, make it a little bit more bluey. It's going to pick up some of those grays. And then we might want some of that blue on its own, Actually, just at the end here. And you can see this a little bit of blue in there. But the thing is, whatever colors you use to make the greys or for the bridge, you might not use the same as me. You might want to use, make it a bit brighter and brighter yellow. Just make sure you remember which cause you've used or write them down. Remember which three you've used to make your grace so that if you do need to make some more, if you want to come back to a later date and do any alterations you remember which colors you are using. So I'm just gonna make a little bit more about grey. Not in a bit of extra of each color. Perhaps not too much more of the red actually. Tiny church. You find when you make an grazed, you often need a lot less red than you do of the other two. Is quite strong and in some of the gray mixes. Okay. So what I'm going to do, I'm just move these so that hopefully you can still see the colors on the painting. That's right. And I'm just going to whet the bridge first. With some clean water. So the whole thing, don't worry too much about where those sub grass and things are just wet the whole bridge. Not soppy wax. It just wants to be dumped. Don't have a dripping everywhere. Put your head to one side, make sure you haven't gotten any real dripping wet bits. Just keep it all evenly damp. And just give you a few seconds as well to sort of sink into the paper. So what the bridge and then wet anneal, the stoma that we have. So we've got stonework here, this middle sections grass, so leave that but then we've got the path. So we go stonework all the way along there. We've got a little bit of patho here as well. And the wall goes off there. And then this is where we are going to start with what the water so wet the whole thing. So we're going to be doing this world transactions. And it doesn't matter if it dries out in between because we can reweight it. Whilst we've got these bridge colors on the palette, we want to be using them in the water as well to create the arch. And we can build up the wall truss. We go let it dry and then do the next bit. So for this first bit, that's all you need to wet is the stone work and the water. Just think it is a little bit green. I'm going to add an extra touch of yellow to that and a little bit more red to make it more gray and a tiny bit more water. Okay, so now I'm going to put this over the whole of the stonework and don't forget, this is going to dry a lot lighter than it goes on. And don't have to even let it flow around, let it move around into those areas where we put the world to. And obviously you don't want, you ought to have dry it out. If it starts drying out in need to re-watch it. Okay, so that's just makes you think about why the stone work is where all the walls out, some bits of stone in amongst that you might just want to pop them in just to make it feel afterwards that you've got that form there. Okay, so while it's wet, look at where these reflections come in and go all the way around. But you don't want the paper to have dried out, do that whilst it's wet. So you've got a nice soft edge to it and see how far it comes up. It comes up to about here somewhere. It comes all the way to the front actually because I have not left room. And you've got some here. And you've got a reflection of the path there. But do that quickly whilst it's wet. And I don't know if you can say, but you've got some lines. So when reflections and with water, you want your lines to be horizontal, especially in a, on a canal, water lies flat, will all go to doesn't go up hill. You won't not feeling the water you need to get. You are moving right across the paper. Ok, so whilst we're there, we need to add these little bits of blue that we were talking about earlier here. And if they're going to be down here and let's put them in a similar place. Similarly with the yellow. So you've got quite a bit of yellow. There's a lot of yellow going on and this is going to help make it more Sunni as well. Some yellows on the edge here. And you can exaggerate at this point as well. You don't have to make it exactly as it is if you want to add more yellow to make EA Sonya day, Of course she come. So I'm trying to move quickly before this paper dries but simulate still trying to get our chin. Don't forget, we're gonna be putting more over this afterwards. Boost all to that slide. Okay, so I think that's enough for lots. And I might just pop a little bit of the yellow on here actually lie in the alphabet. And I'm going to let that dry. And while such drying, we can then make some cool Zope for the foliage and the trees. 6. Mixing greens: Now the main thing about the foliage is you want it to be nice and Virgin, plenty of color because it's made soma now, I don't always use readymade grains. But inmates summer when it's really bright, I don't think there's any reason why you can't. They Swan is Sap green. So you could use that on its own. So just make up a few different grains that will all mixed together on the paper. And we don't need loads are paying ME because we're gonna use lots of water and we're going to have it quite transparent. Not to have a solid line drawing of the ink shows rape. So I've got one Sap green there and along join another sub grain here. And we're going to add to that. So I'm just wash my brush out. We want to add to that some of that cobalt blue that we used before, and that's gonna make a darker green. So got to Green's just by using the same one and add in a little bit of blue. And then we'll use the same one again. It is a nice color. This one. You could use olive green as well. That's another nice green to use. And this time we're going to add some yellow. And I'm going to add a nice bright yellow HMO out the cadmium yellow. You can use whichever yellow You've got to hand. So we've got three different grains just using that same one or not in blue and yellow. And you can play about with the different consistencies. And then at the end here, I'm just gonna add some of this cadmium on its own. And of course we could use to more of the raw sienna if you wanted to as well. You can have local is the main if you wanted to. I really just want to keep it simple. One thing I did forget was we didn't do the sky when we were on with doing the water. So I'm just gonna put an extra little bit of the cobalt blue in there. And we'll use that for the sky. And next will be a good time to just change your water and start again with some fresh pots of water. Quickly before we move on, I'm going to do this little patch of sky. So when a wet that patch of sky there, simply mortar. And I'm also going to wet down here where it's reflecting. Just be careful way that you're not introducing lots of water back into the air. So if your brush at this stage is to where what will happen is that this pane here, as it is still drying, will pull that water that way and then you end up making a mess. So when you add in your water, just make sure it's not soppy. Mit should be dumped, you broke, shouldn't be draping, it should be a little bit down. And then we'll just pop that in. Again, get your brush and make some nice lines, allowing it to fade out. And then we'll just pop a little bit of blue in the sky and leaves some white as well. Because it is quite a light day and that will dry lighter than it goes on. But I think I'll just take a little bit outlet. So you want to take anything out, make sure you've got a dry brush. Okay, now leave that to dry and we can go on and do the greens. 7. Painting the greens: And so although we'll leave it needs areas to dry, they are still damps. So just to be aware of that when you paint in the rest of the picture, that they can bleed into each other, but that can be quite nice. So again, depending on your own style, you decide how much you want it to dry in between and if you don't want to touch in, like I said, what you don't want to do is have a higher concentration of water against the lower concentration because it will pull it in. Now, one of the things that people find tricky about Walter cause is the fact that the bits drying out too quickly. So you start working over here. By the time you get over here, this has dried out. So what we can do with these trees and these Foley just, just do a section at a time. So these ones here are the same as these here. They're going behind the bridge. So what we'll do is we'll wet these areas. Again, make sure that this brush isn't dripping. It shouldn't be dripping anywhere and you certainly don't want to dripping on the areas that you've already painted. So just having dump knockoff any access bits of water of the brush. Sometimes when you take the brush out of the pots of water, you'll find you get little bits of water on this metal part here. You really don't want that. So again, have tissue to hand. Don't want a drip of water going onto the pain that's already there. Okay. So just dumping and allow it to sink in slightly. Don't rush it. And the same with this area under here like settles the same trees that just going back down behind the bridge there. Now if we look, this end here is very dark compared to some of the rest of it. So I'll use that one that I've got the blew in. That's quite a nice color. And some more areas of dark. I'm aware it's not as dark as the photograph as yet and we don't want to go without doubt. We want to keep this nice light field to the patient pain. Tim, we're creating a picture. We're not copy in the photograph Exactly. So the green that was just straight from the pandas, they sap green. Don't worry if it goes onto the top of the bridge because you've got those weeds and things there which will pop in a minute. Okay. I'll pop some of that down here as well. Just let those colors mix and merge together. So those two close can mix on the paper while it's all still nice and wet. And then some of the lighter colors which we can see over, they send where the sun's hitting a little bit more. Maybe you've got different varieties of trees. And then a little bit of the yellow in the sand as well. You can see we're getting quite wet there now. But that alone nicely sink into the paper and mixed together. The paper. Ok, so whilst we've got these colors here, let's just pop some of them into these way debates here. And this is still a little bit damp. Use the tip of your brush and just flick in the same shape that you went with the PAM. So just wherever you got those pen lines indicating weight palpably of cholera. And you can mix and match which colors you use. Maybe some of the dark. Don't overdo it and don't think about drawing every leaf and things. This is just to give us an impression and allow the courts to make on the page the Ivies nice and bright. Let's use that yellow in color and have that going down. Okay. You can see how that's run-up onto the bridge there. But again, I'm not going to worry about that. I want to leave out. Okay. So well, that's driving. It can then move on to do some of the green in the wall. So just wet the water. Can you see that coolers flowing down from above? We'll just do that little bit there. Put in a bit extra in because we are going to come back to the water afterwards, do a lot more work on it. So that's enough just for now, just to let those colors flow down a little bit. Okay, so we can move on to this side again with a damp brochure. What the whole of this area. And do exactly the same again. Just let those colors mix on the paper. We've got the green down here and the graphs here. Let's look at where it's darkest. This ends a little bit imaginary subtle let that fade off eBay tab away. Not done the whole of the drawing right to the edge of the paper there to keep the focus on the bridge rather than anything distracting that's going off to the side. A little bit of a flip here for these bits. This is why it's important to have a good brush. Holds plenty of pain, but then you can also use it for flicking and making some nice lines. So think this color here, which was the green with the yellow and he's probably the best for this little loan area where it's been manicured. Couple of bits of IV or something going off down. You've got things growing up the side here and this is where the grasses, It's obviously been moan and IPS bone coming down here. And then that's just pop some extra colors in there just to give a bit of variety. You've got some queen down the sides as well. Not too much detail. Don't get bogged down and doing drawing with your paint. And lastly, this side. And exactly the same again, and this is more grass. There are actually some reds and browns down the sidewalk got some older grasses and things. So if you wanted to put those in your code, think I'm just going to keep it simple and stick to the greens. But whatever college you add in your surroundings, don't forget that they're going to need to go into the water afterwards. So you all to the colors at all and put Sumatran awesome pink flowers on the side of the bank if that's what you wanted to do, just make sure you also put those in the reflections in your water afterwards. So it's good to all to photographs and it's good to have a play around with the composition as long as you remember that you need afterwards to put those coolers in the water. Now what I'm gonna do now, this side of the bridge has dried a little bit. So I'm gonna get that gray color that's left on my palate that we did the bridge with. And I'm going to put it on this ONE, decide here which will be much darker. Can you say that it's darker than the surroundings? Just come slightly over the line. Nas Rogers Taylor off the dry brush. And the same on this side. Or to score a little bit darker with leftover gradients on the palette there. Do a little bit more with them. Don't lie that harsh line. So if you go hash line that you don't like, just get adapt brush and just soften it by touching the edge of it. But don't introduce lots more water. Okay, so I'm going to leave the whole thing now to dry. And then we're going to come and finish off the water. Because as you can see, if you look at this here, we need to be much darker and has much more ripples and things in there that we've got at the moment. 8. Painting the water: When it comes to painting water, there's a lot to remember and a lot to think about, which is what makes it tricky because there's more than one thing going on. So to became ways you've got the reflections from the sky and the light and the objects around. So all of these objects that are around the trees, the bridge, the path, the light from the sky is bouncing off them and onto the water and reflecting. And that gives you all these colors. Also, you've got the colors in the water itself. So the river bed or the canal bed also reflects cause upwards. So the light goes through the water to the bottom of the canal and then that gets reflected upwards as well. So that's another kind of reflection in a way. Then you've got shadows. You've got shadows from the objects around. So here we've got very deep shadows from the trees. You've got shadow from the bridge obviously, but you've also got shadows from the ripples, making shadows with each other. I'm not sure why the repulsive come from actually whether there's a boat just gone past or whether they there's books about whatever. Usually the canal water is very, very still. But the ripples can cause both reflections and shadows of themselves as well. So you've got a lot going on and then you've got the depth of the water which makes it dark. And so when the water is very deep, you'll see this. When you look at a lake that's very deep, it looks darker when it's deeper. So you've got many things to be thinking about. And you've got the reflections of the grasses here by the side. And you want the water to be flat and still water with gravity will always lie flat. And if you have this looking as if it's on an angle and as if the canal banks burst and it's flowing away, it's gonna look wrong to the viewer's eye when you start looking at it. Okay, so we've already got some color, they've already made a start. This is still slightly damp, but it's more or less dried, has just a few places in the trays where it's not quite dry. So what I'm gonna do now is wet the whole of the water again. Now when you've already got color applied and you put it in another layer of water on the top. Just be very, very gentle. You don't want to be Rubin cholera from underneath, picking color from underneath you just doing it very, very gently. So don't go on to the surroundings at o. We're just wet in the water. And one good way to make war to look watery when you're painting is to use fancy water. To use layers. So we've got those layers already there. Underneath and we're gonna build upon those layers and that will emulate what we've got because that's what we've got going on is a lot of layers of color and reflection and shadow, all making very interesting, all making it much darker. But we're not gonna go as dark as the photograph. We're making a light watercolor painting, drawing. And the nature of that is that we're not gonna go that as dark as a photograph, but we still want the contrasts. We still want the bridge to be the lightest object and the tree is to be a dark or object and the water. Okay, so we'll start again with that nice dark green and look at where the darkest areas are. An apply with your arms sweeping across surrounds going like you use in the full length of your you're using your shoulder. I'm standing to do this and then flip that out from where the edge, can you see where the edge of that bridge reflection comes to get some lines going across there. We've got some of that going there as well. Okay. And you can build that open-book some extra in if you want. And once it's dried, which is something you, I'm not going to do, but you might want to do is once it's dry, you can put another layer and another layer. You can come back to it in a day's time and put more layers. And you can tell evolved as well. You know, if you want you water to run that way, you can tilt it. Okay, so we've got some reflections here of these grasses. So this is where you need to remember what colors you used earlier because you want the reflections in the water to be the same colors that you've got above. I've got to have a little bit of yellow. And then we need some lines coming down. We've got reflections of these things that are above. And they're very, if you look at the picture, you've got some very straight lines going down. And again, that's gonna give us some water. So we've got the yellow ochre, sorry, not yellow ochre raw sienna, wasn't it that we used earlier in the stonework? And again, that's going down in that direction. So don't have everything horizontal. And we've got a very distinct shape of the bridge. But I'm making a little bit loosey if you want to. Can you see you can see exactly where the edge of the bridge is and where the stone work is. You could spend hours getting that absolutely spot on. But the nature of this is that we're doing a loose impressionistic painting. So that's the graphs there. And then we've got the wall. Actually, I've done that wrong. We've got the refraction of the wall before the reflection of the grass. So let's just take that out a little bit and put some of that gray ochre color in there as well. Again, that's a very definite shape. You might want to just pop proline round to get that shape. So again, you can use your dry brush. So can you say I've got a very dry brush, squeeze the water out and get some lines going across and some lines going down. And this is something you can just play with, buildup, mix the colours on the paper. We look here, it's very light where the skies above just safe. We need anymore greens. Some are green here that she got a little bit more blue down here from the sky above the bridge. And we have these blues in here, denoise. So again, flip some lines across. Okay, so I think I'm gonna leave it at that. It's going to look at this dark again and get a bit more dark under here. And it will dry lighter. If you want these lines to be more defined and you don't want them to all merge together. As we're painting watching where you can do that wet and dry afterwards as well. And you see here how it's trying out a little bit. So you might want to rework your paper, but be very careful doing that. Might be best to leave it to dry completely and then rewriting and carry on rather than adding water in and making a mess. But if you're not sure about working wet in wet, there's one golden rule are really to remember is to always have your paints of a similar concentration and only ever add either the same concentration together or one that's more concentrated in paint. So more pain, less water. If you add more water, that's when you end up with a mess. So if you're not sure, get a piece of roof paper and have a practice first. So that's as much paintings I'm going to do on this. I'm going to leave it's completely dry then and you could come back to it another day and like I said, decide if you want it to go dark or if there's anything you want it to alter. But I think I'll leave it like this is a nice sunny little picture. You cannot delay D on a bike If you want to do that. Little puff of pink might look quite nice, but that's entirely up to you. I just wanted to keep the focus on the bridge and talk about doing this water. So building open Layers and keeping it horizontal. Using the same colors that are in the surroundings. That's the very important thing because it's the surroundings reflected in the water. 9. Extra projects: Once you've completed this painting, you'll have had plenty of practice of mixing you close on the paper and enjoying doing the drawing and seeing what you can achieve. This is simple structure, the shape of this bridge. You might want to go on and do the other two reference voters graphs I've given you. One, it's got two people in it, cyclin away. And that's quite a nice one to do because if you knew to draw and paper, you do not want to worry too much about drawing the faces and things. You can just look those shapes of the person. Just break them down into shapes. Don't try and draw the, don't think about them as being a person. Just look at the shape that they're making on that bike that so on the other one is a bit more complicated because we've got reflections of two bridges. So it's a beautiful picture. It's one I've taught myself a few years ago. I'm very lucky. I only live a couple of minutes away from the canal, five minutes walk, and I'm there. And it was a really nice day. And I've got reflections of both Bridges and the bridges are sort of overlapping each other. So that's a much more complicated picture. At the moment. If you've got time to do that, it could be a full day's project to really sit and really think about the drone and getting the drawing accurate Before you go on to put any color on that. But it could be a nice phone warm to do looking at the stone work and the reflections of the way the two bridges work together. Okay, so and when you've done those, it be great if you could upload them for us all to have a look at because it is nice to see each other's work. 10. Conclusion: Now that you've finished painting, I'm hoping you feeling a little bit more confident about painting water, particularly looking at those shadows and reflections. I do look forward to seeing some of your work and please do loaded, not just so that I can see and I can give you feedback which hopefully will be helpful for you in the future. But also that you can see each other's work because I really do feel you learn a lot of each other's work and you'd be surprised when we all have the same photograph. How would come out with so many different versions of that picture? And we're making our own work and putting our own personality in it. So it's great to see everybody's altogether certainly lovely if you could upload it and please don't load those further to if you do get time to do those because there's some nice photographs there, you could spend quite a bit of time working on. So this was my final one after just show it once it's dry because in the last little quick video it hadn't quite dry. So it looks different again, once it's dry, you'll see how the dry a lot litres of water cause circled quite easily, gone darker and I could build up more layers. So just remember when you're working went on top of dry to be very gentle when you go on with the next layer is you don't want to screw in a way with a brush. For one thing, it really does damage your brushes, but be very gentle. Think about painting onto glass and you're not trying to break it. So I really liked which when you build those layers. Okay, so I'll look forward to seeing your work and hopefully I'll get time to do another skill share costs soon. For those of you, again, it's a nu here to my skill share courses. There are plenty more if you have a low cut, have been doing them for over a year now. So there are quite a few there in the back catalog, so I hope you do get chance to go and have a look at those, particularly the worms for beginners, if you're new and you would like a little bit more confidence in more detail in your instruction. Thank you very much and I'll see you again soon.