Learn to Control Color & Water: 9 Watercolor Techniques | Isa Down | Skillshare

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Learn to Control Color & Water: 9 Watercolor Techniques

teacher avatar Isa Down, Artist, Educator, Author

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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

12 Lessons (46m)
    • 1. Intro & About

      1:10
    • 2. Materials

      4:09
    • 3. Pushing & Pulling Pigment

      4:15
    • 4. Dropping Pigment

      4:15
    • 5. Dropping Water

      3:01
    • 6. Using Salt

      2:56
    • 7. Using Natural Elements

      3:12
    • 8. Paper Towel Techniques

      2:06
    • 9. Adding Shimmer Texture

      2:39
    • 10. Flower moons

      9:50
    • 11. Paint Splatters: Acrylic & Watercolor

      1:54
    • 12. Taking a Closer Look: The Details

      6:37
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About This Class

Hello, and welcome to class!

In this class, we will be exploring how to control water and color, by creating a series of moon paintings with watercolor.  

Through a series of short videos, you will learn 9 watercolor techniques that you can use on any paintings going forward.  The joy of creating a series of moons, allows you to not only experiment and learn how to manipulate the water and pigments, but to also truly control the outcome.  And have fun while you're at it! 

Whether you are brand new and wanting to jump into watercolor, or are creatively stuck and are wanting to loosen up and get past your creative block, this class is for you.  Come and learn a unique style of watercolor, and bring these techniques with you into your creative life moving forward. 

You will learn the following techniques: 

- pushing and pulling pigments

- dropping in pigments

- dropping in water

- adding salt 

- using natural elements (leaves, flowers, grasses, etc.)

- creating marbled textures with paper towel

- adding shimmery texture

- paint splatters - acrylic & watercolor

- combining elements for a floral moon

Materials You Will Need: 

- Watercolor paper

- Watercolor paints (I use Indigo, Payne's Gray, and Burnt Sienna)

- Round watercolor brush (size depends on size of your moons. I use an 8)

- Water for rinsing

- Pencil/eraser, Micron Pen (optional)

- Coarse ground salt

- Paper towel/toilet paper

- Nature (dried flower, some grasses, leaves, etc.)

- Gold watercolor paint

I can't wait to see you in class!

Meet Your Teacher

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Isa Down

Artist, Educator, Author

Teacher

Hello, and welcome!

I am so happy to have you here.  I absolutely love teaching and encouraging students, and find you all so inspirational! I can't wait to see what you create.  

If you are new to Skillshare, welcome! You'll find so many amazing resources and classes here, as well as a supportive and welcoming community.  Feel free to explore Premium classes on Skillshare using this exclusive link for 2 WEEKS FREE, no strings attached. 

I'm Isa Down, artist, educator, and author with my company Poppy and Gray Co.  I am forever-inspired by nature and natural elements, and you'll see this strongly represented in my ink and watercolor art.  I mostly create modern ink and watercolor florals with bold colors and fine det... See full profile

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Transcripts

1. Intro & About: their music down. I'm an artist, illustrator and author with my company, Poppaea Graco, and one of the biggest questions that I get is how do I just get started? Where do we get that confidence to get started? And, well, I have a whole bunch of things. I can say. I'm a topic. I think the best thing that you could do to get started. It's just to play around different techniques. So in this class, using Siris of moon paintings, we're going to explore watercolor a little bit and just kind of have some fun with it. We will look at nine different varieties of moons that you can create eight or nine different varieties of moons and the different styles that you can use to create those and the end results that you will get from them. This is a great class if you're a beginner or if you are experienced, but you are just stuck and you just want to play and have fun and re explorer watercolor. I can't wait to get started, so let's go ahead and going with our very first See you in 2. Materials: Let's talk about materials that were going to need for this class. You will need some watercolor paper. I'm using cold pressed £140 weight watercolor paper by strapped more, and I like the cold pressed by Strathmore because it's, um, it's a pretty smooth page, but it still soaks up that water pretty well, which we will want as we experiment without it. Buckling are getting out of hand, but we'll be able to experiment really well. And it's a pretty cheap, inaccessible paper, and I have found it to be really nice for, um, just experimenting without using up my really nice paper, you're going to need a watercolor brush around watercolor brush. This one is a size eight, and I wouldn't go much smaller than an eight just because you want to be able to get enough pigment in water into the bristles of the brush without having to go back constantly and just for the size that will be working with. And so you can really see an experiment with how to move the water around in the effects that you're going to get from it. I would recommend this that size. You may also need depending on what you end up wanting to do after you're done with the watercolor experiments may once a pencil or a fine liner pen. Um, but we may not be using those as much in the class itself, but you may want to experiment a little bit afterwards. You will, of course, also need some water color. I have, um, my Windsor and Newton paint palette, and then I also have one of my pain pallets from prima watercolors here. But I will primarily be using burnt Sienna and into go both from Windsor and Newton. And so I would recommend getting, um, burnt sienna and to go, But you can use whatever colors you want to for the moon's. I just happen to really like those two for the tape of means that we're going to be experimenting with today. I have a really nice dark pigment that really lets you see, um, the effects that you're creating. But I also have premios currents, watercolor panza, and they have some beautiful colors here as well that you can experiment with. I would just recommend not using something really light and pale right after that, so that you can really see the effects that you're getting with what we'll be doing today. You also need some toilet paper or paper towel toe. Pick up any mistakes or dry off your and then you're gonna need a good bristly paintbrush. This is an acrylic paint brush size six. And, um, I really like it because has really bristly brush is But you can also use really old watercolor brush that's been really used. If you've been painting for a while or even an old people um, toothbrush. Then grab some natural element that you might have lying around in your yard. I just grabbed a dry flour. We're going to see the kind of effects that we can get by adding, um, outside element to are painting, you're gonna want some salt. I just have some sea salt here that I put into this little container. Um, but any sort of salt will do table salt is great to use for this. I do recommend. Don't use the fine, but get a course. You're gonna be able to see that Get a course. Um, salt. Not necessarily the fine sea salt, horrifying table salt that you would find you want to get a course of green, and then you may want to use some acrylic. I have some white acrylic here for adding effects at the end, and also some Goldwater color, um, as well again for adding effects at the end. Of course, you're also going to need some water, some fresh, clean water, which I just put in a mason jar here, and that is all that you are going to need for this class. So let's go ahead and get started. 3. Pushing & Pulling Pigment: way before we get started with the moon's. I want to go over a couple of really quick techniques here. I'm just getting saturating my brush with water and picking up some of the burnt sienna pigment. And I always like to kind of, uh, just tap it on my water on my paper towel or toilet paper that I have with me just to pull off any of the excess so that I have a little bit more control over the watercolor, as I put it onto the page. But the first thing we're going to do is just experiment with, um, pulling the paint's so really saturating with water and pigment needed some more pigment on that brush, but you're going to pull the paint down, then rinse off your brush and come in with only water and it's really saturated. So I'm not gonna tap it on my paper, towered for the paper here, and then you're just literally just pulling it down, and you can go back and add some more pigment if you need Teoh and you want to make sure that as you're pulling down when you can't came in with the water that you really touched on the edge of where the pigment waas. So let's do that again. If you have some good pigment up here and you want to pull down and you're coming in just water, you go right along the edge with just water and then you pull it down and what happens as it drives is as you see here, the water is going to start pulling the pigment down towards it on. And so, as it dries, you're pulling the water into the are the pigment down into the water and you could get some really interesting and beautiful watercolor effects with that. Another thing that you may want to experiment with is called pushing. So you're gonna get some pigment. This is Payne's gray. You're gonna to the same type of things where you create a nice little swatch of watercolor . They were going to come in with a different color, and you're going to start lower and move up towards it instead of pulling the pigment down . Now we're going, Teoh, push the pigment up into the next one. You'll come right up into that line. Sometimes you may need toe help, but from facilitated a little bit about What you're doing is you're pushing the pigment heavier picnic into the later one. Um, these ones maybe a little bit equal in the weight of their pigment, cause some of the paint sprays also coming back down so you can experiment with different weights of the pigments as well. The heavier pigments are going to push really well into the lighter pigments on. And then you're also going to then get this really interesting gradation and mix of colors . Um, so it's really fun to kind of experiment if you don't know the way. I don't know the weight of every single pigment that I have, but it's really fun to come in an experiment and see what happens if I come in here and I push or pull this. Which one works really well to push, Um, and which one doesn't? But the fun of that is a really nice way of mixing the two colors as they meet on, and you get some really nice and interesting effects there as well. And we're going to be going over several more techniques. Um, as we go forward with the rest of this class and experiment with the different moons. But I just wanted to show these to really specifically for you all. All right, let's go ahead and get started with the moons in our watercolor. 4. Dropping Pigment: All right. So for our first moon, we're going to be experimenting with some wet on wet, and then we'll drop in pigment and see the effects that that makes so taking a clean rush and filling it with water, you are just going to draw a circle for the full moon on your paper using just water. And it may be hard to see in this video. Um, and I do understand that, but with in real life with the reflection of the water, um, and the light source that you have any room you'll be able to see it just fine. And make sure you have a good amount of water on the page. You don't want it to be so thin that, um, it's not gonna be able to pull the pigment anywhere. And then you're gonna pick up your pigments, ongoing for some in to go paint With this, I saturated my brush with both water and pigment, and then I'm coming in with a wet brush onto a wet surfaced and that you can just kind of start dropping and dragging. You're pigment in there. I like to do a little sort of thought so on the edges. Um, and you're just dropping that pigment in there, and then you go back for more and come in. And what's going to happen is the paint pigment is going to spread only where the water is . As you can see, it's not going beyond that unless I pull it beyond that, which I could do. And the only time I really go beyond that is when um I filled it with pigment, and I really want to get a crisper lying around the edges of the moon. And then I'll go around and pull the water a little bit farther than I had initially put it , and that's going to reduce any sort of boggy your sake edge. Um, on my moon. Now, as you can see here, it's already starting. Teoh differentiate between a darker area and a lighter area, which I really like. And I'm gonna go ahead and go with that. So I'm getting more, um, pigment on my brush here, and I'm just going to start, um, putting my brush more vertically. I'm just going to start tapping this pigment in. We wanted to go, and what you get is a sort of almost starburst effect as you tap it into their and I'm going to really accentuate the darker area by adding a lot more pigment there. But I don't want to make it, um, so accentuated that there's no it's just, you know, really light and then really dark over here because the moon has all sorts of different shadows and, um, variation in its surface from the crater. So let's create that sort of effect here, and I'll just add some, um, more sparse ones up further here. So then, as you can see, you're gonna get these really needs or to starburst kick effects. Um, I just dropping pigment in wet underwent here and letting it work through. And if there's an area where you think, Huh? I really just want that area to be a lot lighter. And I just came in with just water, and I'm just move pushed, sort of pushing the pigment spots away from this one area. So we have one nice really area clean area that is lighter where the lake is reflecting off , and that gives it that depth, um, without perception of depth, so that when it dries, it doesn't look like it's just a completely flat service. So we're gonna go ahead and, um, let this dry and we'll move on to our next moon, which is looking at a wet or dry. 5. Dropping Water: All right. So while our first moon dries will be looking at a wet on dry technique. So I cleaned off my brush. I always like to sort of double check, especially. I'm gonna be moving from a darker pigment to a lighter one or really from any pigment to the other. Um, I like to use this to just check that all the pigment is off my brush, and then we're gonna go ahead and come into this sprint sienna color, pick up some good pigment on that. We're gonna do a wet on dry technique, and then we will drop pigment into that as well. But we'll see the different effects that we can get. So saturating my brush. And I'm just coming straight onto a dry area of my paper and doing a wet brush onto dry paper. Now it is watercolors. So you do want to make sure that you still have water on your brush. Um, I think a mistake. I know I made when I was first starting out with watercolor waas. I thought that in order to get a deeper color or have more control, I needed essentially no water on my brush and that is just not true. You definitely want to have water on your brush. And as you experiment with these different techniques, you're going to learn how to control the water and the pigment better. All right, so just clean up the edges a little bit here. So I have an area that has, um, um pretty good saturation with pigment, which is what I want because I'm going to be coming in with just a clean brush and water and just dropping water into here. You can also drop pigment, but it won't spread as well as it did over here. So I'm just coming in with just water. And I'm just using the same technique I did with tapping into it. What I'm tapping in is water, so you're gonna get a starburst effect. But instead of it being a darkened area, you're going to get a lightened area where the water moves the pigment away. You get this really Compton nifty little effect here and then similar to over here, where when you wanted it to be lighter, you added more water. The same goes over here. There's an area that you think you wanted to be a little bit later. Just add in a little bit more water and push that pigment away a little bit. And again, you're gonna get a really neat effect that's gonna show a lot of texture and radiation in the surface of your moon. And just by adding water into the pigment, and it's gonna be very different from the first effects that we created. All right, so while these guys dry, we're gonna move on number three. 6. Using Salt: next experiment here with watercolor and water. I am going to be doing another wet on dry moon. Go ahead and grab some more. My indigo with a saw traded brush with water Indigo. I'm going to come in and paint another moon just like I did with my burnt sienna. One with that wet on dry technique and just create my fuller in here and again. You want to make sure that you have enough water? Um, I know I'm getting pretty repetitive, but it's really important for the purposes of creating techniques and for the watercolor to really work how it's supposed to, um and look in that sort of effortless way home watercolor tends to look on. It dries whatever kind of technique you're going for. Okay, so for this moon, I don't have to make it perfect for this moon. I've gone ahead and put down some indigo watercolor using my one on dry technique. Then we're gonna be coming in with the salt and again, you want to make sure you have coarse salt just because you're gonna get more, um, pronounced effect. I suppose you could also use, um, fine grain salt when I'm just never used it before, but definitely experiment if you want to, but you may not get a strong oven effect from it. And all you're going to do is going to pick up a little pinch of salt. And you're gonna drop it on top of the moon on top of the paint where, um, that you've just painted and mine already didn't have enough water over here. So I'm just coming in and adding a little bit more. Um, and what's gonna happen? Because your salt is going to pick up the pigment. You're gonna get these really neat little starburst effects that will look different from the the edgy effects that you get on by adding the water into it. And it's really leaks will come back and take a look at this once it has dried and see the effects that you got with the salt. Um, some. Once it's completely dried, you don't want toe touch it before then, but once it's completely dried, all your little salt crystals will have pulled up whatever color pigment you have, and then you'll be able to just scrape it off. But you want to wait until it's completely dry, and if you touch it when it's still wet, you're gonna completely, um, ruin the effects of the salt. You'll smudge the little starburst areas around, so I'm gonna let this dry and then I'll come back and I'll show you the beautiful effects of it as well. 7. Using Natural Elements: for next experiment. I'm coming in again with wet on dry, and I'm gonna go back with the burnt Sienna because I seem to have a pattern started here. I'll have to break the pattern with my next moon, But again, just creating that circle of my full moon with my web Russian, the pigment. I'm gonna make sure I have enough pigment here on my brush. All right, so there's some good pigment and water on this brush. We're gonna come in with your dry, natural element. In my case, it is thes dried flowers from the summer, and I'm just gonna go straight in and you can just kind of experiment. You can dab at it and see how that moves the pigment around. You've been sort of doing almost scraping motion and see what happens there. And this is a great way also to learn about how to correct mistakes. So if you don't want a moon that looks like it's, um, more of a meteor come in with a clean brush that's wet. And what? The areas that went off outside of your moon coming in with a clean area of your paper towel. You just dab and it picks up the water. Um, it's easiest to do this when you're pigment is still initially wet. But if for some reason you notice a mistake later, you can come in later and correct mistakes as well. That way it just takes a little bit more effort. And it may not clean up a swell. Um and, you know, just continue to have fun. See that The kind of you know that I've gotten a really scratchy effect from this on all zoom in at the end of the the class to show you it as well. You may also just want to see, like, what happens if I drop natural elements into it, um, and let them dry. Some of them may stick to the page. Some of them, like the salt, might leave some interesting effects behind. But you don't know until you try eso have some fun of what you have, um, and sort of experiment. You may want to get some sort of an evergreen that isn't dry yet, but that you could even sort of drop on there and leave on imprint um, of the water color on there as well. But I always enjoy experimenting with different types of natural elements just to see what sort of effects that I could get from them. 8. Paper Towel Techniques: all right, We're now moving on to one of my favorite ones. Um, and I'm actually gonna come in with Payne's gray on this one, so saturating my brush and coming in with Payne's gray because I really want to show the effects of this technique. So I'm coming in, making sure I'm saturating everything and then, all right, so as you whenever you're done with the moon and you feel satisfied enough with the shape of your moon, we're gonna come in with your paper towel, and I like to sort of flatten it out a little and wrap it around my finger. But you can also just take it and then just kind of blob it up like this. That's another way to do it. Um, but then you're gonna come in and you're actually just gonna tap on your moon while it's still wet. Just a light tap. And what's happening, obviously, is it's picking up the pigment, but then you get these really need effects. And if you pick up too much or you're not quite sure about the pattern that you created, you just more pick it and then come back and do it again if you want. And then I got a really need texture and surface on your moon. That way 9. Adding Shimmer Texture: thing suddenly are going to be experimenting with layering different colors. So we're going to come in with, um, we'll do it a couple ways. One will do it with a darker pigment, and then we'll come in with a lighter pigment. So I'm gonna go ahead and draw my darker moon, be in my brush off really well and then come in with a lighter moon. And once these air dry, we'll be able to add another color on top to give that same sort of effect, um, of texture just by adding another color in. But for the purposes of this one, we want, um, our initial base color to be completely dry. Well, let it dry all the way, and then we'll come back and will experiment with adding see gold onto it and getting that textured effect. Now that this is completely dried, we're gonna go ahead and pick up some our gold pigment from our Goldwater color. And instead of doing like, uh, you know, just a stroking type of technique that would give me a really smooth surface, I'm gonna come in, and I'm gonna vary whether or more on my side or more on the tip of my brush. I'm just gonna come in and start coming, dabbing and smearing it all together, creating a sort of model texturally effect on top of my moon. And you can come in and do this on your lighter moon as well. You're just gonna get a slightly different, um, effect just because you're doing a light on light color versus the light on dark Tom Insel . Zoom into these and trying to show you the sparkly effect of the gold pigment, but also how you bet that sort of textured effect pretty well by adding on this pigment on top of the color that you have. 10. Flower moons: right. So for the next one, you're gonna need your pencil. We're going, Teoh do a moon using some of the experiments or some of the techniques that we have here by , um, that has something overlaying it. So go ahead and drying around noon, and then we're just gonna add, um, some flowers overlapping the moon. This is for if you're wanting to practice adding different colors side by side and using different techniques for different parts of ah, of a painting. So I've sketched out the basic, um, pattern that I want for this, and then I'm going to come in and do my background color first. So using, um, the tip of your round brush That's the joy of the round brushes is they have a pretty 20 tip. You can come in and just go right up against the edge of the flowers and go along the outline of them, and then you'll be able to fill in the background of your moon. Really? Well, now, this can take a little bit longer because requires more precision. So what I like to do is work in sections, um, particularly if it's a bigger piece in this smaller moon with the smaller moon. I'm not as worried about it, but if it were a bigger piece, I would I want to work in sections. In the point of that is, if you're wanting to add any sort of effect to the moon, which will be doing here, um, you don't want the pigment to have completely dried before you get around to doing that. So I will show you what I mean here. All right, So even here, parts of my moon section were already drawing, um, before I had finished just cause watercolor drives pretty quickly. So instead of doing the upper part in the bottom part at the same time, I'm gonna come in and do my effect now with the moon to get that, um comes to get the effect that I want for the background while it's still wet. And then I'll move on to the, uh, heard up top. So I'm not doing a sort of combination here I am dropping pigment in. But I also went in as you saw and pulled up some pigment with my paper towel. And you can do any combination of the things that we've experimented with. You don't have to just pick one, um, of one of the styles. So now that I did the bottom one, I'm gonna come in and do the topper. You may even want to do half of the section. Like I said, I would really probably only do this size of a section or smaller, Um, at a time, depending on if I wanted to add effects to it. If I'm really just doing like a simple wash, then you don't have to necessarily wait. Or if you're just doing a simple wash, then you don't have to necessarily. I'm do section by section and make sure you get everything done before it's dry and just kind of move along. So if I had decided that all I wanted was just a smooth wash, I could just carry on and move on to the next section here. Um, just keep moving through a bigger piece. But since I I wanted to come in and at different effects, I want to get that in while it's still wet. So pulled up some pigment using my paper tunnel, and I'm gonna come in and add some pig my back in again just for a sort of varied effect on your move. All right, so since we're gonna be adding a different color to the flowers because I'm not gonna have an indigo colored flower around my moen, we're going to wait until this blue has completely dried. Because if you recall from our first lesson, if I add another color next to, um, the color that I have on here and they're both still wet the water is gonna make them push or pull into each other. We're gonna pull pigment into my flower, or I'm gonna push pigment into my moon, depending on the weight. Um, and how I'm moving my brush and manipulating the pigment with that. So we're gonna let this one completely dry, and then we'll come back to it later. All right? So my blue is almost dry. And while it finishes drying, I'm going to come in with, um, the center color for my flowers, which in this case is yellow. I'm just gonna drop that in there into the center, and then we will let that dry altogether. All right, so my blue has essentially dried, so I'm gonna come in now and start painting. Ah, the rest of my flowers here. And like I said, you just want to make sure that you are, um, making sure that any adjoining pigment is dry. The yellow of my flowers may not be completely dry, but I'm OK with that because, um, it will, I'll pull it into from the center away. I'll pull it into the pedals of my flower, and if it's wet, it's gonna pull a little bit of yellow into the flour. But it's almost dry, so it's just gonna pull just a little bit. And what that does is it gives that effect of the center of the flower almost reflecting on the pedal. But you'll see happens in real life as well. Since what he gives that allusion to it again. You're using all of these techniques that we have gone through in this class to create something else. So you're pushing and pulling pigment on page. You're using different versions of the techniques that we used in the different moons and combining them and seeing what happens. The near experimenting to with leading that white space and coming in after your pigment has completely dried to fill it in. I'm gonna go ahead and let you paint your flowers in. Then we'll talk more, and so make sure your you could still keep experimenting with the techniques that you used. You can either do layer by layer and let it dry. Or you can come in and start adding pigment while it's still wet, which is what I'm doing here. So then I'll get a similarly is sort of modeled look, um, as the background but using a different type of technique. So it's still differentiates the flowers pretty well from the moon itself. Now, if I wanted to have more control over adding, um, shadow areas of my flower, I would have, um, waited until the initial one had dried until the initial layer had dried. Now I'm gonna come in with yellow again, just damning it in the middle, because in pulling it, I he saturated the center. No, I'm really going to get that effective it pushing into the other. We're pulling into the other, um, surrounding colors, and I don't mind that at all. The thing adds, a little burst in the center I'm gonna do actually is. Make sure that that does that in all quadrants of my flower does. It looks a little more uniform, but I'm just gonna let it dry, and then I'm probably gonna come back is, um with my fine liner pen once this has completely dried and just go over the corner corners of my flowers and really differentiate the petals of mediums and at that, papa black to it. Otherwise, these air, all of the different styles and techniques that you can use, and we'll take a closer look at the effects of each of thm, um, in the next video, once everything has dried. 11. Paint Splatters: Acrylic & Watercolor: All right, I'm gonna show you a couple of techniques that you use. One is splattering. Acrylic, white acrylic Pete, if using your really breast bristle brush and what I like to do is just a car looks straight to my brush. If I'm using acrylic, you are gonna get messy doing this. Unless you want to put gloves on what you're more than welcome to Dio. I'm gonna go ahead and cover up the ones I'm not gonna try to put this on to, but you're gonna just kind of flick it the pinch. Thanks a lot. And what you get is this little Slattery sort of galaxy like effect on top of the painting that you did. And what you can do also is come in with your watercolor brush, you know, using a slightly larger brush if you have one, or at least the same size that you used where that I used anyway, which is the size eight, then I'm gonna cover up again. And with a wet pigment and water on your brush, your coming about two or three inches above the painting you want, make sure it's not too wet and you're just gonna confident kind of gives that Slattery effect. And if you don't want the splatter on the moon itself, you can go in and get rid of it. Um, if you could get sort of adds to the effect that we had done already, you can leave it and then we'll be zooming in again and taking a really close look at the effects of each of our we've experimented with here. 12. Taking a Closer Look: The Details: All right, So let's come in and take a final look at the effects that we created in this class. So you know exactly the type of things that you can see by using these different techniques that we've gone through in this class. First up, we're going to look at the wet on wet where we dropped in the pigment. You can see this beautiful effects that we've created, uh, the shadows on the late on. That was just by dropping the dark pigment in onto a wet, fragmented service. And here's another version of it as well. Just to give you a glimpse, this we added some splatters on top of just to give you a glimpse of, um, you know, you won't always get the exact same result, but they're both really beautiful and give you pretty consistent, um, type of look, even if it doesn't look exactly the same. Next up, we had honor what, on dry where we then dropped in water. I'm in for this one. We also had some acrylic splatters on top of it. You can see here's another one as well with some darker krolik areas, and you can see how that really spurs from from this. This has not more star bores type of the fest, and this has more water. He smooth. Third was they're wet and dry where we added some salt. You can see something. Facts here, coz that craters on the moon on There's another version where we really got some very cool blue left over by the salt. Um, that gives it that kind of bright center, which I think looks really need again. You know that the results are consistent, but they look slightly different. Um, but it's really good to know, you know? I mean, it's watercolor, so it's gonna have some variation to it, but it's really good to know how to use and manipulate the water and the then, of course, we had our wet on dry where we added in some natural element, and the result for that one was really scratchy surface. When I did it for you, and then on, this one actually held onto some of the the plant material. So I left it kind of multimedia looking, and I really like the effect of that again, just giving it more of a scratchy surface and depending on. If you're using leaves or grass is, or whatever it is that you're using, you're gonna get something different. So that's something really fun to experiment with. This wealth next up is probably my favorite technique for the moons, and that is where we came in with our paper towel. And we backed up the pigment after we had done a wet on dry technique getting the pigment onto there in the circle. Um, I just really like the look of it. It's more like a marbled effect, and I just think it's really beautiful and dramatic, and, um, I think that one's probably my favorite one to achieve. Next up we have our gold that we added on top of our dark pigment here, try to get a little shine on there for you so you can see the gold on that. And then down here on the the lighter one is well, and that's just showing you the ways that you can really bring in other colors. On top of if I'm an existing color and get that kind of textured surfacing kind of the fact that you might want to get with with the moon or whatever it is that you're going for, you know, here's another one where if I had done the I pulled it up with the paper towel and then I added theme gold on top of that one. And I really like that one. Probably cause I really like the paper towel technique. And then last but not least, of course, we have our floral moon. Um and so here is one that we did where we came in with, um, a couple of different techniques both dropping and water and then also pulling out with the paper towel, the pigment, and they did a better version of this is well so even. See, Even if you're doing the same exact thing, you can come out a little bit different. But this technique really let us experiment with different ways that we can play with the water and the pigment. And, um, you know how you can see that the yellow when we added the pink to the pedals over here was much weather are the pink was much water when we added the yellow as it was over here, but you can see how that really pulled it into the pedals a supposed to the blue against the pink, where we really made sure that blue was dry before we added anything else. So there you have it all of our moon's altogether using different techniques that we practiced in this class. And, um, well, the moves themselves air, obviously quite simple. In terms of, you know, you're painting a circle on a piece of paper. It's really, really fun to practice the different techniques with the watercolor, um, using both pigments and water and outside sources like paper, towel or natural elements, or even just adding other types of pains on or a different types of paintbrushes, um, acrylics or otherwise. And I hope you've had fun exploring in this class, and then you feel like you have a better grasp of the different techniques that you can use when you are creating your specific artwork with watercolor. Thanks so much for joining us in class and make sure you post any of your class projects onto our class project section so other people can see what you've experimented with. And I would love to see anything that you have created, using the techniques that you have learned in this glass, whether its moons or otherwise. I look forward to seeing you in my next class. Oh, and be sure it attack me as well at Poppy and Graco. If you post anything on instagram, we'll see you soon.