Learn to paint "Inside Passage" with Watercolors | Gary Spetz NWS | Skillshare

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Learn to paint "Inside Passage" with Watercolors

teacher avatar Gary Spetz NWS, Gary Spetz Watercolor Studio

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

12 Lessons (1h 5m)
    • 1. Introduction

      1:23
    • 2. Drawing, Layout, & Masking

      2:14
    • 3. Sky Wash

      2:18
    • 4. Mountain Colors

      3:41
    • 5. Tree Base Colors

      2:58
    • 6. Islands & Mountain Mist

      1:38
    • 7. Sort Trees & Rocks

      3:23
    • 8. Dark Values

      8:20
    • 9. Ocean Colors

      3:56
    • 10. Finishing Details

      3:54
    • 11. Gary's Palette 101

      9:04
    • 12. Masking 101

      22:25
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About This Class

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Forged from the creation of his 111 Public Television "How to Paint" episodes, Gary has perfected his popular step-by-step teaching method for watercolor . Rather than progress from an "easy" painting to a more difficult painting, Gary starts his students on "any given painting." Choose "the subject" (the painting) that you prefer, and Gary will walk you through its creation from start to finish.

It has been his experience that by breaking the watercolor painting process down into easy-to-follow steps, students can take on any of his painting compositions—thus progressing more rapidly. Gary’s proven teaching method will make you a better watercolor painter!

ALL SKILL LEVELS

In many ways, novices are at an advantage as they have not yet pre-learned any watercolor painting approaches. But more advanced painters usually benefit from Gary's many unique watercolor techniques as well.

Watercolor is considered the most versatile and challenging painting medium. It can seem, at times, to have a life of its own. Gary demonstrates how to take control of this dynamic medium by breaking it down into easy-to-follow steps.

Painting Image Size: 19" x 13" (on a 21" x 15" half sheet of watercolor paper)

This course has 34-minutes of video content AND, to help you achieve success, it includes numerous very helpful “Downloadable / Printable” Reference Materials.

Do read Gary's helpful "Beginning Notes" (downloadble/printable). And you are encouraged to post your progress to receive constructive feedback from both Gary and other artists. Most importantly, have fun!

19” x 13” Drawing Guide (in 4 parts to be taped together)
Masking Drawing Guide
COLOR Painting Printout
Palette Guide
Supply List

This course also includes 32-minutes of bonus video content:

Masking 101
Gary Palette 101

Meet Your Teacher

Teacher Profile Image

Gary Spetz NWS

Gary Spetz Watercolor Studio

Teacher

Through his award winning art, Gary Spetz attempts to enhance the viewer's appreciation of the colors, shapes and designs that surround us. Gary travels extensively in his quest to both collect painting materials and find new paths to explore. In truth, he enjoys the "going to" as much as the painting process, itself. As an avid outdoors enthusiast, he hikes, skis, sails, and kayaks through the landscapes that he films and paints.

Gary is a "Signature Member" of the National Watercolor Society. He is a graduate of the University of Minnesota who, over the years, has achieved numerous acceptances into the prestigious "Top 100" National Park painting collections of the National Park Academy of the Arts. He has also been featured in 98 national PBS television episodes (American P... See full profile

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Transcripts

1. Introduction: Hi, I'm Gary Spetz. I'm a signature member of the National watercolor society and the artist host of the long running public television series painting wild places. Watercolor painting can be a challenging art medium to learn. The interaction of wet paints on poorest paper can seem unruly at times is though it has a mind of its own. Watercolor painting is not for the squeamish, but it is in my humble opinion, the most rewarding art medium to work with. And my lessons, I will show you methods to team your watercolors. And like in my public television series, I'll break the painting process down into easy to follow step-by-step demonstrations. If you follow these steps, you'll be able to successfully complete this painting regardless of your experience. I've posted some handy downloadable printable resources that will help you with this lesson, such as a printout of the finished painting, a drawing guide in a suggested material list. It's all about the fun and the satisfaction of your painting and achievement. So let's get started. There's so little time and so much to paint. 2. Drawing, Layout, & Masking: I'll first mask the mountain snow shapes. This will preserve the white of the paper so that I can freely apply a watercolor wash over them. You can see that I'm using what I call a masking pik. You can also use a toothpick or any relatively sharp pointed object. Some artists will use a brush to do this, but I find them pick better for maintaining small intricate shapes. If you lose the details, you lose the mountain snow effect. Plus you can easily ruin a brush or the masking dries on it. Next, I will carefully laid 2-inch masking tape along the horizontal line that I had drawn. You can see this line staggers at the land mass on the right. I use a second strip of tape. Now I'm only trying to adhere the top half of the tape. The bottom half I lift so as to create a gutter of sorts. Once that's in place, I mask the visible portions of the fishing boat. The masking generally drives in minutes. 3. Sky Wash: With the painting board tilted about three inches forward and about three inches downhill towards the right, I'll saturate the paper above the tape line. Then with my 1.5 inch flat brush, our work in some Cerulean, letting it flow naturally on the wet tilted paper. For variety, I'll add some Ultramarine and some Burnt Sienna. Try not to work the colors into much. Let the wet paper do its thing, adjust the tilt if necessary. Then I'll add in some rows. I tested on the border first to make sure my brush is not too loaded with the Rose. It can be an overbearing color and is a stainer. It is difficult to lift or reduce. A little role is goes a long ways. Basically, I'm trying to create an interesting pattern, a mix of colors. No two skies will turn out the same. Now as a sky dries and begins to lose its sheen. I'll take a toothbrush and our flick on some water droplets. You want droplets, not a giant drop splash. You can see after I load the brush with water, dab it into a tissue to reduce the load. Were puddles form along the mountain masking. I'll take a small round brush to dry it in, left unattended, they can blossom back up into the sky and a not-so-good way. I still have a little bit of sheen on the paper, so I'll try flicking on some very diluted rolls with a toothbrush and some more water droplets. Timing is everything flicked on too soon. The droplets are diluted, flicked on too late. They don't create a texture pattern in the colors. When I have the look, I want, I lock it in with a blow dryer. 4. Mountain Colors: With the sky wash thoroughly dried, I'm now going to reward the mountain area with a water-loaded one inch flat brush. The board is tilted to inches forward and two inches downhill to the right. Now I'll come across with the water carefully following the upper mountain edge. I wet everything wet from the mountain top edge down to the masking tape. I'll stop what in when I reached the tree area. Then quickly, as the water dries fast, I'll begin working in some cobalt blue and rose, varying the mix as I move along. I like to let the colors mix on the wet paper. This is why it is helpful to have the board tilted. Gravity does the blending. Again, I'm only using two colors, cobalt blue and rose. And I'm still using a one-inch flat brush. I want to apply these colors fairly light, not too rich as they are in the distance. This will help provide the illusion of depth. They are just a little darker value than the sky. The goal is to get an interesting blend of colors. Where the mountain colors intersect with the trees, a watered down the edge. This will easily be covered up by the eventual darker tree colors. Once I've gone across, I have a little time to modify the blend if I see fit. But again, there is danger of overworking. Remember, often less is more while the mountain base colors is still wet. Our work in some cobalt green with a half inch flat brush. I'll tend to sweep the greens in from the bottom, allowing the top edge of the brush stroke to blend in with the mountain base colors. Also try to follow the contour of the mountain ridge lines. Again, a light value. I don't want the greens too dark. I'll add a little cobalt blue into some of the greens to give them some variety. Then I'll dry the colors. And once dry, I'll peel off the snow masking with a masking eraser. You can use your fingers to do the same thing, just not as easily. I'll feel with my fingers for any masking I may have missed. Then with a spray bottle of water, I'll saturate the sky and the mountains. Everything above the tape line. And with a toothbrush loaded with a lean mix of cerulean, I'll flick droplets of the paint onto the mountain area. This time I want this really into blend into the wet surface. I'm wanting to blur out the snow a bit, making it appear more distant. I want this to be subtle. The tilt of the board allows gravity to do the blending. Once I've got the blend, I'll dry everything. 5. Tree Base Colors: Like I did with the mountains before, pre wet the tree area with a water loaded one inch flat brush. But this time, rather than carefully follow the crude tree top pencil drawing a Paul the water upward, creating a jagged sawtooth pattern. I do this with the edge of the flat brush, so I can form narrower shapes quickly with my three-quarter inch flat brush, I'll work in some cobalt green, purposely farming a jaggedy, irregular sawtooth pattern of paint. Now I'll switch to a one-inch flat brush loaded with Thaler green, allowing it to blend into the previous screen. The board is tilted forward two inches by two inches downhill towards the right again. Quickly with a half inch flat brush, I'll work in a mix of burnt sienna and ultramarine blue into the ROC area. The burnt sienna actually climbs uphill into the greens, but that's okay as long as it's not too much and too overpowering. Again, I wanted to blend a bit with the greens above, given the impression that the rocks are receding into and under the green's. Still racing the clock, I grabbed my single out round brush and begin breaking up some of the tree top cone shapes. This is better done while they are still wet. So I move quickly. Sometimes I can move the wet greens that are on the paper that if need be, I'll pick up some more on the palate. Cobol green or yellow, green. The idea is to rough up or distort these unnatural cone shapes but quickly. And I jump around a bit when I do this, since the pants are drying on the paper, I don't want to have a different look on one end of the tree line from the other. The tree top shaping as crude that I'm purpose. I don't want to form perfect Christmas trees. I want irregular wild treetops. Plus there is simply no time to linger on any given Tree Town. This must be done quickly. Once you've roughed up all the tree top cons, dry them thoroughly. 6. Islands & Mountain Mist: Next I'll work in the distant islands. First with a three quarter inch flat brush loaded with cobol green. I'll work in a little cobalt blue to vary the green. With my quarter inch flat brush. Our work in the even more distant island with a bluer mix of the cobalt green. Then I'll dry them. Next using a scrubbing brush with water. I'll scrub and some clouds are missed in the mountains. I'll scrub sum, then lift with the tissue. I'll tend to connect with lighter or wider areas in the sky above, giving the impression that a sky haze or clouds are intermixed with the mountain tops. I wanna do this subtly, not too heavy handed. This can be overdone and it's not really reversible. I'll usually scrub some clouds are messed in, dense it back and assess what I've done before proceeding with more. And you may choose to not Scrum in any clouds. It depends on the look that you want to achieve and perhaps the patterns that are present in your sky wash. 7. Sort Trees & Rocks: Now I'll begin to sort my trees from this purposely flat depiction of them. I'll start this process with a lean, fairly watery mix of cobalt blue and a quarter inch flat brush. I'll over paint a single or group of trees with blue. Try not to create an obvious pattern. One tree, three trees, one tree, three trees. This is easier said than done as our brains are often predisposed to work in patterns, or at least minus. I'll tend to taper these shaded areas as I work down towards the rock colors. And I'll try to vary these tapered shapes too. You can see that this is beginning to give the flat forests shape the hint of depth. Then I'll jump down to the rocks with the same mix of cobalt blue in the same quarter inch flat brush. I want to begin sorting rock shapes. And I do this by creating hard edges. But when I create a hard edge, I tend to soften the opposing edge to suggest it is rounding into the rock. At this stage, I tried to think in the macro, focusing on the relatively large rock shapes. I'm purposely not working in the intricate cracks and crevices. Looking at this massive Brown, I tried to imagine rock shapes, which is a difficult concept to describe. Again, I paint very light shades into the rock base colors. Darker values will come later. And sometimes I create hard edges into the greens to suggest shaded areas underneath the tree bars, but above the top of the rocks. Basically, I tried to vary these sorting shade shapes. After I drive this step, I'll go back up to the shaded tree shapes and shade within the shade. This separates even the shaded trees. I'm still using a lean mix of cobalt blue, but this time with a smaller single out round brush. All of these shapes are done with hard edges on both sides of the shade shaped. And next with the Lean mix of Thaler blue and a quarter is flat brush. I'll shade the DOM Light Side of the lightest valued trees, the ones that had not been shaded with cobalt blue. This begins to provide another layer of complexity that suggests the trees are varying in depth. Again, it's important to do this with a light value. This should be subtle. A dark value would overpower the effect. The dark needs to be achieved and patient steps. While there's more sorting and shaping can be done, you can see that the original flat forests line of trees has been effectively broken up, suggesting that the forest has very in-depth. 8. Dark Values: Now while begin working in some darker shade details using a single art round brush and some fellow blue. I'll tend to shade the downward side of the trees, though not exclusively. And I tried to suggest that I am shading the underside of tree bars. These are frankly crude abstract renditions of trees. But in the aggregate in the hall, I think you'll find this technique effective. I'll jump down to the rock's essentially to do the same thing. I'll shade with cobalt blue. I'm going back up to the trees to complete the previous step of shading the dome light side of the lightest valued trees with Thaler green using a quarter-inch flat brush. And I'll go back to sorting some of the previously shaded tree areas with cobalt blue using a single art round brush, I tend to shade within previously shaded areas. Some shades, if you will. You can see little by little these trees are taking shape. Literally. Remember how flat these trees started as. I'll go back to the rocks of cobalt blue to shade within some of the previously shaded areas. I'll use various small brushes. I tried to refrain from doing too much detail. And with dark values, this can be easily over done. And I'll jump back to the tree. Here. I'm going back to the failover green down my tree sheet with my single out rhombus. You can see that I'm trying to fine tune both the tree and rock shapes gradually. Trying to keep in mind that often less is more. Restraint can sometimes be difficult in watercolor painting. Once I've dried the rocks and trees, I'll come in with some more dark details. First with the rocks. I'm using a richer mix of cobalt blue with a small single out round brush, trying to use some restraint is these details can be overdone. It this stage, I'll work in some cracks and crevices. That less is more slowly the rocks are taking shape. The gradual shading suggesting that they have varying depth. Now I'll do the same with the trees, but with fellow blue in a single out ROM brush. Again, I'm tending to apply the dark shades to the downward side of the trees, but not exclusively. I'm just giving hints that the tree shapes have bows, the shade underneath. Like the rocks, the trees are slowly, gradually taking shape. 9. Ocean Colors: After I removed the masking tape from the mountain in treelines are tip the painting board upside down, then apply new masking tape to the other horizontal pencil line. This is the line that will be closest to the bottom of the painting. That right now upside down is at the top. I'm going to carefully lay the tape on that line, then press it firmly into the paper. Now tip back right-side up or mass the lower portion of the fishing boat and its reflection. When I mask the boats reflection, I'll purposely distort the mask shapes a bit. Then I'll cover the sky with a rag to protect it and connect that Reg with the upper edge of the tape. With the painting board tilted about three inches downhill towards the right. I'll saturate with the spray bottle, the paper below the tape line. One saturated. I'll lift the protective rags so that I can see the colors in the sky. I want to mimic them somewhat in the ocean colors. First I'll work in some turquoise with a 1.5 inch flat brush. Then some Cyrillic and gravity is doing the blending and the wet tilted paper. I'll work in some burnt sienna to mimic the burnt sienna in the sky in some rows. First testing the richness of the roles on the tape border. Remember, a little rows can go a long way. I'll try not to overwork these colors. Letting the wet paper and gravity do most of the blending. And I'll manage the petals that formal on the boat and tape border with a thirsty brush. Since the ocean area is very wet, I have time to fine tune the color mix. Then I'll introduce the tree reflection colors primarily fail or green. Then some burnt sienna. Again, I'm just trying to mimic the colors above, not replicate them. With the ocean areas still wet but not saturated. I'll take a syringe loaded with water and begin working in a horizontal water line. It's important to hold the board at a steep sideways angle so that the syringe water will flow in a relatively straight horizontal line on the edge of this line will blend into the existing ocean colors. Though the blend lines harshness will depend on how wet the underlying paper and paint is. Make sure you tend to the puddles that form or the paint runs off. 10. Finishing Details: Once the painting has dried up, peel off the masking tape. Then I'll take a straight edge and draw away Klein from where the stern of the boat meets its reflection. Hobbes scraping this line, but the pencil line is added assurance that the line is straight. With a mask and eraser are removed the mask in on the boat and its reflection. Now with a straight edge and an exact or knife, a lightly scrape awake line in the calm water. Makes sure that you hold the straight edge tightly and make sure that you have the razors sharp edge away from your hand. This is actually a sideways scrape. I'll make the scrape more pronounced towards the boat and less pronounced away from the boat. A kneaded eraser will easily remove the pencil line, a painting the boats rigging with Payne's gray and a double lot round brush. Then tend to some of the boat details. If the boards white shapes need modifying, straightening, I'll scrape them back to the white of the paper with the exact ON IF. Then with a straight edge, I'll scrape and some of the boat regain lines. Some are scraping without the straight edge. And are also scrape and some distance seagulls following the boat. Another finishing detail is to scrape and some visible portions of tree trunks. I don't do all of the trees. And I'll pull some portions of visible branches as well. Once I have them all scraped ten, I'll take my double lot Ron brush and paint in a lean mix of Bron matter. If I debit the paint with a tissue right away, it will lift any excess paint that got on the greens outside of the trunk shape. Since the trunk is scraped in, the tissue, dab will not lift the trunk color. You might want to run in some horizontal water lines. For this particular line, I'll use a water loaded number 12, Ron brush, lightly brushed the wet bristles horizontally, then lift the paint with the tissue. And I'll clean up the edges of the stark white horizontal line with the exact ON knife. The illusion of these distant white water lines do in fact exist in nature. The final step would be to paint in the boat details and to scrape the distorted water along the whole line with the exact DO knife. 11. Gary's Palette 101: Everyone has their own way to do it in a pile and I don't use a lot of colors as you can see, but I'll explain what I do. And if you find that a value grade, if not, there's no hard and fast rule for doing what I do. But when I'm doing this all shown up good enough. Okay. And this is slightly different than what this what the handout and I'll explain what I changed, but it's very minor, but I like to put my blues in the corners. So up on this corner I have a Cyrillic. Can I have some goofy names on some of those colours on the handout, but I have the interpretation below to more generic names for the colors. So Cyrillic ion, which is often a sky color up here, cobalt blue, which is the colour, is this pointer showing up, okay? Okay. The cobalt blue is probably use more cobalt blue and yellow than anything but cobalt blue down here. The ultramarine blue here, and then the fail of Lu, really the primary bloom upon this corner. I mix all of my greens with what I would call it a transparent yellow x. So transparent yellow is probably the other color I use a lot up because I'm mixing my own greens. I call this cobalt Green. I don't know that's the official name. I just use it because I'm mixing blue. It'll cobalt blue with the yellow right here. That make sense. Okay? And here I'm, I'm, this is what I call ultramarine green because I'm using ultimately in blue and this transparent yellow dots appear yellow to get that. And then up here I call this Thaler green. I'm mixing a little blue with the transparent yellow to get that now, how green? I mean, Green is a relative color, right? It's ie, It's either a bluish green or it's what I call a y me Green. And I'm not that concerned about where it is. I just want to have a head start. It's green. And I'll explain that in a second. What I mean by that. The other colors on here, there is a lot less of yellow ochre, which is more of an opaque, as you can see. Almost more of a mustard yellow. Over here. I'm jumping, I'm, I'm using the turquoise. I think it's a turquoise. It goes by different names, but it's basically a turquoise blue color, turquoise green, although it doesn't look very green right there. This is, my rows are red. And here's Payne's gray and here's the burnt sienna. What I end up doing with some of these is between a common mix that I use is cobalt blue and roles and mountains for instance, that's a very common distant mountains. I want this sort of lavender ish blend. I'll use this, I'll use this. I try to keep these colors pristine, clean. I really try hard not to pollute these colors by sticking a dirty brush in them. I use, I'm holding this brush. This is just a favorite brush of mine, which you can see is not in good shape. But I use it for mixing colors and it's sort of a dedicated brush for that purpose, what I'll do is try to do all my mixing out here. Now when I'm doing common mixes, for instance, if I'm doing the cobalt blue a prism here, maybe I kinda clean the brush out. And then I'll do a little rows here, say, and I'll maybe mix the two of them together. If I was doing mountains, for instance, I might do that and it enables me to kinda can dip into the bluer part of this. I can dip into the more roles or the in-between. But whatever I do, I try to do out here. If it is a common mixed like this, what I'll do with the excess when I'm done because I like to be thrifty. You save on Page is I'll put it in between here. And I don't have any now because this is a new palette. But I'll, I'll end up getting a pool of the mix of these two. Another common mix that I use is the burnt sienna and the ultramarine blue. Often I'll do rocks with those two colors. So in this in-between, I'll often put the mixed well, I can draw up and save. I'll, I'll, I'll put here. Okay. Another thing that I like to do, and I'll, I'll, I use cobalt extensively for it's a nice layering color. Cobalt blue. I'm going to put some here. And as you can see, I have all my paints in a liquid form. I always keep them in a liquid form. It's difficult for me to quantify how liquid they are. Maybe I would say like a thick ink consistency. I don't let them dry. And what I'll do typically every day is I'll come around and I'll spray a little water in them and stir them up again. And again. I'm very careful when I start with these colors back that I'm using a clean brush, particularly for the yellow, that's the easiest one to pollute, you know, with a dirty brush. So if I'm mixing colors, stirring them, I'll do the first and maybe I'll jump to the greens and then clear the brush out really well. But I'd like to start with a liquid and then I put the cobalt blue on here. The nice thing about this, let me grab a real brush is that when you've got the blue, for instance, I can add some water and I can have the blew out here in various stages of richness, I'll call it. So I'll say that the paint is rich if it's got a lot of pigment and it's leaner if it's more watery. And you can actually go and get a little bit thicker mics here so that you can see it's very unhealthy, can tell that's very thick there. And if I add water, I can step at BEC. So depending on what I'm doing and that's not what I'm gonna do in this next step. But to illustrate, I like to have the ability to hear to maybe if I wanted older ritual, I'll draw from here. If I want a thinner, I'll draw from here. I look it. How do I say this? You can always thin the paint out. It's hard to make it thicker, Right? You don't want to be painting and say, oh jeez, I need some richer paint here. Well, you gotta take the toolbox and do that. So you want to lead these pools fairly rich so you can get to him quickly. If it's too thick, is that was probably for most things that I'd be doing. I can easily add water on here and thin it up. So I mean, that seems like a simple thing to say, but again, it's easy to thin paints out. It's difficult to thicken them quickly. And so many things you do in watercolor, once you wet the paper and you're doing things, the clock's ticking, you're working against time and humidity and gravity and things like that. So that's why I keep them all liquid. The other reason I keep them liquid is I like to use real rich vibrant washes on the paints. And if you work with dry paints, I think there's more of a tendency to paint light because you don't have that thick pool to reach into. So and I don't like the real pale and if that's what you like, that's fine, but I like really rich. So by doing these pools like this, that works pretty good. If you're not going to paint for a long time and I've been told that you're not supposed to do it, but I haven't noticed any problem doing it. I'll just take my pellet and stick it in the freezer and I'll let it freeze. And I've had no problem. But, you know, I've heard some people say you're not supposed to. Maybe it depends on the brand. I don't know. Okay. Yeah. A lot of these cannulate or shimmery. Yes, it's a movie. Now, are they going to harden up again? In theory, no. I would keep them way if i yeah. Yeah. So every morning, whether I'm here or at home, I would give him a little score to water cabinet for travel. All yeah. For traveling. It's not practical. You you've got to they're probably not going to dry enough for you, you know, anyway. So you, if you want to, if, if, if you're gonna try to save some safe, the more expensive ones like cobalt, I think is one of the expensive one and put it in a little jar is something that's the disadvantage. It's not great for that because it's because of that. Obviously, if you had a nice dry block, you can travel easy with that. But for the techniques that I do, I just worked with pools and I think the reasons will become more obvious as I do this. There's this make any sense. Okay, so again, I make them my own greens. I just like to have my blues in the corners for that reason. I know some people have their colors kinda lined up the way they are in the color wheel and that's fine, whatever works for you. But this is why I do this and I guess it just works for me. So I'm going to quickly move my pellet here. 12. Masking 101: Okay, so as you see, I just happen to have one that's already almost pretty mask dot. Not entirely hero. With masking. Please, please, please use some kind of a small container like this. Don't you don't want to define it here and use care with the masking to, if you would, to keep it away from the edge because this is the worst thing to get in the carpet. If we get this, If that happens, please tell us right away because the best thing to do is diluted with water right away. Because if you've worked with this, it's sort of like rubber cement. And so please use care within. And if you have a small container that you work, not only is it easier to kind of dip out of, but if it does get dumped, you can limit the amount as opposed to the whole bottle of it like this here. So I use such a thing like this. And I usually o masking things and I'll use these glasses on and I'll tell me if I put my head in there, you'll see that big bald spot if I lean forward. But I try to I try to stay back on here. And I'll I'll have a tissue in my I'm right-handed and my left hand and then I hold this in this hand also. Oh, and by the way, if you haven't worked with masking, you don't want to get your clothes either. Dad? That doesn't come out. I don't think actually, I can probably actually zoom in on this. You can see the snow here is drawn very faintly. I'll see if I can zoom in a little bit, right? Can you see the lines there? Is V01 is air. Alright, I'll use a pick to do this and I'll use this for a lot of fine things because it certainly is not wasted time. I'll spend a lot of time masking on things. It's not wasted time because you're getting detail. I mean, I'll mask out Snow, a mascot, boats, you know, a lot of man-made things often mask. I I just find it a handy tool because we're I'm not the fast, loose, spontaneous painter that will, you know, sit and work on these around. I like to mass because it controls shapes so that I can put in these face wash colors. And to me that's one of the great things a watercolor is getting these blends. So if I can control these shapes, I can then focus on getting the blends that I want. In this case, when I get to it, it'll be the blend in the mountains. It'll be this backwash for the base colors in the rocks. But I want the shapes and the mountain and well, let me just show you what I'll do is to pick then and then you can use a toothpick I, these things weave. Just a little easier to hold onto. I'll just come in here and you don't have to do it exactly. And in shapes like this, I don't know. I hope you can see what I'm doing here. I'm there. I this grab a shape. It may not be exactly the way that I'm doing it, but I'm trying to follow it and don't spend too much time on it with masking. If you mask the wrong area, let it dry, don't try to lift it, just let it dry and then when it dries, you can just peel it off and then do it the correct way. On the other hand, these drawings that I'm doing are not 100%. So, you know, there might be a shape that kinda goes role or that goal. You know, it's a sort of lose the lines. You might have to wing it. And some of them, I don't think it's so much on this one, but I think that the larger one I have, there's a couple of spots and if I remember them, I'll try to point them out. But, you know, the snow doesn't have to be exact and might be different the next day. So but on the other hand, if you can kinda keep it close to what it is, there's no harm in that because some similar patterns, I should say, more than some snow patterns are very recognizable, like maroon bells. You've all seen that picturesque postcard kind of seen it has a very distinct snow pattern in those mountains. So all of this come in here and kinda do this. Alright, so this, I think it's pretty straightforward, right? Masking is always drying. So often it'll dry along the edge. It hasn't done it here yet, but I'll come around here and maybe there's a little bit there and see all always kinda pick up some and then I'll pull it off on the tissue which isn't my hand there fits shown up. Ok. So that's kind of a constant thing that's going on. When I get to a larger shape like this one here, is that on the screen this ok. So what I'll do is, is the perimeter of that shape. And I'm not gonna do the whole thing here because take too long. I think you get the gist of it. Now often by the way, when I'm, when I'm demonstrating things repetitive like masking of this, Do it for awhile. And then I'll when I see you starting to doze off and I'll stop and let you do it. But then of course, if you want to see me do to something more, I'd be happy to keep doing it. So here's the scary part of masking to, So I would follow this and I'm just going to keep my head out of their NC, those lines. So if you, again, if you know, you're gonna do the masking right on the paper is I am doing with the snow and I will be doing that the tree is again, the lighter lines are better because you just need a heavy enough to see and then they're not going to be a problem for you later. You can see though mountain top as that shown up on the TV that yes. Okay. I did actually come back there, make it slightly darker, but I'm trying to be careful when I do that to really pull the pencil on there lightly because again, that when we finish this, when we get to using a kneaded eraser, a lot of it will rub off, but not all of it. So, you know, the, I guess lighter is better. That's a double-edged sword because if you do things like rocks to light, they can be hard to find. So I didn't say it was easy. Always. So did you already lift that with a kneaded eraser before, you know? No. Never erase that lightly. See, I yeah, I drew a really liked Never, never, ever, ever erase anything until the painting is completed because you're going to distort the paper. And then, for instance, if I had, you know, erase this line here. Now when I come in and put the wash or whatever I'm gonna do here, there'll be a blemish that'll, that'll show up. So you don't wanna do that. So save any erasing for the very end when everything's done. So here's the thing that I do that it's a little scary and I did it here. If I have a big shit, you know, shaped like this, I'll do it and then I'll put a big x. Or if you live in Anaconda, you can put an a mountain. You don't want to forget that. And that's why I put a little note on the top and x. In fact, it's even better to put something I don't know in your palate. You know, why did I put that there? Because all forget I'll forget it. You know. What's that therefore, let me think and then oh yeah, the x's because they're hard to deal with. Sometimes. If you go ahead and put your watch and here and then you've got this circle with an X in the middle. Now, you know, if you can remember the shapes that probably can be better. But figured out a way to remember it. Why am I saying this? I didn't say did. Because after I do all the intricate areas and I'll grab a cheap disposable, that one's broken, a cheap disposable paint brush like this one. And then I'll just fill in these easy shapes like that here in this case. Well, yes, absolutely, absolutely. Absolutely. Which which brings me to another point when you're doing these shapes and see I'm just going to fill this sense. I would have saved this step here for when I'm, you know, I have all these. Let's see. I think this one has several kinda big shapes. And then I'll just fill these in like that because it's fast. Now. Also with these brushes like this. And I hope you can see me, excuse me in and reach over here to my waist, your brisket op. And I'll try to get more life out of these because I'm really cheap. And there's another Gita, you know, if you spray them with water and I spray and the garbage cans with their bags here, you can kind of give them a little more life. I don't like to use good quality brushes for this. I know some people will say well, you know, if you dip it in soap and this, and that you need, you know, it'll be okay, but I think ultimately you're going to wreck your brush. I just maybe because I've done it. And, you know, you'll you'll forget it. And I don't think there's any reason to sacrifice. Have good brush. I use these cheapo is for that. Another thing, as I mentioned on the masking, particularly with the snow, is your masking around here. Sometimes because you're reading, it's like reading a map. You're going to use our mascara eye mask there. Sometimes it's easier to mask which you know, you know, if you see a shape you go, oh, I know that gets mask, mask those shapes and then the others will sort of make sense. Makes sense. Yeah, I do that a lot. I'll go I have no idea. I have no idea what's going on here. But I know that this is mass, so all mask that out. And then all of a sudden it, it seems like it falls into place more. But again, you know, if you mask will snow here, little snow there and it's, you know, it could be. I mean, I don't think you have to unless it's way off course, you know, I think I think you can have little latitude here on these snow shapes. Ok. So any questions on this? I just feel like my lines or too dark to start with. I think I should have used well, yeah. You know, you are going to have a wash on here, so it's probably going to be fine. And again, the kneaded eraser will lift some of that up to. But yeah, you do want to kind of keep a light if if you can on these and you'll have another opportunity on this larger one. Well, we'll be doing it again. Okay, so and then of course I'm masking right through these, what I call my sawtooth trees. And these trees are not going to be shaped as they are. I just sort of put those in as a general reference mask right through those. But we're not going to worry about the trees. And then when I get to these miniscule, Oh, yeah, yeah. Okay. Here's an example. Can you see that? It's going it's intersecting the tree top. That one I'm going to Mass grade through the tree for Ignore the trees, just do all the snow shapes. Because what we'll end up doing is putting a wash on the mountains and then at the same time, right after that rather, but in the same step, kind of putting a Washington for the colors on the rocks. And then we'll peel the masking off of the snow here. And of course, when we put the trees on, it'll go right over and through that. So the only thing we're masking right now. No, that's that's that's that's that is step one. But there's more. The more and here's what I do because here's the other thing. And I get so frustrated. I'm always trying to do. I like to kinda throw foliage in and I saw this really cool. And I, this was one of the problems that couple of weeks ago. I was, I saw this really cool composition where there's, there's an aspen tree with the goals and the, the, you know, the rest colors and whatnot. And it's against this kind of a dark, cloudy Northwest IT background scene with a mountain and the dark trees. And I thought, wow, and I like to throw the foliage. I think we did this last year, didn't we? We kind of through the foliage in on the tree and then you spray with the sprayer to kinda flare those shapes. Ok. And I thought man, that would that would rule agree. And if I could do that on top of this, I get that real wild look. Well, that's one of the problems of water comfort. You can't, you can't make goals in, in yellows and all those colors pop unless they have the paper behind them, it requires the vapor. So I've try well, this way of masking and that we have masking it in this way, a painting around it and everything I did it. It didn't give me that kind of look and it's I don't know, I'll still try to figure out some way to do it, but I couldn't do it because it's, it's often a problem. So in this case here, these need to be lighter and I'm going to mask them out to maintain these shapes. Now there's other ways of doing that. Of course you can, you can just paint around these shapes. But again, for the way that I'm gonna do the rocks here that's kinda hard. I wanna kinda get this blend and I've gotta maintain the white here. And in this case I'm going to have to maintain the white with hard edges because when you mask. You get these hard edges. So in this case, what I'm going to do with these tree shapes and I'm going to use, because ultimately this is all going to be mass this bottom, but the tops of it, I'd like them to be a little bit wild and that's not always, is this on the screen is it's not always easy. And you can do this with a brush. I just, I kinda like to do it with the, with this and almost come in here and see them kinda font from a tree top. And, and I'm going to try and I keep telling myself don't make a Christmas tree, don't make don't make it to form. And I can't, I don't want to entropy the edges here either. But I want to have an uneven edge and I'm in this when I use the knife that it just helps me do that. But I'm always fighting this. Well, I find random is difficult. You know, I think a lot of us, you know, you wanna do things sort of in a pattern necessarily the way that we're wired, at least I am and I find random Heart, which is one of the reasons I like throwing the trees like we gave because it's, it's sort of forces that into the awhile. So I'm gonna come in here and just sort of form these treetops. And I don't necessarily have anything. I'm using those cone shapes as a general area, but I'm but I'm trying, you know, I had some interest. Yeah, I'm just trying. I keep telling myself don't make a Christmas tree because you don't want to go the seesaw thing. So the trees are not always. I don't know. They're just just just try to make it what's the word? I'm trying to look for this direction. Try to do random. But yet I don't want it too intricate. It, it doesn't really work for this method. I don't want lots of holes and things here. Isn't going to work on this. You see what I'm saying? I don't want it to to to lacy. Okay. I'm just trying to get this outside so it's a little uneven. And, and again, you can do that with a brush. I disorder like to use the palette knife to get it down below this part. And then I'll use a cheap disposable brushed to fill in the other area here. And I don't even know if I'm in a okay. So do you see I have this kinda going on the tip here. I'm, I'm dipping this under here, decided like a pen quill kinda thing. Again, try not to get a 200 intricate. Yes. Try not to get it. Yeah. Trying to trying to avoid patterns and and sometimes I know and out and this will happen when I'm like shading the rocks and things that I have a hard time really articulating exactly what I'm doing. So to me, it's not always easy to words, but you get the gist of this, okay? And I'm gonna do the same with these here. You know, I'm going to come up here. Even though there's snow there, there's an intersection on these, and it's only this group and that group, these here are gonna be different and that we're not going to mask those. But this one, let me just come in here. Even though that's already got some snow on there, I'm still gonna hit that intersection. Just sort of kind of get a rough edge here. So I'll get these math and you get this one here. Here. Here's a longer edge that I have to kind of ride all the way down here. It's, I always kinda wanna do the Christmas tree T2. So it's, it's pretty hard not to do the CSF thing. So you're not masking the water? Yes, I am. But I can do that with a brush because those are simple lines, simple shapes. So in this case, I don't even have to worry about this edge because after I do these, is that okay? Then I'll come in with that. Was that one I just recycled here. Thank you. Yeah. This brush. And of course, you know, I'll just do all this. Of course, you know, fill that in and fill that shape it see the, Well, the first thing I would have done is go up here and do these x's. I would do that. So because that's just the first priority and then come down and fill this in. And then on the waterfall then C, These are nice Feizi lines to follow. So all this use of rush for that, because I'm going to take a razor blade ultimately on some of these edges to fine tune them. So, but this rockets you, I'd like to make a nice clean edge there. There's no reason to use the pick for this. And now you can see here it's going to intersect that tree, which this will all get mass, but right across. And then on the other side, I'll just kinda come in here and come around here. And this is the edge. It's gonna get related with a straight edge razor blade, which I have those for you guys to and I didn't think you wanted to fly with okay. And then down here, so I would fill this in, you know, fill fill all the waterfall area and there's just a little bit of the stream on here, I'll just mask out and this doesn't have to be exact is I'm going to come in at the razor blade, but maybe just carry a little white area across here, this sort of thing. And again, we'll, we'll fine tune that with a razor blade afterwards and have intersect will put little turquoise and Cyrillic and down here afterwards and then scrape that out. This will this be solid white? So this gets Mask. I'll put a big x. Good. I'll keep doing this while you guys are doing and that gets masked. And that gets masked. And of course this gets all mask. And of course so spots at this, this'll take a little time for sure. You will find that this goes pretty quick, actually the trees and then doing the big stuff. So even though there's more space here, it's kinda fast. You do want to kind of be careful when you're doing large spaces like this to make sure it's fully covering. Sometimes you can get these ridge lines that are really deep. I don't know if I'm getting inhale, see if I can do it. Just make sure it's covering. I don't know. Does that shown up? I do have ridges here. I think those are all free, but it's I don't know how to really explain. I if if you if you feel like you're seeing the paper through there when it dries, you might want to hit some of those because otherwise you're going to get a lot of these little lines go on holidays and yeah, yeah, yeah. Yeah. So and actually this is maybe kind of a course first for this, I think we have some other ones too that are smoother, but anyways, so that's at any any questions on this. How long does it take to dry? Not long. Not long because let's see. I just did didn't I do see those are dreaming is you can use a hairdryer. I don't think you'll have too though, because I think by the time you move down to here. Yeah. The other thing about masking and I was talking about this with someone earlier and not all masking or equal and I'm not the one that we use on us and that's the only good one. There's many good ones, that there's some bad ones too. So and I mentioned is somewhat very well. I don't know. I wish I remember that there was one. And again, as I was talking about that, I don't know if it was there, it was old or what, but it was this thing where you squeeze them asking out of a needle in a bottle. You know, it's kind of a neat idea, but the stuff didn't dry, really just gotten gone along. And they put all this time in the mountains and they can't rub it off and it was like it just smeared and it got worse and oh, it was a bad thing because it was sad because she had so much time into it. So, you know, if you haven't used the masking before that you use maybe sampled will piece, make sure that it dries so that you can, because it should just use my mask and racism and as soon as your finger if you wanted to. But you know, it should just pull up nicely. In fact, as I said, if you make a mistake, you just let it dry and then peel it off and then go back and do it. Yeah. Don't try to dab it up when it's damped because you'll smear. Yeah. And even if that happens, it'll dry and you can peel it off and the other thing, and this is not a concern right now. You could rural working on dry paper. But we will be maybe that, maybe not till that last painting, but it's worth mentioning now anyways, sometimes I'll mask over paint and that's fine. But you've gotta make sure it's bone dry. Because if you put masking on paper that has any moisture in it, of course, this watercolour papers like a sponge and it can actually kind of soak in a little bit and you can actually tear the paper. And that's another thing you know, make sure you're masking if, if if you haven't used it, that it is the types that'll come up. There's some that I've seen and sometimes it's probably not a great idea to lead the masking on forever. I don't know the answer of when that is, but I think that it can kind of set up, you know, any plastic material, rubber kinda. I think it might get worse. Here's two. Well, it might even stay in the paper underneath to so I wouldn't leave masking on for months anyways.