Painting Watercolor on Wrinkled Paper for Beginners | Denise McGill | Skillshare

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Painting Watercolor on Wrinkled Paper for Beginners

teacher avatar Denise McGill, Paintdrips

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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

18 Lessons (1h 56m)
    • 1. Intro to Painting Watercolor on Wrinkled Paper

    • 2. Samples of this Technique

    • 3. Good Reference Photos

    • 4. Materials for Watercolor

    • 5. Drawing the Bird on Paper

    • 6. Wetting and Wrinkling the Bird Drawing

    • 7. Painting the Blue Background on the Bird

    • 8. Bird With Yellow Background Part 1

    • 9. Bird With Yellow Background Part 2

    • 10. Main Subject Bird Blue Background Part 1

    • 11. Drawing the Rose on Watercolor Paper

    • 12. Wetting and Wrinkling the Rose Drawing

    • 13. Painting the Background for the Rose

    • 14. Painting the Background for the Rose Part 2

    • 15. Painting the Rose Part 1

    • 16. Painting the Rose Part 2

    • 17. Painting the Rose Part 3

    • 18. Wrap up

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About This Class

Painting Watercolor on Wrinkled Paper for Beginners


In this class, I cover some basic techniques that will help you get started with watercolors and why wrinkled paper. You will learn my simple way of creating fabulous background textures by capitalizing on the wrinkled paper technique, adding shadows and my tips on how to layer color so that you can make colors deeper and richer.


This class is ideal for beginners or anyone who really wants to delve into some different texture techniques. You'll just need your watercolor paints, watercolor paper, a couple of round brushes and a mop brush, water, and a towel.


I keep the project simple for the beginner by using large simple shapes and concentrating on the shadows and form to give a realism so often lost in watercolor. The classes in this series are designed to stand-alone or to be watched with other watercolor instruction. Your choice.


So what are you waiting for? Grab your supplies, and let's get started :)

Meet Your Teacher

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Denise McGill



Hello, I'm Denise.  I've been doing art since I was a little girl and teaching art to children and senior citizens for about 30 years.  I'm looking forward to continuing that trend now online.  My favorite genre of art is the illustration for children and children's books.  I suppose I never really grew up.  I like to work in many media: watercolor, oil, digital illustration, and collage. Join me.

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Fine Art Creative

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1. Intro to Painting Watercolor on Wrinkled Paper: Greetings, my friends, this is Denise McGill, and I'd like you to join me for this new class. It's an introduction to painting watercolor on wrinkled paper. For beginners. This is a fun and different kind of technique that is used by beginners and advanced painters. I start with a photo reference like a little bird or, um, flower. And then once we draw it onto the paper, we're going to get out or water colors. I show you all my materials that I like to use, and then we wrinkle up the paper. That's the exciting part. Once we've drawn it on and we wrinkle the paper, we're going to immediately start painting. And this is so much fun. It's used by Children. I've used this with the elderly. It makes a terrific background, and then once we paint the main subject, you will be surprised how interesting the the folds reveal its own background, its own texture. It's a lot easier than it looks, and it's versatile for so many different kinds of subjects. I use different colors for the background on my project so that I can show you it works with just about any color you want to use. So if you're ready, come along with me and join me for this really fun, exciting class. I hope you do the project with me and we'll have lots of fun. 2. Samples of this Technique: Greetings, everyone, This is Denise McGill with Denise is dancing paintbrush, and I sometimes go by paint drips. I've recently completed a master's degree in Children's book illustration, and I've been teaching art and art related subjects for over 30 years to adults and Children. And today I am introducing here my painting watercolor on wrinkled paper. I've been doing thisted technique for many years, and I've really enjoyed it. It creates this beautiful effect for the background, and so I am going to show a few samples of my work and what I've done before. I like it, especially for flowers. I've done it many times for other things as well, but I started with flowers. I thought that, um it was very uncontrolled because you used a lot of water in the beginning. But later I began to really get the hang of having the control over of the background and the main subject. I've won many awards and sold many of my pieces received commissions to do angel portrait's and personal projects as well. I've received royalties from a number of sites, like Society six. With these very water color images, you'll be amazed how easy this process is and how, um, automatic the background creates itself. This picture is sort of unusual. I took the photograph, the reference photo at one of those hardware stores that sells potted plants outside, and I realized those people don't know how to spell. These are prim Rose is not Prime Ross's. So when I painted it, I left it. Execs exactly a zit waas probably shouldn't have people think. I don't know how to spell these air Those Rembrandt tulips with the ruffled edges. I think they're so beautiful and watercolor makes some very brilliant. After spending a couple of years just painting flowers. Using this technique, I switched over to painting Children as angels. I thought it looked already like the church window with that wrinkled paper background that it was perfect for little angels. It was at a friend's house with this little guy, and he kept pointing at the lamp. I thought it was so sweet. I've used this technique for Children's classes as well, having them draw something very simple, like a daisy, and then wrinkling up their paper, which they thought was very funny and fun, and then painting the background and waiting for it to dry and coming back and painting the rest. It's amazing how sharp you can get details, even using watercolor and wrinkled paper. But it still adds to the overall effect to have the paper all wrinkled and bumpy. So that's just a little of my work. I hope you find this fun and fascinating and use it for your own artwork. After we finish this class, grab your paintbrushes and materials and come along and paint this with me, using a simple subject for your very first project, you will love it. 3. Good Reference Photos: so it's worth saying a few words about photo references. I'm one of those sticklers for a good photo reference. I usually use photo references for all of my work, especially ones that I've taken myself there. Good photos and bad photos. A bad photo would be one that's taken with a flash that has no riel shadows anymore. This one was taken at a farmer's market, and you can see there's good shadows. One light source, the sun and it would be better. But they're just well, too many of them. It's too crowded. This is When I took myself, I set up a little scene and put one light source on it from a lighting tree and a black background for the photo. You can get good photos from certain places you have to look and make sure you have a good shadows coming from one light source. This one was one that I am using for my reference from a mork file. This one is one I took myself, and it had a good sunlight. Um, and I took several of the same rose bush. It was in front of a store in a parking lot, one of those little green patches, but I like this one the best. And I ended up using this photo for my flower picture but was taken by professional photo studios. There just is bad to draw from. They are flattened, lifeless because they use too many light sources, usually three soft lights from different directions. And it just blows out all of the good shadows that you need to get around three dimensional form. You have to be very picky when you pick your photos from places like picks, Obey or Mork file to get good shadows, along with good highlights and one light source. If possible, find the best photo for your subject with with one light source on open window alighting tree. Don't expect that an overhead light will do the job because they're usually tungsten there to yellow, and it gives too much light on the top of your subject in harsh shadows underneath the eyes and under the nose in. So you wanted a light from an angle. That's the best are quote is from Matisse. There is nothing more difficult for a truly creative painter than to paint a rose, because before you can do so, he must first forget all the roses that were ever painted 4. Materials for Watercolor: Okay, Now we're going to address the materials. This is a regular water color project. So you want to use water colors? I like that. The water colors that Aaron tubes. These are some Grumbach. Er, um, some old some who, Um, some Windsor and Newton. I think Windsor Newton, Cotman. Siri's is my favorite, but often I'll get, uh, Grumbach or given his gifts. And they're beautiful colors, too. Choose the palette of your choice. You can get the plastic pallets, but I like using glass because the glasses. So, um, ecologically friendly. It's not going toe, you know, last couple 1000 years in a landfill. Um, and why not? So I put a little dab of color. You do not need much in one class I taught, um, a gentleman went out about all the tubes of paint that I recommend. It got a large plastic pallet and squeezed out every last drop onto his plastic pallet from every last tube. That is not a good idea. The problem is, some of the colors will crumble with age. So you're just one. Put a little dab out there just as much as you think you're going to use you should get a pair of pliers because sometimes the tubes need a little help being, um, pried from the lid. It tends to kind of glue itself shut with age, so there's some of my colors and I will go through each of them. I like Teoh. Put them out in kind of a rainbow. I have an Indian, read a Grumbach or read a lizard in crimson, my favorite permanent rose for the pink cadmium, orange hue and cadmium yellow and lemon yellow. Which is, Ah, Windsor Newton. Ah, hooker green dark and a hooker green light. And sometimes I'll use an earth green yellow Oakar, burnt umber burnt sienna for our earth tones. And then for the blues. Well, for the black, I've got lamp black, but my favorite is indigo. It's a blue black, and, um, that lamp black won't open. There we go. Let Black is literally made from soot, so it's a really ugly black for the blues. I've got a well, diocesan and violet oppression blue, cerulean blue and ultra marine blue, and I think I might even have a little bit of intense blue. Get yourself a towel. A paper towel will work, but I like to have a cloth towel and your brushes. I've got 1/2 inch mop brush. She wants something very water absorbent, a small number four round on an a medium round and eight or 12. And I also used 1/2 inch flat for my project. I love to pet the brushes. They're so soft, these air, all synthetic brushes. You also need a jar for water. And so our quote is setting goals is the first step in turning the invisible into visible. 5. Drawing the Bird on Paper: we are now ready to draw on the paper. I am drawing a simple little bird using a photo reverence that I got from picks obey, which I will link. Um, in the description I'm drawing on a student grade £80 watercolor paper. It is got a simple tooth to it and will do just fine. I'm using a regular number two pencil and a white vinyl eraser to erase. And I picked this bird because it's got very simple shapes. Very round simple shape for the I a little triangle for the beak, and you should pick some simple subject for your project. It can be, um, a piece of fruit, if you would prefer or a simple flower. But for this I'm drawing a bird, and I am drawing him twice. I want to different backgrounds to show you that the background actually makes a difference and that you can put any background colors that you want around your subject. Using this technique, the bird is just my focal point. The wrinkled paper is going to create the background for me, so all you want is your main subject, and you're going to draw it in Uh, rather lightly, but not too light, because when you wet the paper and wrinkle it, it will obliterate some of the pencil lines. So sketch it in so that you can see it. I'm not too worried about realistic accuracy. I think I'm making the bird a little fatter than he is in the photograph. But that's perfectly OK. This is not supposed to be photographically perfect. Nothing is perfect but close. I wanted it to be very close to a riel looking little bird, and then I'm going to put in, um, just a light line for where the tree branch is, and that will be all I need to draw there. It is very simple, and it's all done. The quote for the day, Um, art is like a border of flowers along the course of civilization. So true 6. Wetting and Wrinkling the Bird Drawing: Okay. And now, once you've drawn the little bird, I am ready to wet the paper and wrinkle it. So I take it over to the sink and here we are. Here's my little bird. I'm gonna do this twice with the bird, but only show it in this one video because I wanted to different backgrounds. So I'm doing the bird with a blue background and a yellow background in one. Wet it thoroughly on both sides. Make sure it's completely wet. You don't need to soak it for any long amount of time. Let it driven of finish. It's dripping, and then you're watching it up like you're about ready to throw it away. You wanna want it very tightly. The more wrinkles better pounded, if you must, and there we have it is ready to unwrap and paint. This is part that makes everybody cringe, and our quote is it does not matter how badly paint as long as you don't paint badly like other people 7. Painting the Blue Background on the Bird: okay, so that now that we have wedded the paper and wrinkled it, we're going to paint the background on the little bird very carefully. You want to unload the paper? Remember, It is wet paper and can be easily torn now, so you kind of spread it out, flatten it a little bit with your hands and get your paint out. Because now you were going to immediately on the wet, wrinkled paper paint in the background. On this, when I am painting a blue background behind my bird, I've decided I want to different birds to different backgrounds, to see how their look blue for one and a yellow background for the other. So I've got some fresh water. I've got my mop brush in my towel, and now I'm ready to begin the paper. Once you've wrinkled it and wet it, it is essentially bruised. You've bruised the paper, and the paint will then soak in two and get darker in all the wrinkle bruised spots. And this is what creates the really magic stained glass look. The effect that we're going for, it's it's going to stay wet for a good long time because you wet it through on both sides, so you don't have to really rush. I like to use more than one color so you can see I'm using an ultra marine blue and a little bit of cobalt boo blue. But I'm also adding my dad housing purple and our violet and I like the two together, and I like to make them a little splotchy so that the background is not all one flat color light doesn't work that way. It never is flat. It's variegated. Light is lighter in some places and darker and others. So if you very gate the colors, if you use more than one, you'll have a very exciting, a dramatic, um, kind of ah uh, background. Not, you can see I went over the line a little bit there because I didn't see it. The pencil line gets really faint when you get it this wet, and this wrangled. But don't worry. It actually adds to the overall effect. Plus, as you're painting, you'll find that the paint will bleed into your main subject little more than you want to sometimes. But that's not a big problem. It's not a big deal. Um, just go with it. It's making its own creative background thing going on so very carefully I'm going to try and paint around my pencil lines. But I'm not worried about going over the lines in any of the places. Um, I like Teoh even go back and add a little bit of darker color in places. More, uh, more brightness. More, uh, variegated colors, A little more purple in places. I think I even add a little red and pink and a couple places, whatever you like, go with it. This is fun. Enjoy. And you see the magic that happens right away. You get all of this lovely, cracked a glass. Look, we have to wait until the whole paper is completely dry before adding color onto our main subject. So we're only going to focus on the background right now and then. Sometimes I'll leave my paper overnight to dry because it is good and wet. Right now, my paints a little dry, so I kind of describe it. This is one of those happy accident kind of paintings where it's just going to make these fabulous, cool things. Later on, you will see that I decided I want a little more darkness, a little more rich color behind the bird. And so, after it's dry, I go back and add another layer of blue on even into go blue, almost black, into the background behind the birds. So the bird stands forward a little bit more, little better. That's up to you. It's you're painting. Enjoy. You can leave it light. You can make it darker. You can add layers of color. That's what I like doing is adding layers in adding mawr paint even after it's dried a little bit. See, I added a little. That's, um, pink. It's, uh, what's it called Permanent Rose in the Windsor and Newton colors. So I just add a little splotches of pink into my sky, my background stained glass, and it will bleed and blend on its own mix. This magical thing, a happy accident. Now I'm going to the, um, yellow Oakar and adding a little bit of that again. It'll blend in so much, barely even noticed that it's there, and yet it adds to the whole effect. So here is our quote. If painting works so difficult, it wouldn't be fun. Edgar Degas 8. Bird With Yellow Background Part 1: Okay, So finally, we're ready to paint the main subject of our project. And in my case, son painting the little bird. My background is completely dry. I let it dry overnight. You can see it's wrinkled all the way through. Interesting thing is, when you're using darker colors, you can see where the paint is virtually seeped through onto the other side of the paper not very far, but a little bit enough to be seen. And now you can begin painting your main subject. I'm starting with the tree branch, but you can start anywhere. I'm mixing a little brown with blue to make it quite dark. I wanted ah, almost black. Ah, signed shadow on this branch. Um, the challenge is painting in all the little hills and valleys on your wrinkled paper. You have to maneuver around that and pretend they're not even there. And when the paper is completely dry, that's easier to dio. Um, then you would think actually, and it's a little bit of a challenge, but that adds to the fun of the whole painting. Um, there's a little control, uh, needed and extra water. I think sometimes to get through all the little, the nooks and the crannies that the wrinkled paper has made. Some people think it's best to press the paper at this point, and I don't know, um, to press or not depressed. Sometimes I agree on sometimes I don't. I have done it both ways and, well, it doesn't make that big a difference. You still have to go around all these little hills and valleys even when you've pressed your paper. The best way to presses Teoh to put something heavy on top of the paper on top of the dried paper, like several stacks of books or, um, sandwich your paper between pieces of cardboard and then put something heavy like bricks on top. But I just wait until I'm completely finished with the project and put it in my portfolio, sandwiched between all the other papers I already have in there. And it flattens nicely now, even here where I'm working wet on dry. I like to work in layers, so this right here is my first layer of the background color. Now, as she can probably tell at this point, I've done two of these little birds, one with the dark blue background and one with this light yellow and green background to see how the background affects the subject matter and it does. It affects it. But later on, you're going to see that the bird being slightly yellow and blue, um, is almost the same value as this yellow background, and it just doesn't stand out any more. It, my focal point, is lost, and so I'm gonna have to go back and add a little more dark color to my background. But I'm going to do that later, after this first layer of my little bird is dry and you can see my brush, I'm using a flat. It's 1/2 inch flat. Sometimes I'll use a large around a 14 round. But in this case, I felt like the branch and everything called for Ah, larger brush. And so I used my flat. This is also a synthetic. It's a Windsor and Newton. Leave your whites wherever they're going to be. You cannot get the white back if you don't leave it. It's the color of the paper. There's no riel, white water color. They make a whitewash, but it's not the same thing. It looks cloudy and muddy um, it will never It will never substitute the white of the paper. So you have to block out ahead where you're gonna leave that, um, especially for this little subject. I want him to have a white speck in the eye. So when I get to the I, I'm going to paint around that little white spot very carefully. I'm also leaving white on the tree branch. As you can see from my photo reference, there is a lot of white from sunlight on that tree branch. I'm adding a little violet to my brown and blue mixture to give variation. There's nothing worse than having just flat color all the same color all the way down. Light does not work that way. Light changes. It varies it. It's brighter and one place in not as bright in the next, and even when it's the same sunlight from the same light source. Um, the light changes. Okay, so my first layer is dry and see. I have come back now with another layer on top, and because watercolor is translucent, you can see the light right through it. Everything I put on in the first layer is still going to be visible even through the second layer of color. That's what I love about water color. You can see everything you've done through all the layers, no matter how many layers you put on. So I'm building up the shadow on my little bird. I can see right away that it's going to need more shadow to make it round three dimensional and stand out from the background. And even after I did all that, I could tell the backgrounds just to light to make the bird stand out against it. So I'm using a oh cadmium orange to get this bright, orangey yellow and a little brown in the shadows. I go very carefully on the brown because too much brown just makes things look dead, um, or flat, even something very ascii, um charcoal even about brown. So its almost better to mix other colors to make your browns and your blacks than it is to use brown by itself. You see, I go over certain places to make them lighter with water, and I'm wiping it off with the brush someone at that spot right next to the I to be lighter , and I had already put some Dr Yellow and brown there you can while it's still wet. Pull color Back off if you're If you're quick enough, it'll come up and but seem way when we proved bruised The paper like this, we've created a situation where the paint soaks into the paper better than it ever did before. We've removed some of the sizing that is on the paper when you buy it. That allows the water color to sit on the surface rather than just soak all the way through the paper. Now that we've bruised it, that won't That won't be the case. Your your paint will soak into the paper and won't come off as easily as it would if you were just painting directly on a flat sheet of £140 regular watercolor paper. I'm putting in my shadows as much as I can still want the bird to be fairly light in color and value, So putting in shadows is a layering process, definitely don't want to put in too much, but I also have to remember what color drives much lighter, 25% lighter than you put it on. Still, I like to build up layers so that if it's not dark and if I can add another layer, and if it's too dark pulling it back off, that's not really an option. See, now the birds looking more around, standing out a little better. But still I can see I don't like that background. It's just not not giving the little bird enough pop. I'm using a cerulean blue for the bird's head and the birds will belly and I'm switching to a smaller brush. This is my number four round, and now we're going to do the I amusing into Go, Not not the black. The lamp black is made with soot scraped from lamps, quite literally, and it is just to lifeless a color for a living thing. Into Go is a dark, dark blue, almost black, that it has more life to it, somehow more light and color. So it's a better black. I'm using the same into go for the underside of the beak and that little nostril that's on the beak. I don't like to pause in. Just take in the overall look, even without doing the feet I can tell the shadows aren't making the bird come forward far enough. It's a little more of the joker and brown on the back of the bird on the wing and a ton to put in the feet. Sometimes I'll go back many times is five to put the layers color on a on a subject. It gives me the buildup of shadows that I that I want without having to lay dark, flat color on all it wants and watercolor allows you to do that. Which is really fascinating if you don't scrap on the paper to pull up the layer that was underneath but just layered lay like a blanket, the next color on top of it. It works perfectly, so I'm liking a little bird. I think it's coming out quite nicely, and here's where I decide. That's it. No getting around it. I'm gonna put a darker blue green around the bird to give me a deeper, darker background to make the bird come forward. And this is the same. Is layering the color on the bird. You're just layering another layer on top of the background, and the first layer shows through nicely. I have to use plenty of water to make sure that it will blend in with what was already there. It's amusing. A a dark blue um, which blue did I use? I think I used the, um, Prussian Blue because it gives me a deep, dark, forced blue green and just putting that one little bit, you can see suddenly the edge of the little bird, the the top edge is popping forward much better, and even the branch looks like it's standing out better where before you could barely tell where one ended in. The other began, So I think this worked out well. I'm having to do this on my little project will show you. And when you're doing your project that it's okay to make changes in your background. Even after your paper has already dried and you've already decided on the subject, you've already begun painting. You can still make changes. Nothing's written in stone, even in water color. And even if you feel that it's not turning out quite right, go ahead and finish it. You be surprised how the finished product changes. After it dries, hear about it A little of the yellow Oakar to my blue and my green. The thing about yellow Oakar is. It's not as transparent as the rest of the colors. It's semi transparent, and it will cover a little bit more of what you're doing. Then the other colors will that one at the, um so really in blue, his semi transparent as well. So to make both sides match and putting some more blue green on this shadowed side of the tree trunk as well. I don't really need it there, but I want the with the whole overall background to match, of course, so making at a tad lighter and using more water. Lots more water. Okay, so it's time for an art joke. An artist called up his gallery and said, So how are my paintings doing? The gallery owner says, Well, I've got good news and bad news, the artist says. Give me the good news and the gallery owner says, Well, yesterday a man came into the gallery and asked if your paintings were the kind that get more valuable after you die. And I assured him they were. So he bought every single painting I had on the walls. All 12 on. The artist says. That's wonderful news. Look at the bad news be on the gallery Owner says Wait for it. But the man was your doctor. Well, that is bad news. So we're nearly finished. You can see that little space there between the tree trunk and the little birds, body and leg. I have to fill that in its well, Can't forget that spot and C Suddenly that little bird pops forward. He looks much better. That's going to work really well, believe it or not, I am not finished with a little bird. I'm going to do another layer of color. Onda, um, more detail on the tree trunk. But that will be in the next part because it would be way too long if I drive to squeeze it in here. He needs to cast a shadow or he won't help Foreman. Substance depth. Say I'm liking this much, much better. The yellow was pretty, but the blue and yellow and green out of much better depth and bring the little subject forward much better. So time for our quote. Art flourishes where there is a sense of adventure. Alfred North Whitehead 9. Bird With Yellow Background Part 2: Okay, so we are ready now to do the second part of this little bird with the yellow Brat background, and this is going to be the final layers that I'm putting onto this little bird. I just want to deepen some of the golds on on his throat, some of the blues to add extra to the shadows in the tree branch and the shadows on the birds, chest and feet. So from here, it's just it's nothing more than adding a few more details in deepening in my my color. Seeing Sam even deepening the indigo in Hiss, I and, um, the biggest will more gold, more yellow. This gold color is the cadmium orange. It's it's quite orange. It's almost almost read so orange. It's surprising how many details that you can get in on a paper that sprinkled this badly, but it holds quite a lot of detail, as any watercolor paper will and as many layers as you would like to put on it, you can continue adding detail and layers of color that's exists from some of my examples, some of my sample pictures that I have done. I've even done Portrait's of Children that I had made into angels and, um flowers. And I think I've even done some landscapes and grapes with this particular technique. I love the way it makes flowers look, especially because it it it adds a three dimensional look with that extra background texture. So it's time for a joke. I love art jokes. One of my favorite things. If a red house is made out of red bricks and a brown house is made out of brown bricks and an orange house is made out of orange bricks. What is a greenhouse made out of glass greenhouses? Air made out of glass? It's It's a shameless colored chalk, more blue and brown, almost black, in my, uh, shadows on my tree trunk. I always like to deep in the shadows, I believe that it adds to the a three dimensional aspect to get a really deep, dark fifth value, the first value being almost pure white, the fifth value being almost pure black. But I've I've got a problem with riel black, mainly because black true black is Thea, since of all light. If the lights are on, nothing is truly black. Even black hair has a little bit of blue in it. And and so with the tree trunk. If it looks black, it's on Lee Relative. It's not really. It's probably a combination of browns and blues and not really black. - So it's nearly finished now, and I'm just putting the tiniest bit of texture and lines and, uh, cracks and things on the Trey branch. I think that the bird is just about there. I hope you're following along with me with your own project, because this part is really fun. When you finally get it to the end and it's starting to take shape, it's It's amazing how cool the textures look together. How detailed your main subject can actually get has this wrinkled paper, and that's just about it. There it is. I took a photo of it in some natural light, and you can see there's a lot of wrinkles. The bird stands out fairly well with that extra layer of a dark added to the background, and we're all done. I hope you enjoy doing the little bird project. This is the one with the yellow background, and we still have the one with the blue background and the roads 10. Main Subject Bird Blue Background Part 1: Okay. And now we're ready to paint the little bird main subject on the blue background papers completely dry. And I'm ready to begin, like I did with the one on the yellow background. I'm painting in layers. So this will just be the very first layer on the blue background. Ah, bird. I like to start light and then work up to my deeper shadows. It just works out the best. That way, if I want to change my mind, I certainly can. Um, you'll see where the blue went right into my little bird there. And you see, I'm trying to pull some of it up. But of course, I've bruised the paper enough that it won't all pull up, but it will add to the overall effect of the stained glass. Look on this little bird. And so you, when this happens to you, learn to live with it. It adds to the effect. It really is not going to be ruined when you see that. Um and I thought that the first time I painted this particular kind of technique, I thought, Oh, no, this is horrible. I've ruined it and went ahead and I painted it anyway and was surprised at the overall look and feel. It really added to the effect rather than take away from my main subject. Here's my little bird reference. I got this little bird from picks Obey. It's one of those free photo sites which I will link Teoh our class something. If you want to go and look for some good photo references, you confined them there. I think Picks obey is a very nice place where amateur photographers do a really lovely job of providing good photos for painters to work from. Just like before. I'm using my cadmium yellow or cadmium orange. Oh, I think both can't me and yellow and orange for the throat on the little bird. I also have a live in yellow in the Windsor and Newton. I think the cadmium zehr, Grumbach er and, um using a little bit of ultra marine on his beak where in the other one I think I used this cerulean blue on his beak. Doesn't matter. It's up to you. Use what color you like on this particular one. I am using my 14 round. I think the flat works better than the round for these large background hearts. So this first layer is going to take a little while. And so it's time for an artichoke if you throw a yellow shoe in tow, read, See? What do you get? You get a wet shoe. The Red Sea is a real place. I'm sorry. I I liked by her jokes. Alright. How about this one? Did you hear about the cartoonist? That was that was found dead in his home. The details are sketchy. The officials couldn't draw any conclusions. It's a sad his life was erased. I know. That's just horrible. Okay, I'm on artist with a more been since few. Okay, Back to serious art here. Hey. Oh, okay. Can amusing Brown, which by itself looks yeah, kind of flat. And I'm going to end up using the, um, oppression blue mixed with the brown to make it much deeper and darker. Gives it almost a black feel without using black. Black has always been a very flat, lifeless color kind of chalky, and, um, and it's because of what they made black out of. In some cases, they use suit. Lamp black is made from suit. I've read Block is made from burnt, charred ivory. Um, there's another black what is in? I can't think of it, But all of the blacks are basically ashes made from ashes, and there's something quite lifeless about ashes. So the best blacks are made from mixing your brown and blue that makes a nice black violet and a little yellow Oakar making interesting black ish kind of purple lee black. My favorite, though, is in to go. I like to use indigo cause it's a blue black. It's very, very deep and yet not too dark. So the quote today your teachers opened the door, but you must enter by yourself. 11. Drawing the Rose on Watercolor Paper: Okay, Now that you have picked your subject, I, um I am ready to draw my rose. I've suggested that you pick a flower that's more simplistic on this one. And using 100 and £40 watercolor paper cold press, you can choose watercolor paper if you want, but remember when you wrinkle it, but when you wet it, wrinkle it. It will have fewer hills and valleys and wrinkles that are visible than a lighter weight paper. The little bird I drew on £80 student grade paper, and this is a professional cold press paper. Ah, £140 so it won't have as many wrinkles, and you'll be able to see later when we're working on it. I'm drawing directly from the photo reference, just sketching it out with a regular pencil. Um, for the from the dollar stores and number two pencil putting in two leaves. That's all I feel like I need because the rest is all background green or it will be. I like to start around the middle and then, um, build my pedals from there. Notice that it's off center. I've planned it and prepared it to be just that way so that the focal point will have more interest. You put your flower dead center in the paper, and it will not have as much interest and charm. It will look boring. There's something very, um, artistically sound about having your focal point just off centre say, draw a tick tack toe grid and any of the four points where the lines cross would be a good place to put your your key focal point. In this case, the center of my flower is at the top right hand. Ah, top left hand cross point. My paper is about, I think, 14 by 12. I forget I good measure or 12 by 18. Don't pick something that's so small that you will have a hard time painting Any details on um, 8.5 by 11 is just too small, so pick up a piece of paper that's slightly larger. 12 by 14 12 by 18. Even nine by 12 is better than just a regular photocopy, um, size paper. And as you can see, I'm just drawing. I'm sketching in my pencil lines just visible enough that I can see them, but they will also be very faded once we went this paper and wrinkle it bi erasure. There is a well used ah white vinyl eraser. I like the white vinyl. I think it leaves less eraser pebbles than a pink eraser does. And it works for me. My drawing doesn't have to be exact. I'm not worried about it being perfect. Just close. Remember, you have to do your drawing on the dry paper. It will not work once you have wedded it. It. I tried it once. Big mistake. You cannot draw on wet paper. It continues to bruise. The paper on the line will be very dark and it will stay forever. No erasing after that. Okay, so there's my second leaf. My drawing is just about ready to go and wet and wrinkle. And so here we are with our quote for success. Attitude is equally as important as ability. Walter Scott 12. Wetting and Wrinkling the Rose Drawing: Okay, Now we are ready to wet and wrinkle the paper. Once you have your drawing drawn, you take it over to the sink and you wet the paper on both sides thoroughly. You've got to make sure that you've drawn it in just the way you want, because you're not going to change anything. Once the paper is wet, the the witness of paper will not allow it. And here it ISS we have with the paper kind of let it drip some. And now you're going to water it up like you're preparing to throw it away. Hey, this is the hard part where everybody cringes what it is, tightly as you can, because the more wrinkles you have, the better the better. It will be pounded if you have to, that you want lots and lots of wrinkles. Next we will paint. And here's our quote. If you're not willing to risk the unusual, you will have to settle for the ordinary 13. Painting the Background for the Rose: Okay, so now we're ready to paint the background on the rose and just like we did for the little birds were going to very carefully unwrap the paper, spread it out. Say this paper is much heavier on DSO. I like to really make sure they're plenty of wrinkles, and it will just never have the same number on size of wrinkles that the lighter weight paper has. So immediately I'm going Teoh, jump in and give it a blue green sort of, ah, background. I've picked two. The blues and the greens. Um, I want a deep kind of a Foresti looking background. Um, chose that ahead of time. So I make sure I had plenty of those greens on my palette, and I'm carefully going around my rose. As much as I can remember, it's going to bleed into the flower. That's not a problem. It's not something you're gonna need to fret about or worry about, because when you finish, when you got the whole thing painted and your painting over the green and thinking, Oh, this is destroyed. Um, you'll be amazed at how nobody will notice where the background went over the the flower in places. It's just it's amazing how that works. You need to think out your color scheme ahead of time so that you've got your colors ready available squeezed out from your tubes and and wet enough. And you see the cracks here. The little bruises in the paper aren't is pronounced and, uh, dork as they were in the lighter weight paper. However, it still makes ah, lovely kind of a cracked glass looking background. So I I've used both kinds of paper. I really kind of like the lighter weight paper a little bit better because it gives me much more of a bruised to look. But this one works. So you see, I'm using a darker blue. I'm using a Prussian blue to give me that dark, dark Foresti green along with my, um, hooker green dark. But it's your choice. You could use a sap green if you prefer. You could use any of the greens that you might have already available. It all works. I like the two pence because you really can get some deep rich color and just like the little birds, I'm going to go back over this later and give myself a little more. Another layer of dark color, a little more darkness. Think it. I think it needs it. You'll be surprised how light the paint will dry. It always does Water colors, air like that. They they will go on looking deep and rich. And then you'll come back later and find it dried much, much lighter than you thought it would. At least 25% lighter, I think, is about right. So if you put it on and you think, Oh no, this is too dark. Don't worry it all. Once it's drier, you'll notice it won't look dark at all. And you can see I'm putting in more darkness. I'm using an indigo blue. It's really deep. And here's a quote. Teachers open the door, but you must enter by yourself. That's an old Chinese proverb. 14. Painting the Background for the Rose Part 2: Okay, so now we're going to go back and paint a little more background color around the rose. I felt that after it dried it simply was not dark enough. So I'm taking a little bottle of water. I'm misting the background. Only I'm not going to completely wet the paper like before. And I'm just going to use some dark colors, my half inch mop brush and some into go little lab Black, Prussian, blue and and violet, I think, and just make it darker right around the Rose. This will make the Rose pop forward and become, um, more bright were, um, in the light and the focal point. And sometimes you just need to do that. And remember, cause this is water color and we're using transparent colors. You'll be able to see the background colors that you put their before, even through the darker color you putting on now. So they'll still be a little tinge of green and blue underneath. I'm making sure that there's no transition, no brushstrokes showing by wedding, the whole background. But I'm not going to wet the rose. I don't need Teoh. I get some good Chris blind right up to the rose now and not have to worry about it bleeding into the area where the roses sitting. This is personal judgment when you look at your background after you've painted it and ah, you've you have to make the decision if the background is dark enough or not, and you can leave in us is, uh, if you think it's good enough, I could tell right away that mine wasn't going to have enough both enough pop, huh? So I've spent this up because it's just a another layer on the background, and we don't need to spend a lot of time watching it. I'm trying very carefully to find all the pencil lines and paint around them. Some of them are very obvious, and some are quite obscured by the wrinkled paper. That's okay, you're the artist. You could change the pencil lines. So just like before, I'm going to add a little extra color here and there. As long as the paper is good and wet and my brush Turks won't show, it will not be too distracting. Toe add more. So there you are. And my quote, I really believe that everyone has the talent, ability or skill that he can mine to support himself and to succeed in life 15. Painting the Rose Part 1: so we're finally ready to paint the main subject on the rose background. Remember, on this picture I drew it on the heavier £140 watercolor paper. And so the wrinkles on the background are not as pronounced. Notice heavy, but still, you're going to have to work around. You're you're hills and valleys in order to make your subject really pop out and this is going to take some time. I will do it in layers. I like working in layers. If you picked up, it's more simplistic. Flower something more like a daisy or, um, Cosmos. We're something with just a couple of pedals like, um, Iris and Iris would be the perfect choice for more simplistic flower then arose, But I had already drawn this rows, and I kind of wanted to use it, So I wanted to show you. This is for a more advanced student Teoh work on. I'm starting toward the center with the lightest colors, and I'll work my way out from there. I'm starting with the yellows in the pinks and leaving white spaces where I want there to be a a light highlight on the edge of my pedals. So you see have to do that purposefully. I'm using my number eight round brush and I'm just a mainly using the point. I'm also working with the permanent rose pink and a little bit a bit of the grim Bacher red and the, um the cadmium yellow, which is kind of kind of a non orangey look to it. But I love to this flower. I took the photograph in, Um, it was a parking lot of a supermarket, and this beautiful rose with the yellow center was planted right there, more like a shrub. Very small, short plant, but a beautiful flower and I couldn't resist. I take pictures wherever I find them anything of interest. So this had nice light and good shadows to work from. That's always the best thing to look for in a, um in a photo reference to paint from. This is going to take a little time. So I'm going to speed it up right about here and and even then it's going to take a little bit of time. I'll put my light colors down and then at a darker color where I want there to be a a shadow a little bit of a bleed in and it gets nice and soft and bleeds in. But still, I've gotta work around these little hills and valleys that are going to create their own, uh, light and dark spots. And it's amazing how well it works out. You will be surprised. You don't think Oh, no, this this will never look good. But it really is amazing. So it's time for an art joke. As you know, the economy is kind of bad. And so this guy decides to rub museum. He comes up with an elaborate plan to steal 12 paintings right off the walls, manages to do that without tripping any alarms, loads the minutes van and drives away clean Onley to run out of gas two blocks from the museum and get caught by the police. So when the police are questioning the man, may they just had to ask. Listen, fella, how could you come up with such a great plan and forget to put guests in your van? And he says, Are you ready? Well, I got no Monet to buy Degas's to make the then go, so I thought I had nothing to loose Oh, God. Shameless art joke. 12 paintings. That's impressive. I wonder what kind of dolly he used to get them out. Okay, I love a good heart joke. Now, As you see, I'm working my way around from the center of the flower outward, and because this paper has been wet and wrinkled and bruised, it won't pull up some of the colors as easily as it would if it hadn't been abused in that way. So you can pull up some color and make places lighter, but not very much. And on regular watercolor paper without the abuse, you can usually pull up a color and almost completely pull it off after it's dry. But not not once you've abused it in this way. You see, I'm using the diocesan and violet in the deep shadows at the very bottom of the flower, where it's touching the inside of the rose. That's very dark there. So I'm using the violet right on top of the red and spreading it out. I like to use Purple Lake, some a great tertiary color that as ah, mix of red and purple, and it's just a beautiful Burgundy works really well, I don't often by, uh, tertiary colors. Um, but Purple Lake, It's Ah, Windsor and Newton color. And it's just a beautiful Burgundy. I like it. And I used it often, and I'm using it here on this Rose as, um has a shadow color in between the violet and the Eliza Rin Crimson Young Seon left leaving purposefully, leaving the edges of the pedals that will be very light colored later. I'll put on a little bit of a very pale pink, but mostly want to leave it white. So if I want any really stark white highlights, they'll still be there and notice. I'm working on that area where the green bled into my flower. I'm just gonna paint the red right over it. It won't even matter. It doesn't cover it. You can still see the green through it, but it's magically part of the painting. It looks like it belongs there because of all the wrinkles because of the texture. So this is just the first part. Follow along. If you want to see how I'm going toe, finish up this Rose. If you're a beginner and this rose is way too complicated for you, you can skip this part. I understand. But I wanted to show that this is a really cool effect, not just for, uh, beginners and Children. And, um, it's for anyone. It's a great project, even for the more advanced painter who just wants to add a little bit of a cool, interesting texture to the background that you hadn't tried before. You may find it, uh, something that you'll use all the time. I know I did. I've entered these kinds of paintings with the wrinkled paper in many art shows. In one excuse me one some fabulous awards. I was surprised and amazed. Surprised him. Please. Oh, I apologize. I've moved the paper, I'm down a little ways. I'm working on the leaf there at the bottom of the paper, and you can't really see it. But when I move it up, you'll see what I did. I just I added a background green and will add more details on that leaf as it drives, because now I'm gonna let this paper dry. When it's completely dry, I will add another layer of color on top of this layer of color on the main flower 16. Painting the Rose Part 2: Okay, so now we're ready for part two. Um, I have let my rose dry overnight. I didn't need to let it dry that long. An hour or so would have been plenty, but I come back to it fresh and decide that it needs more, of course. So I'm adding another layer in some places, like right here. I'm going toe wet it first and then get my color so that it will blend evenly across the area. The thing about watercolor, it's translucent. It's the same as I said, with the little bird illustration, you can see through all of the different layers. No matter how many layers you put on. You can still see the bottom layer if you look for it and the top layers only. And hence what's underneath. And, um, and that's most of the water colors. There are very few that are not transparent. Wash is not transparent and translucent, but, um, yellow Oakar, onda, cerulean blue are semi transparent. So if you put enough layers of those on, you really do end up covering up what's underneath quite a bit. It doesn't sparkle as much as thes others. The the Rezulin arr Iselin. Crimson is my favorite because it is so transparent. You can just it's got a deep blood red color and you can see right through it to the white paper underneath. It's very, very beautiful and bright. So you see, I'm mixing them up. I don't just use one red I'll use in places. The the result In crimson, the Purple Lake. The groom brought Grumbach er red, which has more than orange to it. And and to that, I'm adding a lot of the yellow again that, um cadmium, cadmium, orange hue and cadmium yellow, which are kind of orangey. But it just builds up the layers of color, and the brightness, in the sparkle of it, makes it much more realistic. The more layers I put on, the more bright and vibrant it becomes. No, of course, you don't have to do that. You can be perfectly happy and satisfied with one layer of color. It drives. You call it good enough. But, um, I love doing more. I love adding more than you expect. So my watercolors end up looking very painterly. Very, um, professional. I think when the painting is all finished, I will put a mat and a frame. The mat is very, very important. I know a lot of people who are beginners at painting do not think that, um, that is, you know, that big a deal. It's not that it's supposed to enhance the painting, although it does. It's not so that it makes the painting look bigger, although it does, it is to protect the paper. You see paper well, it doesn't stand the test of time. It will deteriorate over time, and in the next 100 years or so it will become very old and brittle. But a mat keeps the paper from touching the glass on the frame. That you're going to put it under a glass frame is very important to protect the paper from the elements, just humidity in the air and, um, dust there. There's no way to really clean paper, so you want to protect it and put it under glass or plexiglass. But the matter will keep the painting on the paper from touching the glass. Anyplace that your paper touches the glass or plexiglass under underneath the frame, it will begin to age faster. It will discolor in turn yellow, and you don't want that. Not with a watercolor that's so transparent you can see the color of the paper underneath. The paper starts to age in turns a kind of an ugly, yellowish tan that will change the entire painting, so to keep it safe to keep it vibrant, you want to put a mat around it at least an inch wide all the way around, and usually two inches is better. Some framers well, I encourage you to do three or four inches. I think that's kind of overkill. You don't really need that much. Framers will also try and talk you into more than one Matt so that you have little ribbons of color. Um, around the painting, two or three layers have met. That's pretty, but it's not necessary, really. One layer of of a matting is all that you need when you frame your painting. That being said, I have splurged and done two or three layers, using a green ribbon of color that made it look like enhanced to the painting and one painting of, uh, persimmons. I used a, uh, orangey red red orange. It really made the persimmons stand out nicely. Um, with the white Matt over the top of that. If you're being encouraged to use a dark colored Matt, anything less than an eggshell white Uh, I wouldn't because one when you and you might want to enter your painting in a in a show, an affair in, um, a display. A colored Matt will really take away from the picture. Darker mats make a picture look smaller, and it makes it look like it's in a hole. But yeah, on open window, but that you really don't want that you want the painting to stand out. You want the mat to enhance it, not take away from it. So a white cream, an eggshell, even the pay list of gray that might work but don't go any darker than that. The ribbon of color would be nice, but the main matt that shows should be almost white makes your picture look bigger and more cheerful and brighter. And it doesn't take away from the colors that you've already used. Just a word to the wise Oh, in art shows. They'll take away points for using a colored Matt. Isn't that interesting? Judges will take away points for the matting for the framing of your picture. They're not judging just your picture. They're judging how you've framed it and displayed it. Now, on this layer of color, I'm mostly adding to the pedals. I'm I don't think I'm gonna be working on the leaves yet. Not tell the next part of the last layer of colors. Notice I've put my painting off center. My flower is my main focal point. And if you drew a tick tack toe the point square, the lines come together are your best main focal points in this painting. The center of my rose would be at that point, um, the upper left hand point of my tick tack toe where, where the lines cross, there's something about being off center that is charming and appealing. If I had made the Rose Dead center, it would be boring here in adding some more of the violet and Purple lake to the shadows. I want that inner part under part of the flower to look even darker, and some places where two pedals come together. I'm adding a little violent just a little. I don't want to overpower the Reds, but as I say, you can see the Reds through, uh, the transparent, violent. Okay, I'm gonna put a little on the detail on the leaf. Why so on the leave. Very carefully leaving the lighter green veins showing and painting a little bit more of my hooker green light over it to give me up a more realistic leaf with a few little veins showing and my stems are all in the shadows underneath the rose. That would be a deep shadows, so they need to be much darker, - see ? So I'm adding a little blue as well to the cream and a few little Thorne's. What's the Rose without a thorn and it's time to let it dry. 17. Painting the Rose Part 3: Okay, so we're ready for the last part. Part three of painting the Rose. I let it dry for several hours, and now I'm ready to do the last few little details on my piece. At this point, I'm just enhancing what's already there. I'm adding more shadows. Um, putting in a little, a little texture, little veins. I'm gonna add more veins in the leaves. A little more detail. You could leave it as it is. It would be perfectly fine, but I just love adding more detail. If I see it, I want to paint it. This part is fun for me. And if it's fun for you, keep on doing it at layers as much as you like. You can see I'm using a smaller brush. Now I have switched to a number four round. It's a Windsor and Newton Cotman Ah, synthetic hair round brush. I have to hold the paper down because I'm still painting around hills and valleys in my wrinkled paper, and it will bounce if I don't hold down the little wrinkles that some people think that it should be taped to a surface to a wooden board. But that's really not going to help. Um, you've wrinkled it, you've wet it, you've given it texture, and taping it down won't help. It'll it's still going to buckle. That's what the wrinkling does, so you just have to rough work with it. At this point, I'm even adding, Ah, little bit of pink in my highlights that I had left white all this time because even those they're facing the sunlight, but they have a little curl to them. So there's going to be the teeniest shadow on one side, where it curls under deeper shadows where two pedals meet, notice something, doing one pedal at a time and trying not to work where one has touched another so that they don't bleed together or bleed into each other. Each petal is treated like a separate entity, and if you've picked a much more simplistic flowers, such as a daisy or an iris, um, it would be it would be finished by now, most definitely, because the the process would only involve well within Iris. Six pedals with the daisy, maybe eight, not as many pedals toe work with as this rose is required. I put down a brighter red there, but remember, this is transparent color. The violet that's underneath will show through once it's dry. And so it's time for an art joke. Why don't we paint Easter eggs? Answer. Because it's easier than wallpapering them. Ah, that works for me because I paint anything that's holding. Still, I was the strange one in town with a painted Volkswagen. The doors were painted, the fenders were painted high. I had been in a little accident, and I painted the fender of my Volkswagen Instead of having the fender fixed. It was just Bint. I painted a Band Aid over it. Only an artist, right? Poor, poor little car had a boo boo. So I'm adding a little loan. Ruffles little pointed edges to my believes there, but one that's in the sunlight. - We're nearly there. Just a few a few more details left to do. I guess the trick is to find a nice, happy spot where it's OK to stop because, um, artists have a hard time stopping. We want to keep going or what came perfecting. And there's no such things. Perfection, excellence, Maybe, but we never, ever achieved perfection. It's like the artist who was 94 years old and was asked White, where you still practicing this exercise? And he says, I think I'm getting it 94 years of painting and you just think you're starting to get it - done to sign over and there this. So here's the photograph. I photographed it in natural night with just from a window pointed straight down. I keep photographing with the painting at my feet and photographing straight down with one light source saying See all the hills and valleys and shadows. 18. Wrap up: thanks to wrap up, I'll go over the steps again for this technique. First, you want to choose your paper size and draw your subject in pencil. You cannot draw the picture Once the paper is wedded. Get out all your paintings supplies before you. Witten. Wrinkle your paper and set them all up. Then you take the paper to the sink or a bathtub for large pieces with both sides of the paper and wadded up as if you're going to throw it away. Pounded a few times. If you need Teoh, you want plenty of wrinkles. It adds to the whole effect. Next, you gently unwrapped the paper and spread it out onto your art table To begin painting the background on the wet, wrinkled paper. Allow the background a completely dry thoroughly. Before painting the main subject. Allow the paper to completely dry between layers of color. If you want to put more than one layer and add another layer of color to the background. If you want it to be a bit darker and then take a photo and frame it with a mat, that's about it. I hope you enjoyed this watercolor technique and that you try it yourself on your own project and enjoy the process. It really is a lot of fun and intriguing the way it creates its own spidery broken glass. Look, thank you so much for watching this far. I hope you do try this technique and that you share it here and I would love to see your your progress. Also, please do leave a review so other students can benefit by your experience in this class. I hope you follow me and join me for some more classes in the future state creative and have a blessed day. My quote from Zig Ziglar Lack of direction and not lack of time is the problem. We all have 24 hour days.