Perfect Gift Ideas You Can Make With Watercolors | Robert Joyner | Skillshare

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Perfect Gift Ideas You Can Make With Watercolors

teacher avatar Robert Joyner, Make Art Fun

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

20 Lessons (2h 8m)
    • 1. Introduction

    • 2. Materials

    • 3. Blue Circles

    • 4. Gray Rings

    • 5. Ovals & Rings

    • 6. Shapes & Coffee Cup

    • 7. Stacked Stones

    • 8. Abstract Rings

    • 9. Abstract Rings Continued

    • 10. Half Fruit And Half Abstract Lines

    • 11. Colorful Arcs

    • 12. Colorful Arcs Continued

    • 13. String Of Circles

    • 14. String Of Circles Continued

    • 15. Colorful Rings

    • 16. Mix & Match Horizontals

    • 17. Opposing Diagonals

    • 18. Jagged Horizontals

    • 19. Vertical Triangles

    • 20. Recap & Assignment(s)

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About This Class




In this class I will share nine super-simple watercolor projects that make excellent gift ideas. Or, of course you could just need to practice up on some watercolor techniques to get back in the groove. In any case, this watercolor class is loaded with tips for painting unconventional, dare I say contemporary, style artwork suited for all levels.

Completely Customizable - Each project can be altered to suit your needs. Use any color, color combination, change the format, or size, or add your own personalized icon that would be appropriate for your home, or intended destination.

Suited For All Levels - This class is loaded with simple projects that any creative can easily do! So long as you have paper, paint and a brush you're good to go!

Got Questions? No worries. Just drop a comment and I will reply within 24 hours, or sooner.

Need Watercolor Supplies?

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Here are a few other courses you may want to check out. These are wonderful compliments to color harmony :)

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Meet Your Teacher

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Robert Joyner

Make Art Fun


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1. Introduction: Hello and welcome to simple watercolor paintings. My name is Robert Joiner And I have put together nine fantastic, easy, beginner friendly projects that you can do. These projects make great gifts around the holidays or those special dates that are coming up when your calendar. Or you can simply deck your home with some fantastic colorful contemporary artwork. What makes these projects so special is that they are very customizable. You can take each one, use your own colors and put your own twist on it. I will go over this in detail and the class. So grab your brushes, grab your pain, grab your paper, and let's get started with some simple watercolor paintings. 2. Materials: Let's talk about some materials here so I will cover my brushes, paper, et cetera. Keep in mind if you don't have the exact same colors or brushes, you, you should do fine. So again, this is everything I have. This is my paint brand that I prefer as Holbein artist grade paint. And I'll cover my huge right now. This is my palette. I typically use these Hughes, but I have some neutral tint, raw umber, cobalt blue, cobalt Turkle ways, ultramarine blue, yellow ochre cad yellow lemon Alizarin crimson cad yellow or red light, and then burnt sienna. This is a John pipe palette has plenty of wells and plenty of mixing area. My paper is a 140 pound cold press. I cut them down to 13 by ten. Feel free to use whatever size you see necessary. Although these paintings are scalable, that is a blink brand. Again, artists gray paper, but it's not too expensive. And I have links all of this and the description. I use a piece of foam core that she's standard foam core two as a backing. So when I'm painting, I have something there to fill the paper, et cetera. And then I have some artists gray masking tape. I'll put on the back to adhere it to the board. My brushes, I use a silver golden natural, that's a number ten round. Then I have a sword brush that is a quarter-inch Princeton Neptune, a fabulous brush for details and line work. Then I have a larger wash brush. This again is a Princeton Neptune, and that is a number eight. So that covers my three brushes I will be using in this course. Then I also had a permanent ink pen black that I will use on one of the demos I just showed you there. I also have some paper towels handy and then I have a one quart water reservoir and that's it. 3. Blue Circles: Welcome to Project one. These will start very simple and they will get a little bit more challenging as we move forward. Here you can see we have some irregular rings. I will start with a piece of paper that is 13 by ten inches. And this is my golden natural number 10 at around, I will use cobalt blue, but again, you can use any color. So if you have a project that requires more earthy tones, obviously you can do this as well. Now whenever I start my ring, I just want to make sure I don't start in the dead center. So I don't want a regime that is in the center of the paper. I think that would pull your eye to the middle. And the purpose or the goal with this one is to just create some rings and to allow the eye to roam around. So you don't want to create a situation in my humble opinion, where there's some sort of bulls eye. As you can see, my rings are very irregular, hence the name. Some of the strokes and rings are fairly dry, meaning I have less water and more pigment on my brush. And other rings are a little more fluid and the strokes don't break up as much. So we're not seeing as much of the texture paper. What I will do is again tried to avoid symmetry or a situation where there is a pattern. Sob, I'm not looking for a row of rings. Again, these are just different sizes, different shapes connecting with each other and in all different sorts of sizes and shapes. So the more variety you can have here, the better. And this looks almost a little boring. But obviously, whenever you get these sort of a painting and artwork framed out that has a really simple, airy, almost contemporary look to it. And you can do something like this and then pair it with another one of the projects. So you have something that's very simple and clean and then something else at perhaps is a little more sophisticated. So anyway, that is a great start to our projects and I'll see you in the next one. 4. Gray Rings: Welcome to Project Two, grey rings. Again, you can do blue, red, orange, whatever color floats your boat. I will start with again a piece of a 140 pound cold pressed 13 by ten. I'm going to use the blue, this leftover from Project One and Mixin a little bit of neutral tent. Whenever I start similar to the first project, I'm going to find the center and make sure I'm not putting in a bull's eye. And he sort of ring in the center is going to become two asymmetrical, even though the rings are all going to be slightly different. So as you can see, I started with a very thin, watery ring that was off-center. And each ring because they're a little bit different. We'll have a unique size, a unique shape. So obviously I'm not dawn perfect circles here. Eventually, as we move forward, the Hughes will change as well. So some rings will be a little bit darker and so on. The key is to just get going. And as I add the first few rings, dis, I'm paying attention to size, and I'm also looking at the value of it. So even now, there are subtle differences between the size and value. Some are slightly darker, some are slightly lighter, some are just simple rings right now, and so on. And so again, the key here is going to be variety. So that in the end we have a group of rings that are all different. Okay? Basically for this project, I'm using a wet in wet technique, especially in the beginning. So when we're working wet in wet, we are basically going to allow the watercolor itself, the medium, to work for us. So water is a conduit for the pigment. And if you're applying watercolor to a wet surface, then of course that water is going to dissolve and move the paint and a direction. Now, I would encourage you not to try to control the direction of movement of the strokes. Kinda let it do its own thing. If you feel like it's not dark enough, or perhaps you want something to be a little bit lighter. You can always add more pigment to wherever it needs to be darker. And then obviously, you can use a clean brush. So remove all the pigment and then allow the bristles so still, you know, still be a little bit damp. And then you can remove wet paint from the surface. You will see me do that later on. So here I'm going back into the wet paint. So I know I'm blocking you here. I have to apologize for that. But I did rings around that original one. And I did it with a mixture that was a little bit darker than the original ring that I put in. So working light to dark, et cetera. But again, I mean, you just have fun with the process. The beauty of this one is to kind of explore wet in wet a little bit and let the medium do the work for you. So I will queue up a little bit of music. And when I get to something that is important and that you probably need to know, I will chime in. Okay. Mm-hm. Alright. I'm going to use a wet brush now this is damp, is thought to wet though if you have too much water in your brush, you will start to get watermarks. This, that sort of ballooning and Kali flowering that's going on. So it's a damn brush and what I'm doing is I'm lifting some of the paint. So I just wanted a little bit lighter value there. So a little technique there I covered in easy watercolor paintings. If you want to check that course out, ascend the recommended courses and the description. Alright, so again, moving along here, I'll chime in and again later on, starting to wind down now, so I have an image here that I took in natural light. So you can see how that would look. Again, we can do any color that you desire and match it up with any of the other projects. And it should look awesome. 5. Ovals & Rings: Welcome to Project three, abstract layers and shapes. Pretty awesome HA, and super easy. As with the previous two, I'm starting with a piece of a 140 pound cold press 13 by ten. And moving forward, that's the same size I will use for all demos. So I will not repeat that. I'll start with some yellow ochre and add a touch of cad, yellow lemon. That combination will give me a lovely hue to put down. The play here is not only the shapes, but also the warm and cool hues. So again, just getting loose with the shapes as with the first, to avoid any sort of symmetry or a shape is perfectly center like a bull's eye. And we want to keep these really large. So don't, you know, you don't want a bunch of small shapes. The goal here is to have less of these yellow shapes. So therefore they're going to be bigger and then have a slightly smaller blue shapes. So you're getting a nice contrast between the shapes sizes. So some variety. And I'm now overlapping a little bit there in the corner, which is fine. But notice too, they're not cute, congested, there's plenty of white space or paper between them. Muscle the shapes can air out a little bit and it's not too dense. And now I'm going back in it with some more pigment that's leftover on the palate because I'm want to make sure that they drive Nice, rich and colorful. Now I'm using my hairdryer to speed up the drying process. If you use a hairdryer, then be sure you don't hold the hairdryer too close to the paper, especially if you have puddles because that could easily pushed the painting and make it run in a direction that you don't want. Now cleaning my palate, Very good. I want to go into my ultra marine. The ultramarine is, has a slight red bias to it, but it's still a dominant war, are cool hue. And I'm also using my pointed round. Now. I want to make sure that the mixture I'm using is a milk mixture. And then I can add more water to it to get a key like mixture. So for those of you that have taking my beginner watercolor course, I talk about tea, milk and honey. So we want to make sure we use all three. So what I'd like to do is mix in or premix a little bit of a milk mixture so, you know, a nice consistency like you see there in that pile. And then if I want something thinner, I can take a little bit of water on my brush and then mix up a little bit thinner. Mixture there off to the side. But I'm keeping the main mixture, a milk for now because that will be probably the majority of the mixture I will use for the blue. So if I go too thick, so if we start to get into Honey where you have very little water and mostly pigment, then the paint will become too opaque. So just because it's watercolor on, it doesn't necessarily mean that it's going to be transparent. So if you use very thick watercolour paint is like using acrylic paint, is going to basically become more opaque. So again, milk is what we want to deal with. And then mixing in some light T mixtures so that we can see the overlapping and where you can see how the blue shapes are starting to get painted over the yellow. And we're seeing that layering effect. And that's what makes it so beautiful. And it makes this painting work. So you have areas that the blue is just over the white of the paper, and then you have other areas whereas overlapping the yellow. And we're seeing those shapes connect. So again, just a few tips and things to keep in mind as you do this. I'm also know keep these shapes and little bit smaller. I alluded to that earlier when I talked about you want a large yellow shapes. So these are a little bit smaller, summer Enola smaller. But basically we want more of the blue shapes, then we do the yellow. And notice to the rings are very different. They are unique from one another. Variety again, is very important here. And you can turn some of the ovals more horizontal if you want to keep them them more vertical, you can do that as well. And I just wanna make sure again that brush work and the strokes are interesting. And we've tried to avoid similarity. And circles and ovals and shapes that are similar to one another. Okay, so I'm going to cue the music Now what China And later. Mm-hm. Okay. So moving right along here, as you can see, we have a very interesting contemporary style painting that would look lovely. As you know. You can use any color combination. I do recommend a warm and cool or some sort of contrast between light and dark. That would work really well. And of course, you can pick colors that will reflect another project or no, certainly match it. So there you go. Here's another look at it. So again, a nice, lovely project he can try when make an excellent gift. And of course we compare that with any other project in this course. 6. Shapes & Coffee Cup: Welcome to Project four. We have some shapes in a coffee cup, but guess what? This is a very flexible project. If you have people that like coffee fine. If you have someone that loves apples and fruit or whatever, you can simply change it up. So there you go. I will start with a light mixture. I'm gonna say light AT light mixture. So very thin, more water than pigment of Alizarin crimson. Alizarin crimson makes some luscious pinks. And if you want to, again change the color up for any other color that may fit a color scheme that you need for your project, then feel free to do so. So again, a very thin mixture makes sure the shape that you paint isn't symmetrical. So we want to avoid perfect egg shapes, circles, ovals, and so on, have some irregularity to it. And that way, it looks a little more interesting when you're finished. So going around the edges and I know I'm blocking you a little bit by misusing the tip of the brush to shape the edges a little bit. So you can see as Scott at that nice irregular look to it. And now I'm going to mix up a very pale grey. Now, you can mix a gray, use a neutral tint if you had that on your palette. Or you can use the three primaries, yellow, red, and blue. I wont migrate to be slightly on the cool side. So I'm going to push it more to a blue, so I'll mix up a grey. If it looks too warm, I just simply add a little more blue. So again, I'm not doing a Perfect a shape. So I don't want a half circle or half ogle oval. And I left a little bit of negative space in that. Using my hair dryer, I am going to speed up the drying process. As I mentioned before, be sure to avoid getting too close to the paper, especially in the beginning when there could be some puddles because that's going to push the water in a streaky may not want that. Alright, so nice and dry. Okay, very, very important that you have a dry surface at this stage because now we're going to layer over top. And for my mixture I'm going to go slightly darker in value. And perhaps a little more pigment, a little more. Okay, don't go too dark in this point because we're layering over a mixture already and we want that transparency to flow, ok. See if it's too dark or if it's too thick, you're going to lose that transparent quality. Here I'm leaning towards a neutral green. So kinda think about a gray and then add a little bit of green to it. So you can see the layering happened, happening already. Also that little leaf shape sort of joins the two and also gives it a little bit of contrast. So I've been talking a little bit about symmetry and trying to avoid shapes that are, can be easily divided in half and be equal. But in this case, I decided to use some symmetry, the leaf shape because I felt like, I felt like it contrasted nicely against the two abstract asymmetrical shapes. So i'll just a little heads up there. You can choose to do something let less symmetrical. And if you want obviously, and you can mix and match these shapes however you'd like to. If you want to start with a leaf and something else and then layer over top of it, then that's fine too. Now for this demo, the one I'm showing you here, obviously, I'm going to do the coffee cup example. So if you have someone that likes coffee, this would be a great gift idea for them or course, if you like coffee or making this for yourself. You could easily do that. If you have someone that likes t, You could do a little tea cup. You know, the possibilities are endless. Again, I showed you an example where I used a piece of fruit. But again, you can take this last shape here or symbol and turn it into anything that you feel would be appropriate the project. So there you go. That gives you a good feeling of what is to bow. Again, all fairly thin mixtures. I'm going to add a little bit of a blue to this, to push that coffee cup to a blues. We had pink green, a bluish gray, and then a little bit darker, blue-gray. They're so easy peasy right here is a pic of the finished piece taken a natural light. So a lot of fun to do, very, very simple and of course very versatile because you can easily change the theme. 7. Stacked Stones: Welcome to project five, stack stones. They could be stones, it could just be a bunch of crazy shapes, whatever I'm colonised stack stones. So starting with the same colors on my palette, I can just simply add blues, reds, and yellows to what I already have because that's going to give me some neutrals. So if you remember the image, it is basically some gray stones. And one of them will be a warm gray. So starting out with a shape here, this will be the base stone. I will put that in. And this particular piece, I will also note now that it's a lot of wet and wet. So we're going to be working into wet paint. We're going to be lifting and also adding pigment into the wet paint. We, so we don't want the shapes to be too flat looking. We want each shaped. You have some watermarks, some colleague flowering. All those things that you probably shouldn't do when you're learning how to paint with watercolor. But with this particular piece, we kinda want those watermarks and we want things to look a little bit more abstract, I guess we could say. So it now I'll getting my warm hue. So I've got some burnt sienna at the top of my palette. I use a little bit of a yellow occurs, a little bit of a cobalt teal. And now I'm putting in some burnt sienna. The burnt sienna is kinda of a brick red, nice and warm, rich, kind of brownish color. I want this stone to be smaller and I don't want it to really like stack in the middle of the stone. So I don't, I don't want the stones to be again, two symmetrical looking. So the stone would be kind of placed on top of and slightly to the left or the right of the center of the bottom stone. Again, that's going to create a asymmetry and give it a little more visual interests versus stacking it in the center. And then ending up with a sort of shape is like a Christmas tree. So we don't, we don't want that. Not there's anything wrong with the Christmas tree. It's just more going with a asymmetrical look here. But again, is a euro project is your watercolor. Do what you want. I'm just giving you some advice and telling you, I guess, but I'm doin now, I'll create this kind of triangular, triangular looking shape. And so you can see it, it's kinda longer on the top, rounded and it comes down to this sort of wedge on the bottom. So we've got that nice irregular shape there. That again, as you can clearly see, it's more of a gray and it's not as dark grays. The one on the bottom, the one on the bottom. We want that to look very stable, maybe a little more solid. So it has a firm base. And this painting is, it kinda has that subliminal, subliminal message about balance and which it makes it a really interesting painting, but also. Makes it an interesting gifts for people. You know, they look at it and they kinda reminded, oh yeah, you know, life's about being balanced. And who can argue with that? So anyway, going back into my graze, adding a little bit of a darker, more rich pigment. And where the stones and the shapes are hitting each each other. I want to have a little bit darker value. It will simply give the painting or give the resting spot a little more, kind of solidify it. So as this painting progresses, you'll see where these and shapes meet each other. I'm going to add a little more richer pigment. And again, that's just going to help with the connection between the stones. Alright. So again, it is working back and forth now into these shapes. Again, working wet into wet can be tricky. But with this one, we can kinda go for it. It's almost like anything goes. So we're not trying to make everything perfect. Here on my brush is damped, but it doesn't have any pigment, so I've cleaned all the pigment off of it and it's damp enough to rock and run it through the pigment that's on these shapes and remove some of it. So lifting some of that pigment will give it a nice transparent, kinda airy look. And now you can, again, feel free to lift in different areas than me. If you tried to paint this thing a 100 times are not going to look too similar. I may get similar shapes, but there's always going to be subtle differences. And that's because you simply can't control watercolor paints. So as you paint your is just a little reminder that no use mine idea as a starting point. And know that you are, there's always going to be a little bit different discipline because, you know, we can't control the medium when we're working in this manner. So now working back into the pink, dropping a little more pigment in certain places. Here. I'm using have a clean brush. I'm dropping water into the paint. And that's going to help create those sort of Kali flowers and watermarks that are kind of desirable and a painting like this. So this is typically something you try not to do, but here I am telling you to do it. So go figure man, no absolutes and art. There are times when, you know, things aren't desirable and there's other times when mimicking kinda throw a little caution to the wind so to speak and just kinda go for. So this is Monty can really go for, and again, working back and forth. So I'm, I'm adapting to our adjusting to what I see. And then if I see areas that need a little more pigment. Or if they're too dark and I want to lift him, then I'm going to work a coordinately. As you move through the painting, you can flip it upside down so that the water runs in different directions. And now that I've got the painting at an angle, that's going to give you a little bit better visceral visual of the colors. Now, using a hair dryer, i'm going to dry it, but only to where it's about 90% dry. So it's still going to be a little bit damp. And one thing I've told you over and over again is to be careful with your hairdryer. If you blow it too hard or get too close to it, it's going to push a bead of watercolor. In areas you may not like it, but you can see coming off of that big stone that's on the top now. I had that little bead going across, so I'll have to live with it. You can try to lift it or I can just say and maybe it's OK. So anyway, that's just a one case where, hey, the teacher didn't get it right, Diddy. That's okay. No one's perfect. But we're going to roll with it because I still think that painting will work just fine as it is. Now. Again, lifting, adding paint, just working it back and forth here until I feel comfortable. And like what I'm starting to see, I will say, be careful with cheap watercolour papers. So if you're using student grade and you go in and try to lift it too much, it could easily damaged a paper. So for this project, I would say good watercolour paper but is going to be a help. And that's because it can take a little more abuse and kind of back and forth with a lifting where you'll find student gray. We'll, again, we'll start to kinda break down. Alright, so my hairdryer here, I'm just working some of that moisture off to paper. That's going to put the control back in my favor. So when I say control, I'm talking about the pigment. So certain areas that I want a little bit darker, other areas and I'm going to want a little bit lighter. So getting it some of that water removed is going to help me lifted and also to drop in some slightly darker pigments without them, you know, blending and bleeding too much. So here I'm really pushing their hair dryer. Obviously that's not in real time. Now I'm using just a clean brush there to remove some of the dots and splashes I got on the paper. Alright, so this is starting to come along. And notice too, as I'm using the hairdryer, I'm also kinda working the painting to you may decide to only use a hairdryer, but I kinda like to dry and paint at the same time. Notice too that I changed the shape of the stone on the bottom. So instead of leaving that watermark that was pushed over to the right, I decided just to extend the length of the rock so you can't beat them, join them. So pretty close to being finished here, I'm gonna go in with another damped brush and just remove as much of the pigment. And then also I'm going to drop some just clean water into the pink. So that's going to pretty much do it for this one. Here is a pic. Image was taken in natural light. But again, easy little project here that would make a wonderful gift idea. 8. Abstract Rings: Welcome to Project six. How awesome is this? Yes, let's get started. Again, very easy and very versatile. I will be using an earth tone palette. But again, if you want use primaries, if you want to use a color scheme that is suited for perhaps matching another project that you're, you want to pair up in this course then have at it. So very light. So with watercolor in general, it's good to paint from light to dark. So light isn't necessarily a color as more of a mixture. So think about t as I mentioned before. So any sort of color that you put on the palette, you just keep thin it out until it's mainly water and very little pigment. And that's going to give you a light value. So that's what I will do. But also notice I'm mixing things up a little bit soft. Got a yellow ochre in there. I've got a warm gray. I kinda cool gray. I've got a gray that's very barely visible. So super light. So not everything is the same as I've been saying over and over again. Variety is what it's about and we don't want to get too predictable or too stiff. So here I'm coming back with a yellow, but notice that the yellow, and it's a little more saturated and a little more of a grayish yellow then the one and the top left-hand corner. So now mixing in some burnt sienna has some more ochres and I'll go a little more saturated now, but it's still very, very thin, still mostly water and less pigment. As I get to the end of the first layer, then things will start to shift a little bit. Notice too that the shapes are all slightly different. Some are touching each other. Others have space in between them. There's, we don't want neat rows. So be sure that you're, you're, you're rows that we look at them in a horizontal way. That they, there's some overlapping. So we don't get, again, these weird lines that are kinda where things are spaced out evenly. And now I'm going to switch to my sword brush, which is good for creating thin lines. And I'm going to do a shape of a circle, and it's an irregular circle. Obviously. I'm going to use lines to create it. And kind of a series of triangles. So that'll give it again a little more variety. Soil had the shape of a circle, but it's obviously constructed a little bit different than the others. So the others had that sort of light wash to it. So it's held together by the wash, by the color. This one is kinda like a wireframe. So whatever we can do to create variety, to create interest, it works with this And that's what's so cool about this sort of. A watercolor painting and they're easy, they're fun and they're interesting. And we can really explore some different ideas. And then the end, pretty much anything goes. So now dominant burnt sienna and then are mixed in a little bit of the cad yellow, lemon and ochre and just kinda dropped into that. So charging that color a little bit. I will say that reddish brown circle I just painted is probably a little bit darker. So I would say more of a milk mixture versus T. But notice I've got a little bit lighter one beside it in the gray and then I just created another, a circle that's very, very transparent. So again, keeping them more of a dominant T mixture, but also mixing in the wireframe and then maybe a couple of darken ones. Now look at that one now I just blew it, didn't I just told you not to go too thick and here I'll go really thick. So that really dark circle though, I'm setting the table for the future. So I'm going to come back over that dark circle with some light or white color. Now at this stage, everything is pretty dry. Would say at least 80% dry. And I'm going to start working into that wet paint. Now notice when I touch a pigment ended that it's spreading. So we're getting that care free sort of flow. That is so lovely about watercolor. Letting that pigment run on its own and do its job is what we're after. Now we don't want all of these to be the same. So here you can see me mixin in some Brown's with the greys. I'm using thicker paints. I'm also using just a wet brush and some cases with very clean water and I will remove paint. Now at this stage I want to make everything dry. So what I'm going to take a hair dryer and start to get this thing at least about 90% dry. So all the marks I just made, I want to make sure they're fairly dry. And now I've got my sword brush. I'm going to go into the dance paint now again, this is not a perfectly dry. It's still slightly dry. Now create these different patterns using dots now for a few of the circles. And again, just using the tip of the brush, I'm not really using the entire bristles is just the point. And I don't want all of these points to be the same size. I don't want it to be too uniformed. So just kinda mixing that up a little bit. So you can see that adds a little bit of interest. And now let's go to part two. 9. Abstract Rings Continued: Alright, so I will kind of circle back just a little bit so you know exactly where I'm at. So I've got the dots on the one. And now I'm going to do some dots on the others. You can see that color is still dispersing and spreading a little bit. So obviously that's still about circle. Notice those dots I just put him are a little bit bigger. On the orange yellow beside it. I didn't do as many. So again, making sure I avoid similarities. And now I'm going to get into a larger dot in the middle. And then I will use my brush and just the tip of it and pull out the sort of streaks from the center. So, yeah, just use your imagination to come up with some interesting patterns and designs here. Like I said, pretty much anything goes, you know, the key is I would say if anything, just don't overpaying it. Know, the beacon do very simple designs and near leaves, some that are barely. I have anything to him and it'll look really good if you go too far there allows Homs, it'll just look a little bit too cluttered. So here you can see I'm doing a sort of bulls-eye, but again, the rings are irregular, they're not perfect. The center of the circle is little bit off, so yeah, just having fun with it. Change in the line quality. So some areas of the line is thick. Some area is, you know, probably little bit thinner. You can see they're spread so that part of the paint was still a little bit wet, but hey, it doesn't matter that that's the beauty of it. Each one u du is going to be a little bit different from the next one. So I'll continue to work this. I'll just cute little music from at this point. If there is something important, I will chime in and later. Yes. Yeah. Yeah. Okay. All right. Here is where I will use a little bit of Matt White acrylics. If he does have like wash, if you just have a light marker, a white colored pencil, maybe you can do this as well. So I had that dark circle. I'm just going to ask him dots over that. So we have some light circles with dark dots. I think it's important to do a dark circle with some light dots. So again, low Yin and Yang there and little balance. Again, make sure all the dots aren't perfect. Perfect. You want irregular shapes and sizes. Alright, so kinda fun to do this. Also note that the paint is dry. I want these dots to not blend, so I want them to really stand out over that darker value. Okay, finishing up here, how much fun was that? And look, here it is. The piece was taken a natural lights. I've got a nice photograph here for yeah, awesome stuff, man. I mean, who's not gonna love that? Paint one for your house to, right? I'll see you in the next one. 10. Half Fruit And Half Abstract Lines: Seriously, how awesome is this project, people? I mean, it's totally customizable. Here. I'm doing a half of a pear shape and then just whatever, and then whatever I'm doing is just what the good old ink pen and we can customize it to whatever you think works. I'll talk about that later on, but 1.5th pair. So I'm getting some greens here using ochres. Yellow ochre, I should say, a touch of the cad, yellow, lemon, a little bit of the turquoise, a little bit of the red. I want this to be earthy. I don't want it to be two line green. I wanted to be a little bit on the mid tone as well, so I don't want the value of it to be too light, nor do I want it to be too dark. So I think that I worked pretty good there. I will come down the middle of the page. But again, that line I put down the middle, it isn't exactly perfect, right? I didn't take a ruler and draw a perfect straight line. All right. These sort of paintings can be, can be imperfect. So for that, you know, if you want it to be perfect, you know, who am I to say? Don't do perfect, you know? So you can do it to whatever style suits you. But there you go. There's our half pair. And now I will take a little bit of the cobalt blue, a little bit of the neutral tense, a little bit of the ochres and cad yellow lemon. I'm going to add a little bit of body to that. Having a little bit of experience with watercolor, I know it's going to dry allow lighter in value. So I want to make sure when it dries, it's, it's about the right value and I know what I had there would have been a little bit too pale. It will it will look a little bit washed out. I need something dark or not. That's going to stand up to all the line work I'm gonna do on the left-hand side. Alright, so clearly taking a hairdryer through it here again, careful with the how close you hold it through to the paper. We don't want the color to run. So we want to keep that shape and tact if at all possible. But before we get on with the next stage, we need that to be dr. So here we are nice and dry. And this is just a black ink pen. And you can use wherever you have, you can use a piece. Just know graphite pencil if you want. But I liked the idea of keeping a permanent. And one thing about this pen, it doesn't put out so much eat that this going to smear. Let me if I rub my palm across it or the the base of my hand and it holds up pretty well and it's waterproof and permanent and all that stuff. So so what am I doing? I'm just putting some crazy little whatever lines n. Alright, so anything goes here. What we're gonna do is create some medium sort of shapes up top. And again, you can mix and match whatever shapes you think looks good. And then. Going to start to add some patterns and each of the spaces. So the patterns will be slightly different. Here I just did some little seeds, if you will. And now I can do some little dots. Again, I'm avoiding things are too similar or someone to space things out, some big dots, some little dots. And then just kinda be creative with the sort of pattern I want. So here I'm doing a little crosshatching sort of thing happening. So back and forth with some diagonal lines. And again, I will mix it up as I go. So you kinda get a just the gist of it. And one thing I will point out that the area on the bottom left of the pair, I'm going to keep that space fairly open. So I'm going to have larger shapes in their larger areas than what I have now. So I'm gonna basically what I'll do now is backfill the shapes and areas I have already drawn. And then once I'm done with that, we're going to address that lower left-hand side. So Cusa music and I'll see you guys shortly. Yes. Mm-hm. Okay. All right, so all that is done and now I'll get some long vertical is here, but kinda work them in a little zigzag sort of pattern. I'll do some little thin ones to start out and then they'll start to get a little bit bigger and bigger. Again, I'm trying to avoid lines that are parallel or similar, that they're going to be slightly different. And then I'll, we'll divide them horizontally as well. Now, I'm going to work on some horizontal lines. So again, you'll see some thin areas, some medium, some large, and so on. But every now and then you'll see me stop my pen and put in a little dot. That's just going to create. It'll get the line, you know, some interests versus being just a straight line. So add a little dot right there. This kind of makes it look cool, right? Gives you that little whatever. So there you go. So you can see not really paying attention to much to anything other than making sure these shapes are fairly. Or this area of the pair is going to have a little more air to it. And a few areas will be have a pattern while other areas will will not. So, yeah, oh, this is looking pretty good, so I'll add a few dots into one of the areas. And again, if you have, if you or your, the person you're making a gift for whatever has special interest. You can add it here. So here I'm doing some hearts. Hearts are fairly useful. We can give this to a loved one and there's enough little symbols in there. This is 4x, has a heart and it, you know, I love you too and get yourself a little hug. If you have someone that likes to ride bicycles, you can put a little stick figure on a bicycle. If you have someone that's an architect, we can do some architectural tools. Again, the sky's the limit, Man. This is a very versatile thing, but you only need a couple of those little symbols in there. And I would recommend Putnam and the area on the bottom left. That way they really stand out. So again, I decide to use hearts, but you can use whatever symbol you choose. So there you go. Good stuff, man, half pear, half whatever suits your needs. So enjoy it and I'll see you in the last project. 11. Colorful Arcs: All right, welcome to the final project number nine, colorful arcs on No, this is absolutely beautiful. You cannot wait to get started. Super easy, super cool, but maybe a little more challenging than some of the ones we've tried so far. Again, starting with my point and around silver brush here, I am going to mix up some yellows using a little yellow ochre. And we'll also go ahead and get some greens going in. So this particular piece will have some subtle variations. So there's basically a series of curved lines, horizontal lines going across the page. And then they're going to be these little arcs on the line. Obviously with the image I showed you in the beginning, the arcs are in different shapes, different heights, et cetera. So we're going to just mix it up so that it looks interesting. Whenever I premix some greens and some yellows, I knew I was going to have some variety on that particular line. So I would say avoid if you want it similar to what I'm doing here. Colours all the same color on the line. Mix it up. Obviously, if you have other projects that you want to pair this with, you can use whatever palette you want. I'm using some earthy colors, also with some blues and some darker kind of Navy blues in there. And that's going to complete it so warm and cool, low yin and yang. So they'll know yellows and cans here that is cobalt, turquoise. And whenever you put your lines into horizontal curve lines, no, some are going to curve more than others. Again, we don't want things to be unified in any way or we don't want them to be too similar. Give variety. As your Dolan as I'm doing these blues. Similar, the blue arcs are darker, so they had more pigment. Others have more water, so they're less a pigmented, more waters, they come across a little more transparent. And notice some of the arcs are overlapping each other. Some are side-by-side, some have a little gap in between. So again, mix it up and have a little bit of fun. And freedom whenever you're doing this. Here, I'm adding a little bit of the blue there. So I'm going to get away from the greenish hue and go more towards that cobalt turquoise, kinda more of a pure chromatic color. And now I'm mixing in. Yellow with it. So obviously that's going to push it to a green. So on this last one, a little more blue. And so you can see that the, it's an interesting series of arcs to look at. And if you see a, B, C, two or three side-by-side like that, that are as similar, dropped a little bit of color into it and it'll break it up nicely. So I'm going to repeat this process. You can see all my palette. I'm not going to take that away from you. And I will just Kyoto music and this letter role. And you can kind of watch me fill in the rest of the paper using the same technique and this altering colors. Okay? Alright, using some of my cobol blue mixed with neutral tent, that's gonna give me a nice rich navy blue color. As I get to the bottom of search, you use some darker hues. You can use mixed darker hues by either adding less water to the mixture, which is works fine. Or you can just simply use a color that's naturally darker and tone. So that's kinda what I did with a neutral tint. And the cobalt blue. Cool. Alright, so again, starting with those nice rich blues I, them mixin some greens, a little bit more of a turquoise color, and then I even use some really light greys. I really loved that line right there. I think it's got a really good quality to it. You can see the darker blues and Hughes, they're starting to anchor the paintings so it's not getting Q washed-out looking. And now, once you go into the bottom row, which is simply going to be a flat line. So this last row of arcs, I'm going to put in a few big ones which I did with the green. And I'm just going to run it along the bottom of the page. So it's not going to curl or curve. As with the others. Also know that the top of the page there is fairly empty. And that contrasts nicely with the bottom of the page that'll be fairly dense. So you have one area of the painting that's fairly quiets or less dense. And then of course, the bottom, we'll have a little bit of density to it. So something I wanted to point out there to you. But, uh, yeah, once I've finished this bottom row, then I will take a hair dryer to it and let it dry. And when I do that, I will see you in part two. 12. Colorful Arcs Continued: Welcome back. At this stage, everything is 100% dry. Very important. We're going to do some layers. I will start with some darker greens. As you're doing yours, you know, uses sort of little curvy line idea. And they don't have to be like mine. Whatever works for you, whatever you think would suit your needs, whatever color palette you like. Again, sky's the limit here, just, you know, take the idea and run with it. So if you try to copy, what I do is going to look a little bit stiff. So just, you know, I'm Keep in mind very airy at the top, so keeping it where there's just no lines or anything at all. Then as it gets towards the bottom, it gets a little more dense. And as I put this layer over it, there'll be some colors and mixtures. There'll be a little bit darker than what I did originally. But I'm just mix and match. And I mean, there's no formula here other than, you know, just have some fun and explore. I would say, if anything, just whenever you start doing the second layer like I'm doing now, just make sure it's dry. That way they don't bleed into each other and you start to get this really nice layering Look. Colors are pretty much self-explanatory. You kinda know that my palate now the Hughes I'm using gone over that so you can speed up and watch it at two times. We can watch it in real time if you want to kind of dissect a little bit more of how I'm using my colors. Obviously here I'm using a really pale mixtures to kind of let that line fade out anyway. So if you have any questions, let me know. And I'll see you guys a little later on when something is important and you need to know about it. So notice here I've got a line in the middle and I'm going to add to it this, I'll let that line unfinished so that I could come over with some darker colors here and layer over top of that. And that'll give that feeling of layers on a single line. So anyway, I just wanted to point that out to you so you could do that. We can use it on one, you can use it on to, so you don't have to paint every line completely. You can kinda. Add a few, let them dry and then come back and do this kinda overlapping idea. Here I'm going to start moving into some more saturated colors. A little bit thicker pains. So again, cue the music and you can check it out. So if you find some areas are too thick, the can do what I did there. I just use a damn brush. I lifted some of the pain and masculine Cube bringing back some of the transparent qualities. So you can see here using the hairdryer, I will get this 100% dry. There were some areas that were pretty well. And then once it's a 100% dry, I can start to layer over top of that original line. So maybe a little bit up top. So I'll take a few shapes here and just make them a little more chromatic. So does introducing more of a, you know, pronouns color that orange, brown and as fining balanced now without going too far. So pretty much coming to an end here. But this was a little more challenging. I'm, I wouldn't say this is an easy one to do, but probably the most challenging epi compared to the others. But a really great result how I loved the finished product here. So if we look at the final piece, again image taken a natural light. You can see how awesome odd this would be if it were hanging and a home. So anyway, I hope you enjoyed it. 13. String Of Circles: Welcome to Project string of circles. So a pretty awesome piece here. That's get started. Again, the paper is 13 by ten, but you can scale this to whatever size you want. I'll start using my sore brush. And I'll just create some sort of curves and kind of opposing directions. So I've got a total of four there. One is running off the page. Notice that stop the lines short of the top. So the top we'll have a more of an Airy feeling to it. So not much painting going on. And then as we get to the bottom of the paper and design, and there'll be a little more cluttered and a little bit darker in value even. Okay, so we've got a nice design here, some very organic sort of project, but it's got the circles that kinda keep it this very geometric feeling. But again, like I mentioned before, and the other projects, I'm use whatever color palette you like. These things are so customizable, which makes it a lot of fun. And of course they're very easy and people love them. I started showing these people, friends and family, and I've got an order lists. I can't even keep up with people. Every everybody wants something for Christmas. So and we're doing a series of five of them for our house. We just moved into a new house last April. So and it's a project that kids are gonna get involved in, you know, mommy. So everybody can kind of join in on the fun too. I mean, there are that easy. So very exciting. So as you can see, I'm just using smaller circles at the top of the S curve. And then as they come down towards the bottom, they get a little bit larger. And I'm leaving a little bit of space in between most of them. If the circles touch like there, don't want here, that's fine. Another option is if you didn't want the circles to bleed into each other, you can just do a string and then dry it and then do another string and dry it. That way everything that touches, touches each other, overlaps, see, get a little more of that layering look. But for me I just thought I would just keep him blended looking. They also, for colors I use yellow ochre. There'll be the cad yellow light or lemon. And for the blends that are circles there are a little bit darker. I'll just put a little more yellow ochre into it as I'm using the dryer on, I have a very clean wet brush and I'm just lifting some of the pigment and some of the circles. So that way there's a nice variety of hues and values so that some of the circles have more of a saturated look while others look a little more faded. So back at it now with my Sword brush, I'm going to mix a little bit of cobalt turquoise, so I get a green hue. If you don't have cobalt turquoise, you can use cobalt blue serenely in blue. And you may have to put a little more yellow into it to get this sort of pale yellow look. If, if you want to do something similar to what I'm doing here. Now again, starting with my S curves, that, that will give me a line to put my circles on. And I want a good variety of greens. So I will kinda premix a large area of green and then I'll start to put those in. And then as I get into it, I'm going to push some of the circles to more of a yellow, green, maybe even some to a darker green and so on. Notice that the mixture is still very light. So I would think I would lean more towards a t sort of mixture. So, you know, I talk about that again in the beginner EZ water color class I have, again that link is in the description, but no tea, milk and honey or the three mixtures I think about key is obviously more water down. Less saturated. Milk has more saturated, a little less water and then honey is very, very thick paint. So I've got this top S curve on painting now which has kinda gone off the page. That'll be the, you know, the only one that really reaches the top as far as I know. And then also notice that some of the circles lean more towards a teal green or a blue-green. Some circles are looked more like an olive green, orange, yellow, green. So I've just variety. But again, I mean, you know, you can use this however you want. You can opt to do more opaque circles. You can keep everything one color or however you wanna do it. You could do this with monochromatic sort of things. So you could use like a navy blue, indigo blue. And this start with a very, very light blue. And then as you put layers over top of each other, you can put more and more pigment into it and get to a darker blue on your last stages. But so now I had a little bit of glare. So I'll put a little tape on the back of the paper. And that's going to hopefully keep that glare off the paper. Have film lights and they they tend to if you put a glare on wet paint and anything that course it has water on it like my what are color are sold as I'm using the hair dryer here again, lifting paint, adding paint, whatever I see fit. And I will dry this 100%. And once it's done, I will see you in part two where I will finish this one up. 14. String Of Circles Continued: So again, nice and dry here. And I can start to layer. As I layer, I'm going to alter or change the color a little bit. So I'm going to start with a little bit of ultramarine blue, a little bit of Alizarin crimson. That's going to give me more of a gray violet flower trying to mix more of a pure violet. Our probably opt for cobalt blue or something like that. But again, I'm looking for more of a gray about want the grade to lean more towards a cool gray. So I'm thinking more along the lines of a bluish gray for this layer. So there are my S curves again, I recommend starting with the S curve that gives you, gives you more freedom actually to paint the circles. You'll have a better idea as you look at what is already on the paper. She where you need or want to beef it up a little bit with another S. So I recommend putting that down there and making sure you you have a good guideline to go by. So again, mixing up some grays here using the three primaries, reds, yellows, and blues. Once I get the gray mixed where I'll want it, then I'll put a little more blue into it to cool it off a little bit. Although I must say this grey and putting down right now, probably as more of a neutral I don't think is warm or cool. I think it's kinda caught right in the middle. Now just cleaning my brush off here, this is pure water. So my water, my brushes and that wet. But I'll just cleaned it off and then it's still damp and that go into the paint and I lift it. Whenever you do that, be careful you don't put too much pressure into your paper. Because if you put too much pressure into it, you're actually going to lift not only what's wet, but you may disturb the watercolor underneath. So if you scrub or rub into the paper too much, he can certainly reactivate the dry paint, the dry watercolor. So just a little heads up there. He may not they may not bother you to reactivate it, but in this case I didn't really want to disturb it. So you can see these graze, that gray overall is a lighter or darker value, then the yellows and the yellow greens that I use in the first two layers. So it's starting to get some darker values overall. And it's starting to get that nice layered look. Here I'm using a started with a, I just push some of that green I had on the palate into my grace. I gave me a great green at the very top of this string. And then as I get down to the bottom, is getting more towards that neutral gray. So that we'll know pretty much take care of this layer. And now I can go back in with my wet brush again. I took all the pigment out of that brush off camera. Clean, they're really good. And then just let that sit and I'm using the web brush to lift some of those circles so they're not all the same. I think it's important to have a good variety of transparency and the strings so that the bubbles or the circles don't look all the same. Here I'm using a very, very weak mixture for the top. And I added a few circles, Eric's, I thought it would just look a little better. So ended with a circle that was a little bit too big. So I wanted to scale that down a little bit. Again, hairdryer here if you use a hair dryer, I'll remind you once again to just to be careful if you have a lot of wet paint at this piling up on your paper, your artwork. Hold the dryer back a little bit or you may even want to use a paper towel to remove some of the excess water and then you use your hair dryer because they're hairdryer will push a puddle of water and it may push it in a way that is undesirable as all. Alright, so now mixing up a thicker paint, that's the main thing here. So as I finish, I want the pain to be thicker, but still want to try to hold on to some transparent quality. So if I can, I'll create a layer that is darker in value, but at the same time, it's Gaussian transparency, then that would be ideal. But because sometimes if you go to thick where you had q much pigment into your mixture, then it's going to become a little too opaque. So it's kinda tough, you know, when we start stacking three layers like this, even for then, you escalate to become more and more difficult to achieve transparency because the way I'm doing it to is things are getting darker as I go. So again, you wanna think no towards that T slash milk mixture, don't go too thick if you're trying to maintain a little bit of the transparent quality. Alright, so camera's not picking up on it to good here, but there is a little bit of a blue subtle hue to this. And now I'm going back in with some of the greens and dropping that into the wet paint. And obviously I'm losing some of the transparency. See can't see all the way through to the layers beneath and all, in all the circles, but the bottoms going to have a darker feel to it. So the circles down below will get darker and then things will, will air out a little bit and get lighter as they move towards the top. You may see here as I get to the top of this little S curve here, I run out of room, so I didn't have enough of an S there to get a smaller circle. I didn't want to end it on a big one. So I added a few to it, uh, had enough room up there to do it, so worked out fine here I'm gone back into some of this wet paint, adding some darker values towards the bottom. So again, that feeling of darker hues and the bottom. And then I'll use my wet brush here to lift some of the paint as it gets towards the top. So if you start to lose your strings, you can always like the line, the S curve. You can always go back into an ad that you can use a thicker line than I did. You can use a thinner line than I did. Again, whatever you think works. Again, this is such a flexible design. All of these are that you can just kinda take the idea and run with it and have a lot of fun. And just paint. You would never paint the same one twice, you know, you can just keep having fun and don't on different each time. So there it is. Image taken a natural light so you get a better feel for the colors. I hope you enjoyed it. You can pair this with to maybe make one all one color or make me make the other one than another color, mix and match on whatever work. So anyway, I'll see you in the next project. 15. Colorful Rings: Welcome to Project colorful rings. And here the awesome thing about this one, we can make it into a three for. So here you see the rings paired with these bands and then with some diagonals. So these are the next three I'm going to show you again. He can use it by itself. You can use it paired with anything else like I just showed you. So anyway, very versatile. So here are the other two again. And now I'm going to do the rings. So for this project, I'm using some kind of some earthy yellows, Brown's, greens and blues. Well, my rings to be more of a dominant blue. But I'm going to sprinkle in some of the other colors from the other paintings. I'm showing you this 1 first because it's the easiest one in the group. And then you can, we'll, I'll do 23 the others in the following demos. So notice my rings are very abstract. They're not perfect rings. If you're someone that you want, you're looking for a precise ring-like something that say you want it. Very stiff and more modern and geometric looking. Unless organic. You can use like a coffee cup or any sort of cup that has a diameter that is suited for your project. And just kinda take your brush and go around it each time. Just make sure you clean it, you know, so you don't leave a mark for the next one. But he can do rings that are very stiff again and less organic for this project, obviously, marines are going to be all, they're all going to be very irregular and, and loosely done. Now, important to note that some of the Rings or more saturated. So whenever I load my brush up, some of the strokes will have more pigment, others will have more water and less pigment, so that I get a variety of rings. Now I'm going to shift some of these colors and then shifts some of the transparent quality. And I'm also going to drop in some of the other colors I'm using. Now I don't want it to, I want this again to be dominant blue. So when I look at it individually or by itself, I see more of the blue than anything else. Obviously, that's like assessment dominance means, right? But at the same time I wanted to tie in to the other two that I will do. So again, if you're, if you have a color palette that maybe is more pastel, maybe more BCCI or whatever. Feel free to obviously use wherever colors you want. You can do one all one color. They can do the other, another color and do the third, third color if you wanted to. So again, very versatile here. What I'm showing you is just the idea and then sky's the limit. So you see here I'm mixing and some yellows dropping in some warm ochres and some even touch a red in there. And I'm using my brush to lift some of the paint as well. So again, I don't want all the rings to be the same transparency. So some of the areas of a ring will be very faded and lightened tone, where other areas of the ring will be more saturated and perhaps not 0 transparencies, so no transparency at all. I think that's the, the importance for me on this one is to give the interesting shapes and rings. So they're not all the same. Dough in a touch of the other colours. But just make sure that I get that dominant. And when I'm working back into these wet rings with the blues now, yeah, I'm trying to stay within the original lines. All of this is still very wet. So all I have to do is just charge it. So charging is when you have a wet surface like this, which is the Rings. And now I'm just loading my brush with a color and just dropping it into the wet paint. So now what I will do is, is getting too wet because I've kinda work back in to some of these rings quite a bit. And it started a puddle up in a few places. So I have my hair dryer there. Now will start I'm starting to dry it off but as as as drying. Now I'm using the hairdryer, also lifting some of the paint, some actively painting into it as a dries. And eventually I'll probably drop a little bit of a thicker blue pigment and to some of the places. So the rings were just getting a little bit too a transparent. So I wanted to lift a lot of it and then get it dried off. And that way I can come back in and drop some nice rich color into it. And we should be fine. So here you can see a drop in those nice indigo blues into it. Really rich, very thick. And that should give me an interesting set of rings to look at. So again, this is kind of a sneak peek, if you will, of all three pieces side-by-side. And now let's just have a look at the finished piece again image taken a natural light. And I will see you in the next one. 16. Mix & Match Horizontals: Okay, Project two here for this one is going to be the horizontal bands. So using a similar color palette and it's I've already used in the rings. And I'm going to change my brush to the bottler brush. And we don't have a modeler brush. I'll just use a biggest brush you have, and you should be fine. The beauty of a modeler brush it obviously is you can really put these really wide strokes down. So you but with a smaller brush or does have to obviously do more strokes. So now I'll put the stroke down and then I use my MR to loosen up that line a little bit. So I didn't want a hard edge on the entire line. A one that bottom line to be nice and dark as well. So I used a good, good amount of paint into that. And now I'm doing some thin lines on this particular project is all about variety. So we want the belying quality to be different for each one. So these are all bands, but, or horizontal bands level going to change the thickness of the lines. We're going to change the opacity. Boss or some of them will be very opaque. Sum, sum will be very transparent. So again, a good variety of line quality going on here and a good variety of everything. So here you can see that bottom band is starting to dry, but it's still pretty wet. So I'll just put that big old streak of dark blue into it. And I've got the three thin bands of more of a warmer hue. And then I've got that really more transparent blue band on top now, but that's almost the same blue, a little more turquoise into it. Cobalt turquoise. But just changing the transparency of it by making sure I have more water into that top band. Now I'm getting a nice earthy green here. And I'm switching to My pointed round. I believe that's a number ten, but I've got got it listed among materials. So you can go back and look at that and just getting something a little more organic and the shape quality. So it's less streaky and kinda more, kinda jagged and look in. And here. Again, it's going to be that green color. So it's got a nice unique hue about it as opposed to the other ones. Right above that, I use the same exact green, but very, very watered-down. So again, playing with transparency, playing with Hughes, playing with the thickness of the stroke. And now I'm going to get back to my warmer Hughes. I'm also going to get back to my bottler brush and we'll get a nice band going across the top. That one is so little chopped off, I'll, I'll skewed it down here in a second, but it's just an everything you've seen so far. As far as Painter align is all it is a dropped a little bit of blue into that. So I didn't want the entire band to be the one reddish orange. So it's probably a little to read, so I'm going to mix a little bit of yellow ochre into it and just kinda let that bleed into each other. So that's that's pretty much it among the again, let this one dry as is. I'm not going to touch anything. And here it is again, image taken and natural light. And that completes this project and I'll see you in the next one. 17. Opposing Diagonals: Alright, project opposing diagonals so you can see short choppy diagonals moving in opposite direction, hence the opposing. Now again, same palette. I'm not going to change much here. So working with blues, earthy yellows, and I'm just going to alternate here. I'm going to use also a series of six lines. So kinda mark the middle or at least eyeball where the middle of your paper is on What Is what I'm doing now. And then I don't want to paint in the middle. So I'm going to go just above the Middlemarch and start with with my bands. This is my appointed round brush. If all we're working on a larger scale that say if I wanted to do a painting that was 22 by 30, and we'll probably keep the same amount of bands. So six, but I think I will just use a much larger brush and had to go a little bit larger with the stroke itself. So here, that kind of warmish yellow, yellow ochres was a dominant color there. And the beginning. And now I'm just dropping some breads into it. So I want again a variety of diagonals there. And now I'm going to do a band of cool solving. I'll start with my cobol, blue, a little bit of the cad yellow, lemon. I'll pull a little bit of that, read into it. So it's a nice, earthy green. And authorities and do a more of a blue. Okay. Well, I guess I did some. Now push it to more of a blue saw started with the kind of a lighter olive green, then went to more of a blue-green. And now I'm going to shift it back to a yellow or an olive green. So you can see good, good amount of variety there. And it looks like I'll actually end up with more of eight or eight or ten bands will see. So obviously this is the third row, kind of sticking with the greens, but I'm going to now push that more to a yellow, red. So we'll alternate the colors a little bit here. And working right back into that wet paint, I can kind of blend. Blend that, however are like notice how all the diagonals are there, not all the same summer, you know, a 15 or 45-degree summer, a 35 degree, you know, summer, You know, we're upright or less upright, so just kinda very loose with it. So it looks like I'll end up with a total of eight rows. Again, you can think if he gets you many, it may, it may get a little choppy look-in, but again, this is all about you taking the idea and run with it. And you can always try it on a smaller scale. So if you're experimenting with a color or maybe bigger bands and what I'm doing or smaller than he can always kinda do a, a small mock-up, see how looks and then kinda go from there whether or not you want to. Do you think it works? So more of a blue on that last row here. Going with my, my Red's my warmer Hughes. I've got the colors on the palette now. So this next section of diagonals, which should go a little bit faster and theory. So getting back to my blues here, so my O2 Marines, Little bit of cobol. And with that, the more ultramarine and some of the grays that are already on the palette. You can see I've got some yellow ochre is mixed in with that. So yeah, just very, very loose with the colors, but kinda stick him with the palette. Again, you can use violence and pinks, blues and greens, whatever your heart desires, whatever you think would look for your projects. So here is the piece. Again image taken a natural light so that it gives you a good take on it. Now let's revisit the three together so you get a good feel for all three Sabah size. So I think that makes a pretty awesome set of paintings. If you wanted to spruce up a corner or a wall in your room. Or of course, if you have a special someone that needs some decorations someday core, then I think that would hook it up. 18. Jagged Horizontals: Alright, some jagged horizontals here. You can see we got a little bit of white space in between the jaggedness. This would make a lovely projects paired with these long triangles I will show you in the next project, but let's get started with this one. What I will do is missed the paper first. So when I'm missed it like this, there'll be some areas of the paper that are dry, some areas that are wet. So we should get some nice broken lines here, which is what I want. So I don't want the space to be the white space in between these bands to be too stiff. I wanted to be very loose and whimsical. If you wanted to do something more geometric, obviously could. You could do a set of my organic sort of vertical lines. See, I'm just working my mom bottler brush vertically here up and down. And just sort of doing different heights, different lengths. So I get an irregular line. And once I get that, its didn't quite spread enough. So I'm going to go back with my MR and encourage that to bleed a little bit. And then once I start to get this next band in there, I'm going to start to bleed pretty good. As I do this band, this one's going to be a little bit thinner, so not quite as thick. I'm also trying to use less pigment, so I'll want the color to be a little bit lighter blue. So that first band up put in was pretty saturated. That was definitely had a lot, a lot of color gone there. But you can see the band, the whitespace and between the two here are already starting to bleed and kinda run into each other. It's starting to bleed a little bit too much down the paper for the second band. So I'll just use a paper towel to dry up some of the water that the moisture that's on the paper and that'll stop it from bleeding too much anyway. I'll go to a smaller brush here. This is my point at around. So I'll do some long, kinda, well, I guess you're not long strokes but just some a variety of kinda longer and shorter strokes here. Just hum, was work in that in a zigzag sort of stroke back and forth. And now I'm just kinda reshaping Some of the space in between everything. But notice how it's very blurry. So the white and between the two bands or the three bands, even some areas of very white, very stiff sort of edge quality in between where others there is wet and so has that more dreamy and whimsical look about it. So again, a variety of separation, a variety of whitespace and between the bands I think works really good for this project. So that one, again, that band was pretty short, so a little bit thinner. And now I'm going in with more of a blue, so a little more, little less gray mixed them with this band. Little more of a pure, a pure, saturated blue. And the band itself is a little bit wider than the last one I painted. Again variety now always mixing it up. You know, some some areas of very thick and opaque, some areas of warm water down. This band, for example, will be taller than the ones I just painted. So I'm gonna do a nice wide band here. I got a nice brush full of the blues and reds. So that gave me a nice gray. And we've got a nice thick band there, but a little less saturated though. So that's going to dry quite a bit lighter than the others because it's just not enough, more, less pigment in it. So now very short and choppy band here is going to have a little more movement to it. We kinda almost like hills are no trees on top of the hill type of thing. And here I'm going to go keep it about the same thing. So very, very thin band, very watered down now. So I'm a very grey also, so losing some of that blue. So it kinda gets more of a dominant gray. And here I'll do the last one. I'm going to leave a few gaps of the white of the paper. So we had that feeling that it's just different than what it looks like at the top. So the top has that nice blue thick blue one. And here we kinda beget more grey and we get more of the why of the paper. So again, the top of the art looks different than the bottom of they are. Okay, so it's finished differently. Here. I'm just going to tilt the artwork a little bit. So it was running away from me and courage that some of that excess water and paint who run up hill. Now, I'll encourage it to run downhill and let it dry. So here it is. Image taken a natural light. You can do this sum by itself or you compare it with the next one I'm about to show you. 19. Vertical Triangles: Alright, project vertical triangles. You can see more of a stiff white in between the triangles. That's going to look nice with the project I just showed you, which was the, the bands. So let's get started with this one. I'm using a small sore brush here, same soar brush I've been using. Because these triangles are very thin and long, it is good to have a brush that can hold some pigment. At the same time, you need a brush that, that can get a pretty fine line. If you don't have a sword brush. Maybe you have a really good pointed round. A point around could probably pull this off to, you may not get the points, the sharp points at the end of your triangles. But then again, you may have excellent brush controlling. You may be able to pull it off. So I want these triangles to be geometric look-in, but at the same time, I want them to be a little bit wavy too. So I don't want the triangles to be to stuff. You can see I've got some some of the white of the paper, the sparkle of the paper showing through some of the triangles. So as I, as I fill in the blue, if a little bit of that white of the paper is showing, that's not going to hurt anything. Thou does add a little bit of texture to the, to the overall quality so you don't feel like yet the block everything in solid. But then again, you know, it's up to you. I do think you can do this project and probably keep, you know, do it in a very solid way and it would it would still be fine. I mean, this is just kinda my take on it. But I, you know, depends on where the artist want to go to. We have kind of a modern farmhouse. So something like this. I think what would work really good and has that modern look about it. But it's a little rough around the edges so that will match some of the other decor we have in our house. You may have a house that has a little bit stiffer lines and quality to it with whatever you have. And maybe the more tight geometric, precise triangles would have worked good. So again, you can kinda go with what you need and maybe fine. Obviously you can use any color you want. You can use multiple colors. Here. I'm using the same blue, that kinda navy blue as I did in the previous demo, Baraka use multiple colors if I wanted to. For this project, you know, it just doesn't matter. He can I can scale this up. I can make it bigger, I can make it smaller. I can make it a square format. I can make it a landscape format. I mean, the sky's the limit with these sort of projects. So that's what makes them so awesome. So you can see I'm alternating, so I'll have a near the top of the triangle. And then on the next one I'll do, I'll start with the bottom. So that gives it again, you know, some interest in turn in terms of looking at it. So they're not all the same. But can you do a piece that has all the triangles, all the points pointing up or all the points pointing down? Absolutely. Absolutely. So start small. If you want to experiment on a piece of paper, scrap piece of paper, or maybe have old watercolor paintings that you weren't satisfied with and it was piling up in the corner. There was a B could pieces to experiment on and try some different ideas. So again, that's kind of up to you. But if you try it on a smaller scale and you'll be able to see it better. And that'll give you the confidence to, to go forward or maybe to keep making changes until you're happy with itself. So again, with this one, you know, some areas of the triangles are more transparent. So I may have more water. And to that section, other areas, maybe more a little bit thicker or darker in value. Obviously those areas would have more pigment and less water. So the variety of paint is important. The, the shifts, subtle shifts and value I think is important. It might be fun to do this alternating colors like one blue, The next one green, maybe the next one yellow, then go back to blue. You know, something like that would be fun to play with two. So here we'll go with thicker paint and we're going to drop that in. And two or three places. Maybe for just to again, break up the monotony of one Hugh. I want it to be very irregular and kind of abstract looking. So here it is the image taken a natural light. So by itself, pretty cool piece. And then here it is again paired with the project I showed you before this, so you can see him together side-by-side. So there you go. I hope you enjoyed it. 20. Recap & Assignment(s): All right, just a recap here. Remember that you can concentrate on any of these projects, but each demo is a project. Feel free to do one, or if not all of them, all projects are customizable. Use your own colors. You feel free to experiment with shapes, have fun with it. The purpose of this was to give you some easy, simple ideas you can use for some decorative contemporary art around your home. Or they can be used as great gift ideas, very inexpensive, which is great around the holidays and special dates. Again, my name is Robert joiner. I want to thank you for your interest and your time in my courses. I hope you enjoyed it and I will see you in the next one. Take care. Bye bye.