Playful Watercolor Dreamcatchers | Sarah Jean Bryson | Skillshare
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11 Lessons (1h 41m)
    • 1. Intro

    • 2. Supplies

    • 3. Webbing 1

    • 4. Webbing 2

    • 5. Anatomy of a Feather

    • 6. Feather Flow Part 1

    • 7. Feather Flow Part 2

    • 8. Build your DreamCatcher

    • 9. Finishing Touches

    • 10. DIY Liquid Watercolors

    • 11. Bonus Video: Halloween


About This Class

Do you want to explore the World of liquid watercolors, but not sure what to paint?

Do you enjoy playing with wet on wet watercolor techniques?

Do you want to learn to paint a calming dreamcatcher?

If you answered YES to any of the above questions, then check out my "Watercolor Dreamcatchers" class.

You will Learn:

-The techniques I use to make natural looking feathers

-How to paint different web designs for your dreamcatcher

-How to arrange the composition of your dreamcatcher and finishing touches to make a piece you can be proud of.

All skill levels welcome, however this class helps if you have some watercolor experience.   


1. Intro: Hey, welcome to you this next skill share class. I'm Sarah Gene Bryson. I am an artist illustrator On the face behind the instagram account. It's art oclock with under schools in this class, I'm going to be showing you my version off a watercolor dreamcatcher. A playful What color? Dreamcatcher. I'll be showing you my personal technique for doing a very wet on wet feather, specifically using liquid water colors. They proved really popular recently, and I'm going to be showing you how I actually create these feathers and the look. We'll also go over, obviously, the structure and the central webbing of a dreamcatcher. I'll show you a couple of options for designs as well as some finishing touch details that you can add in this close. I'm assuming that you have a little bit of a knowledge of water. Colors it because I'm not going over how I pick color palettes in this one, or how to use water color and brushes kind of as in depth as I would if it was a beginning class. If you have zero skill set yet and have yet to touch watercolor paints, I highly recommend you take my first class, Lisa Lively would color wreaths. You can also find that here on skill share. If you take that class, that kind of goes into color play how it picked my pal. It's things like that. This class not so much. I'm going to go in with the assumption that you kind of already know a couple of the techniques, like wet on wet, and then we're just gonna dive straight into it. Basically. So, without further ado, I am going to get straight into the supplies list in the next video. Andi, I will see you in class. 2. Supplies: Okay. What are you gonna need in this cloths? What color paper to start with. And it has to be, ah, £140 or 300 GSM watercolor paper. You could try it with £90 but you'll see assumes we get going. The amount of water that I like to use for this particular technique. You really are gonna probably want that £140. It doesn't matter if it's 100%. Qatar stressed more have arches. This is a really great brand. Not affiliated them. I just really like their paper. This is fluid watercolor paper. But the reason I like this particular paper is it's not crazy. Expensive on it comes as a block Similar toe archers, but without the archers price tag on dso. Having it attached at the sides on two sides can be really helpful. Because, like I said, we're using a lot of water in this particular class. Next, you're gonna need what's color pains on. I am using liquid watercolor paints. This time I have several different colors on different brands. So this one here is a concentrated watercolor by our philosophy. E also have a couple in my collection of Dr Martin talked to Ph. Martin's hydrates. Just a quick word of warning about this doctor. Ph. Martin's makes hydrates fine art watercolors like this. They also make a Bombay Inc of fluid liquids that look very, very similar to these on DSO. The inks won't quite work the same. So heads up, not the ANC's of the doctor pH martyrs. You want the water colors? Um, our philosophy again not affiliated with them. I just own a lot of their products cause I really like their products. If you do not have liquid water colors lying around and you don't want to invest in a new set of things, you can use regular watercolor paints, but the effects will be different. So this is also a collection of water colors that I own. This is by art philosophy as well. This is several pallets I own. Andi. I will show you how you can use these to create your own liquid watercolors. But you'll also notice the end result is a little bit different than using straight concentrated water color. You're gonna need watercolor brushes. I'm going to be demonstrating a variety of different brushes. Um, this one here is a two round ah sky, I believe is a three round Princeton. And also my go to one of my favorite brushes is my quarter inch dagger brush. I may also show you some using the half and get a shade up. They're just great brushes. Any decent watercolor brush will do, ideally ones that come to a nice point because you can use them for more detailed work. You'll need a paint palette this time. Um, this one, obviously you can see is filthy, but using liquid water colors a little will go a long way, and you kind of want to be able to mix your waters in and see how your colors are coming out. So I do recommend a palette for this class. You're going to need a paper toe or, um, a rag that you can use for your excess. You are going to need some water. You're going to need something round. Um, I have an upside down cup I can use, says the washing tape roll. I often use jam jar lids, something round. If you saw my first class on skill share, your already going to know what this secret method is full. If you are new to the, uh, the world of my circular drawings, you will not know what it's for. But you will, once the round object in the size that you want your dream catcher to be. You don't have to have it, because if you have your round object, you won't need it. But you can have a pencil and a razor just in case on standby if you want to kind of map out where you gonna put things on? Lastly, if you want to do finishing touches, which is a whole class at the end, you will want either like a metallic gold or metallic silver, or this is the U nable white universal signal signal. This is actually a lot. They're all Jill gel pens on dumbed there quite nicely doing finishing touches. But anything metallic will work. If you have metallic water colors, I will be showing you my fill in the blank metallic watercolors. These are not this like a necessity items. This is the end. If you want to do some finishing touches, you can use my compounds. I will go over kind of a lot of different options. that I use, but I just wanted to show you that you can have those on hand if you need. Hm. Provided you have your items toe hand. You want a fairly clear work surface to work on and let's get going. Making some dream catches. 3. Webbing 1: variations, you can get different design with color combinations. This emotions are endless on. The designs are endless. So as you can see, there are a vast array of different Web designs that you can come up with for your dream catcher. If you go on Pinterest, you'll find a variety of styles on central kind of options. This is just three that I personally own. And as you can see, each one is very different. This one has beating. That's like a stuff formation with traditional Web design in the center, this one actually is different. It's not a string, it's okay. We're gonna see what it is called like a grass, almost very hard structure, much more geometric in design. Again, that's Star Field. And then this one, I mean, is more webbing on the outside like flowy Web kind of design. But all of these have something in common, and that is that they are handmade, and there's something to say about dream catchers being handmade. That makes for really interesting of an interesting topic for painting because it means that it doesn't matter if something goes wrong, because you can hide it in the fact that it could be a handmade objects. For example, This not here. This isn't on any other of my dream catchers. There's not a not there. So if I was to, you know, drop a bit of paint that kind of becomes a swell. I can hone in on that and make it part of my decision making, even though it was an accident so that it's a little bit forgiving in that regard. Also, all of these shapes aren't exactly the same because it's a handmade item. It's gonna pull on the string differently. Like if I move this slightly, it changes the shape. So basically, there's no need for a ruler or protracted to really figure out exactly where the geometry is. And that's kind of why I like it, because then you could go with this looser design, for example, this one. It's a good example of how I've just literally followed lines around. And if I've had any kind of errors or it looks a bit wobbly, that's fine, because you know what, string can be a bit wobbly. And so for the purposes of this particular lesson, I'm gonna show you with pencil. Here we have four shapes or circles that I have now given a name, and I've called it spontaneous star geometric and floral thes air made up names that I've come up with for my dreamcatcher centers. There are so many other versions that you can come up where the view look online at dream catches or if you go to a local market that has dream catches, it's really interesting to see the shapes you can come up with for the purposes off this class. I feel like it's easier to just kind of give you some basic shapes on let you decide from that. So starting with spontaneous, basically draw a circle on and imagine the central point. Now I'm eyeballing this central point is here. I'm not perfectly measuring it out. In fact, seeing on the camera can see Really, that would be more of a central point here. That's not a problem. Same with this guy just eyeballing the approximate center of each of these circles. And obviously he's like that. Okay, so I like to imagine the circle being divided. It's just easier that way now. We can either physically divide it with lines, but I find it easier to just imagine it like a clock face. So I'm gonna do a 12 a six, a three on the nine o'clock, destroying on I'm gonna do on all of them because this is just how I find it easier to work . And when we do it with what's color, I'll show you how I do this with the water color. I don't use a pencil line You can if you want to, but I personally have a pet peeve of raising pencil lines with watercolor. It just is not my favorite thing today, So we've marked on those points of oclock. Now for the spontaneous, I can literally do a clock face and imagine you've got your one o'clock two o'clock four o'clock, five oclock, seven o'clock cook, turn oclock 11 oclock in The reason of using clock faces description is because I feel like everyone. Most people know what a clock face looks like, and it's just easier. I could say, you know, 90 degrees, 40 degrees, whatever it is. In fact, just for the purposes of this log to show you, you can if you want, use a protractor and really measure out where things are or perfectly divide it. But that kind of removes the playful element in my view. So I'm now going to show this when I would divide these two points like so so not doing as many on that one. Andi, let's do the same with this one. Just cause it's easier and on this one as well. We just dividing those two lines like so, so spontaneous is exactly that I like to imagine that I'm taking my string and just moving about wherever I want. So if I was creating a dreamcatcher like no, quite like this one. But, you know, I've taken my I've made my edge, which is a circle, and now I'm taking the string from a starting point and I'm dragging it round and I'm gonna do it however I want. So for this particular version, I'm going to say I'm taking the string here first, and I'm bringing him over to here, and then I'm bringing him over here. And then maybe I'm curving it, curving it, and I am very literally go to the center and out. I'm literally making it up as I go along. Some are curved lines, some of straight lines. Sometimes I go back to the center out curve again. My only point that I want to is to hit each of the points that I've drawn And I could do that multiple times Get all the way around if I want. I just want imagine on dragging that string round Andi, sometimes you're looking go. It doesn't quite work. Maybe I need another piece here. Well, maybe that's too many, but I'm gonna stop there, Andi, That would be considered a spontaneous. And that's literally I'm just making it up. As I go along. I'm imagining I'm taking a piece of string going to the central point, just moving it around. You kind of can't go wrong with that. You could do curve line, straight lines, whatever you feel like, because the end result is still gonna feel Web like. And then what would happen is we go in with details putting little beads here and the sometimes where it crosses, sometimes on the edge. In the more little elements like this you add, the more dreamcatcher it's gonna feel so that one spontaneous star Now this one's a little harder to actually do correctly, and I would say this one is is close to a star shape. I'm gonna put this behind it, so it's easier for you to see. So you have this kind of very specific shape that starts out and then goes to different points. Now, the easiest way that I find to draw this is to focus on these points here which are like triangles so imagining we have a point in between these two. So there's a point hair in between these point the in between. These in between. These this is a very basic version of this dream. Catchers could get really complex if you're making them. And so just bear that in mind and you have to remember what dot goes with what it can get really confusing. But I'm just gonna show you, for example, if I draw like a try and give a line like this to that point and I do the same triangular to hear, I'm literally going all the way around, making kind of a star shape. It's okay if it doesn't look quite right. A lot of these do have different lengths. That's kind of the point. You want them to feel riel and that involves some level off imperfection for it to feel realistic. Now, from those points, we're now going to do the same again. We're going to draw a dot in between the new two lines that we've created, like so going all the way around Andi again drawing those triangles up to those new dots and then you could keep going, or in this case, I'm just gonna draw. Sorry, I'm just double checking here. I'm gonna draw from here to here from here to here, to the to the to the to that. Okay, so there we go. And actually, this is great because it's been an error on this part here where I've accidentally drawn the line in the wrong place. But you know what? It still works because if you see here, this one's a little different from this one. And there are places where you have to double back with your string If you're making a real dreamcatcher, and again, you can always hide your mistakes. We'll make it seem a deliberate with a beat. And that's a really great way. I find if you add like a bead somewhere again. So that's more of a star design geometric again. This is a made up version that I've created much more spontaneous again like this one. But we're only going to do this straight lines, so going to go in up, down again, just it's more like a spontaneous geometric. But I'm not doing any of those curves. And the reason I'm not doing curves is because I wanted to feel quite triangular. The only thing that's important is that I hit each of the dots that I chose to draw, because if I don't, it's gonna feel incomplete. And then let's get one more down. There we go. So that's a geometric design. But again adding those beads really helps feel Dream country. This is my favorite. So I've done him big for the purposes of this figure because these ones look fantastic when they're done in watercolor. I just really love how they look. And so, with our points, we're gonna draw what could be best described as a petal. So we're gonna go one curve down to that point and then we're gonna do the same on the other side meeting, and then we're gonna go opposite. And I didn't do that quite a big enough curve. Realistically, I should have done a bigger curve on him. But again, that's OK. So I'm going to 12 6 the three curving it out, curving him out, meeting it. Okay, Now I'm gonna do the same thing. But to these middle points on, I'm actually going to deliberately go over, so I want to curve it out. It's going over that first petal and curve out going over the other petal. Same on here. Have it out. Can it out. I work quite quickly, which is why I'm doing this quite quite fast. You can take your time with this process. In fact, when I do it with paint, I am a little bit slower. But there we go. We have this kind of floral design that works really well and again, Once you add your beads, you've got total dreamcatcher field toe. You can put them whatever you like. Now you can if you feel confident, do even more dots in between these lines and do more petals. I personally find it can get really, really confusing as to where the overlap goes. So for example, I will do one here but say I do this new on same curve scenario. You can do that as well. Um, but you just want to make sure you balance it out. So I would do this all the way around as well. I personally find it could get very, very complicated very quickly because you be you confined yourself, being confused as to what area you already did on the overlap can get quite, you know, mind, mind boggling. But the end effect is also ready. Collide, champ. You know what? I'm gonna do it. Even though I don't like to do it, I'm gonna do it just to show you how it can appear. And again, I'm very big on making mistakes is okay because the end result is interesting. So if you find that you overlap in the wrong area, just owner, just act like that was part of the plan. That's tends to be what I do in life in general. It's not the end of the world. If it doesn't go quite right, it just adds to that element of home made handmade feel. And if you mark on your points with watercolor or with pencil, you shouldn't fight too hard. But that is quite pretty And say I want to do some overlap of beads of wearing like where they overlap. And, of course, we're gonna be handing our feathers from these, which will then tie in. So those are some basic shapes that you can work with. And now I'm gonna show you how I use the water, color and liquid watercolors toward money. But advantage to do these designs. So this is just to give you an idea of the shapes on. Now let's actually do one. 4. Webbing 2: Okay, so we've done our example. I've done my examples to show you some options. And for the sake of this 1st 1 let's do the outline I'm gonna take. This is a larger piece of paper, so I'm gonna take a larger circle. This case is a that's a jam jar lid like the top of a mason job. And I just like it cause it's a good round. But again, you can use anything. I sometimes use washi tape to do little baby ones. For the purposes of this particular dreamcatcher circle, I'm going to use him on. If you watch my first skill share class, you'd see this technique that I like to do, which is painting with water. And so I am taking a wet brush, a clean, wet brush. And I'm just drawing around my circle with water on this. If you watch my first class, you'll knows what I like to do in order to avoid having to use pencil and then a raise pencil. Because anyone who uses what colors knows pencil lines could be the being of our existence , because when you try to raise them after you painted, it can buckle the paper and like messing up some lifting up. Not sure if you can see that, but it's now a nice water line going all the way around. Now that you're gonna add to it doesn't matter. If it goes off a little, that's fine. You'll see why a lot of dream catchers are wrapped in fabric go like a velvet. So I actually really like when the paint spreads in that kind of fabric E way. So here I was going to show you. For example, this guy has velvet wrapped around him. This one has some kind of waxy kind of paper, but they're usually brat, so we're gonna try and aim to get that look, too. So I'm going to use taxi yellow. I'm going to use some fire brick, I think for this one on. I've just popped a little bit over here. Always remember by the refusal, like aborted colors to shake your paint site. I sometimes forget that step and honestly, it's very important because the pigments can separate on Bennett's. It's not quite the same, it's not. It won't drives vibrant gonna just adopt more to him because he drive a little Andi firebreaks should be a care because I used him area. So I'm gonna drop in some water as well. Just like two drops of water and two drops enhance you. Let's start with that yet I mix it up, get it moving. Because this was paint that I used yesterday. So I'm just reusing the paint that was in my palette. And then that she gonna drop onto my water line and I'm gonna watch it move around the circle. Similar to how I did my wreaths using this water line. And then what you gonna puppet of this red in there as well I want which I didn't makes him well enough. I forgot to make some old cat that in time. You guys, this is how we do things. It's all Lemonis. We dio All right, so I'm just gonna move around sporadically. Let the water kind of move the paint pigment, get a natural kind of flow going, and it does have this kind of textural effect. I find Samos how we'll do it with the feathers. Do you like how it moves and flows? And then kind of feels organic, let him dry, and I'm gonna show you one other doing the exact same thing we just did just toe kind of show you another one. In fact, what? You're in minutes left on ice rinks. My brush, something smaller Little washi tape to do this effect, I'm gonna go my wife brush rather around around. So I'm not gonna leave both of these to dry. And we'll come back to do some designs in the centre using all wars. Okay, so all first circles have dried. This one dried a little fosters. How much you gonna start with him? And I'm taking a in this case, are using a two round Princeton brush Can use any That has a nice point. I probably should use a slightly smaller brush because of how small this is. But you know what? It can still work. So I'm going to do on this one that sort of spontaneous designed that we did on going to start by drawing well, putting the central point. So this is faded and kind of looks very basic as a color because it's just the one color. And so actually adding this dimension off the marks of where we're gonna want to place things make sense. So I'm gonna do this. I'm gonna draw on my clock positions like I did before. These are gonna act is my guidelines. But they're also going toe act as, like, a part of the actual ring as well. Like it could I just add some dimension. So now this is the technique that I like to use, and this is kind of unique to me, And that is that again, it's this idea of painting with water. So I'm gonna take my brush with, um, loaded up with water a little bit of the blue, and I'm going to drag with water my spontaneous shape. Like I said, I probably would do better due to the size with a finner brush, but it's okay. I'm gonna adding some blue as well as we move around. Um, this ended here, didn't it? So let's get back to that central point and then say I want to go here. She, uh, here. I'm making it up as we go along, but that's okay. I feel like this isn't quite right at all. One more string across and we don't even to dry. Now, this part here there's a potential error can just suck up some of that water. But you know what? We can say that with a bead after the fact. Gonna drop in a little bit more pains in different parts just to add some dimension, and then we're gonna let him dry again. And this is just using one color. As you can see now, I could go in and add one more color, but I have a feeling I'm gonna want to do that inthe e um, at the end with, like, the feathers is where I want to introduce the next color. You know what? I'm not loving this part here. It feels like something's missing. I'm actually gonna draw a line there, too. So are larger. One is now, um, dry. And I want to show you another technique I like to do, and this is doing water droplets as my points of reference. So we're gonna do a floral for him. I'm going to assume this is like the center, so I'm gonna go with him. Is my central point. I'm going to draw. I gotta paint on some droplets in the points that we talked about. So here's one dot at the told that right now he just followed that line. That doesn't normally happen. I think he's still not 100% dry. That's probably why that just happened. It's good for you to see things go wrong, too, because that's really that's really life. So you know what? Let's go with it a little further forward so you can see the dots. It can still work this way. I like drawing with the water because I feel like it's just easier to see where things are going to go and you don't have to draw on the line. I usually do. But because he wasn't fully dry, I'm worried that the other one might not be either. So let's just do that. Just check out, Mark told the points I need. He's way too far over is a okay, so he needs to be that so we can actually mop this build up, which is fine go. So now I'm gonna draw with water my design and I'm going to add a little bit of ink, so I'm gonna use the water pink paint. So I'm doing a floral design, so I'm going down and that petal shape I'm letting it touch the edge That is still a little wet over here, and that's OK. And then I'm gonna take some color and just drop against gonna show you right here. What I'm doing that she just taking the color. I think it fit on my brush and then dropping it on to the water it can be is dark or as light as you want. It doesn't have to be exact. So now we got some pigment gun. I'm gonna do the same. Gonna drag this water dot down, let it mix drug. Don't doing these petal ones for that floral design. Same process we did with the pencil. Only one now drawing with the pain, loading my brush up again with a little bit more paint full going in for this guy. Actually gonna put a lot more red on here now because I want the two colors toe overlap. When they join the lines, you'll find this parts that annoy you. Like for example, I didn't hit my mark there. And so that will probably bugged me. But there are fixes for that as well. We want this fluid feels I'm gonna add in some more yellow. That's a little interest, but the idea of these particular dream catches I mean, you can do super super structured versions of everything. But I really like the relax Haitian of these ones because I just find that watching the paint and water flow, it's really, really relaxing and therapeutical most. I'm just having in some dots, and I'm going to go around the actual dreamcatcher itself with the redhead, and I'm going to give the illusion that I've kind of wrapped it in this red. I'm gonna let it feel kind of like there's an edge to it. So I'm using more of my paints just as concentrated as opposed to water down, and I'm letting it flow like I'm letting the water that's here flow into whatever I'm doing . And the reason behind that is because I wanted to feel very fluid, wanted to feel car organic and not true. And when this dries, it will feel more fabric e and natural in that way, because the water will move it around the pigment, and it just will be a lot less, um, obvious the lines. So I'm going to leave him alone now to dry again a lot of patients involved with this process because you really have to let things dry. And then this guy, for example, let's say, um, I'm gonna fill up my brush with the highly concentrated blue on then this is now dry so I could draw on with my paintbrush. Little beat, the could put one. I didn't like this area here so I could make a beat here on a beat here. And there's always almost always a bead in the center of your dream catcher. And again, I can do more details as I go around. I could do some shading, but for now again, I could do this wrapping. Look that I like to do sometimes to make it feel more structured, but not completely. And it's much harder I find to do a dream catcher in just the one pallet. It can be done, but I do find it's much nicer if you have like two colors, at least. But I can always play with this with the feathers Now. The last step that you would do in this stage is adding our starting points for our feathers. So say I want to put a beat here, Draw a little blob, beat here and say, maybe I wouldn't add a line here. A line here, Andi. I'm gonna draw little kind of imaginary string holding him up as well. Andi, that's kind of all you need for The stage will go on to details and feathers. And there's always finishing touches. Weaken Dio. But that's your basic Web stars. And then this guy, I'm gonna do the same ignorance. My brush going with a red Andi. He's not fully dry, so I will wait a little longer before going on here. But I can do that kind of not. Andi lift up because if it's hanging, a piece of string can always do that early. He's still to went to do thought, Wait just a second longer. 5. Anatomy of a Feather: now, this is gonna be my favorite part of a dream catcher, which is the feathers now. Funnily enough, I hated painted fellows For the longest time. I found that no matter what I did, I couldn't make them look like feathers. They look too much like leaves to me on. Then once I understood the structure and the kind of the anatomy of a feather. It really helped with how I ended up painting them. And I've now come to really love them. I find them super therapeutic to paint, and so I kind of wanted to talk through the anatomy of the feather to explain the shape. And I I swear, it makes a lot of difference when you go to paint them when you have a little bit of an understanding of of the feather itself. This is just a very basic kind of overview off a feather. So you have this central part of a further down the middle here, that's the shaft. The end of it is called a Kalamazoo or quill. Thea, The name for a shelf is a rinky, um and maybe pronouncing that wrong. But I believe that they said Thea little lines that come off a further kind of what makes them feathers. If you see here those individual strands, those are called barbs. Now on each barb is the barb you'll but for the for purposes of the way I paint them, you don't really need to know that, just knowing that the barbs come off that central point and then at the end, they kind of curve off it like this at the top. So they will come off this central shaft. The overall shape is the vein. Now, the two areas that really make a feather seen feathery versus likely fief is to add the downy barbs which was so soft, fluffy feathers at the bottom on the after feather, which is like the second part, like towards the base of the feather, um, towards the Bolton. Paul, this is not see, this guy's hidden the quill. But below there you have the Danny barbs. You have this after feather, and then you have, like, the top part and the overall pieces the vein and then you get a feather that looks like this. So we've got that shaft point you've got Bob's coming off so easy Bulbs kind of like if you were drawing a fun. So you imagine the barbs coming off it to this top point And then you have your Downey Bob's at the bottom, which are much softer, lighter kind of shapes here, and then this is like the quill at the bottom. So if you understand that structure, it makes it much easier to paint the anatomy like this is not how I paint feathers. Normally, I usually do just the wet on wet method, which I will get on to in the next class. However, I just want to go over the anatomy part here. So just using some liquid watercolors and my quarter inch dagger brush, I'm going to tell you I'm gonna show you kind of what I just explained. So I'm going to go, like so coming up just during that hollow shaft of a feller. Now, sometimes it can end up feeling like a stem, um, of a belief, and I'll show you what I'm gonna do now some brown Andi say I'm painting with 1/4 inch dagger. If so, I want to paint a leaf. So I'm gonna just painted leave with a culture change dagger brush and I'm going to go up around that central point and then I'm gonna flip it over and go up around the central point. And that's how I might draw a leaf Andi with the same thought process. But now, introducing the elements that make it a feather, I'm gonna show you how just adding a few touches can turn what looks like a leaf into a feather. So those main points I mentioned were the after feather. So I'm going to take some barbs. Which of those thin lines I'm gonna come out at that base part Andi, while it's still wet. I'm gonna move up the show if they said some more of the black on X there going to allow some pieces to become longer all the way out the body of that leaf shape, like so And then imagine this. Bob's coming out the top there. And then the other element that makes it non leafy are going to be those Downey barbs which tend to go in the kind of opposite direction. They're fluffy soft feathers at the bottom of a feather on before even do anymore. You've immediately turned what looked like a leaf into a feather like shape. Now there's so many different kinds of feather. Obviously, the different parts of the bird's wing have different kinds of fathers. You've got, like, really fluffy feathers that have a longer Arab down those kind of the under feathers. You've got feathers that are more like thin. The beauty of feathers in general is that they can be anything you really want them to be. Because anything sky's the limit on imagination of designs. The other great thing is color. Now, dream catches can be whatever color you want, because a lot of times cell use riel feather feathers like this one, and they'll use natural colors. But you can also get synthetic feathers like these ones. So obviously you know, this is a purple Andi. I could do a neon green or a color that wouldn't necessarily be natural, but it would still work. If I stick to these anatomy elements, I'm going to draw one more. And what I'm gonna do it in this candy color just to show you what I mean by that by sticking to this anatomy structure that I just mentioned having that central shaft, the leaf like shape coming off. Even this one could end up looking at the fern. If you don't add those little elements off after feather and down involves, let's try with a different kind of brushed. I'm going to use a two round. I'm gonna do the same trick of trying to make a leaf shape. Um, I'm using liquid ward's colors, obviously this time, So again, I'm going to draw like as if I'm doing a leaf a stem central point, which in this case is gonna be the shaft. But I want to go away to the end and then same way I like to do my leaves. I would put my weight, Um, because it's a thinner brush. Maybe I do it again. Go up to the point and again, Very funky looking leaf. If that was a leaf, Works better for a feather in here. Um, again, not gonna look like a feather when it's in this stage. But by adding the kind of bob shapes So lines basically going away from that central point like you would do veins on a leaf, I guess. But then adding the opposite direction. Downy feathers on a little bit more of an after feather shape, and immediately you are moving away from leaf and into the realm of feather look. 6. Feather Flow Part 1: okay, It's time for the most requested video I get on my instagram account, which is my wet on wet, heavily wet on wet feathers. And so I loaded up my palate with some liquid ward's colors. I changed in the philosophy Cafe Brown, which is this guy here on the Onyx Black just because it comes out really beautiful. And then I'm adding in just like a drip Maura of water to each they literally that much which is going to water it down. Um, which means that they are gonna fade on when I say that. I mean, like, I'm watering down pigments, so they are gonna dry faded. But I kind of want that effect, and I'll show you why Here. This is a little kind of card that I have to remind myself of what you can dio this background color that looks gray, that is the onyx black. But I've allowed it with the water. I'm allowing it to kind of be a faded shade of that. And then I've got in with the pure pigment formed and dropped on dots of the black, which is why you're seeing a difference in the shading. There this one. I use cling wrap. It kind of moves the colors together. That could be fun on then. This is adding in drops of water and using that water if you can capture that on screen. But letting the water movement effect will dictate the color as well. I'm also going to show you using the quarter inch dagger brush by Princeton. I love my two inch round. Um, I might even use the half angular brush just to kind of show you what you can do in different brush types. And again, you can make it work with anything that you have at home. But these are the brushes I'm using for this, the process I like to do. Specifically, I like to call painting with water. Andi, I don't think that's a technical term. It's just my term for what it is that they do. And basically what we're gonna do is we're going to load up our brush with a lot of water. Now, this is clear water, although it might come up slightly gray on screen because I have a slightly tinted just so you can see it better. But I'm going to imagine that thin line down the centre and I'm going to draw my father shape, which in this case is kind of leafy looking. So I'm going to go up like this, and I'm leading it back up with water so that there's a really kind of heavy amount of water on there right now. I'm gonna make him quite large, and I'm literally going to paint with water the feather shape that I plan to make. It's a little bit strange filming it like this because I would normally kind of map out my design and advance. But I'm just gonna wing it on here that you want it to be, so that it's kind of pooling on top. If you can see that it's almost shiny. I'm using a lot of water. This particular technique is very, very wet on where, and I'll show you why. I like that look when we start to go through it. But for now, just to understand, it really needs to be very, very wet to let the water move around a bit, because when we add that pigment, you'll see. So now I'm not doing the after Feather or Danny barbs at this stage. I'm just making my shape with the water. Now I'm going to take some color and in this case, I'm going with the cafe as you watch. Now, this is the magical part. I'm going to put it on an end or anywhere that Bob might come out and I'm gonna let it flow with the waters that started the top line off. As you can say, the beauty of this technique is the pigment move slower than the water and therefore you end up with these fabulous natural lines and you'll see the paint were moving around. The water story will move it around. It's so relaxing to Dio, Let's go with Chamonix just making it up as I go along, swelling it. And I love that marble effect. And then I might follow those barb ideas even at this stage. But do not this is important. Do not get super attached to how it looks At this stage, it's hard not to. But you really can't because the water will continue to flow and as it evaporates, it will do different things and you might leave the design and come back and see something completely different. So just be prepared that the water will continue to flow and move around on DA. You may end up with something that looks totally different at the end. They do love how, as you can see, the water moves around and lets you do things. Now the other technique that I like to do sometimes is now drying off my brush. Sometimes I'll soak up some of the excess water, as you can see here and move it around because it moves up pigment part as well. I just really love this technique for getting some kind of texture, natural feeling, texture. You can go up that central point. I like to leave. The central part of my father's quite pale, but obviously there are other looks that you can go for. But what I love is, as you'll see as this guy dries, it gives this beautiful, um, sort of. What's the word told to Shell, if you have ever seen that told you Shell Cats, it gives that kind of look. Now I'm gonna let him dry, and it's gonna drawing on screen fee that obviously we just got the shape going right now for the purposes of this figure. I think I'm gonna show you with a pencil. So imagine my father's going down some extra pencil line and go like so So the feathers hanging off my dream catcher and then with my angular brush, I'm gonna do the same idea that I just did. I was dropped. Adult. Oops. I guess he's gonna be a fat fellow. This is an angular Shater, and without actually touching the line, I'm gonna get right up to him, and I'm gonna imagine my bulbs that coming out here and then they coming out here just going around that line. It doesn't matter if it meets in the middle. It's not the end of the world. It will still give a great look at the end. I'm learning that after further gap kind of fill in going back for more water, dropping more water on there because that will help with the flow. And now let's go with this pink because feathers could be anything. We want them to bay and you'll notice some colors move better than others. Some mixed better than others. This is the candy pink by our philosophy. And I didn't put as much water this time. And as you can see, the effect is very different. It's not really moving around as much because that water is not heavily flowing. The water is not as thick on this one, but again I'm following the rules of some Bob's to kind of help. When I do the after look, let's go with some Black is works. I feel like the high, Really. I'm loving the look of, um, my onyx colors. I'm actually using my brush very differently than I normally would with this angular, but I'm just using that point so you can do these with thin brushes you don't need to have like and I didn't get a brush. I just personally like them, Um, because of the shapes you could get with the actual like vein the body parts. I do this. Just make it up as I go along. So basically, it's a very, very wet on wet look. It requires a lot of patients because now you're gonna leave him, leave them to drive and then come back to them to do details. So now I'm onto the detail part, So as you can see some of these feathers, these are the ones we just filmed thes ones, the ones I did another day on day. As you can see, the water moves around. What may be more obvious when they're wet is no longer as obvious when dry. But you still get beautiful details. Now these ones, the gaps have actually ended up filling in. So what I'm going to dio is I'm going to load a This one's at to round. It is not straight onyx, Blackwater color liquid watercolor and I could use regular Ward's colors. At this point, you don't have to stick with the liquids. I find them. They're easier for this flowing part. But let's say this guy, I've lost that central point. So I'm going to kind of highlight it again by going down the middle with my black on hand. As you see, I've already added Cem downy feathers Onda couple of after feathers at the bottom. But basically what I'm gonna do is I'm going over patches to really emphasize the bulbs. So I'm having coming them away from the point like so. So you can see those bobs. This one here, I'm gonna add some more Downey kind of feathers down at the bottom, make it feel more fluffy and soft. And again I'm going to kind of highlight the shelf of my feather and it can bend. It doesn't have to stay completely in line, but the beauty is as you can see, as my brush starts to dry out, you get another great effect, Which is this I mean, I guess the best way describe it is a feathering effect. You get this great, um, like Dr Dry brush Look that can feel really soft and feathery as well. It's actually works great on the downy feathers. So I'm very lightly loading up my brush, but my brushes pretty dry and that some purpose that's to give that kind of rough edge that just feels softer. Go in doing some dots in very wet watercolor pain will create another look. Gonna do some dots and they're gonna dry. Not quite as dark as they appear right now. Different size dots as well, because feathers tend to have lots of different sighs dots, there's so many possibilities you can dio and I will show you some after effects on the overall dreamcatcher because sometimes I like to add silver or gold or some sparkle or something totally obscure that you wouldn't necessarily full thought off a feather tohave or not just even the further the whole dreamcatcher. But the finishing touches make a big, big difference. Even let's make him super down. And just to show you how that can work way, you can also do what I'm doing here, which is where I'm kind of allowing my brush strokes to go past the original form that I built to give a different kind of feel of a feather. So you're not stuck if you make a feather you don't like and you've done it on your final dreamcatcher. Don't feel that you have to throw away the whole thing because that has happened to me before. In it is very frustrating if you do a feather you don't like and it's now stuck on your final piece. But you can always fix it with different techniques like this one here, where I'm literally going over the whole blue with a totally different color. But I'm sticking to the anatomy that I started with. I knew my shelf Goes told out this I'm doing my Bob's going to that point that is going to some water to move it around a bit, smooth it down, just have a play. As I always say, I was like Toe, you know, suggest people just play with ideas. Dots are always great. Dots and lines tends to be what I do a lot off. I like dots and lines to create the illusion of things and then obviously these downy feathers at the bottom of really important to include cause they're really what make you feel celery at the end. 7. Feather Flow Part 2: earlier that drying beautifully. Still a little wear this one's beautiful loving This is mottled of fact, really pretty same with him. As you can see, that that water and shape has moved has created a really pretty effect on what we'll do is we'll go in and add those finishing touches to make them feel feather reverses leafy because he could still technically be like a full leaf. And again, I'm gonna use my to Brown because it is my personal favorite for this. I'm gonna skeet actually the majority off this central line kind of the way it waas. I don't feel like I need to add too much to him. I really like how he's dried, but just similar I do. I'm gonna do a couple of Bob's to get a little more definition. This actually drive beautiful because it feels like the edge isn't perfect, which is also something I would like to achieve because no feathers edges are completely perfect. Even if they might have the illusion of perfection, they really aren't when you get that shape, it's a great one to work with because she made a little wet. Like I mentioned before, dots and lines keeping that overall anatomy of the feather in mind When painting, you'll have a great end result. And then, actually, I'm going to go in with even more dots. Concentrate them kind of at that bottom part, my make believe. But each other, using natural colors like brown and black, always to me gives you the illusion of of a riel real life feather. Because they tend to be a lot of these shades of bird in the wall that you can do working colors to and feel like a kind of parity feel. Main focus is making sure that we get that feel that the feather is going upwards with ease . Bob's we're going to I'm gonna follow the line down to the quill like so what? You actually won't really see on the Dreamcatcher. I'll show you why. Because, of course it's hanging. So it's attached by something. Um, I'm gonna do my Downey Bob's like this. Do some after feather like so. So find it up. Soften up. Is it etches gonna make the shaft more obvious that John going toe wet down my brush just to give a little bit of shadow because I feel like that White Line has become a little too stark White, and sometimes it works. And right now, I'm not feeling it. And I'm actually gonna do a couple more black adopts at the top, and then one of my biggest problems is knowing when to stop. I feel like my getting place to that point. I think I'm gonna stuff, you know, because I Kiddo video and I want to keep some of this beautiful shadowing a model that came through Now this guy down at the bottom going to use my dry brush, gonna do my just check him out ahead. Gonna do my Downey using this Only wolves. And he's facing down, which is actually more so what we're gonna have because off the dream cat trouble. See the hiding gonna take some of this pink going to draw. I think this'll was dried Really interesting if you can see. But because it is such a great example off. If you do not shake your paints your concentrated watercolors, you could end up with very patchy looking pigment moving around the water because I didn't shake him thoroughly. He wasn't totally absorbed. So I've ended up with sort of a I know how to describe what that looks like, but you know what? I don't I don't dislike it, actually, really like it for the purposes of this. But if you wanted to use him for something else, it is good to know that that can happen if you don't shake the bottle thoroughly. In fact, I actually don't think I remember to shake it. It'll So that's why that's created that look. I'm just following the lines down the bobs, then all obviously going and get rid of that, um, pencil lying When the time comes, there we go. And that is how I make my wet on wet, but still got some interest to them feathers. 8. Build your DreamCatcher: way. Okay, way are back and we have done some feathers and we have figured out our techniques. And now we are going to have a go putting the feathers onto an already built wedding designs. Now, for this one, I'm thinking I'm going to go with the fire brick red, red feathers on their A so you can see I'm shaking them up really important to shake your paints, to make sure you get in the pigment moved around in there. I put my little palate and I only need a drop. Who's gonna show you literally only put a little drop in there because a little goes a long way. And then you know what? I'm back on this cafe. I'm gonna go with him just because I really, really love the natural element of the Browns. Then you know I'm going to go with this guy. This is taxi yellow because we used him on the original, and you never know. Maybe have some yellow feathers on this one as well. Drop him and that. All right, so these are my colors to walk. Quite sudden. Let's think about our dreamcatcher before I add these feathers on so I can do him like this with, like, three points. I could do it like this guy coming off the edges on. He has, like 123456 beaded areas. I can do a mix much, um, of my own design this. So let's say we're going with a three point situation on Do you can do more than three. But you want at least three, I'd say so. Let's think about it. You've got almost always strings or something hanging to grab onto the father. Plus, you need to figure out what's it attaching to the actual dreamcatcher parts gonna take this brick red And it's this is the fully concentrated pigment on with a two round. I'm going to imagine that I have a little bit of string wrapped around here. There's a bit of string there and kind of equal A male violence smell over here is Well, let me go with the brown I thinking I'm gonna make what you're gonna mix. Some of this brown you can see. I'm taking some of my cafe putting on here some of the red, the colors and I'm gonna be using and I'm making my own color hair. I'm gonna imagine I've got a bead. That's a really interesting color that came out. But I'm gonna match it with a beat here. That, as you can see, is going over. The mistake kind of feels so I can fix that a be there and then to tie in, I'm gonna draw some beads on my actual dreamcatcher string. So it's put one here. There's almost always a beat in the center so we can put him there. I'm gonna get more of that color I've created. Imagine he's a central point. Let's say this Put one here. I feel like it needs one more. Why do we want to put one more bead? I'm gonna say Here is gonna be a nice round bead you wanted to go over the edge is because the beads go through the string goes through the beads. Sorry. So you do want to make sure that it goes either side. Whatever shape beat, you're going where that goes, either side of the string, some ren and I'm not making this up as I go along, guys. But I'm just gonna go adopt. I talked Seco Circle, Circle Circle I'm gonna let the colors bleed into each other just cause I like that looser feel I wanted to just feel like the same hanging beads for the purposes this video. I think it's easier if I just show you how I think with the pencil. So I wouldn't normally do this when pencil Like I say, I like to do everything with the water color with this guy. I'll show you how I doing completely. But just for the purposes of this video, I want to imagine that my quills coming out here with downy feather on Then the feather itself is flowing down like so Now I'm gonna follow that lying around as my feather I'm gonna seem This is my feather Now over here I want to smaller, further and another feather and notice how I'm doing the opposite side Like another feather I think on there, though with my typical technique of my wet on wet on wet I'm just gonna rinse my brush real quick and we're gonna get straight into it. - I want him to be highly pigmented and I want this one to be more mottled. But that's the beauty of these. You can kind of play with, however you want to do things, change it up if you want. He's more straggling of a feather, which also happens on drink catches You end up with some struggle, ease and then I'm actually going to leave them alone to dry. And while he's drawing, we're gonna do this guy over here on this one. I'm gonna do exactly how I normally do them, which is not which is not during a pencil guy. So I'm gonna show you with him. Thing is where it becomes a little harder when you want to have a double feather look. So I want to imagine there is another feather that comes down here and I'm actually gonna put him behind. So what I'm gonna do is similar to how I did my, um, first feather. I'm gonna imagine where it goes. So I'm gonna imagine this is the line that goes down the so imagine it flicks down hand. So I'm going to put water. This is just gonna be slightly pigmented just for the purposes of the video. Because I'm not gonna fully rents my brush so you can see what I'm doing. I would imagine this is the end of my feather here and then it's coming up over here and so flipping behind it. That's my thinking on that. So you know I'm gonna have in the red on because this is now dry, this other feather, it shouldn't bleed into it. Be careful doing laid feathers like these, because sometimes you can reactivate the paint and the water on the other feather that you've done deliberately using quite a different color to kind of emphasize that these are two separate feathers. But while he's drawing, I can use the color that I've now got on my brush to draw some interest on that main feather as well. This is why I was mentioning the patients because, of course I have to kind of let each layer dry so there's no risk of bleeding into each other, and there are other things that we can do to. We could add some tassels to kind of draw interest. I do suggest you have a look. A dream catches to get an idea. No, I'm wondering if we should do That's what I think. They're going at a couple of red Downey bulbs that the bottom is Well, I think could tie and the red that I ended up with on here. And I'm gonna draw some red beets up here. Pretend there's a red beat and I didn't like how this dried. So I'm going to draw be to cover that one up, too. And you can always go over there Won t Very grown is well, that's the beauty of this. There are no set rules. You can do whatever you want. I'm not gonna add a bit of black. Teoh had some shadow to make it feel more three dimensional. On round Bt go in at its string of things that you think would be on your dream catcher right here. There's a bit of a watermark, so I might pretend I've beat it on little bead on the As you can see, I do like to try and mirror as best I can. It's not necessity, but sometimes I do find it looks a little bit more realistic when you do that way. Didn't do the further down the center. So what I plan to Dio is with a clean brush. I'm going to drag my water on the scene where this feather would go, I'm gonna go like this. I wanted to slightly curve. I feel like that and I'm actually going to do something else. I'm going to tell my whole piece of paper upside down because I do often find it easier to do the style of feather. I'm about to do this way up. So taking my quarter inch dagger brush because it has this beautiful shape at the top. I am going to make a feather using this as the top of my shape. So let's go with that hydrates color, which was almost like a greenish shade. But I'm gonna dick a little bit off the blue that I have left in their. I do this a lot, by the way, where I mix and match the colors and then I'm going to either side of this place him down, that he is not what enough. I mean, removed way too much moisture there. It's good to show you that we may all make mistakes. Even we've done it lots of times. So I'm gonna do this and I'm gonna come the other side, like so, like, so I'm gonna drag to that central point It's nice, Grady and effect. I'm gonna go for a little bit more on the tip there. I'm just sticking with the idea of going inwards, imagining those bobs go to this point here because we could do one more a little different then I'm gonna imagine that's going to be some kind of string here. But I'm going to draw down where, like some beads. Imagine those beads here. Bob's here just to sort of and besides, the fluffy upon a couple more of this act quick Ulla in adults, do you find when you add the concentrated color over the top of your, um, very wet feather? You also get really nice kind of marble Lee effect as well, Really? Like how these barbs air staying sort of structured of Carla, you know, And I'm gonna go with the blue that we've been using on this feather because that will tie it all in a bit more so imagining this is a bead again, just going to some shadow here, and then I'm just going to drag some lines. Very simple lines, as if it's a little bit of material hanging would be going behind my feathers. Well, sometimes it will go over the top. But for this I think I want to do them behind the father, and it's gonna try this off. Working with liquid what colors is very different, I find then, using like my pilot paints because they do dry differently. And also, when you use them, they just feel different. So bad that in mind, if you're no like a big liquid watercolor person, you haven't used them before. Just play around with it before you get going on a project like this on, we could do this all with palate paying. But it's just the goal that I feel like I like to achieve with. These is I like it to feel kind of fluid, and I think that that's the best way to achieve that is with the liquid ward's colors. So there we go. He is drying, as you can see, It's quite a large feather for such a small little dreamcatcher, but I kind of love. It still works also just proof that you can do all sorts of different looks. And then that's how the tassels off flowing lots of mayors, many and so I wouldn't know when put these so close to each other. To be honest, this was just for the purposes of this video, especially. I guess I've chosen complementary colors blue and orange, but one of the things I like to do if you see a lot of my favorite elements that I add to my dreamcatcher, is Sprinkles of paint. I don't on all my a lot of my work. Recently divorced Color says. You can see this is some leaves. I did this kind of speckled sprinkling effect, and I do that by splattering my paint. What liquid watercolors works particularly well because, of course, it's already liquid. You don't have to wet it down. So in this case for this one here, I would take my brush. I would take some blue a piece of scrap paper, like so just so it doesn't go on to my orange side. But I would just tap my brush with the liquid. What's color on? There's just something about it I really like, and I tend to do in a lot of my pieces again. Just flick in and some dots. I don't mind if they go over onto the red you're gonna do some red color in there, too. And this is just a finishing touch that I love. And I really like on the dream catches because it could go over the feathers and kind of add some interest. Now see, this is to next to each other, like two separate pieces. And then finishing touches will be things like taking a pen or some metallics. I'll go into that in the finishing touches section, but we're getting there, guys getting close to doing our very relaxed, dreamy dream catches. 9. Finishing Touches: Okay. Last but not least, we're gonna do some finishing touches now. This is you could say this is done. Um, I could decide that I'm complete with him. However, you can also add some little details. If you like that, I call finishing touches. Andi, I tend to use pens for this. Um, you do not have to use pens for this. You could use just regular paints. I will also show you using some metallic watercolors. I have my fill in the blank. They look really dirty right now, but this is silver, copper and gold in, so I can add some metallic touches. I tend to do that a lot, or this is one of my favorites. No, you nibble white pigment ink pen. This one comes out really nice. It's very thick. Um, I'm just going to show you literally by going in and doing same thing we've been doing all along, which is, like those dots and lines. I can do some highlights on areas like whether beads would have a highlight. Um, I could do on my feathers. I feel like blue and white always looks nice. So conduce a middle Penn dots just gets another dimension now, Had this closed up, I could draw a central line dumb for my shaft area. Um, in fact, because he's closed up, I think I will just to show you so I don't have a white line there. I immediately have created a new one in the same way with the white pan and conduce, um, bulbs. If I feel like there's not enough going on like if I want to make it more realistic and small ball bills coming off and sometimes if I don't like it, I will take a wet brush and just kind of just gonna want dr of it move that white pen. But I just did to sort of make it a little bit more flowy in just straight pen marks. It's like painting with the pen now. So this is what the white pen. So now say I want to do some silver because I feel like silver and blue always looks great again. Same company. This is the you nibble and silver really, really like these pens because I find them to be just really flowy. My only gripe with them and I will be honest with everyone is, they tend to either dry out or not flow. Great. After a little while, I've tried storing them standing up, um, or ah, or just like right. Like running them in warm water as well. I've tried, but they just they do dry out point quickly. I'm gonna add on those bubbles. So this is like with a pen idea. This is the techniques you can do with pen and if you can see this. But you've got that nice metallic shimmer from that silver that Okay, as you can see, by the way, the light is changing in my own room right now. But I'm going to power through because I still want you to see this. So, um, another way you could do finishing touches is by taking a clean brush and using the straight pigment. So we were using this red liquid watercolor on this guy here, and so I am going to go in and, like I did earlier on the father's just do even more details that will be seen now that this is dry, just layer upon layer. Uh, really helps. I feel like with definition, um, so do some more appear dress more lines. Um, I couldn't get back through this middle part and again, like we talked about. Those bulbs really help make it feel like a feather. Not here, this feather underneath. I'm kind of losing some of the look. So I'm gonna do is I'm actually gonna go with the copper. No, I don't if you see this, but I love metallic water colors for this very reason. I'm not gonna move you into the sun to see it. The way metallic watercolor looks when you move it around is like the most therapeutic relaxing e think I can see. So this is my copper color by fill in the blank. The copper is a water color paint as well. It's quite thick, though. It's gonna be like a much thicker consistency. As you can see, you're not gonna get quite the same kind of, ah, transparency that you might get with other words colors. But I'm just gonna place in some strategic parts, mainly on the beating. I think of these beads because that in certain lights it's gonna look really pretty and shimmery. So again, I might just go all the way around doing some dots, having a little layer of magic going away around top top top top, and it's hard Teoh. See what you can see, but it's gonna come out quite as well, but it's very shimmery, shiny. I'm trying to do it in the sun for you here so you can really see the Shema. But what will be great is when this is hanging on a wall. It will really emphasize those points that I just put the copper on, and you can also take it, water it down. So I'm just adding a lot more water to the paint that's on my brush. Andi, I can do that splatter effect. And what this will do, of course, is now I'll have some splatters off metallic that in the certain lights and the sun will shine. A. It's quite hard to capture on film, but there's a definite shimmer when you get the metallics in a certain light, a silver and the copper and then other finishing touches I've done in the past such sparkle , perfect example of spoken. I hope that's coming out on camera so beautiful that I actually dropped the metallics into my water at the very beginning part It's just a playful one I'm working on. You could go over and pen can do sparkle and dots. Another way you can do a finishing touch is a cause for the regular pen mark. Or you could just leave it as it waas. I sometimes just feel like they can feel a little bit unfinished. That's why I tend to do these little added moments with, like the splattering and with the metallic, but there we get. 10. DIY Liquid Watercolors: So I have here a circle that I started and dried earlier. And I wanted to because I felt like it might be a good idea to show that you can still do this if you don't own liquid watercolors by using regular water colors. So this is my palate. This is also our philosophy, actually, a mixture about philosophy paints. Andi, I just want to show you that you don't have to do the whole thing with liquid watercolors, but to war in order to achieve the very kind of flowy look that I personally really like, you are gonna have to heavily watered down your paint so it can be quite wasteful. Which is why I don't really recommend using pallets, but you can still do it. So I'm gonna add some water because this is a red or in shade. I'm gonna go. I'm gonna wet my, um, reds and oranges, my warm shades. And as you can see, the numbers up here correlates to specifically our philosophy. I've just made this palette myself on Ben listed the color numbers to remind myself what they are. So if you're in art philosophy owner, that's what those numbers relate Teoh. This is not. This is a mixture of several pallets that I own. It's just collected over the years. So I'm heavily watering down and I will make this work. So he's going to clean this this going out. So we have a fresh one to place in, and these are going to dry differently than, um, liquid watercolors because there's gonna be a lot more pigment in it than not gonna be the same as when you buy. When you purchase the liquid watercolor, it's much more blended. Rosie's gonna have little grains, so the effect is going to be different. So this one here is this is a This is the number 76 from the art philosophy paint palettes very similar in color to Theo the like a mixture of the orange, regine, tangerine and liquid watercolors. But I'm just blending it in my parlor with water to create that liquidy water color consistency. So now, doing the same thing as we did previously. Uhm, I'm going to draw on my shape, so let's go with my central point marking. Ah, that you're gonna take that off there. Sorry gonna do him there. Okay, so I'm gonna mark my points like a clock like I did when I was showing you how I figure things out market. And I have to Harv those marks, like so and then for this particular style while I'm going to do a dot in between the two dot in between dot in between dot in between between these content really confusing really quick. So going after concentrate. Okay, so taking my paint that I've created, I'm going to start here, add it to the water, drag to the point, and, uh, there up to this come to the exactly the same as I did with my liquid water colors. If only I am using the kind of liquid version I've created off my regular cop palette. Paint more color to do the star. You want to do one more point in between and I forgot to do that stage. So let's do in between these two and between in between em, a tree and the between. That's quite close, isn't it? There's room for error. That's fabulous. And then let's move him further up. Okay, so we're back in with our paint now, and I'm going to drug to that docked Androgel to this point and down this point. And, uh Excellent. OK, so as you can see it, you'll watch it drive. Gonna put in some more dots like I did when I was using liquid watercolors. Let it move around. It is going to still move like the liquid water colors. It's gonna be slightly different in the way that it dries. If you don't mix your paint, it's like well enough you will end up with grains. But again, it can all add to the overall feel of a piece. So don't feel, you know, it's the end of the world if you do end up like that. So this one is highly pigmented. I need that water toe, make it looser and moving around more. So I'm adding some water to him and I was gonna dip in here little areas to mix up the colors. This is gonna be like a pink orange combination. As you can see if you you draw on the water, you can still make it work without having liquid watercolors. If you really wanted to, I just really like using the liquid watercolors personally, but you can create your own If you don't have it, don't want to invest yet in some liquid watercolors. So let's go with some beating beads, beads bees on. And I'm gonna do some hell, Teoh and I like when it blends in like this when it accidentally hits. I'm not opposed to that. Look, when it kind of moves with the water, rinsing my brush, you can see for this one. I'm using my quarter inch just because I do like and I'm gonna draw that leaf shape that I would do if I was painting a leaf. Um, I'm gonna get down like so meet at the bottom. Can I load him up with water? And my typical way He's got a little bit of pink still attached to him, and now we're gonna use the version of liquor boards colors that we've now created. Now the difference, if you can already tell the way it's flowing, is very different. It's heavier because there's so much more. Well, I assume the reason is because of the weight of the pigment is just It's differently combined. It's what I've done. I've taken it from my palate and I've mixed it. And so it doesn't quite spread in the same way. But that could give different looks to that are interesting. We will see when he drives what that ends up like. - But as you can see, he's dried much lighter. I feel then with the liquid watercolors, but you can still definitely see what's going on, and you're still getting some mottled kind of effects. In fact, a little bit of what I said might happen has happened, which is great to show you. So right here you can kind of see where the pigment has sort of spread and stayed almost Bob early. I actually really like that look, so that's not a negative for May. But just be prepared. That's what can happen now. What has also happened is there's no definition now between these two feathers, so we definitely need to go in and do finishing touches on this one. So I'm gonna do is I'm actually gonna use because we've done just straight pallor. I'm actually gonna go in with a palette wards color on. I'm going to just paint over the top of the looks that we've done. Um, so I want to separate off these feathers so I'm going to do this further. First sticking to my look off. Bob's going down following that point. Now he's fully dry as well, and this is gonna be much more of a thick look with the concentrated palette water color here. But she just grabbed a different color by mistake. But, you know, it still works. I want to keep some of this sort of tie dye effect so I don't want to completely cover him up. But I'm gonna do this Central point like it's the bobbles. The after feather up here. Definite definite Shima in real life on the that's really pretty. And just like another magical touch. Same with this one. Over here, you can see the shimmer on the really pretty just to kind of add details. At the end, we go 11. Bonus Video: Halloween: All right, Now, this is gonna be a bonus video for the purposes off. Um, Halloween on. I'm gonna show you my kind of idea of what I want to do for a Halloween feel. Now a big portion, obviously of Halloween effort to feel Halloween e is going to be to include colors like orange and black. Speak your feeling. Look, the reason I'm doing that is because I'm making this particular class in the month off September for an October start date. And so what better time to do it than about to be pumpkin season? So I'm going to start the same way, have done all of them. And I'm gonna dio more of a Web like an actual spider's web. I might even paint a little spider on their on. Then I will do orange and black feathers, and it's just going a little bit of fun just for the sake of it, because it's a Halloween season, Onda Uh, yes. So I'm gonna put it on fast track so you can see it on speedy. Um, on Duh. Yeah, I hope you enjoy it, But let's try and make a Halloween spooktacular Dreamcatcher Okay, so He is nice and dry now, and we are back for some finishing touches Full the purposes of this guy. I'm thinking I'm gonna use thes fatal Castell connected pens. That kind of like felt tips that really grateful. Um, adding Cem texture, I'll probably use my you Knuble Gold s. So I am going to go in here with my black favor. Castell Fresh pen. Andi, I am just gonna do Cem details like we did in the past. I love how this song came out. I kind of don't want to do too much to my like of the loose feel of the way the water is parted. That coloring think I might leave some orange on for their I added a pumpkin on here so we could do a ghoulish face. You know, I think I'm gonna do him up here, pumpkin e, like so, As if it's like a pumpkin. Be excited to be sort of realistic. The spider actually don't feel like I need to do too much to him. I kind of like how he's turned out, how I can emphasize these legs a little bit, but I kind of like how bout ended off with the orange Just for some definition here, I'm going to use my copper copper metallic paint because that will really bring something interesting. Onda, Uh I guess I I just want him see, Everywhere I put him will be little bit of copper. Oh, yes, it will work well. And some metallic Shima to the piece. I love how the spread of black happened here on that orange. Really fun gonna puts and touches here and there. This conflict Kulla. It wouldn't be that all this until you see it in the light. And then it'll be really fun. I'm even gonna put some on this pumpkin itself that's actually ties and better with the color scheme than the gold I was planning to use. So I'm very pleased with that idea. But I just have Let's put some on this like it's a B with some copper. Um, as much as I can tous it, make the peace feel balanced. And I am also just gonna tap some copper on here in my true style. There we gol I think he is done. If you can see that copper metallic paint as well, it's not a sunny day when I'm filming this. It's a gloomy day, but that's just a little bonus Bonus Dreamcatcher for you, a nightmare catcher so that we get if you're watching this in October, have a happy Halloween on DA Alec Ford seeing you on my next classes.