Unleash Your Creativity: 4 Watercolors in 4 Weeks | Chiara Mazzetti | Skillshare

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Unleash Your Creativity: 4 Watercolors in 4 Weeks

teacher avatar Chiara Mazzetti, Artist

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

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

Lessons in This Class

7 Lessons (1h 15m)
    • 1. Welcome! How to approach dynamic lessons

      3:04
    • 2. Supplies

      1:59
    • 3. Project 1 | Arctic Summer Night | Pencil and Ink

      11:06
    • 4. Project 1 | Arctic Summer Night | Watercolor

      15:38
    • 5. Project 2 | Autumn Day | Watercolor

      12:19
    • 6. Project 3 | Garden | Watercolor

      16:45
    • 7. Project 4 | Tors Cove, Canada | Watercolor

      13:57
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About This Class

The lessons are structured to be dynamic and fun: together we will paint a different landscape each week! When I first publish this class I will release 1 painting every week for 4 weeks, so you can have the time to complete them at your own pace and then challenge yourself with a fresh new landscape!

If you are watching this class and there are more paintings released already I still suggest you take your time and try out the paintings one by one, slowly, only moving forward when you feel it.

So: what will we do together?  

On top of guiding you step by step through the landscapes I decided to include a video in the beginning that is going to be valid for all the paintings. There I will teach you the process I use for drawing with pencil and ink, a skill you will use throughout all the lessons and even beyond. I will include useful notions and tricks I learnt myself with time and now use on a daily basis, knowledge I couldn’t go without.

To add even more during the first project I set up the camera so that you can also see my color palette. I’ll make sure you can follow my guidelines on how to mix colors and obtain the perfect shade for a wonderful atmosphere.

With this in mind it will be much easier to proceed towards the paintings, you will enjoy the discovery of your own watercolors without getting frustrated, unleashing your creativity to create amazing paintings you will be proud of.

At the end of the fourth week you will have four gorgeous watercolors to show, but more importantly you will have a method and the skills to choose your own subjects and paint complicated landscapes using simple shapes, good colors and expressive lines.

Before starting the class, go to the project and resources box below, you'll find downloadable files and photos I prepared for you. After this, Let’s jump into the class!

Meet Your Teacher

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Chiara Mazzetti

Artist

Teacher

   
  Here's the Artist behind the Art :)
  Hello! I'm Chiara Mazzetti and I live in Italy.

After completing classical studies, I graduated in 2016 at the University of Pisa in Digital Humanities and later I specialized in Graphic Design in an academy in Milan. After finishing the studies I worked as a Graphic Designer in a historic and famous art gallery and at the same time I designed websites together with my partner.

At the end of 2018 I became interested in calligraphy and lettering, whose arts taught me the patience and the importance of practicing every day. From this point on, the passion for watercolors began almost spontaneously, findin... See full profile

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Transcripts

1. Welcome! How to approach dynamic lessons: Welcome, I'm Kara, and they will be your teacher in discuss, unleash your creativity for watercolors in four weeks. The lessons are structured to be dynamic and fun. Together, we will paint a different landscape each week. When he first published this class a, we release one painting every week for four weeks. So you have the time to complete them at your own pace and then challenge yourself with a fresh new landscape if you're watching this class and there are more paintings released already, I suggest you take your time and try out the paintings one by one, slowly, only moving forward when you feel it. Give yourself the time to digest any technique. Let it settle in your mind and try a few times if it's necessary. And remember, practice makes perfect. So what will we do together? On top of guiding US step-by-step through the landscapes, I decided to include a video in the beginning that is going to be valid for all the paintings. I will teach you the process I use for drawing with a pencil and ink. A skill you will use to house all the lessons and even beyond. I will include useful notions and tricks I learned myself with time and now use on a daily basis. Knowledge a couldn't go without. To add even more. During the first project. I set up the camera so that you can also see my color palette. I'll make sure you can follow my guidelines on how to mix colors and obtain the perfect shade for a wonderful atmosphere. With this in mind, it will be much easier to proceed towards the paintings. You will enjoy the discovery of your wrong watercolors without getting frustrated, unleashing your creativity to create amazing paintings you will be proud of. And the hand of the fourth week, you will have four gorgeous watercolors to show. But more importantly, you will have the method and the skills to choose your own subjects and bade complicated Landscapes using good colors, expressive lines, and simple shapes. Or starting the class, go to the project and Resources section in the box below, you'll find the loadable files and photos I prepared for you. And after this, let's jump into the class. 2. Supplies: I will use the sketchbook made by MOOC journal. It's about a five sides with cold pressed water color paper. The brushes you will need are only to one big and one small. Well with round shape. A wheel with a number 12 for the most part of the time, using the belly and the tape to have different kinds of marks and the sites for, for details and to use this technique watercolor paints and palette. In the reference section, I uploaded a photo with the name as watches of all the scholars. The funding pan is salami with a fine name and they use it in combination with this sepia waterproof ink. The fine liners are of different sizes. I mostly use the first three, which are the smaller ones. Because if I need declines, I prefer to take the pan, but this is not necessary and a big fine liners will perfectly do the work. If you want to use the Friend liners, be sure to use waterproof ink. Otherwise, it will dilute the first wash you put on the paper. And pencil or a mechanical one with an eraser for the initial study. And last, I use opaque white to create some atmosphere and textures. But mostly to spot there. India. 3. Project 1 | Arctic Summer Night | Pencil and Ink: I always start a project by shaping the scene with the pencil first. Here, I visualize where to place the main subject they house in this case. Then I complete the scene with the surrounding elements. So the ground and the mundane. I do not rush their process, but I intentionally let it quite sketchy and light. One undefined the space. I draw their hours, which will be the focus of the painting. Going more on the details. At this point, I start to think in simple shapes for building the structure of the house. All its components are just rectangles, triangles and squares of they're all. Take your time to compare angles with their interference to build a solid and good-looking structure. A very useful trick is to rotate both your drawing and the reference photo to change the point of view and be aware of the inconsistencies. You'll be surprised at how much our drawing can change by just turning it upside down. This little theme will trick your brain and force it to really see things without preconceptions and drove them as they really appear. In reality. Your mind knows, or outer house shouldn't be and drives you in one direction. But reality, in this case, might be different. By switching the point of view and looking at the reverse house, you completely blank all their ideas in your mind of all the shape should be, and you focus on how they appear for real. I keep the construction lines very light and then place the other elements like windows, for example. After drawing the ground here in the foreground. Which is where the House rests. Let's draw the windows on the other side, as well. As always. First off, Q construction lines. In this case, I form a rectangle in perspective, following the inclination of the wall. And then I go to place the two windows onto it. Why don't I was sure of the structure. I define Morton details an over the components of the building, prefixed the lines. Then I also insert the light pole next to the house with simple vertical lines that converge, aborts. I've then adjust the landscape here and there, giving shape to the mountain and the throwing. Now, I prepare the drawing with waterproof ink. Ethic 0.01. find liner to go over the pencil lines on the maintain. The quality of the line in this step is very important to give liveliness. Student Drawing. Repeat strokes, reclines, lead, white species and 30K depend with your finger are lethal higher on the handle to loosen your marks. Now the same for the ground, but this time also draw tough talk grass, surrender, pointing in different directions. Hearing the foreground, justice adjusted their reign confirmation. I draw directional lines pointing towards the house, our main subject. So I also drive their eye to it. Remember to not press the pen on paper. This is important. Just let the deep barely touched the surface at greenery and some little rocks. Remember that following perspective rules, closer elements appear bigger and distant ones always look smaller. Once the surrounding space is done, let's focus on the House. Trace over the pencil with the same fine liner. This time using more decisive marks. On the windows. I use more than a single line. We're repeating the movement. This will give the structure our sense of reality. Take the Fontan pan or a bigger file liner to add an underline. The very dark RS. Add some texture to the worlds with thin and light lines, barely touching the paper. Don't make them bold or it would roll in that one sphere. At details on the roof. And finish with the last dark spots. Experiment with all the information you learned in this chapter. Try with different subjects and landscapes. I left some pictures in the project and Resources section for you to download and try to reproduce on paper. Train your eyes with perspective, study and observe the composition of the photo. All of these are photos I previously used as our interference for my being things. So you can scroll down Wayne Instagram feed to find the sketches and watercolors I made starting from them. And if you have any questions, don't be afraid to ask in the discussion area below this video, I'll be happy to answer. Have fun drawing. And once you're ready, go to the next video and pick up your watercolors. 4. Project 1 | Arctic Summer Night | Watercolor: In this first project, I filmed the palette I work with. So you can see how a mixed scholars and how I put them on paper. Let's start with the sky. Preparing Naples, Yellow, India yellow, and a bit of orange and cobalt blue. With a clean brush. Take some water and wet both in the sky and the mountain. Living available water on surface. We will paint what on what they think. The yellow mix in the left part of the painting with loose brush strokes. By holding the brush about in the middle of the angle. With the blue. Start painting from the opposite side and add some pinkish shape to it. Mixing colors directly on paper will give a character to the scene. Be extra careful in their area where yellow and blue come close to each other. You don't want them to touch. Otherwise, some green will show up with the same brush, drought and soak the excess of colors. Now, start prepping some greens, rounds and earth tones. I will use different shades to paint the ground. So it will look more dynamic and lively. Here, I make bottles with the shades. It think best suit the atmosphere of the reference photo. Sub grain with dark brain plus a draft of intense dark blue, green and a hint of bread. The complimentary color for green to strengthen the dark shape. With words Yana or Oceana and a little of suck green create mixes of Earth thoughts. Also using the yellow you put on the sky. If you can use the colors you already have on your ballot, it will give a sense of consistency to the painting. It's not super important to keep all the straits separate one from another on the same element and we'll use them without cleaning the brush. I don't focus on using only and exclusively. First, I created, but they go to adjust down as I paint. In this way, I can get a very lively painting, four ounces, so that it will never result flat. The for them underground, I will use more blue if there is a chance to take advantage of the color mixes that are still on the palette. I don't clean it and try to use them instead. Then I also add some powerful undergrad. I want this to be a very dark part. When this aria astride marijuana in the distance. I take indigo with Amber and a drop of grain. With pink and orange shade, I continue to fill them onto a shape. Merging the two colors directly on the page. After without water stroke, go out of them on the shape with orange. Take the whitewash and put it on what areas it will spread randomly, giving us a sense of mystery surrounding them on pain. Then I mix quite with orange and draw the shape of some more dense clouds. For the house. Roth, I mixed together violet, dark blue, and red. Without water and mix of blue and violet go over the walls to fill them with a color base to start with a strong Indian yellow will hover the windows facing the sunset. This gives drum metallicity. With cobalt and a light gray made with ultramarine and work Santa paint and the shadow side of the building, putting in some dark spots with fine liners or a funding plan. I darken some strategic points in this way, right? And light colors will pop up. For the wire attached to the pole, I use a wet just bang to contrast with a dark background. If you don't have the pen, is the white brush with a small brush. And use colors like cobalt and orange to highlight the sidewall, making shadows with different and contrasting understands. Since blue and orange are complimentary colors. Yes, there what Japan again, on the roof and the ground to grow some little elements and give them textures of grass and tiles. Now, what some areas on the mountain, because we are going to add more fluffy clouds on top. Here. Just stop and don't rob, be a little careful. You don't want to take away the previous color. Let the widespread forming missed and clouds make the middle ground darker when indigo and green. And also the roof using violet and Amber. And the side of the wall with a watery indigo. I pick the pen to take care of the details here under like share, under the windows are off and the terrain in the foreground. And the first piece is finally complete. 5. Project 2 | Autumn Day | Watercolor: This is the ink drawings I made. It shows only the facade of the house. And there is not a complicated perspective involved. So I went the windy days with different sizes of fine liners and the font name fan. For example, I was super light, whether it's delta lines in the wall. And on the contrary, I used that besides in the frontal Bush with the colors. And we add that to the greenery in three-dimensions, assayed using shadows. Without further ado. Let's take the brushes. I restart from there. To recreate the greenish color of the photo, I use Soft Green and the lethal of emerald green at that joint, violet and dark blue. As you've seen in the previous project, and will not mix all the colors so it can achieve beautiful and different nuances right on the paper. They call alerts, have just enough water to let me get back in the same spot, but at different dawn and they will mix up together right on the spot. Same goes for the front porch roof. Don't worry if you think you made a mistake because the NB peaks. Here for example, you see me absorbing their water with a tissue paper. It flow the debate and know what aria, it's not that big of deal. Debate. The red frame of the house. Use advance read like mini, spiteful and faint, only using the deep of the brush. I do not feel all this space. I found that leaving white spots and not going over and over again on the same otra gave spontaneity to the painting. Ok, violet to the red to paint the upper part of the front door. These will make the shape Golder than continue we draft. Now it's the door of the surrounding greenery. In order to avoid that Bush seem flat and unrealistic. Use sock green and then up MRL and Amber. I will not touch the fence, but they will stand out to the high dance to their negative space technique. By painting the greenery in the space between every pool. I also define the Janet I'll shake or defense cooled, right? And this streak, we also work without the ink drawing. For the next Bosch's in the back, I use colder tones in there for them to look the stunt, creating a sense of depth. As a general rule of fainting. Warmer thoughts loop closer to us. Why cold? They're ones look more decent. I use, I'm around green and blue. I think that some red as a complimentary color, creating a beautiful dark shade. Let's now focus on the autumn foliage. I use indium gold for the yellow leaf. And they buried with Benny sparkle. Where did they call her sneaks. It will result in a wonderful orange. For the left trunk. I use unbarred and violet. Why should you put the violin on this tree? Because it's complimentary with a golden color of ultimate leaves. They will be resolved, writer and vibrant. For the big tree in the front of the house. And use the same number may bring IT with Indian gold and the many spar for, for the foliage. Complete the foreground with green and bond number for the KB. Covered with me is I use a what they wash off yellow, a heap of green as our first layer. Back spots here and dance car. Now, it's time to add some volume to the house. Read that right, for example, without makes up ultramarine blue with that birth, AMR. And the we did epoch the brush paint lines as shadows on the roof. And no one knows. But also some very light and thin lines on the wall. But do not feel then aria, indigo to the joints, the branches and the trunk, into the indigo and faint, the dark windows do the same on the defense and the lid off. Split their upbeat off Naples Yellow. We does nor rush to represent lethal leaves. We're finding eighties with a fountain pen or define line up more dark iOS to make the right color spoke. The so-called project ultimately is finished. See you next week for a new faith. 6. Project 3 | Garden | Watercolor: In this ink drawing, I will focus my attention on the big house. Keeping in mind it's perspective, making every detail. And on the garden in front of it, blowing bushes, flowers and shrubs. I suggest the form of the loan with simple yet effective, lethal and repetitive strokes leave the sky and the background bear these because in the distance we are not able to see many details. Keep the line like here, as opposed to the foreground. For the big shrub on the left. I plan to give it its shape with different greens. So I will not do it down. It's figure with more ink at this time. Now, let's take colors. Start from the sky and the bigger brush, mixin cobalt blue and the hint of violent paint with horizontal movements, but with the belly and the tip of the brush in the clouds in negative space. While the wash is still wet. That drop off ultramarine blue. Interesting nuances. With a clean brush, rough Rob. Finally, with a small brush slot there, ultramarine blue vector if some RS are silhouette, so the drop will spread and fade. This is not a necessary step, but they love to slot there and they usually do it. Next. To approach is the roof. The color I use here is a mix of violet and red ochre. And the chimney, I opted for a 1to1 using cadmium red light of Indian gold and a drop of Venice Sparkle. I use only the tip to be more precise. You've got some parts by robbing the dobry stilts on their area next to the house. In the same way. Let's start giving wrong to the House by, I think shadows. I use water, it Benes far both to do that. With a smaller pointed brush, I start to darken even more using a best indigo. Fill the canopy with Benny sparkle and Indian gold simulating yellow fallen leaves with gray and under complete the area under the canopy. I choose to leave this as an impression of what it is in the photo more than a clear representation. Because I don't want this to be distracting from the main subject of the painting. For the loan, I use all the greens I have in my palate, using mostly Sap Green with under and a touch of emerald to bring some brightness. For the shrub on the left, instead, I first used a couple of drops of RLE, a very bright yellow. And right after I fill the area with Sap Green, they will mix together in the paper where they touch. The real deal to make this perfect is adding darker tones like this going. This will give form to a blob of greens. Now with a small brush, put violet on the flowers. Are water you wash of green under an Indian role to paint the background. Not co-create it to be precise here, it's in an instance. In the middle ground, I used sap, green and vertical lines for the distant trees, leaving a white edge to keep this, separate it from the back. Use a darker green for the row of trees on the same level. With green, start to add details and dark spots. Using the tip of this small brush. It's important to give some texture to the garden to make it a lively, but also keep in mind that too much of it, we run your work. Overworking is a constant danger and water color. If you mix colors directly on the paper, you can obtain wonderful nuances, like the ones in this bush. The greens, I use here. The same but more dance and pigmented. Jerky boss make movements and flick the tip of the brush. Make some Baxter on the main house using the small brush. That movements are a sample on the roof and vertical on the worlds. I want to make this aria shady. So with the big brush and what mix of ultramarine blue and burnt sienna, I go over it. Now, picnic from Tin Pan or a fine liner and refine the darker areas. The ink lines and dots are very effective and send out to the height. So choose wisely where to put them and never do it in a decent background. Now let's take like the job. Or if you don't have it, use the whitewash with a small brush. I use it to define the thing being on the house. Paint some leaves with dance green, big Schrock, and make a shape of IIT by Update. Their width greens alone. If you realize it's too much, you'll only need to absorb the excess with tissue paper and fix some highlights using obey quite see this, replace me there for details about this product. Never growth Director of the dates. So it just stroke down, AS my intuition suggests me. And okay. Right. And the third project, garden is completed. I hope you enjoy the See you next week with the fourth and final project. 7. Project 4 | Tors Cove, Canada | Watercolor: The fourth and last project, I propose you to draw and paint a beautiful landscape from Canada. Let's now focus on the ink step first. Make every detail of the house. This will be the first thing that will catch your attention together with the big tree next to eat. For the discount would grow only it's jacket outline. On the foreground. Just scribble to form grass here in there, focusing on the bigger picture instead of every single tube. So it will result more convincing. In addition to this, you of defense being very careful when it goes under the stance, it really becomes just a few words on top and like lines. I start to paint from one of the protagonists of this scene, the sky. Here, I use cobalt blue, and violet, is already down under the resonance line. And you can spot the first stars showing up. We can brush, follow the direction of the clouds you see in the reference photo from the borders to the center. And make expressive brush strokes barring the sides. And they mention using the deep and the badly. Now, there is a tricky part to do. Loaded brush without watery orange or making it with a mix. For example, I use Naples Yellow and the lethal of cadmium red light. And we drop it movements from the center. Pick your brush and thought slightly that previous scholar, which has not dry it yet, to accent to it more than mixing to a stroke of violet touching the orange one and let it flow. Make all of these, we des few marks as possible. If there are too many whitespace, he's in the sky. Merge them with a damped brush is I am doing here, leaving the sky so it can dry. Let's pass to the law. Use suffer green and emerald. But this time I make them green. The protagonist of the scene. This bright green, is matching perfectly with the atmosphere of the photo reference. Right after this step. Foot on top, the dark green with the deep of the brush to our tax due. Time to paint the trees in the back. To make this very dark color, I used a mix of a blue and agree, like Indigo and dark green. I let the tip for all of the branches of the tree, all named Daniel, almost perpendicular to the paper. Barry, the use of colours in this row of trees makes some of them were blue and other mercury. When you think you have on your brush the right color. Adjust the grass under the bigotry that continued rapidly, make vertical lines to suggest the trees in the distance. We read occur and Liniang gold. I feel the shape of the roofs of some decent village and made them stand out by adding indigo behind that. So now let's paint the house. The brush with a read and feel the walls with the scholar as a base to start. With a smaller one, with a very dark indigo. Here on the covert, decide a shadow without water is shame on them. For the trunk of the tree, you can't use the light RS and indigo in the shadow ones. Go with greens and pay the crown of the brush, doing small boyfriends here under which some dark colors. Indigo, the conformation of the ground and the grass on the foreground, all using this long brush, the gesture to do it. But it's quite effective. Crowned the fine liner. Or a five or 0.1. We do work a few lines on a distant village dust to set just some shapes. Now on the house. Emphasize with ink, they RS of the windows and below the roof. Use the Indian gold to add some interest over the garden. And with the white Japan, but just wet wash, go on the house, twilight, some edge. Whitewash, rating stars on the loan as well. Here. Also, some very dark and bigger elements of greenery in the foreground. Lastly, base process a few stars to make them be super careful. Belied. I'm very happy you made it this far. I've being tanks to all of you who stay with me until the hand to pay this fourth and final painting. I really hope you enjoyed all the projects we went through. And they can't wait to see what you pass on the gallery or all around social media. See you in the next class. And in the meantime, EPA painting, tau.