Unlock The Unique Qualities Of Watercolors - Focus On Color, Transparency, Value And Neutrals | Robert Joyner | Skillshare

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Unlock The Unique Qualities Of Watercolors - Focus On Color, Transparency, Value And Neutrals

teacher avatar Robert Joyner, Making Art Fun

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

17 Lessons (3h 25m)
    • 1. Introduction

    • 2. Three Common Mistakes

    • 3. Basic Color Wheel

    • 4. (NEW) How To Explore Color Combinations

    • 5. Value Transparency Chart

    • 6. Four Color Tips

    • 7. Tea, Milk & Honey

    • 8. Tea Recap

    • 9. Milk Mixtures

    • 10. Work Light To Dark

    • 11. What Are Neutrals?

    • 12. Wet In Dry Neutral Swatch

    • 13. Neutral Demo One

    • 14. Neutral Demo Two

    • 15. Tone And Value Versus Color Matching

    • 16. Bonus Demo Sailboat Part One

    • 17. Bonus Demo Sailboat Part Two

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About This Class





In this course you will learn intermediate and advanced watercolor skills that will improve the big three. And those are color, tone & value. These three combined can make, or break a painting. If you spend spend quality time exploring the ideas shared in this class you will improve your color awareness and ultimately simplify your approach to painting with watercolors.

The Problem

Most artists simply try to copy the colors they see in their images and nature. And that's a battle you will lose every single time!

The Solution

Instead of trying to color match the focus needs to be on warm versus cool, light versus dark and not color alone. The tutorials in this course will help you simplify your approach and gain more control over your artwork. And you will never get caught in the trap of color matching ever again.

Included Are...

Intermediate and advanced projects that will get you started painting with neutrals, tone, value and more. Easy to do charts for developing a better connection to your palette. These projects will help guide you through the many aspects of color, value and tone and this save you hours of frustration and money.

Who is this class for?

Intermediate and advanced watercolor artists that know they have issues with muddy colors and flat art. The ideal student needs to be goal oriented and have a solid work ethics for completing projects.

Asset Images

Included zip file as a download.


"Very informative. I learned a lot! Thank you!” - D. Gazlay

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Meet Your Teacher

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Robert Joyner

Making Art Fun


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1. Introduction: welcome to advance watercolor techniques. Hi, I'm Robert Joyner. I'm excited to share this class with you. In this series of lessons, we will talk about a lot of intermediate and advanced ideas and methods for painting with watercolors. So the topics I will cover in this course will be value tone, color lost and found edges. How to create a good design for watercolor painting and much more. You will also enjoy the step by step demonstrations where I will employ allowed the ideas and techniques that will discuss in this course. So if you want to learn more about what our color and how you can achieve better artwork, the sign up today that start to master this awesome, fantastic medium. 2. Three Common Mistakes: The first issue of what to talk about here is simply over mixing, and when you overmix pain, you will dull the color. So basically paints are made up of crystals, and as the crystals rub together when you're mixing them, they can become dull. So the idea and what you want to do to avoid that is simply understand that you don't need toe overmix your paint. So if I take some ultra Marine blue here and put on what palette that could just work it like that a few times, and that's all I mean from that point, you put it on your paper. So what many artists will do is the pain, their palate and makes a mix Imex. Okay, And that was continue to rub those crystals together, and that will again results in a very Dole finish. It may look good here, but it probably will not look good on your paper once it drives. The next issue is very similar, but instead of over, mixing on the palate is done on the paper. So to do this I will approach it on my palette in the correct way. So let's say I put a little blue down and take a little new gambo. Sh and I didn't never mixed that. I touched it in their wet I loaded my brush and now I'm going to the paper and I put it down. And then, of course, the beating begins. So they continue toe, lick, lick, lick, lick, lick the paint with a brush and is doing the same exact thing as I mentioned before. It's beating the pain up and damaging the crystals that are inside that paint. Give it glow are nice color. Now, if I did this correctly, I could put some ultra marine doubt clean my brush, get into gambo sh I said, and put it down and be done with it. That can tell you that colors drive a lot more character than this. Now the next thing I will cover will be consider puddle painting or to simply not taking the time to manage your palate. So if I take a little bit of Kobol and that's a I can mix that with a little ultra Marine is fine, so you can see I have a puddle, a blue. Let's go ahead and go with some carmine forms are Crimson a little bit of burnt Sienna there. So let's say I'm working with a painting, putting in a sky or whatever. I have looked over blue and leave it there. Oh, now I'm putting in some buildings or whatever, but and I leave it there. And then as the painting progresses, I've got green. I've got my yellows, different hues going on, and they're all puddles. And what happens is many artists will go to say, Put more, use the blue again, or use that blue for violent or something, and they will take a little crimson, maybe put into it, and maybe that will add that to their painting. So I need a little more blue, and then they'll continue to dip and to the huddle as the painting progresses. And then over time, you know these things mix a little bit and you'll end up with some You know, a lot of neutral in your paints, but the things thing about this is as you as a mix a little bit. You may not see it as much with you know, with what's on your palate, but as you start to put these down on your paper, and it dries. You'll start to notice that the colors simply are crisp as you want them to be. But again kind of boils down to over. Mix in the paint too. So when you have a color down and go, well, I just want to push that to ah, brighter color and you use this and then you go I want to push that more red. You use it. Oh, this making a violet or whatever. And then next thing you know, you've got the same problem as you did in these examples where you're over makes it so Be careful. What you would want to do is no plan how you're going to create your art. In other words, you have. This is just an example of that. Everyone would approach their painting this way. But they say I have a wash again. Once that washes dry. Okay, I may move to on the second layer, which would be another wash with no sicker paint and perhaps thinking Maura about shadows and increasing, you know the lights. All right, so just adding more body to it and then third Washington Third layer could be no adding details in the focal point or whatever, but the idea is you want to use and and mix colors for each of these. So, for example, if I were taking that into consideration, I would be okay. I want my wash to be maybe some new GAM bows. Touch Oakar and I could start with the wash up here and now, maybe towards the bottom of what that washed. Get a little more in the red. Then maybe I want some great Asian here in the foreground, so I'll use a little bit of ultra Marine, and now the wash is done. All right, so I haven't over mixed. I haven't looked at the death, and I haven't beat to death here either. So what I would do while this is drying is clean My main mixing area. Now the say this to dry this for demonstration purposes and move this along a little more quickly. I want to now move into thicker paint. Four second wash. All right, well, now I can come in here and okay, well, I want shadows on my building will find Maybe I want the shadows to be burnt CNN and watch Marine blue and I can start to create my shed it that could say, we'll find now I want to put some light on my buildings. Fine. This Let's get aside some paint that would represent the light side of the building, a conflict that down. So you put those down, and then when you're done, you take that off and you move on to the next thing. Okay, so I want to put the see some water. There may be the their buildings next to it's a lake or something that put that down. If you want a charging two under, whatever. That's fun. You can kind of do all that while it's wet. But when it's done, the move on. So that is a much better approach, then letting things puddle up too much. The next thing, another mingling a little bit, and then they're getting over mixed as you go. If you're dealing with money, colors or colors that just our dole, the chances are you're probably have one of these three problems. The other problems, um, could be come from this. Your paint in general. Cover this and unearned earlier tutorial about your paints, and you always want to make sure you have fresh paint in your palate. So before I start my session, I go over these colors and I squeeze fresh paint into their and should be very soft. Um, you ever sour cream, Something like that. And that in itself is important. Because if you're paints are, um, old or they're getting dry there simply aren't fresh. Uh, then chances are you're going to get, um you're not gonna get a very crisp color. Okay, Now you may be looking out at my talent and saying, Well, I can see all these money colors on your palate, but I used these to areas right here to mix neutrals. So I use a lot of neutrals at my work, but also combined those neutrals with fresh color. If I simply just used a palette like this all the time, of course. A lot. Most artwork and my colors would be contaminated and looked very, very gray. Um, So again, um, don't overmix in the palate. Don't overmix on your paper. Put it down a leader alone, and then make sure you have a clean area. You don't puddle pain. Okay, so I think these things are very easy. fixes. They're very easy to apply to your process. And, of course, I hope they improve your butter color heart. 3. Basic Color Wheel: all right In this lesson, I will share my version of a color wheel and I will probably open up a can of worms here for some of you. But for me, I am simply sharing my philosophy of our how I like to approach things. There are certain areas of art that we all need to be educated on and toe have a certain level of skills in order to create paintings that work. While there are other areas of art, I feel you can overthink things a little bit. So for me, I will create this color wheel about Will tell you right now I keep color simple. I don't really try to match the exact Hughes and colors are seen and my subjects that to me would ruin my experience of painting. It would bore me and quite frankly, it's not my approach for our I'm more interested in tone. So lights, darks, values and then warm and cool. If you get those right, that's much more important than trying to match colors and you will never be able to match colors. You will only frustrate yourself. Okay, Having said that, I will jump into a version of a color wheel. And of course, you can take this information and use it as you wish. So, yes, there's a warm in a cool yellow, but again, I don't care too much about it. So if someone were to ask me to create a color wheel and I would just take the purest yellow I had and create my yellow great now blue, well, I think the best blue I have is somewhere in the middle. So it's not gonna be the dark. It's not gonna be the light somewhere in the middle. So I'm gonna go right to my COBOL Redd's, you know, kind of like my Eliza Rin if I were making a color wheel because I feel like and mingles a little bit better with other colors generally will mix mawr with my lizard crimson. I use them or, and my washes, I use them or my shadows and tend to use my cad red as more of a pop of color. So I don't necessarily do a lot of washes and things with it. Okay, again, ma philosophy. If it works for you that simplifies things, that's the key. Then I you know, I think you hold on to those If you can simplify it and still create good work, you haven't lost anything now, as you know, in between our primary so yellow, blue, red, these air colors that you cannot mix with any other colors. All right, just for the record. But now our secondaries air in between so I can take my yellow. I'll put a little bit more out there, touch into my COBOL until I get a green that I'm happy with. And that's fine. If I were paying and I didn't that were like, I wanted something mawr yellow. Then I would just charge on Oakar or a damn bows into that. You know, that's how I work. Now go right here to my Eliza Rin and COBOL and get my violet works for me. It's all the violent on the You don't need anything other than that as a base Violet. I won't even bother because you know where this is going. If I ever needed orange, that's a lovely base orange to work with. I don't need to make it any more complicated than that, you know? And between these, of course, we would have our tertiary colors. So we'll go here and I want my palate off just to show you, I'm gonna bump this over a hair How I approach, you know, mixing these things on the fly to And sometimes if you have things premixed, which I pretty much dead then is he Just add little yellow or whatever to the green, and you get your line green. But no, this is how we approach, you know, mixing a color. So if I knew I wanted a lime green, I would just simply take a bass green charge a little yellow into it have got I feel I need a warmer, cool yellow up there because out of my based green, I can push it by dropping of warm or cool town into it. Okay, I can simply put more blue into this to get back to my base green and now charge a little more blue into it. And we have our tertiary color there. In between the blue and the green, I can mix my base violet, charge a little blue into it. That's pretty simple to do. So I can go back and put a little red into this because I know. I just took some out and then put a little more read into it, and we have our tertiary color there. Now I'm getting in to some lighter values. I love that now. I'll talk values all day long. That's worth nerd ing out over my opinion. But I'll get my base red. And I'm based yellow, which really need more of charge. A little read into that, and we have something in between. I'll put a little more yellow under that to bring it back to my base orange charge a little more into it, and we have something in between. All right? I don't see how you can't simplify your colors in this manner and not create him less headache in great art. Okay, so for me again, this is You know how I would approach creating a color wheel. This is my approach All color too. And I guess on art as well is simplified where you can you I like to spend more time on design values and then placing warm and cool colors appropriately that do trying to get every single color perfect. That, to me, is simply a bad approach. I'm not I don't copy what I see in nature. I will create a come on imaginative approach. Okay, so I may use some of what I see, but I'm worried about what is going to look like as a painting. So again, color is a very complex subject. You can make it more complicated than it needs to be. And for me, I've been paying for almost 20 years now, full time for about 15. And I could tell you this does a wonderful job for me of works. Okay, so there is my color wheel and I will see you in the next one. 4. (NEW) How To Explore Color Combinations: in this lesson. I want to go over. Ah, good way to experiment with color. This could be used to get used to the color wheel to explore accommodations and different things. I'm going to use traditional. I'm color will techniques. So I will be using analogous triad complementary colors, things like that. Before I get into it, let me explain my materials and then what I have here on the paper. Now I use whole buying watercolor. Lovely. I've never purchased the tube of this paint. Where wasn't buttery? Ah, nice saturated, vibrant color. But that's the Hughes I have on my palette. And I will use my number two divinci mop brush, a lovely little brush. Their many artists think Ahmat brush is only used for large washes. But these little guys do a wonderful job on many levels. But that's what all used to paint in this lesson. Let me go over my paper. This is a fabry ano blick blend. Um, this is £140 cold press has a little bit too through it. I wouldn't recommend this for finished art because kind of a student slash artist green really good for acrylic painting but for watercolor painting, which is what I'll use in this demonstration. This is great for exercises, sketching and things like that. But again, not ideal for finished work. And that's something because if you do too many washes or if you have toe lift paint, it's just not that durable. Okay, now I've got a couple of reservoirs of water, a couple of sponges. This is my leakproof palette on the Hughes I have are surly in COBOL Ultra Marine cat Ready Eliza Rin Burnt Sienna Meridian, Gambo Genova, yellow ochre. A neutral tent. I would not use the neutral tent or actually any of these over here. I probably won't use the burnt Sienna, but anyway, I'm just going Prewett my brush here. And just for the record, this is These are just cubes, OK? And the reason I like to use cubes or like a three dimensional object or shape is because we get some variations so you'll have a light source. So for all of these, the light source will be coming from the top hand top right hand corner here, so I will put the light values on top medium values here. Darker values on the left hand side, and then we have a cash shadow going off to the left. Okay, so the reason I like to use and recommend simple shapes like this is because you can focus on what's important. And since we're talking about experimenting with color, there's those sense and trying to experiment on your finished art. I'm if you simply just take 5 10 minutes to create a little diagram like this and lay out some options, then you can explore without getting too um, concerned about, we know ruining your finished art. Okay, so anyway, But I have here, I'll explore three complementary colors, so complementary complementary colors are the Hughes. They're located on the opposite side of the color wheel. So for red, I'll have a complementary color where my base will be read. Same thing for orange. Same thing for yellow. Ah would do an analogous variation here using violet, and I'll go over that in just a minute, but basically analogous colors. If you have a color on the color wheel, analogous colors would basically be on the left and the right hand side of its your kind of using Hughes in the same family and nothing. That's an opposite. Okay, Triad, I will use red. So for a triad were just kind of going around the color wheel, okay? And getting to other Hughes that are equally or opposite opposite of them. And then this will be read. And I will use a Liz Aerin and then yellow Now, um, and I'll go over my color mixtures as I get started. But Seacon do all types of variations, though, so I have some complementary options analogous. You can explore color to. They don't have to be colors that are situated and turned on the color wheel. That's in other words. They don't have to be analogous. They want to be trying it on the complimentary. You can explore, however you want the main thing I would recommend. I say you write down what you're doing eso like, for example, if I'm doing complimentary of yellow. I just wrote down that I'm using GAM booze as not based yellow. If I use a triad of red, I just wrote down that Hey, I'm using a Liz Aerin crimson over to see a cad red deep or a ruse matter, or whatever it is you use So this got things noted there. And whenever you explore color, you do things. It's a good idea just to make some notes there so that you know what you did now. One last thing before I start putting paint down is, um I would normally recommend doing this in a sketchbook. So if you have a small nine by 12 sketchbook, maybe, you know, wire bound, that would be a good solution to do these, because that way you can keep him refer to him over time. These this is 1/2 sheet 22 bob 15. And the reason I'm doing a larger is because it's on camera. I want to give you Ah, big Come abroad, Look at it. And is this a little bit hard to paint small like that in front of a camera? But anyway, get yourself up. Inexpensive, decent greed sketchbook. I'll leave a link to the one I like recommend and use and yeah, but anyway, that we can go back and refer to him. Look at him over time, and then you'll learn a lot about what you did. Okay, let's just start right here of the complementary, so I'm just going to go right here. Few gam bows and put down a light wash. Okay. I'm just going to cover everything for right now. Now, obviously. Obviously, that's wet. So I'm gonna let that dry as it does. Get a little bit of my crimson here and Campos again. So I'm going to a complimentary orange again, putting down a light mixture here in the beginning. And I'm just gonna lift a little bit of that there and then run that into the shadow. Something like that. Again letting these dry a little bit before I put on the next layer. Eso moving right along here. This is cad Red, De. So I have my cat red there can read if you're not familiar with it. By nature, if you take around the tube, it's about a mid tone, the terms of value. So you really have to thin this out if you want to get a light value out of it. Okay, which is what I did. Now this will take a napkin or a paper towel and clean my work area, and this is still a little too wet to go into it. Um, now, triad will go with my GAM Bos is my base. So putting that down in the same manner as I did before a lizard crimson Same technique. A lizard, Crimson stains. Ah, pretty, you know, intense, in my opinion. So you have to be careful with that one, too. So if you couldn't go to think in the beginning, we may lose some of the transparent quality there. Now, this will be analogous. So I'm going to go with a violet, so I'll go ahead and mix my for my violet. I'm gonna use culture of blue and I do a littering Crimson. Okay, So discussion have some initials there of what I'm using as my base. So now these air drying pretty well. But I think what I would do is take a hair dryer, too, it off camera. And when it's dry, I'll come back. All right. So working right here from complementary complement of this would be my violet. So I will take my same violent here, so I'll go a little weak. First, I'm going to start with the dark side. That's pretty good. If it were, if there were two dark, I would have just send it out with water. I think that's Ah, pretty good, Hugh there and that kind of spread that right in there. For now, if you want, you can get fancy and kind of, you know, drop things into it. Just play with a little bit. You can also go back to the original color, which is like the gambo je. You can trick a little bit of that in there again. This is all experimenting and playing with color. So just all these little things you can do as you do it orange. Same thing. Complimentary. So we'll go. That's a nice maybe a cobalt blue there, and I'll just make a note here for my violet. I use otra blue and Eliza ran crimson. And for my orange, I used ah, gam bows and touch I can't read and then eso for my violet from a blue. I'll just put COBOL, so I know going to my blues and couple to another one. That's probably and the medium value Cerulean would be the lightest value of all the blues . What and marinas. The darkest unless you get some fail owes or something like that. Now cad red deep going again, complementary so I just go right here to my meridian. So this so I know and starting right here, and you'll find that the darker the values are for your base color. So looking at that red, um, will determine how strong of a second coat you need. Soon as you can see that that red was, um, a lot A lot darker if you compare that to the yellows. So obviously, I'm gonna have to You can't use a very weak green, because it's just not going to do much going create mud. So you have to go a little bit stronger there to make that happen. So now I'm gonna here, too, some reds, and this kind of dropped some in there to see what it looks like. So now moving on to my triads, I could go red, or I can go, uh, blue. Ah, I'm gonna go with my Liz Aerin from all red, and then I'm gonna go with Let's go with Coach Marine for my blue. All right? In that case, I'm gonna go with Haute my Eliza ring as my second color of choice. Now, let that dry coming over here to try out of my red I'm going to go for It's got the same basket of meridian for my green and I just go with a yellow orange for my yellow orange on a go new gam booze on. It's good cat red for my mixture There you may think this is, ah, lot of work to get it done, but I can tell you I found working quickly. I can get this sort of stuff done in no time and like a mission before you learn a lot from this stuff. Alright, so I've got my base down there and now my violent I'll just go with have some Crips in over here. We'll go with some ultra and you know I need a blue violets. Let's just go with a little bit of this Saru Lian here and see what that does. That's fine. Good. And now I'll let these dry a little bit and then we'll come back and add the third value to these and we should be done. All right, we are dry. We are ready to roll. We'll go right here. So I know I use Ultra Blue and Elizabeth Crimson as my complementary. So now I'll just go a little bit stronger here on the ultra blue. And that should give me lovely violet for my shadow here on. And that's good. Not a soft in that all rights. So moving over here to my orange, I use COBOL, so I'll just go a little bit stronger. So just basically more pigment versus water this time around. So the ratios a little bit different. I can run that right into my shadow. I want to get fancy. I can take so clean brush here, maybe anchor that the base. And that gives me a good indication of how those combinations work already in green. So I use ah, can't read deep. So I'm going to do a combination this time. So I'm gonna mix the meridian with the cat red and I'll give me a brown And so that gives me my dark side there. I want to get fancy again. I could take my cat red. Drop that in there. I could do the same thing here so I can mix my base orange. Drop that in there just for giggles. Just let those colors bleed and to experiment. This is what it's all about Try at I want to use Oh, it's marine blue and I'll go nice and strong And yeah, I think I might even touch a little bit of crimson into that which, if you remember, that was my second color. I used moving right here to another try admixture. Mine, Uh, my lizard in base. So I used the orange a yellow orange as my second color. So let's go for red again as the base and let's go ahead and mix a little bit of orange and that just to see how that looks. So it gives me a nice, strong shadow and everything that's too strong that fine will be here. Mix a nice little shot of orange. You can let that mingle a little bit. Come back in here to your greens. He got that going on. So getting over here from a analogous. So I used, um, ultra blue. So let's go. Ah, littering crimson. I think I'll just stick with the ultra Eliza in crimson here because it's pretty strong. As I mentioned before, it's got some staining power to it, and then what I can do is take a little bit of ultra blue drop in there, and it's to see how that works. So that pretty much gives you an idea of how to explore color. Always track what you're doing, so you have an idea of what you did. So when you find things you like, you write those down and you just going through those motions of writing things down and logging everything. It's kind of another way to remember things. And if you, um we're all different, we all remember things maybe physically, so physically doing this, going through the motions, writing things down, whatever it takes, but just distract things. So you have a record of what's going on and then you're you're good to go. Obviously, I did this with watercolor, but you can use oil, you know, past the holes. That doesn't really matter what medium you use, but because the idea is all the same, you're just experimenting and learning so you can use whatever medium you wish to do it. But again, I really fun exercise to dio. I mean, like I said before, he could do these in no time you can try different shapes. You can try spheres, pyramids, whatever. But anyway, I hope you enjoy this tutorial. And I hope it brings a little bit of insight and to color hope it inspires you to learn more about color and use this as a starting point and just take it further and further. And I know you will get a lot out of it. Okay. All right. Thanks for watching. See you next time. 5. Value Transparency Chart: all right, I'm going to do a value transparency Swatch chart of each of my colors and what I'm trying to gain is, ah, visual and some knowledge about each of these colors. And how far can I push them in terms of saturation until they lose a transparent quality. Now, typically, if you just take paint right out of the palate and you don't mix it with water, then it's probably gonna be very opaque. So it's going to lose that transparent quality. And so what I want to do is find out at what point do these colors can become a Pake? And this is important to know if you really want to master your watercolor painting an understanding your colors is vital, and this is where a limited palate really helps. If you we're only dealing with, say, six colors, then things don't aren't that complicated, but we start to get into 15 20 colors. Then you got your hands full because you've got to know each those colors very well in order to really use them effectively in your artwork. So, uh, I will get started, and I think as I get started and get into it. Hopefully this will make a little more sense to you. Okay, Now, starting with Saru Lian, I will go very weak and I will put down very first watch. Okay? Again, I'm trying. Teoh, make this one very, very light value. Now I'm going to jump to the middle one. Okay, so I have five squares here. And the reason I jumped to the middle is because I want to find a middle value and that give me a better idea of where this darker value will be. So in other words, how dark can so ruli and really be before I start to lose that transparent quality? I saw a jump to the middle. I'm just going to do that by adding more pigment to my mixture here. And I'll go and there somewhere. So as you can see, much more saturated. But I still have transparency. And now I'll go back into it and just a little bit of water here. And that's still trainers, parents. I can still see the white of that paper. So I'll dip in the water and then kind of find something in the middle here, and that's about right. And now I'll go a little more water and see if I can get something in between those two. So that's that's pretty good. So for the first shot at for Saru Lian, I think I did almost nailed it, right. So I've got my very light value and truthfully, this this could probably be a little bit lighter. And here and I've got my mid tone or mid value on, then slightly darker. And then probably, I suppose faras I can push it before I start to lose transparency. So for Saru Lian, this gives me a really good visual. And, uh and now I have a better grasp of how far I can push that in terms of value. And then also how each of these squares, how each level changes in terms of color saturation. And then, of course, the value. So that that's good to know. Um, now what I'll do is I'll work each color all the way through, and then we can kind of regroup, have a look at it and see, you know how all these values kind of match up to each other. Okay, so now I'm not gonna talk through all of these I'm simply going to repeat this process all the way down, but all right, so here we are nice and dry, and now we get a much better look at the actual colors. The true colors because, as you know, colors drive much lighter when you're dealing with watercolor. So looking at the values, I think we've got a really good idea now of how each color works. So if we just look at the lighter value of each of these colors, we can pretty much determined that the new GAM bows the SARU lian. You know, the Joker's COBOL. It's not bad, but they're they're They're a much lighter value in general, and that's that's good to put in your back pocket Where the your ultra Marines, um, the Meridian. Liz Aerin They could be a little bit darker, but the CNN is fairly light to me. It's kind of in the middle for a Les Value, but then I mean, going down and looking how the next stages and looking at those values and understanding. Well, I mean, this is kind of the transparency, the transparent quality I get when I pushed this color a little bit more saturated that could go right on down and start to compare values and transparency with each one and with with each stuff you're see it. This color is getting more intense, but with some Hughes were starting to lose the saturation or the glow rather of that white paper underneath, because the light, in order to get that glow of the paper me light, has to hit the paper, bounce off of it and come back through the color. If someone things get opaque, it's simply because when colors look a pig, rather, it's because the light is coming through. You're hitting the surface, and it's not getting through to anything underneath to come back. So you know you're losing that transparency and what's has gone. Of course, you can't get it back now. I'm not saying you have to have every square inch of your painting transparent. I like to use, you know, pops of pure color. But for the most part, I'm trying to capture the quality off the medium, and transparency happens to be one of them. But also when you're designing and you're working, you're creating paintings. You have to always consider value, and this is where transparent e and value. With things like that, I need to work in harmony and for them to work in harmony, we had to to gauge and juggle a lot of things. But just simply knowing your colors and how trance pair they are, we start to push them in more saturated environment. So, like, looking at this, we know how does that look? How does that affect the color? How does that effect light transmitting and more bouncing through the color, hitting the paper and coming back towards the I. So as you get to ah, very saturated color, you know that those things are are gone and that's okay. That may be fine in certain areas of your painting, but just simply no your colors. And like when you look at the game booze, you get over here. Well, obviously the first value was much lighter. So it only makes sense that, of course, when you get here to a saturated level that is lighter than all the others, for the most part and you're still getting that glow. But we could've here to coach a Marine. Then you're losing that you're losing that quality over here in this scale. I mean, you're still getting to see a subtle bouncing of the light. You know, off the paper, you're getting a little bit of glow there, but new Eliza in crimson gets really saturated, and so does Kat Red. And you're losing that as well, that already. And can you say the same for the meridian? So those hues, um out of the two were just simply, ah, darker and value. And then, of course, as you continue to push him, then we're gonna lose it as well. So anyway, get to new your colors. Okay, Get to know them on a lot of different level was getting to know them the transparent quality of each one. How far you can push it until you you lose transparency. What value are you after? Are you in mid tones? Are you looking for a lighter tone or do you need a darker tone in the color to produce a certain value? Once you start to do the swatches like that, those are the types of questions that you'll have answers for. And of course, in real life painting, you're you're probably mixing things like I'm a for my shadows. I like to use ultra marine blue, a little bit of burnt sienna and maybe a touch of a lizard crimson. And we start to combine those colors. Those are all very dark and value color. So I know, um, I don't want to push them to Ah, very, very thick mixture if I want to keep some transparency there. So again, all knowledge for you to absorb the visual is invaluable. So taking 10 minutes to do this for your colors and for that knowledge and to improve your paintings is a very, very wise investment. So Well, anyway, this is a kind of value and transparency swats chart. I encourage you to make that. And that concludes this lesson. I'll see you in the next. 6. Four Color Tips: In this tutorial, I'll give you four key tips about color, and we are talking specifically about what are colors, how they work, how they are made, how to avoid the old mud color, which is a new a common term we all use. But I hope to bring some clarity to that. So let's first talk a little bit about what our color burger color has a binding agent and that is called gum Arabic, basically tree sap, and when that dries, it becomes amber and amber is essentially a rock. So if you are trying to get pain from a very, very dry patch of water color, then you're essentially trying to get color from Iraq, so you don't want your pinks to dry out. So that's the first thing I want to point out to you. And the second thing is, do you want a lot of color? So the last thing you want to do is the have just a little bit of color on your palate. As you can see here, these are all pretty full trays of the colors I'm currently using, and the reason why is if you only have a little bit of color in your tray. Then it's going dry out faster. So if you have more color and each woman, then it's less likely to dry out. So always fill each tray with your desire color. If you know you will be gone for a few days and you will not be able to paint, always have a Mr or a spray bottle and spray your colors down. And then you can then seal the trade close to trade whenever you need todo to keep it air tight. The next thing I want to talk about are the three types of mixtures, and you'll hear me refer to this a lot, and the first mixture is T. So when you're mixing tea and right here, I have some very clean water. Always, always use clean water for your mixtures and always Prewett my mixing area. And then I have a clean rag to dry it off in the you know the pain up so that it doesn't taint my color. So back to my clean water, I'll put a little bit of are in the palate Now. If you're using a mop brush like this, which is typically well like the dude of to premixed mouthwashes. Yes, I would just dip it in the water, okay? And then let just give it a little shake and then into the palate. Now, let's say I'm mixing some SARU, Liam or cope. I'm sorry, Ultra marine blue. So, as you can see as I'm mixing this put a little bit more on the palace he can see is basically moving. So as I run my brush through it, you can't really see the palate because it's so thin that by the time I come through, the water has already move back into place. And I consider that again, the tea mixture. So very, very thin. This would be used for very light washes if you want, like staying something and you don't need an intense rich color. Okay, the next mixture is milk, so milk would be a little bit thicker. Yeah, I'll go into this, and as you start to work with this particular mixture, this could become a lot thicker. So you're not really going to start? See the palate, the underneath through the pain as easily, and you can run your brush through some of this and you'll start to see the palate underneath. And so that's a really good contest to know that you've got a really good mixture of pain, all right? No, The next type of mixture that's very, very common is hunting, and I'll do that right over here. So a little bit of water on my brush is to make sure it's wet. Good shake. And then I have a little rag over here, and I'll just tap that out and I'll go right into this pain and this becomes very sticky. So you're not gonna see any palate, and that's because it's too thick to move now. You also notice when you get paint this consistency, it gets a little bit sticky. Hence the honey. So those air three common mixtures and watercolor and what you want to know is you know, how do they work and why is it important? And that's exactly what we will talk about in the next lesson. 7. Tea, Milk & Honey: Let's have a look at the tea mixture. First, I will show you a few examples, and some of this will be common sense. And the other stop, I think, is something you may know. But it's not. You know, if no one really brings it to your attention, it could easily be overlooked, and I will switch to a little bit larger brush here. I'm just using number five Mont Brush, and this is New Gambo, So I'm getting a T like mixture mixed up. I'll put a swatch down and make it long because I would use this for a few different scenarios. Now this particular mixture key is good for a light wash. So if you are the same beginning of painting, you're the paper artists that likes to lay in a little bit of color first and let that dry , or maybe even work within the wet and then come back and work into it. So basically, your tenting, the paper and what I consider planning for the future so often times no many artists will put in a whitewash in order to come back after a dries and then put a particular color over that in the original thin t like mixture will only act as a way to enhance the color they're gonna put on afterwards. So when I say planning for the future than basically that's what I met. Okay, um, and again, these are just general ideas and practices that many where our color artists use. Now, the other obvious thing that you would realize about then wash like this is that is used for glazing. And the reason why is because if you have an area of your painting that you may maybe a little darker, maybe to have a particular color or look to it it doesn't have it. Well, you do a very thin like mixture like this glaze over top of it, and I will give you hopefully the color you're looking for, and then it will be very transparent. So t like mixture like this is extremely thin, and it has allowed transparent qualities. Now that could be good and bad, depending on how you're using it and when you are using it. So you're starting a painting like this or even use it in this sort of scenario where you're dealing with white paper, so I'm putting that yellow down on overweight paper. That's not gonna be a big deal. You can see the white of the paper glowing through the paint. Okay. You probably do not want to create an entire painting with using thin mixtures. Okay, which is what I will start to demonstrate now. So basically, the idea is when you're dealing with a few like mixture like this and you have a very transparent layer case that layer goes down over white paper. Now let's say I do another t like mixture and it could be brown or blue or whatever. Now, put on top of that. So now I have to thin layers stacked on top of each other. Well, now, if I start to get into 1/3 layer, okay? And it could be a different color could be brown or whatever, but now I've got three very thin layers over top of each other. And what will happen if you start to stack that many on top of each other? Then you lose the transparency, Okay, because each layer so thin you can see for the next seat to the next, and then it could easily become muddy or just simply becomes Dole. So you lose that nice watercolor look, OK, so that's what I'm going to basically demonstrate here. And But before I dio I just want to lay this color down as well. And this is just COBOL. Now, put that over here, and I am mixing up, you know, again a very key light mixture here and again, this will be for future. So this is for her something I will demonstrate about very thin, transparent washes that you need to know. OK, so for now, when I will do so, I'm going to demonstrate wet and dry, as I will let this dry. And then when it does, I'll come back and I'll start to demonstrate some of the things I've mentioned to you and then show you the things you need to be careful of when you're painting with a very thin, transparent mixture like this. All right, now that this is dry, we can start to go into where the strengths are in this sort of wash. And then, of course, where the weaknesses So where you will start to see issues in your art that can make these mistakes. Okay, clean brush clean water. And now I want to the same work over this thin wash with another thin wash. So to do that, we're going to clean my palette here and use a little bit of Kobol. Okay, so a nice thin mixture over the COBOL, and truthfully, not a big deal, right? So you can see that glow of the yellow or the gambo sh through the blue. And that's what you would expect, right? So, again, that's stacking two layers. She like mixtures on top of each other. Second layer is very thin, so naturally you can see the yellow illuminating very glowing underneath it. Well, a lot of that is because the blue is darker and value, then the yellow. All right. So if you were to look at these two colors so I got my yellow and my blue all right, if you know anything about values, how the lightness and darkness of something then is pretty clear. Easy to see that Loves blue is much darker than the yellow great. So stacking dark over light. In this scenario, he like mixtures this fine. So where the problem comes is when you start going a key light mixture. So I will mix up the GAM booze this time who were a darker value, a much different look, even though that they're the same colors, we just flip flop it. So just for clarity here, when you're stacking a lighter, value thin layer over top of a darker value. Even though this blue was sent out to tea, it's still much darker than when what the hell Oh is when you put the yellow over the blow . Now I'm not saying it's horrible that that could be a very, very useful color in your painting. But these are things that you just simply want to know. But this is look at the comparison. Let's look at how these two are dramatically different, even though again there using the same colors. So this has the glow of the yellow. Were this, uh, you know, you can see the blue a little bit, but I mean, it's not as nice or as No. Doesn't have that watercolor feel of something like that. All right, so now, just for the record here, that's stacking two layers to be like mixtures over top of each other. Well, what happens when we get to three, right? 123 and again, Same type of mixture soul. Let's find out. And now we'll let this dry and then we'll come back. OK, so Mason dry here and I can start to add my third layer. No, I have a clean side of my palette ready to roll. And now I will not use a red simply because that would be too easy to make this look bad. I'm gonna actually try to make this look good by using three thin layers. And let's say I go to Ah, yellow Oakar. So go very thin. Do you like mixture? Right, And go over top of that. So now what? I want you to really, really pay attention to as this drives and we're gonna read, have a better look at it. But it does. Dry is how we're losing this glow. That nice luminosity watercolor feel starting to you. Go away now. So now we'll jump down here where we have a much darker first wash thing. We've got another he like mixture of yellow Also a lighter value on type of a darker value . U Maybe this could be anything. This could be ability this could be a person that's could be a car. Could be a flower. Doesn't matter because the point ISS many artists will make this mistake of putting thin then and then. So if I were to go, let's say to, um of blue. So I go even lighter. So I go. So ruling in and get a work top of that, let it dry. We'll have a look and then we'll kind of gauge what's going on. Okay, what I did over here is I just did a couple of swatches that started with the blue, so I just basically repeated what I did here. I'm going to pick a red to go over top of these. So I think it's important that you do get a visual on that so that it leaves a really bad memory and you won't do that. You won't do three t like mixtures. One yellow, one blue, one red and not really thinking about what you're doing on and then end up with a really bad color that was actually trying to do something nice here. Now, this is not horrible, as you can see, but if you were to ask me you know which looking at these four swatches here, Which one exudes the watercolor? Which one has that nice fresh look? If I could pick up on area or one of them that being a painting, what would I want it to be? This one, because it's done intelligently, has done with a darker value over a lighter value, and that is very important. So mixing a thin layer on a thin layer two teas together is possible. Um, in an ideal watercolor world, unless I really wanted something super thin like this, then I would avoid it. But it's certainly possible is doable I use in my art all the time. But again, you have to know what you're dealing with. Two very thin, transparent layers. If you go here, well, it's not bad, but I mean, I like this better. So if I were using these two Hughes, I wouldn't want to mix the darker over the later over here. Well, things are starting to get a little murky me again, not huge. But if you're creating ah whole painting with three thin layers like this or a large part of your area with this sort of technique, and things were gonna start to look a little bit that and again, we're dealing with water color here, so we want to to keep it watercolor ish. So I would take symbolism crimson and follow through on what I said I would do if you're curious about my paper, be Mrs really cheap £140 cold press paper. I use a curl ICS on this type of paper all the time because it's not a big deal. I wouldn't do finish watercolor art on this paper. So therefore, if you're not gonna use cotton, you 100% cotton erratic. Um, you know, Swatch testing like this for demo. But he did. I think you would still get the general idea of how things work when you're dealing with Ah , very thin, transparent layer. So later, the third layer over top of this and this would be using Oops, three primary. Sorry. So I'll let that dry, and then we'll come back and look at it, and then we'll kind of wrap up this section of working with key like mixtures. All right, so let's wrap this up a little bit here, So two layers light dark over late much better results than light over dark. If you're not sure about the values of your colors and sometimes blues reds, you know things were kind of can be hard to see. Sometimes you can always take a picture of your palate and put it basically, no de saturate the colors to a black and white, and I'll give you a good visual of the base value of a color. But there you go, mixing three layers. Um, you can see things start to get a little bit shaky. I think we're getting away from watercolor. If I were going to stack my layers like this, I would do it differently, which we will talk about as we start to dive a little bit deeper into the next mixture. And then, of course, this is three layers using primaries, and I'm really in trouble here. I mean, this is downright nasty. Um, this is, you know, not much better, okay? And the glow of the paper is starting is gone. So this week and hang it up, you're still getting close from later underneath all that stuff. But it's just not a great way to go in terms of approaching watercolor painting. All right, so that's kind of a demonstration. And f y i for you here when you're dealing with thin, very thin, diluted paint, and you can use this information accordingly. It wouldn't hurt for you to make a swatch like this. It takes honestly about 10 minutes. If that and then you got a visual that gives you something in your brain that used did and you can see it. And you know, now Hey, that's not This is good. Maybe this is doable. But, you know, I don't want to go to these other areas. OK, anyway, that concludes this series of lessons were working with transparent layers and that he like Mixture, let's get on to the next one. 8. Tea Recap: All right, let's try to recap a little bit about what we've learned at this point in terms of working with very transparent layers eso those t like mixtures. And we've done a few exercises, and I thought it would be good to bring them together here so we can look at them. And then ultimately, kind of rapper heads around what it all means. So again, working with very transparent thin layers. So the color swatch we did helped us understand how Hughes work and how transparent they are. And we mixed it in a variety off mixture. So basically, this will be starting out in a very tea mixture. Okay, This first row, as you get into the 2nd 3rd and fourth rose, then we start getting and mawr into more of a milk sort of mixture. Especially in these 34. When we get over here in this last one. I mean, that's kind of bordering on ah, milk slash honey. Okay. I mean, we could go thicker here. I was trying to keep it as transparent as I could before I started to lose the transparent quality, but I could have pushed them even darker. But For now, just know this helps us understand each color and then how the inherent kind of transparent quality of each of those works and different mixtures. Okay, but anyway, whenever we did this exercise, it was simply to show you a few things. So how does light over dark compared to dark over late? And this is again stacking those layers. So you may work in a completely different method. Watercolor artists, some will pain, you know, do a thin wash. Like I mentioned before they'll come back over that with another wash on dso want other artists may just simply like to burke wet and dry and not do a lot of wash techniques. But for those that do, I think it's important to understand this. But at some point, you wanna layer wet over dry anyway and so really, really getting your head wrapped around how these thin, transparent layers were is imperative. Now again, the study showed how those layers work. And again I came to the conclusion that I would try toe up for this. Okay, I would try to up for very light free wash, and they come back over that with another thin layer. I think I would stop there. Would not put 1/3 layer over top of that. Whether it was yellow, green, red. It doesn't matter. Once you start stacking thin, everything over thin, I think you lose the freshness of watercolor. And so whenever you you are approaching your work, hopefully this will be a reminder to you that, you know, maybe I could do this, but I don't really probably I'll probably want to avoid, um you know, these other scenarios where I could possibly get in trouble, and then my colors will be ruined. Onda, of course, that watercolor look will be gone as well on and then with this study, this was simply a quick look at how Turn it around. So you get it Sounds so confusing to look at. It was just basically the kind of re reinforce those ideas. But instead of doing it with just one or two colors, I kind of put all the color of side by side. And then you could kind of have a visual there. You know how these darker tones over the liar tones right in here really look a lot better ? And of course, you know the darker, neutral tent, even over the darker blue. That blue was glowing underneath it as well, because the neutral tense a little bit darker value than here. So again, it's simply working with very thin, transparent layers. And there are scenarios where we would use a slightly different option. So we would probably start with a thin, transparent layer and then maybe put something thicker over top of it. Okay, and that's what we'll move into next. We're gonna take a little bit closer. Look at the milk consistency and a little bit thicker paint and try to determine of what it's good uses are. But again, if I were, if you're using washes and your you're toning your paper, whatever the case may be, my conclusion is always start late and very, very light, very pale and then work dark over light. Every painting or subject will have its own scenario. Okay, so if you were, you have painting a land state, for example. Let's say I'll grab a sheet of paper here, and let's say you have a sky in here, okay? With some hills and they have a ground and we could put a vertical here and we'll do just kind of a tree there to help us out. This guy would be your lock, lightest value and the ground. But probably be your next darker value, leaving your mountains for your third value, and then the tree will be the darkest value. So we'll be lightest next in line next in line. And then, of course, the darker. So where artists I think get in trouble is is they try to color match things. So they were actually look at their image and they will try to put that exact same blue that they see in the image right here. And that blew more than likely is probably one of these. I mean, when a a nice, clear day, you get a really, you know, a nice pop of blue in that sky. And they may opt to go in here somewhere and really match that color. Well, you're gonna be in trouble. Okay? If you start with a wash like that and trying to match the color right here, then well, where does that leave the ground with the grounds? Gonna have to be even darker and value. And then you get to the hills, you get darker. And of course, you probably see now how you know things can get out of control quickly. So whenever you're paying with watercolor and you're trying to keep a very transparent look to your work and I'm just going to do this without, um awash or putting down a wash, I'll just do this Just so you see exactly what I mean by this, if you start out saying, Oh, there's a bright blue sky you put down this new you know, honey, COBOL Ultra, I really need that vivid blue was, you know, now that Visit blue, it's probably gonna be in here somewhere. And if you go there, then what do you have left? Half How far you have the push, these values to get the shifts, the different values you need for a simple painting like this. And chances are you're gonna have to go even more saturated and darker than what we've got here. And that is basically taking paint right out of the tube and putting it down. And at that stage, guess what? Transparency is lost. You're now dealing with a very opaque color. Now I don't mind a little opaque colors. In my work, I generally will have, ah, balance trying to keep things transparent where they need to be. And then I get you air certain areas where I want a nice little pop of color. Then, yeah, I may go straight with a damp brush into the paint and put a nice pop of color on someone sure of the car where whatever the case may be. But the trouble normally happens when beginners try to color match, and I have a video coming up really good demonstration. I think that will help you understand why that's a problem, because the rial focus should be on values and the transparent quality of water color. If you want to maintain a transparent look to your work, in other words, you want to use the glow, the paper, the light bouncing or transmitting through the paint, hitting the paper and coming back. Then you have to really, really start to manage your your values. And, you know, I think a lot off what we learned here can be applied in this manner. I'm just using blues here, and I'm just mixing different tea and milk type mixtures here to hopefully achieve four different values. Okay, again, if I would have pushed that, would you? Could you imagine what would push that sky to a color that most amateurs will probably do? I'd already be in trouble. And so now I'm just going a little bit of ultra Marine. I can probably push that a little bit more because I kind of knew that's why I had to be very light. Okay, so that's just simply understanding value. Now what I'll do. I'll just let this dry and I'll come back. And then I'll put that little tree and you'll see your real quick how this works. All right, nice and dry here. And let me show you. This little thing I did is well off camera is just so you have some comparison and just see that it works in this scenario. To I started with the very pale wash of New Gambo, a little bit of burnt sienna. I even dropped some of this very thin blue in two. The bottom. Okay, so I kind of see where it's a little bit darker value there, but I am going to do the same exercise I did here but I would do it with a light wash. I'm stacking too thin layers over top of each other. But before I do this, let's look at this little example here, and it's not even done. But let me go ahead and do it real quick. So now I'm just adding a little bit of blue into that mixture, and it's still very, very a milk type of consistency. Okay, and so you can see probably on the camera that there's some transparency there, and I'll just kind of let that fade away, and I'll let that also dry. While that's drying, I will start here now again. I've got to go real pale here. So I know I already have a base value, and then we clean my palette here because it is getting a little bit carried away, and I use a little bit of Kobol. It's fine, even though I know COBOL is a little bit darker of value, but I'm gonna go super super thin here again. I'm not worried about matching the color I see in nature because I know that's not gonna work in my painting. I have to be concerned with what I'm doing and what I'm working with, because watercolor is very, um, important to capture the nature and the qualities that it offers you and again doesn't have to be in every on every square inch of the painting. But I think to some degree it should be present and part of it, if not a maze, will switch to acrylic or oil. And now I'll go a little bit darker and here I can touch a little more but darker value into that. And now I'll let that dry come back and do Theo tree. Okay, so I'll let this dry off camera and we'll come back and wrap this up. All right, this is all drive. But before we have a look at the this version, I'm just going to add my tree. Now I have to go a little bit darker if I want to get something that you know represents of what it should be. So the sky should be the lightest than this the land, then the mountains. And then the verdict with a strong vertical here would probably need to be the darkness and value. If you're trying to represent no decent landscape painting all right, So tidy things up here and you will see, Even though I started with my light wash, I still have to be very, very cognizant of how my values work. And if we break this back out from your No, a little bit about how you hear qualities off the COBOL, the ultra Marine in this really an ark. That's basically what I use as my main color. In this version, of course, I put the light wash down this to show you that you can use ah, thin layer over thin layer like I did in some cases. But now, once you get to, ah, little bit darker values like the mountains and the trees, you have to bump things up to a milk type of consistency dealing with the same hue, of course, to get a darker value in here. Okay. All right. So let's go ahead and wrap this up. And I think you have a little more knowledge. Hopefully about working with then transparent layers and you know, some of the pros of using them and then some of the the cons things you have to watch out for. Okay? And now we will look at the next bump up, which will be like the milk consistency. So we're working here a little bit and kind of go a little more in depth into that and then show you some of the things you can do when working in that stage. Then also, what is common use is four. 9. Milk Mixtures: So now we'll have a closer look at some of the thicker mixtures. So we're looking at there is no type consistencies and what we want to die. Elin, is how many layers can we stack here before we start to lose transparency? So to make this, I don't know possible I will divide the paper. And as you know, I believe we need to start with a very, very thin layer. Very light value. Okay, So if you watch my previous videos, you know, if I start with light wash, I am not going to use a darker value. If you didn't watch those, I would encourage you to go back and check those up. So I'll go with Mike Ambos and a little bit of your broker and just a little bit of water and that even more it's going to create really large swatch, and then it work. No again. Thin layer to begin. Not over here. I'm going to just go forward using a thicker mixture. So somewhere in the middle here. Okay, I'm gonna apply that directly to the white paper, But before I do this, I'm going to allow Swatch to dry because I will apply the same first layer here on top of this one, and then we'll basically be kind of call it up. So I give this a minute, and when it's dry, come back and then start to work with these thicker, transparent layers. We have, ah, dry initial wash, clean my brush. Bump this over just a little bit Now start to add that later. But let's go back now And look, have what we've learned in previous lessons. So if you create this chart, this is kind of handy now. I mentioned to you value is important. Okay, if you don't want to start with a darker value and then put lighter values over top of it in an ideal watercolor painting, can you do it? Yes, artist, Do it all the time. But ideally, you wanna work like two dark. All right, You know, I'm a broken record here, but I have to remind you what we're doing here. So my looks certain. Look at my transparency value chart here. Then I start to gauge you know which colors would be suitable in which ones ones you do I want to avoid. And obviously the ultra Marines and listens. If I start to get in here of the lizard and I don't really happen push a much thicker value in a much darker value to go over top of that. Okay, so what I'm going to do is give you two examples over here. So with the one example, I will start rather like Okay, so I use a little bit of burnt Sienna. Just so we have some idea. That's a variety again. Much thicker mixture here. Okay, Now create my rectangular swatch. You know, just for the record, I'm looking for something in here. Okay with that. Now I'll try something much darker, but very, very similar mixture. So I'll go Eliza in crimson. Let's go to touch a little bit of Khobar in there as well. So this kind of gets me on that same consistency as the smoker and cambios. Now, I can't let that drive. Now I want to get thicker over here using the same mixture My pillow, Oakar and Ambos. I will go over top of that right here on. Let's go with our Crimson Kubel. Yeah, well, let these dry and then we'll come back and have a look at it and see where we are termed the value and transparency. All right. Nice and dry. So as you can see, putting that thick mixture now right, still creates or lin some transparent quality there. So the latest going through the color bouncing off the paper and coming back. Same thing here. So even with that medium Teoh no dark value, you can still get some luminosity there. Now, we here are initial wash here. So we have a thin wash and we put the thicker layers on it on. And that's looking pretty good to were actually getting a lot lighter value here simply because you're getting that lighter yellow transmitting through. So you're getting that little bit of a yellow additional yellow glow that you're not inning here and this is working well too. So you can still see a little glow of the yellow coming through. Everybody's happy. Okay, so now what if we started stacking here and I will turn this sideways So clean brush. And now this. Go with a little bit of the same ultra Marine and we're going a little green is to mix it up here nice and thick. So in the middle. Put it down. Leave her alone and I'll get the same thing here. So using that same exact mixture and put that down. Leave it alone. And now I'll do with another layer Over here is well, so I'll go with blue. Well, Fremd a little bit thicker about here. And then we'll do our swatch test here. And then I'll go right over this as well. And we are going to let that dry and then have a look at all right. Now that we're dry, let's have a look at it. And just put some labels up here too. So remind ourselves what we have. We started with the T watch. Very, very light yellow. We had a milk onto it, another milk onto it. And then we started here, and we will use a darker value. So this will be darker than that. And then we layer the blue on top of that. Okay, so here you have the team darker value and then even a darker value. So over here, No wash milk only. So we started with a look type mixture kind of thick. We had the 2nd 1 to it, and then did of that here. This is just simply a little bit darker with the original for the first layer. And then we put the blue green over top of that. So I also added the second swap because I'm going to do a little experiment here. But let's just look okay right here. We're doing great. So in terms of value, we can still go darker in terms of transparency. However, that's another store. So if I go over here and again, these are the same. I just put that on all camera. So if I go in here and start to see Okay, I want to add maybe a little more a little darker color to that. Make that pop a little bit more. You're gonna see transparency is gone now. Okay. So even with adding, ah, milk type mixture, so that's very transparent. Okay, so it still has it. Once you started stacking three on top of each other, even even with the initial washing. All Okay, we're done. You've lost all that. So at this point, you're much better off to think accent color. Okay, so if you have to go here and add a little bit darker value to know, maybe enhance a shadow or focal point. That's fine. I would use that very sparingly. But if you want to come in here, you know, start adding accent colors just with very, very honey tight mixtures. Then you're okay. I can come right in here with this thick and all that stuff and be fine. So that point, that's all I would do. I wouldn't try to push it any further over here where we went, the set of the original wash over this one was darker. So with a purple lot darker value than this golden yellow. So once we start stacking even a darker value over top of that, you can see things get very dark and the transparency starts to fade away a little bit. If I were to do the same experiment and go here, we're pretty much in the same boat. Okay, So transparency is lost, as you can imagine, because this is even darker and more saturated than the Coughlin. Now, with the no wash. Okay, everything is looking good. Okay, Started. You know that much darker value then the say here. But that's okay. We can see that white glowing through it. We were in a pretty dark medium. Dark value over top of that. He could still see that brown transmitting through. So now we were two at another, you know, milk mixture over top of that, as you can imagine. Now that is starting to go away. And if I put that down by itself, you can still see that that color has luminosity. There has transparency to it, but because I've already maxed out the layers here and stacking them on top of each other Okay, I am pretty much out of wiggle room. So the only thing I can do now with stacking to thicker mixtures on top of each other, even starting with a light value, is think accent color. Okay, that's all I can do is think opaque. All right, so I'm coming here and do this sort of thing at a little bit. Or if we have to again use a little bit of that thicker color to create a focal point, enhance a shadow or whatever, then fine, but don't try to put anything lighter over top of that. This is thick out of the tube, honey. Tight mixtures. They're going to sit on top. You're not really worried at that point about transparent quality. Okay, now, as you can imagine here, starting with an even darker value and then adding a darker value over top of that. Now, we are completely at a wiggle room. So you put that down. You're pretty much and, Ah, very, very dark area in terms of your value. And again, at this point, you're pretty much limited to adding accent colors. And this'll is fine. I mean, as long as you know this information, you know, you can work in this manner. All right, so basically the power to say that sum this up. What does this mean for me and my paintings? How can I use this when I approach my artwork? Okay. If you type a person where you like to use the initial wash, know that you have to go lightened value. Okay, that's number one rule. No matter if you're working with t mixtures, milk mixtures, whatever. Start extremely extremely light as you layer over top of that. Obviously, uh, next line of value on that would be light. No. Close to this. You can go thicker. You can go darker value, obviously. Okay, If you guys start to push it too much, then you may have maybe one more chance. But the ideally, you would want to go thin, wash medium milk type picture to add body to whatever it is your subjects in your shapes and then come back and hit it with a little bit of shadow. Some highlight. And that would be a nice set up. If you're not using an initial wash, you're just using the white of the paper or whatever. Then you start right away with thicker paint, then no, again, like two. Dark is the way to go. You got about two good brown's of this before you start to lose transparency. Okay? And that point, you start to lose transparency. Don't don't fight it. I mean, try to think. Okay, what can I do in terms of an accent? Color this. And, ah, fuel pay areas and see if you can make that painting work. So ideally to me, you know, whether you use initial wash or not, and it doesn't really matter. Okay, um, I think you know, from personally, I would say I like to use an initial wash to get some lighter value down some warm hues, they may be come back over that with some darker hues and perhaps some cooler hues and the shadows and things like that. And then in my next round, I could go milk again in certain areas and then the last round. I'm just adding at accent color. Okay, In order to pull that off, you have to get your mixtures right. Okay, You have to understand what we talked about before is that watercolor dries lighter. All right, So if you know you're looking for color like this and that's what you want in your painting and then you premix something that matches that, Yeah, that's what I want. Then by the time that dries, that's going to be too light. So if you know you want that sort of color, then you always have to try to get something a little bit darker than what you think you'll need, because it's going to dry 15 20% lighter. Can you imagine if you can start to compensate for that in your in your washes and stop? Then you will find that you eliminate Allow the excess painting that you normally have to do to get things darker. Okay, so if this were my initial wash, I may want to come back and say, OK, I want to put a value down from my building structure. OK, maybe I want to let that dry and say, I did let a drive that can come back again with that nice, thick milk mixture and think I'll put that down and that's pretty much it at that point. You know, I need to just leave this alone if I want to maintain transparency, all right, I'm going to go darker than I think I need to do, because that's how watercolor works, All right, so working with watercolor has his challenges. It's got some beautiful qualities to it, as you probably know. But the common mistake is to end up with money type art, as we talked about before. Any time you start to layer thin layer over thin, layer, thin layer and thin layer, you got all these thin layers over top of each other. You're gonna end up with mud, okay, because all those colors start to blend through the layers. It's like looking through six pieces of color glass and you're trying to look through them . But where you're seeing now becomes very grey. Okay, so we know that. Yeah, I can work with thin layers. In the beginning, I wanna work light value that could get a thicker than on this next layer. I want to get my colors right. And then I could do some accent colors here and there. And I got a painting that is probably about 70% transparent and maybe 30% of peikin certain areas. Okay. So anyway, I hope this kind of answers a few questions for you and simplifies your approach. If you have any questions about what you learning as always, get in touch. 10. Work Light To Dark: all right. What I have here has four colors. They were put down with a very, very pale consistency. Okay, so a lot of water. A little bit of picnic. So this is new gam. Beaujolais, this is Cad Red. This is ultra Marine. And then this is basically a neutral tent. OK, so basically what you also one on notice and what I want to bring to your attention is the value. Okay, so the value of yellow this base yellow and these are all again mixed with the same amount of water to pigment. So one isn't more saturated with pigment than the other. But as from there kind of inherent quality there, they all have a certain value to him out of the two. So we look at the new Gambo je and the red well, and they're very, very light and value as I get to the blues and the gray, the neutral tent, while they tend to get darker and value, So that's important to know. So now what I will do is take the same colors and then work it and strength the way I did. So I'll start up in the top with my neutral tent and I'm going to keep this mixture about the same. So it will have the same water to pigment rays show as the original wash, and we'll go right across, clean my brush and then we'll go right with the blue and I think I'm gonna go a little bit stronger there. I think that came across little weak, and now I will go with the next in line and then we'll get a last but not least is the yellow now, In order to get the comparison that I want you to see and get the point that I want you to see, I'll let this these dry and then we'll have a look at the value of OK, this has been allowed to dry, and I don't know if you could pick up the subtleties on camera, but I will include a high rez image of this. But what I want you to understand is how the lighter value original, like the yellow, the pink, how different they look in terms of the quality of the color. First is the darker values, which is the blue and the gray. When the lighter value is over. top of that. Okay, So delicious. Focus on the yellow and the pink for a second. Now, we're really gonna look at how the darker values go over top of that. So in the blue, Coach Marine is on top of this. You can see that nice glow of the yellow underneath. There really pops that blue. It gives it a nice glow. The same can be said for the neutral gray, so that yellow again illuminates the color. Same thing here. So underneath you get a nice violet. There is a subtle glow to it, and the same is can be said for this kind of warm gray. So that's a really interesting to see how that looks. Now if we flip flip this a little bit here. So now when we flip this, look at how the lighter values appear when they go over a darker value now it's not bad. I mean, you certainly see the glow of the blue, but because it's a lighter value and is going over a darker value, you don't quite get the same glow as you do with this example is subtle, but is there so basically same can be said for the pink. So when the pink whenever the blue and the gray it's good, they're They're both thin, transparent layers. And this was a very thin layer, so you can see how you got a night. You get a nice violet and then a nice have a warmest gray there, the colors because he went light over dark. They don't Pappas much as when you see it over here, so we see the pink under the blue. It just has a lot better watercolor feel to it, and the same thing with the greys. So these to me work better. That's a much better green. That's a much better violent. And what you really want to understand is how important values are and what the and that every color has a certain value rating or range right out of the tube. So a SARU Lian will be lighter than COBOL Cobalts, lighter than ultra and right on around the burnt Sienna. As you can see, Willett's fairly dark, but you get a really like mixture of that, Um, you can get a very, very light brown, so you kind of use burnt sienna in a wash. But my opinion when you start getting into these hues like ultra Marine and putting those down and use it in a very, very, very beginning stages of a painting like put using it in a wash that you have to realize you're pushing that value really, really dark. If you're gonna go over that again with something that needs to be darker than what you have and my personal opinion, we're very, very thick, so almost out of the tube with a little bit of water type of mixture. But then, if you start doing that, then you're gonna lose that kind of transparent glow you have with watercolor painting. And what makes it so special, So kind of their take note of that, um, and that you know, whenever you begin your painting and you're you're simply painting, are planning it. My personal opinion is you should always began with Hughes that are very, very light value. So if I were wanting to do is say off washing here, that could be That could be anything that could be sky or whatever baby I will cook would put clean water into that, and then maybe it gets down to where anything could be. Maybe some trees or something I could get with the light blue. I would probably choose a sore Uli. And maybe, and then so one. I would kind of maybe come into these Reds rial week and then keep keep the values really like. And then you set yourself up much better for the next round, because when these dry, there will be very, very light value. And I think the safe bet and the safe play is to always think with lighter values and then these yellows and things like that. They all worked really, really well, Lee. And then once you do this exercise, you get locked into your memory and on it's gonna benefit you as you progress in your watercolor painting. 11. What Are Neutrals?: in this tutorial. I'm going to talk about neutrals, so we'll work a lot with grays, some khaki tan tight colors, things like that. Very earthy. I am also discuss mud, something mud sometimes is mis interpreted. If you understand how to work with neutrals than I think, you will eventually discover that mud is actually a very helpful color for your paintings. Some of my palette. Typically, I use it right side to mix clean washes. This is completely dried up from the previous session that I really clean it now because I like having all of this in there for the next painting on this side. I have kind of same thing. It's just a bunch of leftover pain and the reason I'm not as tidy as many artists because I like to have these on my palette when I begin because they make wonderful neutrals. So let me start to demonstrate first, and I'll talk a little bit about what a neutral is and why they are what they are. So I'm just taking a little bit of clean water now, inactivating these this water color and not gonna worry about this side too much for now. anyway. Eso mud OK is basically equal parts warming cold. You can mix it by this, putting a little bit of your primaries on this case. Just use a little bit of poker. I use a touch of cad red and then some otra blue. So if I take that up to a little more water on my brush and we do a slots there, I think you'll agree. That's pretty pretty nasty color. And what was called this are neutral. We use our three primaries. So again this looks the way it does because it's not really a cool color, and it's not really a warm color, and you're gonna see eventually that, if it were, is going to completely change. Another way to get a neutral is to use what I color called neutral tent. So I have some of my palette right here, and I'll mix that up. It's a little bit thinner for less saturated. All right, so you can see very great. So again, a neutral is basically a hue that doesn't say warm or cool, and you can get there. You know, a lot of different ways. This is just the two ways that I use, which is basically mixing the primaries or dis using a lot of the colors their leftover on my palette and activating that with water at the beginning of a session before you can even use colors that are based neutral as well. And these were ready to go out of the tube. But again, they're not going to say glimmer. Cool. Now, if I were to take this picture here, which is over on the right side, and I want to push that to the sale warm, neutral, you can put a neutral down like I did here and really just charge into it. I can charge into that within Oakar. You know what a nice born bred E can even push push it into just like you, like a have a little bit of burnt umber. Roma palate will be burnt Sienna, But for this demonstration, I'll just use a little bit of Oakar, and I'm going to just send that out a little bit and drop that into the paint. So now I'll just let that dry and we'll get a rankling Lewit. Don't take another Swatch here. What would be considered mud people? We'll say This is our word. That will be our cool. And now it can take a cool color. Just a little bit of Kobol here. Charge into that on. And that color completely changes. Now they both do so new longer. Are they that kind of dole do mud, muddy grey. They are actually taking on a more useful color because they actually swing to one of the warmer whole sides. Now the course. I could do the same thing with my neutral tent. We make that touch stroller. Don't go ahead and put my slots below it. Okay, so say drop neutral tent drop in trouble. So what? This little swatch demo, I think does is it gives you a couple of i ways to get to. I have a base neutral or base gray. And and then it demonstrates how he can put the base grade down and then just simply charge a warmer, cool color into it, and it completely changes. And believe me, these air very, very useful in a painting. And what I will do is a couple of demonstrations and sketches that I will basically create them from base neutrals. So I will purposely applied neutrals and then show you how we can change them by using making them warm or cool and leading some of the same and creates a very colorful art. I will say a pet peeve of mine is when you look at someone's watercolor art, especially, it looks like a a rainbow has every color and it is bright. It's intense. There are new neutrals to help balance it out. And I feel like if you could be paint more with neutrals in mine and issues a touch of color here and there, they will be just as colorful, if not more so. So that's what I'm going to do. We're going to take this a step further, would do a couple of quick little sketches and then end those. I will give you a couple of examples on how we can use those neutrals and then, but we're gonna get there a few different ways, okay, 12. Wet In Dry Neutral Swatch: in this lesson. I want to talk a little bit about exercise you can do for creating neutrals. This is an exercise I will do for in front of you. But it's an exercise I encourage you to do so that you can get to know your color is better and what type of neutrals on they will create for you. All right, So again, neutral tent and then a premix. My premix. I'll just go right over here. Now put a little puddle that up. Excuse me. They're pretty good. So I'll probably meet quite a bit and I'll just go today. I feel like, uh, I think Coach Marine will work, so I'll get a good amount of that. So Premix neutral, and what I'll do is create What do I have? 123456789 The saying I'll use the lavender to 10. So I'm going to create 10 swatches here. Now, I'm gonna try to leave a little gap there so they don't bleed into each other, so that will be one to, and I'll just run on down here real quick. So I was going to just tip my board a little bit too. So I kind of get some even distribution of water. And now I just work right around my palate. I'll start with my cobalt blue and again not gonna mix it. Ah, very, very heavy mixture of cobalt blue assist. I would consider it still a t like mixture, and I will take that into it Go right into my COBOL. I'm sorry the 1st 1 was truly in, so this will be my COBOL. He probably start to get the point here. Good. So now what I'll do is let that dry, and then we'll come back and have a look at. So as you can see, these air dry and the visual is very valuable to me. So what I have with Cerulean is that really nice, as you can imagine, right? That it would be that light blue cool, neutral Cobalts a little more pure. So it's got that little boost or just a touch more that blue course coach Marine is a lot more saturated in the blue. So if I were one to push something the distance or something like that, maybe I would give more towards a so ruling in or lighter, but one of the blue that was maybe a little bit closer, middle ground foreground or something like that. This will play a little bit better. Neutral for me. Cat Red is lovely, Tom. It really took a lot of that intensity. I'm out of the red, but that would be very valuable as well. And right, Owned out from the Crimson and the burnt Sienna was is really interesting to its a lot. Later. Then I would have imagined it would be, especially if you look at the actual tone of the paint again. I didn't makes a very, very thin mixture of it. So very key like mixture. But that's a lovely color. My nice, deeper brown. We compare that to the hookers in the GAM booze. Of course, it's got a little more body and depth to it so that I would be really nice for buildings and maybe even a face in the distance, flesh tone or something of Meridian. Really, really nice. The GAM boosh is really intense. You see that very, very light value. Um, plus, it's a very thin mixture, like a really made it a nice neutral there and the yellow car. And of course, our lavender is awesome to lavender isn't a color I would recommend for a wash because I'm pretty sure there's a little bit of white in there. So you're going to get kind of a milky, cloudy looking type of opaque. I guess that's the word I should use more, Okay, color to it. But for creating distance or depth thing. You need something that you wanna push something back in the background or just away from the focal point or whatever, that would be fantastic. Now, for the next extra size, I will go right over and with my Prewett mixtures and this time, start with the neutral tent, So that would be my base neutral. So I have some tent here and I will mix up enough to do my swatches. Having some options is good. And then now we will get that visual of how my colors are going to respond. I'm just kind of spreading that out a little bit. So here we go, starting with that's truly in now and working my way right around. I love this dry off camera and then we'll come back. We are here. We are with everything dry. And now we have a good visual here of how the premixed neutral and the factory neutral looks when used to compare the colors on my palette side by side. And and now I know, mixing neutrals and looking from these cooler values down to some of these warmer tones. And here kind of that gives me a good idea how my pal it's going to respond would not start to mix neutrals on my art. 13. Neutral Demo One: all right. And this demo, I will do a neutral the painting, some buildings, maybe some cars and figures here in the foreground. But the main focus is right here on the three buildings. You got the main one. A syriza buildings League leading off on the right hand side. Handed her that on the left. This will be cool. This will be warmer. And then here, this will be very, very neutral and kind of dark. Now, the technique I'll use is just simply starting with mud. All right. So, again, what a lot of artists consider mud is just a neutral that isn't warm, isn't cool. Okay, so let's go ahead and crack right into it. Here. Something like that is fine. And now, on the left hand side, do the same thing. I'll leave a little bit of white space. And here. And did you know that in this area, um, same thing here. Something like that. Now, as you can see, very gray. Very neutral. Nothing's warm. Nothing's cool. I'll go ahead and take my Oakar. I can thin that out just a little bit and start pushing that now. That was a little bit of crimson there. And now I'll go a little bit a little bit of Kobol, a little bit of ultra into these neutrals and push some cooler colors in here is well, and I can even just kind of let that go a little bit. Former like that. Now, over here, I've got the warm hues. But I wouldn't change a Smith, so I'll go with a little bit of burnt Sienna on that. And I lost my crimson there. So there we go. Charge that up, and I've got my cooler side here. So I've got a nice cool mixture and who kind of Sprinkle that in? All right, So, as you can see, putting those warm and cool tones in there makes a big difference. All right, now, I'll just let this dry off camera and we'll come back and take it to the next level. Nice and dry. And now I can start to add another layer here, and I think I'll start right here with the main focus. You can see, you know, we got those nice warm Hughes in there. Got a little mix up of the crimson, little bit cooler towards the bottom. But again, very neutral saying the same thing here. This is just a warmer neutral now and then cooler. So that's this is obviously very blue, so I can take a lot of this kind of warmer. Make sure I've got over there. Neutralize it. Right? So not much there. And now. Now, this poor little girl. Cobalt little red. A little bit of poker in here, Maybe a touch more of my blue And what I'm doing, I'm just getting in a little neutral tent. I'm just looking for a mixture here of neutral. This is a little bit thicker and push that a little bit darker with the neutral tent, and that's fine. Still transparent, but thicker than the original Wash and start to come in here and kind of put where those columns would be now to switch to my number. Actually, my number 10 pointed round and a little too much pain on that and just start to do maybe a little bit of ah, your detail and hit miss here that some of these other little detail features and the in the building and something like that is fine. And we can even kind of hand it something happened in here. Maybe a little emblem. Er good, that's nice. And you're all done with neutrals and mine And now come down here and Sprinkle in some steps and I'm getting to my cool aside. So I go with some blues. We're right into those neutrals. If I tested that, it's definitely towards a blue and I can start to. I'm just gonna take a little bit of that off. Now I can start to take that up and to some windows. It's a little detail here that could be happening along this building. Maybe another set of windows or whatever, and that's fine. That's all that really needs. Maybe I can head it. Some shadows under the cars join that blue in a little bits. We would get a little bit of a blending there. Now I have a warm side, but I have a shadow coming across. So let's just get with a little CNN first and a little neutral tent. I just want test that see what it looks like. It's not bad. So a slightly warmer mixture here and and we can start to kind of play with what? Where the shadow is. Maybe this building is casting a shadow there on have something like that. I'm just gonna just do a little bit of dry brush here. Good. So again, working with neutrals, um, trying to create colorful things, and it works. So now you come in here and there's no some figures and people different things happening in this image. But, um, you can start to come in here now and play with color. We can put a blue the bluest shirt on one of these, maybe some blue pants. We're going to go with the red dress or something happening here. Maybe some red tail lights on these cars and so on a little bit of green in there. So really, just putting that color and you're just splashing it in their versus hammering the whole The whole thing with color, um, is just as effective in terms of creating colorful paintings and things like that. So and now come here. That just really clean brush, weaken throws shadows coming across like this. That's fine. Cool that office blues. Ah, nice. Maybe blue in this foreground. So, just like that, though, you can get a nice, colorful painting. Um, and as you, you know, we're able to see their It's all done with neutrals and mind. I really didn't. My focus wasn't trying to match the colors that were there in real life, as I've mentioned probably before. Any time you try to match nature and compete or get exactly what nature is giving you, whether it's a man made object or whether it's trees are anything like that, you're simply, um, gonna lose that battle. And ah, better approach is to you work with your colors, work with your neutrals, work with warm and cool because we're we're paintings. Tend to fail is when they they either get to neutral whether or not there is balanced too much or simply doesn't have enough warm and cool limit, or they really just become too colorful. And in any case, um, whenever you you approach your work that way, you're going to get you in trouble. So just just think warm, cool. Uh, a little bit of you know neutrals in the middle will not hurt you. If you look at this painting long enough in this little quick sketch, you'll see plenty of those kind of very neutral colors. I'm not warm, not cool, but because there's a there are warm and cool neutrals in here. It all balances out, okay. And the last thing I did was was trying to match the colors in the image, Simply went with neutrals, warm them coat, cool them according to what I thought was you know what I was seeing when they're trying to balance it out, and in the long run, you know, it's just his effective. And I don't, um, you know, squint too much. I don't have the work you are to achieve the same thing. And that's just a nice, simple, colorful sketch. Okay, so again, kind of coming full circle here. Let's talk about the beginning of put down very great colors, charge them with some warm and cools, let him dry, came back over that with another thin layer very, very neutral zone and capture some details and some kind of shapes inside of here that splashed nice, thick, intense color. No, really clean on some of the figures. And that's how you know, I created this little simple sketch and I approached my paintings the same exact way you know, whether arm were sketching or trying to do something finished. My approach is always the same in terms of color. Warm, cool. Don't tryto copy what you see get a feeling of where the warms and cools are and then thing warrant of tone and value and make it work on the paper. Okay, so once his drive, I'll come back and give you more more Look at it and then we should be good to go. All right, so here it is nice and dry, and I can use a little bit of whitewash now, too, you know, maybe add some highlights on some of these figures here and here. That's going to just help accentuate maybe what the painting is about. You know, these figures kind of walking and near this huge building and something like that. But, you know, hopefully you were able to grasp a few tips here that will help your help. Your colors help your painting process. That's that's my goal. Is a teacher. Hopefully to make things simplify things for you a little bit in the way that you can enjoy the process of painting. I understand more about color, understand more about neutrals and you know how to balance him out. How to incorporate him in your artwork. Okay, so anyway, that concludes the demo. Hope you have enjoyed it and that it improves your creative flow. 14. Neutral Demo Two: in this demo. I wanted to go over another method for achieving some really nice neutrals. And this example I will apply. Really. Theun Vibrant Wash. So let's say I have some buildings that are coming down in here about 10 side, and I can throw a little crimson in that, too. And we can even charge that a little bit more. You wanted to, and now I'll just kind of let that dry. How going through a little Oakar down there, Um, in the same on the right hand side, I have another building here, so I can a little something down there as well. Well, it's a We'll get some blues going here and I have some little set of buildings. And here now, clean my brush on. I just put a little bit of clean water down there in between, the buildings just kind of draw that out to get a soft edge. So now just for fun. I'll go ahead and go down some neutrals here and very, very light on the street area. Just get a little bit of that up. I'm trying not to touch that hooker too much. The last thing I'll do is. Take my my small brush up and this tap into that foreground a little bit, so we get a little gradation. All right? I'll let this trial come back. OK? So mason, dry and very, very important to let this dry. You trying to layer over top of this when it's still even slightly damp? The results are very different. Now let's look at what I have, which is that nice, clean pop of poker? I've got a nice of shot of crimson down there. Over here. I've got a nice week. Layer off okra as well. I'm just going to switch just a Kalinsky. That's good. And brush number 12 nice and soft, and I'll be able to get a good wash here with it. And what I want to point out is when you're layering like I will do here. So I will put another thin wash over top of these two. Um, I don't want to go too thick. Okay, so I want to make sure my meat, my neutral, is clean as relatively thin. So in this case, I'm just taking some neutral tent and just going right into these neutrals already have on my palette early here and now I'm taking some burnt Sienna put into that. I always have a little scrap piece of paper around just to test, and that's not bad. I'm gonna push that a little more. Ford's Sienna and I think something like this will work. And now I can start to add that over. Um, I neutral and just really put it down in with Awash in mind. So, uh, not do anything but putting another layer basically on what I have. Some might even think in details or what's in the building or anything. Now let's see. I'm getting down here to the Crimson Crimson's a touch darker, then the Oakar, and maybe I want to cool this building off a little bit so I can get in here and do just that. And it's say, Now I'll put some nice clean blue with the base and maybe even run that over into a little car action here. So what I did there was create two layers went on top of the other in their thin layer. So I want to remind you, and that creates a glow. It's a nice neutral has a glow from the original wash, and it's a it's effective. It's a good way to create a neutral that has, um, a little bit of death to it. Okay, So had I try to create this in one layer, it wouldn't look the same. Now, with this sigh, I'll do the same thing. I'm going to give a little bit cooler. Okay? So a little bit of cerulean on the right just to see what I have and now convicts that right into my neutrals and put that down. And that gives me a nice, neutral color that has a glow to it again. That wouldn't be is. That dynamic is as working in one layer trying to achieve that in one shot. You simply can't do it now. What I'll do is I will let this dry slightly to wear is still damp. And I can work into this wet and I'll show you how you can start to drop in neutrals here to create some detail in this building. Okay, So damp. But I can still work with a little bit. And what I'll do now I want to go a little bit darker, a little bit thicker. Okay, so I'm done putting that t like mixture down. And here's why. If you start to stack one thin layer, another thin washing, another thin wash on top of each other, then your colors lose the luminosity. That little glow that I have now would be completely gone if I try to put another thin layer over top of it. So whenever I'm achieving or trying to achieve these nice neutrals, I'm doing it with layers. Them, I'm thinking to I want to layers. By then I want to kind of hit my mark off where I want that color to be. And now, if I do a while enough, then I can start to think the next stage. So I'm putting neutral tent into those neutrals, and now this is a color called lavender. It is made by whole bind. This is what it looks like, and lavender is a really good color for hitting. Neutrals has got that nice, creamy light blue look to it. You can add it with the neutral tent like I did there, maybe a touch of sienna, and I'll start to get a nice neutral there, so now I can go in here and kind of start adding some windows and just going to finish off a few of these lines. And now I can take some neutrals and a little bit thicker pigment again, always going thicker as I go. I'm dumb, dumb, dumb, within to no accentuate some of these areas. Here I can. It just kind of do that number. I can also take it clean brush now and just tap into this so I get a nice, subtle line or changing hue. Good. Um, we can keep on going with thicker and thicker paint. Here, I can add some, you know, kind of heavier details here. Maybe there's a little sign of coming off the building or whatever. We can go ahead and put in a little something never here and so on. You know, we all we all want nice, colorful, you know, vibrant paintings. When we're dealing with watercolor, you know I'm no different, but no, there are different ways to get their different ways to interpret colorful Some people, artists just think slap in one intense you over the next is going to make a beautiful painting, and I will definitely say that's not how you want to approach it. But neutrals are very powerful. Ah, very, very necessary for your painting. And I find their more more ways to achieve them to mean the ways I showed you here are just a couple. But anyway, again, just a quick demo here. Hopefully you got some more ideas on how you can achieve them new experiment with with all of these techniques, see what works best for you. And and maybe you'll find that all of them work really well. So just kind of mix him up, Adam, in your artwork. And hopefully they will help you as much as they have helped me. 15. Tone And Value Versus Color Matching: in this demo. I wanted to go over value and how it relates to color. I guess one could argue that value is more important than color. I find many artists just simply try to copy every hue they see in their image. And you want to lose every time when you approach your art That way Ah, better approach would be to think in terms of values and think in terms of warm color cool colors where my life this light is bring my darkest, dark ISS. If you place those according Teoh, you know what works then you don't have to necessarily match every single color you see. I mean, that is simply a recipe for disaster. Okay, so just starting with some yellow Oakar here and I'll just lift a little bit of that and I'll go ahead and put that actually into my shadow over here. And this is just a little street scene with a couple of figures and some buildings, maybe like an alleyway here. I'm not really going to, you know, focus a lot on color. I'm not going to tell you every single color using because again it is Maura about, um they're focusing on tone and value that it is about color. So now I'm getting some of these Hughes in. I can start to, um maybe work a little bit on the right hand side, and that was a little strong, but that's okay. I'll just rub that out a little bit and we can throw a little bit that crimson or was there , and that's fine. Now I want to lift some of this cause the sun and it will be coming from our right and then coming down. So the top of this building will be sunlit. I got a little bit of color on there, Just so wasn't, you know, complete the white of the paper. So and now, just touching in some sky things like that. And I would just let gravity do its thing here. And before I let that go, I'm just going to run some of these Hughes down the foreground, protecting a few white spaces here and there, but not trying again to make everything absolutely perfect. Now just lift a little bit of this. And now where the foreground is, I know I want to try to keep the I in the picture there, so we're just kind of running a little bit of gradation, I guess, up into the foreground. And now all that this dry. When it does, I'll come back, rate dry to the touch, and now I can look at the next phase, and that is establishing some good darks. So all use fairly cool dark for this example, and I wouldn't say shadows messily always have to be cool. But in general, and in most cases, I would say that is fairly accurate. But light can bounce up into shadow, and you can get ah, warm hues in your shadows, for sure. But the most part. And for this demo, I'll just try to keep this fairly mutual, fairly cool. And now they say we have some. I'll go with more of a detail brush here. My point it around, something like that. I can start to run those shadows down. It's good in touch some darker values towards the base of the building. You can also clean my brush and lift, so the shadows not very flat. Now I'll just keep an eye on that and kind of follow it as it dries. And then as it does, I'll add a few more Hughes and things like that to it. And now just getting, uh, this side end and, you know, this side doesn't need to be too much, I think just Cem shadows coming across here, maybe some windows going up. That's fine. Now I can start to look at the shadow on coming across this little alley. I can push that to Ah, cool, leaving. I don't know what appointed and this is all you know, very fairly small painting here. So work with a little bit smaller brush and run some of these highlights over to the right , possibly into these figures. Could be standing here something like that and continuing that shadow over. Maybe we have something coming across here that's fine. It's too a little bit of dry brush or something leading or I into the picture. That's good. We're getting a little bit of a run here of those darks into where I would really want that shadow to be a little bit later. And this is all drying. And here too. So now was a good time. I can increase that shadow value a little bit. I don't take that right over into the building. That's looking good. While this is still damp to I'll run a little bit darker value under these shadows. And you know, I'll keep this fairly warm. Something like that disagree. This, uh, variety. And you know, now I start to think a little bit about details and where, Okay, some of these other little features of this fit in, and now I'm just changing that you ever so slightly. Maybe we have some shadow coming in like this and drop Here we go. So I let this dry and then we'll come on back. So now really, it's just strengthening. Ah, these little darks here and there added a little bit stronger shadow under my focal point. I can run that up into the figures like that. And, you know, seeing came together really, And in just a few washes and just kind of proves the point, really, that if you focus on what is important than the other, things don't matter. The little details that lamps the wires and trying to capture you know, every single color that you you see things like that. I mean, those things will simply drive you mad, and they don't really matter a whole lot. Not in the big picture. Okay? And now I can come in here and a little specks here in there of some light that could be on the figures. Things like that. Well, speck in the background and this fun, you know, floor quick sketch. And really a the point of focusing mawr on value versus color, you start to see how really value becomes the trump, you know, because we get get it right. Then the painting is is gonna work, and you don't need to deal with perfection. Okay, so I hope this tutorial helped you a little bit. And if you have any questions about what you're learning, your always welcome to ask. 16. Bonus Demo Sailboat Part One: In this tutorial, we will just do some wet on wet wash techniques. I also do some calligraphic strokes, some dry brush to help represent some reflections and then a little bit of reserved white space. So really no floor, very useful techniques, very common techniques as well that you would need to master for your watercolor art. Now, this is just a large drawing pad on I will this go over my thoughts in terms of composition and planning. And this is something I want to do with your butter color. Art as well is plan. If you don't play in your painting, then you wanna really suffer with painting in circles and typically with watercolor art, Um, you waste a lot of time and you're based alive materials. Okay, So as I do this sketch, I will go over my thoughts in terms of planning and hopefully that will kind of help simplify the entire process for you so that you can kind of tackle your paintings in a similar manner. So this is a landscape. So with landscapes were dealing with a background middle ground foreground, and, um, here, the first thing I like to do is put Horizon line in, and then we can start to at whatever we want to do in here. And this would just be some distant hills, something like that. And this is basically a middle ground for me. And then we have in the foreground coming off from there. Right here. I have some boots and not trying to capture every single both or anything like that. But just get the feeling and the indication, you know, that there's some boots in there, so that's really all I need. And then we can kind of go in here and start to scribbling. We're gonna do some kind of cala graphic type strokes with these masts and things like that , but this is kind of an imported feature. Um, with this particular composition. Okay, so now, in terms of value, this will be a lot darker. Okay, so we're looking at very dark middle tones and then through the sky, even though in my image, most of the clouds have kind of settled along the rise in line. I think what I'll do. It's just kind of do a feeling that they're kind of sweeping across the sky here and what has put some dis a light feeling of clouds, and this will all be Ah, what wet tape technique. Okay, so now, before the reflections, who could a nice shot of light? We've been coming in through here in the hill because it will have the hills coming down something like that. So I had the light coming in through here to help connect to our foreground like that, and then this getting these mass, and they're a little bit stronger that I think over it here is Well, we can just do something, baby. Indicate some mass, too. So it'll be something like that. And then, you know, I have some reflections coming down and here. Okay, So in terms of planning for the clouds in the sky, we can do wet and wet. Okay, um, back in in the background area, I would drop the hills in there in this feeling of a little with the same technique, so do wet and wet. And the timing will be important here. We want to drop these hills and when the sky is almost dry, and then that's going to help it give it a soft line. So ah, soft edge versus ah, hard edge and then here will be wet and dry. And that would be the boots of this will be wet and dry, wet and dry. Have something Think a common technique that most artists use is really the wet on wet that gives people problems. Now, with the water, we're gonna do some dry brush. So where the reflections air coming in through here? Or that the light that really nice shot of light here. That will be a lot of dry brush through here. And then we'll have wet and wet and the in the water. Okay, so I'm just kind of putting in his little kind of rectangles and little shapes here. 123 On this call that are dry brush areas. I'll kind of reserved some white space in here around that, I'll reserve the weight space kind of coming in through here. Although we don't want the paper to be fewer. Wait, And then with the water, of course, we'll do wet and what Okay, so just kind of thinking through here is important and helps to visualize how this will come together so that when I start to put paint on the paper. I have a really good idea where I want to go. Now. The idea behind this tutorial is really just a focus on the techniques. All right, so we're into eliminate color and think more of a monochromatic type of on the same value study. OK, so that covers the design. Thoughts on how I will would get to the completed painting. And now it's time to break out some paper on pain. And we would do a quick sketch. All right, let me go over Material was first. I will be using my needle brush. This is a number eight. As you can see, it has a nice belly to it that gives to really fine point. Great. For these kala graphic strokes that will be in the masts and the rigging. This is a number 10. I mean it around. So you see lovely point there. Then I have. This is a number 12 Kalinsky. A lot softer, as you can see when this gets wet. I mean, it's got some spring to it, but it's not as firm as this one. So this is really good. I think for me and the size washes that I would use for this one. This is Ah, 12 by nine, and I've got some masking tape here around the edges. I've also transferred the design, and that's where we're at now. I'm just using clean water to Prewett the people and I'm gonna what? It right down to this horizon Line on, then going to kind of protect the white space in there. And then I've got some white spaces along and here to have a wet paper. So it's been kind of just a little hit and miss. So where is not wet? It will have a little bit of what you space there. Oh, my palette. Here. I've got some leftover ping from previous demos. How could just mix these together a little bit, then touch a little bit neutral tent over here. So on the lower left, I've got neutral tent, which is a really good, um, color for doing what I need to do here. I was going touch a little. So ruling in that a little more water and just starting right with sky here if we get you know, because I'm dragging this brush really quick from getting little white specks of the paper , and that's good. And now I'm just avoiding putting too much pigment in here. And now I'll just kind of run that along a bit. Some places here we go, something like that. And now I can take a little touch of poker and touch into these neutrals. I just had a little bit of radiation coming across this. And now the tricky thing with what techniques is timing. Okay, your timing. It needs to be precise and what you're looking for and what you're trying to time really is how saturated your paper is. So, for example, it since I just Prewett this and then I put wet pain into it, obviously, then I'm dealing with a very, very wet surface. So whatever pigment put in there now is going to dissolve rapidly. Now, whenever you're mixing your pain, you always have to think in terms off water depict mint ratio. So how much pigment is in that water and how much water do I have are the three main consistencies and wash techniques and really am painting in general with quarter color is no TV milk and honey, so t is very thin, so pretty much what I have on my palette. As I put more paint and pigment into that, this would become thicker. Okay, So if I continue to add paint pigment into that, then this is going to get more of a milk consistency. Now, as if I add even more into that, then it becomes very sticky and very thick and very opaque. And then that consistency would be honey. Okay, so you always have to think how lead is my surface and how saturated is my mixture. Okay, because if you're dealing with honey, you're dealing with very, very paint ago, I could go right from the palate to the surface than the honey isn't going to dissolve as quick and as much as the say a T mixture. Because the tea mixture is very wet in general. If I put that really thin mixture into this is going to dissolve now, probably wouldn't get much out of it because there's not enough pigment in that to make a difference. I'm doing with milk. You know, thicker mixture here. Now put into that, I'm going to get more results from it, so it's going to make more of an impact in the artwork. But again, the timings is important. Yet the think Ok, well, how much of our A spread or dissolve action to am I looking for and and decide. Okay, you know, But if I don't want a lot So in this case, I want to work with some clouds and things sweeping across the sky. No, I want I want that sweeping action to be visible if I put a really thin mixture in that now , but something simply going to dissolve you won't get the look that I'm after. So again, it's, um, problematic area for artists I'm dealing with wet, but technique find most double, um are either too early or they're too late. They don't get their mixtures right. They just simply use whatever pigment toe what a ratio they have. You know, they don't consider how the the three, the tea, milk and honey respond to certain wet conditions. It's OK, and it takes time. It takes experience, you know, to get it. Now, this use a clean paper towel here just to kind of blot out a few of these kind of hard edges, and it's still very well. And now I can go with a little bit stronger mixture here. Andi, start to dissolve some of this and then where it is, where I want this son to be coming through, I want to keep that fairly light. Okay, that's looking pretty good. Now, I can just take a paper towel here, running along my edges. That's not bad. So you can see already in a short period of time, it's starting to dissolve, but I think we're getting about the right amount of movement and color that I was looking for. So about time that dries, I think that's still gonna be visible. So now I'm dealing with the horizon here in these hills. But because I know this is very wet, then I think I want to hold off. And now, while that's trying, though, I can start to think about the water for the water. I wanted to be very kind of late, so I can just kind of get thes almost similar sweeping actions across the paper. But look how where the paper is dry. Now it's starting to you know, I'm just gonna get some this off to Euroclear. How you're getting that dry brush. Look So I'm just dragging that really quick across the paper, and that's going to create a feeling of sparkle. And that's about right, I think, for the amount of white space. But I was looking for so I kind of I'll leave these little reflections in there and then it's a fairly dry brush now so I could come in here lift a little bit if I want. He had to be careful with lifting If your brush is wet, so I dip my brush and water and I try to lift and it's still very, very wet. Then you want to get some colleagues, flowers and ballooning and things like that. So you kind of have to be careful whenever you whenever you do that. So I think the name of the game now is to let this dry. And then when I come back or I'll let Dr Mostly I still want Ah, soft hill back there so I don't want that to be, ah, hard edge. So I will let this dry off camera, and when I get the right sheen on the paper, I will come back and we'll at that. But again, it's all about timing and getting that timing just right 17. Bonus Demo Sailboat Part Two: Okay, Um, I think we've got we're looking for here in terms of wetness, so it's not. It's not completely dry. You can see in this corner over here still really wet, but that's OK. Still a little bit of moisture in the clouds, but I'm done there. The rain here, We're doing pretty good. So I am going to start a little bit on the lighter side. So I'm still dealing with that kind of tea mixture. I've got my pointed around here and now right across here where I want that sky real quick , just dragging that end and then that again creates the dry brush technique. And that's a really effective method for capturing light. Now I will go a little bit thicker here with my mixture and we'll go. Something like that, you see, is still damp enough or I'm getting some soft edges, and then I'm getting some a little bit harder edges, as I do as well. So I'm gonna go a little bit thicker now and just touch, but some places in there that's working good, so of in terms of value, I still got that nice light area in the sky. But water is nice in late, so I'm not too dark on here. I just blotted that with a paper towel there. So I can You just kind of get a little hard edge there. I don't want too much dissolving name in there, but again, values looking good as I'm reserving these darks for the foreground. So now I need to decide. I want to bring this thing forward. So I'm working from the background middle ground for to the foreground. No. Is this dry enough in here to put in the boats? I think it is. But I think since we've got some light areas and weight of the paper, it may be kind of interesting to leave a little bit of that sparkle. Not too much, because we want the eyes to go right here. So I'm just getting a little bit stronger mixture here, so that's touching a little bit. This natural tent end of my mixture and something like that is good. And now, well, that's what this is wet. We can just kind of touch a few reflection there and again. It's very soft, but that's what we want because it's in the distance we don't want that to be too strong, especially now. You can already see how that's dissolving. So that's going to anchor the boats into the water. And and then once that dries, we can come back and hit some of heart areas. And I'll go a little bit of water on my brush here on while this is still while actually deal with my Kalinsky. And while this is this border, this is starting to dry. I still got a little machine there. I want to just add a little bit of wet and went into that Justin bits and places to get that feeling of no subtle waves. Okay, so this is all looking pretty good. I think I've got my values right. I'm reserving those really heavy darks, and that's working out pretty well. Now here's the thing. You know how far to push this while it's wet. And I think in terms of, you know where I need to go, I can go a little bit stronger. So this is thes air kind of draw drying a little bit weaker, do not want it, just go a little bit stronger. Some of these and I can drop a little bit in here, and that's going to dissolve And that are to speak kind of the bottom of the boots there. No, I kind of let that back run a little bit. They have too many reflections in the air. Some just going to kind is all a few of those. And where this light is coming in, you know, much. But maybe just a little head there. Yeah, so it's cleaning these edges up so it doesn't back run into the painting. Yeah, I think at this point, I want to start thinking more about wet into dry. Okay, so we'll let this dry off camera will come back. All right. So we are 100% dry here and just to, uh, kinda recap where we're at now and what is successful and what didn't quite work. I like the clouds. So we got this kind of sweeping action coming across in a diagonal now, like how we're getting that. And I think the wash was time perfectly. I like the white space coming down here into the horizon, over and here, where I did some strokes into the water to kind of get a little more movement. You can see that washed out, and that's going to happen. You just can't predict everything. I mean, try to set yourself up for doing the right timing, trying to get the right mixture. But in the end, you're still Tom dealing with watercolor, and you're dealing with wet on wet techniques. So you gotta go with the flow. And now to kind of fix that, really, I'll just put a few sweeps of color going across the water, and I'm just going to no use a very weak mixture here and, you know, and that that will fix a lot of it. And that's that's really all I'm looking for. And now if I want to sue that out, I can use a wet brush and just can tap into that a little bit. And that'll give me the look I'm after, and that's fun. So I'm still dry up in here on. This is fine, but I can use this a little bit of neutral tent into my thin mixture here and just tap of a few details and a head at some boats in there, but again because it's in the middle ground, you know, doesn't need to be too much Now, I know I just put in some wet washes in there, so I don't want to go into that right now. Buy this hit headed right there at a few little reflections coming off where it was dry. Now I will let that dry completely, and then I can work into it over and here is still very, very dry. But there's some wet areas in there, and I know I want good hard edges in the foreground, so I'll use a hair dryer off camera. Now, drive this section off, and then we can pretty much complete this little sketch. Right now we are drive and I can grab my number 10 pointed round and with my mixture. Now I want to think milk. So I'm going to go pretty thick, but not You know, honey, I don't want to go. I still want to keep a transparent quality to it. Eso coming here to start to define some of these boats, something like that, you can see it is leaving some gaps and different things in there. And now the all of this is dry so I can start to and that feeling of some reflections and that's again wet into dry into the water. Now grab my needle brush and start to think about where some of these mass can be. No, but nice, strong when coming down here. And I'm not too concerned about what the picture looks like and trying to capture everything Perfect. You know, I'm just thinking mawr along the terms, the lines of you know how mine looks here and and just kind of getting maybe a little flag up there. The key is always to not do too much and do one more here. That's fine. Now I'll go a little bit weaker. So just dipping right in tow, fresh, clean water there. And I want to hint. That's, um, this poles and mast and things like that that are going on over here. All right. So can start to bring those reflections and things right down into the foreground here and deter that, Um, and here this should be drying off. And now I can go, honey. Okay, so where I mean by that is ill go pretty dry brush dipping right into the paint here, and it's adding it's a nice dark space is there, and this shots a color. So, um, but we've got here is on a nice little sketch, has wet on wet technique It has some dry brush there to capture a few reflections in the water. It's a nice little value study all all the while, too. And I'm just going to add just a little hint here in the air of some little waves and things coming in. Let's take the tape off and have a look at it. You think about the things we talked about the terms off three common mixtures. A tea, milk. Honey, I know that when you're dealing with tea, you're dealing with a very transparent layer s so you can get a lot of that luminosity and mayor as you go thicker. As you can see, the transparency will disappear. If you go like honey, then you're putting that on very, very thick and opaque time. Everything just right so that when you start to work wet into wet, you know, you kind of have to have that experience of knowing when to drop things in. How saturated do you want your pigment to be things like that? According to the to what's going on into what's happening on the paper. But anyway, that is the end of this tutorial. Hope it helps you, and I'll see you in the next one.