Watercolor Abstract Geometric Painting | Daniela Mellen | Skillshare

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Watercolor Abstract Geometric Painting

teacher avatar Daniela Mellen, Artist & Author

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

15 Lessons (46m)
    • 1. Class Intro

      1:02
    • 2. Class Supplies

      2:22
    • 3. Making Sketches

      4:18
    • 4. Transferring Sketches

      3:45
    • 5. Painting 1: Painting the First Rectangle

      5:11
    • 6. Painting the Second Rectangle

      2:23
    • 7. Painting the Circle

      3:38
    • 8. Painting the Leading Line

      4:07
    • 9. Painting 2: Making the Rectangle

      1:01
    • 10. Painting the Background Rectangle

      3:11
    • 11. Painting Rectangle #2

      2:21
    • 12. Painting the Large Circle

      2:55
    • 13. Painting the Small Circle

      1:59
    • 14. Painting the Leading Line

      4:28
    • 15. Variations & Class Wrap Up

      3:47
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About This Class

Are you interested in creating elegant abstract art using seemingly simple shapes and watercolor techniques? In today’s class, we’ll use subtle watercolor gradients, geometric shapes, and analogous colors in these Four Step Paintings.

We’ll work on creating leading lines that tie our shapes together, either directing the eye to the main subject or adding balance to the piece. This produces interest and added layers in our layout.

We’ll create composition sketches, then transfer our selected design to watercolor paper and being our painting.

Meet Your Teacher

Teacher Profile Image

Daniela Mellen

Artist & Author

Teacher

I'm an artist and author living in coastal Florida and surrounded by plants, animals, marine life, and the warm sun - all things that inspire me.

I am drawn to creating things and love to get lost in projects. Each day is a opportunity to learn something new, build on existing skills, and branch out to new ones. I was formally trained as a educator which is my passion and incorporating art into teaching makes my life complete.

I upload art classes every Friday, here on Skillshare. You'll see handmade books, memory keeping, watercolor, acrylic paint, unique art supplies, and photography composition. Thanks for joining me and I look forward to seeing your work.

Check out my blog for additional info on my website danielamellen.com or my YouTube Channel for additional c... See full profile

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Transcripts

1. Class Intro: Hello, I'm Daniela Mellen, an author and artist. In today's class. Watercolor, abstract, geometric painting, will combine classic shapes with the elegance of watercolor. The results will be abstract paintings that follow four simple steps. Will use basic watercolor supplies, a class supply list, and a prompt overview sheet. To complete our images. I'll show two examples using these prompts. Step chapters. We'll work on two specific art techniques, brush control and creating effective leading lines. Today's class uses subtle and elegant color combinations to produce our illustrations. So gather your materials and let's begin. 2. Class Supplies: So here are the supplies that we're going to use for our abstract geometric art class. I'm using watercolor paints. So I have my assortment of watercolor paints and brushes, and I'll include a specific list of the paints we use, as well as the burst sizes. In the class supply list. We have our prompt that you can download. It's on a standard piece of copy paper. Now you can print it out in black and white. I just wanna make a note that there is a kind of a color chart here that is just for reference. We're not going to be using it specifically. It's just give you some ideas, a kind of an inspiration. But on this page, the prompt overview gives the prompt in specifics and we'll go over that in class and break each section down to easily, easy to understand steps. Now to do this, we'll need our watercolor paper, and I'm using four by six pieces of watercolor paper today. And I have an abundance of them because this project is kind of addicting. Now to make my sketches easier, I have this template here which has a bunch of circles just so I can trace my circles because that's one of the shapes I'm going to make. You can use a template like this if you have it, but there's no need to go out and buy one. You can just use anything that you can trace for your circle and you'll want to get it. This is a cap to a paint. You want to get a size that you like. There's no required specific size. So you can trace around bottles or caps just until you get the size that you want. And likewise, I'm using just a three by five index card here. And I'm going to trace that as my border for my painting. But again, that's not necessary. You can just use a straight edge. You can even eyeball it. I use a ruler for a straight edge. I have a waterproof marker because I'm going to use that as my border. But again, that's optional. And then lastly, I just have a piece of card stock here, a pencil and an eraser. And I'm going to use this to make my sketches, which is the second step of our class today. In the next chapter, we'll start our prompt. 3. Making Sketches: Now for our prompt today I like to start with a sketch. Our actual painting is going to be very simple and basic, but sometimes those can be the most complex. So I like to make a series of sketches and that helps me and guides me in my painting when I'm making the sketch on my watercolor paper, but also when I'm doing the painting. So what I'd like to do is just quickly review the prompts. We're going to select two shapes in any combination or size. Then we're going to plan our composition using these rules. So we're just going to stick to the composition prompts here for our sketches. So choose a maximum of two of each of the chosen shapes for a maximum of four objects. And that's very wordy and confusing, but basically, I'm going to choose two shapes. And so I'm going to use rectangles and circles. So I can choose a maximum of two of each. Now I know that my painting, my finished painting is going to be rectangle. So I'm creating just the quick sketch, the pencil sketch of my paper, my watercolor paper. And I can use this as one rectangle if I want. I'm going to create just a little border in here. So because I have that border, that's one of my rectangles. So to finish the prompt, I can use to other shapes and an additional rectangle. So the first one I'm going to do, and I have three here shown. But the first one I'm going to do here is I have my rectangle. Then I'm going to paint in some formation. And I think I'll divide it in half. Not particularly in half, I should say I'll divide it in two. And then I'll put a circle on the top area of it somewhere in because this is a sketch. I haven't worked out all the details. I don't think I want the background to show through, so I'll kind of fill in that sketch. So here I have two rectangles and a circle. I've met all the ideas of the prompt. Now, you can overlap the shapes. You can kiss them together or keep them totally separate. So here I've overlapped the circle on the rectangle. I can use partial shapes as well. So for this one, I'm going to have my background. And I'm not going to sketch the paper. I'm just going to sketch my shapes right now. And I want to use partial shapes. So I think I'll just do maybe two partial circles. And I have my background. So therefore I have two circles because I'm counting each partial piece as its own shape. And then I have a background so that, that qualifies. So then I'll just continue making my prompts here, my little sketches following the prompt. Now for this one, I went with three of the same shapes when I'm supposed to have a maximum of two. You can take some liberties. If I make the sketch and it doesn't Meet the prompt qualifications, I'll just make another one. Circle here. When overlapping. And maybe a rectangle behind. And I can fill up this page with additional sketches and I'll do that and I'll speed it up so you can see what I'm doing. So there I have my completed sketch page, and I can now choose from these sketches to see which one I want to transfer over to my watercolor paper. So in the next chapter, we'll select two, and I'll transfer them to the watercolor paper for our paintings. 4. Transferring Sketches: So now I'm looking over my sketches. I'm going to take this one and transfer it over as well as this one. So the first thing I do is I take my two watercolor papers. And I'll start with the first one here. So the first thing I'm gonna do is transfer my image. I like to create the background first. So I put my index card, which I'm just using as a template down and a very slowly and carefully trace around it. And so there I have kind of a frame on my paper. And now we want to create my sketch. I'm going to use my index card as a guide as well, since I want that rectangle down on the side and I'm sketching very lightly with my pencil. So after I make that sketch and I'm just eyeballing it at this point. I can pull away and see if I like it or if I want to change it and I want to make that rectangle thicker. And so this is the process that you go through with your sketch and why we do it with pencil first, and why we do it so lightly. So once I have my rectangle, erase the lines that I know I don't want. And then I like to just gently go over the rest of the rectangle, removing some of the pencil marks while I'm here. So now I want to create my circles on top of my rectangle. I'm going to use my template because it's easy for me to see where I'm putting my circle. I'm gonna go here, create that one. And again I just do a gentle outline. And then I want a small one. So I'll go with my smallest one here. And that's a little bigger than what I want. So I'll look around and find another thing I can trace where my circle and I have a little cap here. I want this to be kind of in the right position that I like. I create my circle. And then I'll erase the pencil marks that I don't want to remain. So I know I don't want any of the pencil marks from a rectangle that are under the circles. But as you want the circles to overlap, because I think I'm going to play with that with the watercolor. So once I have my extra pencil marks erased, I have my first sketch. For my second sketch, I'm going to take that three by five card again. And this time it's not going to so much be the border as it's going to be the border for the two rectangles that I have. It's just easier for me. So I'll make that entire outline just like I did on the first sketch. And now I can just divide my rectangles accordingly to get those two rectangles. So I'll pull this one and I'll leave a little gap. So therefore, I have my two rectangles. I'll erase the mark in the center here. So now that I have two separate rectangles, and now I need a circle. And I like the size of this one. So I create my circle. And then I can go in there and erase the pencil marks. So now I have two of my drawings transferred. In the next chapter, we'll start our first painting. 5. Painting 1: Painting the First Rectangle: So to start our painting, There's just a couple of things to go over. First off is we're going to use very subtle colors today. So we're going to work on blurring the lines and creating a hint of a shape, a suggestion. So we're not going to paint a full circle or a full rectangle. And then we're going to take advantage of the watercolor and its properties to do that. So in order to do that with such light colors that we're going to use today. I like to keep a couple of jugs of water handy so that I'm not trying to use dirty water. Or if I'm using certain colors, I don't want those colors contaminated. I'm going to be really generous with how often I change out my water jug as well. So now for the painting, we're going to choose three analogous colors. And that just means colors that are side-by-side on the color wheel. I like to use a color chart instead of a wheel. You can use either one. But this way I can choose three colors kind of at a glance that I know are really close together and they don't have to be yellow, green, and blue per se. They can be different shades of yellow leading to green. So that's what I'm gonna do today. And for the first one, I'm going to start with blues and greens. I'm going to start with the largest piece here, rectangle. So I'm going to saturate a large brush with water. And I'm just going to go over that rectangle, leaving a nice boundary between those pencil lines. For today's class, I don't want to paint over those pencil lines. Once I have my rectangle down, I'm just going to work on painting this rectangle with a single color. You can certainly use more colors and I'm going to mix my color first. So I'll put some water on my palette. I'm going to take a little bit of deep ring because I think it's a beautiful color and mix it with enough water so that it's a gentle green. And it flows. Rinse my brush and I'm going to switch to a smaller brush because I find it easier to use. I'll dip it in water and then dip it in that color again. Because like I said, I want a very subtle color, at least to start out with. And then I'm going to take my brush and just go very close to the edge to that line, that long line, and bring that very subtle color down the length of my rectangle. Since I already wet the paper where I want it, it will run and travel in that area. But I just want to right now makes sure that when I'm putting my pigment down, it's controlled and it's in that area. I like to turn my paper and just gently flick that color up to the center of our shape. And I'll do this the length of the piece and right on the edge. And again, I'm trying not to go over those pencil marks. So now as you can see, it's a very light color and we know it will dry lighter. But I'm going to tilt my paper because I'm just trying to get that shape down. It's running wherever there was wet on the paper. And I'll rinse my brush and I'll start at the bottom of the shape and I'll wet it some more. This will help the pigment run. And I'll only go as far as that shape is. And this will contain how much it runs. Now because I want this to be very subtle. I'm not putting a lot of pigment down and I don't even want the pigment to match the entire shape. I can come back in here and pick up a little more pigment on my brush and deposit it. And I like to deposit it in a controlled manner at the area that I want it to be the most concentrated and color. So that's the end and the sides. And then I can just tilt it back and forth. So I know that this color is running and then I can tilt it down. And as you can see, it's starting to run and contain within the area that we wet. And this is what watercolor does. It moves when it's on the water. Now I'm going to rinse my brush and dry it a little bit. And I'm going to just flick that color, that pigment and back to the area where I want it to be most concentrated. It's still moving. And that's the beauty of watercolor. And now I'm going to tilt it to its side so that the pigment runs down the length of that shape. And I'm going to let it dry in this formation. Going to lean it up against something and let it completely dry. And as it's drying, the pigment will fall to the bottom, and that will be the most concentrated area on our shape. So I'll let that dry and we'll come back and work on the next rectangle in this painting. 6. Painting the Second Rectangle: So now that our color has dried, we can see a very subtle gradient. The color itself is very dusty and very light. So now I want to work on this second rectangle using the same procedure. And I want my darkest color to be right over here, just as it is on this one on the left-hand side. So I'll first take my brush and wet saturate that shape just with clear water. Avoiding that circle. Then I'll mix my color. I'm going to reactivate the green that I had down here. And I'm going to add some surly in blue to that. Now I'll add just enough to change the shade just enough so it's noticeable, but it's still coordinates. I had a brushstroke of water and then I'm going to go in and do the same procedure that it deposit my pigment just shy of that pencil mark. And I'll gently go all the way around that circle as well. Again, I only add pigment to about half of that area. I go up here because that's where I want the most pigment. Clean my brush and just set it aside for now. And then I'm going to tilt my paper to see where my color runs. And over here I must have missed a little spot. So I'll go in there with that clean wet brush. Pulling that pigment around. I'm going to add a little more pigment to the area I want to be darkest. Knowing that it's going to move, swell, tilt it, and play around with that again. And once I'm happy with the way that looks and how subtle it is and the combination of colors. Tilt my paper again, prop it up and let it dry. 7. Painting the Circle: So now my rectangles are dry. I'm going to go in there with an eraser and erase the pencil marks from around the rectangles. I'm also gonna go in and erase the pencil marks from around the circle, but leaving the edges somewhat there. So once I've removed the pencil marks, I have a kind of a very interesting effect going on here. I want to add my last color here for my circle. So I'll go in with a wet brush and I'm going to wet the circle now to make the circle complete. Again, I don't want it to be solid. I don't want it to be filled in solid. I like that gradient and I like these subtle colors. So I'm going to wet this circle with clear water and then I'll mix my color separate part of my palette. I'm just going to mix some civilian blue. And I'm going to add a little Prussian blue to that. And then a bunch of water as well. So now I'm going to pick up that pigment. And again, I'm going to be heavy on the left side, gonna make my pigment more vibrant on the left-hand side. So I'm going to go around and I'm making kind of a C shape. I'm not finishing off that circle just yet. And I'm going to very gently and very carefully pull that color operate to the edge. So it looks like it's overlapping that circle. Going to come around, continue to do this. But it pick up a little more pigment and just deposited on that side of the circle for now, dip my brush in water and just dab off a little bit of what's on the brush. I have a lighter pigment on my brush. And now I'm going to very carefully pull that around to the other side. It's a very much a lighter color. And I just want to complete the shape of that circle, but I don't want to fill it in. Now I'm going to rinse my brush, dry it off somewhat, and just blend out that pigment, pushing it around, keeping it away from the right-hand side of my circle. Rinse my brush again, dry it, and just brush that pigment to the side. I want to look at my circle and see where it needs a little work. So I'm going to pick up a little more pigment and just deposited over here to get a little contrast and a little vibrant color going on there. When I'm happy with how that looks, I want to just create a little line over here of contrast, so I'll sharpen my point and just barely touch this circle. And I'll rinse my brush, dry it, turn my paper around and kinda blend out that circle. Just want to make the suggestion that it's there. But not really fill it in. When I have that, I'll let that dry. I think I'm going to prop it up again like I did with the previous shapes. 8. Painting the Leading Line: So now all three layers are dry on my painting. And now for the prompt, I need to add a leading line, which is just a rectangle or a line that overlaps, connects the shapes or lead the eye somewhere. So I now have choose where I want to use this leading line to my advantage. Because the most, the majority of my painting runs up and down. I'm really going to continue that. And I want to draw the eye around the painting so I can make the line diagonal. But I think I'm going to continue and echo that vertical line. So I'm going to have it come over here and here. Maybe down three quarters or so, the length of that circle. So I just use my straight edge to create that that line there. And I'm going to use a contrasting color this time, can use any color you'd like, but I'm going to use dark like a black. So I'll use a Payne's gray to I can either fill it in solid or I can continue with that kind of soft gradient. So with a sharp brush, just going to pick up some water and just put the water down right on top of that line to fill it in. Mixed my color. So I'll take some of this Payne's gray, set it down on my palette, clean my brush and I'm going to switch to a smaller brush that I can control better. I think I want the darkest point of this rectangle, this leading line, to be in the center of this circle. So I'll pick up color on my brush. And now I don't mind if I go over the pencil marks. I'm going to go very carefully and very gently creating my shape because I really want it to fade. Once I get past that bottom area where I want it to be most intense, I'll dip my brush in water and fade out the pigment that I have left on the brush. I'll actually rinse it off completely. And again, trace that area up top with just clear water and then slowly bring it down to where I've already put pigment down. It'll start to run. And by wetting that area, we give it a nice little slope to slide on. I can come back in with a little more pigment and deposit that, making sure to keep it sharp edge of the line. And I want that darkness to go over that area of the circle to really blend those two shapes together. So I'll make sure I have enough pigment, right, going up that circle. I'll turn my paper. Then I'm going to take my brush and make a sharp point. And I don't really need intense pigment on it, but I just a light little amount of pigment, so I'll add some water. Just going to very gently touch the line here that we sketched with just a hint of pigment. Then I'll rinse my brush, blend out any of that. And so there I have my completed prompt with my leading line, my shapes and my gradient and all subtle colors with the exception of this final leading line. But as you can see, it leads the eye right to my focal point, which is this large circle. In the next chapter, we'll start our second painting. 9. Painting 2: Making the Rectangle: So for my second painting, I want the background to be part of the painting and I'm going to add pigment to that. So I'm just going to take my index card once again, the same index card I use to trace the sketch. And I'm gonna take my waterproof permanent marker and I'm going to go over it and give it some official boundaries. So there I have my completed outline. I'm going to go in there and just thick in this bottom outline up these because you can see here I made a little mistake. And then we'll come back in the next chapter and start our painting. 10. Painting the Background Rectangle: So for our second painting, I'm going to use some blues and purples. Could take my largest brush. This is a three-quarter inch flat brush. And I'm just going to wet the background, avoiding the sketches that I made here with the shapes. So just put some water on the background to saturate that paper. And I'm avoiding the edge because I'm going to want to control that pigment a little more. And I'm going to see before I start my painting, how I want the gradient to go. And I think I'm going to do a gradient from the outside in, with the lightest point in the center there. Take my brush and I'm going to mix my color. And I'm just going to take a little of this purple here. And I'm going to add some Prussian blue to that. Again, I want to settle whew. I don't want it to be as vibrant as you see here in the palette. So I have a little bit of water, couple of brushstrokes. That's better. So now I'm going to pick up that pigment and I'm going to start on the top perimeter. And I'll deposit that in. It'll blend with the water that's already on the saturated paper. And it will start to move and run. Careful around here my shapes. And I'll continue all the way around. Again. I'm laying down a light color and it will dry lighter. Now once I have my outer ring of color, going to go in there and dip my brush in water and pad it down and that lightens up whatever's on the brush. And so I'll pull that color in closer to the center. Again, I'm avoiding my shapes here. And then I'll really clean my brush. Remove most of the water because my paper is still wet. And now we just would that clear water. I'm going to bring it close to my shapes. And once I'm happy with that, I'll slowly push it out into that area of light pigment. I can take a look at my piece. Pick up a little more of that heavy pigment and just dot it in the corners. Because it's nice and wet still, it will move and blend and absorb into the paper. I'm going to just pull that color kind of a little L shapes around the corners. Nodes create a little more intensity in those areas. Pull it on the bottom, a little bit on the sides as well. And now I'm going to let this layer completely dry. 11. Painting Rectangle #2: So now I want to work on this large rectangle, going to come in here and mix my color. And I'm going to take some Prussian blue and set that down and I'll mix it. I'll pick up just a little bit of that purple and blue that we mix together. They'll add a brushstroke of water, a clean my brush, and just saturate that rectangle. And again, we want to work in the same formation where the exterior has more pigment than the interior. So I'll pick up that pigment right on the edge. And then come down here. Again, I'm going to avoid the circles. When I have that perimeter down. A very carefully go to the side of the circles here, not the full length of them. Dip my brush in water, remove some of it, and blend out that pigment. I don't have to get the entire circle done. I just want to make sure there are no harsh lines for that perimeter that we put down. And if there started to be, I'll blend it out with some water and then go in and just deposit a little more pigment right on the edge. I'll do that in a couple of places. Clean my brush, clean the edge up here. Then I'll clean my brush again, remove most of the water so it's damp and just move that pigment out from the middle. So the middle of our shape is going to be the most light. And I'll do that in the bottom part as well. And then let this completely dry. 12. Painting the Large Circle: Now I want to come in and work on this big circle. And I want the circle to be a purple hue. So I'm going to pick up some purple, put it on my palette, and just dilute it with water, couple of brush folds. And I'm going to rinse my brush. And I'm going to go over that big circle on the perimeter and the center. I don't want there to be too much water. I want there to be enough water for the pigment to move freely, but not enough that if I tilt the page I see water running. So in that case, I'll rinse my brush because I do see the water running, dry it off and then just dab it. And that should pick up some of that water. Do that a couple of times, dabbing it dry in between. Now if I pick it up and turn it, I don't see very much water moving. So I'll pick up some of that diluted purple. And starting at the perimeter, I'll go nicely around very smoothly and gently. Where it hits the area that's wet on the paper. It will move and bleed and blend and that's very pretty affect. Want to keep this going all the way around. Once I have carved out that shape nicely, I'll rinse my brush, remove most of the water just by rubbing it so it's still wet. And then I'm going to go in here and blend it out. Come back in here, pick up some of that pigment, drop it off around the edge just to create a little variation. Clean my brush, and blended the out in the center so that it blends nicely and it doesn't have to be a perfect center. I want to come over here though, because this is my focal point. So this is the part I'm gonna spend the most time with. And I just want to create that shape and add a little more intensity of color to the side of this circle. Once I have that, I'll let that dry. It kinda looks like a moon or a planet. And that's the look I'm going for is just something of interest. And using the watercolor to do that in a very subtle way. 13. Painting the Small Circle: So now for our last circle, I want this to be a very pale blue. So with my brush, I'm going to mix that color, put a little civilian blue on my palette. Very subtle. I'll rinse my brush. And now I'm going to wet the circle, but I have to be careful here because I don't want to really reactivate this purple circle, but I want it to overlap. So I'm just going to wet the area that's white from this circle. And then I'm going to switch to a very small brush so I can control it. Gonna to pick up that pigment. And I'm not going to fuss too much with creating that circle. I have an abundance of water and pigment on my brush. To create that shape. I'll come back in and just gently overlap it. And then I'll come and create the circle here. So I've given the overlap, and now I've added the circle. I'll take a little civilian blue, more intense on my brush. Just gently dab it in on this area of the white circle, right on the perimeter. I'm gonna go over just a little bit to that area where it's purple, making sure I get that area that was white. And I can very gently come in here and debit on the wet perimeter. Again, not making that pigment move on the bottom layer will let this layer dry. And we'll come back and finish our prompt with our leading line. 14. Painting the Leading Line: So now that our painting is dry, leaves decide where we want this leading line to go. Now it can be a bit of a challenge. I kind of like the way the painting looks as it is, but I do want to incorporate that leading line just as a way to reinforce my technique. So as I see it, I want to create that line being vertical so that it follows the shape of not only our background rectangle, but this one as well. So I feel like I can either put a leading line here and that would help balance off all our objects on the right. Or I can put a leading line right on top, off center over here. I think I'm going to go with a leading line on the left. And this is just subjective only because I feel like it would make this piece too heavy with too much things to look at on the right. And while I make my leading line, black or Payne's gray, I'm going to add a super dark purple just because I think it will balance out our piece. We're going to trace my line first because I don't want to leave it to chance at this point. So I'm just going to create a straight line here. And then I can decide the actual height of it. I don't think I want it to be the same height as my major. A rectangle here. So I'll just drop it a little lower and just go up a little bit here. So I'll remove the pencil marks that I don't need. And I want to continue with that idea of the gradient, although I'm gonna give myself a little leeway in creating more of a darker, intense color for this leading line. So I'm going to put it down. I'm going to add some clear water to my paper just to saturate that line. And then I'll mix my color. But it takes some purple and put it down. And then I'm going to take some Prussian blue, mix it in with that. Again, I'll get a nice intense color. And then I'm going to add a little Payne's gray to that and just darken that up. If it's not dark enough, I can always come back in and add more pigment. So now I'm going to take my small brush, my number one brush, pick up that pigment. Have a sharp point so I can really control it. And I'm going to start on the edge. Just pull that line down. Then very gently. Go the length of this line. Comeback in, dip my brush in pigment again, Google length this way, very gently, pressuring them, pushing that brush to create that nice line. And now we'll just come in here. And starting at the edges. I'll add some pigment. Come back in, add a little more. Help guide it down the length. Both top and bottom of this leading line. Come back in and really emphasize it. Dip my brush in water itself is clear it off. That way I can help move this pigment all the way the length of this leading line. I'm going to come back and take more pigment and drop it just at the bottom and the top. I want this to be super saturated. It will provide a nice contrast between our light gradients. And there we have our final product. In the next chapter, I'll show you some variations using those same prompts in different colors. 15. Variations & Class Wrap Up: So here are the two paintings that we did in class today, following the prompts from our prompt sheet. Now there are a couple of techniques we worked on. We used a lot of brush control to make these gradients. We used analogous colors. So he chose colors near each other on the color wheel. And then we had a leading line. So that line either breaks up the piece or directs the eye to where the main focal point of the image is. And on this one, it's easy to see that it's right, the darkest part of that painting. And over here the leading line is used to balance out this painting and the technique and the same prompts, I wanted to show you some variations. So these were all done on four by six pieces of watercolor paper. And for the most part, they followed all the prompts. You might detect a few differences. Here. I use brighter colors, still, yellow, green, and blue. So there's still next to each other. And for the leading line, I actually broke it up. It's still frames and draws the eye to the focal point. But it breaks up the piece considerably because it's perpendicular to our main shapes. Here we have something very similar to what we did in class. We have a leading line to the focal point. We had yellow and green very close together, but the background color is a shade of gray. In some ways it can be sort of a blue, but for the most part it's off of what we've already done. Here. We have the circles broken up and instead of a single leading line, we have three. And then all the colors are different shades of blue. Here we have a red and a red blue. And then our leading line. And I use the background of white as its own color, even though I didn't paint it. Here, we're coming back to those subtle colors again and that leading line, instead of being black, I did a super concentrated version of this teal. Here we have more leading lines similar to that partial circles with a leading line in the center. And looking at this, it's very interesting image and in a grand scale amongst all the others, It's very interesting, but I think it would be more effective head I made this leading line darker with more intensity. Here's another painting using the leading lines and all the gradients. And this time you really see the transparency of the watercolor. And I think that's such a beautiful effect. Or back to subtle colors. We have the yellow, green, and blue, and the leading line and the focal point of the same color. It's a different look. I prefer the leading line to be more vibrant, darker, and I'm not sure I like the way it cuts through this image. I think perhaps it would be more effective if it was a vertical line. But again, that's the subjective just has all abstract art is. And lastly, we have this piece. And I think it's kinda fun. Hold it this way. And once again, I feel like if I need that leading line darker with black, it would be more effective. But I just love all the different ways the watercolor has its effects. So I hope you'll try your hand at one of these geometric abstract paintings. Snap a photo of your work and post it in the project section. 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