Watercolor Abstract Landscapes | DENISE LOVE | Skillshare

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Watercolor Abstract Landscapes

teacher avatar DENISE LOVE, Artist & Photographer

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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

5 Lessons (56m)
    • 1. Welcome

      2:59
    • 2. Supplies for our project

      3:54
    • 3. Landscape - Blocking out colors

      19:27
    • 4. Landscape - Adding details

      14:30
    • 5. Landscape - finishing up

      15:33
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About This Class

Hello, my friend! Welcome to class.

In this class, I'm going to show you a fun technique I like to do with watercolors. This is an easy, relaxing way to experiment with your watercolors and supplies and still be making some pretty cool landscape abstract art. I can sit and make these for hours. Changing out my colors and mark-making to see what I can come up with.

This class is for you if:

  • You love learning new techniques for your art
  • You are interested in learning more about watercolors and making some fun pieces
  • You love experimenting with art supplies
  • You love watching how others approach their painting practice

Supplies: I encourage you to use your supplies you have on hand to do your projects. You do not have to purchase any specific supplies for this class. It is all about experimenting with the supplies you have and learning to let loose.

  • Watercolor paper - I Iike cold press and hot press about 140lb for most projects - I'll be working in my art journal in class. I like 110lb cold press watercolor paper in the art journals I purchase.
  • A few sizes of¬†watercolor brushes
  • Watercolor paints -¬†Start with what you have in a few of your favorite colors

In this class, I have kept the supplies I'm using pretty simple... please start with what you have and add some stuff from there if you think you'd love any of the ones I'm using. 

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Meet Your Teacher

Teacher Profile Image

DENISE LOVE

Artist & Photographer

Teacher


 

Hello, my friend!

 I'm Denise, an artist, and photographer. I'm really passionate about sharing what I have learned with others and creating workshops is what I really enjoy. I've primarily focused on Photography Workshops up to this point. After having a thriving studio photography business since 2012, and being involved in different arts my whole life, I have started to delve into other creative workshops to keep things fresh and exciting for myself. I enjoy the journey of creating as much as what I end up with when I'm done. I can't wait to share with you and see what you are creating! 

I have an Instagram just for my art feed if you want to connect over there. I'd love to see you! I also have my main Instagram account for all things ... See full profile

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Transcripts

1. Welcome: Hi, I'm Denise love and I want to welcome you to class. So let me show you what we'll be doing in this class. We are going to be creating some really pretty abstract watercolor landscapes. So that's what I'm calling these abstract watercolor landscapes because they have a horizon line. And they kinda imply that you've got a sky and a foreground, some type of ground. And I'm playing with different colors. I'm playing with mark making in their different things on different layers so that we kind of layer things up. I did play with a different type of paper to see how would that be different to the one that I knew that I was going to love just to play and experiment. And the more Coatney, softer paper or maybe it's just thinner, gave me a completely different look than the one that I had envisioned. So that was fun to experiment. I actually started coming up with these in my sketchbook and very color washing, I guess you could call it with some horizon lines. And then experimenting some more with different layers and adding in some mark-making. And then that is how the, I got to the final landscapes that I wanted to create. And these would make good pieces aren't framed up. You could use these as cards that you give away original little pieces of art. You can tear the edges like I did on the square. One for a pretty deck old finished edge and put that right on the front of the card. And then you're sending some kinda yummy original piece of art. I love that idea. You can put scripture or quotes are some saying that you like. If you have some good handwriting that you want to, then put that on there and have a good quote or Scripture. Tons of things you can do here with these beautiful abstract watercolors. You can enlarge these, of course, making them even bigger than I chose to work on today. But I like getting my ideas all hammered out in my sketchbook. And then working on smaller pieces and then moving to maybe a little bit larger piece just to see how I can scale up different ideas. So we're making a couple of watercolors and here we're using different colors were spirit venting with some mark-making. And if you get real close, you can see all the layers and the details that the marks and the layers of paint add. And so we're having a lot of fun creating beautiful abstract watercolor landscapes today. So I hope you enjoyed watching this. I can't wait to see some of the ones that you create. So let's get started. 2. Supplies for our project: Let's talk about the supplies that I'm using in class. I encourage you to work with what you have. You don't have to go out and buy supplies to practice and play and experiment with this technique. I am using some 140 pound cold press watercolor paper. I just happen to be using the arches because I wanted to experiment with a nicer grade of paper. I started out my experimenting in my sketchbook. And this is an eight by eight sketchbook with a 110 pound cold pressed watercolor paper. So I knew I liked the cold press. And so I figured, why not play with the arches since I had it. But if you don't have the arches play whatever cold press watercolor paper that you have. And then I encourage you also to play on some other surfaces that you might not normally experiment with to see what you come up with. And I always start off in my sketchbook. So my little art journal, I guess you could call this and just see what do I like? And I'm going to like, you know, color combinations. How am I going to layer these colors? This was my favorite, and I don't do the sketchbook in class, but that is how I got to this technique for my own art-making. So cold press watercolor paper. And I just cut that big sheet into smaller pieces to work with. You can do that in any way that works for you, but I just cut it into fours, cut it in half, cut it in half the other way. And I'm using some watercolors, pick out your favorite colors to work with and try this out. I have little quantity of some of my own favorite colors pulled out of a Daniel Smith box and as the nilly a box. And then over here I have some non-elite tubes that I squeezed out into a ceramic paint panel to use in this class. I'm using a couple of these colors, this chromium oxide and this cobalt green that I really love. And then I'm using a few favorites out of my little palette. And sometimes when I'm talking about Daniel Smith or some LEA, I switch the names and call it the other five. It's essentially a color, I might call it Daniel Smith's. I'll apologize for that right now. If you look up any of the colors that I call out in class because I do try to tell you what they are. If you don't see it in the one brand, look in the other brand. I might have mistakenly called one or the other, but most of the ones I'm using in here are Daniel Smith. Only one or two that are Sennelier. So for the most part, you can assume if I'm using a color out of here, it was Daniel Smith. If I'm using color from over here, it was this an LEA. So pick out some water color that you like. I'm also using a Posca pen, a little bit white. I'm using just a mechanical pencil. I've got some painters tape to tape off my drawing. And then my watercolor brushes that I was using today in class are just a little bit nicer grade watercolor brush. These are from Michael's, So they're not the most expensive, but they were the nicest grade that Michael's has. And these are the Aqua Elite, number ten and number 12. If you go to the art store, some of those brushes go up to a $100. These are in the 20 dollar price range or less, but you don't have to use those. You can use whatever watercolor brushes that you've got that just happens to be when I pulled out to use today. So I hope you're going to enjoy this class in playing and experimenting, creating some abstract watercolor landscapes. All right, so I will see you in class. 3. Landscape - Blocking out colors: So let's get started with our project and I'm very excited for these. We are taking our inspiration from the ones that I did in my scrapbook that I just love so much in some of these workout gray and some don't work out. So if you have some that don't work out, don't despair. I had this one that didn't work out and then I switched all the color around and just made a block of color. But some of these look different than I thought they would. And I really love these couple right here. Those are my very favorite out of this. But I had so much fun just experimenting with color and a few marks in there and making what I'm calling an abstract landscape. So I've taped off a couple of small pieces of cold press watercolor paper. This is a 140 Python. You can use whatever brand that you like. Usually I'm using kind of a medium grade paper and I would call the sketchbooks. And you can work in sketchbooks to if you like. You know, I love working in my sketchbooks. This is about a 110 pound paper, and it's nice. This is Artesia book, an eight by eight. So it's a good size to take things off and experiment and test things out. And I do like how these came out in the cold press. So I've picked a nicer grade of cold press just to play today. And this is a 99 by six sheet. It was a bigger sheet. This happens to be the arches because a habit, I think it'd be fun to play on it because it is a very good quality wallet watercolor. She can use any brand. I usually use the ones from Michael's because they get their two for one sale go in and I buy a couple pads at a time. And I've cut these into fours, like it's one big piece and I've cut it into fourths. These are about 4.5 by 6. And I have just taken painter's tape and taped off a couple. And they are have one other little piece of paper which may or may not actually be watercolor paper. And if it doesn't work out, that's okay. It's choosing keeping which is our store in London that I had gotten some paper from. But I like it because one edge has a very pretty torn edge to it. And some other pieces of art that I did on that paper and came out really beautifully when I was doing some of my other abstracts. Let me just show you not from the other abstract class, but look how pretty those came out. And so I thought it would be nice to just experiment on that paper today. So I'm going to set some of these to the side and I like working on more than one. And you can fold, you're an old taped edges down, but I thought it might be easier to get to tear him take the tape off when we're done if I left the tape up, but it might stick to everything. So I've got just a fairly nice brush that I'm going to be using. I'm using two sizes. This is awkwardly 10 and 12. From my goals and I like them because they have a nice sharp point. So I'm going to be using those. Got a little piece of paper towel here that I might put to the side just to wipe my brushes if I need it. And what I like to do with these is it's really more about more water, less pigment. So just to get started, I might start off with this lapis lazuli, genuine. And I really like this venetian red. These are Daniel Smith colors. And I'm just going to play in this little color palette of colors that I have pulled out of, Daniel Smith and a couple of CLEA colors. So if I name a color and you don't feed and Daniel Smith and it's a CLEA. And these are Sennelier over here. And I really like this blue and this green and this ocher. And these came out of the tubes. And I do have some titanium white. These came out of the tubes and I've supported him into this ceramic palette so I can use them again. So I didn't love those. So these are what I have, you know, kinda determined or colors that I like to work with that I enjoy. I have done several things as experiments with color, colors, samplers and stuff and then Fought who are really love these and put them to the side out of all my watercolors. And so that's how I kind of came up with this little block of colors. And then these are all ones that I had and the tubes that are really liked that I squirted out. Most of these are Sennelier and there's two, Daniel Smith. They're they're kinda like rocks that they create these out. And I had thought they were so amazing, read few shite. But they are so amazing when I saw him in an art show that I just had to have him. And of course I've got the very last one and it was some artists in there that was taking her time looking around and I grabbed him and, and this one's kind might genuine. And these rocks and they've got a shimmer to him. And the artists saw he gets house and was like, No, you've got the last ones. Now I'm like, Oh sorry. So on this I'm looking for more water, less pigment. And what makes them so pretty is when you kind of get different shades and things going in the, in the piece. And then at the end I'll add a pretty kinda horizon line in there to make it alone landscape. But I'm kinda thinking that maybe down here, it's going to be this ocher. Well, the lapis lazuli, genuine, which is an ocher color. And I'm just kind of very carefully swishing that on little bit a light color, a little bit of dark color, and then I'm going to let that dry. I don't want to overwork it. I really want to let the watercolor have some light kinda theory of layers in here. And then I might just come touch a few more colors in there. And then I want the top to be almost like a fiery sunset. And I've gotten a little spare piece of watercolor paper over here so I can kind of see like how much. Water to paint. Do I have there? Because I want to be real careful attend to and this is how I get ones that I don't like as much a tin to overwork things. One, I'm going to have too much water, I have too much pigment and then, um, you know, uh, try to add more water, add more pigment, and then I'm like, Oh, ruined it. So I do try to be careful here and just see like how much water to pigment. And my really work in width here. And I want these to dry a little bit before I come back and do more to that, which is why I've got 4 and then I've already taped up. So I'm going to set this one to the side before I overwork it. Do another one. And maybe, maybe I want this bottom to be more like a grass. So let's see what we got here. We got this pretty serpentine Genuine. Let's just see if we like that. Oh yes, you, That's real pretty my Google have a little grassy meadow here. Now what I like about this nicer paper is it's really grabbing the, the paint pigment. A little different than cheaper papers. Look at that. And then maybe on that sky, where we want to do on that sky, maybe we want it to be blue and cloudy may be. So let's go for this. So really in blue, that's the Sir William blues, really super blue. So you gotta be real careful with how much paint you pick up with that. But I kinda want this to maybe be some sky and some clouds. And I don't want to overwork it. So I'm going to stop and let this one dry. So let's set that to the side. And I really like my blue green over here in the Daniel Smith and that's the chromium. I'm not Daniel Smith's and LEA. And it's the chromium oxide green and the cobalt green. So let's just try those. And maybe we'll do the green at the bottom and just see, you know, how's this going to look maybe a little tiny bit different than this other green and blue and that we did with the Sennelier colors over here and the Daniel Smith ones that are oh, look at that. That's real pretty. And again, I'm trying to pick up a lot of water, a little bit of paint, and then might go back, add a little bit of pigment at the, at the end, but these will dry and just have a really wispy, ethereal kinda look, which is what I want for the ys, I want these to be atmospheric, landscape be not in your face bright. Let's just try some other colors. Maybe I want the sky to be more red. So let's try this Mayan Red. Believe that's Daniel Smith. And you know, these are, these are abstract watercolor landscapes. And so you might just get some inspiration from some actual landscapes for colors and stuff. But then we're not trying to. Do anything specific, Let's try this. Viridian, which I believe is also a Daniel Smith color. I'm not trying to emulate a really true to life landscape, but you could, you could find some of those that have the sun going down. And you can see mountain ridges and some other things and maybe emulate something that you've truly seen. That's really pretty. And then I'm going to try this paper that I like with this edge just to see it might not come out, but we'll try it. I really like the pink ocher colorway, so I think I'm gonna go back to that. I've got this venetian red and lapis lazuli that were kinda experimenting with in this paper. It's going to grab the watercolor differently. And that's okay, that's kind of the fun part of experimenting to see what is the different surfaces that you try out? What are they gonna do for you? How are they going to make the pieces different? And just what, what can get? So I am aware that this paper is a little different and we're going to get a little different look and feel, and that's what I like about it. Okay, so that's really fun. And I think I'm going to let that dry and pick up one of the ones that we did earlier. So let's go back to that very first one. We've let that dry pretty good. Now I'm actually going to start with another layer and maybe start creating like a horizon line and maybe even some color kind of further down with me, we're just going to imply other things in this imaginary landscape. And I don't want to leave any weird squiggle brush marks when I'm doing that. So I Ambien kinda careful and work in those back in a little bit. Also have some titanium white over here. Then I might use because I might want some white on here. And this is getting into a little bit of, you know, our abstract pieces that we did in some of our little abstract watercolor classes were kinda playing in that kind of feeling. We want to have a little, this is just a pencil, a mechanical pencil. Gonna put some marks in here and maybe squeezed this watercolor around with my pencil. I think extra marks are what make peace is interesting. You don't necessarily see them from far back. But when you get up close, you can really see extra tiny little detail in there. So I'm going to set this to the side. Part of the secret of these really doing well is not overworking on when they're wet. The ones that I liked the most, especially when I've played in my sketchbook. And this is really good reason for you to experiment. Let's go back. I think these. This is a good way to experiment like what you're really going to like is do it in your sketchbook so that you can play around with techniques and figure out what, what do you really, really like? And I really like it. I like that. I really like it when I set this to the side and let that dry a little, I really like it when I'm working on top of layers that are dry so that you're not getting all the smear of the colors just blending in like I did on a couple of those and look at Bat. All right. We're going to let that line dry. I like working on top of dry or layers, you just get prettier things. It's more wispy. All the colors don't blend into each other. I don't think that's the color I use there, is it what did I use? There might be the viridian. There we go. Until we come back and maybe add some mountain ridges in here. Like I could add a mountain ridge right here. And then let that dry and maybe I'll come back with some more mountain ridge. They set that up there. Go ahead and put something here and are really pretty art paper. See this paper is either a market faster or this paper is taking a little longer to dry and it's, I think pure cotton. And its really different. All right, so let's let that dry. Let's go ahead and pull this first one back. And if it's not dry enough, we have a heat gun. I don't really like to dry everything with the heat gun. I like some of it to dry naturally because I think the colors just do something different naturally than they do when I'm takin color on. But when I'm doing several pieces and I'm ready to move on, I just go with little bit of heat if I need it. How pretty that is. Most want to have like a little bit of that coming out. And then I might also want to go ahead with this titanium. You could do this with acrylic paint too, if you like. Or paint pens, you know, if you want to really make it look like we've got some birds in the sky and maybe we've got some clouds up there. You could do this with acrylic paint also, if the watercolor doesn't do enough for you, because this watercolor does seem to kind of sink into the background a bit. So that's kind of fun. I'm gonna go ahead and I'll let that dry a bit. And then let's look at this one. This one's really pretty. This is the one with the pretty, pretty blue, cerulean blue. That's a Daniel Smith color. So, you know, that's too much pigment to water and nail. Think I'm going to dot this off with my towel because it's just more than I like and want more water, less pigment. But this really in blue is the one that's just overwhelming. And it might come back in here with this white, which we may or may not see. Because I don't know that, that white might just not give us enough difference. Oh, here we go. We've got some green kind of mixing up in there, but that's fun. Look at that through a pretty, let's set that one to the side. Let it do its little thing for a minute. That's kind of something that's fun too, is to kinda set them to the side and say, you know, what are these gonna do? So might come back few more layers here. And it's almost like a little mountain ranges. This might be fun to add a little bit at mark-making in here so we could go ahead. While that's a little bit wet and do some scribble. And you'll have to do that. I'd just like to do that. That one's turning our real pretty let's go back to this one. That's got these to some LEAs that are so pretty kind of come in here with a little bit of this blue That's real pretty. There was little more pigment than I wanted, but come back in here and dot a little bit of that off. I do like some of the movement that we're getting in here now. Maybe I'll go ahead and with my pencil here. Go through the watercolor a little bit. Yeah, that's pretty it'll let that one dry. 4. Landscape - Adding details: And then we might take our cotton piece here and add some more details coming across here. And then picking up a little more pigment here for this. Just to kinda start applying. Something fun here with this horizon line. And you could even like go into some of these as we get further along and imply trees. Let's set this one to the side. Now it's not really working out the way some of these other ones are. So I don't know if I'll love that or not. But we could go in like I've got this. That's like a burnt orange. I want something. Let's see. Do I even like that? Let's see. Let's kind of a fun. Yeah, that's kinda, Let's do this. Burnt orange. This is quinacridone, burnt orange, and I think that is a Daniel Smith color. But we could come in here and then kinda imply other things in this landscape. You know, buildings, maybe some trees dot some other color in there for intrest. Add some extra color into our landscape itself. So it's a little tiny bit more abstract, but we have some good movement going. I love that. Don't have hardly any color up top. I did add the white, but like I said, that white really blended in. Whoo. That one's almost too bright, but it's kinda fun to add some of those variances. Let's just add a little up here so much that it's changing the look of my landscape, but that little tiny bit of color is really nice. And then let's go back to this blue over here. Now I do have, but it's kind of blended funny up into the top there. So this is these over here. So let's just play and start making. Some other things happen here with our horizon line and maybe a little more movement there in our lower part. In this one, we could pick colors that were super-strong. So we might kind of embrace that with this term Williams really on it's such a strong blue. I mean, I even noticed that with acrylic paint, it's so strong that it kind of takes over when you use it mixing stuff. And notice that quite a bit. So let's set this to the side. What about wouldn't do it's thing that might not be my favorite. This one, I'm 11. So we might take a little bit of this yellow ocher. Well, that might be Naples yellow. This one. So nucleate Naples yellow. But it's an ocher color and our love, anything ocher. So you see a lot of 0 grow over here in my little color palette. But we might start just dotting some of these other colors in here and seeing. You know, what interests can we add to our piece? And you can see there I do really light on the yellow, but I added some into my horizon line. So let's go ahead and let that dry a bit more. This is that one of the viridian. So now I'm just going to really start building better here on this horizon line, on this one too. Maybe adding some more movement in here. So what I love about watercolor, they get really, they change a bit as you go in and get, they almost oxidize a little bit. You see movement in there that while it was wet, maybe you didn't see, but when it dried it really stood out. I love that. I might put a little bit of this lapis lazuli, genuine, just start to happen in some other colors here with this horizon. I might pull that down a little bit with down into my background a little bit. And then this one I might come back and start moving that water color a little bit with my pencil, my mechanical pencil. Because we could, we could imply trees, we could do other stuff here, but keep in mind a little more organic. They're a little bit more abstract. That's pretty, might be too dark, but mostly, Let's go back to, let's go back to our first one. Tack in more. They're really want, this is that venetian red. I really want to have a little bit of this color. Be vivid, like nice and solid vivid. So a lot of pigment here at the end. So I'm trying to work in layers. I start off really light and build up to statements and bright colors and things that are a little different. Maybe dot that and look how pretty that is. So I know it's real dark right there where the horizon is. I could have made that bigger. This just happened to be what I wanted to do on that one was a tight little horizon line. They were in the desert and this is the sunset and the sky was Pinky know, kinda things like that. And what imagining. See here. This one I don't think I'm going to love. But it was fun experimenting with a paper that's completely different than I was working with him, all these other things. It's almost like a really like the vivid abstracts that I always do. And first, see what this is. Yeah, that's pretty color. So this paper, in my mind probably works best for me. With these pretty vividly abstracts. And I'd have a class on making those. It's the water color abstracts class, but I think that's what looks best on this paper for me. It's but it's not dry though. So we can't really say for sure. Well, let's just throw caution to the wind and throw some other color in here. How about this kinda teal color? What is this? This is cobalt, turquoise. Always reserve the right to not like stuff when it's done and I'm not sure I'm filling this, but a lot of times I'll say that, you know, and I'll think that I'll think, oh, I just don't love this and I'll go back tomorrow. And then I'm like, What was I think good, That's fantastic. So you gotta give yourself some grace. If you're not love in the piece today, wait a day and look at it again because these dry and such a fantastically fabulous way that tomorrow, I guarantee you'll like some of the things you didn't like today. All right, let's come back on here. Megawatt add some of this green, which is the serpentine Genuine. Start getting rural heavy with some of this color. I like the way real heavy bits a color almost oxidizes for the next day, it turns into something, I don't know, just so beautiful. This color is green, gold. It's more of a yellowy green. And I think I like green, gold just because of the crazy name. I want to love that color and sometimes I do love that color and sometimes I'm like, What happened here? Let me take my pencil. I wanna play a little bit in this here, which are just like little scribble on average thing. Maybe I'll come back and dots some of this blue in here and just see how that mixes in. And then we'll let that do its thing. We'll set it to the side. For would love this one or not. You're gonna hear me say that luck on every piece. And then when we're done, I'm going to be called amazing. This is, I'm crazy. I'm just dotting those blue and that green out of my colors over who I like that, what that just did. And we might like tiny bit of this kinda coming down the side. And it might get into this white and just start maybe gotten some birds up there, which I know to birds are normally white, but sometimes, you know, poetic licenses, what we're kinda go and four here, maybe a little this down here because some of these extra little layers and details that make these so pretty when you're done. Like I'm really starting to like this and if my wife doesn't show up as white enough or my little dots don't really stay up there. Might take a paint pen or acrylic paint and do a little extra. These would be real pretty too, if you like to do hand lettering or are you have pretty handwriting? You might write a poem or a scripture, or a favorite saying you could write on these. These would be really pretty as cards to send to somebody. This could be the front of a car to beautiful handmade piece art. We can hand tear all the edges and make that really, really pretty. All right, so this one, but quite doing some of what I want, but maybe if I add some of this white in here, we'll start getting some of these other layers on it that make things so pretty to me. Oh yeah, I know that C though I just added a little extra bit of fun in there. Let's do that on this. Let's just add this, make this particular layer our white layer. We're, we're now tuck it in some other details. This one still slightly wet down here, that green to that green gold just totally shut off over onto that white. That was fun. That's pretty on their type. Some of that to this one, this one, man, It's really turned out beautiful. This might be the one that I want to frame. A lot of times when I'm doing stuff like this, I'm not looking for 15 or 20 pieces of art. Sometimes I'm just looking for one or two that I love so much. I'm thinking, I can't wait to frame that. And a lot of artists have different reasons for doing things. I like to do the art stuff for enjoyment. I like to teach the things that I figured out that I'm enjoying. But my goal is not necessarily to make big collections, to still in art galleries. But if that's your goal, then, you know, definitely work in a series like this. It's really fun. I don't know if I love everything I just did up top, so I'm going to take my paper towel and wipe some of that back off. If it's still wet and you're under layers dry, which is kinda why I like working with this on layers with certain layers dry. So that when I don't like what I did, I can pull some of that back off and I don't feel like I ruined my piece. One's pretty all right. We'll let that dry. This one lead is my give up on well, not yet, but I'm just saying I am fill in that. Let's add some white in here that this is better as an abstract paper with my other ones better than what I was intending for this because I like the way it looks better on the clean paper. All right. Let's let that dry. All right, so I need to let these all dry before we see if we want to do one last thing. So I will be right back. 5. Landscape - finishing up: These are pretty dry now. And this one I actually like the extra white detail that I got on there. If you've got if you've got it where it kind of sinks in and it's not as vivid wide as you want. You might come in with a paint pen and do a little more detail. This would be the time to to decide do you want to do any writing on it? Do you want to do any additional mark-making? One of my favorite mark making things as hash marks. I mean, not hash marks but little lines. So do I want to add any other fun, a little mark making in here? So I do particularly love rows of lines. That's just my own little thing that, you know, after a lot of doing stuff that are really, really love. I like scribble and I like things that look like writing, but maybe aren't necessarily riding. So you're just gonna have to decide, you know, what, what do you love, what things have you ended up really loving mark-making wise that you'd want to include. So I love that right there that I'm really feeling that I feel like this one's finished. So I'm gonna go ahead and start feeling the tape. The tape is my favorite part to do because it really turns what might be a myth into an actual piece of art. Because then it's framed out and it's beautiful. Look at that abstract watercolor. Number 1. I'm in love. Okay, So that made me really happy. So we're gonna go ahead and let's do this next one over here. I do like this one too. I like my little hash marks. I might do them in a different place. And you have myself a little bitty hash mark library that I show off in several classes, but it's just where I've made different marks and ideas of things that I have drawn that out like that I want to maybe referred to later when I'm looking at something thinking, what kind of mark can I do? These are just some different ideas that I hung up on the board in front of me that I can just look up and decide what's going to work for a particular piece. Hello, that I might want some more white in here. We might take our paint pen and come back and add some more white detail. Ooh, that's pretty added a little extra down there in the bottom. And I could add some extra little birds and little dots here. You know, birds are almost like a little v in the sky. So we could kinda have that go on up there. Just get that detail. Not super strong, but at a little bit of Something going on up there. And I love that. So let's just see. And after you pull your tape, you certainly might decide you need more marks are more dissimilar of that and you can keep working on it. But look how pretty that one is. I just get so excited by the time I'm pulling. Take a look at those. This really does feel like a landscape. Maybe, you know, big field and treeline and the skies are some then I'm 11, that one. All right, let's go to this one here. This one definitely needs some more something. And it's fun to, you know, If you don't really see some of these yummy details from far back. But then you step forward and you're like, Oh, look at that surprising little whatever that I've just discovered that I couldn't even see from further back. That's fun. I like when things kind of are in there and you don't really see him until you get in close and take a look. And we could come back with white and do some marks in here. Oh, that's pretty cool. That's real pretty. I do like the white kind of as some really subtle mark-making there. So that's real pretty. Let's see what this one looks like. Peeled will give me a break here, caught up with that tight bond. O and C. Once you peel that tape, you kind of get a feel for the piece and you're like, Oh yeah, now I really do like that quite a bit better than I just did with tape on it. All right. Let's do the one I know is my favorite. All right. So I think I will come in here with these along gated white lines that I know I love. How I love this piece already. I'm telling you I love this one. We could add some little dots in here. Just something subtle. They're not even like super obvious. You're not going to realize they're there unless you really, really looking forum. Yeah, like these down here where they're kind of they're kind of just a tiny, tiny detail like right here, tiny little dots. I love that. That's real pretty. It's almost like we're continuing our line as a dot. So pretty so get creative with a few of your mark making. It doesn't have to be in your face. You know, kinda there can be real subtle and just a detail that comes out when you get closer. That is so pretty. So we'll see what else did we do like Moe hashes, so might put some little hash marks in here. Little more pencil work. You don't have to work with a pencil if you don't want, if you like working with Micron pens or anything like that. I just like working with graphite. This is so pretty look how pretty this is turning out. Oh my goodness, I think this is hopefully definitely going to be my favorite because it's my favorite right now. I see us PLR tape off and see oh, it's so pretty oh my goodness. Fat, that clean edge around it. Oh my goodness. Definitely play with pink and ocher, some shades of pink and ogre. Those have definitely even out of my sketchbook ones have been my very favorite. And you know, I've just try out ideas and do different things before I get to work and on loose pieces of paper. But this oprah pink, this venetian red, and the lab is, or some type of okra. Look how okra is just my very favorite. This one I love so much. I might take that one out of my sketchbook and frame it, but This one's got more detail in it, but look at that. It is so beautiful. All right, so let's take the one that I don't think I'm going to like as much. And maybe add some extra detail on it while we're here. This almost looks like when you're doing it in the sky with paint pin, it's like you're adding some cloud cover, something different, unique. Let's see. All right, I don't know, robot this one that let's peel the tape and see. I like this paper, but this one might not have been the best choice for this type. I like those other abstracts better. So even peeled off. It's very interesting. Different look. Then on the other paper. And I do like experimenting with different papers just for that exact reason. How did the different papers react to whatever material that you're putting on top of them. There are cleaner and sharper and the details are yummy. This one, it's less clean, it's less sharp, it's soaked into the paper a bit more. It is actually still very pretty in similar to this. But this is the look that I really wanted. And I want you to experiment on different papers. Watercolor paper wise, I've used cold press, but there's also hot press. And There is rough press and the RREF press, I do like for abstracts It's very different. I did that in one of my other classes, maybe the art prompts class because I liked seeing a different surface that I normally work with. And how does that work with materials and affect everything in men, that was definitely a great lesson to experiment on different surfaces. So when I'm doing something like this, you know, Spearman's on a surface that, you know, you'll like start off in your sketchbook more than anything like, I really love starting off in my sketchbook, testing out ideas, figuring out, is this something that I want to create a few more of and something that I want to create on papers that I could possibly frame these up. This one of my very favorite. And these like this, I can tell I was going to like these colors. This is a little more detail and more going on. This was a little softer and just experimenting and pushing around color, supplying your sketchbook and do a few of these and then decide if you loved it enough. Do them on some papers, type them off and then see what would you want to do with this? You could frame these. You could it could be a card cover. I got a little paint up there accidentally. I might I might need to trim this one now at I've been playing around all the little wet paints here. But I really love doing these little abstract landscapes. And if you like lettering, again, I recommend a quote, a piece of scripture are some saying that you really love those would be beautiful written down the middle of these are going on an angle or down this lower side. You could get really fancy with maybe some gold paint, pen and letter in something that you love. You can do a lot with these. You could even put like Happy Birthday and this can be the front of a card. And if you wanted to say tear the edge of something, my very favorite way to do that. I think I'll do it over here on this little piece of one that I don't love so that you can see how to easily tear the edges. Let's just move our little water colors out of the way in case you want to tear the edge and you thought, well, I don't want do that. I like to take a clear ruler. Take all these great big quilting rulers. But I do like it because it lets me see through and I can figure out how much of an edge that I want. So let's say I want one lines worth edges there. Then I can just hold that down and pull that paper. And there we go. Yeah, We have pretty hand torn edge, little different than the deck old adage that came on the pad, but I could trim all four sides with the torn edge that I'm doing here. And that would be beautiful. And it's another element that when you frame it, you could frame it where you could see these torn edges or this could make it easy to then tack to a card to be the card front. And then we could tear the bottom edge to make it match. And that's how you create your own hand. Torn deck old age, a cup pretty that is with a deck old age. So it's not that I don't like this because I actually do like this, but that's not the look that I wanted for this series. I wanted this little bit crisper, sharper look. But if you want to tear the edges so that they're really pretty, That's how you do that. I'm just thought I'd show you that. So experiment with your colors. You might look at some sunsets and see what different shades are you seeing in the foreground and in the sky? Or sunrises or something in the middle of the day. Look on Pinterest and you can Google Pinterest like search sunsets and sunrises and then kinda emulate those colors. I like the pink ocher color way, and I like the blue-green colorway, so you could definitely play. This is probably my least favorite color way, but I'd still like it. But it's not least favorite color white today. And just pick a couple colors and then go for it. And then you can add, add some layers as you let those dry and tackle on top of them. So I'm really looking forward to seeing what you create. Definitely come and share your project with us because these are really fun, abstract watercolor add creations, I guess you could call them. And I want to see what you came up with and see if there's any ideas, you know, that maybe I would love to try two or color combinations I didn't think of for can't wait to see what you're creating and I'll see you back in class.