Watercolor Abstract Samplers: Exploring Watercolors And Marks To Add Interest In Your Art | DENISE LOVE | Skillshare

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Watercolor Abstract Samplers: Exploring Watercolors And Marks To Add Interest In Your Art

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

11 Lessons (2h 6m)
    • 1. Welcome

    • 2. Supplies

    • 3. About Watercolor

    • 4. A Bit More About Watercolor

    • 5. Sketchbook Practice

    • 6. Adding details in our sketchbook

    • 7. Finishing up our sketch book pieces

    • 8. Color blocking

    • 9. Finishing up our color blocked pieces

    • 10. Larger abstract pieces

    • 11. Finishing up

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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. I use this to swatch out colors, experiment with color palettes... and then turn my little experiments into abstract art with some mark-making. This is such a fun way to experiment with colors and try out new color palettes. It's good for seeing how your materials work together too. I'm calling these color samplers since my main goal is to swatch out and experiment with my watercolors... but you might have other goals for these once you make a few and see how beautiful they turn out!

We'll start out in our sketchbooks to get started, then move on to larger pieces of loose paper to do some art inspired by colors we tried out in our practice pieces.

In this class, I'm going to go over the supplies I'm using  below - but I encourage you to use what you have to get started. I will also go a bit more in-depth about different watercolor brands and grades so you'll know what you might want to try out when you go looking.

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 little abstract pieces while we also work on color swatching
  • 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 
  • Various paintbrushes and mark making tools
  • Watercolor paints - use what you have or check out the watercolor videos I did telling you the differences and grades between the different watercolor brands.

That is the majority of supplies I am using... but as I mentioned above - don't think you need to go out and buy tons of new supplies (unless you just want to...). Try this project with some of the supplies you have on hand and grow from there.




Meet Your Teacher

Teacher Profile Image


Artist & Photographer



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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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. Hi out lots of fun projects that we can work on. And this is a great way to color swatch and sample out different watercolors. Figure out how your colors work and how they work together and how they spread on the paper. And then we can add some fun marks to our pieces to create art as we're going. So you can see my sketchbook. I've got lots of different pieces that I've created on this exact concept, testing out colors, and then figuring out what I like and then adding some yummy marks to make a beautiful little abstract piece. And some of these are so beautiful that I definitely want to frame them up and hang them. And I actually show you several in class. You know, if you just put a frame on some of this, you've now got a completed piece art. So even though some of these are done in my sketchbook, I think they're going to find their way to a framing thing where I take it out of the sketch book and actually frame it up. I think there's so much fun and so beautiful. So I do several things in this class in our sketchbook. Just working in different sketchbooks so that I have several surfaces that I can be working on. And then moving onto watercolor paper after the fact, after we figure out what we love and what inspired us and, and what we created. Now we can create larger pieces. And we also jump into doing some color studies in a little bit larger block format rather than this kind of wispy abstract format. And then I still go back on there and maybe add some marks and make it into a pretty abstract and we decode the edges. Maybe we have some words in here that we love. Or we can make this quotes or Scripture if you wanted to make these into some type of cards with beautiful writing on it, perfect for practicing your lettering if you like to write or you have beautiful handwriting. So these were super fun. I like them because they're a little bit larger blocks of color. And I can see in here like what that color does with a little more pigment or a little more water and how that spreads out. These are really fun and an informational for yourself on working with watercolors. And then we move on to some larger pieces that are really beautiful and definitely ready to frame when you finish them. Because like look how beautiful this is. Like if we just met that up, it's finished, beautiful. And so these were inspired by color palettes that I tested out in my sketchbook. So I decided, okay, if I like a particular color palette, maybe I would try that again in a larger piece. Different mark-making, experimenting with some different supplies and seeing how they do in coming up with larger pieces of abstract watercolor art that I think are so beautiful. And every time I sit down to make these, I'm pretty happy when I get up from the table when something like this is what I created. So I hope you'll enjoy this technique, implying in your supplies and experimenting with color because this is going to be a fantastic class for really getting you comfortable and creating something pretty with your watercolors. Some super happy to have you in class. So let's get started. 2. Supplies: Let's talk about our supplies that we're using in this class. So I'm doing several color study projects and then a few larger pieces that would be inspired by your color studies. So I'm working in some sketchbooks. And so I have a couple of different sketch books here that I work in just because I've collected them and I like to try them out and just see what it is that I can create on different types of paper. And this is the mole skin sketchbook. I think this is probably five by seven or six by nine. Let's see what that is actually. Five by seven. So this is there or five by eight. So it's a five by eight and this is a really good size. I particularly liked doing the color studies that we did for this class in this size sketchbook. And they come out so beautiful and a painted him and misdirection. And look how pretty all of these are. It makes me happy to come in now look at my sketchbook. This is the other sketchbook I'm using in class, and this is a set of two, I believe Artesia, and they're a little bit larger. And they've got same white paper is the mole skin. These are about a 110 Python. But it gave me a lot to experiment with having different sketchbooks. Here's one that we do in class. And just different ideas that I'm working out. I like to do those in a sketch book. And even though some of these are so beautiful, I'll probably cut them out and frame it. In general, my sketch book is for kind of working out some ideas. So I do recommend you have a couple of sketchbooks. Also do several of the projects on 140 pound watercolor paper, cold press, watercolor paper. Any of that Cold Press that you have is fine. The a 140 pounds, a nice weight for playing on. And also use some artist's tape to tape off mud my paintings and then peel the tape to reveal the finished project. So any kind of water paper, color paper that you want to work on. I also have watercolor and I have a video where I show you all the watercolors that I have. So it's a little of noxious. You don't need all the watercolors out there in the world to do this project. Pick a set and learn that set and go for that set. And then, you know, as you learn what colors you like, start separating those out and saving those. So you can kind of get down into what you can consider your color palette and the colors that you love. So out of the different brands that I have every time I use a color and a thing, I love this color. I pull it out of that box and sticky it here on this little wood plight that came inside of a box that I got off of eBay. And now I've saved the ones that have ended up being my favorite. And now I can call these kind of, you know, my color palette, things that I love to use kinda goals, who colors that I know that I love. In addition to experimenting with all the other colors that I have. So pick your watercolors checkout the watercolor video, I'll talk about the differences in the grades of watercolor and the different brands and what you might consider. Also have some watercolor brushes that I like and I like these Raphael. This is a Raphael 180 in 3 slash 0. And also like these Aqua Elite brushes that I got at the Michel's. These are, they're higher-quality brushes and they run 15 to $20 a brush to, they're not cheap. But maybe if you just get one nice brush, then I like this number 10. And I like this. I'm number 0 on the Raphael. If you just want one brush, that's probably the two that I use the most when I'm doing little projects like this. And they're about the same size and water and they kinda come to a point. What I like about the one from Michael's Is it comes to a nice like it's a, it's a nice firm point that you can then do different techniques that I can't really do with the raphe jokes. It doesn't come to a sharp point, but I do love this brush. And just use, find a nice quality, one nice quality brush in it like a medium size. And then other cheaper brushes if you want to experiment with some other things. But I do use at least one nice watercolor brush in class. And then because I like to kind of turn all of my projects into this, they start off as color studies, mixing and playing with the colors and figuring out what I like in, in, in a more creative way. And then just straight out color swatching. And I've done the colors watching two. And this is much more Fund. And what you wanna do to after you find a set of colors that work really well as a piece of art, is then save a little color swatch of those colors and the colors were so that you could revisit this palette again. Because not only is this color swatching so that you can see what the colors are. It's also color combining so that you can figure out color palettes that you might enjoy working with with the supplies that you have. So I love doing little color samplers like this to play. And then in that, you can see that I have pencil mark or little little mark-making in there. So you could do that with anything. You could use. Pencil, which is what I like to use. I have just a mechanical pencil that I do a lot of that with. I also have drawing pencils like this. 12 b is a so good soft pencil. I have the stuff below pencil that's fun to play with. So any kind of pencils like that that you want to work with. If you want to try the neo color to crayons, they're really fun and that's what I've added some little circle details here on some of my sample sets. So this is a time to figure out colors and experiment with some of your supplies that you might like to add on top of a fun little abstract piece. And then when you're done, you'll have like a finished piece of art rather than just a color swatch that you're making. So that's basically the supplies that I was using in class today. I was just showing you lots of different things that you could consider doing and making and playing in your sketchbook and creating larger pieces of art. So hope you have fun in this class and can't wait to see what you are creating. So definitely come back and share some of that. And I will see you in class. 3. About Watercolor: In this video, I want to talk about water colors. So there's lots of different water colors out there. And if you've got some watercolors, I definitely encourage you to use what you have in this class. But I wanted to tend to just talk about the different grades of watercolor out there. And it's the same theory with watercolor as it is with acrylic paint, oil paint, and any type of art product that you're buying. The less expensive the product, the more student grade that product is, the less pigment it has in it, and the more fillers that has. So if it's a real cheap watercolor, it's going to have lots of fillers and less pigment. And if it's a real expensive watercolor or a nicer grade of watercolor. It's going to be very pigment heavy, very saturated. A lot less fillers are going to be in that product, which is what adds to the expense of getting art products that are very pigment heavy and more artist grade. So for this project to getting started and for doing color studies and small studies on, on small paper. You can start off with the cheapest water colors out there just to kind of get a feel for it. Decide what colors you like, how the things blend together and really start working with this material. And I had several cheap ones that I happen to like. This is a little cheap set from I think I got it at the Blake for a couple dollars and those colors are nice and vibrant. And it was a couple of dollars. And something like that is just fine to start with. And this is called just a watercolor compact paints it. So something like that, you know, you could start off real cheap. Do that. Artists, some student grade paper, a good watercolor brush, and your, you'd be set to go. The next thing that I have that's also like a student grade, but I really love these, so I do have a couple of them and they're really cheap. You can get them at Hobby Lobby and Michael's and think this one might have been at the Blick and there's lots of colors in there. I'm not worried about mixing the colors. You want a cheap set like this, and there's some colors in here that I've almost used completely out because I liked them so much. What I like about this is you get a lot more color choices then the little tiny one that I showed you. And it's inexpensive and the colors are fun to play with and they're, they're good enough, but they are student grade and they're very inexpensive. These sets are fun to play with, so I've played with them lots. I like him and I'd recommend something like that if you're looking to get started. And you want a lot of colors to play with and you don't really want to spend all that much to experiment. The next grade up, in my opinion, is the Grumbacher. And I've got the Grumbacher deluxe opaque set and the deluxe transparent set. And you'll just have to play with these collections to see what colors you like and you like, transparent or opaque. And out of these sets, for what I've done with them in the past, I have preferred the transparent set. They're very similar colors, but slightly different because depending on the color it is, you you're not going to have the exact color in the transparent as you have in the opaque. But for what I've done in the past, I have preferred the transparent set and it is the set that I have used the most. But it is fine to have all the colors. Really, really bad about thinking I need all the brands and all the colors and all the options when I get started on something, when really that is going to paralyze you more than anything and you'll get stuck because then you have too many options and you don't know how to narrow them down and you don't know how to figure out what color should I use out of the 200 colors that I have. And I really think collecting art supplies and using our supplies really is like two different hobbies. And when I think of doing a class, especially a class like this, I immediately think I'll have such a good idea. I can't wait to film this. I need to go to the art store and see what new things I need to get to go with this class. It's like an just to go aren't shopping, it's ridiculous. And with this class, I had that exact same thought yesterday. I thought, I want to start filming this tomorrow. Maybe actually go to the Dick Blick. Maybe there's some watercolor that I need that I don't have. And you can see out of all that I have by the time I get done with this, you'll definitely see how noxious my art collecting is. You'll see that I have way more than I could ever use, all the colors that I could ever need. And I still feel the pull to go to the art supply store and look for more. So the Grumbacher is nice because it's kind of a medium price range. And I would consider this a more medium line of paints. It's a little better than the student grade, but I would not say it says premium as some of my other brands that I have collected throughout the years. But it is a really, really nice set to have. So I do like the Grumbacher. So if you're looking to step up from the very cheapest that you can find. But you don't quite want to invest in the most expensive out there. The Grumbacher sets are fun and I do love the transparent set personally. And it's the one I've used the most of that. That's not saying that the Deluxe that wouldn't be better for projects that we're doing now this is just what I've done in the past because I have collected watercolors off and on over the past 10 years depending on what idea had my mind and what plan I was going to use form and I use, you know, teaching a class or something like this as an excuse to go find more. So what I have here leftover is what I would call artists grade much nicer watercolor set. These are going to be on the higher end of the prices. You're going to easily spin anywhere from $5 to twenty-five dollars for a color or a tube of paint. And they are the most saturated with color. They are going to be the most. They're going to stay nice. This the longest, they're the most archival and they have the most colors. And the Sennelier a is a set that I had gotten a long time ago at an art fair that came to town. I really like the Sennelier. This was a collection of upset colors that it gave you. It wasn't ones that I picked out. And I didn't really understand, you know, for years and years I wanted all the colors but I don't like all the colors. And you're not going to figure out that you don't like all the colors when you're when you're painting until you've tried them all out and used him and thought, okay, I I don't like this or I do like that or I've loved this or whatever. So you'll see it. All of these that I have pulled out of here. Because really not that long ago in comparison to how long I've had all these paints, I went through the different nicer the Daniel Smith and the LEA and pulled out what I might consider my own color palette. These are the colors that I've played with and I was using and I thought, oh my, I love that color. Let me add it to this specific little set of colors. And now collecting all the ones that are my very favorite. And what I like about these little tiny TBS is it will tell you on the side. I don't know if that'll focus for you, but like this one says 659 XY tin sun LEA, so that I know what color that was in that pot. And so all of these this is the Daniel Smith color, 029 cobalt, turquoise. So even if you get blank ones of these and you venture into say, making your own watercolors out of natural pigments, which is kind of a direction I'm heading in because I have all the supplies and I just hadn't got to it yet. If you buy a little boring half pans, which are what these are called, and you make your own colors, if you will, right on the side of that, what that is, then you'll know as you're painting, what color it is that you're using. And so this is what I would consider my personal color palette out of the probably 400 colors that I have. And I'm cannibalizing all the paints that I have to make my favorite set. And you know, I've seen other artists do this before and they have, they make up their own paint palette of colors that they love. And then I think now you know, how long did it take them to, to divide down and decide those are the ones that they loved. Whereas I had initially picked out a random collection and now I have all these colors that I don't necessarily love. And then I might never use, and these are not cheap. So I do think it's nice if you can start narrowing down your color palette and colors that you love before you run out and buy all the colors, like I do. This fund said this is the finale, a set that is a really, really nice that these are Daniel Smith and Daniel Smith and summarily a both come in tubes of paint in addition to hard pans of paint. This is the Sennelier. This is the Daniel Smith. And it doesn't look like a big tube of paint. But let me tell you, this dove goes forever. So it really is a big tube of paint. As far as paints go, even though they're not nearly as big as like an oil paint or an acrylic tube of paint. These are big. These will last me forever. Like I haven't even got through a quarter of any of this. And I what I've done is if I had tubes of paint that I liked, I've actually got this cheap plastic palette at the art store. And I was using that for a long time. And I tried to write on here what the colors were so that I wouldn't know. But I also used this as my paint palette. And so some of these, I'm not sure what those colors were. If I've wore the writing off and I might get guess like this one here is missing the words because I've used it, but I think that might be cobalt. So as you work with the colors enough, you might, you might just recognize what your favorite ones are. And this is a nice way to spit out some of the tube of paint and be using it. And then these just reactivate every time you need them to. So these are nice and a good way to keep keep up with tubes of paint like these. And I have several tubes of paint. I've got the CLEA, the Daniel Smith, there's some Guassian here. I just have a little bit of everything you can by Daniel Smith as little hard pans. These came in a little set of the sketch box six subscription that I had for a year. So I've got fun things that I never tried through that. Here's some Cotman watercolor. I also have some more in here, Winsor Newton. So the Cotman is Winsor Newton and also have in here some Grumbacher somewhere so you can get little tubes of watercolor in a lot of different brands. And actually like having a little tubes as I was doing the projects that we're gonna do in this class. I like working with the wet watercolor and then being able to come back later and still use those colors because I was using them on my ceramic palette. Which if you don't have a ceramic palette, you can use anything you have, you could use a dinner plate. But some of these colors I spit out a really like this green and I really liked this teal. And then I'll come back and keep using the yeast. But then our thought, well crap, now I can't use my little palette for anything else. So I use that my paints on there because I don't want to waste them. So in something like that, you may want to have a dedicated palette for these paints or you may want to spit them out in a little tube like this. And also just came across this fun little thing and an online art store, and it's just a little water color holder, so I might squirt the colors in here and let them live in this rather than my main palette that I like to use for all my painting. And it's a nice little divot that you can save paint in. So I might be using that going forward rather than my yummy ceramic palette here. So, so nearly a super nice brand, lots of good colors, very, very saturated. More so even than that, you hear people talk about Daniel Smith all the time. And it is one of the nicer brands. And you see I have this little wooden box of all these yummy colors. And again, I have finally done the smart thing and started separating out what I would consider my color palette and the colors that I like using. I've started to kind of pull those out because if they're sitting in the middle of this every time I come back to it, I think what color did I like? I don't remember. And now I can just have a separated. And the Daniel Smith comes in little tubes and it also comes in half pans in some places. And then I did the really smart thing for this set. You're not going to find this as something that is just for sale anywhere. I went online on eBay and I look for Daniel Smith, lots of paint. Or you could look up some nilly a lots of paint, Grumbacher, lots of paint, whatever it is that you happen to want. And there are people out there who sell this stuff pretty cheap. And this person had created whole collections of half pans of all the colors that they had and put them in a nice little box and sold this little box for I wouldn't say super cheap, but it was like a 100 bucks. And if I went and tried to buy all these colors, I'd easily spin probably three or $400. So I've got a deal. But again, I'm, I not use any of these colors. I might only use these 20. So in the end it's probably better if you figure out what colors you like working with. And that's the colors you invest in. Rather than everything that I have done over the last ten years every time I thought I had a new idea and I couldn't wait to experiment with each of the colors and each of the types of paint. So what I'm gonna do just to kinda give you an idea of what each of these does is I'm going to do a little sample of each of these and just show you what you might expect from a student grade versus a medium grade versus an artist grade. So let me get my self situated here and we will do that. And also want to, before I do that, I want to talk about watercolor brushes. So I do have specific watercolor brushes that I enjoy working with this type project. But I do have, you know, other watercolor brushes over here and they're fun to experiment with and Some of them have different shapes and you can do some fun things with those. And some of these have like rounded half round knife edge kinda look in shapes, Square, different things. But I like this shape the best. And it's kind of comes up to a point and it's more rounded. These are the ones that I like best. This is a real cheap one. I think it might have come in one of these watercolor sets. And a watercolor brush usually has bristles that hold a lot of water. That's what makes him really nice for doing watercolor. Um, so this one's real cheap, doesn't even have a name on it. These I got at an art show. They are the ones I like to use the most. These are raphe L's and I've got an 18 and a 03 slash 0. So these sizes, I've actually, for the size abstracts that I've been working on, really liked the three slash 0 and the 0 because that's a really nice size. They're really nice shape. They hold a lot of water and they have held up really nicely. I do have the bigger one just to play with too. But these right here, the Raphael, you might get those at public. You might have to order those. I got him in an art show, so I haven't really seen those as often out that you can buy and they're not cheap. That's an artist grade watercolor brush. You can go to the Michaels or the Dick Blick or any of the art stores and you can get student grade supplies, all web to artists grade supplies. And the better your supply, the nicer your piece of art will be when you're done, but when you're just practicing and starting out, you might start with the student grade. These I got at Michael's not very long ago to play with. And I really like these because they come up to a really nice sharp point, which allowed me to make some details and do some things on my paper that I might not have been able to do with the softer point, like I can make marks and things. And these are Aqua Elite and I've got the 61012. I like these three sizes for what I've been working on. So this is a nice and these run under $20, I'd say 16 to $20 between the three. So they're not cheap, but they are really, really nice. So start off with whatever your budget is. If your budget is student grade, they start off with student grade, gets some brushes specifically for watercolor. I do like this shape that kinda comes up to a point. So get that shape in a couple of different sizes to experiment with. And you'll be set to do some of these different projects. So I'm going to pull out some paper and it will do some little testing of supplies here before we get started. 4. A Bit More About Watercolor: So what I wanna do is just kind of test out how hard or easy these are to use. And with the watercolors I kinda light to activate them and let that water sit there and little bit, you can take a spray bottle and kinda spray all your colors when you get started to activate them if you want. Because sometimes they're just too hard to do anything with to begin with. So this is the probably the cheapest that, that I got. I think it might have been a $2 sampler set. And look how pretty enrich in yummy that color is. So that's fun. Let's just do, I'm gonna do a little bit of all of these so that we can kind of compare. So let's just pick out this yummy bigger set. We'll let that kinda activate some. So that'll let me pick up some color. And at this point I'm not too worried about the color of my water, so it's going to change colors as we go in. But as that water gets dirtier, your colors are less crisp and clean and clear. Oh, look at that now. A big difference in the two that I just did, and it might look a little different when it dries. This is a tiny bit Grenier than that one. Set might be, just be a difference in the fillers. That one's really super pretty that first one. There are a variety of whatever these tubes are, which are nicer colors. And let's see, I want the Grumbacher. Here we go. Here's the Grumbacher. Let's do the Grumbacher. Deluxe transparent and deluxe opaque. And see what the difference here is. What I wanna do a read again because it's what I've got going on here. So let's just activate these a little bit. And these little things come out. It's a little so you can move on, but I'm not sure if they sell these. I'm sure they do to replace them after you use them. I would hope they would have never gotten down far enough or I've needed it. So let's just see this one right here is the opaque. Alright, and then let's try the transparent. And let the red opaque and transparent look pretty similar actually, but there is more pigment in this. I can definitely see that. And it looks like I'm getting kind of the same color with each of these. Which is fun to compare. Since I'm not positive what all of these colors are. This one is cadmium red. Let's do that. This is randomly something over here in this thing, which I would consider for the most part, nicer colors because they're the Daniel Smith's and the sun LEAs and the Winsor Newton. Let's just try. Oh, look at that. All right. So some tubes of paint. And then let's look at the sun LEA and the Daniel Smith. And then I'll look at, let's do hosting this one. And it might activate one of these, maybe this one. So that was really pretty little different color. So back here, let's come back to this color. Oh, there's a lot of color in that, but that was very interesting and actually resisted a little bit my paper. And that's a Daniel Smith perylene scarlet. But look at how heavy that color is like, that's got more saturation than any of these other ones that we've done. And I'm going to set this out here because I've already got a RED that was out of one of these tubes. All right. Have been this one. Well, let's just put a red out and let's use the paint wet because we're using the paint dry and we're activating it when you don't have to do that, if you're using these watercolors like this, you can use the watercolor wet. You would add water to your brush and come right over here to your pigment and jump right into that. And I do actually like working with wet watercolor instead of dry watercolor sometimes that's really fun. Look how saturated the amount of pigment and color is in that. Daniel Smith read, That's crazy. So some of these have started to dry. Now I really like the super cheap set a lot, and I really like the Daniel Smith one a lot. And this is really pretty that one. I like the way. This one has different movement and the different ways that it dry. You can see all that texture and pattern there like that. And some of these other ones are still drawing. But that's a very interesting kind of paint experiment there. I like the cheap set. I like the Daniel Smith set the best. And I do like working with wet watercolors. So the super fund at least experiment and try out your colors and what you've got and just see how does it work and how you like it, and how does it move and does it make any fun texture in there? And does the color separate some of these Daniel Smith ones, especially the color separates and you get two different colors. That one so saturated, It's just crazy, I love that. So fun. Little experiments there to try out with your paint brushes. So nail what I really like to do. And what we do normally when your color swatching is normally you color swatch on pieces of paper like this and our right, the color. And then I can come back and say, alright, I want to use this purple and this bright red and, and this orange and I'll know exactly what those are. And I can pull colors out that way. After I took all the Tom to color swatch these. And now I can see exactly how all of these look on paper. I can see like this moon glow actually separates color. And two, you just do some basic colors watching tests and examples like this. You're not going to know what these do. But a more advanced version of that is what I want to jump into with some of our abstract projects that we're going to be working on in that first one is going to be small abstracts that we create, but they're kind of color studies at the same time. You know, what colors do we want to try to mix and what little piece art can we end up with? So can't wait to jump into some of these projects with you. I hope that seeing how the different water colors look and the different grades and you know, the different expenses that you may be looking at a hope that was really helpful. So I'll see you in class. 5. Sketchbook Practice: Let's take a look at some of the things that I like to do for color studies and to practice and to just get to figuring out my supplies. So I have some sketchbook. Sketchbooks here. These are 200 GSM, which is a nice weight. It's not the 140 pound, which is 300 GSM that I like to work on when I'm using nicer watercolor paper. And this little pad here is a 140 GSM. So see even like that, less expensive artists pads that you can get it like Michaels and stuff. The 300 GSM is what I really love. But most sketchbooks come as 200 GSM, which is probably a 110 pounds rather than a 140 pound. And that's okay for different projects. And what I like to do with these is experiment and scribble. And I'm going to show you some of these things I've just played with just trying out and not everything is successful. But then you'll get to the point after you play enough with things that are not successful. And then you will get to something that you're like. That's amazing. And that's where I started coming up with these colors wash samplers. That in the end I thought they were rather beautiful. And as you get a little closer, you can see some details in there in addition to color that I have added. Because I like kind of doing the color and coming back and turning it into a little piece of art. And then just to show you how pretty something like this is, this is it just a little mat? Then I got the art store. But that right there is really pretty and ready to frame. Look how beautiful that is. That would be a really beautiful thing hanging in the house. Some love in that. So having a little set of maps, this is a five by seven Matt. You could put it an eight by 10 frame if you wanted to frame it yourself. Having something like this to come back and look at your art and kind of frame it out so you can see what you've ended up with. Really nice for seeing what you got and how beautiful it is and not everything works out. These look terrible. So some of these that don't work out. I will then draw some botanicals on top of it. And I have a little book that I got at the bookstore. 20 ways to draw a tulip. And 44 other fabulous flowers by Lisa Condon. And I love this because it just gives me examples of different flowers that I could try to draw on top of, say, a watercolor color study or background or just little swatching that I like to do sometimes. And we could come back and draw pretty botanicals on top of it and turn it into something pretty when it really wasn't working out before because what was under there was kinda ugly and I was really disappointed. And then I thought, well, let me draw a flower on top of that and then I liked it. But here's another one that I did and also had some metallic paint in here that you can kind of see as I shine it in the light. So I think in metallic gold would be beautiful on these. And I really loved this one. We could frame that out pretty nicely. How beautiful that is. So these are what we'll be doing first and we can do them. Look at that one. Oh, I love that one. We could do these in a sketchbook. We could do these on a loose pieces of watercolor paper. And these are what I want to work on first. And I would consider these just little abstract tests that I've done and see this was brighter, this was with the cheap set. This little two-dollar said I think it was, or maybe this was the this one. Here. I pulled the blue and the green stuff out of this collection. And the colors are brighter, which is okay. But they're, they're not as rich as the nicer brands to me. They are very vivid and I did, I did like how it came out. And then I also doing some of these in my larger books because I like to just do large watercolor studies in water color swatching. These are real fun for seeing how the colors mix. And then you can come back and draw shapes on them like you and bigger background examples. And I'll come back later and do something with those. And again, not all of them work out. Look how terrible that one is. But if I draw flowers all over that in a, probably be really pretty here with some examples. So this is a good example of one of these worked out like I wanted. And we want to have them didn't. And if I have a little mat here, look how beautiful that piece is right there. I mean, that's ready to sell as a piece of art is so beautiful. And this one I would need to work on a little more. So not all of them end up looking like I want. But I did have fun with those. And this one, just so lovely and I've got some other little marks and details in there, finishing it off. This one. Really lovely, and I did not like it to begin with, but after I finished it, I actually did like it. And we could probably frame this up. And that would be a pretty piece art or the front of a card or who knows, we could do something fun with that. And here's one that I was practicing on that I did not finish yet. So that's when I was playing. This was all wet on wet. So this is what happens if all the colors are wet and meshing together. And this is what happens if they're a little bit drier but still allowed to blend a little bit. And I don't like the wet on wet. So, you know, as we're doing these and experimenting, you'll see what you end up liking if you want them to blend a whole bunch like this, or if you want them to separate out a little bit, we do have to have a little bit of patients and let those layers dry a bit. The user dryer now and look how different each of those are. And this one really being the most saturated with the heaviest amount of pigment for sure. So still fun to look at those after they're dry. Watercolor book that I like to play in. Here's one where I've actually experimented and draw different shapes on there. And then one where I actually did Drew pretty botanicals and shapes and marks and just played. And then I got to be pretty ones again. Let me get my little mat here. Let's say, is this a big enough for that? Look how pretty that is. If we frame that out. These are just beautiful. And they started off as color studies. And then I thought, oh my goodness, I love this so much. Let's go ahead and finish that into a piece of art. And I did some marks. And this one, beautiful love that. I love ocher and reds and pinks and stuff. So I like to play with the ocher or the Naples yellow. This one turned out real pretty. I love that. It's kind of a gray and some greens. Here's another color block that I was trying to do. And I did wait for the layers to dry and I like how they do that. And then I was drawing on top of them. They weren't completely dry. So when you start doing your marks, if they don't completely dry, they'll smear into the water. I will definitely be working better on those where I let them dry more before I do additional mark-making. But look how pretty that would be framed up in a mat. Love that, I love having a little mat so I could kind of look at them and see. So those are fonts. So these are the sketchbooks. And as far as our first project goes, you can work in a sketchbook or you can work on watercolor paper. And so I also have a 140 pounds inexpensive paper because they had these at the Michel's by one pad, get one pad free and I got a whole bunch of these. So we might be working on a few of these at the same time. You could cut these in half. And that would be a really nice size. And you could work in different sketchbooks like this is, the first sketch book is Artesia. These are our teases. And the other sketchbooks that I showed you was a mole skin. But you don't have to have a nice sketchbook because you're just kinda making stuff in here, playing and experimenting. They're not necessarily meant to be beautiful. So you might not want to invest in the most expensive sketchbooks out there. You can get inexpensive ones. The artisans were not very expensive. And they're going to come in about the 110 pound weight. But I do like that. Wait for these experiments. And then I do take these off. So I'm using some artist's tape from the art store. You can also use painter's tape. That works really good. You're just wanting to, what I'm wanting to do really is give myself a framed out piece of art when I'm done, even though I'm working in my sketchbook. Like some of those that I have finished that I showed you that I really, really liked. And they may become an out of the sketchbook and be framed up and hung somewhere because I want to be able to look at it later. So I'm going to put this one to the side for a moment. And I actually have these colors that are considered are some of my favorite. But the purpose of doing something like this is to get to know your colors and pick out colors that maybe you haven't tried before. And start experimenting and figuring out, okay, what do I love and what do on not love? And then once you have a color palette that you love, you might take some strips of watercolor paper and make yourself a paint palette of color. So if you've got some of this that's been dripped on or something, just cut out some little strips to save color palettes that you particularly love. So I like having a couple of strips ready. And then if I fall in love with a particular color palette, I'm ready to save it. So we're gonna save that. We find one we love will save it. Now working in sketchbooks like this, I like to have two or three ready to go so that I can go from book to book. So we might go ahead and tape off our other ones. And I'm gonna go get a clean cup of water and I'll be right back. So I've got a couple of brushes out. Let's go ahead and just add these brushes here to our water. I've got my Raphael in my arms. I got at Michaels. I'm not going to use the cheap brush because I just think that those bristles are just crazy. They're not in a good, they're not good. I'm going to put these all in some water and get them ready. And I've got the Daniel Smith and the senility sets out here. Because I want to continue experimenting with the colors that I own to see if there's any other colors that I want to add to my collection of ones that I've decided I like. And I may use some of those too in my color studies. And what I like to do is I like to get a little color on here, let it dry a little bit, add a little bit of the next color. So that in the end, when we're done, we've got something that resembles one of these that I've been working on. And that gives me a chance to see how the colors interact with each other. Whether they looked good, did I liked them where they brighter and more primary than I intended. It just kind of gives me an idea, like a really love this and I'm not sure I would have gravitated towards this pink that's almost like a neon pink. But man, that might be like my favorite color now I think that might be this one, which is. This the nilly a color 659, which is this quinacridone red, really like that. And this rose opera, the 659. Oh yeah, that's the rows opera. So that rows opera is almost like a neon pink. And it's that pop that made this particular set kind of exciting. So I might want to play with that again. But it's very interesting to make those observations and to try colors together that you've never done before. And just see what color palettes I'm not going to like. So let's just dive in and I have not pre-selected anything here. Just looking at these colors are really light green, gold. So I take that back. I did pull these three out of here, out of here, wondering if they were going to be colors that I wanted to add into here. And I have a green gold already in here. This is green gold, and this is rich green gold. So what's the difference? Was, and those colors, do I like go home? Do I think I'm going to like them? If you're nervous to put color down on your page. Because you really do want to create something pretty. What we could do is just go ahead, well, that's way more yellow than I even thought. Let's leave this other green gold. You know, if you're looking at that thinking like I just thought like what is the difference in these two colors? Do this little game where you draw them out. And the rich green gold is more yellow. And that's a very interesting, and I don't know that I like it. And this one is not nearly as heavy in color as I expected. That's rare, earth green, I think that's a Daniel Smith color. And this one is cobalt green, pale. Again, that might be why didn't pull these out? They're just not very saturated. I don't know if I even liked them. So that's a very interesting little experiment there. I don't like rich bring gold, I don't think. But let's just do one and then we'll continuously, I think this might be green gold who like didn't listen LEA one. Which one is that? Oh, it's brown, pink. Now, how did they come up with brown, pink. Let's see what this is. C, It looks like a green gold. That's called brown pink. That is very interesting. I'm not sure that I love it though. So having little swatches over here where you can narrow stuff down is really, really helpful. Let's see what this is. It's a gold color. Okay. This is more like a this is a yellow ocher. Well, no wonder I like it. I like yellow ocher. 6. Adding details in our sketchbook: So let's start off with yellow ocher will add to it from there. Now with these, I just kinda like two. I've taped off a square. And I want to very organically paint up through there because I want to create something pretty an abstract in addition to doing my color studies. So that's real pretty. And now that I'm looking at that, look at this quinacridone gold, that's kinda pretty, let's see what that is. So it's an orange. That might be interesting. And if we throw in one of these blues that I wasn't sure about, that might be fun if we do that because that's kind of a crazy color palette and it's in the blue, yellow family. Some letting this dry a little bit as I'm talking to you. And I think I'll go back with rare earth green, which I wasn't too sure about, but now that it's drying, I do actually really like it on this paper sometimes. Sometimes you've got to let these dry before you can see if you like it. Like now that I've let that dry, I really liked that light color. So I might come back through here. It's not completely, Oh, that's got way more color. I must have led it activate longer. So see how letting that color's sit and that water sit on your color longer. Let's that really activate the paint. You just can't use them completely dry. They don't work out very well. This is really interesting. And we're gonna love it. I don't know. Sometimes what I'll do is I'll sit there in front of the TV and all this will be out on the dining table. And I will just do a couple of these and let them dry and experiment and watching TV while I'm doing it. And it's just so nice to relax and let your mind kind of work a little bit, but relax at the same time. Let's, That's very interesting. I don't know that I love and I don't think I'm going to add it to my color thing yet. And then while this is wet, then I sometimes want to go ahead and draw on it. And so if you're wanting to add to this and make it more of a little mixed media project. You know, you can do that with a pencil, which is what this is. This is my mechanical pencils that I like to use and I just like to draw lines and mark make and maybe do some fake writing. These would be really nice if you wanted to make them into inspiration cards. And you could write inspiration words on them. You could do scripture. You could write a scripture on top of this. If you like scripture, you can do a favorite pulling or a very cool saying that you like, like this can be the backgrounds for some really fun. Mark making and words. And so you can draw with, with the stuff below pencil on top of this, I like doing this stuff below those. You can use your Posca paint pins with this, which I like to do a lot. I also really like gold, so I have the Posca paint pens and gold that would be really good for mark-making. And while I'm talking, I'm letting this dry a bit. You can also play with your neo color crayons. You could play with just about anything that you can imagine. I also have some really nice tipped pins that would work great for this. Micron pens work great for this. Any, any kind of pencil, color pencil. I also have these oil pencils, pit oil base in this been color, anything like this. You can draw on top of watercolor with and add marks and interest and other things. So this is getting pretty dry. I like to go through with pencil because it's kind of subtle for this type of project. And maybe do some scribble. Also think it's fun to add some marks. So I'm going to come through and do a little mark making. And I draw right on top of the water coloring, whether it's wet or dry. The pencil marks right on top of it without smearing, it looks good. I like these little rows of lines. So like that. And I like it with the scribble. And then I like some implied writing in here personally. So I do a little scribble that looks like some writing. So this is the perfect time to kinda play and experiment and decide what marks Do you like? You know what, you might do a whole series. I've decided I like the little bit of scribble. I like the rows of lines. I like a little bit of writing that looks like maybe I've got something in there and you don't know what quite what it says, but it kinda adds to it. And then when I think I'm done, I'll go ahead and peel the tape. And I try not to get outside the tape because maybe I want this to be a finished piece, but if I do get outside is far enough outside where I could like tear all the edges and make this a really pretty finished piece wood deck old edges, which I'll do that in a piece later on. But just looking at this right here, let me see where I put my there it is my mat. And I could see if I'm going to frame that out, if I if it's going to cut that little piece off or just kinda look and just see what I ended up with. Just I just like doing that. So as this continues to dry, a lot of times I don't love the colors as they are wet sometimes, but when they get fully dry, then I'm like, oh, whoa, now I love it. So don't judge a piece while it's wet. Another thing I like to do is take a finer 0.1 and then as these are drier, then you can come back and do some mark making in here. So. I might take a different color that I've already used, but it might still be a blue. And I like these with the, with the nice tip on and because now I can come back and add dots are marks or lines. And again, get a little more Yomi detail in there with some color. So I like doing that too. And you can just play and experiment and see just whatever it is that works for you. I think I'm going to maybe I'll do another set, right? And if it's wet, That's what it's gonna do. So depending on how wet or dry it is, these are going to merge into each other or give you nice clear dots. If you don't want the merge, wait till it's dry. So very interesting there. So I might just leave that as it is for a moment. And then to do I need anything darker, more of any particular color or just kinda like to look and make these decisions. And then set that to the side and move onto my next color study. And I'm going to call this little mini done abstract color study. So love that one. Let's set it to the side so it can dry. And I will get one of these others that I have prepared. Here we go. And I think I'm going to apply in this little set of colors that I know I love. Just use this Michael's brush to see how it's different. And maybe I want a ocher and maybe a rust. She just put some water on some of these. See ocher and rest is nice. Maybe whatever this medium brown is. It's a Sennelier, a 20 something. Let's see. So let's say 200, five. Notice this choice as raw sienna. So I've got raw sienna. And then 623 is venetian red. And then this other one is Daniel Smith, yellow ocher. So let's just see what we get. So I'm going to start with some yellow ocher. I do really like when you get this kind of scrubbed brush look or it's not solid. To me, that kinda adds a little bit to my vision of abstract. And we could use in our heat gun in here, if I want to make sure these layers are dry and not blending, I could draw that a little bit with my heat gun. So if you're in a hurry and you don't want to wait through some of these drying times. C Now this is almost the same color. Let a slight tiny bit difference, and they look kind of similar to. Let's go back with this. You'll get that color. Now that's a color. Now, have we allowed enough blending? Do I want to go back in here with some more water and blend those together or do I like them all separate? Kinda like in those separate. Maybe maybe a little more water and maybe let's see. Here's lapis Lazarus. Lapis lazuli, genuine. Let's get that one. It's a similar color, but let's see what color that is. Okay. Kinda filling in a little bit of the white spots that we've got going. So those are rural, pretty look at those colors that What was that? The 623, that venetian red is such a pretty color. And we can go ahead now too. We can let it dry. Or if you're using pencil, we can go ahead and make some scribbles in there. And just add some details. We can just go ahead and be doing that on the wet watercolor. Just don't put your hand into the water. The wet part. I'm trying to keep my hand off the wet stuff. And I've already decided I kinda like to scribble the sets of lines and the little bit of Scribble writing as my particular elements for this series. And I'm just going to consider it a series even though it's color studies in my book. Because this might lead to larger series and watercolors, might lead to larger sets, might lead to more projects. So I've already decided for this collection, these are the elements that are alike. So why not go ahead, be using those. And then two, we can come back in here. Maybe I want some, you know, what we could do now that I'm sitting here thinking about it, we could come in and this is going to make a mess. So we might just take some little watercolor sample pieces and just hold off the rest of our paper there. We could do a little bit of paints bladder in here with one of these colors, maybe the red. And you see if we keep it off of our paper, they are, we're not splattered on everything which I have done. And then when we peel the tape, it's still a clean page. That's really pretty so now I'm really love in that right there. All right, so let's let that one dry. Let's go ahead and pull back this first one that we did because it is mostly dry. 7. Finishing up our sketch book pieces: And see if there's any funny details, any final details I want to add with the blue because I stopped right here because it was all wet. And I wanted a few more dots in there and then I'll call that one good. So that's really pretty. Now the colors have started to dry and it's very interesting. I don't know that that's my colors, but I do like that we experimented with those colors. So let's go ahead and pull out the third page that we've prepped. This is why I like having lots of loose pages or lot taped off like individual or lots of two or three sketchbooks that I'm working in at the same time. And I think I'm gonna go with the blues and the greens. Me orange. I really like, Let's do orange and red because let's go back in with some orange. Let's do some orange and reds. All right, so I really like these two, I think, which is the quinacridone, fuchsia, and the cadmium orange hue. So I do believe those are the Daniel Smith could do a read, so could you like, uh, one of these reds? We've got the purlins Scarlett. Let's do purlin Scarlett. Though I like yellow ocher too. Let's go with this yellow ocher. Alright, so here's some options. Let's just see. Let's just start off with the orange. I really like this orange one here almost better. That's a Sennelier 623, which was that venetian red, but that venetian red was very red. Okay. So maybe not. And I like this 659, which was the opera read because it was almost the neon red. All right, let's start with the orange. Oh my goodness. Now this is orange, like orange, orange sin again, I'm just kinda as we go and then you gotta be careful if you let any water pull up next to the tape because you'll end up with a weird line that you weren't really wanting. And if we want to speed this along, I do like it to be a little drier. Just takes a second. And then the family, like a medium brush, yellow. So I don't want this medium brush year. Alright, let's go for this. This is the quinacridone fuchsia, who I like it. Yeah, that's, you know me. This is more vivid than I had in my mind, but it is yummy. Now, one thing I might do too is ongoing. I might put a little of this here on an extra piece of paper. And then we did this orange. This could have been a better way to pick out a color is to look at that one. Okay, So I do like the vividness of the red and this. That's very interesting. And then I might go ahead and do some scribble. You know, sometimes when I'm doing these, I do kinda doubt the color choices, but you know, we're working on our sketchbook. It's not a big deal. It's not like I've ruined anything that's important is as my time to play and experiment and discover. And so even though I doubt the color choices, I'm giving myself the permission to not love things when they're done. And that's really important because that's how you make these discoveries. That's how you figure out the colors that you like and the colors that you don't necessarily like. And narrow down the things that you want to work with and the marks that you want to make. And that's kind of how you discover your style. You know, the discovering your style and getting to a point where you have a style is simply a process of narrowing down what you like and what you don't like and making the elements that you like be the things that you do over and over. Look how pretty that is right there. Okay. I think I'm liking this one. And if I want to, you know, kinda hold up my little frame ie thing and say, I'm I going to love it, maybe. Maybe I will, because a lot of times too, I surprised myself and end up liking things that I didn't think I was going to. And after this dries a bit more wicked, come back in here with some crayon. We can get our Neil colors out. Let's just hang on. Let's draw this. Really liked what that looks like now that it's dried. And this is another scenario where I wanted all the colors. So the Mac Daddy set of the IO crayons. But I like these because now I can look at something like this and say, okay, what color do I want to use as an accent with the colors that I've already got in here. And, you know, I could come in here with an orange. Maybe this Color that's called Orange and nail. I could do some art-making and different lines, maybe some dots, maybe some little lines just in something. Just extra little bitty details that you might not can see from far off. But as you get closer to the piece, you start discovering these little marks and extra interesting pieces that are in here. And maybe we'll do some circles. Maybe I'll do some more down here. Look how pretty that is. And then, you know, as you get closer, you start to see the nuances of the color and the details that you've added into what really started out being a simple color study. And if we go ahead and peel the tape off. And even though I'm doing these in a sketchbook, you know, after you do enough of these, you might, you know, keep your work surface clean enough where if you loved it, you could cut this out of your sketchbook and frame it as a print. Liquid fat. Oh my goodness. That one is pretty okay. I'm loving that. And perfect scenario where you save a color card and write each of those colors on the card. And then you could revisit this color palette again because as you're looking later, you're not going to remember what colors went into that. Hopefully enjoy doing color studies like this because I want you to experiment with your colors. And then after you get something that you really like color wise, turn them into little mini abstracts. And this would be a perfect sketch book project to do at night. And you're sitting in front of the TV because watercolors don't have to take up that much space. Look how pretty that one ended up. Totally love that. This one. For some reason I'm just really drawn to a very bright colors. And then I would say this one, even though I do love how it came out, probably not my favorite color way. But I hope you enjoy this first project doing a little sketchbook explorations and color studies, and then just kinda adding some details to the top to make it into a fun abstract piece when you're done. Because these are some of my favorite to do myself in these these books because now feel like my sketchbook fart, meanderings are worth showing off and playing in. And I can then pull this out in a class and get excited because I'm like, look how amazing this turned out. And it was basically a color study to start with. So hope you have fun with this project, and I will see you back in class. 8. Color blocking: In this video, we're gonna do some more color, abstract color swatching kind of play, but in bigger color blocking. And what I like about this is that allows you to see color in larger swatches. You can work wet on wet or wet on dry. And this is a wet on wet. So all the colors really blended in with each other. And I don't know that I love it, but I don't I don't necessarily hate it either. And I could go back on top nail and do mark-making and scribbles. And I probably would end up liking that as a background. But I was experimenting and that's exactly what some of these exercises are for. They're for experimenting and figuring out, what do you like, What do you not like, and what can you do with that? So I'm gonna do a few of these larger color block, kind of color swatching. And then we'll make some marks on it and turn it into a little bit of abstract art. And what I've done is taken some paper, not in the sketchbook. This towel, I'm just going to work on random pieces of paper that I can then scoot out of the way. And I've got some tape off the edge there sticking to each other. But I've prepared three just to get started. And I want to work kind of fast. And I want to do each one a little different. And I want to do rows of color. And if you work on more than one at a time, then you can put one to the side while it's drying a little bit for the next layer, I personally would like these to be less Mozi and a little more stripe be along the lines of this page on my sketchbook rather than this page. But that's just my personal preference. I do encourage you to give both of those a try and then see what you like. So I'm going to work here in some of the colors that I've decided are some of my favorites. And I like this blue, green fuchsia kind of shades. Some going to start with that on this first one and kinda get some type of striping. And then I'm going to sit that to the side, let that one dry. And I think on this next one, I will start with say green. I'm going to do each one a little different, but I'm going to stick in colors that I personally kind of like. And then on this third one, let's start with this yellow ocher. I like that. And it doesn't have to be completely even. You can have darker color on one side. You can come back in here, make it heavier pigment. Play. Just see you know what it is that you think you're gonna like just by experimenting. So we want the next layer on this one I think to be a green. And they don't have to be the same size. They don't have to be the same color all the way through. We're just experimenting here and seeing what it is that we can create. So we started with green on this one, I think I'm going to go back with me, tell you that that green was chromium green oxide. And that blue was rare, earth green. And that ochre was yellow ocher. And I think all three of those are Daniel Smith. And some gonna go back on this one. I think I'm going to see now that, that right there just taught me a lesson. That yellow ocher is more vivid. Or maybe I've picked out a different shade. I don't know. It doesn't look the same as that one. Maybe I had dipped it in another one. That's very vivid. I don't know that I love it, but I think I'm gonna go back with this terracotta color, which is that's an LEA color. Let me see what that is. I'm pretty sure that is the Venetian red. That's terracotta color I liked so much. Let's Venetian red. So let's go in there with some Venetian red. Yeah, like that. All right. Let's go back with this one here. And what color do we want to do next? I really liked think I want that to be a little smush year. So I added a little water right there so that it did blend a little, but not so much that they were in with each other. So actually liked that crazy bright color on my sketch mode there. So I think that was this one which was that Venetian opera. Was that the name of that one? Offer rows. Let's just Emily opera rose is this bright, bright one. But man, did I like it? And depending on how much water and color you pick out, you see, we could make that row right? And crazy, crazy neon or we could have made it real light and more like a pink. So that's kinda fun. Let's go back here to this one is at the one that's next most dry. Let's see, what do we want? What does this color here? This one is quinacridone, burnt orange. And let's just whew. That's a crazy color. Look at that. That's the fun of experimenting like this. You're going to end up with some surprises you weren't expecting. So that's pretty bright. We'll see. Let's try this OSC, red gold. Might be too close to the same color, but okay, that's very interesting. I think I want to do more of a yum. Let's try this one here, which is the Venetian red in the Daniel Smith. Oh yeah, I like that. I also wish I had done these in different little widths there, but that's kind of the things you figure out as you go in. And I kind of want to get that off before it gets stuck here. I kind of want there to be that bright Goldie 1 plus C terminal lung that was, well, I hope that was this one here. Forget is ongoing but I think it's this one. And I'm going to add in just some marks in here because I want to That's kinda fun. And I also think I'm going to go ahead now and scribble on this one. And we could do some marks in here. These little extra details at the end are what make these pretty to me. So that's fine. So let's pull the tape off the first one. And I was just doing that with a pencil. You can do it with whatever you want. I like the graphite with the watercolor on these. And not always will come out. I've got some that turned out terrible. But if they do turn out that I'm really excited about it. And in the end it's color swatching that I was kinda playing with there. That one's very interesting. Let's go on to the next one. I kinda wish I had done different different size striping is here. That's okay. Let's go back with some type of Lets go back with that same color. Venetian red. Or did I use that color there? That might have been that color. Let's see. Oh, yeah, that was that color. Let's just do it real dark. Oh, yeah. Okay. There we go. That was different. So I might take that venetian red and do some mark making higher up and pull that color in. And that's why I like this brush from my goals because of the nice tip on it. Look at that nice little line that, that gives me in there. I really like that a lot For a detail. And I just get a lot of color right there on the end. And then as you get into a rhythm, those lines are so pretty look at that. Okay, I like that. Let's take a graphite. So this is a to B pencil. It's just a bigger graphite pencil to see about drawing here. You know, some scribbles and some lines on there. Oh, that's pretty It's almost pretty just like it is. I don't know if I want to add anything else to that or not. I got pretty that is. Let's pull the tape off and take a look at where we're at. We can always continue adding to Arnold samplers. But if you get to a point where you think, whew, I'm thinking I'll dig that right there. Don't be afraid to stop. Sometimes overdo it when I am, if I'm thinking, maybe I'm just afraid to keep going and when I'm all done, I thought no, I should have stopped. This one. The colors are so beautiful that we should make a color card of these so that we remember later what we used. That one's pretty, I wish I had been a little less even with the stripes, but look how pretty that is. Another thing that I like to do and we'll have to let these dry before I can do it is cut these with Tear him so they've got a pretty edge on him. Let's finish this one. This one's this one so crazy now that almost don't even care what the last color is because I don't know that I'm going to like it no matter what we do. Let's go back with that RED. Maybe come back to this green. Give us some more color up here. And I could go ahead and start marking on this. Let's try it with r. Let's draw this. These colors are pretty rich. I might get out the Neo crayons and see if we do some mark making. We like those. Let's see here. And normally what I would do because I really didn't plan on using the Neo crayons, for instance on these. But, you know, we're doing a little abstracts after we get our color study in there. What, what you might do then is say, you know, what other things can we bring into this? And might normally limit my color palette and pull those together before I start. But because I'm doing this in this way where I'm doing a color study and I'm like, Okay, what else can we add to it? This is a case where I might like to have all the color options to then decide, okay, here's what I'm gonna do. Kind of fill in this color here, which is a quite a sepia. And in this case, you know, we could do some lines and we can do some shapes and I pull out a different color. Some of these I've never used before, ocher. So if it's a piece that I'm fill in like, I don't know if I love this or not, then that might be the time to try out colors you've never tried before. And just see how they work on top of other colors. I'm just drawing some circles on this one. And that's not to say that these colors wouldn't work great for somebody else. This just doesn't happen to fall within my color palette. Love. Like some of these others, they, they do it not mixed in such a way that I'm like, hmm, that's not quite what I expected. Which you need these moments. You need these moments to go with the other moments of pure joy so that you get the stuff figured out. This is just white, I think. Yep, white men. I actually like posca white better than that. That was very interesting. Posca pen as what I'm talking about when I say Posca, posca white paint pen. We could actually, now that I've bought a paint pens, we could pull these paint pens over here out. And this might be the fun Tom to experiment with gold. That's kinda fun. Let's pull our tape off. I love peeling tape. It's like the magic moment when nothing was working. And then you're like it pulls it all together to a finished piece. And then when you're all done, it's still maybe that nothing was working, but that's part of the fun of doing these little studies. You figure these things out and now that that's done, that actually is pretty fun. And what if, what if we go ahead and make these edges hand torn? Show you a hand torn edge real quick. So this is just a ruler. And I like using clear because then I can kind of see and line up with a line on here and hold it down. And just peel the paper so that you end up with a really cool hand torn edge on the side there. Kind of giving it a really pretty deck old age. And because it's clear, you can kind of get the same amount of white all around the piece so that you get it where it was, looked like it was on purpose. And so you can practice that a couple times on whatever your least favorite pieces and get your little technique down pat. But look how pretty that is as a little finished piece. Even though the colors are insane. This is still a piece that I would probably sign and, you know, maybe put a year. And then that is a definitely finished little piece of art. Even though I like the, I like some of these others a little better. Now that We have finished this one, I kinda would like a little bit more stuff on here. So I might go back with that goal that was really pretty. 9. Finishing up our color blocked pieces: And do some scribbly is we could do some lines. I could've done inspirational words. You know, it could have had something fun. And if you're not, if you don't have good handwriting, which let me tell you mine looks like I'm a doctor and you can't read it. You could consider using a little tiny stencils and writing a cool word or something. And these came from Michael's and it's the little plaid Folk Art Set. And it's just a little set of ABCs and 12 threes. And what I like about it is, and I got two sets of them because I tend to lose things. I had things for myself. What I like about it is then, you know, you could we could write this out on another piece of paper and kind of figure out. And you can do this with paint too. Now that I'm thinking about it, but we can do a paint pen or paint. Pick out whatever letter that, whatever word you kinda like and do a little test. And then you can kinda see like, how much space does that take up? And where would I need to start that then that could be like your little guide that you can have just below that, you could then write out a fun word or inspiration or quote. You know, if you've got really fun handwriting, that doesn't look nearly as bad as mine then in gold lettering, your white lettering or something that would maybe contrasts really nicely and a paint pen you could go through and write like a scripture or a word. Anything inspiring like that. And I like that gold. Actually going to write this one on here using my fat or paint pen. There we go. Then just see how that does. Perfect time to experiment is when it's not something that's really serious. And I'm kind of using this as my guide. If you use a fatter paint pen, you get the letters in there really nicely without having to trace it like I did with that pencil. And it's a little easier than if you're painting. And you can kind of see through these stencils. So it's easy to kind of get them lined up. Since I can see where they're going, what they're going next to. And then if you're working on Lettering, hand lettering, calligraphy, anything like that now is the time to get that, go in and play. I could have done that and white, but I like how it shines in the light there. And I think what I'm also gonna do with this one is tear our edge maybe a little tighter. This is the perfect way to make some of those art cards, inspiration cards, art prompts, anything like that. Like I've done in my art prompt class. Perfect for something like that. We were doing acrylics in that class, but you could easily substitute everything that we were doing for watercolor. And again, just layering fun media on top of that, whether it be pencil or painter, whatever that is, we could cut this with an ice age and used a corner cutter to make the corners nice. If we do it this way, we've got a nice piece of art ready to frame. Basically look how pretty that is. I love that. Third one. I do like the colors. It's probably my least favorite, Even though these colors are crazy on this one. I do like the way they've come out better on these two. So super fun project there. I hope you enjoy trying the color blocking and then do some mark making on top to turn it into a little piece of art for these color studies. A little bit different and really fun compared to the color studies that we did first, which was more along the lines of abstracts in this way. Less solid color. Very similar color ways here, but different look to what we got. So always fun to experiment. So hope you give those a try out. Have a little bit of fun with him. And I'll see you back in class. 10. Larger abstract pieces: In this project, I thought it would be fun if we went back and did a little bit larger piece of our small color studies that we were kind of playing in. And if there was any that you really loved, the colors, like I really love these colors are really loved. These colors. If there's any that you really like the colors in your thinking and I really like those colors. So I might just kinda come back and make larger ones of these are they're not even necessarily larger, but they're on freestanding sheets. And then I could tear the edges and do deck old edges and play and experiment in single piece like this. So this would be like at the point where I've done my color studies, I've figured out that there's some cool things in there that I really love. And now it's the time that I might be ready to create some art. And I have these two, this green and blue. Um, that is also I have actually I'm going to use them offer here for the moment. I have the tombs that I had put out on this palette that I really, really liked. And this was some LEA color and it is chromium oxide green or was this green here? This kyanite genuine was this pretty kind of purpley color. So I'm going to use that. And then that teal color. I really love. Believe it's this one. Oh, yes. And that is the cobalt green. So on this one over here that are really liked, and then there's this blue here on this one here that I really liked. That's the colors that I used. I used this kyanite, genuine, which is this purply color. You've got the green, you've got the turquoise color, which is the cobalt green chromium green oxide. And then we have a little tiny dash of this very bright blue, which was also a tube. And I have Payne's gray, that's another willing to work with. That's really fun. Oh, this one right here is really pretty. I think that's that right there. It's gonna put more and this one's really pretty. It's this one here and this is the Naples yellow, which is that yellow right there. This might have been the Grumbacher. Yes. Okay. So this one up here was the Grumbacher, turquoise was this color here. So I'm going to use those colors on this first one because I liked them in my sketchbook. And that way I can use some of these off of my palette here because eventually I'm going to take this palette and wash it. And I'm trying to be real careful. I want this to make a finished piece art so I don't want to draw all over the paper, but I did get this paper kinda dirty, so let me save it for another one. Let's do this one. And I'm going to work up kinda quick so that not ending up with a solid, super-strong color there. And I might use my drawing tool to draw some of these in-between so that I don't have to sit and wait as long. And then we'll go back to this purply shade. And drawing. I'm just keeps these colors a little more separated so that they're not all blending and getting all smashing colored and stuff, which I like. And then after I get that in like that, I'm going to come back and add some really strong spots of the same colors I was using so that we then get just another layer of color in there. And these I might just do right on top of each other. Like I'm not going to dry each of these out. Working just really intuitively, really here. I'm not trying to create something specific. After you do enough of these, you may be trying to create something specific and just get something in there. We get those dry. You may have a little rhythm go and after you create enough of these and you might want to be doing something specific. But at this point I'm still working very intuitively. Also had some color runs bladder. I'm noticing here on this other one that I kinda liked. Then I might could have done again, but each time you do these, that'll be a little tiny bit different. And that's okay. You know, that's kind of your goal just to experiment, make pretty abstracts. This is turning out pretty though. I'm going to go back in. I like the graphite pencil on the series, so I'm going to go do some fun scribble underneath. You can scribble first if you wanted to, if that's what was moving you that day. Do a little bit of Scribble writing here, which if you've got a saying or a poem or some words are scripture that you like. You could add that right in here where you're scribbling. I'm going to make it where you think there's something there you can't really tell. We'll come back in with my lines that I love. You know, as far as your mark making, that is something where you wanna kinda get to a point on like a whole series like this where you're doing a certain set of lines or marks or drawings or something that's very specific to you. Knocking a little paintings off my wall. But I have like this little cheat sheet of little lines and things that I've kind of drawn from myself. Then I hang up here on the wall above me. And here I'm using the set right here just to kind of inspire me and give me some ideas on different marks and lines and circles and crosses and whatever. Then I might do for different pieces of art. So you might make yourself just a little reference sheet of these and hang them up on the wall in front of you. And then pick a set for whatever series you're working on and include those in each of those pieces to kinda pull that series together and make some continuity in there. Look at that. Now this is turning out really beautiful. I'm going go ahead and peel the tape because I don't want to see if there's anything else that I would want to add to this, but I'll kinda fill in this right here. And when I'm pulling the tape, and if it's on a piece that's kinda more important to you than a sketchbook. You don't want to tear the paper. And so I'm very careful and I kinda tear it at an angle, going kinda slow so you're less likely to rip any of your paper. So if you're using tape, masking tape, look how pretty that is. Really pretty if you're using any kind of masking tape or something that tears your paper switch tapes because you're going to be very upset when you spend the time to make one of these. And then you tear it up accidentally. And if we put a mat on that BU the fall, that is exactly what I was hoping for. And these don't take long to make, and they're really fun to experiment with colors and marks on a bigger piece. And then I would sign this right at the bottom. You could even come up with something interesting. I've seen an artist do a square with her initials that I thought was real coal. And so that could be your your little square thing kind of like that. You could sign your name. And maybe a year, maybe the correct here. I could do something like that down there in the corner. Just kind of come up with what works for you and what's gonna finish your piece off. And then this is a piece where maybe I would want to frame it with a mat and so then I would not tear it. But I could tear the edges like we did on the pieces that we just finished. And we could do it edge like that, the deck old age, and then we could float frame it and that would be really pretty too. So either way you want to finish your pieces would be great. So this one, actually, and being inspired by the yummy bright colors here in my sketchbook. And that's why I like doing a lot of things, things in the sketchbook. Because then I can pull that out. And I can tell right now that my tape is kinda crooked, but that's okay. I can pull that out and be referencing it and enjoying it and being like, Okay, what is it that I used in that particular one? And I feel like there is a purply color. That I have not got out. That is not this one here that I didn't add to my colors here. And it could be a CLEA color and it could be a Daniel Smith color. So I might just look here because I was playing in a bunch of these. And I might just pull one out like this. Ultramarine red is rural pretty See, this is why you want to make yourself color cards. Oh, yeah, I see that. That's probably very close. This is why you want to make yourself some colored cards when you're creating things like this because you're not going to remember what you used later. I feel like that color a little bit. Not really a purple person, so I don't do a lot with purple. But you're not going to remember what you used later and then you're going to be mad at yourself. And then I believe I actually was using some of these. So let's just go ahead. We'll get close. I'm not going to get exact on this one probably because like getting bad, I didn't write this stuff down, but that's okay. Let me draw this a little bit so we don't mix all our colors together. Got some kind of orange in there. So let's just pick one. Let's see what this one is. Oh yeah, that's pretty, you know, when you're actually working on pieces that you're thinking, okay, I actually want this to turn out pretty. Then that's a little bit more than I was thinking there. Then you might take your little paper, your swatches and just swatch these out as you're going to see if you're going to get what you were thinking. My little more water in there to spread that vividness out a little bit, a little bit wet at this next color. Was this neon one? Oh, yeah, that's it. Let me tell you this one is neon. Just to give us a little bit bite there. Let's say two, if you find some colors that you're really dig in, let me draw some pencil on here. You know, do two or three or four of these all at the same time of something that you love. If you want to do a faunal series like this because you might not remember later what these colors were. Like me. And it'll be really nice if you had several of these kind of just done. And then you can move on to your next project rather than getting very upset with yourself for not writing them down. Like what I was doing, this one, I wish I had done three or four pieces all on the same thing. I love it that much. But this is just as fun and I'm just now coming back in mark-making lines, dots, more lines with my pencil, maybe. Because after you kinda get a rhythm with this and you'd get some colors that you like. Every one of these turn else. So pretty to me, I just level. This is another thing that I sit and I do kinda like my cutout abstracts that I love so much. This is one of those things that I sit and I do and I get it from my table and I love every single one of them, especially working in my little sketch book and I'll be sitting there, just kinda twiddle and then apply it and be done and be like, I'm so inspired, I just love when I get inspired like that. Like inspired enough to then show it to you. And this may end up being something you really enjoy doing is little tiny side pieces of art as color studies as, you know, just working on some art practice. And it's really pretty, I do love the very first one in my sketchbook, the best, but I'm sure love and this one too. And if I come back and do a bunch of these in this same color way, I'm sure every single one of them will look different. And at the same time, really pretty. And I could still add some more after I pull the tape off. If I look at this and think later, well, I need a bit of this or I need a bit of that, I can do that. Look how pretty that is. My little mat and take a look at it. See, when you kinda mad it out, it just completes it. It makes anything look like a piece of art when he put him at all in it. Fun, you know, this would be fun if you pick the math that was a color in your piece and did that, sign it here at the bottom with your yummy artist's signature. Love that. Another one. Look how pretty those two are given as like a little series, super fun. Alright, I'm gonna do another one just because, and we'll see there's another color way in here that what's inspiring or really like, I like this kind of ocher and read. And also like this right here where it's the green and the gray. And I did something a little different on that and I color washed the whole piece. So why don't we color wash this with a lot of water and a tiny bit of color. So I'm just going to use this kind of burgundy color that's out here and color wash it. Then you see that's a lot of water and a tiny bit of color. There we go. And then I'm going to come back with the gray and then the green, and then some marks and see what we got because that's what we're looking at their home, our sketchbook test. And if we do this while this is all wet, it will run just like that and started to do so I don't know that I want it all to run. So let's draw this. 11. Finishing up: All right, so I'll let that dry a little bit. And that's a perfect example of if you do a wash on the whole thing, maybe dry before you start adding your color because then it's going to swish all in and be I don't know, maybe maybe squishier than you were intending. So I'm going to do that when I draw that. And then come in here with some green. And then I think one more thing that I used was this kind of dark, all of the green, which I'm not positive what color that was. Might use this greenish, amber Boston LEA. It's a really nice kind of all of the dark shade. And I can see on my little sampler piece to my little test piece that I was creating. That that's what this color here is. Ten. So I'm going to use that as my inspiration. And I want it to be a lot of water and a little bit of color. I think I don't want it to be overwhelming. Hmm, maybe a little over here. Kinda work that color in as we go. Just add a little bit of green in there. Give us some contrast. I might go back to what the little bit of the deeper purple shade. Too much water. Just kinda layering now on top of the layers that already have on there. And then I've also used one of these colors and I added some dots up here. So I'm gonna get a lot of color there on the tip of my brush. And use that to create some dots. These are a little bit bigger wetter dots than I intended. So we'll let those dry. Maybe spread that one out before it. Well, maybe I'll go ahead and spread those that didn't quite do what I wanted. So I'm just going to add some water and spread those out. And now that I'm looking at that I think it was actually this other color, what those dots were anyway. So maybe we'll come back with this darker color and get those dots back in there. Oh yeah, that's it right there. See, I just want that nice little detail in there. Just to kinda give me some some different. I like to take different elements that I noticed in my sketchbook that I liked. And then use those elements in my finished piece of art. Are the pieces that I'm creating, say outside of my sketchbook or the series that I'm trying to go for when I start creating a new series of kind of pretty kinda like outlined, you know, different things that I've then want to incorporate because I've tested them out. I really like them. We could use we can use other things. We'll see use our sepia, create a color pen. I don't know what this is, but let's just go ahead and oh, yeah, look at that. A little bit of scribbling there who are like that. Little different than pencil. Just going to get some marks in there. Super fun. You can do that with charcoal, you can do it with remarks, all pencils he could. Here's one that's got some bronze color, a Prismacolor, metallic gold pencil. That's kind of fun. Let's see what we can do here. Maybe we want some long lines that just kinda shine. Oh yeah, that's different. And they kinda showing a little bit on perfect opportunity to play with all of our little surprise. Here is a quite stability pencil, which doesn't show up at all. But that might be a case where I pull out my Posca paint pen instead of the stuff below to get white if I wanted white on there. No, If I want white though, maybe I do. Let's see if we can find a Posca pen hiding. Here we go. So what do we want to do? Maybe some She's maybe some lines. Because I already have dots on here. I don't want more dots. And I have whitespace on here from our wash below. So this white line here in our lightest green might be a fun subtle texture at that we're adding. Well, yeah, look at that, That's super fun. Now we've got some extra definition in that light that we didn't have before. So I'm loving that. Let's pull our tape off and see if we like where this has ended up. And then because I have a color wash on here, we should be able to see just a very light separation from the white to the piece of art. Oh yeah, It's how pretty that is. Let's get our little test went out and take a look. Pretty bad is framed up in like a little mat and center that up a little bit. But so pretty this two is one that because we got the little color around there, we could double the edge of this, like we did on our original pieces. And we might do something like this with the deck old age two. And then we could float, frame it on top of a mat that was like either this really dark green or this kind of purpley shade. How pretty would that be? Ah, that would be so beautiful. Alright, so I'm really loving that one too. So of the three pieces that we recreated from our color study inspirations, these are all super fun. And I could take these and frame them and hang them up and rebury happy with all of those. So I really hope you enjoy creating your color studies and then coming back and creating larger pieces with the colors that were most inspiring on your studies. Lots of fun little projects that we did today in this class. So I'm really looking forward to seeing what color study abstracts you come up with. So definitely come back and share those with me in class. I want to see your color combinations and be inspired by what you found to be beautiful too. All right, I'll see you back in class.