Watercolor Archway: Flower and Marble Wedding | Sohan Khalsa | Skillshare

Watercolor Archway: Flower and Marble Wedding

Sohan Khalsa, Artist, Graphic Designer, Illustrator

Watercolor Archway: Flower and Marble Wedding

Sohan Khalsa, Artist, Graphic Designer, Illustrator

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15 Lessons (2h 38m)
    • 1. Project Introduction and Some Marbling

      8:20
    • 2. Materials

      15:11
    • 3. Drawing

      15:45
    • 4. Laying Out Your Text

      8:40
    • 5. Finishing text

      6:09
    • 6. Cleaning Up Text

      6:35
    • 7. Drawing The Flowers

      5:47
    • 8. Painting The Flowers

      18:14
    • 9. Painting Foliage

      5:57
    • 10. Painting Foliage Shadows

      3:49
    • 11. Creating Depth in Space

      15:44
    • 12. Creating Shadows on the Pillars (Part 1)

      15:31
    • 13. Creating Shadows on the Pillars (Part 2)

      11:55
    • 14. Marbling the Pillars

      17:09
    • 15. Finishing Touches

      2:46
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About This Class

Follow along with artist and designer Sohan Kaur Khalsa of Kiyamia.com as she guides you through creating a floral and marble watercolor archway. This elegant project can be customized to create a great frame for wedding vows, commemorating a wedding or new baby, or to display a sweet or uplifting quote on your wall. Learn great watercolor skills to use on future projects!

Create an artistic, easy, floral archway and practice your faux marble skills!

COURSE SKILLS:

  • Simple Architectural Drawing
  • Centered Text Layout and "Inking"
  • Cleaning Up Mistakes on Watercolor Paper
  • Understanding Directional Light
  • Adding Simple and Beautiful Florals in Watercolor {@}{@}{@}
  • How to Paint Greenery
  • Create the Feeling of Space
  • Painting Faux Marble

Check out the Class Project tab for more info!

Meet Your Teacher

Teacher Profile Image

Sohan Khalsa

Artist, Graphic Designer, Illustrator

Teacher

Hey there!

I'm Sohan, graphic designer, illustrator, calligrapher, artist, and yogini.

I've made art since I was able to pick up a pencil (in the 80s) and it's been a winding road since. I also have a BFA in Fine Arts from the Art Institute of Boston at Lesley University. I've always loved watercolor, but I work happily in different painting mediums, oil, acrylic, gouache and so on.

My design career started officially in 2008 with logo, web and graphic design projects. Some of which you can find at www.khalsacreative.com. Since then I've moved into calligraphy, art and illustration work.

Other Interesting Things: I practice and teach Kundalini Yoga and Reiki with a passion and love to see students grow in strength, confidence, and grace (free yoga videos at w... See full profile

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Transcripts

1. Project Introduction and Some Marbling: Hey, guys. Um, so we're gonna be looking at doing, um, sort of Ah, wedding themed. He could even do it. Baby themed watercolor illustration that incorporates some text. Um, and it's ah, let's just look at it. I have this lovely piece to look at, um, and this is what will be creating, So you'll notice that the text in the middle is not English. And that's OK. You can use english. I won't make you right. And, uh, grew Mookie, Um, this is Ah, a quote that we received on our wedding. My husband and I. So I wanted to create this just nice. Um, what color frame for it. And you've seen the, um, other piece. I'll show it to you again. Um, that kind of started this whole thing where I started making these quotes with the pillar frames. And, um, it's actually a fairly simple process. So if you don't have a lot of drawing skills, it will still be pretty easy for you to um and so I wanted to share that with you because you know, sometimes were intimidated by the drying process and and I wanted to make sure that you can do something even if you feel a little intimidated sometimes. So my name is someone car kalsa, Um, a little bit about me. I've been drawing and painting since I was, like this big, I think. Uh huh. Yeah, I have, um I wanted to be an artist as long as I can remember. And, you know, that's been an interesting process going Teoh college have a B f a in fine arts, and, you know, to me, expression is still personal. But I'm so glad that I have had the chance to come to where I feel really, um, overjoyed with what I'm doing and really happy with the work that I'm doing. So that's kind of what I want to share with you guys. And hopefully you'll get some something really great out of this and have a really cool project to share with other people. Um, you know, watercolors, watercolor, and it can be surprisingly easy if you let it be. And you have a structure that you're working in. So let's give it a try. And really, I love to sing up with for this project. I'm gonna give you a little bit of ah, tip right here. And how did the paint marble? Um, you can get started, give it a little test, so you have until you have kind of, Oh, I have done this before. Here's a little sample of some Marvel textures that I got from free images dot com, and you can see and all of these that, um well, there's a lot of variety. The marvel tends to have a direction, so wherever the vein ing goes, it goes in a certain direction. So that's one thing we need to pay attention to. The other thing is getting into make it look like marble. We look at the coloration in the vein ing, and you notice that there's like a base color like white. And then there is like a middle ground that's sort of a lighter grey on the gray and white marbles. And then there's like a middle gray. And then there's a darker vein ing, and this goes for the other ones, too. But, you know, in their respective colors and that piece of the topples and has a little bit of brown, sort of a rusty colored painting in it. And, um, because of the colors that were using in this particular project I wanted to do like a white marble, Um, but with a little bit that brown trainings. That's why I had that picture there at the top to show you a little bit how that looks. Um, And the idea is to get create those three different levels of coloration on it, and then do some of the darker vein ing to give it that sort of spider web feel to it. And really, what we're doing is creating an illusion of marble. So this is where we're starting from. Feel free to linger and take a look at them a little longer. Or download thumb images yourself from free stocking free images dot com and we'll get started. Okay, so we're gonna do a little bit of this marbling here, and we're gonna have some different levels of color. And some people will kind of frown that I'm using this, uh, Payne's gray straight here. But Payne's gray is kind of a nice color. It's very close to marvel. It's a little bit blue and has that nice, um, marvel tends to have, like, a direction when it's even in, and it's lighter for So really, there's not. A lot of you could go wrong with it, but kind of giving a direction like that. And then, as you've probably noticed, there is a little bit of, like a warbird color to the marvel. So well, let's take a little bit of a warmer around. You could even do this with a little bit of yellow ochre mixed in. But we're dropping a little bit of brown in here. That's a little strong, but it's all right. Yes, um, directional marveling going on here, maybe a little bit there. That's not something I wanna put in all the spots. We just want a little bit here and there. And then I like to put a little bit of these darker areas. Give it that vein ing, and you can do this in stages so that some of it bleeds in, and some of it is actually kind of dry. I think the vein ing actually looks really nice when it's a little bit dry and that it's not as dark as this. This is kind of super dark. Um, so might actually go in and just traveling with out so heavy little globs of paint popped in there. It's okay to have some of the darker stuff, too. I mean, if you look at the marvel, it has so many layers of color and tone that you get a lot of nice variation in it. But it's that separation in the light and dark. And sometimes it goes cross that gives marvel that sort of nice, veiny look to it. You can do a lot of different things with this, but this is kind of a basic. We're creating the illusion of Larible so it doesn't have to be perfect. And that's a cool zing, because marble, it is meant to look close to it. Perfect. And so this is good to keep in mind as we start working on our finished piece with the marbles. If you look at it has kind of a nice markedly look to it, sort of simple water washing into it. Here's a little close up of the marbling. I hope you take a look at it for a minute, and, um, then post yours. I really want to see what yours looks like because we each kind of have an old our own style and You know what you feel? Looks like marvel may not be what I feel look like marble. So, you know, mine is this sort of style, and I'd love to see what yours is. Um, and then, you know, in the project will look at how to add it to the pillars and the frame, um, to make it look like marble. 2. Materials: Okay, so let's take a look at material. Sorry if I keep bumping the camera. Um, the first thing, of course, to talk about his paper and watercolor paper comes in a lot of different sizes. Um, we the original page that I used for the larger piece, it was actually a 22 by 30 piece of print making paper. But this project, we're gonna do a little bit smaller. And I wanted to show you the difference in different kinds of watercolor paper. So this one right here, you should be able to see how there's, like, little divots in the front of the paper. And this is called rough or, um, cold breasts, cold press, watercolor paper. And that's very common for watercolor. That's actually most of my pads are called coal press or rough. This one, you can't see it. It's much. Some of the rough surfaces are not as rough as they seem to be. You know, if you compare these to the other one is almost smooth on. Then we have the larger pad of the arches, which you might be able to see. It's also fairly rough like that. Okay, so those are very common and watercolor to get a rough, umm rough size if you want to do your project small just in 1912. Pad. I just picked this up, actually, for free. Some more. Um, you could use that very easily. Um, I think the arches this is, um, 14 by 20 which is a nice size you can get really moving with your arms. Um, and I like to be able to move my arm when I do it. Um, I don't have any any smooth watercolor paper right now, but I do have some smooth printmaking paper. And if you look at this doesn't really matter which way I turn it. You can't really see any texture on it. And that's what hot presses that smooth or hot press paper and and printmaking on watercolor papers will both come in hot press. The difference between watercolor paper and and printmaking paper is that printmaking, especially for etching print making paper, is designed to be soaked in water. And when you put it on top of an etching plate, it will stretch. And so it has a little bit more give, and it will soak up more water than watercolor papers. If you are planning on painting on some printmaking paper that you might have laying around , Um, that might be an issue where if you're trying to do large washes, it's gonna absorb more of the water and make it a little more challenging. This is more like for if you're if you're doing, like, a postcard or something, just a little flower thing. You could get a little pad like that. Um, these two are cotton paper or rag paper, which means they are archival. Um, this block, I cannot tell you whether it is or not. It's not put in this on here. And so this is sort of Ah, um, sort of a lower grade, maybe watercolor paper. More for practicing on things like that that I would use these air more for finished pieces . Um, so you have some options to choose from Another thing you're gonna need with most watercolor paper, especially if you have blue sheets like the printmaking paper. Um, is some artists grade masking tape? Now there's two different things. You'll notice that this one, for example, is attached so all the pages are attached to the block. They don't move if I flip my finger on it. And the same with the arches. The paper? Um, well, it was attached. It's been so long. I've had this pad that, um, it has come loose. So if you have loose sheets or you have a block like this that isn't attached, um, what you want to do is actually take the page out of the block completely. And if you have a piece of Masonite board or a flat desk or something, used the tape to tape down the entire piece of paper. Because what happens is if you put water on a loose piece of paper, you probably seen it. It kind of curls up on buckles and does weird things, and it drives. And it's all warped and looking funny. Well, that's because when the paper absorbs water, it actually expands and when it dries, it's days in that formation. But if you tape it down onto a table or a desk or piece of masonite or some hard piece of wood that you might have or a piece of glass, um, then when it dries, it actually just goes back to its own flat state. After the expansion. And that's how you can keep your watercolor pieces flat when you paint. Okay, so I do a cheat sometimes in a block like this, where I will just take thes three edges down, and then it's kind of already on a hard surface to when it dries. It'll go back to being flat, but you risk kind of getting the lower pages. Are the pages underneath? Getting what? So that's an option you have. So once we are set with our paper, we will need something to draw on draw with, actually, um, so I have a fairly simple set up for drawing. I use my, um, mechanical pencil for these kind of watercolor drawings and then either Amar's plastic eraser like a little block like this. Or, I think these air in the drafting. I'll of, um, like the art store if you go to Jerry's art aroma or any place like that. And these are, um, it's the same Mars Pratt plastic eraser, but it is like a little pen. So it's easy to use. And until I have used this one, um, and it's easy to just erase really precise lines because, especially with watercolor you're making really small lines. So you don't need this huge eraser to just kind of rub the entire area. Sometimes you do, but so those are the three pens holes? Really? One pencil. Um, you can use any kind of pencil Really? That you have especially like a writing pencil that you you know, your regular number two pencil for watercolor because it will make really light lines on your page. Um, if you get more of the artist grade drawing pencils, anything with the letter B on it will be, You know, HB is okay. That's pretty hard pencil. But anything with a B is a softer pencil to make really dark lines. And you don't want to put dark lines on your page because that will actually just be hard to erase once you, um, through the water color and it won't look quite as nice. Um, you'll want a couple of Well, one ruler really is all you need, but I just brought a couple examples. The metal ones are really nice. Um, sturdy ones on this is called a T square. So when you line it up to the edge of your paper, it's easy to just make a line and you don't have to try and measure from the edges to know where your line goes, um, to keep it straight. And then a lot of people will use the micron pens. I prefer the personal colors. It's just once that I've used for years and they work really well. Um, beat them up and drawn with them, and they just keep going. So I keep using them, Um, eso those air ones if you want to do lettering or some things will stay on, um, underneath the water color if you paint over them so they won't bleed. So those are pretty good. One of the things that I was taught when I first started watercolor. Um, maybe even painting in general is used the biggest brush you have that you can do the job with. So if you're painting on a piece of paper that's 22 by 30 say that's gonna be fairly large drug, especially if you're doing a washes and things like that, and I can't even tell you what size brush this is. It might be 20 years or 16. I've used it so much that it has lost its number, but it's the Princeton Arte Brush Company round brush. And I mean, if you look at this in my hand, that's a pretty big size brush, and I will use this to make fairly small leaves or flowers as I use it. Um, because if I need Teoh, I can use this for small things. I can make larger washes with it. It holds a lot of water. And that's the beautiful thing about, um, a nice watercolor brush is that it holds really nice amounts of water. And you want that, Um, the other brush that I use a fair amount. Is this number 12? Um, also, Princeton 43 5 year are, um and they're both round. And you want short handled brushes. Not long handled brushes for watercolor. Um, so this is another one that will be kind of the alternate that I use. And then when I do find details, I have, like, a number six and a number zero for really tiny details, um, which I will only use probably at the end if I'm working with really thin lines, um, or details that are really tiny. So most of the time I'm using one of thes two brushes to do the work. Um, and that might shock a lot of you because, um, you know, we have this tendency to want to use the brush like this, But if you're using a number six to paint large areas of wash, it's going to take you all day and you don't want to do that, and you won't have enough water on the paper. It'll dry. It'll be all kinds of funky. I will also use um, like a number 10 days. I think Windsor Newton just want something cheap. Um, these air synthetic ones, the white bristles and those can also be kind of handy. So, like a 10 or 12 Um, those are nice brushes. Um, you need a little plastic cup or glass cup to put water. And for your watercolors, um, you may have you may want to have two different ones. One for washing the brush in one for adding to your water. Um, adding to your paints as you're painting. So you have two different bulls, one with clean water and one with kind of a dirty wash. Water. That's one thing. Do you don't get into paints. Um, you may be used to using, like, a big, round cakes in most of your water color palettes. I would recommend you not use those, um, those air kind of the kindergarten grade watercolors in most cases. And it's not that you can't use that. You obviously can, and you can enjoy the results but the color sent to be a little duller in those cakes, um, than most others. I think the exception might be the fine tech Pearls and metallics haven't used those myself , but I her. From what I can tell from videos and pictures, people will do a nice job with those. Um, if you're gonna use cakes, I would recommend, like a little travel case or anyone a bigger one. If you want to, um, have the dry ones. I have used this on occasion to to do things. If I don't feel like pulling out a whole big pallet and doing some stuff on this is kind of a nifty travel packet has a extra tray on the bottom for mixing colors and things like that . Um, but most of the time, what I use is to watercolors and be like OK. Why are you using tubes if you have all this painting here, So ah, lot of these are the common grade watercolor. So they're not super artist grade. They're just, like, pretty decent. I have a few that are, um, the artist grade as well. But the nice thing about two watercolors on these air kind of the eight millimeters. You really don't need a lot of water, Columbus, you're doing a lot of painting. Um, but the nice thing about these is you can always squeeze in a little bit of fresh paint if you want a really super saturated color in your painting. Um, and if you don't need it to be super saturated, you can squeeze it in. You can leave it in there. And once you're done with your painting, you can kind of clean this off. Comptel. I don't always to hell reuse my colors. Um, you can just close it, let it dry. The next time you come in. You could just paint with it. Thes thes will dry on attached to the right. Um, the wells. And so when you need to, you can add more color to it. You can use up what's there until it's done. And then you have all this space to kind of, um, to mix colors. And I will do that a lot where I'll start here and then I'll add some of this and I'll add some of that. You know, some people like to be like, OK, I will makes this color and mix this color and make this color. Um, you know, beyond basic color theory, I don't really think about that a lot other than sort of having a cool yellow or a warm your lower, you know, cool purple or a warm purple. There's just kind of different, um, ways that the colors work and those mixing those will make a difference. But other than that, you can do pretty good, and I will use an extra palettes sometimes. So I have these two, um, on these two kind of set up together if I need extra space, um, and then for our gold, if you are gonna use some golden yours, Um, and I do a few details in the marble with the gold. Um, I you if you have fine text or you have some kind of gold just use whatever you have. This is one that I've had for a while. This is, um, just a folk are like craft paint. It's called metallic Inca gold. And, um, I honestly don't know whether this is artist grade or not. It probably isn't so it probably is not. Um, it probably is not going to be archival. This is very kind of subtle, um, subtle metallic gold. It's not a super bright contrast gold. It's just a really nice kind of simple, subtle gold. Um, and I like that. So I've been using that one a fair amount. Um, it is an acrylic paint. So if you have acrylic gold, you can use those. If you have a quash paint, that is a cold you can use that could it's going to kind of go on top of the last stage of our process. Okay, That should be it for our supplies. 3. Drawing: Okay, so I have my arches block the 14 by 20 inch, um, sheet here. We're gonna start working on this pencil drawing for on the archway on. And even though it says it's 14 wide is actually, like almost 14 and an eighth or so, um, so we're gonna find the midway, which would be seven and 16 like so. And then we're gonna want to do that on both ends of the paper. This will help with multiple part, especially if you want to do text in your archway. I'm gonna put one down the middle here as well. Just a little pencil mark. Just send off for you to see where it ISS. And then the T square is really handy for this part because, you know, you'd kind of haven't lined up. You stick this here and it goes pretty much straight. Flipped around to the other end. You have a nice jury line down your page Now, I probably draw a little darker than I should here. Uh, so see, you can see this better. All right. We oughta center here, and then you're probably wondering why I have a plate with me. So, ideally, we want. It is going to be the top of our art here. And I'm gonna leave a little bit of space up there, but I want This is approximately 9.5 inches. They're not in a that'll. Give us four and 1/4 six be about the with of our archway here. That'll kind of guide us to get in the middle. Uh, ST. Okay, then I will just draw around kind of halfway around the place, and you can use a trash can on whatever you've got that's round, and we'll give you that art shape there. Um, but I've had vinyl records, you know, whatever you've got. Um, so that's that. And in the original, I just have straight fillers going down the sides like that on this one. I'm gonna want to just gonna do a little bit different. So what I'm trying to do here is have the archway and sort of a continuous arch our, um, set of pillars. So I'm going to draw another arch there, and I'm going to switch this side. I'm just kind of sliding this more or less begin telling. Not always a perfectionist when it comes to these things, and here you may want to take a little bit of a measurement. Say you're right there. So this one's about an inch and 3/8 in between. So I want C H. Every case put it right there approximately. We don't have kind of two additional archways. That may not be exactly perfect. Um, and that's okay. I have thes. Hopefully, you can see my little circles here on the paper. And then let's say we measure The arch is about an inch in 16th from this side on. It's about ah, little LeSage. Six teeth on this side. Incheon. Well, all right, so it's approximately. So let's go down here. We'll measure the bottom in ancient 16th on this side was actually a little bit less here, So Well, Mark this just a hair list anedge and then we'll want to figure out how far this is about. And sometimes I will draw straight on the ruler so that I don't have to think about how far it is cause math. And I I could do calculus, but the physical mass sometimes not so much fun. So I have my marks on the ruler to put those in there, and this one is actually a little bit off here. So scooted over and erase my other mark. This is where this pencil comes. Pencil. A razor comes in handy. Little, little, tiny marks. No, I didn't go straight from up here. And for this one, you can also use the T Square to get kind of a straight line. Make sure it's coming up straight. Parallel to your your page. So very few drawings. Gittel needed it right here. This? Yeah. All right. Hopefully you can still see these things. It makes a little brighter for you. Okay, Hopefully you can still see where my pencil lines are. So right now we have a pillar here, a pillar here. We have an archery here and then two little around its sides, off to the side there and going Teoh, draw the base here. So, in the original, I had some stairs going, Um, going off of here. So it kind of landed you off the page or into the page, as it were. So I'm just gonna draw some lines here for the stairs. And I wasn't a really exact on how long the stairs were apart from each other. So you can kind of I've all the 1st 1 and then see how what that is. So it's 3/4 in an A or we can just draw a little mark here and then dragged the ruler down and I will give me an approximation of where the next year is. So we have a couple of stairs there now. The one thing to note, too, is that as you're drawing stares, um, do you want your pillars to end at the top of the stairs or kind of down a step? Sometimes it's nice to have, like, a little overlap. There were the stair Cutler. The pillar comes down past the stair. Personally, I kind of like that touch. It's a little bit, so I'm gonna just take this side and extend extend my lines to pass that first stage. I have two pillars coming down, and one of things you probably will want is for a base for your pillar and not just have it goes straight down. You could have them go straight down and just end there, but I think having a little bit of a footer, it's kind of nice for the pillars, and you can just kind of choose maybe 1/4 inch past. Um, do you add to that pillar something like that? Um, no. There 1/4 ridge there Don't always do everything perfect, because that's just boring. And then I'll do a little curve. Hopefully, you can see this also, the footer on that down. And as you paint thes, they're gonna become a little more blurry and not as perfect. And I think that's just swell. Well, you can race any extra line, so I should be able to see the footers look kind of like that on the pillars. If you want, you can add an additional level here to the pillar and just yes, you can use earlier. But sometimes I just like to free handed. See what? That way it has a little bit more home to it. And I was thinking with this particulate er one that I would add some kind of molding at the top of the pillars and well, so I'm gonna take this and his draw a little bit Here. Oh, here. This is not gonna be perfect. Just a little bit of holding, like so far from If you want to be perfect, you can measure them out. I do an awesome job like you dio, but sometimes it's fun to have a little bit oven imperfection in New York doing, and you could have a little bit around it lip underneath there something. So if you've studied art history, architecture, you'll have some idea what columns look like. Um, how they gonna have different lines, Kind of running around them and things like that. So it's up to you how elaborate you want them to be. I probably won't use all these lines in the finished product, but just to give you an idea kind of ah, footer and sort of a crown there. Good. And that's about it for the drawing portion. Um, since we are going to be doing some vines up the sides of these, I'm just gonna do kind of diagonal lines starting at the base up this way. And if you wanted to be sort of candy stripe, you can make them all go in the same direction or make them all go in towards the text. If they're slanted this way, it will make your emphasis more towards on the text. If you're all your lines have slanted this way, it's gonna push you out of the picture rather than into the picture. And that's just a little trick to make it look a little more cohesive. So I'm gonna do the candy striped thing this time since I did the Chris Cross. If you're doing the crisscross, start going one way, then go up the other way and just do kind of a zigzag up trying to bank the lines kind of parallel. If you have a sliding ruler or ruling ruler, you can do that really easily up this slope. Um, I kind of like to just five all it a little bit. I'm gonna want him to slant quite a bit. I don't want them to be too flat on. The nice thing about flowers is when they grow, then always perfect. So if your lines are not perfectly equal distant, that's actually OK. It looks a little more natural and a little more fun, so I'm just drawing use a sort of based guides for only at our flowers. And there you go. That's your drawing base to start, and then we will look into the water color actually will hook into the the text first will get that laid out in the middle. And if you do calligraphy or anything and you're working on rough watercolor paper on this arches that I have it, um, it will work with the Nikko G and some soon the ink that seemed to work fine when I was testing that out. Um, over those present color markers are perfect if you're just gonna write some little text, and I, um you can Also, if you want to do watercolor text, you can do that. Um, now where you can do it at the end, which might look nice. Okay, so let's take a look at your finished drawing and see what you come up with so far, and we will keep moving forward. Post your questions. 4. Laying Out Your Text: Okay, so we're gonna get on with our lettering this time. And, um, I like to print out what I'm going to write first so that I get a sense of how large it is . And with this size, the 14 by 20 arches paper, I am able to just print an 8.5 by 11 on Have the texts be about the right size for what I want for my space here. I don't want it all the way at the bottom, and I don't want all the way at the top. And I want about an inch to an inch and 1/2 on the sides so that I have a little wiggle room and the text can have its own space to breathe while I'm looking at it and paint everything else. Um, and you'll notice this isn't out English. This is a script called Gore Mochi. And, um, it's a little different than you might do with, say, if you're writing English in a poem or something like that. But the principle of measuring this out is the same. So I'm just going to show you this real quick. Um, if you're wondering why I'm using this. Um, I'm seek and this is a steep seeks Scripture, and it's one that my husband and I received for our wedding on our wedding day. And it is one that we also received this year again for on our wedding anniversary. So it's kind of a special special piece of scripture to us and just wanted to have it nicely displayed on the wall. Um, so how have started this? You may already be able to see that I've drawn a line down the middle and because of Texas centered, this is going to make it easier to lay it out on to a piece of watercolor paper. So I've tried to print this out about the size that I'm going to be writing so that it will look clean, and I know about how much space it's going to take. So I'm just gonna measure this out actually here, and I'm gonna start from my base here and measure this up on. I already know this is about 12 and 1/4 up here and down here it's about 2.5. So this is about 2.5 inches on the bottom here about three inches of the from the top of the arch down to the text here. And so, um, the other lines of text I noticed are about an inch down for the first line on the title. Um, from the heading And then from here, their lives go about half an inch apart from each other. So I made little tick marks on my ruler where those lines start and give myself a little guide. And then when I'm done with it, writing those little tick marks on my ruler, I'm going to bring it here. And I've already done this. Um, and what I would suggest is kind of close to the line where you are, depending on how wide your lines are, Um, start and then make those little tick marks for where the lines are going to go and do it again on this side. So just transferring the ruler and again following those remarks on your ruler to write that and then rather than drawing each line the same length, what I've done here is actually measure out the with of the line and because of my little dots were a little bit further apart. I actually started with the center line at the four inch, mark said. Then I could look and see how far out the line went on either side. And I didn't really think about eighths and quarters and things like that. So I would just make little tick marks on my brother, and then I would bring it down here like the center again on the four inch mark, and then I could just draw across for the length of the line. So that way I know how wide my lines are gonna be approximately. And I did this for each line. And when I start writing, I'm going to be able to get everything in the right space at the right with, um, as long as I can keep my text about the same size is this And the other thing I think would be good to do. And if you're doing any kind of calligraphy or writing on your own, um, you could do this is kind of measure out how tall your line is, So mine are about 1/4 inch tall, so what I can do is add additional marks here, start from the bottom for each line. And so this will be about 1/4 inch from here. 1/4 inch of this line. Another quarter inch here sometimes work I'm trying to make. These is dark as I can so you can see that you can make your lines really light so that BC to race. So we're just making these little marks here and this. The purpose of this is to give you a little recall Ex high in calligraphy, basically the height of your lower case letters for each of these lines so that you could be consistent. As you're writing. I have a really beautiful pieces art before your wall to give to somebody. If you're doing brush lettering or anything like that, I'm not gonna cover that in this particular video because I'm It's not my specialty. Um, but you know, you can practice your brush lettering first and draw pencil outline for that and then to your brush lettering on their outline. Um, and the reason I do the lettering first is that sometimes, especially with Gore Mookie, it's very easy to make mistakes and misspellings and things. So I want to make sure that I get the writing down first on a really nice so that when I do my watercolor in a sit pretty on their with text also gives me a guideline on where the Texas gonna be so that I have a better idea of where to put water color. So I could tell you already that my lines are not perfectly straight. So yours may not end up being either on visually as long as they're pretty close. You're gonna be pretty. I'm gonna geologist another set of lines here, give myself that excite and you could make it a dash line if you want, so that it's not gonna be competing with the top lines. Just a little guide. So that's something. And you do You could do if you want to. If you want, you can use your regular handwriting and write things out. If you want to use larger text, you make your lives a little larger. Lay it out. You can do this in your computer and then print it out and then do the same layout method here. Uhm, I'm going to copy this particular people scripture first in pencil and then I will think over it because This is very easy to mix up since I'm not a native Punjabi speaker, and so that will help me. And if you feel like it will help you write your text out in pencil first, then we can get down. Um, I've used the personal colors before to think these things down, and it works really great. Um, you can even write with them straight onto the piece of paper. Um, if you wanted to use your handwriting and he knew you very good at laying out things just by looking at it, um, so those are kind of your options to go for. 5. Finishing text: So now we're gonna Inc are text, and if you've written directly on the paper, that's fine. Or if you've even choose that you don't want to do a pencil outline, that's fine, too. Um, one thing you can do if you haven't taped your paper down is to stick whatever you printed underneath your paper and then use a light table or light box to illuminate it from the bottom so you can see the text above and then just write directly onto your watercolor paper without the pencil. Um, the pencil does sometimes leaves much, especially if you're using your hands on the paper, and it can be a little challenging on this rough surface to erase. But it should turn out pretty nicely either way. Um, for now, I'm going to start thinking mind. You can tell it's pretty messy up there, so I'm going to keep my sheet in front just so I know when I'm sure what letters I'm putting where and if you are writing English, you probably have a lot easier time doing it. Um, you can do as we talked about the personal color markers and these air just a really fine point. Um, find tip marker if you could see very small. Um, and those make a really nice thin line. I decide I don't want to do black this time. I did that on the last piece. I'm gonna do something that's a little more golden, Shimmery, you know, as we talked about with the Inca gold. But with this, it doesn't play very nice with my nib, just by itself mixed with water. So I take in that and mixed it in with some different colors of wash because it creates a nicer texture for the paint to be more like ink. And so I've mixed it. You can kind of see it's sort of a shimmery golden golden hue. They're still so it's kind of a nice color. And if you're doing calligraphy, you can use the pointed pen on this. Um, I've tested the arches. Um, if you're writing fairly large, you can use the Nikko G knitted bonnet. This one is on an antique neighbor. Believe it. Let's keep it nice and safe. It's on Esterbrook or rester. Brooke Extra fine. 1 28 Um, it's a fairly sturdy new but still flexible and light enough to make nice lines and work well on this paper. Quite a beautiful name, actually. Okay, so somebody you might be wondering why I don't just use watercolor when I am writing the text on this piece. And I wanted to show you did this about probably six months ago or so. Maybe a little bit longer. And this was using straight watercolor to write the calligraphy. Hopefully, you can see this. Hold it is in parts like this. Andi here on kind of everywhere in here. Um, after I had written this and it looked stable, everything looked fine. Um, we moved to a new apartment and this sat in a car overnight, and I'm guessing there was some humidity in there, and it caused the watercolor to bleed. Now, this wasn't something that happened, like over the first night after I painted this with some colors. You know, with some papers, you'll get bleeding and things like that with the inks and watercolors. And that's wasn't the case, because obviously it didn't happen here in that way. Um, so I'm not sure why I ended up here this way. Like suspicion is humidity. And because I do live in fairly human climate. I want to make sure that I don't repeat that mistake. So I will not be using watercolor a whole lot to do this. Um, and I will prefer to use squash because it's a little bit more staple on the paper ones that drives. So that's just a little tidbit for you guys to see. So if you're doing calligraphy, this is not a calligraphy how to video. So go ahead and do it that way. Or if you're doing the pens, just follow along with your pens and and start thinking in and you're just following along with the lines is nothing. Nothing hugely special. I think we all know how to trace. So with calligraphy, it's always a slow process, so there's no short cuts in this. Once you're done writing your text, um, and you know what? This one it's going to take a while so I will not bore you and make you watch the entire process. Uh, but I will suggest that once you do finished tracing, especially if you're using a calligraphy Ankara calligraphy system, um, let the ink dry overnight before you try and erase the pencil marks um with the prisoner colors, you should be fine. But even with those, I would just say Let it wait overnight before you trying to raise those passel marks. If you really want to, you can wait until the end to race pencil marks. I don't usually like to do that with the text, because sometimes when I raised their smudging or things that go funky and I'd like to be able to repair that before I do the painting. Okay, so that tips for the tracing. I'll see you when you're done. 6. Cleaning Up Text: So you have the finish writing here on duh. I hope that you pose yours, even if it's just in the pencil. Fey's love to see what you are coming up with far images go Onda. Um, I just wanted to show you here quickly what to do once you inked it. So obviously still had pencil marks and you'll want to get rid of those. So instead of using the tiny little research like I used for most things on watercolor, um, I'm gonna want to use a figure eraser because I'm gonna have to race this whole area. So again, just make sure you let the ink dry, especially if it's if it's some kind of Sumi anchor India, England and dry overnight. So I just as you normally would just go ahead and a race, and you have the extra lines underneath. Um, you'll notice that when you do watercolor, sometimes all the lines still race from underneath the pain, and you'll be able to still see them after you're done. And that's just one of the qualities of a watercolor painting. It doesn't mean you're not perfect. It means other people do it do and you just haven't noticed, so it's quite all right. You may find that on some of these papers that not all the lines come out at first. It if there's a really simple line that or a thin line that's kind of being a bugger and won't come out. I will take that smaller racing and then just go over it several times to try and get it out. Like one of these letters here is in a divot that it won't really come out right. So just go back. I just finished off. One thing I didn't mention earlier, which should have, is that, you know, while you're handling these, it's good idea to wash your hands because the watercolor paper will absorb oils from your hands and then over time that can yellow. So to keep your hands clean, it makes it a little bit nicer of a process, creates a more archival and result for your then, if you have a little brush, you can brush this off with it. Just kind of a flat paint brush or something, a makeup brush, something that hasn't been used on anything else with watercolor, because it's paper you want very clean things that you are using. What things up. I don't have one on the rectus bullets would use my to do this. You could a few extra max if you do it with your hands. So there we go. And if you want, you can erase these lines. Appears he did use pencil. You may have some smudge marks a little bit outside the checks as well that you can kind of take care of. Right now I'm just cleaning. And there you go. So, a quick note about making, um, sort of adjustments or something if you made a mistake while you were making something, Um, I don't have that issue here on the text, but what I have noticed is that up here where I did some of the pencil work, I'm not sure what happened, but the pencil won't erase, and it may be that it's not pencil. It's something else that got caught in here. And so to clear that out, if the eraser doesn't work, always trying to erase it first. But on a heavyweight watercolor paper like this arches, what you can do is take an Exacto knife like so a very sharp one. Be careful with it and just gently just rubbed the surface of the paper until those little bits come off. I don't know if you can even see what I'm doing here, but there is a little bit of schmaltzy stuff right here that I'm kind of removing and you're gonna break the surface of the paper a little bit. But because this is cotton paper and because it is such a heavyweight, it's not really going to damage the paper itself. Especially in a spot like this. Um, where we're not really gonna be putting much water color on it afterwards. So I just kind of scrape that off until Until so I hope you can see it. Now, where are we there? Um, this area now looks pretty clean, not diminish much easier. So that's how you do it. And then afterwards, um, to seal the paper back up, I would take just another piece of little piece of paper. Um, could be the same as your paper or just some copy paper and just take, like, the end of a brush or spoon or something kind of hard and just rub it in a little bit to burnish that area. It's gonna seal the paper and flatten the fibers and just make it a little bit nicer looking. When you do wash over ah, color area like that where you have nicked into the paper, it may look a little different sometimes than the rest of what you've done. So just be aware that if you are working in area that is gonna have watercolor in it, that might look a little funny. If it's something really small and you're gonna be using a darker watercolor over it, then chances are nobody's even going to notice it. And you could just kind of leave it there, um, until later and then see what happens because there's already going to be so much going on this beautiful text that you put down. They're gonna have some flowers, you're gonna have marbling. There's going to be so much for people to look at that a little almost much somewhere is not gonna make a huge difference. But if you do need to make a small correction in the text or something than that, would that would work for you 7. Drawing The Flowers: Okay, so you'll see that. I added a couple little medallions appear where we're gonna do some things. Um, I just use a little cup. Will plastic cup turned upside down and made those little, well circles there. Um, so to add the flowers in Ah, I usually do this by pencil first, just to get a layout otherwise still just end up kind of haphazard everywhere on, um, As I said, I'm just doing the roses on this piece, so I'm just going to start doing little clusters of them where I feel like they might look nice and remember, you don't need to stay in line inside the, um inside the pillars. You're doing this because obviously is divine grows. It grows on the outside of the pillar and not just the inside. So just be aware that you have that kind of room to do a little extra extra That way. I do. We want this to kind of alternate. Some of them might have a few mawr. Some of them might have a few less, and you get kind of a nice mixture of a mixture of things. Get some nice, gentle little things here, and really, there's kind of very little rhyme or reason to where these are being placed. Um, the only thing I'm making sure is that, uh, it's very easy to get into a pattern where you're drawing what you think is random and you're going like this, and even though it's kind of random doing it, um, what what's happening is these spaces in between are almost all the same, and so it's important to sometimes draw one closer. Sometimes Joe, one bigger, sometimes draw another one in there, do a few clusters and then move may be further away and do something like that. So even though it's random, you want to make sure that you're not creating ah pattern by trying to be random. If that makes sense, because that will just look artificial. No, no look like you're kind of following some rules that doesn't make any sense and doesn't quite look right. Like for me, it tends to be an empty spot, and these so I'm trying to figure out a way to fill that in and have an empty spot somewhere else on the line. Otherwise, it just looks Klein of silly. I will do this side as well. I'm a fun part about this is you know, even if you do something that looks a little bit crazy enough one one flower out there, you know that's actually OK because, you know, vines grow and all kinds of different directions, and until you trim them, you're gonna have these sort of straight Curley's and things and, uh, greens that go off in different directions. - I would do an extra little row up here on top just to kind of add a little bit of nice touch above this little cornice piece for this. A little bit trim on the column. My architectural details may not have the correct names. So part of me architects. Okay, so we've got this sort of fun little thing going on, and now we're ready to start mixing her paints. Let's see how your sketches going. If you want to post it online and and let us see how your project is progressing would be really cool to see. Um, So if you're doing the alternating directions on your vines like this, you can have one colorblind going up on the way and the other color going up the other way , and you 8. Painting The Flowers: Okay, so if you haven't already taped your paper down, if you have a loose sheet and go ahead and do you would just do with a tape like this, pull it up and then have a little bit of overlap on your page, maybe just 1/4 or half inch, and then tape it down to flat onto a masonite board or table that you have and make sure you go around all four sides, um, so that you have a sturdy hold on it, and then and your paper should be good to go for when it dries, so that it has a nice, strong hold to drive flat. So I'm hoping these bulldog clips will be enough for my peace. We have our roads samples here to look at before we start painting and mostly the sister color. You know, we noticed that pink roses have really like Jane, um, especially as they get older, they lose alarm some of the color and some of the pigment. And then there's a sort of medium pink that tends to towards the middle. And then when there's a shade, you know we have this sort of darker red or um, kind of Ah ah. More muted red towards the bottle, Maurin. Between the pedals, you might notice. And you can see I kind of pulled different swatches to get a feel for the different layers of color that are in there and how much that can vary from flower to flower. Um, the other thing to notice is that, you know, you see how the flowers clustered together, whether it's two buds or two roses, and, um, they form these masses of roses that are a real pretty. So what kind of take a look at that and use that in our painting to create these roses. And you can also see here the greens that we might kind of use. Where there, Um, the roses have a really dark sort of forest green, but then in the light they also have a real almost like a yellowy mossy green. So we can use that to our advantage and create multiple layers in the greens as well. With this, So for color, let's try the big brush, and I'll show you how that works, how well that works. So a little bit of our pink year, a little bit of purple mixtures in. Obviously, you wouldn't normally makes your pilot on top of your painting, cause that would possibly creates of issues. Um, and then we just go in and because this is such a lovely pale pink, we can just kind of dab it in. Get these little dots if you want perfectly circular dots or something than, um, this brush is not gonna give you exactly that necessarily. But it does give a pretty, pretty, beautiful little lay out for the roses that you have. It's OK if they overlap because if you've ever looked at Rose Vines, they do clump together really, really closely to where they kind of look like massive flowers rather than, um rather than individual wants. So that makes it look kind of puffy and beautiful. And you notice I didn't make a ton of color. It's a good idea if you're gonna do something to just makes a good big puddle for yourself . Um, so you have that ready to go and you're painting. I have a tendency to do these little bits and then, ah, make some more. As I go along, which is not always best for consistency. I just happen. I've I would recommend you not get into Ah, because it's hard to get out of once you're in it. - And if you do get to where you put too much color down on a spot or you put the wrong color down is dry off your brush. So get back up. You can get some clean water and wash it off. It's good to do if you're doing it in the beginning and you paint still wet so you can kind of cool it down, so to speak, like so it won't work as well once the paint is dry, but you can usually erase little pieces that way as well. So you may have noticed that I added some This is the bottom. I added a little bit here in the bottom of the painting. I like that when I did it in the last piece on, had this little bit of flowers coming down. I had added those at the end, and they kind of looked funny because of the marbling underneath. And I thought it looked really nice and there was an effect that happened where it looked like the, um, the pill are actually extended further down than what I had intended. And so I went. I had an extended thes pillars down a little bit further to give them a little bit a little bit of a closer spot into the painting edge. And the reason for having the painting come up all the way to the edge like this is Ah, it's a technique to bring the viewer into the piece. So when you're painting is hanging on a wall on a person looks at it. You wanted to be inviting on the way were invited into a space is something it's close to us that brings us into the painting. Um, if you look at old master still lives, you'll notice that often there's a knife or something sticking off of the table that the handle is towards you in a way that it creates an optical illusion. That kind of looks like you're part of the painting, and you can actually pick up those objects that are there on the table they've painted. And it's just a nice way to kind of add a little bit of intrigue to the work, so you'll see that I have that on both sides there, and then I also hopefully you can see it at the top. Added a vine that goes around the arch, the top of the archway. Um, - yeah . - Now , if you get to this point and you're looking at your painting and you're looking at your beautiful writing and you go, Oh, my gosh, can I really add water color to this? So am I gonna ruin the whole thing and it will be the worst thing in the world. Ah, I go through that every time, every time I paint. So, um, you know, you just gotta to go. Okay, Well, if it happens, I won't be attached to this piece. Whatever it is, maybe all the next one will be even better. And so I'll just keep going. And sometimes that means that things get a little hinky and get a little upset. But most of the time, with a painting length is because watercolor, you know, you think of it as being very difficult on most people find it to be one of more challenging mediums. Um, do you find that you can actually repair a lot with thes And so that's kind of the fun thing because you can soak your brush up. You put paint in a place that you don't want. You soak your brush up, clean it off, get some clean water and just first pull it up whatever you can with a dry brush and then get the what? Quote clean water and just start Start scrubbing at lightly with a queen brush. Um, and you'd be surprised you might be able to get out exactly what you need and just fix it so that it's a small mistake and not a big one, and nobody will really notice except you. - We do want to leave some space between the flowers so that we have room for the greens. I think this set of vines is gonna be a little more sparse in the green front, Um, in the last painting, and it's gonna be kind of sweet with all these flowers. Okay, we have our kind of roses first stage set up, and we can let this dry, or we can kind of go back into a few spots. Um, a little bit of darker paint. So I'm gonna try this with the slightly smaller brush this number 12 just get in there a little bit more. Really. We're just wanting Teoh. Add a little bit of cover. Just give them a little dimension. So let's say that the light is coming from the top. May be used in the top left a little bit. So we want to kind of think about that. If the lights coming from the top, then the darker areas, they're gonna be towards the bottom. It doesn't mean they're all exactly in the same place. They might be a leaf or something. Shading one that goes all dark. Yeah, and you may want to add a little spot in the middle, some of them so they kind of look like Okay, there's a little bit of pattern in the leaves. What have you No , they get to this side. I'm kind of changing the direction a little bit. So still underneath, maybe shadows a little bit underneath into the right, And that kind of gives us the illusion that the light coming from above directly rather than, um rather than from all around above, some of like a spotlight coming down from here. And it's not always 100% consistent there, but I don't think we're going for photo realism here, so OK, it's your turn. Let's see what it looks like. 9. Painting Foliage: So let's get our foliage on here. Um, this green that I'm using is actually called hooker screen. Just use that. Her amount here. I have a lot of fully It should do. So as much as I can in there. You noticed. I am using a fairly small burst this time because the spaces between these particular flowers is pretty small. Um, I am going to use this brush. And because Rose full VH generally is a little smaller, then the flowers or a fair amount smaller. Sometimes she would make sure that we get the right sighs going in there. I'd be a cannula light because it's a warmer yellow. On the one thing that happened when I was using this earlier on the test sheets, it mixed with a little bit of this red here. So I'm just gonna We're not painting any more roses, so I'm just gonna hank some of this over it's gonna mute the green a little bit, make it a little more no more muted there. That's okay. I kind of was battle of it. You could test that on our sheet here. It's pretty close, huh? Maybe had a little more green to it here, and rose foliage tends to be fairly dark, but I don't want to go to dark with the foliage, so I'm probably going to dilute this down quite a bit. Uh, and this will be kind of our darker tone for the foliage. So we start off with light whenever you doing watercolor. It's good to start off the light tones and whatever you're doing, because you can always paint over those. If you have a similar tone that's going on, um, on the dark side. But if you start with the dark, can't really go light over. Sometimes you can soak up a little bit of the old stuff, but not so on this. It's just really kind of same processes with the flowers. But it is kind of to happen around and try to make this fine sort of continuous. You will. That's okay. Farts or darker than others. You know that happens. And then here I went up a little bit because it is going to kind of go across there and come upon the other side. We're thinking three dimensionally here, So just gonna go on love green. In some places, it might be less green. There may not be full green on her every spot, because roses too sometimes take up a lot of space when they bloom. All right, don't do this. See if you can see what's going on here. Yeah, kind of doing. So. Finish up that first layer of the lighter color, and then we'll go in with the darker to add a little bit more. 10. Painting Foliage Shadows: So let's get some of our foliage in here for the darker side. The shadow side of this, and I mixed here some more that hooker's green and, um, some Eliza ring crimson. There's a little bit of variety in green or fail a green and there as well. Um, it is fairly dark, so I'm gonna test it on here. See you. It starts to look like and, you know, we talked before about the light coming down from the top, and so we want to think about that one. We're putting the darks into the foliage here, so I'm gonna start and just kind of dad this on the bottom side of thes. And it doesn't mean that you just draw like a dark line around the bottom, and that's kind of it, because that looks a little bit weird. Um, so you kind of add a little bit sometimes here and there when this is a little too thick for my liking. So he's gonna water down just a little bit. And this whole pallet on the painting thing is pretty much a big no, no. Um, and you could do this in with your, um, while you're doing the lights to kind of get it to bleed in a little bit. Um, I didn't have whole lot times pretty dry here today, so I didn't have the time to do that. But if you just go in with a little bit of that water, it oil, um, let you kind of artificially bleated in there just a little bit. So you have kind of this dual tone of the the leaves in there, and I think that's starting to look pretty good. And if you look at, you know, pictures of roses, the folios does tend to be a lot darker than the in the like a lighter pink flowers. So, you know, even if we end up with a little bit of extra on the dark, it's okay. It's gonna make the flower stand out more. And some of these while you would put some of this on the dark side on the top is to say you have the underside of a leaf or shadow being cast by a leaf. It's gonna do something like that. You can, you know, I really wants and wants to believe out beside gonna be over. How would be a little bit less than West informally grounded. Look, So I'm gonna get a little bit closer to you so you can see kind of what's going on. So that's kind of what the effects were going for is the flowers or standing out. The greens are kind of nice and blending into each other a little bit. Do you have a nice balance there? It's creating kind of a like dark medium levels. And we may even go in with another level dark, if that's what it looks like it needs. So I'm gonna let you get in on yours. And once you get this round in, I'd like to see it. Or if you just finished both of light in the dark. You know, you can put those up together. I love to see you know what colors air using What's your mixture look like? What do you roses look like? Or your flowers. What did they look like with your greens 11. Creating Depth in Space: Okay, So we're going to start adding a little bit of the background into this piece and some some darker tone on the on the sides here. And this is a point where if you haven't take two piece down, it may start to buckle When you when you start working with it. Um, because we're going to be using a lot of water, and that is what starts to make the paper warp. So I'm just gonna test some things here. Some of us. Well, only brown here. It's probably burnt sienna kind of a sucker for that. The ban by itself is probably a little too orangey. We don't want something that part in the background. So I'm gonna add some, see what this black will do. I don't know a little bit. The remember might also be a nice touch. I think so. When it runs about I think you can do is just squeeze him in. Doesn't really matter how much you put in. It will dry in there after you're done painting. And then you have nice he stick. Pull off next. I do want happy, but maybe a little more. This is just, uh ivory black here that I'm having commute it just a little bit. So I just added some blue to this and the blue toned it that way too much. Go back in a little more color and sometimes it gets to money, and then I'll start over. But this is actually kind of the color I was looking for. So now we're clean off this pressure. All of it. Andi, a place for this palace. Here we go, from the start off on the edge here just to kind of get a sense of what the color is gonna do when I start on this paper, you're going to see I'm using my big brush and to fill this in and yes, I'm going over some of those spots. Where have the green? It's gonna go in and Goubert up a little bit. And I'm okay with that. Where I'm really trying to be careful is on the edge where I drew the pillar, um, so that the pillar has a nice, crisp, clean edge and I will leave some, you know, lighter spots in between where the greens are. I don't want to go all the way in there all the time. If you feel like you've gone over too much, then just take care. Lovely rag or took paper towel and just gonna dab off on the edges there, You know that kind of a nice, clean, clean green again. Then you could go back, Do it a little more carefully next time. It's OK. You know, one of the beautiful things about water color I think some people don't realize, is that the paper is already white. And so when you do water color paint and you have those tubes of China white that come with it more of a wash paint and adding it to your watercolor kind of takes away from the beauty of it because your water color has that luminosity that comes in from the paper being behind it. And so you have this opportunity to to let that white show through in different places, especially on when you're using a really rough paper like the arches here, Um, and then you have a really good opportunity to do that. So should you want to do something a little bit more? Um, wild and fun, you can really get expressive with this and not so tight. Um, I would suggest if you've never looked at the work of Andrew Wyeth. - Okay , so you see, you know, kind of trying to get it dark on the edge here, a little bit lighter, going off side as it spreads. It's probably not gonna do that 100%. And that's OK. Give it a little bit of depth. So it's not just a flat color. Uh, did you start to get into where your painting on the dry. I always grab a little more water, and that just would please down. But a little blotchy is okay on the inside. I'm gonna want to do this more wet. Into what? As I did in the other painting. Um, so I kind of clean off my brush pretty well. Someone I want fairly straight clean water for this first part brand. I don't want to just go in just what the paper like you would be painting it, and you can kind of see I still have some paint left on my brush, which I don't really want. But my my pain is a little money, right? My water brothers, A little money, right? This is why? Having two cups of waters. So helpful. Um, so now we have some of the water there, and we want the dark kind of on the edges. Really is if it's a shadow coming from underneath the archway. I'm spluttering this all over our beautiful white marble here. Not too okay. And so and I have a little bit of this kind of diluted a little more to get this little bit of a halo effect around are text. And I think that's gonna make the marble look nice on the edges. And you can, you know, choose a different kind of the other one was sky blue. Um, and that kind of gives it a little bit more of a open air. Feel this is more like a temple or something are alcove and something can get nice. That might mean you go over against another green spots and you lose a little tendril here and there. But that's okay. And a little more trying not to touch the text here. Because if I go over the text, it's going to start looking buddy there and we don't want to text book. So go have a nice time here with her grounds. And this is where kind of worked backwards. I know. I have pain all over the place. I'm gonna have to make somewhere rather than waiting until the aunties and the danger with doing this is that you may running to having a hard edge here. So I'm gonna use my other brush, look quickly to dilute this so that we don't get a hard rather like more soft edge. And I really would rather not do it this way this time. So you live and you learn right now. You see why I don't do it this way. Okay, Got water in. There is gonna be a little bit easier to drop in and gonna be a little funny because brushes What pages? What? And it's gonna look a little more led than it would on the other side again. And maybe water this town a little bit and splashed water everywhere in this again. Have some extra rags around. I'm working away from my normal table. So so I could record this. And so I don't always have everything I normally would. Right arm's reach taking up too much more. See if I can get more color off balance. Might need to go back and makes a little more. See, here we've gone over the pillar edge a little bit, so I wanna pull that back. John, get nice, crisp pillar. Still trying to keep kind of the darker color here on the edge. And here we've kind of crossed into this greens clear. So this water can. That's what happens when you go in a hurry. So don't hurry. Do it slowly, nicely, beautifully. And you'll get where you need to go. I just got to do a little bit here across the bottom, because gonna connect those two nicely. So this is kind of again, why? You'd want to have a big brush. Two thes washes. - Okay , so it looks a little bit almost like a tea stain or something gives a nice bit of death, puts the focus on the text there. Let's see how your background looks. What colors did you choose? I want to see you want to see if you're getting really creative, you could drop in a couple other colors and while the paint is wet and get, you know, a few little extra effects in there um, just to get it kind of extra dimensionality into it. Um, I think we're gonna leave it here just for simplicity sake, but I'd love to see yours. 12. Creating Shadows on the Pillars (Part 1): we're going to start adding some shadow to our piece of the barbell that will do this before we actually add any of the marbling. So we get a sense of the light and shade and the form of marble on the peace with pillars. And you can look at this image and see, like with the color swatches how much difference there is between the lighter shot side that's getting hit with light on the marble. And then the shadow side that's getting hit are not getting hit with light. And how much variance stairs between those two areas? Um, depending on the marble piece and depending on where it is, So I just wanted to show you that that quickly and now we'll get into painting that and take a look at how to mix the colors. We could go in and just do the, um, do you are our marbling straight away, but I think it's nice to have a little sense of the structure of the pillars and the archway before we do that. So let's take a look at how we're gonna cover that on the stairs here. Um, hopeful. You can see this. We have sort of the top of the stairs and then a little bit of line underneath it, top of the stairs in a little line underneath it, just to give the marble little depth. So if it's a marble, stared has, you know, it's it's got thickness to it rather than just being a block, and it has a little bit of a lip to it. So it's like coming from above. We're gonna put a little bit of dark, dark gray in here. And you saw from our, um, source images that marble turns to turn a little bit blue when it when it's in the shade. So it's a little bit cooler, so we're gonna use it, sort of. Ah, Payne's gray cool kind of great color for that. And we're going to use that as well to sort of put a little dimension on the arches onto the pillars here. So you get a little bit of depth is to those, um, a little bit kind of behind these these pillar feet. So, like I said, this is Payne's gray. You this a fair amount, and sometimes I wanted to be a little more blue, um or have a little more color in it on this brush, by the ways of number 10. I'm going to use this because he has a really nice point to it. See how hopefully you can see out comes to a nice point to use and really with the shadows . Um, we wanna have a little bit of water already on the paper because of the way that's gonna just absorbed right in. I'm just gonna drop in a little bit of this, a little blue, just to give it a little bit of blue or tent here, use our It's my number 12. I was gonna go in here and not a little water underneath. You want to be a little bit careful where that is, because where you put the water is where it's the color is going to spread. So if you draw above that bottom line, if you put the water above the bottom line, then it's going to spread upwards rather than downwards, which is where we would like it to go. So once we have that, we can kind of go in at a little bit shadow underneath. And this doesn't have to be a really thick shadow, a real strong shadow because if it's really strong, thick shadow, then make it look like the lip is kind of large. I don't really want that. So we have that. You can see it's a little bit too big. So I was gonna go and pick up some of the color here with this. I am. Just pull it back a little bit can add. If you have more water, can I dilute it? You can pick it up a little more. So I want to play around a lot with this kind of thing just to get the right amount. And I kind of like what's happening here, where there's a dark streak and then a lot of light underneath it. Oh, are kind of fades quickly off underneath there and here on the edges, we kind off. We can let a little bit of the darkness go in there because we have these roses in front and they're going to shaded out a little bit as well and then pick up an extra water that's kind of got on top of those roses. You're watercolor taped down so that you have the right amount attention there. Um, because this is still attached to not too worried about it in this corner. Oh, this corner has a few stairs so we can add a little more here for water and finish off these stairs here. I wouldn't want this to be a super strong contrast. We just want there to be a little bit of a so so Okay, That pillar is casting a shadow on us. What? I still want this stared look brighter, but not too much. There is. Sometimes when you could go in with water. If you've drawn over a line like with these browns, they kind of smushed into the stair underneath here. I'm gonna try and just erased them lightly used. Wiggle your brush with clean water and then going after with a paper towel. And sometimes you can pick up a little bit of that color. You don't want to do it too much, especially if you have a cheaper paper. Um, because it can break the surface of the paper after a little bit of rubbing. So I want to much of that it would get a little bit this color up. It'll make the staircase a little bit more convincing. But with the marbling, it won't make a huge difference. So we'll have that as our little aid as well. So it's going here with these pillars. I'll show you a little bit how we're gonna do this. I'm gonna go in with a little bit of water. Fill the center for the next spot for us to have enough color on this. It's too strong. And so underneath this little add to the pillar we went again. Drop in. So shadow underneath it. And then the sides of the pillars wanted to look like are getting in a little bit of shadow from the side. There. Sort of very soft, soft sense of depth here from the side. More than I wanted, actually. So I don't always use the paper towels to pull this up because it pulls up too much and the brush. Oftentimes it's better at this because it dilutes the paint and then pulls up just a little bit. Here we go. Okay. You know, we had something this next one. How a little bit pillar. This way we get a little more careful with the roses so that we don't kind of bash them in with this gray. Even with some of the spider ring that happens is you do This looks kind of nice. China, pickups, bristles, hairs off of there. So this is how you kind of get a little bit of Ah, a little bit of shadow effect on the pillars, and you just keep doing that around the edges. You can see that light is not there. That's better on the bottom. There, you can kind of see how that's starting to get. Take shape. I'm gonna go do that for the rest of the pillars here. Yes, you'll see. It's just a little bit of shadow for those roses that are staying sitting there so that they look like they've okay, come up a little bit off the pillar and we've got a little bit of shadow there when they could be a harder shadow. It's okay to do that, Uh, so you could even put them in dry. I like to give them a little bit of that ethereal quality, but not too much. They look like there's order working with that. - I think that this shadow on the inside near the text closer to the text. You want that side to be a little bit lighter than the side that's out here by the edge of the paper, because if you notice there's more light in the center of the image and darker there, so you want a little bit more light. So if we want, we could pull some of that paint off a little bit to give it a little extra. 13. Creating Shadows on the Pillars (Part 2): so the killer legs are a little funny. Um, unless you have, like, a rounded bevel, Um, you're not really gonna have much light and shadow on these aside from again the left to right, right to left kind of situation. So we'll just kind of may make bad a little bit. I will give it a little bit of death, uh, legs where it needs it. Is this the other way? You can kind of go in and dilute your paint, but it do more radiant like that. So the other thing, instead of adding the color here, the top, we can add it underneath as well. It started an edge to the bottom of it. I think in our case, it might be better to wait because I just added a bunch of water here. But having this sort of a little bit of feeling of on edge there, we'll make it look like a robust sort of column. So go on that water here. Here. I sure hope it. This Come on. This because there's a little more of the roses in front. The columns, you know, can have a little more shadow. Even on this inside piece here. Something's going on. Okay, that's also going to make the flowers stand out because the blue is gonna make these pillars recede a little bit behind them. Unless you do more contrast. And then the contrast will make it pop. Funny how those things work. So we're going to add a little bit of shadow here at the top of the archway, and this is gonna get it still a little bit of a sense of volume Faras receding back into this alcove that we have created with this arch. And this is very drive a lot out of the water, and you can make this a sort of receding almost a curved line where it believed into pleads upward from here. I kind of like it having a more solid feel. All right, now, this sort of very it's a strong line, but nice. Feel the weight of the marble like no, up here. We can add some of these, uh, shadows to thes lines on again. Color. I was thinking about the light coming from above the light. He's I feel like it can be a little bit, uh, stronger shadow away a little bit harsher shadow and still look pretty nice. We can add a little bit of water, soften it up so a little bit of teasing out some of that heart. Then we'll add some more shadow on the edges here and again, a little bit of shadow to our little flowers on the sedge. See this minus going much closer to the edge again. I just add a little bit of shadow into these flowers here, given a sense such again adding a little bit of shadow color into inside here. If you got white spots, it gives it a little more of that feeling of being on something sturdy around them. Floating. Sometimes it can feel offloading if you don't add some color in there for a little string. Doesn't have to be a ton of color. Just enough to say, OK, we've got some shadows sitting on something. Not just what? - Yes , he said. All this water we did on the edge here kind of did a nice little plead job softened the edge a little bit. The edges are not as hugely important because they're just kind of fading off there, so long as they have some sort of feeling to them Working dollars. This pillar here about the outside is dry, and we don't want it to be as dark as that dark there. Just give it a little bit to blend in. Sister here a little bit that's gonna believe, do its thing. That's okay. It's more about kidding, that feeling for Don't say that enough. I'm like the first person to go in there and fix things on a tiny little brush. I do my best not to do that. Um, now I've noticed this. I don't know if you have, but there's white spots in between here in the fines, and I kind of feel like, Well, I want to give it a little bit of darkness because feels like it's sort of on its own here . Now, you a little bit of color, similar to what our background is. I just dab it in there, and hopefully it's not as nice is what we had. Four. And hopefully be close enough. Just give it that sense of Oh, this is kind of the same color, so kind of like we did with the shadow color in the on top of the pillar roses. I'm just gonna do this in here a little bit, make it look a little bit darker. It looks a little less like it's pasted on looking into here, planning a more shadow into this much. Plus. Okay, so getting pretty far with this marbling thing here, um, we still have these rosettes up with the top. We're gonna look, It goes next. Let's see how your shadows look on the piece posted up on the forums, and we'll see. 14. Marbling the Pillars: Okay, So starting are marveling on the are Choi itself, you know, talked about, um, doing different shades, starting the lighter and then moving into a darker shade. I'm still wanting to do that. Um, we have sort of this blue grey marble, and I wanted to be a little bit of ah, a little bit of warmth in there, too. So I'm gonna mix in Payne's gray with a little bit of this, um, burnt sienna. It's test is pretty dark, so it's full of more water in their toilet it down a little bit when you maybe, you see, did a little bit of brown already here and here. That kind of seeped in. And then I just went with it because I kind of liked it. And and so now we have this sort of choice to do our marbling, and we can pick a direction for the marbling. The interesting thing with pillars is a lot of times there across cut of Marvel's. You don't actually see those veins in some are pillars, but in these ones were gonna I'm going to go ahead anyway and do some marbling into that, Um and then if you want to. You can or you can just kind of draw some horizontal streaks very lightly in there, and that will be another way to do it. Mother First point is to pick a direction. So do we want to marveling to go with our griefs are are fine here Or do we want it to be kind of a cross ways in the opposite direction? So that's one thing. And we can have choose another direction here for the stairs under the direction for the top here. And then this could be almost the opposite of this one if we want to or can go in the same direction. Just kind of depends on what you want to do. So I'm going to start down here. I just kind of I do my own thing here. And these colors. Well, to money for me, actually. So I'm just going to dab it off because it's a little Okay, so you're gonna go back and do a little more of this practice. Seanna, I think we want something a little bit happier for the marble. So and I start off with these sort of thinkers watches. Does that go in with the marbling and give it sort of a base color, which I liked looks nice. And then I have a little bit of the Sienna, or I could do some parts. Aiken do then Sienna to a little bit of I like to do the edges a little bit, Give these edges a little pop, and that gives it some of that feel of a ning giving it like a little bit of a darkening to the edges. So it's gonna be really park, so it's gonna be well, quite is dark. This is part point where I would say, if you want to you can you the really tiny brush at times because the dry brush effect actually can look kind of nice on the marbling. And I don't want this to be all brown, So I'm actually gonna do a little bit of the Payne's gray, and they're well as some of the streaks. The new airlines don't always have to go exactly where edges are or the direction off your marble. So he's kind of create a sort of jumble or jungle. If you want. Are you gonna have darker your slider areas from feigning here? and there, and this one's fairly busy marble. The other one I did was not quite as busy. And then, you know, you're gonna wanna wait for the areas like this to give them a little time to dry. You could even go in a little bit and say, OK, that's really dark. I don't want my marble to be that dark. Just dab it off a little bit. Cool it off, get a little bit of time to be a little bit more subtle. So you have a lot to play with. Um, a lot of room to play with. I would say When is with marble? Some areas are gonna have a lot of texture. Some areas will only how tiny good detection. So you have those choices to make. Don't forget that. You know, the streak star on just to the edge when I say go past the edge, sometimes day to their own thing do whatever they want. So I got some marveling there. I think that for our pillars, we're gonna follow the direction of the reefs. It makes it a little easier to do the marbling. Do it this way. I still feel like till two. Dark from. Yeah, okay. Friendly neighborhood Spider Man here. That doesn't mean there's a streak in between each e three. Some of it will be in pile. Some of European larger sort of swatches just kind of play around with it. Some areas will be darker, is hope. You lighter. Really? If you think about architecture, the pillars would probably all have their streaks in the same direction. But since this is a real architectures, you do whatever we want. I just realized women's on the shadows appear on these pillars, so have to do that before we do. The marbling on that portion got that started. I just got jump in and do a little bit of this shading here. Obsessed her on blue. Okay, colors in here now. Yeah, I looked out of it. This one's gonna be more shaded this pillar here because all right, I'm trying to fix this camera here for you guys. All right, Let's hear. There's gonna be a little more shaded getting a little more of this. I in dark interplay here. Yeah, a little bit of a Angie's beings dark. It's really I think I'm just gonna go in and to this to start because really, there, underneath the roses and underneath there, facing downward rather than upward. So they're gonna be darker, and then we're going to put some little lies in there to emphasize two shadows a little bit more. All right. And then we have I'm marveling still, So you're gonna see to stop piece Nice. Okay, then this one you can on the less when I made it, actually, the marble kind of curve itself. So, you know, figure out what way you want, the marbling to go. It could go straight across. It could go up and down. I could do whatever it wants. Gonna add some streaks in there. Color and what not. So since it's still is white marble, there are gonna be parts where it's just gonna be paper. Just straight paper. Um, I think that looks kind of nice. It gives you a little bit of white pop in there, and I'm just gonna do this. No, no appeal this clip off of here to get that off sometimes . Marble. Streaky. Sometimes it's got flecks in it. So you could go in, find what kind of feels right? - Some of these spots, You're going to get a little bit of when intel wets as we just did this. - So we have a ton of marble eons. Um, but as we would, it's on the examples. They do have a lot of marble, and sometimes that could be nice. So here we are. We want to go in. There's a few different things we can, you know, tweak if we want to. Okay. Come on. Camera. I put me So we got our marble often on different parts. See, even get this top to show up. This camera can be sideways backwards, upside down. So you have that marbling there. One thing I noticed when I was looking at this the other day. Uh, I look this for several days now, so don't worry if you haven't looked at yours. I do want to see what your looks like at this point. Whether it's got a little marble, a lot of marvel, whatever marble you go. I'd love to see that This is exciting to see what else you guys can come up with. So I'm gonna make a little bit more of that sort of rosy pink that we were using for the roses and purple. And, um, I kind of liked what happened here, where there was a little bit of red spots in the middle of the roses. They're giving it a little bit more death. So I'm gonna just some of these, um, figure areas where there's just kind off pale pink. I'm just gonna add a little bit of this and give it some pedals, if you will. - Okay . Gonna rosettes. We gotta Rose vines. We've got her text gotta stairs. We've got our peace. 15. Finishing Touches: I had a little final note. Um, I did go in a dark in these backgrounds a little bit with the brown just to make the pillar stand out a little bit more with all the marbling it started the pillar start to sink into the peace. And now they're standing out on a little more again with the darkness in the backgrounds here and also adding a little bit of darkness to contrast the pillars back there so they can stand out on the stairs. That makes sense. Um, and also a little bit of shading up in here. Still to make him make those, uh, the tops of the pillars look a little bit more believable in terms of the death. So you have those. So once your piece is completely dry, um, and I mean completely dry, like leave it overnight. And don't wait 10 minutes and then try to do this. Um, go ahead and you can erase the rest of those little lines that you've got in there. I'm gonna leave a few of these in here, um, like around the rosettes and things, because I feel like they just had a little bit to it. Um, and I kind of like that. Um, And then I'm gonna erase some of these other lines. And what I wanted to show you is when you, um if you have a block like this with the tape, you can just very gently peel the tape along its length to get it off of there. And then if you have a block like this, you may notice that there's a piece in the back kind of where the binding is, where it looks almost like they forgot to put some of this black stuff around the edge to keep it down. You know, like maybe it's a mistake. It's actually not. It's there so you can take the paper off. So you consigned either a palette knife or an Exacto knife in between there and kind of stopped pulling it up. Um, palette knife? A little safer. It won't tear the paper. Cut the paper. But if you start with the um, if it starts to get too hard, you can use the palette knife to slide in there and cut it out. That's how your butt again make sure that it's dry first. Thank you so much. for joining with this class. I'm so excited to share it with you and to, you know, have your involvement and your feedback and really to see your finished project and see what you been up to with us. So thank you for sticking it through to the end. And Yea. Congratulations for finishing at up. I love to see a little message from you About what, um your next project is and how you're gonna use thes skills in the future. What you might make next with it. So let's hear those last words from you.