Watercolor Challenges And Exercises For Improving Your Brushwork Skills | Robert Joyner | Skillshare

Watercolor Challenges And Exercises For Improving Your Brushwork Skills

Robert Joyner, Making Art Fun

Watercolor Challenges And Exercises For Improving Your Brushwork Skills

Robert Joyner, Making Art Fun

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12 Lessons (54m)
    • 1. Inroduction

    • 2. Brushwork Mechanics

    • 3. Horizontal Line Challenge

    • 4. Circle Challenge

    • 5. Wave Challenge

    • 6. Vertical Line Challenge

    • 7. Splatter

    • 8. Dragging

    • 9. Flicking

    • 10. Stabbing

    • 11. Tree Project - Test Your Skills

    • 12. Line Project With Sailboat - Test Your Line Skills

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About This Class



In this class you will learn how to develop good brushwork mechanics. Understanding where strokes originate and how to hold the brush can make all the difference in quality brushwork.

To help facilitate the different brushwork methods I've included four challenges that will put your skills to the test. Also you will find some common brushwork exercises that will give you more insight into creating better art.

You will also find a few projects where you can practice all the techniques you learned in the challenges and skill tutorials. A great way to increase your understanding of applying good brushwork.

Who is this class for?
All levels are welcome from beginner to advanced artists that want to learn more and perhaps refresh yourself of quality brushwork technique. It's suited for acrylic and watercolor artists.

Suggested Materials
Quality pointed round if you choose watercolor.
Quality liner, or script brush if using acrylics
Sketchbook watercolor paper, or at least 90 lb. Bristol or similar surface.

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Robert Joyner

Making Art Fun


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1. Inroduction: welcome to tips and exercises for improving your brushwork skills. In this class, you will learn a variety of brushwork skills, including dragging, flicking, splatter, stabbing and haven't make better lines to help you create better brushwork have included brushwork mechanics. This video will help you understand where a certain brushwork originates. So how to hold your brush and then how to apply the paint to the surface to create a desire effect. I've also included a few projects. These projects will help you test your skills so that you better understand where your strengths and weaknesses are. There are also quite a few challenges. Challenges will again help you test your skills. The exercises in this class have been done with watercolor. However, feel free to use acrylic to get the job done. If you want to understand more about brushwork mechanics, this will be a great class free to dive into. So sign up. Now I hope to see you on the inside 2. Brushwork Mechanics: this taken moment. Talk about some of the mechanics of making a mark on your surface. Now there are different types of Marx you want to make. We have details we want, Ah, broad stroke, recovering a larger area, so we need to understand where this motion comes from. Once you understand where it comes from, it will simplify your process, and then you will be able to get there quicker because you know where this action originates. So let's first talk about very small marks for talking about details, getting into the little nooks and crannies of things, adding highlights. So for that action, I would recommend holding the brush towards the end in a very relaxed manner. You never want to hold your brush tight. OK, that's just one. Tighten your wrist up that's going to make your strokes very stuff. Very jacket. So always hold your brush relaxed and for detail towards the end, because that action generally comes from the fingers and maybe a little bit of wrist. For example, if I were applying a detail or I want to make a small Marco my artwork, the action is there, so they're very much in the fingers using the tip of the brush. So very, very small strokes. Dots, Things like that require a very short pivot point. Okay, so we don't need to hold the brush back here. Some hard is due. But as you can see, you have less control. The pivot point is way back here. What is up here, then? That same action. Okay, As much tighter. So for details, hold the brush clothes for short to medium strokes were talking a little bit longer. Maybe some grass and foliage or whatever. They were going to back up a little bit from the tip. Maybe about interest from the end and still in a very relaxed hold on. We don't work from the wrist. OK, so we're creating these sort of strokes. Okay, you will get as you can see, that range of motion now, for medium to long, we're gonna board more from the elbow. So if I were creating to see straight lines or something like that and I want to cover across maybe a 10 12 inches span, then I can work from the elbow. Okay? I want to cover a large area with paint. Okay. I'm working from see elbow. Okay. And that gives me a much longer pivot point. Okay, so I had this sort of range now from the elbow, and obviously I can cover more ground for an even longer stroke. Okay, We're going to start to work more from the shoulder and working from the shoulders, find Teoh. Work from the shoulder and elbow, sometimes at the same time for, like, medium, the long strokes. But when you start to work in from the shoulder, they were going to get much longer range of motion. Okay, you can really start to cover some ground. And for that, obviously, I would want a much bigger brush. Probably. And I can cover, you know, a much longer area, much broader area that opposed to working from the wrists or the elbow. Now, for evening, even larger strokes. We don't work more from the torso. Okay, so we have We can rotate. This way, we can bend down from that action. Okay, We have We can twist our whole body, our truck of our body. So trying to paint love very big campus. I love to make some very intense strokes. Then you know, I would want to be doing this sort of action, okay. And that what? Of course, Give me a huge range. I mean, we're no covering a lot, a lot of ground here, So let's hold my brush there and rotate my body. I go up and down, right? I mean, weaken. You can see how that will be more effective than holding the brush here and doing this action from my elbow. So just think about that a little bit As you start to apply paint to your surface. What is your intent? What are you trying to do? What's the job at hand and then try to tweak your motion a little bit, you know, and adjust where it comes from. And certainly one thing I think comment with all of these is just simply understanding that holding the brush in a very relaxed manner and coming back from the handle if I have to create a longer stroke choking up, if I want to get a little bit tighter, things like that Well, certainly help you. So that pretty much concludes what I wanted to share with you. I understand the mechanics of applying paint on where your actions come from. Okay, So you're next 3. Horizontal Line Challenge: for this challenge. That is all about lines. Nice, clean, straight lines. The dimensions I have here are nine by six. So you want a nine wise by six tall or the height. Now, this is £140 cold press. It's important to use watercolor paper if you use regular paper, the pigment is just going to spread, and you will probably not get very good results. The brush I am using is a number 12 around is you can see, though, has a really nice point. This is built for water color, and it's important to pick a around that has a good point to it. Now. A little bit of clean water, and the goal here with watercolor and for this challenge is to get as many lines as you can in this rectangle you want. Them is thin as possible and as close to each other as possible, and the straighter the better, all right and with one or color. If you've used this a little bit, you know, if you get too much water, then it tends to bleed in. This is laying flat, so I really don't have this at an incline or any sort of angle at all. But even at this at a flat angle like this, if you have too much water, it's going to start to puddle. And then it has a chance to disperse and then touch the other lines. And the goal is you don't want the lines to touch, so I will start. I am right handed. So I will start working from my left to my right and starting with the very top noticed. The hold is very relaxed. I'm not using a detail hold or something close to the tip where the bristles there I am, back away from the feral and relaxed, and I will get my start and then work all the way across the paper. That's not too bad. It's got a little bit of wobble to it, but for the most part, for the first line is pretty good. And just to make it pretty and colorful and all that stuff I'm going Teoh, this change Hughes a little bit and now I have some yellow joker, so make my markets close, start as close as I can and then take that across. I will continue to do this until I get to the very bottom. Now, we'll tell you you when you're painting like this and you're trying to get things is closed together as possible without touching, you have to be pretty steady with your movement. And what I mean by pretty study is if you squeeze a too tight with your hands or your fingers, then all of these joints are gonna lock up your joints and your fingers. You were your wrist. That's when you become very tight. If you're rigid in your joints and your muscles, then you can count on things being shaky. So he had toe be relaxed with it and then work from the shoulder all the way across. If I find that if I move by, started and then moved a little bit of speed like that, it works pretty good. If I slow down too much that I'll get shaky. So started almost got a touch there and go across. That means we'll keep the same pattern going my colors here. Well, I got a touch there, so I'm going to keep on going, though, and it's up to you whether or not you want to start over and they're very steady. I mean, this is what I'm looking for. These runs, like from here to there that are very consistent. What we know what it starts like the second line here. And it starts toe kind of snake a little bit that I know you got a little bit shaky with your line, but it's gonna happen. I think it's pretty much impossible to do this perfectly in every single case, but noticed the gaps in between them, too, though that there's not a lot of gap and the closer you get it without touching, the better off you are. So I am just going to move forward here and let you watch. Very tough to paint and talk in this manner. Anyway, they don't necessarily have to be super thin, but I don't want him roll fat either. So I didn't touch their got really close again. Nice and relaxed. I even took my grip a little bit higher up the brushes. I've become a little more comfortable. You can notice you may not be able to see this on the camera, but there's not much puddling going on in my pigment, either. If I had too much pain on their or too much water in my mixture? No. Then that would certainly be a problem. But unfortunately, don't have that going on. All right, Last one. So there you go. So I have 123456789 10 11 12 13 14 15 16 lines. And this six inch rectangle here on the height Soul. I'm looking for that many lines, at least. So I want you to at least do the same amount of lines, and it needs to be nine inches long. Okay, So don't get Give me a three inch long line. I needed to be the same dimensions is what I have here. So I've got the one touch there that I see. I will get a picture of this so you can kind of use it as a guideline. And there you go. So you got a few pointers there about where the movement comes from, which is from the shoulder. A nice, relaxed grip As you become more comfortable, you can kind of back off it a little bit if you like. Don't use too much water, but you want to use enough to get across the paper so you don't want it? The the line. And this is a bad example. I'll do this at the bottom. You don't want the line to start to break up. You went nice and consistent. Oh, the way across. Okay. All right. Have fun with this school up. 4. Circle Challenge: this one is all about circles. So I have £140 cold press a number 12 round, you see, has a really nice point. My water, my watercolors. You can check my math seven inches, seven inches and he contests Go court a corner, do like mark a light mark and find your center. And now the goal is to do nice clean lines which I didn't do Great. So we want to avoid wavy circles, if possible. You wanna miss thinness possible And most importantly, you want the ends to meet. So this is a bad example. Eso you see how it with the cross So whenever the ends come together So from start finish lift up on the brush and don't fling it so that the ends meet nicely. Of course we want even strokes, So I mean by that is you don't want to get a dry brush. That's where you run out of pigment. So I tried to get enough pigment on your brush toe where you can draw and create as long a stroke as possible. So now I am going to crack forward with little dot and at first you may have to come up when your grip grip a little bit. Kind of get that detailed grip going and get these first few circles in there. We got a little touch. The line got a little fat right there. Her little wide. So we'll start to back up now. I'm in back up on my grip. A little whip right there. You see that? Well, I just didn't quite come together. That was better. This was not as easy as it looks. If it looks easy, I guess I should know soon that. But that was pretty good. Starting to find my groove here. It takes a little more concentration than lines, so I am not talking too much. So obviously, the circle is getting bigger, which means the line is getting bigger, which means I have to start to put more water in my excellent pigment there. I started out a little Rocky try to get to Maurin here. I'm not gonna be able to do all right. So I'm out of room. So once you touch the edge like that on your square, game over and let's look at what I have. So I've got one to it was like to touch is got one e that will count them. I got one little whip there where the line didn't come together on Let's count the lines. So I'll count the dots to so one. So I had 12 lines there and a couple of touches. One whip. But I think the lines are pretty even start to lose my, uh, consistent lines here where it started to dry out a little bit. But other than that, that is your challenge. Uh, good luck. Have fun. Now look forward to seeing what you can do. 5. Wave Challenge: in this challenge is all about and now. So the idea is we want to start with a thin line for the very 1st 1 and then we will thinking it. So I will start near the top. How pressed down into the paper to get a fat line, he's off, press down, he's off. So I did it twice. So you see, it starts thin, blossoms out or widens, and now in. And this was not easy, because you really need a good amount of pigment on your brush. You also need to load the brush and so plenty of water to. So because I started thin on this one, I will start thick. We'll go thin, sick and but all right, it's like little ribbons almost going across the page there. So again he got load that brush, so this one will start thin. That and thick so as many lines as you possibly can get without touching. So starting thick here then that then I think it's interesting stroke, because I think this stroke comes up a lot and painting where you start with a particular thick ness, and they had to let go That pressure a little bit to get a a line that varies a little bit from thick, thin. So this will be thick to then and you want to keep that look going the whole way. So it has a constant thick then. So no rotating every other one. - So I have 16 total lines. One touch. Okay, so have fun with this, and I look forward to seeing what you do. 6. Vertical Line Challenge: welcome to the challenge. To this point, everything has been horizontal. So working in my case, I'm right handed left to right or right to left if you're probably left handed. And this time we're gonna do something vertical. So when a work top to bottom and then work bottom to top. Okay, so I'll repeat that we're gonna do vertical vertical challenge, but we're gonna switch it. We'll do top to bottom and then bottom to top and were to repeat that pattern the whole way . All right, so I have my mixture here. Same brush, same size. So this is nine. Check my math here by six. I had the same exact, uh, pointed around brush go a little bit stronger on my mixture here. I think that's a little bit too soupy. So I'm looking for have a milk type texture there, trying to hold my brush in a way that you can see the paper. And with this particular exercise and a stroke, they're still trying to work a little bit from the shoulder. But try to back my hand up on the brush a little bit so that I'm not using a detail stroke and this. This gives me much more. Ah, bigger leverage point basically. Okay. So if I go to small, they can see the movement and range of that brush is maybe a couple 23 inches When I go back here, then I can get a much longer sweet And I'm kind of using that action action a little bit as I go. And so I went top to bottom, bottom to top. And of course, we want to keep these as thin as possible and without touching go with a little bit of yellow here, living yellow, my palate. I never used in my paintings when we know why I put it out sometimes and you're only honor system here. There's maybe a little ways that could probably tell if you are working right to left or working horizontal basically. But I will leave it up to you guys too. Do the right thing marrying your studio, and I will go across the page here as best I can. And one thing I've found as I was doing this Is that a much better going top to bottom? Then I am going bottom to top. I mean, I think most of us probably work top to bottom when we paint like this. So I found that kind of interest in, and as I became more comfortable with it, I notice when I started painting, I was more at, too. Do some strokes that went bottom to top. So it's kind of like a muscle memory thing. If you're if your brain is used to doing something a certain way, then that's how it gets locked into doing doing it. And then as soon as you introduced something that is different than your brain kind of registers Addison. So you know, we have, ah, a new action to remember here. And once you have that muscle memory in that, that was a big cap right there, as you can see. But anyway, so once you have that kind of action logged into your brain and your body and you've done it physically, then of course you're more apt to do it again. And then sometimes things even happen. Naturally, once you do him enough as you work that you don't have to think about it much anymore. Anyway, you know, they're all these challenges, I think, bring certain things to light about painting, and it's about your habits and instincts and areas where maybe, you know, we take things for granted and we do things a certain way. So I think you get the gist of what the challenge is based on. So I'm just going to bump things forward a little bit faster here. So this is four time the rial speed. And then once I get to the end here, we will just recap my lines. How maney I did. And then how many touches I had. And then I'll just offer up just a quick outline of what I expect from you guys in this particular challenge. But anyway, there you go. So think of God, I'll go and call that a touch here didn't quite touch there is closed off to look at that a little bit closer, but looks like maybe 12 touches and a total of 31 lines. And I guess I have to say to touches, All right, people, there it is a vertical challenge for you. Good luck 7. Splatter: splatters are a great way to add some spontaneous marks to your artwork, but it's often misused. So I will begin by drawing some four inch round circles, and what I'm demonstrating here is called the Backflip. So I splatter the paint and I pull away from the surface, and that's an incorrect method that typically results in marks all over the place. The next error I see all the time is too much water. We use too much water, very, very similar to the backflip error. It tends to get all over the place. So when you use this method, you want to be spontaneous, but you want to be able to control it so that you determine where these marks go. So now I'm drawing my four inch round circles. I will load the brush up, but with pigment but not too wet. And now the idea is you work from the elbow and then stopped abruptly right at the surface and do not have any recoil or backflip. As you can see, I was able to get those marks inside the circle, so experiment with this idea, and I think you'll have much better splatters toe. Add to your work. So again, work from the elbow stopped abruptly without the backflip. Avoid too much water and you can test your skills by using a 45 inch circle. 8. Dragging: How good are your drags? So let's talk about what a drag is. You want to load your brush up with pain, you lightly lay it in your hands and then you apply it to the surface and then he let the brush do the work for you by dragging your brush across the surface. Now you can use a variety of sizes as well. So I started out with a very small round and now moving to a little bit larger flat again. I love the brush up. I lay out my hand and I drag across the surface. Now I am demonstrating by pulling left to right. But I would recommend that you use this technique by applying the brush to the surface away from you and pulling towards your body. Depending on what you're using this four, you may have to turn your artwork to make this work better. Now you can use this technique to apply texture to any object, so you would just really just have to experiment with it to see how would fit in to your artwork. So again, any brush size will do. Load the brush up with paint, let the brush do the work for you, start away and then pulled towards your body 9. Flicking: So now let's talk about Flix. Flix are a great way to add grass, branches, trees and things like that to your artwork. I will first demonstrate with a very small round. I'm loading the brush up here with some pigment and from the fingers I'm flicking. This will create some short, choppy strokes. You can also use the wrist like I just showed there to create a much longer stroke his bow . So when you get comfortable with this, try using a larger brush. A larger flat brush can create, of course Ah, much broader area. And this is good for doing fields and things like that. If you endured landscapes, you can also experiment with doing tree branches and trunks and things like that. So a very, very useful brushstroke. So again, work the fingers or the wrist, make quick movements, avoid too much water, so doesn't splash, and then try larger and smaller brushes 10. Stabbing: stabs are a lot of fun to incorporate into your artwork. Great for shrubbery, trees and things like that. First, start with an old brush. Nothing that you care about. Trust me now, you know, loaded up with paint and press until your brush fans out a little bit. Now you don't need to press violently into the surface. The idea is, it touches it. The bristles will fan out a little bit, and then that's it. You can pull away now. You can also experiment with different angles. You can start upright or almost perpendicular to your surface, and then you can adjust the angle by lowering a little bit to get a little bit longer and slightly different. Stroke again. Great for texture, shrubs, trees and a lot of things just have to work with a little bit. Okay, so again, start with an older brush stabbing two year paper until you see it feigning a little bit. Experiment with different angles and again, this is not a violent stroke. Be nice to your brushes 11. Tree Project - Test Your Skills: for this demonstration, I will be using watercolor, but you can use any medium that you like, so this would be just fine with acrylics as well. You have to remember that with acrylics, you would just dilute your medium or your pigment with a little bit of water to thin them out to get the flicking and some of the effects I'm getting with the watercolor. Let's combine a few different brushwork techniques to create a tree. The idea is, I will split my paper in half. The one on the right would just simply be the trunk and some branches and the one on the left. I would do a little bit of foliage with the one on the right. I will use the flicking method. So if you remember, the flicking method is where we just take a brush and we're using the wrist to flick. Okay, so we're getting these sort of strokes for the trunk. Obviously, it's a little bit bigger, but I will still get it going and then flick to create that basic structure. OK, now I can use a fan brush. That's fine. I can also use any medium sized brush that will give me the width that I'm looking for. Something like that would work fine as well. But I think for now I'll just stick with my fan brush and the beauty of a fan brushes. You can turn it this way and get a very, very thin line. And of course, you can use the broadside as well. In this case, I will use the broadside down this mixing a little bit of yellow Oakar with a little bit of burnt sienna and a little bit of rose matter and just a touch of blue. Okay. And I will start here and flick, okay? And look at those nice little loose strokes and this kind of almost dry brush technique it presents by flicking it. It drags it across the paper and you get really, really interesting. Look right away. And it was that method that I used. It was flick that that in polls and that reaction created that result now for the smaller or medium sized branches, I will go to a little bit smaller brush. This is a number 12 round. I will use a similar mixture. Don't push this more to a darker brown. Maybe a touch of my COBOL. And so it's gonna get a little bit of that moisture off my brush. And now I will start fast on putting pressure to the surface, and I'll find where I want to flick it. Okay, so we get this nice little lost and found edges. So it starts out really nice here, and we lose it. That comes back. And this great means for a nice loose branch. That's all you need and coming here and flick and course we can flick in different directions. Okay, so I think for now you get the point how you can easily create some really nice little branches and structure here with a method like this. And now I can get in here with an even smaller point and just create some very subtle kind of this. This is just a little bit of flicking going on here just to create these little smaller twigs and things like that. Okay, so there you go. I will let that rest. And now I will go to exhibit the using a similar mixture. I think that will premix a little bit of violet. Someone go a little bit darker hue here and we'll get it going, actually will go a little bit more of a brown. And in this that'll work. Yeah, I'll bring it up. Click, and that's fine for the base for nice and again, you're getting those dry brush. Look to it. And it's that again, that flicking action that allows for this little you get this little detail. Yeah, this little ever actually look to it. And then that's what really creates that that beautiful watercolor quality, because with watercolor paper has that texture to it. And with the brush when we flick, the brush is going quickly, and it's only catching part of that texture of the paper, so some of that underneath obviously isn't getting anything any pain on it. So again, it's a really good technique to use for these sort of things. Now I'll go to my medium sized branches and its funeral, flicking in different directions here, all dragon and flick it. And so I don't want everything to be the same, so I will no change it up drag, drag and flick dragon click. So you kind of get that sort of look now. I talked about using some stabbing case. If you remember, stabbing is you push into the paper and you get this sort of look So just premix. I want my full used to be really transparent, so I don't want a very thick mixture. I'm just using a little bit of my cad yellow. Ah, limit with the meridian here, and I can start to stab some foliage. Is there? Okay. Now, the next technique is I will do the same thing using the same green mixture. But I'm going to make it a little bit a little bit darker this time because I want Teoh Contrast with would already have, and I can click. I could go even thicker pigment and get so some darker hues in there. And so there you go. So with that nice little technique there Ah, flicking, stabbing You can create some really nice foliage. And it's just something for you to experiment with now. These strokes were good for other subjects as well. But this is just something to break the ice with these things. And to show you how they're not just strokes by themselves. And you can't You don't just use it for one thing, you can start to combine them to create subjects and to create in this case, like a tree can you can use them in different ways, just like I showed you with the flicking. The flicking just doesn't have to be this. Okay, When you think about it, it can be No that. So the idea of flicking is that action beacon, Dragon and flick it at any point. Okay, So have fun experimenting with this, and I think you'll see how useful combining these things on these strokes can become. 12. Line Project With Sailboat - Test Your Line Skills: hello and welcome to the lesson, and this lesson will talk about lines. So, basically, how to draw a nice even straight lines. How to use pressure to create thicker lines and thinner lines. How to hold the brush where the movement comes from. A simple exercise to develop good lines and then, lastly, a project to test your skills in the first exercise. We will just create a series of lines now for this exercise. Amusing watercolor, but feel free to use acrylics oils. Be sure to dilute your medium just enough, so that is watered down and they'll come off the brush. Now, as I prepare my mixture with water, I want to point out how I'm holding the brush. Some backed off the point just a little bit holding towards the end and real light pressure . So I'm not squeezing the brush of holding it with his little pressure as possible. This keeps me relaxed. As I draw my line. I will tell you you want toe work from the shoulder. Do not work from the wrist or elbow. We create these lines. This will create a much smoother even stroke. Now, as you start to create your Siris of lines. Use more pressure into your surface. This will create a much broader line and then the course. If you lessen the pressure, you will create a much thinner line. And then, as you become more experience with this exercise, you can start to work a little bit faster to see how your lines improve. Or, of course, that they still need a little bit of work. So that's a quick exercise to introduce you to lines and then using pressure before we move on. Just a quick recap Work from the shoulder. Experiment with pressure into the surface for thick and thin lines. Dilute your medium so you get fluid strokes and hold the brush with a light grip and about 3 to 4 inches away from the tip. Now the next type of lines will create will be a spiral, and then we'll create a Siris of squares. The idea behind this exercise is that we just simply expand your linear skills when you create spirals, ideally trying to use the same amount of pressure first. So you have a nice, consistent line. As you start to work with this, see if he can pick up the speed a little bit and create a nice study spiral. The next thing will do is create a square. The idea behind the square is that the corners meet. So you want good hand eye coordination that we again have nice, consistent line thickness. As you get more comfortable, try to go clockwise and counterclockwise so you can move in both directions again. This is all about developing good brushwork skills, and the more variety can introduce to these exercises, the better. Now here is my study again. Work from the shoulder. Use the same pressure, the first from beginning to end. How good are your squares in the corners and trial working in both directions? Now, in this next exercise, we will start to put our line skills to the test. I'm using a sheet of nine by 12 watercolor paper £140 cold press. Now my subject is a sailboat, and I picked this because sailboats have a lot of thin lines, also thicker lines built in. So if you want to be able to test pressure into the surface, if you want to be able to create thick lines, thin lines and just create a lot of lines. This is a really good subject to explore. So now I'm just laying in a quick sketch that will help me get started, and we're just going to move through this kind of quickly. Since this isn't really a drawing class, I'm not gonna go into a lot of detail here. But the subject is very simple. In the shape is very simple. So now that the drawing is finished, I'm going to use a little bit of white Chinese white mixed with some grays toe lay in the sales. I'm using a very dry mixture as well. He may want to do the same if you want to work quickly, the weather your mixture with acrylics or watercolor, I imagine with oil to the longer you will have to wait. The idea with this first layer is I just want to capture the main shapes, and that's the shapes of the sales in the shape of the boat. What I'm trying to do is avoid putting the lines in at this stage. I want to come back in the next layer and add all of the linear interest, and that's both vertical and horizontal lines, so that would include the masts, the rigging and that sort of thing. Okay, so now I have my first layer down and everything is dry. I want to start to create a darker mixture here to use for the May masts. Notice that the master are probably the thickest line on the boat. So I will apply a little more pressure into my surface as I come down to the boat. And this will create again a nice, thick line. Now, as I continue to put these larger lines in, you know, I am using more pressure there, and then I will go to the next series of lines again, these air a little bit. Ah, thicker lines. So I'm using a little more pressure, but not quite the same amount of pressure as the top upright masts. So it's a little bit lighter into the surface, and this will again create a little bit thinner line, but not the thinnest. And this is the beauty of this exercise. You'll be able to create about three or four different types of lines with this one subject . So now I'm looking at the bow of the boat and we have a nice straight line coming out, so I'll start thick and then it goes to thin. So again you can apply pressure when you start and then lighten that pressure up a little bit to get a little bit thinner. Point. Now, as I start to develop this, I'm getting more into more thinner line. So basically my approach to this was to start with the thicker lines, and they work to the thinner. So pretty much everything I do from here on out will be thinner lines. So again, very, very light pressure into the surface here and then also, I'm using a little bit thinner mixture, some deluding everything with a little more water as I go. So if you have a lot of really thick, dry paint on your brush, then you'll probably end up with a very thick line. So kind of keep that mind, too, if you're using light pressure, but you're lines are still coming out punished heavy than be sure to adjust your pigment to water ratio, and then that's gonna help you a little bit. So I'm starting to get comfortable here with my lines, and then, as I do, I'm trying to work a little more fluidly so you can kind of start that line, then bring it down quick and all the while to, you know, working from the shoulder, being sure not to work from the wrist or elbow, because that that will create a very shaky, inconsistent line. So just try to keep those basic techniques. Ah, going as you do this. And so now, just and adding a little bit of the lines that are in the sales and you concede no the line work. This is starting to show a little bit here in this piece and again, that spot shows a subject. I think you'll enjoy working with it as well. But if you have other subjects that have a lot of linear interest in them, then you can use that as well. But I'll include this photograph for those that want to give it a shot. Now it's impossible to create every single piece of rigging and line since I'm not really that familiar with boats, but I'm going to add the ones that I feel are necessary, and the ones that basically give me are the rooms to practice here. Okay, so Now I'm getting into some that the ugly, they're jib zor the sales on the front of the boat there little by little, you know, adjusting. So if I start to see a thicker poll that I missed before a line that I had a little more pressure to create that. So now there's some railing on the boat, some adding that as well to some hand rails and safety rails and stuff, and that again just gives me the ability to practice a little bit more. So this thing is, ah, slowly starting to come together, adding some little finishing details to some of the lines, some pulleys and that sort of thing. And now I'll just finish it off, adding a little bit of water. Anchor the boat down, and I think we pretty much got this thing down. So here's my final piece. Well, I hope you enjoy my little sketch here. I hope that the tips you learned in this lesson help you out. Remember the work from the shoulder. Remember that you can adjust the pressure into your surface to create thick and thin lines , and I think once you start to explore this, a little bit. You'll start to appreciate how useful lines can be in your art. And quite frankly, they come up all the time. So it will help you over and over again. Thanks for watching, and I'll see you next time.