Watercolor Driftwood: Painting Realistic Layers - For All Skill Levels | Angela Toci | Skillshare

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Watercolor Driftwood: Painting Realistic Layers - For All Skill Levels

teacher avatar Angela Toci, Artist & Owner birchtreeblooms.com

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

16 Lessons (1h 18m)
    • 1. Intro

    • 2. Intro Final Project

    • 3. Supplies

    • 4. Practice Lesson: Transparencies

    • 5. Practice Lesson: Color Chart

    • 6. Practice Lesson: Wet on Wet

    • 7. Practice Lesson: Wet on Dry

    • 8. Practice Lesson: Brushstrokes

    • 9. Final Project Sketch

    • 10. Final Project First Wash

    • 11. Final Project 2nd Wash

    • 12. Final Project Wet on Dry 1

    • 13. Final Project Wet on Dry 2

    • 14. Final Project Details 1

    • 15. Final Project Details 2

    • 16. Final Project Final Details mov

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About This Class

Hello, my name is Angela, welcome to my Skillshare class: Watercolor Driftwood: Painting Realistic Layers.

I am a watercolor artist and I live in Alaska. I am primarily self taught artist and have been painting watercolor for 4 years. I am the owner and artist of birchtreeblooms.com. I absolutely love watercolor and am looking forward to sharing this class with you.

In this class you will learn how to build watercolor layers to add depth and rich texture to your paintings. I will guide you through a series of practice lessons to build your confidence in water control and fluency in transparencies, building a color chart, and layering techniques. We will also practice a variety of brushstrokes and texturing techniques so that you can create beautiful watercolors. You will learn how to successfully paint the wet-on-wet technique, wet-on-dry technique, texturing, blending, and shadows. 

This class is for beginner watercolor artists as well as watercolor artists looking to add depth to their pieces.

The same layering techniques can be applied to any subject be it leaves, rocks, feathers, landscapes, etc.



All you will need is:

-Pencil & Eraser

-Paper Towels

-Watercolor Paints (Burnt Umber, Ultramarine Blue, and Yellow Ochre) or similar colors

-Watercolor Brushes (vary in size #1, # 4, #6) or varying sized brushes

-A cup of clean water

-Reference Material (Photo of Driftwood) Look in the "Project Resources" tab

-Watercolor Paper - (Arches #140 Cold Press)

*For my favorite Watercolor Supplies List  check in the "Project Resources" tab. 


Meet Your Teacher

Teacher Profile Image

Angela Toci

Artist & Owner birchtreeblooms.com


Hello, my name is Angela and I am a watercolor artist living in Alaska. I am a self taught artist with a love for all things art. I have always been fairly crafty and artistic so its no surprise that when I started painting with watercolor 4 years ago,  I fell completely in love with this medium.  

Since starting my watercolor journey I have launched  Birchtree Blooms (www.birchtreeblooms.com) making my artwork available to art lovers and locally owned businesses. 

I feel incredibly grateful to do what I love and I look forward to sharing my love of watercolor with you.

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1. Intro: Welcome to my skill share class watercolor driftwood. My name is Angela and I'm a watercolor artist. I live in Alaska and I had been painting watercolors for four years. I loved water color. It is just a beautiful, versatile medium. I find that you can get a wide variety of styles within this medium. You can be very loose and flowing with your paints. Or you can really learn how to control your water and create these really rich textures and beautiful details. No matter where you are on our color can be incredibly fun to learn. This class is for the beginner and watercolor or anyone who has tried watercolor, but would really like to learn how to create realistic details. I'll walk you through the setup process, really introducing the materials to you, some of my favorite materials and supplies, as well as some practice lessons help you feel like you have a grasp on water control. I find that controlling your water and watercolour is probably the biggest skill that you can gain. Really understanding when you want to be loose and flowing and when you really want to tighten up and control those layers, that can really make a huge difference and where you go with your watercolor P. I'll also teach you some brush strokes and texturing techniques that will really enable you to create beautiful detailed paintings for our final project. And you can really take these skills to any painting you want to paint in the future. It's not limited to this class. My hope is that you would really feel like you learn something new in this class and really enjoy the flexibility that watercolor offers and that you can walk into the final project. Filling IQ can really, really worked with those layers. Thanks for joining me and my watercolor driftwood class. Please be sure to download your quirks and progress and your final project photos and the Projects tab, and look to see what you guys are working on. Well, so be sure to follow me as a teacher, keep updated on any new classes that I'll be posting and sharing with you. Also, if you have any questions about the practice lessons, the final project or just watercolor in general, feel free to ask those from the discussions tab. And I'll answer those soon as I can. And let's get to painting. Thanks for joining me. 2. Intro Final Project: For a final project, we're going to be painting a watercolor driftwood composition, but will do is use a reference photo and I'll provide those and the project Resources tab, I chose driftwood as the subject for our final project because I find driftwood incredibly beautiful. One of the things that's so beautiful about drift to it is that every piece has these very unique, rich organic details. So you're never going to find two pieces that are twit that look exactly the same. So in this process will begin by drawing. In our driftwood piece. We're going to start laying and our first washes, which is going to be our wet on wet layers. From there we'll build all the way until we get to our final details, textures, and shadows that are really going to make your painting pop off the page. Thank you so much for joining me. If you have any questions, be sure to post those in the discussions tab. And also as always, posterior works in progress. 3. Supplies : Alright, we're gonna get started today. We're going to look at our supplies in materials, have a clipboard to secure my final project. Painting on. Some painters tape three sheets of eight by ten Arches, watercolour, cold press paper, a 140 pound. This is really good paper. If you're working with multiple layers, you're gonna want a good quality paper. I also have three brushes. All the brushes I'll be using around brushes have a size 861. And those just help really get a variety of different washes, strokes, and details. We'll be using three colors and our composition, yellow ochre, French ultramarine blue and burnt umber. And we'll do all our practice lessons and project Final Project with these colors. You'll also need a water cup, paper towel, and some sort of pallet or plate. I preferably like something porcelain or a metal. Just because it'll help your your paint in water, instead of beating up like it would on plastic would be really nice and smooth as you mix it out. If you have one access to when you use a hairdryer, it'll help speed up the process in-between your layers drying. We'll go ahead and get started on our next lesson, which is transparencies. 4. Practice Lesson: Transparencies: Alright, so we're gonna go ahead and start our first lesson with transparencies. Transparencies is how much water we mix with our pigment to get a variation in tone. So light to dark. So the more water we add, the lighter color is going to be, and the more pigment, the more opaque or more saturated colour will be. So we're gonna go ahead and start with our first row. We're going to do a series of five squares across the top. And we're going to start with our lightest tone all the way to her darker. So we'll start with creating a puddle on our palate. And we're going to just pull a little bit of yellow ochre into that puddle. Can use a figure eight to make sure you don't have any clumps on your brush or on your palette. To like get a nice mix. Alright, so we're going to go ahead and put in our first square. And this is going to be very light and value because it has more water in it. So that's our first square. So we're going to repeat this for the second square and just pulling a little bit more color down into our water puddle. As you can see already, or value has increased, there's more pigment and our second color. For a third square again, just pulling more pigment down. Getting a more saturated tone. Just take your time. This is a good exercise to get really comfortable with your layers. Alright? So for this last one, this is going to be our most saturated square is mostly just enough water to allow our pigment to move. So we're gonna use that really rich color here, and that is our yellow ochre and a really rich golden yellow. Alright, so we're going to repeat this process on the second row using our next color in our palette, which is burnt umber and get a nice little petal. And then we're going to repeat just pulling a little bit of her burnt umber down into our palette. And starting our first square. Again, our last squares is going to be just enough water to allow our OCR to move across our page or are burnt number any. We're gonna go ahead and put in that really rich color. All right, so we're done with our second row and we're going to repeat this process for a French ultramarine blue. I'll go ahead and speed up the video at this point, but you can definitely follow along with at your own pace. This is a really good exercise to get comfortable with your water to pigment ratios. Well, right, so as we move along, we're going from our lightest value of our colors to our most saturated colors. And so here we have our transparencies for r3 colors. So we're gonna go ahead and move to the next part of the exercise, which is laying out our color chart. 5. Practice Lesson: Color Chart : So in this exercise, we're going to create a color chart. And this is really useful in really getting comfortable with colour mixing. Color. Maxine can help you see how colors work together in a piece. And it can also help you see what colors you can create within ever colors you have on hand. So I've laid out a three-by-three grid here and there, just one inch square, but it just helps me have a more orderly color chart. But what we'll do is we'll lay and we'll put in our names yellow ochre per ampere and French ultramarine blue. And I repeat that same order along the side. Alright, now that we have our color chart laid out, we're going to start in our first square, which is yellow ochre. So sense. The yellow ochre is on the side as well as the top and to the square. We're going to do the full saturation. Have yellow ochre, much like we did in our transparency exercise. You're going to create our nice rich puddle of yellow ochre. Figure eight it on our palate to get it nice and smooth. And we're going to add our color. Alright, so there's our first square. So for our second square are doing yellow ochre and burnt umber. So that whatever color is on the top of your chart, and this square is going to be the dominant color and near color mix for this square. So we're going to do a mix of our yellow ochre with per ampere, but yellow ochre is going to be dominant in that mix. So we're going to pull down a puddle of our yellow ochre. And we're going to pull a little of our burnt umber into that mix. And what we're gonna get is a really golden tan color. More of a will get richer color here. So we're going to repeat that process and our third square, well, yellow ochre and French ultramarine blue. So we're going to pull down our yellow ochre again. Maker rich paddle. The pull over a little bit of our French ultramarine blue. And it creates this kind of a greenish gray, which is really perfect color tones for driftwood. Alright, so this is our first row, and we're going to repeat the same process for our second row. For this part of the exercise, we're going to start with our burnt umber. We are going to mix are burnt umber with yellow ochre. And so on this square we're going to have br ampere B or dominant color. Now just pull a little bit of my yellow ochre into it. Alright, so we're going to put this mix down into our other chart here. And you can see that it's a little bit different than our makes that we had in our first row. We'll get more brown. All right, so for our next square, we have burnt to Amber he on this row and Burton number here. So we're going to just do straight print number, much like the square up here. Alright, so we have a really full saturated for number square here. Alright, for this last square, it's burnt umber infringe, ultramarine blue. This is probably my favorite mix for doing different wood tones or for ocean. Is this. So I'm going to mix an ice rich puddle. And I'm going to add just a little bit of my French ultramarine blue to it. This color ends up. The blue just really kinda knocks down some of the bright tones and it, and it creates this really rich, warm Brown. And he did it a little bit more saturated here. Once you get familiar with your color mixes and how they work together, you can find the ratios of pigments that work well together for you. So that's a really nice brown. It doesn't have all the more of the orangey tones dot this one does. That's a real soft, so it, just, those two colors work really nicely together. For this square, we're going to be working with our French ultramarine blue and yellow ochre. I'm mixing my French ultramarine blue and some of my yellow ochre. And I really like this tone, it creates a real soft grey. It's similar to this one. This one has a little bit more green tint to it though. So this one here is a really nice tone. And again, when you start working with transparencies, there's all these variations within each of these colors depending on how much water you mix with it. So I really like this color blend here. Alright, so for our next square, we're doing into blue and our print number. And this makes a really beautiful grey, like a steel gray. So if you add more of the blue, it's going to be more blue-gray. If you add more of the brown is going to be this richer, warmer Brown. It's got a little bit. So these colors are nice per painting, rocks as well. Alright, so for our last square where painting, French ultramarine blue. That's full capacity. Hardly any water here. Just alright, so that completes our color chart. You can use this as a reference for when we're painting are driftwood in our final project. And also when we're painting, are wet and wet and wet and dry layers and then X exercise. This is a great way to get really comfortable with your color mixes. So really enjoy this process and feel free to use this room over here too, even in our mix, some of these other colors like burnt umber, yellow ochre. And what happens if you add a little glue to it? So there's a lot that can happen within these colors just by kind of playing with those ratios. So we'll go ahead and move on to our next exercise, which is our wet on wet and wet and dry washes. 6. Practice Lesson: Wet on Wet : Alright, so for this lesson, I have divided my paper into three sections. For wet on wet, on dry, and then for our brushstrokes and dry brush splatter and shadow techniques. For the first section, we're going to just start with our wet on wet. When we're working with wet on wet, it just means that we're working with a surface that has a layer of water. So we're gonna go ahead and get started within this first circle. I'm gonna get my color mixed up first. I'm gonna do a soft grey. And we're gonna kinda work within these shapes with colors that we're going to use for our final project, like driftwood. So we're gonna kinda be keeping or driftwood in mind. This is a really light, diluted color. Whenever you start working with a wet on wet wash, it's going to fade about 30% because you have water on your paper. So it's okay to start really light with a water color. Do you want to work from your light to darks? So we're going to add our water to our circle. And it's okay to take your time with your brush control, get real comfortable. It's just as important and it's okay to move your paper around. It's just as important with watercolor to really take note of where your water is. That's where it is as you're putting your paint. So it's just this, you can see it's just at, there's no pedals as just a smooth layer of water. Alright, so I'm gonna take this mix. It's the soft, kinda brown, grey. It's our burnt umber and French ultramarine blue. And I'm going to just start dropping in my color along the edges. And you can see the color just kind of fanning out within the paint or within the water. And it's just a really soft paid. This is really nice when you want to preserve a highlight. You just keep your paint from reaching that areas that you want to remain light. And as it still wet, you can still work with it. So I'm going to drop in a little bit more color just to kind of build their color. So within your first layers on a wet and wet wash, you can really do a lot of foundational contouring and building shape, a little bit of texture. And just kinda getting an overall feel for what color tones, your setting, and your painting. So if you ever want to lift any color out, you just take your brush, get it clean, tap it on your paper towel so it's just damp. And you'll just gently lift and then wipe onto paper towel. And thus we'll just kinda left any color right here. We don't have very much paint on here. But it can be just a good practice to really work with where you want to preserve highlights and shape. So we're going to let that be all for our first circle. We're going to move to our second circle. Again, we're going to add a layer of water. We're going to add a little bit of yellow ochre to this just to get more of a light tan. And we're going to start at the top left, that kinda fade down. And we're going to add just some real gentle brush strokes. We can impress you, rush down and lift by the end. Again, this is all on really light colors as it's still wet. Can get some of that water off your brush and just add in some more pigment to build up the saturation of color. And within this layer you can create movement already. And if you have areas that you're getting paint or water that you don't want them. Sometimes you have to let them dry. You can just tap clean paper towel and it'll pick it up. So this is a really nice Foundation that's good. Represent greens already in your wood. So we're going to add a bit of a dark tone of the crown into this and see what happens. What's nice about working with a wet on wet layer is that can really help diffuse your edges so that you don't have all these harsh lines. But they're kinda soft and they can blend together really nice. Just remember you don't want to overwork this layer. You can do several. What on what layers on top of each other. Once the first layer has dried. So if you start getting to a point where you're feeling like you're being a little too fiddly and you're losing some of your, your highlights and just losing some definition and what you've tried to do, then just let it dry and move to the next layer. And this is really helpful. This is when it's really helpful to have a hairdryer to speed up that process. So we're gonna just kinda let these two set here. Actually this, this, ok. So if you tap your paper with a back here and knuckle, if it's cool, then it's still bad. And that can be good if you still want to work with an area. If the painting you can see that it doesn't have that shine. It's kind of a matte finish on this first circle. So it still workable. It's just slightly damp. So if I wanted to add a technique called splatter, I would do that now. And so what I would do is cover up some of my other paper. I take my brush. And you can see is just a really light texture splattered within that shape. And I might do a little bit darker. I do it in this one. And you can see it just adds some really neat granules are little blobs of color. And this is going to be perfect for our driftwood because it'll show like a little tiny pieces of sand or imperfections in the wood. So again, to left any color that we don't want an unwanted spotter, just took a clean wet brush. Take it to the paper that's covered and left off, press and lift with your paper towel. This just helps you know how to handle any unwanted spots on your paper. If you're using a really rich red or blue or green. And you might want to have a separate cup of water to do this with a real clean cup just to just to keep it real clean. Okay, so we're gonna go ahead and work in this third circle. And we are going to do the same thing, cooked the whole section with water. All right. We'll do more of this kind of soft grey on this one. We're gonna do. Are we kind of just blend this first wash all the way through. So you have this whole layer and you can see as it starts at the top, it's have more paint on your brush and it kind of fades down where you can add texture. So as before, I'll show you how to lift a highlight. Actually we'll get it darker first before we will have to highlight so you can see. So again, if you wanted to represent a few grains right here, you would take your cleaned out brush, left through the painting, tap it dry. And you would just keep doing that until you got your highlight. Another thing that you can do is if I want this bottom section here, white, I can let it or since it's already well, I can just press my paper towel on the edge and left and that's going to preserve that highlight. This is really fading already where I lifted because it's still a little bit too damp up in there to really good until it lift and that's okay. You can you can get comfortable when it's good to lift. You can also take your paper towel. And less than. 7. Practice Lesson: Wet on Dry: Alright, so we're done with our wet on wet washes. And we're gonna go ahead and move onto our wet on dry or wet and dry washes are working with our paint right onto dry paper. So it's not going to be quite as loose. And you're pigment might dry a little faster, so you have to be careful of any hard edges in your paint. So we're going to start with our first circle, and we'll use the same kind of soft gray next. And we're gonna start with a nice thick rich puddle. And we're going to just work our way down the page, her down our circle. So you can see that this is a lot more of a controlled technique for adding your pigment to your paper. You can still add extra pigment to boost colors. As it's wet. You just kind of move along this edge, shifting this puddle down your paper. And as you work, you can add in various colors just as long as you're working quickly or in sections so that you don't have to worry about those dry, hard edges. Ok, so here we just have one nice solid layer of color on our first circle. So one texture technique and we're going to show you is called blooms. And it can be a really nice method of creating texture. And it's just adding drops of water right into your wet areas. And it just create these little plumes of water movement. So the water's kind of essentially pushing out. Your paint can be just a nice way to create texture within a piece or create fog or Mr. alright, so that is our first what on dry circle, we're going to move to our next one. We're going to try to stay lighter at the top of our circle and, and get our transparency darker bar at the bottom. So we're going to work with our light here. So this is where your transparency exercises can be really useful to get really comfortable with. If you want it to blend, you can just kinda gently move your brush backup into it a little bit. Okay, so here we have our second circle. Not a whole lot going on. And color variation does to slight color change from light to dark here. But as it dries, we can add in different lines of texture to kinda create some texture and interests without that space. But if we try to do that, well, it's too wet. It's not really going to do too much for us. So we're gonna go ahead and move to this third space. We're going to create a hard edge so that we can know how to fix it if it happens. Sort of taking a really thick wash of our color. Now if I were to leave that to dry, it would create this really hard edge right here. I might have to scrubbed to loosen it. So one thing you can do is get a clean brush, put some water on the circle or the area below and work your brush and that water. Not too much. You don't want to pedal the Rigaud creative bloom, but you're going to work up to that line. And it will kind of pull that edge down. And that can be a really nice way to defuse a hard edge. Getting really comfortable with these washes teaches you when you can work with a layer and when you just need to let it dry, it always be especially useful for our final project, but it's really useful for any painting or you're creating multiple layers. So while this one is still pretty wet, I'm going to add a couple of texture lines, just some gentle brushstrokes as it's still wet. And they're kinda diffusing out. And that can be a really nice way of adding some texture while it's still wet. You can also do the same thing where you're dropping blooms, but instead of water you can do pigment. So there's a lot you can do between that dry stage, but if you're not sure, let it dry and repeat the process. So those are our wet on wet and are wet and dry layers. We're going to move to the next part, which is our brushstrokes, Dr. Rushing splatter and shadows. And it will also incorporate some of those texturing techniques up into these dry areas so we can see how that would look when we build on our layers. 8. Practice Lesson: Brushstrokes : Alright, so for this part we're gonna go ahead and work with our different brush strokes. It's useful to work with in a variety of brush sizes to vary the width of your brush strokes and just the difference in texture. So just getting comfortable with making wide or thin lines within your different brushes can help you know what kinda looks that you can create. I like this technique because it's really useful for grains, knots, leaves are waves is just starting with her Laney pressure, creating pressure and then going back to our Laney pressure. And you can use this to really build texture within a piece. Just getting comfortable with creating here grains. So you would make lines just really close together. Kind of stagger them a little. They don't have to follow your whole piece of driftwood. But just getting comfortable with what different brushes look like. See, you know, what kinda lines you're going to be able to create within your piece can be really helpful. This is a size one brush, so it's going to create some really nice details for me. You can also create some little speckles are dots with the tip of your brush. Just getting kinda comfortable with just a variety. Another thing that you can do is the splatter, like we tried in our lesson. We take a rich color or any color and tapper brush. And when it's done on a dry surface, it's just going to create this when it's done on a wet surface equity did appear, it'll diffuse enlightened. And you can build on that with your deeper transparencies through your layers if you want. Another really useful technique is called dry brush. Or you're essentially taking a dry brush with pigment on it and you want you don't want it to be too wet. And you're taking that dry brush and dragging it across your paper. What that does is it that paint catches the tooth of your paper and creates these textures. This is really helpful for creating textures on your wood. So we're going to actually take this technique and add it up here. So you're taking your brush almost completely on its side and dragging those brussels across your page. And if you get any hard edges, you just soften it. Just soften those hard edges. And those layers you can build on. So saying just like you can create these brush strokes. So just play with some of these techniques within your pieces that you've created in the wet, wet and wet and dry layers. Just to kinda see some of the different shapes. And so you can see some of the different textures you can create. So one of the last thing that we're going to do when we're creating our piece is create a shadow. So for a shadow, if we have our driftwood here, it's gonna cast a shadow depending on where the light is around it or something like that. So we're going to take our brush and make a nice rich gray. Nor going to come along the edge of our shape. And we're working wet and dry. You're going to add pressure to her brush to vary the what there are working quickly so we can take our web fresh and kinda move back up into that just to kind of diffuse top edge. Because shadow diffuses. Shadows can really help your pieces pop off the page. So getting comfortable with some of the tones that you would use. A shadow is important. And also play with how, why do you make your shadows are the shapes you make him over. For the shapes that you would make your shadow. So that's how we'll create our shadow in our final project. Alright, so we have our different brushstrokes and these different techniques to bring into the final project. So we're gonna go ahead and get started. 9. Final Project Sketch: Alright, so we're gonna go ahead and get started with our sketch for our driftwood. Any pencil work, we're just going to gently sketch in the shape of our driftwood. But we're gonna really try not to have to erase because that'll really compromise the integrity of your paper if you do too much erasing and it'll start to mess with your paper. So we're going to adjust from the sketch, the San, I'll speed it up for you. And what I'm gonna do is just kinda get the essence of my piece of driftwood onto my paper. Okay, so I have just a basic sketch here just to kinda give me the idea of my shape of driftwood. And what I'll do next is go ahead and tape the edges of my paper to my board. And then we'll get started with our first wash. 10. Final Project First Wash: All right, I have my paper secure to my board and then my drawings ready. Just kinda giving a little bit of an idea of how I want my greens to flow. So the first thing we're going to do is mix up a little bit of color in our palette for our first wash. And then we're going to lay in our first whitewashed. So the first thing we'll do is go ahead and create a color mix. We're going to start with a really light transparency. So this is where our transparency exercises really come into play, is whether your washes. So this is a really light grey that I've mixed with my burnt umber and French ultramarine blue. I'm going to lay down even layer water over my whole piece of driftwood. Remember, we don't want Petals, we just want a nice even wash of water. Okay? So I'm gonna lift this just so you can kinda see the schein. There's no puddles. Alright, so we're gonna go ahead and lay in our first wash of color. And what I'm going to do is I'm not going to cover the entire surface. I'm just going to kind of line out some of migraines. These first layers are really guideline that you'll use for the rest of your painting. If your brush gets a little wet, just tap it on your paper towel. You don't want to be adding a lot of excess water. Has that still wet? I'm going to just kind of deepen some of those tones that I've already applied. And I might vary some of those lines with a little bit more of the burnt umber. So I've got a really soft wash of color in this first wet on wet wash. So what I'm going to do is going to go ahead and let this layer dry. Otherwise we're going to end up losing some of these soft white areas. So I'm gonna go ahead and let this dry. Actually speed up the drying with a hairdryer. And then we'll go into our second layer. 11. Final Project 2nd Wash: Alright, so our first wash is dry. We can always test it with using the backed up our knuckles. And if it's cool to the touch, it's going to still be a little bit wet but spills nice and dry. So we're going to just go ahead and repeat the same process by just kinda deepening some of these areas that we want to be a little darker, kind of like our piece of driftwood. There's some areas that are a little bit darker, so we'll do the same process will whet our whole piece of driftwood. And we'll just add our color, right, where we kinda wanna defend some of our values. So at this point I can speed up the process again. Alright, so I've just IEP deepened sum the value of some of the lines and strokes that we already had. It's still pretty damped. So I'm gonna take my size six brush and I'm going to create a little bit of a darker value. And as it's wet, I'll add some at the beginning lines for some of the darker tones. So it's pretty wet, still in here. So I'm going to just create the beginning for some of these darker shadows. Some of these lines that are going to be a little bit more in shadow. Anytime you're working and you want to make sure your brush gets to a point, you just spend your tip on your palate. So one of the things I'm noticing is that this is a little bit of a hard line, so I'm just going to take a damn brush. Just kinda take that out. If you see how this is feathering and a few areas a little bit more than you'd like. Again, just take a damp brush and just kind of soften some of those edges. So this is a good spot to stop and let the second wet on wet layer dry. And then we'll go ahead and see what it looks like once we've let it dry. 12. Final Project Wet on Dry 1: All right, so our second wet on wet layer is dry. We're gonna go ahead and start adding some weight on dry, texturing details to kinda go off a little bit more character to our painting. So I'm going to use again just my number six brush. I'm going to create kind of a darker tone with my burnt umber and put French ultramarine blue. And I'm going to just start working around the page, adding different lines, can grains to just kind of start a little bit of detail to this piece. So I'll speed this up, but just go ahead and work from, I usually work from the right to left just to round and then kind of see the areas that start are looking like they're a little bit flat and kinda filling those in. But just to start giving a little bit of form and life to the painting. If you're a little unsure of where to start for some of these textures, just think about giving them some guidelines of movement. So even if you just want to start carrying your brush tip across the page and it does to follow on the same line. It can be somewhat staggered like we did in our practice. Justice going to start giving the essence of some movement. Alright, so I'm gonna go ahead and let this dry before I start pulling up. But I've just put on for details. And then R we're going to add, just continue to add some more details in the next layer for our wet and dry details. 13. Final Project Wet on Dry 2: I'm going to go ahead and make up another color mix a little bit darker. Probably make a few different puddles here. And kind of change the color tones. Just so I have a little bit of variety of what's on my page. Again, I kinda like to start up at the top. I'm going to make sure that I am changing some of the brushstrokes. By pressing down. I'm actually going to do a little bit of very light wash of my yellow ochre as I'm going along just to kind of pull the painting together. So I'm going to, this yellow tone has a little bit of a glow to it. So we're going to just use that. Just wet on dry and some of these areas. And if you don't want this color and tone, can just get a white brash and just use water. And just gently lay that up right up next to no Hosh. And we'll just do this glaze over the whole piece of driftwood. And this is going to help some of those other details sink back down into the page. And it's, again, it's a transparent layer. So we're going to still see some of those details, but they're not going to be jumping out at us quite as much are kinda back down with us glaze. And we want to move pretty gentle so that we don't disturb the layers beneath some of these areas where I got upside of the driftwood, our left those here in a little bit just to kinda keep my painting clean. All right, so we had a wet and dry layer where we just worked on a dry surface, but we did cover the whole piece of drift to it just kinda varying or taus. And what it has done is it just has made our piece a little bit more cohesive. Everything is warmed up just a little bit. And so we're going to let this dry. And then we're going to add some more details. But before we do that, and I'm thinking I might like to try to add a little bit of speckling by doing some splatter. Alright? So it didn't protect my page at all. So I have a lot of these little splattered. I'll just take some clean water. Rubbing it on our area. Press your paper towel left to do. 14. Final Project Details 1: Alright, so for this layer, we're going to just continue adding more detail. I liked the tone so far. It looks like a piece of driftwood, so I don't want to really take it too much darker, but I do want to add some more details. So there's details and different grains in here that I really want to add. Something, really work around the page and tell I feel satisfied with the look that's taking place. I'll speed up the process, but just work around the page until you feel real comfortable with the look that you're getting. And take your time. Take a break if you need to. Sometimes it helps to walk away and come back. If you have a loose frame, you can always put a frame around your painting to kinda help you see when it looks like it's starting to get close to being done. So I'm just going to work around the page until I like I'm getting a little bit more of the details. I want just connect, continuing to work around the page I filled in most of these details. If you want some of these other lines and grains to have a little bit more depth. You can take a darker color. They don't even have on. And just to run the tip of your brush along the upper edge, just adds a little bit adapt plate, that's a little bit of shadow. C. You can repeat that in any of your different sections. Okay. Okay, alright, so for this layer I just worked around the page. I'm going to go ahead and dry the slayer. And then what we'll do to kinda see where we want to take our painting as we're going to add the shadow in. That dark shadow will help her painting liftoff the page. But what it will also do is help us know how much more we want to do on our patron I, we're gonna go ahead and mix up a shadow color. We're going to just give it a nice deep gray, which is our French ultramarine blue and our burn number. We're going to be working right on dry paper. That first. Before we do that, I'm going to just gently sketch in. When you're looking at a shadow. It'll just kind of come around the piece following the shape. So we're going to just use this as a guideline. If you're working right onto dry paper, you're going to have to move somewhat quickly. So that's your piece doesn't dry. So we added our first shadow. And as it's dried, it's looking a little bit door, which is fine, but I would like to have it be a lot darker. This edge has just underneath. So I'm gonna go ahead and add in another just really fine enough paint to just deepen this area right underneath where the driftwood us sitting. And what that'll do is that'll help the driftwood itself. To lift up off the page. I'm going to just drop in a little bit of a dark petal just to darken the shadow on it. Take a wet brush up to I don't want to push water into but I just applied. I do want to soften it so it looks a little bit more of a fading. We want it to kind of feed into each other a little bit more. 15. Final Project Details 2 : Alright, so we're at the part of the painting where we have our shadow and we can kinda see the piece really looks like it's come together. So we're going to just tighten up or edges by just gently laying in any color just to make those edges really smooth. It doesn't have to be a hard line, but just to really kinda make it look more polished to little bit more finished. So I'm gonna go ahead and work myself around the painting. It's eye might come in here and deepen a couple of these tones. Working myself around the page just like that, to just kinda continue to bring our painting forward. And some of those deep tones, but pushing them back so are our piece has a little bit more shape. So I'm gonna go ahead and speed this up. No. They're doing just great sorrow, Groton around and just kinda tightened up my edges. And it's starting to really kinda come together as far as looking like a piece of driftwood. And I'm going to just kind of continue this process just a little bit longer. I might tighten up over here just a little bit still. Add a little bit more details. And here, once this is dry out, a very light wash, just very light gray to just kinda pull all those layers together are going to go ahead and continue to just start going a few areas. Okay. Okay. Thank you very much. 16. Final Project Final Details mov: Right, so I just finished adding a little bit more details. This kinda tightening up the edges, looking pretty much done. This is kind of the part in the painting where it's hard to kind of sometimes know when to stop for. We have our shadow and several washes now over our driftwood just to kind of learn how to add are transparent layers, building on those wet on wet washes and are wet and dry washes and textures to get more of a 3D painting. So again, just, just developing this layer by layer until it's really taking the shape that you want it to. So I'm gonna go ahead and finish up those final details. And then I think this painting is about done. I'll go ahead and speed up this last little federally parks. Okay. Compared to the government. Right? So I think that I'm gonna go ahead and call the stein. It's kind of going to my tape chat Lee. So here's your final piece. I hope that you enjoyed the process and feel like you learned a little bit more about building a peer layers. You can take these lessons and apply them to any painting where you want to create more dynamic layers. Please be sure to ask any questions in the discussions tab and post your work in progress in your final pieces. And the projects as well. I'd love to see what you guys come up with. Thanks a lot for joining me. Keep painting.