Watercolor Historical Portrait Masters Study! | Hajra Meeks | Skillshare

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Watercolor Historical Portrait Masters Study!

teacher avatar Hajra Meeks, School of Watercolor & Wizardry!

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

13 Lessons (35m)
    • 1. Intro & Supplies

      1:29
    • 2. Painting the Face & Necklace

      6:31
    • 3. Painting the Hair & Cap

      4:17
    • 4. Painting the Hands

      2:58
    • 5. Wet in Wet Background

      3:04
    • 6. Lifting Edges & Painting Tiles

      1:47
    • 7. Cool Tunic Shadows & Book

      1:31
    • 8. Warm Tunic Shadows

      1:51
    • 9. Wet on Dry Trim

      1:11
    • 10. Painting Sleeves

      2:23
    • 11. Color Palette Tools

      1:55
    • 12. Finishing Embellishments

      3:02
    • 13. Skirt Fabric & Wrap Up!

      2:56
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About This Class

Hey Watercolor Wizards, Hajra here!

Create a historical portrait painting with me in watercolor! This is part of my Masters Studies series, and uses Walter Crane's oil painting "Laura Reading" as a reference--painting reference and my sketch are provided on Skillshare as attachments. We’ll be going at a relaxed pace with lengthy viewing time and instruction, using wet-in-wet, wet-on-dry, and glazing techniques. Suitable for beginning to advanced artists.

About me: I'm a former university lecturer and Author-Illustrator, and you might know me from my channel of Watercolor and Wizardry on YouTube, or from my Patreon tutorials where I share epic watercolor, gouache, and ink instruction, or more recently from my shared art on Instagram!

Thanks for parking your brushes here and let the epic art adventures begin!

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Soundtrack:
Mystery Bazaar Kevin MacLeod (incompetech.com)
Licensed under Creative Commons: By Attribution 3.0 License
http://creativecommons.org/licenses/by/3.0/

Meet Your Teacher

Teacher Profile Image

Hajra Meeks

School of Watercolor & Wizardry!

Teacher

***UPDATE: I will not be posting further to Skillshare as they treated me in a horribly unprofessional manner; if anyone wants to see more of my art and instruction, please follow me on Instagram and Youtube. My new REAL-TIME, REWATCHABLE, ART CLASS VIDEOS here:  https://www.youtube.com/user/hsmeeks/community

 I'm an Author-Illustrator and former university lecturer who creates and posts nature, botanical & fantasy Illustration. You may be familiar with my Youtube Channel of Watercolor & Wizardry where I post epic watercolor, gouache, and ink tutorials. I brought my in-depth art technique and art history education to some Skillshare classes, and I hope you enjoy the 6 I posted in the past. 

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Transcripts

1. Intro & Supplies: Hey Watercolor Wizards, Hajra here. Today we'll be painting a watercolor master study of one of Walter Cranes' oil paintings. Thanks for parking your brushes here and let the epic painting adventures begin. Start with your free hand drawing from the reference painting I provide, or you can trace and transfer this sketch I've provided on Skillshare. My sketch transfer and free hand drawing process are not covered here, but that's all available for free on YouTube and some of my videos if you want that information. As far as supplies go for this project, I use an HB pencil and soft eraser, a synthetic angle brush for water media in a one-third inch size, a round brush with a fine point, a 20 over zeros fodder brush if you want that for dry brush details, though it's not necessary, a cloth towel, a water cup with clean water, a paint mixing palette, your sketch done separately and transferred to your painting surface if you weren't drawing on it directly, and arches hot or cold press 140 pound watercolor paper. I use the backside of arches cold press for my painting in a size 4 by 10 inches. The colors I used are Quinacridone Gold, red-orange and Hooker's Green from [inaudible] and a smidge of alizarin crimson and phthalo blue both from Sri Lanka. Now it's up to you to choose the colors that are the most similar to this from your own paint so you definitely don't have to get these exact same colors. 2. Painting the Face & Necklace: I'm going to start with the face because it's the most complex part of the painting. I want to make sure that I have it locked in first before I continue on to easier areas. I'm just going to do some local color stains on both the phase and the hand so I can sort of just start out on something other than the white paper. Then I'm going to be using white on dry and wet on wet techniques for this painting. You can check out my free YouTube videos which have various technique videos that cover what wet on wet and wet on dry are. Or you can check out my previous Skillshare video, get your gross ion. That does cover in detail also how to paint wet on wet and wet on drying if you need to review those skills. But the face I am working one on dry because it's a smaller area. If you paint larger than the 4 by 10 painting I'm doing here, then maybe you can work wet on wet. But for this, I can comfortably do wet on dry and just blend the edges out with a damp, clean rush. I'm going to start with the orange just diluted down for a flesh tone. Then I'll add a little bit of green to it to make it a bit more tone or brown in areas of shadow. Just keep glazing that on in layers. Later on you'll see me just a dash of Alizarin crimson for a cool red to add just a bit of pink in the cheek and the lips and the nose tip. I really want to stay very limited in my colors. I'm only going to use the colors I've already mentioned and have out because it's great to have a limited color scheme for color harmony. It really saves you from having too many colors that might look garish or clashing colors that don't work well together. It's okay to cheat a little bit, just like I'm adding a little bit of Alizarin crimson to get that hint of reddish pink. That becomes an accent color in a color scheme that is generally not using that color into many other places. I've done that before where I needed to also use some red for a vulture in a picture book illustration where the limited color scheme was just a violet and yellow. I needed a little bit of red for the vulture. I brought in just a little bit of red for the vultures head area. Everywhere else in the book, there's no other red. Just that accent, just like we're doing here with the little bit of the pinky red accent on the cheek and a little bit on the lips. It's much more subtle here. Now, it's important to control water. Like I've mentioned before, too much water in your brush will cause the color to get back leads and blooms in it. Make sure when you're blending out with your brush that it hardly has any water in it. Some of that to the chin area to homogenize and make it that it doesn't just appear in one single place. Otherwise, it will be that bright pop in just one area and I wanted it to look more mixed in and assimilated. The eye is just controlled what on dry paint just like the rest of the face and little, teeny, Gliese, jigsaw shapes. If you look at the reference, you can see that he's got the eye socket molded out into a recessive shape. Then you've got the eyeballs sitting in it in a protruding shape. You just want to add shadows into the socket to make it reced and also, shadows around the eyeball and eyelid to make it look like it's rounded. The eyebrow, eyelashes are a brown mix, which is just more of that green and orange. No new colors are going to be added. We're going to be using the same four or so colors for this entire painting. Whenever I say a brown mix, is just going to be some variation of the green and orange. To get that darker brown, I'll just use more green and less orange. If I want more of a tan brown for like the shadows on the face, then I use mostly orange with just a little bit of green. I smudge the eyebrows after I put the paint on and I do the same thing for the eyelid on top of the eye. Also, underneath the eye because I want those to be softer applications of paint. I don't want this to look like a cutout. I want it to be not comic bookie or graphic looking. I want it to be softer in appearance. Putting that paint down wet on dry and then smudging it out with this damp angle brush, will achieve that for me. Again, almost no water in the brush. Otherwise, you'll get a bleed. I'm glazing lightly this whole time. Just little thin sections of thin color and little glaze pieces. This way, you don't get garish with the color. It's very relaxing and controlled and not too stressful. It is much easier to make watercolor darker than it is to lift and make it lighter. This is a safer way to apply your colors. Because I'm doing this in watercolor and not oil, it already has a sort of more intense and luminous and darker local ready, where the oil actually looks softer. She already looks like she's wearing a little bit of makeup in comparison to the oil painting. I'm definitely going to stop here. I did use some white gel pen to add white highlights around the nose area, but the gel pen white actually has some physical texture to it. A little bit of granularly sort of look to it and I smoothed it out eventually with water. I think in the future, unless I want a brighter pop of highlight, that's okay. Having a harder edge or visible texture, I'll just leave it alone. I want this to be mostly a transparent watercolor piece and I don't want that white paint visible texture showing up. If you do have to use some white for corrections or to recapture some highlights, try using a finer ground water color white or a whitewash paint because that will work better than the white gel pen, at least the gel pen that I have here. The beads for the necklace are also super teeny little circles. I'm doing those wet on dry, and they have a base color that's some kind of a bronzie orange, again, made from an orange mixed with the green. Then a highlight color that I did use the gel pen for it because it's actually perfect for something like this, which is a hard highlight on a shiny object. I just put a little bit of that on each of the beads. Then I added a shadow color. That's more than enough for a tiny necklace and a master study to look good. I'm going to move on. I go back and dark in the jaw because it looks lighter next the darker pop of the necklace now and I'm going to do the same thing for the back of the neck. It's just about balancing values as you work because something will dry back wider or you'll come back to it. It just doesn't look as dark as you want in comparison to something else you've worked on next to it. It's all about constant adjusting values and color and color temperature. Hopefully, if you enjoy painting, you'll enjoy that process. If you don't, then it can seem tedious, but hopefully, you're watching this because you enjoy painting. 3. Painting the Hair & Cap: The hair is really simply done and there is not much of it showing, so it's actually a really fast hairdo. I'm just going to do a diluted base color of some of the brown mix. Then while that still damp, I'm going to add some darker patches and soft waves of semi-circles here and there, leaving some highlights and that will pretty much wrap the hair out. If you want to take it further and make it super shiny, then you can. I wanted to leave it like this and more impressionistic because I feel like her little head cap takes up a lot of attention. I didn't want the hair to also be over rendered. My paper size is along vertical, which is not really as common, but it is a fun shape. His original was not oil painting, so it was much bigger. You can paint his out whatever size you want. I think a four by 10 is comfortable for me. You just have to choose a size that is comfortable for you because if you work larger, you will have a greater margin of error and it will be easier on your hands. You do definitely finish faster if you do it smaller and the end painting also takes up less space. It just depends on what you like. I'm taking pauses as I paint to look at my reference on my computer screen and I'm also listening to an audio book or talking to Elijah if he has come home from work. This is not a frantic or even efficient teaching, live, fast-paced painting. I'm doing it at a relaxed pace to keep that in mind when you're doing something like this is that you don't always have to be in a rush. You know, you can be in a rush if you're teaching live or something, or if you're on a deadline, but otherwise the best way to learn is to give yourself something nice to listen to and take your time studying your reference before you paint anything onto your paper. They cap shadow is more wet on dry with the same soften edges with my damped clean brush. I wet in wet, it is not really going to come in until I do the background and the dress. All of these finer or smaller areas are going to be what on drying for more control. When I finally bring in the quinacridone gold for the cap, outlines and decoration, you can really see immediately that it's the strongest color in this color scheme. It Is really going to become the dominant color and take over. That is up to you if you want to choose a really strong color, light Quin gold, if you wanted it to be more subdued and not the dominant color, then just choose an earth tone that is in the yellow family. Don't choose something as frightened as quinacridone gold. Just as measure of that green to the orange, it turns it into a tan, so you can use it as a more subdued gold or bronze color if you want in place of the Quin gold. Again, make sure you have a high pigment to water ratio. You don't want to make your paint too watery. It is just going to end up bleeding. You want it to hold a line, so it has to be thicker and more inky and application. My pencil sketch for this is a bit more developed than I usually do. That can be a positive or a negative because you can trap the pencil right there onto the paper with later paint glazes and maybe you will feel like it's making some areas muddy with the graphite. Or it could be a really nice guideline for values and also some sense of order, some semblance of order. If you feel like your paint will get away from you and you want your details to just be in the pencil for it to be easier that can be a plus point. I tend to like a lighter graphite schedule. A very bare and minimal pencil sketch so that I have less graphite stuck on the paper. This is definitely more pencil than I usually use. It just means I'll have to work a little bit harder with more paint to cover it up. I'm not using grassi for this painting, which is a separate value under painting. But check out my other skill share tutorial on grassi, you can also check out various grassi videos I have on YouTube. I have a whole playlist of them if you're interested in that technique, but you don't really need it for every painting. Although little designs are in quin gold, but I did use the tello blue with a little bit of green in it for the other parts of the design for some contrast because I can see that there's bluish colors in the design and the original painting. I'm going to touch up the lips with a little bit of the brown mix for some shadows so they don't look just so [inaudible]. Then I think I'm wrapping up the face, so now I can move on to the hands. 4. Painting the Hands: With the hands, I'll do the same white on dry glazing in different sections. Again, I'll be using my orange, and also my brown mix created from orange and green. Sometimes a little bit of the orange with a dash of the alizarin crimson, just so I can have some flesh tone consistency, and I'll make it look like she's got different colors on her hands than she does have on her face. Just like various parts of the face, you're going to end up having warmer and cooler bits on the hands too, and also darker and lighter bits. Faces and hands are the most important aspects of a figural painting. Everything else is going to be easier to do, and also draw less attention so you don't have to work on it as much and you can leave it looser, and it can still look very effective or more effective than working it up very tight. But when it comes to the face and hands, they should be more tight and detailed and accurate because they definitely are the attention grabbers of a figural piece. After I put the paint down, I blend my edges with a damp clean brush. I typically put my paint down with my round pointed brush, or triangle brush or whatever I'm using. Then I blend edges out with the other brush and it softens my edges really nicely where I don't want them to dry hard. I'm using a triangle brush here, but any round watercolor brush with a fine tip will work just fine. Likewise, my blending brush is an angle brush, but it can be a flat or another round or a filbert brush. I use them all for blending in different paintings and they all work just fine. It's really just what you have around, and also what you're most comfortable with. What's really important is that you just have a nice round with a fine tip, so you can do the detail part. Otherwise, for blending, you can literally have any old brush. The firsthand is at a turned away angle anyway, so it's easier to just leave it looser because you're not seeing all the fingers. The other one has more fingers facing forward, but it is clutching a book. There's other things that can draw our attention. These little white hand dry glazed sections, we'll just keep being stacked on top of each other, and around each other, and they'll just come together to make a hand or a face or whatever. Once I get a fairly accurate impression of both of the hands, I'm going to move on. For original art or pieces where the hand is a focal point or a centerpiece, then just take more time and effort to render. That would just mean more glazed sections to tighten the hand up, and give it more details. The fleshy palm shadows on both of these hands are pretty abstract and it can be tough to do. But as long as you don't try too hard to see them as finished palms or hands as silly as that might seem, it'll be easier to do. Just look at it as a weird splotchy shape. If it becomes too hard to detach it mentally as a hand, then you can turn your painting over, and turn your reference over. When you turn it over, it'll look even more abstract to you and will be easier for you to paint over onto your painting. 5. Wet in Wet Background: The background was definitely one of the funner parts of this painting for fast and easy wet in wet quinacridone gold. I wet the whole paper down. Then I go back and get my Quin gold and add it to the wet paper and it'll give me nice soft blended cottony edges. They go out those darker patches of color and you have to make sure you're using the paint pretty thick. Otherwise it will end up just getting diluted down and look like a paler Quin gold. I had done some of the other parts of the background when wet effects really make fantastic backgrounds. In other passages in a painting where you want texture and affects, and I've omitted the column and the potted plant even though they're gorgeous from the original painting. Because I just wanted to do a simpler study, less daunting for people watching to tackle. That's something that you can do for any master's study. You can leave out certain elements so it doesn't have to be the whole thing. Maybe you just want to do the head. Maybe you just want to do the figure and not the background, or maybe you want to do half the figure and crop in. So that's definitely something that you can think of when you're doing master studies is that you don't have to do the whole thing. It can be achievable and also more fun and keep your interest. Quinacridone gold is one of those colors that adds an instant vintage old masters look to a painting. That's the other reason why it looks great in background here is because this person is obviously not from modern times and, I really should have done the background first. It does leak into various parts of the figure here. I did the face and the hands first because I was trying to make headway into the more complex parts of the painting as a filmed project. But definitely what I usually do and what I would advise that you do to is do your backgrounds first because usually I want to work from back to front in a watercolor painting. Because you're going to go from light to dark as well. I'm making certain areas darker in the background for weight and balance. I'm kind of trying to replace some of the weight from the plant and the missing column or pillar there. It's not random. You should make sure you're making darker areas in your background where it works for the weight and balance of your painting. Some leak over from the background into the figure is fine. In fact, it's even desirable for assimilating the figure into the background, rather than looking like the figure is a sticker that's just been stuck on there or just floating on the top. You can definitely emphasize that floating on top look, if you're doing a comic book style or an art nouveau style with a really thick outline. That outline will even further emphasize and separate the figure and foreground from a background element. But in other paintings where you want the figure and background to be merged together more then bleed overs are actually a good thing because you'll end up having some lost edges and soft edges coming over from the background into the figure to assimilate it. That's where some of these smears are exactly what you'd want. It still better to let those bleed overs happen first before you've done the face or the hands because it reduces the risk that it'll ruin some detail that you're doing. 6. Lifting Edges & Painting Tiles: As I finish up the background, I'm going to lift the color from where it has bled over onto the book pages and I'm going to clean up other areas of bleeding over hard edges too. It happened in various areas around the face, the hands, around the dress and so I just go around and clean that up with a damp, clean brush and just scrubbing will lift up some of the paint and make it lighter and also get rid of the hard edge there. Cream gold is a pretty staining color, so I will not be able to take it back fully to white in any of the areas where it's bled over. It's a good thing that I'm okay with the bleed overs for assimilation and you can do the background first and more carefully if you don't want bleed overs in certain areas of pristine white. The tiles are pretty fun and these tiles are geometric with circles and semi-circles and squares so what you want to do is more wet on dry again. We definitely don't want to do what we did with a wet and wet. Less controlled background on these tiles so definitely we're going to go with more wet on dry. I take the brown mix of the orange and green and just add a larger dash of my Alizarin crimson to it to get a potter's pink type color. It really looks nice as an earthy, pinky tile color. It really resonates with the more fleshed parts of the skin that had a little bit of the Alizarin crimson in it, so just a little bit more color book ending for harmony. The green for the square part of the tiles is the same Hooker's green that I've been using with a dash of a Phthalo blue to cool it down just a bit and a little bit of the brown to dull it down a little bit. It's often dull as it could be, but it's not at full brightness. For the grout lines, I just took that same green mix that I'm using on the tiles and ran them horizontally and vertically. You can sit here and do more work on the tiles and add more texture on them or color variation and it's all up to you. 7. Cool Tunic Shadows & Book: Now, I'm going to start working on the tunic and the book finally and I have a white tunic. Now, it's time for more wet and wet because I do want soft edges all around and I'm going to use some diluted color here because I just want it to read like shadows on the white tunic so nothing too strong. I'm going to use a diluted mix of the blue with a little bit of green in it for the shadows on the white. There's also going to be diluted queen gold shadows. Some of them are there from before where the bleed overs happened and I'm also going to add some more later. You're going to end up having some nice warmer shadows and cooler shadows on the white fabric without too much effort. I don't want the tunic to be the focal point, so I'm not going to work up this fabric to death, I'm going to keep it looser. To me when I first saw this painting, what drew me to it is that the costume that she's wearing, it's supposed to be a medieval costume from the 1300s. But to me it just look like a Pakistani Langer, which I know about because my parents are Pakistanis, my mom would get us Pakistani clothes to wear for holidays and such. It consists of a long full skirt like the one she's wearing here, right to the ground. The blouse comes in various types. It can be a short blouse or a longer blouse and it can also just be a longer tunic like the one she's wearing in this painting. It looks very similar to a Pakistani Langer. For the book I'm just going to take my dark brown mix the same color that I used for her hair and just put that down in some outlines. The pages of the book are already stained from the background. I really don't need to work too much on them. I'm just going to do some queen gold to imply some texts and images in the book that she's looking at. 8. Warm Tunic Shadows: I'm going to go back to the tunic now, and I'm going to be working in the shadows. In the diluted Quinn gold, and we'll just put that yellowish diluted color in one area. It'll end up looking like maybe grows alien pit stains, or something like she's got some kind of respiration condition, or problem. But once you start adding it all over, and not just the under arm area, it starts to harmonize with the background, and because it's a very warm piece, and you see that color elsewhere. It starts to just read as warmer shadows on the dress, and on the tunic, and it's a very worn piece overall, so you eventually get the feeling that the warmer background is bouncing some warm shadow light onto the tunic. This painting is called Lauren Reading, and it's by Walter Crane; who was an English artist, and book illustrator, and he lived from 1845 to 1915, and he's one of the most prolific, and influential book readers of his time. Right up there with Randolph Caldacott (phonetic), and Kate greenway. And this piece is not from one of Cranes children's books though it's an oil painting on canvas from 1885, and as the title of the painting suggests: the subject is Lauren, and in this case that refers to the, unattainable young love of the heart-broken poet Patriarch. Who lived in the 13 hundreds, and Patriarch ended up writing many sonnets due to being loved Lauren, and I don't know if Crane imagined Lauren reading some of the love poems written about her by Patriarch, or if this was just some other book, but it is a fun thing to think about. The model, for Lauren was actually cranes wife Mary, and I really like the look that she has here. It's very period for this. If you watched the old BBC version of Pride, and Prejudice: the actress that plays Jane Bennett really has the look that cranes wife Mary has in this painting. The particular ratio to the features, and the eyes, and the nose. 9. Wet on Dry Trim: Queen gold is great for gold jewelry and trim its because of its intensity. I just use it wet and dry for the gold trim and embroidery and it really pops. When you put it on wet or dry, some of the areas will go down darker and some of them will go down lighter just because of a little bit of variety and the paint dilution and let that happen because it'll make it look like different parts of it are reflecting at different angles. Don't try to make it all one color that will actually make it look more fake. 10. Painting Sleeves: When I started doing the sleeve, I actually wanted to do it tighter than it ended up. It actually ended up looser than how I wanted. Some of the details and the cap got swallowed up by the background. Instead of redoing those details tighter, I left the cap alone because I felt like it blended into the background better. The same thing about the sleeve, which is that more wet blended version of the sleeve. I think looks fine and takes up less room and attention than I want for the sleeve in this painting. If you do want to do a tighter, more high value contrast version of the sleeve like I was starting out to do. Then do what I do later for the skirt where I do darker value contrast and that'll give you more definition in the fabric. Now quite know what these leafy embellishments are, there are hanging off of the sleeves, but they are interesting and they add great visuals to this composition. I certainly didn't want to leave them out, and I just use my brown mix for them, a lot of green with a little bit of orange, similar to the hair color and just put those on wet on dry and blended out one after the other to get a nice blended shape for each one of those. I really like how it frames the two sides of the figure with those hanging embellishments and also how it echoes a color I've used in the hair. Again, that's a big bonus of using the same colors and having a limited color scheme, is that you start to see a lot of repetition, and rhythm, and harmony. It makes your piece look more professional. Quinacridone gold makes us study brighter and more intense than the original. Just be aware of that because if you don't want that they don't use Quin gold. 11. Color Palette Tools: I like to pick my own colors from what I have for a limited color scheme when I'm doing a master study and also when I'm doing my own original paintings. I like the excitement of figuring out what colors are here and picking them myself, but if you don't like that, if that stresses you out, then you can use a website like colorthief.com, where you can for free drag the image there or upload it, and it'll give you an output of colors, and it'll show you a dominant color and also a palette in a line of the major colors that it thinks are used in the painting, so if that's useful to you, then you can check it out. The output showed me like, I know and can see that there's no bright quin gold here being used, and there's also no reds and no blues, because the overall scheme for this painting doesn't include those colors. This is actually a nice way to assess the colors that you might see in a piece and then go and check them with this website. Now I don't know how accurate it is for all the colors, I can see that it's left out the colors in the tiles which I think are dominant enough, use this with a grain of salt, it's probably not going to be fully accurate, but it is a fun thing for you to play around with like I did for this example. It's just a recent finding for me and I wanted to share it, but rely on your instincts and you'll see that you need a gold bronze-e color and a green of some sort, and maybe an orange, then you pretty much get the color scheme that I have, and that's pretty easy to spot, I think most people can do that if asked, just ask yourself what are the major colors you see here? You can just ask yourself, what one to six colors can I use for this painting that would create a harmonious color scheme, complimentary or a triad, or a tetrad, or analogous. I cover color schemes and color theory on Patreon and also in various YouTube videos, so if you have no idea what I'm talking about, then you can also check that out there. 12. Finishing Embellishments: For the pom-poms, I made them just more queen-gold to match the gold trim. Again, that gold trim matches the gold background and the decoration on the hat, so if I had used different golds and different yellows for each of these areas, they would start to get really busy. Maybe not look so nice and that can happen more easily than you might imagine. It's a much better idea to use just one color, queen-gold, and I can use that at various dilutions to make it lighter or darker, and I can also use it at various intensities because I can dull it down with green or something. It looks much more harmonious than using many different yellows all over. 13. Skirt Fabric & Wrap Up!: This current starts out with just a thin glaze of a clear green of the hooker's green that we've been using. Then wet on dry with the green and orange mix to create an olive green fabric fold contrast on top. That value contrast is really all you need for a first study. You can go and soften that up for more details if you want. This piece ended up having some very strong watercolor effects in its final appearance. The white shadows on the tunic and also on the background are very traditional watercolor in effect. I really like that in comparison to the oil painting. I did go back in there with some orange over the top for warmer areas of shadow on the skirt, for a bit more complexity with the temperature changes. Well wizards, hope you enjoyed watching me paint this master's study of Laura reading by Walter Crane, and seeing how you can change an oil painting into a lovely luminous watercolor piece. Please be sure to check out my other Skillshare tutorials, and also my YouTube art channel Watercolor & Wizardry where I post watercolor Gaussian ink tutorials. If you create your own version of this painting or do another master's study, I'd love to see it and there's a place where you can post it underneath this Skillshare video. Thanks for parking your brushes here and wishing you all epic painting adventures.