Watercolor Painting Ideas | Robert Joyner | Skillshare

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Watercolor Painting Ideas

teacher avatar Robert Joyner, Making Art Fun

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

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

19 Lessons (2h 21m)
    • 1. Introduction

    • 2. Suggested Materials

    • 3. Paper Preparation

    • 4. Kitchen Utensils

    • 5. Wine Bottles

    • 6. Coffee Pot

    • 7. Coffee Cup

    • 8. Red Rectangles

    • 9. Red Stripes

    • 10. Sailboats

    • 11. Road To Somewhere

    • 12. Road To Somewhere Continued

    • 13. Pine Trees

    • 14. Pine Tree Continued

    • 15. Farm Dwelling

    • 16. Farm Dwelling Continued

    • 17. Blue Barn

    • 18. Blue Barn Continued

    • 19. Recap & Assignments

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About This Class


Watercolor painting ideas will have you thinking more creatively. This class is loaded with fresh ideas suited for all levels, from beginner to those that have been around for a while and want to try something different.

It's so easy to fall into a rut! And when this happens the creativity dries up and you begin to paint very predictable, stiff artwork. It's now a routine that lacks personality and excitement. Art wasn't meant to be this way.

This class will put the fun back in the process by teaching alternative ways to use watercolors. And many of you will not stop here, but use the ideas for a starting point for your own creativity. A great class should have you bubbling with excitement and I know this one will deliver just that!

Got Questions? No worries. Just drop a comment and I will reply within 24 hours, or sooner.

Need Watercolor Supplies?

Click here to see my list and recommended products

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Meet Your Teacher

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Robert Joyner

Making Art Fun


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1. Introduction: Welcome to watercolor painting ideas. This course is for those of you that want to branch out and do something fresh and new with watercolor art, whether you are a beginner and aspiring artists or someone that's been around for awhile, this course would deliver many fantastic ideas that are easy to do and the results are fantastic. Let's have a look at some of the demonstrations you will see in this course. And because this is such a wide open topic, I will continue to add new projects to this class. So gather your art supplies, your brushes, your paints, your paper, your glue, your scissors. You're exactly a knife, a cup of coffee or a cup of tea. And hey, grab the kids too, and get your hubby off the couch. This is great family fun and you will create wonderful memories and some amazing artwork to boot. We will kick things off with materials and then we will start diving in to all the fun projects. See you on the inside. 2. Suggested Materials: Alright, let's talk about materials. I will first go over the canvas or paper I am using. This is Strathmore mixed media paper. It works pretty good with watercolor. You not gonna get the same effects you have. Or get with traditional watercolor paper. If you want to use traditional watercolor paper, that's totally up to you. These are roughly 13 inches squarish. So some pieces will be square, some pieces will be rectangle. So that's the paper I'm using. Again, use whatever floats your boat. This is my palate, Ajahn Pike deep well palette. I'll go over my colors and the specifics of that once I get into the lessons and where I started actually painting. This is a modeler brush, so you can see pretty wide. You can put down a good area of wash and pigment. So I'll use that. I've got a small, small pointed around as well. And then I've got an acrylic brush, so I'll do a little bit of acrylic in here as well. Solve a small point it around. And then I have a scrap house brush their values for the glue. So my paints are Holbein. I use good artists grade watercolour paint. But again, whatever brand and paint you have should do. This is drawing paper, student grade drawing paper. I use it for teaching and I also use it to put down on the table to protect the table when I'm painting, you can see it's got a lot of scrap. I got a lot of scrap paper as well. I keep all of these different random stroke. Some of, some of these are teaching. You can see that papers gotta live random stuff, but you definitely want some sort of scrap paper. We're going to use that for collaging. So Breakout those old sketchbooks, we will reuse some of those. Or perhaps you have some scrap paper laying around. I use two or three reservoirs at a time. These are one core plastic water reservoirs. So mod podge will be my adhesive of choice. So whatever glue you have should do this is archival and I think it does a really good job. An exact DO knife will be very handy to get some nice interesting cuts on the collage paper. This is a pair of scissors obviously. So if you, there are times you'll probably want to opt for scissors over an exactly a knife. Titanium white heavy body acrylics. This is Matt acrylics. So Matt acrylics will dry very flat without all the glossy finished at acrylics have. So again, titanium white. Some old rags or paper towels will be handy. An old piece of foam core or some sort of bore to cut on. So when I use my exact DO naive, obviously I don't want to cut into the artwork or the table. So having that as handy will be good for be drawing pencil, graphite, and then I'll also have some crayons. These are Karen dash artists, gray crayons. Or maybe you have some charcoal, maybe have some past. Elle is maybe you have watercolor pencils. But whenever we create our art paper, we want to create some nice random strokes. So here's a quick look at one of the projects we will be doing. So you can see this is just scrap drawing paper I used to paint over with watercolor. I guess some graph right? Strokes and crayons strokes and that. So I'll give you an idea where it's going. See you in the next one. 3. Paper Preparation: A very important lesson. Here I've got a Kotler brush. You can use whatever watercolour brush you have. The paper is just scrap drawing paper. I use these for demos. I use them as a way to protect my table when I'm painting so I can put him down underneath my paintings. And if you have old sketches, studies, if he is has some scrap drawing paper, you can use print paper. This is real again, cheap, thin, I think probably 70 to 90 pound drawing paper. And what I'm gonna do is use watercolors and stain it. And because there's a bunch of random marks on it, it's going to have is interesting look to it. And there you can see I use a little bit of green over top of a stain that was already on the paper. And look how he already had this very interesting textured look to it. And that's what I love about this technique because you can take a medium like watercolor and, and take the pain itself and put it over like scrap paper like this. And it's just a lot of fun to do it because it's unconventional. Yeah, so it's thinking a little bit differently. And using the medium a little bit differently than what you would often use it or how you would often use it. So traditional thinking is important. I think it's very important when you begin your painting. Journey to work on the fundamentals like drawing and design and composition. You want to be familiar with the medium, how it, how it works, especially with water color as such, a sensitive and tricky medium that you want to get used to how it flows, how, how the medium works when you're working wet into wet, what in a dry and so on. So you here you can see, I've just taken random colors on the can use, you know, always. And before I get ahead of myself, use a variety of colors. So do some sheets blue and different shades of blue, do some sheets violet mixin violence with the blues, do some yellows, greens, so that you end up with a lot of options. As you can see, I'm putting this down real thin too, so I'm not using a lot of paint. So a lot of what I'm doing here is just putting these real thin Tea mixtures down. So now I've got a water soluble crayon That was a blue. And here it's a yellow. And I'm putting some random Marxian. Again, this is all, all these marks and all these things are done without any sort of pre-thinking or with any idea of how I'm going to use it or what sort of painting I'm going to use it on. These are just done. More at a, just for the sheer joy of just making fun expressive marks and just coming up with these a bunch of sheets and different things I can use later on and look at all the variety of Marx. I've got those really hard intense scribbles. I've got these random no strokes going on. I've got these light strokes here. I've got a light yellow crayon and you can see smear in it and different places. And of course, all of this is going to be used for the painting. So we're gonna do some collaging and different things in this course. So instead of using traditional watercolor paper, I'm going to be using just some mixed media paper. And then instead of using what are called her paper, like to put the watercolor down on this, using this cheap drawing paper. You may have artists gray drawing paper that it doesn't matter. Now once all the paint is dry, I'm gonna go into some more water color and I'm gonna go with a darker hue. And then it's going to be a little bit thicker too. So I'm gonna get some layering and some different things going on. And size I'm painting around all these random marks and strokes already have. And just having some fun with this, it's so liberating and enjoyable to just even do this. I mean, it's like, Oh man, you know, we, we artists, we tend to get locked into two formulas and and we, we develop these physical habits wherever we limit ourselves to a range of movement. And we limit ourselves visually to what we see all the time. So we'll just kinda let loose like this. It just feels good as a great way to warm up to get going. And of course, all of this paper I'm doing a lot. I mean, I probably have, you know, eight to ten sheets here I've done and I'll use all this scrap paper, I'll put it aside. I'm not going to use it all for the class, but I'll probably use a little bit of it and then the rest of it I'll store away and I'll use for collaging Later on. I may use it for collaging with acrylics or whatever. But I've got all these wonderfully kind of interesting patterns and different colors and strokes to work with that. Anything goes, I can use them for still life landscapes. I can use it for abstract stuff, a dead matter. Here you can see I've got a large piece of paper that's all faced studies. I've taught many courses about drawing the human head and a practice on my own all the time. So I go right over that with my yellows and here I'm going to mix in a little bit of blues with it as well. Rule thin, so really in blue. So, you know, I didn't really cover a lot of details about colors and hues, but again, use whatever colors you have, mix it up, make sure you have a lot of variety of different colors. Again, I'm using crayon with some of this. These are Karen dash artists, great crayons. You may have oil pastels, you may have watercolor pencils, you may have charcoal, use whatever drawing meeting that you want or don't use any drawing medium, medium at all. It's just totally up to you. So the idea is, we end up with this variety of stained watercolor paper in various colors and strokes. And then we're going to use that for our paintings. And then once you had that, let them dry, wants a 100% and then we'll get cranking with a demo. So I'll see you in demo one. 4. Kitchen Utensils: Welcome to the demo. This is a fun, easy project called kitchen utensils, named appropriately. And again, we've got our pristine paper. And I'm going to start out with the rolling pen. So all I'm doing here is just marking a height. So I'll mark the top or actually I'm drawing it. But you can easily start by just drawing or measuring the top and the bottom so you know what kinda height you want and then just go through and cut it out. When I cut my stuff out on that, looking for perfection, that's not really what I do, what I'm interested in. So if you want your finished work to be a little more precise, you can use an exact DO naive and different things or to speak a little more careful when you're cutting it. So there you go. So I've got my first one out. And again, even though it's a simple shape, the end results are kind of interesting because, you know, it's got a little bit of texture to it from the other marks, our own, the paper originally and right away, you know, I'm off. So here I'm sizing up the next one. I want to do a fork or a spoon, I believe. So. We'll do a slotted spoon. I've got plenty of room here to make that happen. And again, even my drawing is very off, somewhat skewed and loose. And that's just the look I'm after. Again, if you want something more rigid and tight, you can spend more time on your drawing and make it so. And that all the paper I am choosing, the colors are, are going to stand out against the white background. You may opt to do a light blue background, some sorted gray. Can, then, you know, you can pick your color is accordingly against the white. Everything pops. So I know everything that I'm doing here is going to be dark enough and colorful enough. It's going to pop against the white. But again, if you want to start with a stain background, you can even do like I really dark color, like a dark blue or a navy blue. And then everything you do is a light value. So you can cut out slotted spoons, a knife or whatever, and just make sure that paper that you're using the stained is a light value a, but make it random, Make it fine. And then that way we cut it out, it'll look really interesting. Okay, so you see that, but the problem with this was the tip of the spoon was white. So that paper didn't get any sort of color on it. Sawdust used the same paper. Get a little pisa dotted glue and there you go. So nice and loose and fun. And I've got the same paper that I use for the Assad is spoon here. And I'll mark out my neck shape, which will be a spatula, and making sure all the handles and the proportions are somewhat different. So here I've got a nice big chunky square lick and spatula. And where I do the slot, I'll make sure the slot is maybe where the slot that's on the handle. It's more of a round shape and not square like the spoon. So if you look at the handle of the spoon, a scout old square hole where like you were maybe hang that up or whatever. So with this one it will be round. So now just kinda looking for variety and all the things that you would normally do were, you know, painting a landscape or whatever. And here, it's much easier to use an exact O naive to get these shapes cut out. Solid will go around this nice and loose. You can see the rhythm or the pattern a moment. Here I'm doing all the verticals. And then I'll go behind that when I'm done, done and then do the little horizontal cuts and then I should have everything I need to glue it. So on goes the glue and off totally forgot you cut out my little circle. So again, I'll make this a little more of an egg shape sort of cut and, and I should be ready to roll. So now that my hands are all gluey and spatulas guy glue on it and makes it a little more challenging. But, oh, well, so looking pretty good, right? So imagine that hanging in your kitchen or making something for a friend, a gift. I mean, how original and how creative and cool would this be? Easy, easy stuff. It's unconventional, it's a lot of fun, and that's what art should be. He doesn't always have to be rigid, tight, and fundamentally sound. We can loosen up and have a little bit of fun with it once in a while, right? So here I'm doing a knife. I've got a rough sketch there of the knife. In the main thing is to get your height right? And then again, the style, how you cut it out, what sort of look you're after. Playful, loose rough around the edges or maybe you want to, again more rigid. That would that's all personal preference stuff. So I'm gone for the playful, carefree. Look about it. Alright, so I've got a little hole here in the knife. And once I get that again, we'll be ready for the glue. And this little project is coming together quickly. So I decided to match the yellow of the rolling pin. I thought that would kinda look pretty good. Give it some cohesiveness. Again, I think anything goes here. I can pretty much get away with it. I didn't really like that because the holes are on the same side. So I've flipped that knife upside down or flip it the opposite way. So that way the again, the holes and the handles. Aren't side-by-side like that. Alright, so the last one is going to be a fork. I think the easiest way to do this is going to be the do the handle first. So I will cut out a shape for the handle of the fork, and then I will cut out a little base there for the prongs are where they're going to flare out. You can see that's a little bit to why they're always pretty careful when I cut it, not to cut the paper too. So if you do cut only your artwork, obviously you don't want to cut through the artwork, so just make sure you use a, a really light pressure into the paper. They're so little handle here for the for the fork. And whenever I cut the original handle and it really take into account a little hole there. So I'm just going to add that to it. So I've got that cut out and that's cool. So we can mix and match. Doesn't always have to have to be cut out by one piece of paper. So you can see this handle with a slot is, is a little bit darker and how it is pulling it down as a little bit too high. So yeah, that works pretty good. And I can move forward now. So I'll we'll get the base there were again, the fork will start to take shape. So I've got something that's about the right width. And now I just need to shape it. So I'll go ahead and make that adjustment now. And I want that to be kinda curved. So I wanted to flare out a little bit from the handle handle, excuse me. And I'll get something that's in the ballpark first and then I will tweak it. So that's a little bit too wide. So I will take a little bit off of that and it'll take me a few, a few adjustments here, but pretty soon all I'll give this and a promise. We'll we'll move forward. I think that'll do it. So here a little bit of glue directly on the paper. Again, if you're no particular about that sort of stuff, then he may want to glue your paper instead and not directly on the artwork. But I don't mind it. Again, I'm I'm gone for that. Look where it says kinda like n whatever, you know, I'm just going to wing it and go for it. Alright, so as you can see here, this is when a finish up the fork. And once we had that, we'll be ready to roll. And notice that the little strip of paper I cut there had a little point on it. So I may as well use that for the, for the end. So that would make more sense, right? And again, my everything is going to be slightly irregular. So here I've got a little bit of that, that reddish paper that's similar to the spoon. So that's kinda tying those pieces together, which is kinda cool. And I've got one more to go. And here you can see opting for something more in the yellow and blue and green, which should tie in even the knife and the rolling pins. Oh, yeah, so that's all looking pretty good and a nice, easy project, a lot of fun. You know, it's very creative as a different way to do things. He could just break it, use watercolor to do everything, but it just wouldn't have that same carefree, fresh look about it. So here are the pieces of this was taken a natural light so you can get a good feel for the colours. Alright, so hope you enjoyed the first project and we'll move on. 5. Wine Bottles: Another super awesome project here doing some wine bottles. You could do catch up bottles, mustard bottles, whenever bottles float your boat. I thought this would be interesting. You do one bottle to bottle is three bottles. Don't floor. I'm just going to lay out a rough drawing here of the bottles. This will just help me size them and also to place them on the paper. That's just a 2B graphite. And again, shapes don't have to be perfect. I really don't want each bottle to look exactly the same. And I'm gonna go quirky and fund and loose. So here is my paper that I created in part one of this project. We've gotta have that paper to work with to make these things work. And the other thing that didn't do, you could always just use watercolor or one bottle. And then the next one do collage. You can mix a little watercolor painting and then do some collage with it. Some water color paper collage too. I mean, there's really no right or wrong way or anything to do. I mean, the whole purpose of this course was to give you some ideas. But our color painting ideas that will help, you know, get away from traditional stuff and just think a little more differently about the medium and how you use it. So that, that look at that bottle, that model is so awesome. It, I mean, it would be impossible to, to paint something like that with just start now knowing gonna paint a watercolor bottle. So all my Remember when I've stained all this paper, it was done very randomly. I had no idea I was gonna do wine bottles at that point. I could use that same paper to do fish. I can use it to do a landscape, which I will, I'll do a landscape in this several level in this just to show you how versatile and how much fun you can have with this sort of thing. But, you know, I'm going to continue to add to this course and continue to do more projects. So there'll be a lot of fun to see where it goes. Because I've got my second bottle underway. I used similar paper. But look at that. How much fun is that? I mean, that tells me it's time that kickback. Have some dinner, drink a little wine with some friends. I mean, it has that festival look about it. So I'm going to do I have a friend that likes, you know, liquor, beer or maybe they dislike. You. Wanna do some cool a glass of lemon juice, lemonade, meaning a skies and limit coffee, tea, whatever you can think of. You know that there's no, these are, this is just to kinda inspire you. And of course, you're the artist. You've got your own background, things that you're interested in. So you can use and develop these accordingly. You put your ideas and your flavor into all of this stuff. All right, so here, just pressing it into the paper using a clean piece of paper and I'll get the edges nice and flat. So I've got this idea now that I want to do a label now for both of them though, just for one. So I'll go ahead and use the exact same knife to cut that out. And again, look at that paper that's just random spots, water spots, all types of crazy stuff on that paper. And that's what makes it so much fun. It's just unpredictable. And I think the results are just really a lada has allowed charm and character to it, I guess. Alright, so go on with some Brad's now. So I've got that nice punch or read that I created earlier on. And I will use my pencil here again, this is just to be sure I get the right size, right proportions. The shapes can be the all the shapes of the bottles. I'll be a little bit different from the next one. So it's important, I think, to do that. And of course, if you're a wind kinda sore, you probably know there are certain shapes for Cabernet, there's certain shapes for your, as infant dao tells your whites and Chardin A's and all that stuff to see could really get sophisticated if you wanted to and, and make those distinctions between the bottle shapes. Alright, so look at that awesome read that is totally lovely. And now I'm ready for the fourth and final battle here. So kinda sizing up a few different ideas. I kinda like the idea of this. This is the back of the blue that I stain. So instead of using the actual of psi that I intended to do, I'm going to go with a white bottle and I, I'm going to use some scribbles later on to draw, bringing in some details. So the first, you know, I'll get the main bottle shape and then we'll, we'll move into the scribble part. So here I got the main bottle and I am using a piece of foam core there to cut on so that all should prevent it from scratch in the table are going in to the artwork. So gluten, I'll break out the mod podge and do a little bit of glue on the back sides of these. So I've got one which is looking pretty good. And we'll go with number two here. And I mean both sides, like I'd encourage you to, to always look at the back of the paper, you staying too, you'll probably find some goal with air as well. But look at that, that is so cool. I'm going to finish it up by pressing it into the paper. Really good. And now I'm going to ask him scribbles some using a 6B here. So the six B has a little bit darker led to it, I think is going to be dark enough to stand up to the coloured artwork. Sal wouldn't use a lead that was too light. Just make sure, you know, I think if you do this, you can use charcoal or does something really dark. So anyway, that's got a nice look to it. I kinda like having that third one are the odd ball, white one that's just kinda more drawn than it is painted. And there you go. So let's have a look at this again. Image taken a natural light so you can get a good feel for the colors. So there you go, Project two, and hope that you guys some inspiration to give it a go. 6. Coffee Pot: All right, welcome to this one, the coffee maker here or warmer. And this one will pair nicely with the next project I will show you, which is a coffee cup. So pretty awesome stuff, kinda graphic, kinda watercolor R3 and kind of fun. So I'll start out with putting in my drawing. Now, I don't mind if you pencil marks and my work. Again, if you don't want the pencil marks, I would recommend either using a really light to be or even a really hard lead sacrum ulema dark mark. Or you can simply have a piece of paper off to the side, like just drawing paper that you're using as a template. I'm drawing directly on the artwork. But again, if you didn't want that, you know, I just have a little template that's the same size of the Azi artwork you're making. And then draw your subject out. And then you can use that and then come over to your artwork itself when you're ready to glue it. And then that way you'll avoid any pencil marks. So I'm going to draw out a half of the base here. Obviously since it's flipped like this. And over, I'll use the green side. It's going to actually go on the left-hand side. That'll make more sense here in just a second. So if you wanted that for the opposite side, you always kind of had to keep in mind that we flip it back over. It's going to have the opposite shape. All right, so that's looking pretty good. I'm going to do a shaped for the top. So that sort of curving shape. So OSA, I'll get the shape kinda roughly drawn out there. And then take my exact knife and cut that out. Again. Thanking really loose and kinda free with it. I'm not trying to make it perfect. And, you know, I just want to in the ballpark. So when it's done, you get the gist of what the subject is. But it's done in a very carefree manner. And hopefully that all it does add some, some amount personality to the, to the artwork. And all of these, you know, none of us wanted to have the same results obviously with this because it's such a random way of creating anyway. Unless you, we all had the same exact papers to work with and coerces impossible without, had the same results. So anyway, here we go. So I've got the hat to based on I got a little strip there where it's going to join the canister here I'm going to mark out shape. That's going to represent this sort. The top of the, the subject soft got that. And now I can just do some vertical lines. Keeping in mind that I want this to be have stripes to it. So we'll kinda thinking very graphically here. And I'll go around the perimeter now and get the main shaped cut out. And once I had that, then I'll be ready to cut the vertical lines. Alright, so here I'll start to kinda doubt keeping in mind that, you know, there's going to be a little bit of the background in between each stripe. So I'll cut out a stripe like I did there and then cut out a little thinner stripe and discard that. And then this next piece will be used. So I will put that with the others, a thin strike to discard, and then we'll do another thickness. And so the reason I'm doing that is again, I want some of them, some of the background to show through. So I'm cutting out a thin stripes so that will allow for the space. And then then I can have, you know, the color stripe there. So it'll make more sense. I'm promised months we once we flip it over and we start gluing it. So if you're a little bit confused and perhaps I didn't even explain it that well, it's gonna make sense once we start getting it down. Alright, so I'm getting a lot of pieces here shuffling around. So I'm going to go ahead and start putting this stuff together. So a little bit of glue on my brush there again, that's mod podge. And I can start to make some concrete decisions here on where the stuff's going to go. Obviously, I've got my drawing there to keep me in order. And there you go. So we are well on the way and now I've got my stripes. I think the best way to handle the stripes is just for me to paint that entire section with glue. So again, I am putting now mod podge there. And then I can start flipping the pieces over. So as I flip it, notice the piece on the left will actually go on the right. And I'll just kind of work my way over and notice how there's going to be that little bit of a strip in between the stripes. So the idea is to get these vertical stripes and then the shape of those will actually come together and make the shape of the, of that part of the coffee more so a go. So now this one was a little bit too long, so I'm just cutting that link off a little bit. So I don't want those the paper too, but against each other. I won't like a little bit of a gap, a little bit of the background colour in between everything. So you can see everything's probably a little bit too long here. So I'm going to fall back on when I put these vertical stripes on. And as cut the tops off just so there. Again it has that little bit of a gap. Alright, chakra chug, chug Over rolling here. And hopefully you can start to see how this is coming together. So a nice, interesting way to create the illusion of a little coffee pot here. And we're doing it with watercolor, some collaging, and so on. So there you go. So cool stuff. So that's coming together pretty good given everything kind of place where I want it. And that's going to work. So now I'm gonna press that down so I have a small piece of paper. So all of that is firmly in place. And here I'm going to get the little spout there. So I'll cut out a nice dark shape that will contrast length L0 and kinda pop out against everything else. Scientists want to get that angle rate coming off and a little bit of glue and then I think we can get that part finished up. So that's looking pretty good. Again, I could have gone with red, I could have gone with green. Pretty much anything goes. So Sura by light bulb shape, that'll be the handle for the top, for the lid. So I'll get that cut out. I'll just use my regular scissors for that should work just fine. And again, a little bit of glue. Again, if you're picky, you don't want the glue on your paper, then obviously you can up hand directly on the collage paper in not so much the artwork. So a pipe did put myself in a little bit of a bind here. So I have to remember, whenever I cut this out is going to flip over, which means basically screwed up. So I've got a little bit of mistake here, but I'm gonna go ahead and obviously followed through just to show you what you don't want to do. So I've got the piece cut out, but now it's upside down and it's really the wrong shape. So it's not really going to work out, but I'll just add a little piece to it. So no big deal. So I'll just put a little bit of glue down all my little inverted or reverse c. And I'll get another little piece here to extend that bottom of the sea. And we should be good to go. So again, you always have to take into account if you hold it ever. Behold your paper over your artwork like that, you trace it in his flipped. So if you're using the back of it and we flip it back over, it's going to be off a little bit. So I've got the stripe idea, right? So we've got to strike the vertical stripes in the top of the coffee. The subject I should just say. And now I want to use that same idea for the bottom. So we'll do stripes running up the right-hand side of the base again, very graphic and how this has delivered you. You'll see a lot I just traditional graphic illustrations, I should say. I've done this way now with low. They'll create their subjects and then they'll do these different ways to, to finish them. But that, that's kinda what this is. So I borrowed a little bit of light Illustrator sort of technique here to make this artwork. And if you'd like the idea that you can always go into Pinterest and type in graphic illustrations for kitchen utensils or something like that, or for the kitchen. And you can come up with a lot of ideas. And then just you executed the way you want to execute it. Seeking use the techniques I'm showing you in, showing you in this class and execute the way you want to do it. So you don't have to do it with computer and digital. You can do it by painting it, you can do it by collaging. And the things I'm get me fired up about it in this class. So that's what this was all about. Remember, it's a watercolor painting ideas. Sylvia, looking for traditional stuff. This is in the course we use. So we're, we're done one things that involve water color, but we're taking a nontraditional approach to it. Alright, so you can see is coming together here. I have a little bit left. So I'll do another striper to going up to meet the base or the top of it, which we'll finish off the base. And then we should be good to go a lot of this stuff. And you know, I'm filming this and showing it to you in real time. Just so you can get a feel for how fast the stuff really comes together. You know, you don't have to spend six months on a painting in it. We can get good these little projects done. I can deal with it a few hours on an afternoon. That if you've got kids or whatever, I'll be get them involved. If you'd make an art for your house, making art for their room, you can certainly take the paper, let them help you stain it and all types of stuff you know, that really make the art in your home a really personal. And kids love that, you know, they, they love to be involved in stuff like that. And of course, as parents, we want them involved and, and this sort of stuff too. So and we make art for our house like this all the time. So I had to share some of those images with you at some point, so, alright, a little bit of titanium white. Again, this is Matt acrylics. The man will DRY nice and flat without a shine. And that way it will be a little more cohesive with the watercolor. So there it is an image taken a natural light so you get a feel for it. And again, we're going to pair this with a coffee cup. 7. Coffee Cup: All right, here is the coffee cup as promised. I used a similar paper as the coffee pot. So let's go ahead and get started. I'll approach it the same way. So I'll lay in my rough sketch here drawing for the coffee cup. A little steam coming out of the top, which I was a little bit lumpy or a little more of a wisp Venus about that. Handle, a little saucer, and we are ready to rock and roll. So now, again, using similar papers as I did, just walking, make it cohesive and make it a really nice set. I've got my Reds. So I'll just start chunking away at it. And you can start wherever you want. You want to start with the steam or whatever. That's totally up to you. Here. I've got this paper and just making it work right? Just cut it, fill in and out using my thumb to measure things and it's making it nice and loose and free so that, that's the key. Withdrawing all kinda keep me in the ballpark of where our need to be. And if I go off a little bit from my drawing is not going to hurt me as long as you stick to it. So there you go. I've got the saucer and place. Have a little bit of red there. I'll think I'll maybe put that aside and we'll start to get in the one side of the coffee cup. Again, keep in mind when you trace it, when I flip it over, it'll actually go on the opposite side. So even though I'm holding on the left-hand side, the piece I cut out will actually be for the right hand side. You'll see. So that's just something you have to get used to. Me can always eyeball this stuff too. And so I've got the right side of the coffee cup. Again, I'm using that same sort of graphic approach as I did with the previous one. So again, I want these to be a really cool set. At the end of this video. I'll show that to you again so you get a feel for it. Tom for the handle. So you can see I've cut out my handle here. Instead of flipping it over and drawing it on the backside, I decided to just draw it out on the front of the paper. And that way when I cut it, it should line up in theory pretty well. So we'll see how that looks not too bad. And probably just need to cut the top of that off a little bit and we'll be ready to glue it. So so we got the saucer, We got half the COP, and now we have a handle going in place here. So these things again come together pretty quick. If you, you know, kind of have an idea where, where you're going with it in the beginning, what subjects you want to do. You can get your ideas down and no time and probably in 15 minutes, you can have some finished artwork ready to roll. So there's the piece there. Remember that one again, I'm just kind of bringing that back up to show you and remind you that that's what I'm trying to match. So I'm trying to keep the colors somewhat cohesive so that in the end, they'll look. Good thing Asada side. Now we can go forward with the rest of it here. So I'll do a little rectangular shape here for the top left-hand side of the cup. And I just want to, and the rest of it, I think I will stripe it out, but I think this will break up the monotony a little bit. And so they're not exactly the same again, and whenever we look at the finished pieces side-by-side than in this video, I'll kind of explain that. So I there you go. So a little bit of a light pink there. So I've got the top of the cup and now just some stripes to finish off the rest of it. So I'll start with getting my shape and cut some stripes. So if I cut the stripes and then hold them up to the cup itself, then I can just figure out where to cut the length of them so we can pretty much see doing that right now. The easiest way to do that is just a slap some glue down on the paper, and we can go ahead and start putting these stripes down. Theta stops sticking to my fingers. So you will get a kind of a club hand. He though you'll get this glue that starts to get real sticky on your fingers. And next thing you know, everything is kinda stick into it. And next thing you know, your, your hands become a work of art. But that's kinda calm and take a break every once in awhile and cleaning them up if they get too too nasty. So yeah, you can see this is coming together. It's not God, these different thickness stripes on the cut now. So that's starting to take shape a little bit here. And we'll get a little chunky piece perhaps for the bottom. And right away. This is coming together. Now the steam will be a little bit tricky because is curving back and forth. But I'm going to approach it the same way as I did the top, the bottom left of that coffee cup or I did those stripes. I'm just going to put the glue down. I will cut a bunch of stripes. Here. I've got a little triangle that was already cut out. Second is used that for the point. But yeah, then I'll just cut these strips. And then once I get the strips cut, then I can kinda go in there and shape the left and the right-hand sides of them to make them work for wherever they're going to go. And again, you'll probably find your own way of doing things. So wherever, whatever technique works for you, then that's fine or you can sort of use some of the ideas I'm dawn in this video. So you can see I need a little bit of a curve on that piece of paper. So I'm going to take my scissors and it's shaped a little bit, and that should work pretty good. So I think you get the gist of how this steam is going to go. I'm going to just bump this full word about four times speed. I won't cut anything out, but other than the clause paper, but I'm just going to go fast arcs, I think again, you gotta feel for how this works. I'm using, again that same kind of palette. So kinda using greys for the steam. See I got grey and the coffee cup on the handle. And on the left lower quadrant of the cup. So little bit of red, little bit of green in the cup to So, yeah, I think, you know, in terms of the palate and all should flow really nicely. I'll just press everything nice and flat to the paper here. And here we can take a look at the pieces side by side so you get a feel for how looks. Here is the piece I just painted for you. So the image is taken in natural light. So here they are again in frames. You can see how they would work as a set. And how cool is that. You know, again, you can use a colored background. So instead of the white of the paper, you may want to go with whatever colour may work for you. But again, I think these pieces are really cool and interesting way to use watercolor, man, I had to say the end result is a lot of fun to look at as well. Hope you enjoyed it. I'll see you in the next one. 8. Red Rectangles: Alright, welcome to red rectangles. You can see this one's abstract is going to pair nicely with the next one which is red stripes. So if you'd like that kinda modern abstract look, this is a great one to try out. Alright, so starting with a piece of paper that's roughly think 13 by ten. Got a 6B graphite and just creating some vertical lines. This will help me get a feel for the space and how that's going to kinda layout. Now I'm going to go across that dawn some horizontal lines. You can see I'm painting with a toothbrush. Toothbrush is optional. You can use a traditional brush or whatever, but like the toothbrush here is just very random strokes. I think it lends itself to the style of painting. So the colors are cadmium red medium, a little bit of cadmium yellow, lemon, and that's it. So mostly red. And now toothbrush again and going directly into the paint because we're dealing with some red rectangles. I'm just going to paint a bunch of those. At this stage. I would say though, the wash underneath the original piece that are stained is dry. So I did that a quite a ways back and then decided to do this afterwards. So be sure to have several layers. So do that really weak paint, reddish layer, and then go over top of it with something a little more saturated if you want the same effect I have. And in that way you get a little bit of depth and a little bit of variety out of it. As you can see, I'm using the exact DO knife to cut out some rectangle is not every rectangle is going to be dark. So I will get some of the original red paper. And then I will mix that with some of the dark, more saturated rectangles at just painted. So I'll speed this up a little bit so we get the feel for what's happening now. All right, so once I get all of this paper cut out, you can see I'm doing different shapes and sizes now. You don't have to cut them out the exact same size actually, I would probably recommend you don't. And now what we get back to the original artwork here. And I've got my stripes laid out. So I've got roughly 1234 to say 55 horizontal stripes. And I'll cut these down to a size that I think would look in terms of scale a felt the original size was a little bit too big. So I'm going to use the exact to naive and size those down until I feel like that's a size. Again, that would work for the scale. You can use larger rectangles if you like. It's totally up to you. I just had a certain look. I was after. And that's why I kind of now. Okay, so time for some mod podge will prepare that, get it ready. And the fun begins, right? I think it's been pretty fun up to this plane. So using an old house brush here, I'll just put in some dabs of glue in random places. I don't want them lined up vertically. I just want them to be staggered a little bit, but I'm following the horizontal line. And you can see the horizontal strokes I put on earlier. They're not perfect. They're, they're kinda curved and art and different places. So I did that purposely, so I didn't have anything that was too stiff. Alright. So just grabbing some shapes now, grandma's from different rectangles and putting those on. And it's pretty mix-and-match here though really rhyme or reason, I'll probably leave a certain area of the paper or the art work where it's more subdued or quiet. And the rest of it will be pretty saturated. I think in terms of variety, having the different random sizes like this will make it interesting to look at. Won't get too monotonous. Something new dawning this way, especially with watercolor. You get some really nice random quantities in terms of value and in saturation. So it's a good medium to, to play around with this sort of stuff. So paying abstract isn't just for oil painters and acrylic painter as I mean, we can do this all day long with watercolor too. So you can see we're getting down about halfway here and it's coming together really quick. Is that a lot of fun to create this way. Obviously, we can do different shapes. You can do triangles, circles, egg shapes, whatever floats your boat. You can really have a lot of fun with it in terms of color too. You can start, you know, for example, with an Amora violet towards the top and maybe worked to a yellow towards the bottom. So anything goes. I'm keeping this one obviously very simple. Because I think it, I thought like that kind of contemporary Sort of look about it. So you can see I've got a few big 0s in there S some big ones. Even put a horizontal stripe in there just for variety sake. And everything is coming together. So I will flip it over, smash it and look all that. What the paper I'm working on. So what's underneath the artwork that becomes part of the R2? So whenever I stay in my paper, I always recycle that stuff and you get these random colors, you get this little bit of glue on it that it acts as like a little bit of a resist. So it's all of that paper is set in the table for the next piece of art. So I would encourage you to maybe work on paper. So maybe if you have any cheap drawing paper, print paper, and if you'd like this sort of collage idea, you can easily a recycle it so you can see hair dryer there to force or encouraged a quick, quicker drying time. I will go over those vertical marks. And now that's looking pretty good. I'm gonna go back to whatever color I'm using appointed round here. Very little water. I want this to be very opaque. Strokes of red just to, in a few random places, just to kind of get that center of focus. And that should do it. So again, just a little bit of cad Red, the little cat red light in there. And now going back over some of the horizontal strokes air to sorry emphasized that. So it is blending things in a little bit, making sure that the rectangles aren't too stuff. So you can see I'm going back and forth to the rectangles and then to the horizontal lines. The horizontal lines I'm painting very, very lightened value. So I have a lot more water on those strokes because I want to keep that somewhat pale. I don't want that to compete with the squares and rectangles. So yeah, pretty cool stuff. It comes together really quick again, very versatile piece in terms of shapes and colors and acute scale up really easily too. So if you're looking for a large piece of artwork, that should do it. Alright, so now it's still Damn, I'm going to press it over a piece of an towel there, a rag that's going to give it a little bit of texture as you can see. And here it is. So this is the piece again, image was taken in natural light, so you really get a feel for the colors and the quality. So hope you enjoyed it. I will see you in the next one. 9. Red Stripes: Alright, welcome to red stripes. So you can see what we had there. A bunch of vertical stripes. I went ahead and did the first part, the paper I used to cut those exact same paper I used for the previous exercise. So I've got a red stain paper instead of doing little rectangles like I did for the squares and rectangles earlier. I just did a bunch of stripes, as you can see. And I'm not necessarily cut in the stripes out perfectly. So I've got you can see the streaks there. I'm just using my scissors and cut them in the right length. And if it happens to get, you know, half and half of the stripe that I just painted, then that's fine. So you know, no, not trying to be perfect when I'm cutting these, I'm not trying to do a perfectly straight. So I'm getting a lot of variety, a lot of widths too. So you can cut some thin, he can cut some thicker and mix and match and a little bit. And you should end up with something that's got a variety to it. So as you can see, the first stripes I did, they didn't come halfway. I would say they came up about a third of the way. So I'm going to go with some asymmetry here by making sure that have, you know, a set of stripes that are really long and then some that are short. So that's the hard part, right? Get now that stuff cut out. And now I can take the paper and I'll just smear the entire thing with glue. If you're very, very particular, like say, a black background or a pure white background. He wanted to be very clean and pristine. Then obviously you would want to glue the stripes. You don't mess up the background. Again, I'll go along with that. Kinda rough around the edges look. So I'm not too concerned about even the paper being heaven marks on it like this one did, and so on. So again, you can whatever Finish is a suits your needs. Obviously, again, I'm using the white background, the white of the paper. And I'm not trying to go for a color background, but you can use any sort of color combination you wanted to, if you wanted to pristine the paper itself. I'm talking about the art paper, the white paper. You could do that, you know, a blue and then come back with these really light yellow stripes over top of it and so on. So you can see that comes together fast. I'll very, very scalable. I think this is a really interesting look as well. I just like that, especially when it's paired with the squares and rectangles at us thinking scott, Awesome, modern contemporary look to it. So here just smash and down the edges. And that should pretty much works so easy to do. And now hairdryer to speed up the drying time. And we will have a look at the finished artwork. This image here was taken in natural light. So you get a good sense for the colors and the texture and everything. Here are the two pieces side-by-side. And I will finish this up by showing you what they would look like in a frame. So again, pretty interesting stuff. Again, very flexible. You can scale it up, scale it down. I use any sort of color combination that works for you. 10. Sailboats: Welcome to the demo. This one is sailboats. As you can see, a lovely little landscape here. Let's get started with the pristine water color paper. I did some light blue. So I'll we'll put that right on the sky. And that's about two-thirds of the painting done. Of course that's the easy part. The boats and getting some of those reflections may be a little more challenging. So I'm holding the paper up to my surface, which is a square piece of mixed media paper that's about 240 pounds. I think I cover that material is but I'll go ahead and throw it out there. And while I have time and I'm preparing my whatever color here, mod podge, using a house brush. House brush is a really cheap brush you can pick up at Home Depot or something like that for a couple of bucks. So and once I get that flew down, I can put it to the surface and then press it and that should hold it down pretty good. You know, I don't mind a few corner sticking up, so beside glued entirely. That's okay. I like a few edges of the paper rippling or flipping up a little bit. I think it adds a little texture. So I think this darker blue, or you could even think it's purple or violet. Violet, right? I think that I worked fine for the water as dark enough, but not too dark. So I'm going to cut that and the shape that I need. I love all the different texture to it. I got the red, I've got a few crayon strokes in there. And then I've got this little sliver of sky on the left that I need to cover two. So I've got a little strip of blue. So I'll go ahead and put that down is not the same shade of blue, but you know what? So what? That's what makes this loose and fun doesn't have to be perfect, I think because I had the majority of the sky, this light blue, a little bit of that darker blue, does simply using onto affected that much. So now I've got the water in there and we are moving right along, folks. I mean, could gracious, How easy is this and how much fun is that, right? So, so interesting and enjoyable to work differently. I mean, this keeps you from getting into ruts and, and it gets you thinking differently more creatively. And it's fine to do traditional watercolors. I do him all the time. I think that's a good way to get your foundation and all that stuff. But, you know, being an artist is about, I think, freedom to create and as many different ways as you possibly can. And I think the demos and information I have in this course is a great way to rethink water colors. It doesn't always have to be traditional. It could be unconventional. We can use mixed media, which I will do in this course as well. So already mixing with the collage and all that. And that's basically mixed media, but I'm going to be introducing a little bit of a white acrylics later on and stuff like that. So I've got the little background hills there. I put a few shadows in a few marks as well in the water for the boats will be. And now I'm cutting out shapes for the boats. Again, applying that glue right to the paper with the house brush. That's not going to hurt it. The glues going to dry, clear. So I'm not going to be a big deal. Now. I'm using my watercolor brush to pull the reflections down in the water. And that's going to give me a good feel for how those reflections are going to look, how they're going to be spaced. You know, I think something like that's going to work on it. I feel there's a lot of cool colors in this. So I'm going to mix in a little bit of red. If he took my color harmony class. And for watercolors, those techniques, techniques can be applied to any medium. But I did it in watercolor for the class alike. Having a little touch of warm, if i have a dominant cool painting, I think it adds balance. I think it adds a little pop, a little interest. So that's why I put that little bit of red in there. If you want to take that class or at least check it out. Again, that's color harmony with watercolors. And I'll put that link in the description with the recommended classes are. So here I've got a shape of the sailboat, honestly that is a very imperfect shape. Feel free to cut your sale if you try this in whatever manner you wish. So if you're someone who has to have things that are a little more exact or or nice. Perfect, I should say. The yeah, I mean, that's perfectly fine, but I like to go for it. I think a style like this lends itself to imperfections. And that's kinda who I am anyway, I'm art is very imperfect. And I think that's kind of the beauty of it for me anyway. I mean, everybody can judge things however they wish. So here I have a piece of stained paper. Whenever painting and doing demos and stuff. I'll put a piece of paper down underneath my art, which is pretty much what is underneath the sailboat now. So if you look at the white paper under the sailboat, that she is a big piece of a 24 by 18 inch drawing paper, again, student grade stuff. And I use that and I'll use it not only to protect my table, but I also use it for paintings later on. And I had these really lovely abstract strokes and brush marks and stuff that I can use later on. And that piece of paper I just put down on the sale was probably just water that spilled over onto the paper in a dried and stained it. Alright, so here I've got a little bit of the yellows and blues here. I'm going to use that for the next big sale. And I'll cut that out in a rough shape of the sale first, see how it looks. I think something like that. It'll probably be pretty good. So I can grab the glue and go right on to the surface. As you can see, that that paint is pretty much dry in the background, those hills. I took a hairdryer and between some of the collaging dropped it, but it's probably still a little damp in some places too. But that's okay. It's working in layers and, and count as having some fun with it, you know. So here I'll add the whole of the boats here just to anchor them down on the water. Maybe add a few little verticals there, maybe some people's heads or something spoken up against the white of the sale at a few marks on the sales, just to make some kind of interesting to look at. So not so stiff. I think I need one more little sail back there. Just kinda float and does so just for scale and depth. So we've got these two boats closer to us, two boats kinda in the middle. And then we had this one boat kinda in the far distance there. Maybe closer to the background. Hills sold. I just did them more for again scale and this child to capture depth, you know, something that kinda lead your eye back into the scene a little bit. So the reflections I put on earlier, I liked him, but I wish I would have put them on a little bit darker. So it didn't quite give me the impact I wanted for the reflections. So I'm gonna go back now. We can use some darker watercolor just to pull those out a little bit and kinda re-emphasize the hills and now like it. But I think the sales could probably use a little bit of color. So I'm going to go with a little bit of a warm gray. Now, not too warm Again, I want this, I kinda had that dominant cool feel. What the pop of red. And now I'll anchor the boats a little bit so it's putting a dark mark under wear contacts. The water will just make us sit nice and into the water. So here I'm using a little bit of white titanium white acrylics. These acrylics are mat, so they tend to draw without all the gloss. Now think that blends a little bit nicer with the watercolor. If you've used acrylic before, you know, when they dry, they, they tend to have a little bit of a gloss to it. So I'm finding that the mat acrylics, it's probably the type of acrylics I enjoy over the traditional GLA high gloss sort of acrylics. And now I'm just using a little bit of light blue into the sky. And I'll use a little bit of that titanium white acrylic as well for a few clouds, a few reflections on the water. And, and that's pretty much it. So there you go, man. They're like ten minutes Bertha painting, maybe a little bit more because I had it dried off in between some of the layers you now. But for the first demo here, I think there it is that this image was taken a natural light, so you get a better feel for the colors. And of course you can see a little bit better the textures and different things happen in. But anyway, there you go. So a nice, interesting way to use watercolors and to do something different. And the results I think are pretty awesome. 11. Road To Somewhere: Alright, welcome to demoed to road to somewhere. Here you can see we've got a little country road leading back into the woods. I'll start using my number to graphite. And again, this is on Strathmore mixed media paper. Loosely put in my main shapes. Loosely is the key word there when you're putting in or let me back up. If you really want to paint loose, then avoid putting in too many details. Like for a landscape, for example, I'll put the horizon end because that's going to be an very important line. And then from there, you can either move into the clouds. And he sort of architecture that may be there. Here I had trees and bushes. So getting the horizon place correctly, I was able to put the roads and the trees and the bushes, but again, don't know, over d, over draw it. Keep it loose because if you put too many details into your preliminary layout drawing, then you're going to start to paint like you're don't wanna coloring book. So you'll have all these edges, all these little shapes. And next thing you know, you're trying to paint within those shapes. So just keep it loose, put in just enough information and shapes to guide you and then leave the rest alone. That's kind of my advice for anyone that really wants to paint loose. And it's certainly what, how I approach painting. So a little bit of gray there, just using the hues are all my palette. I came up with sort of a darker gray for the road and then a lighter gray for the sky. And, you know, the key here is to don't make the washes to flat. So notice we look at the road, I've got some darker areas and then we look at the sky as little bit lighter towards the top of the sky. And I've got a few little darker areas in there as well. So that way when it dries, there's a variety of grays and it's not just one particular value. Alright, now I'm moving into the collaging parts. So remember, this is the watercolor paper that I used. I stained it earlier. Everything, all that paper is completely dry. Obviously. I've found that when I tried to use mod podge and a wet surface, like for example, if this little green strip here was wet, and then I use mod podge, it just it didn't stick that Well, I had a hard time making a stick. So I whenever I stay my paper to it's just a little bit easier to work with. It doesn't It's a little more firm, I should say. If I try to work with it when it's wet, especially this cheap drawing paper that I stain. A lot of times it can become a little bit too sensitive and every time I pick it up it'll start to tear. So having a dry well, again, make it a little bit easier and firm to work with. All right, so I'm getting these shapes cut out and I've got the main green shapes in place there. So saw gotta strip on the left. I've got the little triangular sort of shape on the right. I've got one more strip of green. I'm working with the same green piece of paper I had before. But look at all those cool marks and that green. So it's not just a flag green because it has a little yellow. It's got some crayon marks and some grays. And that's why it's so cool to use scrap drawing paper. You can look at your old sketchbooks, anything that you have available and use it. Especially if it's still got a lot of white on it. And it's so easy to go over that with watercolor. And then you had this real interesting paper that's got texture and some, some variety to, and Assad has one flat color. So at this juncture I've got the green cut out the way I want it. I'll start to put a little bit of glue directly onto the surface. And then once I have those areas ready, I can start to take the paper and stick to those areas. And the cool thing about this sort of approach is just, it's unconventional. It's a little bit different obviously then I think was what most of us have been taught in terms of how to use watercolor. And it's effective and it's a lot of fun to do. There's a certain level of creativity and exploration. You know, kind of making you feel like a little kid again, just kinda thrown some marks down. But it can be done strategically as well. And to the point where the end product is, is interesting. It's good fine art. And I think, as I've said before, you know, giving yourself or range of possibilities is always a great option. That the more variety you have, the better off you are. So if you have more than one ways way to do things and you have many tricks up your sleeve and you're not willing to limit yourself to being a cookie cutter sort of artists. And I mean, no disrespect, but I'll say that. I mean, where, where you just kinda fall into a trap of B and predictable with how you do it. I think there's a certain amount of safety there. And That's okay. It's predictable. And I think you can control a little bit more your results and buffer for me and probably many others out there. I think, you know, we, we have this desire to do things differently into you. Just keep pushing the boundaries, find out what's outside that comfort zone. Because what's outside the comfort zone is where your growth is. A lot of times I find when I'm painting and I stepped back and I realize like, Oh man, I've been painting. And this ABC pattern, a predictability. Then I can look at my art and tell my mood. It's like it's stale. It's kinda lacks that spontaneous energy, that level of excitement. And I think the reason why in many artists don't do this is because this sort of approach lends itself to more regex, maybe uncertainty. Because you're in this area of painting where you're, you're out of your comfort zone and you're, you start to worry about, oh, am I going to waste on material is not going to waste my paper. And all these negative thoughts starts you flow into it and you are, I mean, when you do things less predictable, sometimes you reach out and keep trying. It lends itself to making more mistakes. It does. I'll be the first one to tell you, but if you stick to it, then you'll catch lightning in a bottle. You know, you'll do it often. And the more you explore, the more you create, then what you're doing is you're putting yourself in all of these different circumstances, all of these different situations. And you have to kinda get yourself out of it. And that's where the maturity comes. And you know, that's when you start to say, OK, well hold on. I don't just have to do ABC because I've got all these other little things that I've tried, these tricks and techniques to do. So hey, you know, this watercolor is not turning out like a traditional watercolor. Great. I'm going to stop right here. I'm going to take a break. I'm going to come back. I'm A-star collaging. I'm going to start doing different things to it. And, and then, then you start to have all this range of possibilities. And, and that's what the one thing I think I've discovered the most about getting outside my comfort zone is giving myself all those varieties and a different options because none of those would be there unless I was willing to take a risk. And that's it right there. If you're not willing to take a risk, then you have to settle for what you already know. And, you know, some things in life are worth taking a risk for. While others may. You may want to be more opportunistic about taking the risk and making sure it's the right time and so on. But anyway, for now, just look at that. I mean, that's that's coming together in a very short time. So i cap while I was talking, you can see the green that was on the collage paper I've written the original green. It was a little bit to lighten value and wasn't quite saturated and enough for me. So I just pay it over it again. That's fine. Added the same green to the trees. And then I worked right into that wet, into wet and added the darker values so the verticals really stand out and now thrown in the blue when, so I've got There's blue streaks going across that blue paper which I kinda like. So I'm gonna try to leave some of that. I don't want I don't want to look too distracting, so I'll put a little piece of blue paper over it, but I think leaving some of that there's perfectly fine. So anyway, in a very short period of time, this little road to somewhere is starting to come together. All right, at this juncture, everything is pretty much dry. Sort of let the glue dry on everything and let the pains or ion everything. And now I'm using my bottler brush and some water color. And I'm trying to get a nice cool gray to work with. I'm not gonna go big into colors with this class. I'll talk a little bit about value. By a cool gray is just any sort of flat gray that you can come up with. You can mix grays using the three primaries, yellow, red, blue. And then if you want to push it to a cool, then obviously you would want to put a little more blue and to it, which is what I did here. I can mix that gray using ultra marine. I can mix it using cobol and no, it doesn't really matter. So here you can see the gray is going down and at first glance, it looks a little bit too dark and value, but yeah, I remember to this is going to dry a little bit lighter. So I'll just go ahead and put it on, spread it out and I'll stop right here and I'll see you guys in part two. 12. Road To Somewhere Continued: Alright, we're rolling right along. I've got my hair dryer out again here. And I'm going to dry it off 100%. That's going to tell me how the value looks in the sky. I know that watercolor is still wet. This sort of paper isn't going to respond the same as watercolor paper. So I have to kinda keep that mind to. So mixed media papers, very smooth. It doesn't absorb as much as traditional watercolor paper, but it's perfectly fine for the medium and it can handle it. Okay, so mixing in some reds, blues, and yellows in there and burnt sienna is what she can't see. That's off camera. And we're gonna go win with some darks and the sky. And I'm going to try to create a cloud pattern basic basically. And using that initial light gray as probably the clouds itself. And it kinda think of a layer of really dark clouds. And then he got kind of a lighter gray. And then we've got a sliver of blue there, the horizon. So it kinda give it that Moody feeling of a storm overhead and some clearing perhaps in the distance. So with this watercolor, you know, like I said before, this paper doesn't absorb the same, but is, I can always just disregard the fact that it doesn't get the traditional watercolor effects. I'm used to, doesn't respond the same, but I can certainly just pay attention to value and shapes and just make sure I approach it the same way. The beauty of I think this style is we use watercolor initially to stay in the paper. You can see the road, the gray road I'm starting to put shadows across now. That's all. What are colors got that really transparent looks so does the green fields. So does that sliver of blue in the sky. So the end result is always that has hints of watercolor and then of course it's got different mixed media feel to it. So again, this is nontraditional approach to watercolor painting. And so that's kinda, you can't expect the same results, right? So if you go into this thinking, You know, it doesn't look like a watercolor. Well, it's not really supposed to, you know, suppose have a feeling. And hence some watercolor and, and other things. So now I've got some really dark. This is neutral tent probably mixed with a little bit of blue and red. And I'll go into the sum of the tree areas here. So I've got plenty of room to go a little bit darker, which is when I'm Dawn and that's going to Bring the trees forward. So it's going to push the sky a little bit farther away. And then again, bring the trees forward by destroy value. Now I've got a little bit of white that is titanium white. And I'm mixing that with some of the neutrals. The gray, the neutral tint, a little bit of blue. Sorry, that's off camera, but I have a little tray off to the side. And then I'm mixing this, but again, that's just titanium white acrylic paint. I'm using Matt acrylic paint as opposed to traditional acrylic paint. Matt acrylics are gonna dry without the gloss, hence the mat and ATTP. You can use Chinese white if you want. That works just perfectly fine too. So we can use watercolor or Chinese white again. And so now you can see is more opaque than what I had before. But I pretty much had to do that because I wanted that to be a little bit lighter and a little bit too dark. I wasn't getting the contrast I wanted. So I went into it with more of an opaque paint mixture here, which is perfectly fine, is legal on nobody's gonna show up at my door and arrest me for not for, for putting this down. So anything goes here. We're talking mixed media, watercolor, acrylics, charcoal, crayon, the kitchen sink, coffee grounds, whatever you want to put into it. Now I'm gonna go back into the dark grays and a lot thicker paint here. So completely getting away from any sort of transparency and go back into those clouds. Now, I want to make them a little bit bluer, Just so it has a little bit of contrast to the Grace. I don't want that entire area of the sky to be a non or non chromatic sort of gray. I wanted part of the gray to be a warmer or cooler. So in this case, I'm picking cooler with the blue gray and it's getting that nice abstract, carefree look in the clouds. I loose brush work and is working it back and forth until I feel the pattern is working good for me. And I think that's going to look a lot better. So I'm starting to get the feeling of the depth here. I'm using my 4B graphite and just kinda ascribing into the wet paint, that's going to create some nice linear interests. A little bit of movement, if you will, in the, in the subject. And it's easy to go too far with drawing into wet paint. And just kind of draw an everything. And then it just kinda looks a little bit too much overwhelming, perhaps distracting even. So it is got to be careful there. So yeah, now you're starting to see it. Now we're starting to see that kind of a layer of clouds, cumulus clouds are just hovering over the. Landscape. And we're seeing that sliver of a distant blue sky that a soul welcoming after a storm. And, you know, that's all gone pretty good. At this stage, I'm going to add a little bit of movement and detail to the foreground, the grass area. So I'm using my sword brush, the habitus of small signature brush, whatever brush you have to add some details. That's all you need. Here are some thicker greens to go into the trees. So I want the uprights of the verticals, maybe parts of them and the trees to be catching a little bit of light. Just so Assad all grey. And I want that hue to be a little bit different than that of the grass and perhaps a little bit darker. And I'll I'll put a little bit that in through the grass area just to blend it so it doesn't. So things flow and harmonize a little bit better. All right, so, you know, this stage now everything is coming together. You know, it's just it's tough. You know, that this is a tough area of the painting where it's easy to go too far. But I'm willing to put a few sky holes in the trees so it is dropped in a little bit of highlight there, perhaps where you can see through the trees. And now just kinda making that area of the sky and a little bit lighter, blending in some rough edges, making sure the silhouettes of the top of the trees are visible, the shapes of them. And you just kinda blending things out a little bit. Well, yeah, little by little, it's coming together as a very simple composition. I think the main thing is making sure that the colors and the shapes have interests. You don't want the entire light gray of the sky to be one sort of gray. You want movement, you want some vibration in that. I talked about that and my landscape painting fundamentals part two. I'll link that in the description as well under the recommended courses or courses mentioned in this video. So you can go check that out, but no paintings can easily become flat. If sir, if you have areas of especially large and medium, medium areas that are kinda of all the same hue. So having subtle changes, a little bit lighter, a little bit darker, maybe a little bluer, maybe a little gray or just touches here in their enlarge a medium-size areas will make the painting more interesting as a whole. And it will discourage the painting from becoming too flattened stuff looking. Alright, so going back into the darks here, blending things out a little bit. And we're working on those shapes, the shadows coming across the road. And there we go. So I think at this point, everything looks pretty good. I'll go ahead and now bring up the image. And this photo, of course, was taken a natural light. So you're seeing a better representation of the colors. And I will see you when I was painting it. But there you go, a lot of fun. You know, it was, it was enjoyable to do. And I think the end result is spontaneous. And we get away from that traditional watercolor look. 13. Pine Trees: Welcome to the project. This one is pine trees for obvious reasons. Let's get started. I'll begin with doing a loose is you catch that loose layout drawing and using my 4B graphite, starting with the horizon, a few little sketch marks to lay out the group of trees just off-center. So notice the group B-trees aren't dead center. And then I have another set of trees towards the right and a couple of really small ones and the background. So that'll give me pretty much the focal point for this one. And then we've got a foreground that's multicolor, very warm, and that should do it. So in the initial staining, the paper Phase, I did a section that had some bluish-gray watercolors and then I use some crayons. Now this would work if you had charcoal or anything like that, because I already has that feeling, that kinda conical shape of the pine trees, the pointed tops and everything. And as long as you I think had that sort of movement, it would work. But then again, I mean, you're you're stain paper and in your beginning will be the results will be different than mine. So obviously, looking at what you have and kinda know, choose something that will be similar and it doesn't have to look exactly like pantry pine trees. Because you're not going to have that. Unless you'd like literally painted pine trees in the beginning. But here you can see altered the blue by adding a little bit of white to it, some yellow ochre and a little bit of cad yellow. And now I'll put the glue on and sticking it. So just use something that you think would work shape wise, color wise, if the color actually isn't perfect. If you have something that's blue, remember, you can always put a transparent, really thin layer over it like I did. And I got yourself of a group of green trees. Now I'll move into the larger section of trees and pick something similar. Here I've got a section of paper that has a greenish brown look to it. So it's, I'm starting with something that's slightly different than what I had before. I want this section of trees to be a little bit darker. So I'll use a little bit of water color my model or brush and just mix up kind of a warm gray. So think of a gray and then added like a little yellow ochre or CAD red to it to warm it up. And if you're not familiar with colour mixing and things like that, I recommend you go back and look at my landscape painting Fundamentals course has actually two parts. The first part is fantastic. It really covers the basics, the nuts and bolts. And then in part two, I talked a lot about design composition, and I've talked a lot about color. Mixing color. And I think that in that section I talked a lot about mixing color in understanding warm and cool and don't get fussy with what you're doing. Just, just think about it in terms of value. And then of course, temperature, how warm, how cool things are. Now that's a little bit too symmetrical. We had that too small, tall pine trees on the left and the right, and we had that one in the middle. So I'll probably go back and change that shape little bit. But for now, I'm going to leave it and I'll get the two small pine trees in the distance there. So that just helps with scale. And then I'll kinda get me going. So right away I've got the treason. And it's done in a really interesting way. It's not too predictable. And here I'm using some really thick milk like mixture of watercolor, that's yellow ochre. And now I'm putting a little bit of burnt sienna. And so the burnt sienna is being the yellow family, maybe more towards the brown, but definitely has that Popper red in it. What's a Kinda like so that it gives me some variety in the foreground. And now I'm taking my towel, a little hand towel there that's got some texture to it. And just rubbing that across the wet paper and that's just going to again give me some variety in the wash so that the wash doesn't look flat. Alright, so just drying off the glue there. And I guess I made a little mistake and I chopped off the top on that tree. So I'll go back and fix that. And there really aren't any mistakes. But the sort of style he does, kinda everything you do is and it kinda part of the journey and you just roll with it. So that's the fun of this, is that if you think about it, any mistake can be covered up with another piece of paper. And, you know, and just move on. So here I have a little bit of cobalt turquoise. So really give me, given me that baby blue look in the sky. And that's going to contrast really nicely with the dark trees. So looking for that contrast. So I don't want anything too dark in the skies and want those trees to really pop against that. So here a little bit of cobalt blue at the top, and I don't want a little gradation. So if you've taken some basic watercolor classes, or if you've checked out my easy watercolor paintings class, which is my basic class. I talked about gradations and that's all that is, is just putting that cobalt at the top just gives me a little bit darker value. And then a little bit of variety. At this point, using my hairdryer to get it nice and dry. That's going to put the control back in my hands so you can see the sky, the trees, the foreground, everything's wet. And as I am using the hairdryer, something like I commonly do is kinda paint into it. So I'm trying to catch the surface when it's semi dry and that's a good time. You can kinda work into it a little bit. You just have to be careful that your mixtures are right. If you try to work into semi dry paint and you don't have enough pigment and your, if you have too much water on your brush, then you can kinda get that ballooning and stuff. So I want to try to avoid that for this one. So I didn't really like the foreground. I kinda felt like as it was drying, it just looked a little bit too weak, too pale. And to make that a little bit better, I use a little bit of titanium white, some red, some burnt sienna is a little bit of yellow ochre, probably more burnt sienna and then anything because burnt sienna again is that kinda reddish brown. And that's why that color looks a little bit on the pinkish side. And now here using some dark browns to just dot in some texture a little bit of detail in the foreground. So this will wrap up part one, and I will see you guys in part two. 14. Pine Tree Continued: All right, welcome to part two here. Beginning with my sword brush, I'll go in with a few details. And more specifically, just trying to get that sorta bronchi look and pine trees. So it is kind of adding a few of that. Few others, brushstrokes and details and that one. And just to make it blend and a little more cohesive, I'll add a few to the middle trees, but I want to be sure to leave some of those fresh crayon marks are a really light the energy in that the spontaneous look about it. So just, just a little bit, is all E101 and really just searching for value, trying to get that feeling of the really dark silhouette of the trees against that sky. So titanium white, probably mixed with a little bit of gray or whatever's on my palette just so it's not bright weight. And just dotted a few trees or, I'm sorry, died a few clouds in there. I don't want the sky to be too busy, law, so I'm going to keep that part of it simple. Goin back in again, a few details for the trees. And I'll probably add a little bit of gray to the bellies of the clouds. So we have a son, you're really high, obviously in the sky and kinda down in the clouds. And the, you're going to get a little bit of that graze underneath the bellies of them. And I saw just add a little bit of that just to kind of anchor them a little bit. And now I'm going to end with some cad yellow light and a little bit of titanium white. So that titanium white again is acrylic Matt heavy body acrylics. If you have Chinese white, if you have regular white acrylics, that'll work just fine. And just, I guess I'm getting a little bit fussy with this foreground. Part of me wishes I would have left it the way it was. I thought maybe in the beginning I had a nice fresh look to it. But I guess now that I'm looking at that transparent area in the middle, it just doesn't really mesh up well with the reddish color that I put around it. So I just want everything to be either needs to be a transparent or opaque. There's a really big shapes and this kind of pale yellow coming across the middle is a big shape. And so I just thought it was a little distracting. So getting away from pure watercolor, I guess a little bit. So it's starting to get that more opaque acrylic look to it in the foreground. I still feel like the sky, the trees still had that transparent quality to it. And here I'm going to add some strips of grass, soft balance and pale green paper. So I'll cut out a few strips. If you're curious why some of that is in focus. My camera lens, it's a prime lens and it only focuses at a certain distance, which is my drawing board. The painting itself. So whenever I come a little bit closer to the lens, that would be slightly out of focus. So it's not an autofocus. And I do that because if it was autofocus and the way my hands move back and forth and up and down, it would really get a little distracting. So figure keeping it focused on the artwork. The majority of that time is the better scenario. So again, continuing to add some strips of green grass there and just a little bit to break up the those big shapes. And then also to kinda bring back a little bit of that thin, transparent watercolor quality to it. I think just looking at the transparency of the clouds or really the blue sky and parts of the trees. I think having a little bit of that transparency, that transparent quality in the green of the grass along the field, in the foreground there. It makes it a little more cohesive. So it's not just all opaque. So again, getting even more, even more fussier with this foreground, I would say that area of the painting is giving me a hard time here. Or perhaps i just kinda of painted myself into a corner. Just, just trying to blend that out a little bit. Alright, so now I think I had the colors I'm happy with. So I'm gonna go in with some burnt sienna is a little bit of yellow ochre. And his add some texture, some movement, rocks, earth tones. And that section, so it's not completely blank. And that's feeling a little bit better now. And I'm going to start and to progress in a way that a much happier with it. So I will hopefully leave it alone at this point and start adding a few more details. So bringing in some of those earthy Brown's now into the foreground. So that'll keep the I from, I think dropping off the corner of the page there. And again, just a few dots, few marks, abstract marks as all it needs at this stage. So again, getting a few of those in there and go back and kinda shape the trees a little bit with some dark grays. And little by little it's starting to feel more cohesive. I'm gonna pop the white, some of those clouds just to give it a little bit better sense of light. So the light really hit and the tops of them. And I'm going to bring some of that light value back into the foreground. So right when I thought I was content. Obviously, I'm going to try to work that area a little bit more, a little more contrast between the red and the pale yellow. Just so you see two types of earth and you know, maybe you've got this rural clay earthy section and then you've got this kind of pale area around it. So it just creates a nice little pattern and nice little flow in that foreground. Again, if I had a chance to do it all over again, I probably should have left that foreground alone a long time ago. And now even done an opaque foreground, but it works, it works. I've got opaque qualities and the clouds. I've got opaque qualities and the trees. And I've got watercolor qualities and all of those as well. And now using my graphite pencil, I'll describe into the wet paint a little bit, just give it some loose drawing marks into the clouds, different areas. Not too much. I'm not like going around Shapes. I'm just kinda know a hit and miss some of it. Let it dance across the paper a little bit. And that's it. I'll add a little energy and now let's have a look at the finished piece. So here is the image taken in natural light. Hopefully you can appreciate it. Sorry, I got so fussy with the foreground, but hey, that happens to the best of us, right? I hope you enjoyed it and I'll see you in the next one. 15. Farm Dwelling: All right, welcome to the farmhouse demo. Here you can check it out. So pretty nice little piece here. Let's get cracking. Starting with again, the Strathmore mixed media paper. I will use my 4B and layout the design. Remember, this is not about adding details, windows, every blade of grass that's in the scene. Just keep it simple. So a nice tree line there that separates that and the sky. Then I've got the hill and then we'll lay out my little dwelling there. And that's obviously the focal point. So you've got this really white shape. Or I should even say lightened value, and it's just sitting against the dark of the trees. And then you had this kinda big rolling Hill mass coming down at you. So very, very simple composition. I wanna make sure that the trees or the homes. So you have a series heavy like a kind of a main building and then to a little aside buildings they're attached, moving off and you just want to make sure that that's not Center. The paper see want that offset either to the left or to the right. And from a design and composition standpoint, I think something like that, a work pretty good. So here I've got some of the scrap paper. I really liked the reddish burgundy color. I like all those crayon marks and the different colors and they're, so we've got some light burgundies, we'd get some darks. Here. I'm just laying the artwork over that area just to get a feel for the size. So now I can go in there with some scissors and, and, and work too good. So I'll use an exact O naive, which will work a little bit better. So a marking the sides. And then now I just want some Jaggard sort of lines going down so that again, that horizon line of the, or the tree line will start high on the top left and then it will sloped down as it approaches the rate. So that's something like that at work too good. Like look at all of those lovely abstract strokes apps. Obviously when I put this paper on, it's going to cover up the house, but I can see enough of it. And of course I understand where the composition is going back and easily go over it. So yeah, that's a good way or a quick way to put it down, but it still has that lovely watercolor field to it. In just like that, we've got the area of the painting going. And here I'm going to create a little gap there. Near that way it is not to two solids, so yeah, and look how I use two pieces instead of one. So that Second piece, that little piece on the left-hand side. And you know, it doesn't match up with where I cut the first piece. So, you know, you're getting a little change, but it's within the same family. So that's that'll work good or add a little interests to it. And kind of go with enhanced that sort of collage look. And here I've got an old brush. So don't use your good watercolor brushes or your acrylic brushes to put the glue down under that, some common sense sort of stuff there. But, you know, I don't want any comments like I'm Ano Domini, use my bad brushes for that and now I trashed on my brushes. So you've been warned. I never throw my brushes away unless there's absolutely no bristles on it. And even then, I use them to scribe into the paint for a little while and eventually it'll make it into the trash bins. I'll, Alright, so that's that, you know, so looking at the pink crayon strokes on that, look at the different, the different values. Those burgundies and the dark grays and that hill or the trees. And it really sets the painting up nicely, gives it an abstract look and this kind of spontaneous Look, it's not too predictable. Now didn't paint any of that burgundy color with the intentions of using it for this painting. So I just happened to paint it and then said, alright, that'll work fine. So let's scale with that. Now I've got the green grass area. So look at all those lovely blue marks, all the different layers of green that are on that stain paper. So that's going to be amazing. So that's going to work just fine. So does kinda lining it up, they're getting a feel for how big of a piece I need. And once I kinda get that going than I can start to put that down. So I think at this point though, it looks like I'm going to get cut out the house. So notice how I left a little bit of the white. So there was a little strip of white above the green. And that was a good way to not only do the grass, but to get a little bit of the white of the house and they're all in one shot. So again, this is a lot of fun to paint this way. I mean, I love traditional watercolor painting too. Don't get me wrong. I like pretty much all of it. But there is this sort of different layer and excitement when I'm painting this way. Because it's so unpredictable and it just makes you think a lot differently about your approach and you know, the process. And it's just, I don't know, I just like exploring. I think more sometimes than I do painting. So the process of making art, the steps I use to create it, I get more satisfaction out of that than the actual finished painting. Lima finished paintings and I'm done with them out is film in the drawer. Give them away from gifts or or whatever. And they don't really mean a lot to me. I just really, again, like the process of making it. So I think that is just, it's just so rewarding and refreshing and relaxing. We led the art come out of you versus trying to force our. Anyway. Now adding a little bit of mod podge to the green grass, the little bit of a house there, shape that I have. And you know the drill. I'll line that up and we've got our painting well underway. At this juncture, I only need to press it down, so I'll use my towel here just to press it. And and you know, that's really cool. So I think that's a great start to work with. So I'll just clean my paint area of got rid of a lot of the scrap papers and stuff. And notice how I did exactly what I told you not to do. So I'll plop that house right in the middle. And that is a no-no for me. Everybody's different in how we see our compositions in subjects, but I don't want to throw my house right in the middle of that hill. I think it's to symmetrical. So I'm going to make the house a little bit bigger. So I'll make the, you know, the the sort of a frame or the V inverted V of the peak of the house there. And I just made that area bigger anyway. And then here I'm using some white paper. S Got White Papers, got some random marks on it, some blues and different things. And so now that pushes the house towards the right. So that'll do it for part one. I'll see you in part two. 16. Farm Dwelling Continued: All right, so a little bit of green here to get a strip, some smaller work with, so I can rip it in half and create two little bushes off here to the left. Out is give it, it'll break it up a little bit so it's not all solid Burgundy. So I've got the White House, they're coming up towards the center about thought, putting some green there would again, just add a little bit of entrust. I'm playing around here trying to experiment with how this 4B graphite looks not drawl into it. I'll decide later at that something I want to keep or if I want to use paint. So I have a red crayon. I'm just going to make some scribbles on some of the greys and some of that scrap paper that I stained earlier. And I will cut out some rectangles for the rooftops. So I'll want that feeling of like a white barn or some sort of white country home back there with a red roof. And I thought that's a good way to do it without painting it. So I'm using the stain watercolor paper, but instead of opting to paint it. So there you see, I use my fingertip to put a little bit of that cad yellow medium on there. And that should work good. It's gotta get it cut down to a size that works. So I'll get a couple of those gone because I've got two separate buildings there that kinda go off the main house. So i'll be one and then I've got the other ones. So I think something like that will work pretty good. So now it comes to the glue. So a little bit of that directly in one the rectangle. And don't get too concerned about the glue smearing off a little bit. And that's going to dry. Transparent. So mod podge does that. Alright, a little bit of watercolor now. So using the bottler brush, some cad yellow light, a little bit of yellow ochre, a little bit of cobalt, turquoise, a little bit of cobalt blue. And just coming up with a color that'll be dark enough to smear from this corner. So I want I want a little bit of like shadow maybe coming down the hill there. So it's not all 11 value. And I think having a darker value in that corner will push the eye back up into the painting near the focal point. And here it is working again with the green, adding a little neutral tint to it. And what I'm looking at, searching for is something a little bit darker to drop into it. So yes, not like that at work good. Just trying to get that layer texture look and actually do the job for now. So that's working. Working pretty good at this point. I think now. I'll go into some highlights. Saw go in with that cad yellow light, a little bit of yellow ochre. And this almost pure here, my brushes damp, but it's not saturated, so it's not super wet. And it's certainly not dry. And just almost going with that opaque watercolor Look, it is, a little bit of transparency is still happening there, but just a little pop of color near the focal point. Taking your eye again, backup on, on the Hill. Alright, so the red's looking good. You can see I use a little bit of red paint there. Pretty much straight guy that too, with my fine a sword brush. And yeah, that that should do fine for the roof. And now I'll mix up a little bit of a grayish color. So neutral tint, a little bit of cobalt, cobalt turquoise, excuse me. And then a little bit of Alizarin crimson. And I'm just getting a shadow color for the house. So i'll just something right in there just so you know, it has a feeling of a White House, but it has a feeling to maybe sit and back in the shadows a little bit so that the main focal point becomes that house, the main section there. So here adding a little bit of light on the left-hand side of the dwelling. Law. So that's the mat heavy body acrylics, titanium white. And now I'm using the titanium white and mixing it with some grays that are off on my palette and creating some verticals. So these could be like little telephone lines or just some electricity wires or something. But just kinda breaking it up a little bit, adding some vertical interests to the painting. Not too much, but just enough to give it a little detail. So now just some thin lines, you know, some wires coming across. And that should do it pretty good. And dot enough a little bit of that on the house as well. So so I'm coming into the front of the house. So I want the feeling of the light hitting the left-hand side of the house. So that's going to push the front of it a little more in shadow that's on a different plane. So anytime there's a plane change like that, you want to a little change in color. So yeah, and now just using that titanium white with the yellow and just adding again a speck of detail. They are near the focal point. And if it gets a little bit too strong, so v, If it gets to be too many dots or it's just too distracting, you always use a finger paper towel or something just to smear it a little bit. So a little splattering now. So the wet, the brush was very wet and went into some dark grays and burgundies and stuff. And just to add a little bit of spattering in lines to the piece. So a little window there and maybe getting the houses anchored a little bit. And that's going to work pretty good. Maybe a few more dark marks breaking up the yellow. And then maybe a little bit in the corner here to set break that up. And that's it. So let's have a look at the piece again, image taken a natural light so you get a better feel for the colors. But yeah, lots of fun. Hope you enjoyed it. I know I enjoy painting. This one is simple, but I think it's really effective. And I think, you know, you can pull it off pretty easily. So I'll see you in the next one. 17. Blue Barn: Welcome to the demo blue barn. So lots of collage, lots of that water color feel. And we'll get started. So I've got some of that watercolor paper that I pristine and that lovely light yellow, green. And look at those fantastic crayon marks in all that texture going on in that paper. Really exciting when you, when things come together. And we all know this is a, we're just start now with a painting here. But whenever I can look over and see this lovely green with all this sort of activity and abstract marketing going on, then it gives me all fired up. So I remember painting this piece and lt like yes, I really like that. And some pieces you start, you're like Amin, Alright, well I guess I'll go for it, you know, and see where it goes. But it's had a good feeling about this one. Anyway. So now I've got a little area to the left there. I'm going to mix it up so I don't want everything that Lamy light yellow, green. So I'm gonna put a little a little darker over there in the corner. And I should work. So that was just a little bit of glue around the edges and keep it from Curlin up to much. And one more strip of that green And I think we should be ready to go. So just like that, the painting is underway. We've already got the foreground in there. And now I can take some other green there and just kinda slap it in just to see, just to break it up a little bit. You know, it's it's working really well. I don't want to do too much there, but you got that big splotch of grey that my hand is covering right now. Thought is slapping a little bit of light green. They're kinda breaking it up a little bit high. So that again, I think should take care of the foreground. And now I can start moving into the focal point, which is that barn. And I've got some blue that's already there waiting for me. Predestines, so that's going to work out just fine. And I've got, you know, several two pieces going there. So one there on the right obviously is a lighter blue value. I've got the darker blue going on. And one of this barn look really abstract. I didn't want it to be too predictable. I wanted to add a little bit of excitement to it. So basically what, you wouldn't really see a bar like this in nature, you know, you would kinda unless it was like completely dilapidated and they just did a crazy paint job, Twitter or something, maybe some graffiti or whatever. But anyway, you can see I'm just kinda though in some pieces up there but just mix and match in and just trying to get something really interesting looking. And I think something like that. It worked pretty good. So I got the barn underway, so I've already got the foreground and Madu, a strip of blue here back on the barn. But this piece, again, it's coming together. So I thought the the dark piece of paper there was a little bit too dark or too big. So I added a little bit of something in the middle. So it's not quite as light as the value on the right, but it's not as dark as the well-known laugh. So I slap that right in the middle of that, kinda break it up. So now we've got a more of a cube. So it looks like the front of that barn as enlight, the sow that barn is in shadow and the proportions are somewhat accurate, so that's good to go for now. So a little bit of glue here and I'm going to start working into the the middle ground. So, and there are some whatever some trees are just who knows what's really behind the barn. But I just want to get something there that will make the, make the Middleground. I'm more of a vertical. So this burgundy works well. And the burgundy is nice because, you know, with the greens and the blues, they typically leaned towards a cooler color. Saw adding that little bit of a burgundy red in there. Added that little touch of warm color. So that's why I put that in, in terms of a design. So here I've got some verticals. So we've got this sort of landscape layout. And things are working horizontally here. So putting some verticals and there will break all that up a little bit. So it's important to do that you want. And if you had things there are two horizontal, then your eye tends to run off the page. Just like if things are too vertical, again, you're going to do that. So you have to have something to counter that. So these telephone poles or wherever they are, should do a good job of that. So you can see even now, it kinda pulls your eye back into the painting towards the barn. You know, imagine if those verticals are gone then and the things you're out, we'll just run left to right. So that's going to do it. So I've got a few little green pieces in there. I will take a hair dryer to it and get it nice and dry. You can see the back of the painting is a reject there, but yeah. So once I get this 100% dry, I will see you in part two. 18. Blue Barn Continued: Alright, rock-n-roll. And here I will add a little bit of some ultramarine blue, cobalt blue, and a little bit of neutral tint to the peak of the barn is to make sure we get that shape in there. Now got some earthy greens, some yellow ochres cad yellow, lemon, a little bit of ultramarine blue, cobalt blue, and they're neutral tent. Really just kinda muddy looking in greenish gray. And it's probably even leaning more towards red there as well. So yeah, going back in with some darks here. So mainly neutral ten again, a small pointed round brush there. And just kinda stepping back, having to look at it here. I've got my mod podge brushed there that I am using the paint with. So does adding a little bit of a little bit of color there, and it's kind of soften those edges a little bit. House brush is really good to kinda get that little bit of texture, the tops of trees like that, you can really make it nice and airy. So here I'm experimenting a little bit. So using my graphite pencil, I'm going to draw some lines like telephone lines and stuff, wires, little light posts. Maybe. I want to see how that looks. I guess my initial thought here is that we'll try to keep the sky white, just the white of the paper. So I wanted to put those lines in there to see how it would look and then the side as I move forward, if that's something that would work. So again, I'll decide on that in a minute. So few more dark marks. I wanted to try to get this sort of pathway moving up towards the barn. So I added some some dark paint, knowing I would come back over that with some lighter paper and do a little bit of collaging here. So I'm basically gluing on a, some sort of pathway. And you can see I've got plenty of light blue and paper like wow, that stain paper. So that should, that should do just find something like that. And here playing around, I like that burgundy red happening over there. I think that's adds a little bit of extra Papa color. So I'm, I'm kinda experimenting with that a little bit. And getting a little more of that color in the background are in the middle ground. And see how that meshes with everything else. Alright, trying to bring it to life a little bit here, just using some color. This is obviously more opaque, so a little touch of titanium white mixed with my cad yellow lemon. And it is getting a little bit of yellow around that barn, the blue bar and just for contrast here, still playing with the sky. I don't really know at this point what I'll do to to make that happen. But obviously I didn't like that. So I'm going to go in with my pencil here and make those lines a little bit darker. And that is actually a, a watercolor pencil that I'm using there. And you can see it is adding a door, adding some abstract marks here in there into the paint. Completely took that piece of paper off of it. It wasn't dry yet, but that's alright. So yeah, just some scribbles, you know, it's all about the scribbles here. And again, this finding my way through it, you know, it's not everything I do is predictable. I like to experiment while I'm painting on. If I feel like something is worth trying to see if I can get away with it, then I'll do it. And if it doesn't work, then I've got plenty of options to fix it. So at this point though, I would say the white sky experiment maybe isn't going to work. So I'm going to use titanium white, a little bit of ultra marine and get that kind of grayish, bluish color. So think of a, you know, a cool gray but very, very light and value as you can see. And when I'm painting the sky, I'm going around some of the scribbles I did. So don't some negative space painting around the telephone poles, the light poles. And that's going to allow those pencil marks to become part of the painting. So I didn't want to completely paint over the verticals and the poles and then paint him again because I liked how they were looking with the pencil marks. So thought does painting around it would be good because then the pencil marks have, actually have a purpose and a roll to do so. Here, binning that little pathway over towards you. But this painting has a really nice look to. It's got a lot of texture which I like. So let's have a look at it here. So again, image taken a natural light. You can see all the texture happening with the paper. You can see all those little scribble marks with the verticals and how they become part of the painting to they really add a little extra energy to it, but now wrap it up. I hope you enjoyed it. 19. Recap & Assignments: As I mentioned before, this is an ongoing class. I will try to update it as often as possible. So be sure you are getting your notifications sent to you via email. So you know when fresh content is available, if you have any suggestions for the class, I would love to hear them as far as the projects, feel free to do one or all of them. As I've mentioned along the way, each of these projects is very versatile. You can scale it up, scale it down. You can substitute certain objects for things that suit your lifestyle and needs. Please post your work. I would love to see it. I want to thank you guys for your support and interest in my courses, and I will see you in the next one by.