Watercolor: Stained-Glass Inspired Painting | Janette J. | Skillshare

Watercolor: Stained-Glass Inspired Painting

Janette J., Creativity Inspirer

Watercolor: Stained-Glass Inspired Painting

Janette J., Creativity Inspirer

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15 Lessons (1h 14m)
    • 1. Welcome!

      1:36
    • 2. Class Project

      1:08
    • 3. What Supplies Do I Need?

      2:23
    • 4. Recreating Stained-Glass Textures Part 1

      9:04
    • 5. Recreating Stained-Glass Textures Part 2

      10:40
    • 6. Transferring the Pattern

      2:30
    • 7. Painting the Sun

      6:23
    • 8. Painting the Sky

      6:54
    • 9. Painting the Tulips Part 1

      5:21
    • 10. Painting the Tulips Part 2

      7:32
    • 11. Painting the Leaves and Stems

      9:51
    • 12. Painting the Border

      4:04
    • 13. Finishing Your Painting

      4:28
    • 14. Bonus Project

      0:49
    • 15. Thank You

      0:52
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About This Class

Have you ever looked closely at a stained-glass window or sculpture? The glass has many textures and color variations which adds depth and beauty to the whole piece. When light reflects off the glass and through the glass even more textures are revealed.

I love trying to recreate textures I see all around me using watercolor paint. In this class, I will teach you various techniques for creating watercolor textures you might see in stained glass. These texture creating methods can be applied in any watercolor painting.

Supplies:

The basic supplies needed are easy to obtain:
Watercolors
Watercolor paper
Paint brushes
Salt
Tissues
Black marking pen or black dimensional paint
I will show you what I use in the Supplies Video.

Who can take this class?

This class is for beginners as well as for those who want to try some different techniques to add to your previous watercolor experiences.

Meet Your Teacher

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Janette J.

Creativity Inspirer

Teacher

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Transcripts

1. Welcome!: Hi, I'm Janet Johnson, and I love doing all kinds of creative activities. I'm mostly a self taught artist, but I'm passionate about painting with watercolors. I love to inspire others to find the creativity within themselves. Do these windows inspire you? Do you feel the urge to do something creative? Many times, one form of art will inspire me to express creativity in a completely different medium. My mind wonders. What could that look like in water colors? In this class, you will learn techniques to create textures with watercolors similar to stained glass. You will create a beautiful stained, glass inspired painting of lovely, colorful tulips that you can hang on your mom. This class is for beginners as well as for those who want to try some different techniques to add to your previous watercolor experiences. You will also have opportunity to do a bonus project, creating stained glass inspired cards and bookmarks using the techniques that you've learned. Are you inspired? Then let's create 2. Class Project: in this class, we will be making a stained, glass inspired watercolor painting of a tulip designed for your class project. You confined my pattern. Pdf in the projects and resource is tam. I will show you three methods of transferring the pdf pattern designed to your watercolor paper. Before we start on the actual painting, I will show you various methods of creating textures with watercolor that you can practice the painting of the tulip designed for the class project to separated into six lessons. So it's easy for you to go back to a section you want to watch again. There are bonus projects at the end and the PDF patterns for those air included in the resource is tab. Be sure to post photos of your progress and completion of the lessons and projects in the class project section. If you have any questions, don't hesitate to s in the next video, I will show you what supplies I used for this class 3. What Supplies Do I Need?: what supplies will you need for this class? I'm going to show you what I use, but you're free to use whatever you have available. This is a plastic corrugated board to take my paper down to to keep it smooth while painting. It comes in a 20 by 30 in sheet, and I cut that into smaller boards. I'm using cancer and watercolor paper £140.9 by 12 inch size. A good quality watercolor paper will give you the best results to take the paper to the board. I use cheap masking tape, and this is probably wider than I need, but it's what I have. I use this trade to hold stuff like my brushes, towel Mr and so forth that could also be used for a palate. I keep an old washcloth as well as paper towel, close to dab my brush when I have too much water or paint. This handy little palate is great when I'm using a limited number of paint colors. I like the slope trays I'm using Windsor and Newton Permanent Sap green hookers screen, French Ultra Marine Blue Quinacrine own Goal and Winsor Violet. Also, I'm using Daniel Smith when acrid own rose. If you want to use other colors, feel free. This is your creation. I set out size six and size for round watercolor brushes from Masters Touch, but I ended up using just the size six for all of it to activate my watercolor paints. I lightly miss them with this mini Mr from Ranger. I used to water containers, pottery jars for dirty water and glass star for clean water. It helps me and pay better attention to which started use to clean my brush well most of the time, anyway, tissue is needed for adding texture. I also use regular table salt for texture. It's handy to have a smaller container for the salt so that I could get my fingers into it . For a pinch of salt, you can finish off your painting with a black marker. I'm using a micron marker, or you can finish your painting with a dimensional black paint. You will also need a window or graphite transfer paper or a light box to transfer your pattern to your paper. So gather up your supplies, and in the next lesson, I'll show you some water color painting tips and techniques for creating textures. See you next lesson 4. Recreating Stained-Glass Textures Part 1: Hello and welcome to part one of recreating stained glass textures with watercolor. In this episode, you will learn techniques and tips to create textures with watercolor, using the following methods wet on wet, wet on dry and charging. Let's dive right into it. Take a piece of watercolor paper and draw 12 random shapes. These air your pieces of stained glass that you're going to practice painting textures on. You know the first technique we will try is called wet on Wet. This means you are laying paint down on top of wet paper, dip your clean brush into clean water and paint the first shape with water. Let me show you quickly a couple of samples. First, I'm loading the shape on the left with lots of water. It's a big puddle when I add the paint pigment to the shape. I really have no control over what the paint is going to do in the shape. On the right, I'm painting with water, making sure it's all covered evenly without puddles. - This time, when I add the paint, I do have more control. The paint spreads somewhat, but I can still make a design that won't get out of control notice in the shape. On the left, the color is all running together, and they're still a big puddle. So it took a long time to dry, and the result is not what I wanted. If you think you have too much water, you can dab it lightly with a paper towel or tissue. You can also wipe your brush off and then soak up some water with the brush. Wipe off the brush and do it again until you no longer have a puddle. Okay, go back to your paper of stained glass shapes. Paint your first date with water. Okay, okay. Now pick up some blue paint with your brush and touch the wet paper, leaving spots of blue with white space between not exactly the same, but a similar look. Let's try another wet on wet design. Paint your next shape with water and make sure you don't have any puddles. Pick up your yellow or gold paint with your brush and paint some wiggly stripes on top of the wet paper. - Paint another shape with water and this time dabbed the rose paint around the edges of the shape at a couple of lines of paint through the middle. - In your fourth shape, you'll do a wet on dry design. This means you're painting with paint on dry paper, pick up a slightly watered down bid of light green paint with your brush and make several unevenly spaced lines across the shape, leaving white space between the lines and let that paint dry, - then do the same thing again, making lines across the shape. This wet on dry technique is called glazing, where you add paint on top of already dried paint. You end up with slight variations of color values where the new layer of paint goes over the dry layer. This gives depth to the painting. Let that dry and we'll come back to it in a bit. In the next shape, we will use a technique called charging where one color is infused onto another color. While both paint colors air wet, paved the shape with the rose colored. Then, while that paint is still wet, drop in some spots of violet. Now that the green paint has dried, let's go back and add another glaze over the dried green stripes, using less water down paint. Stay tuned for part two of recreating stained glass textures with watercolor. In the next episode, you will learn more techniques for creating stained, glass inspired watercolor. Thanks for watching, and be sure to post pictures of your texture in the class project section. 5. Recreating Stained-Glass Textures Part 2: welcome back to recreating stained glass textures with watercolor. In this second episode, you will learn how to create textures with watercolor, using the following methods water blossom, salt textures and subtracted painting. Let's dive in paint your next shape with your golden yellow color. Make sure the paint is wet but not puddling. You clean your brush and dabs small drops of water, just lightly touching the tip of your brush to the paint. In random places on your shape, the water pushes the pigment away, creating water blossoms in the next shape. Paint a layer of rose paint on the shape and let it dry. We will come back to it before we move on to the next technique of using salt to create texture. I want to show you how the amount of water can affect the outcome in the shape. On the left, I'm painting on a think very wet layer of violent paint. Then, using my fingers, I Sprinkle salt on the very wet paint right away in the shape on the right. I'm putting the paint on with much less water. - Then I Sprinkle salt. The salt absorbs the moisture, and as it dries leaves sparkly designs on the paper. You have to experiment with the salt and your paints, the kind of salt, the humidity, the amount of paint, the kind and color of the paint and at what point the salt is added. All make for a variety of results, but that makes it a fun, creative adventure. Once it's completely dried, you can see what a difference it made. The Windsor violent made a beautiful pattern with more moisture. However, every color seems to react differently. Notice on this example. The two shapes on the left had a lot of French ultra marine blue wet paint when the salt was added, and the effect when they dried is very different. The shape on the right was a regular layer of paint, but it might have been a little too dry When I added the salt, paint your next shape with your violent paint and add salt. No, - let's go back to the rose colored shape, and, if it's dried completely, glaze it over with a light layer of violet paint, then Sprinkle salt on it. When this dries, it shows pink sparkles instead of white. Because of the under layer of paint. If you've gotten salt on any other part of your paper blowing off or shake it off so it doesn't get in the shapes you are painting next. Now paint the next shape with your lighter green, and we'll get back to it in this next shape. Paint a layer of clean water and then and spots of blue paint. While the paint is wet, scrunch up a tissue and blocked the paint. Rearrange the tissue each time so you're blotting with clean tissue. Otherwise, you might get paint from the tissue on another part of your painting. You didn't intend to. This method is called Subtracted Painting. Let's go back to our green shape. Get your clean brush wet with clean water. Dab a little of the water off with your tissue or tell and with your wet brush. Paint a line on the green paint and dab the brush again on your tissue to remove any paint you've lifted. Keep doing this until you've lifted all the paint you want. You can also paint the line of water and dab your paper with the clean tissue to subtract the paint. Keep doing this until you have the design. You want some paints, air more staining and won't remove this easily. - You've got to shapes left, so now you can try. Any of the techniques we've done on these last two shapes combined some techniques to see what you can create. I chose to paint this shape with darker green paint and then charge blue lines into the wet paint. - For my last shape, I painted my shape with water and added some violent lines in a wet on wet technique. Then I charged in some rose paint you. While that was all still damp, I sprinkled in some salt. When the salt has dried completely on your shapes, you can use a tissue too lightly. Rub off any salt still sticking to your paper. So what is your favorite texture? Method? Draw some more shapes and play around with creating textures with different colors of paint and see what you come up with. Thank you for watching Part two of recreating stained glass textures with watercolor. Be sure to post pictures of your stained glass textures to the class project section. In our next lesson, I will show you three different ways. You can transfer the tulip designed to your watercolor papers so you can get started on your project. See you next lesson 6. Transferring the Pattern: in this lesson, I will show you three ways to transfer the pdf pattern to your watercolor paper. Pdf pattern is located in the projects and resource is section. Download it to your computer and printed out on an 8.5 by 11 inch paper. The simplest way of transferring your pattern is to take the pattern to a window. Tape your watercolor paper on top of it, then start tracing with a pencil the second way of transferring the pattern nous with graphite paper. Open the sheet of graphite and place it darker side down on top of your watercolor paper. Position the pattern on top of the graphite paper and tape toe hold in place using a pen or pencil, trace all the lines of the pattern. The graphite will transfer to the watercolor paper wherever you put pressure with the pencil. Unfortunately, pressure just from your hand will leave smudges of graphite as well. So be careful. Okay, Yeah, My favorite way is to use a light box. Take down the pattern and taped the watercolor paper on top. Turn on the light and trace. Choose your method and trace the pattern, and in the next lesson, we will start painting the sun 7. Painting the Sun: in this lesson, I will show you how to paint the sun for your class project. Tape your paper to a board or other hard surface with masking tape on all four sides. This will help keep your paper from curling or buckling when it gets wet. We will start with the inter Band of Sunshine using Conakry tone gold or whatever yellow or golden colored paint you choose to use. We will paint each section using the water blossom texture technique you practiced earlier . Paint a section with enough paint on your brush to make the paper damp but not puddling. This little section is small, so I'll do it at the same time. While the paint is still damp. Put clean water on your brush. Lightly dabbed the brush with your towel so you don't dump a big drop of water on your paint. Touch just the very tip of your brush to the paint. To dab small droplets of water and random places, the water will push away the pigment, leaving a blossom design. Continue using the same process to finish each section of the inter Band of the Sun for the Outer Band of Sun. We will again use the quinacrine own gold paint using a subtracted texture method. In each section, you will need a tissue paint a section with a little bit more paint than used in previous band. It's OK if you have a little bit of a puddle while the paint is wet, scrunch up the tissue and blocked the paint, leaving a design where the paint is subtracted. Continue painting each section on the outer band. Using this texture process for the rays of sunshine, we will be painting a wet on wet texture. Paint the first ray with water and try not to have a puddle using a small amount of quinacrine. Own gold on your brush. Paint wiggly lines in the direction the rays irradiating, leaving a little white space between the lines and the section. Paint the next ray with water. Remember, if you do have too much water, you could soak it up with your brush that's been blotted dry or with a paper towel or tissue. Continue painting the last to raise using the same process. When you finished, take a moment to rancid Change your water jar. The Quran, acrid own gold is a very strong color. And you don't want to take a chance of the gold residue mixing with the blue for the sky that we're painting next. See you next lesson. 8. Painting the Sky: in this lesson, we will continue by painting the sky blue in the lower part of the sky. We will paint the sections using the wet on wet texture method using French ultra marine blue paint color or whatever blue paint you choose. Start with this first little strip beside the leaf. Paint it with water, keeping the paper damp but not puddled. While the papers stamped at a little blue paint on your brush. Touch the tip and random places on the section, leaving some white spaces between dabs of paint. Continue using the same process to finish eat section of the sky in the lower portion of your painting. You know. Okay, okay for the blue sky in the upper and right side of your painting, we will do a wet on wet and a subtract of texture. Method. Paint the first section of the upper left corner with water. It's okay if you have a bit of a puddle of water this time, then pick up a strong concentration of your blue paint and touch the water in several spots to add color. While the paint is wet, scrunch up the tissue and blocked the paint, leaving a design where the pain to subtracted continue painting each remaining section of the sky. Using this texture process, - a little bit of blue paint went over the line into the sun, so I touched these spots with a damp brush with clean water and then blotted with tissue as long as you catch it quickly. Many times you can remove the nukes like that, and three thank, take a little break while you let that dry, clean your water jars and then we'll start painting tulips in the next section. No. 9. Painting the Tulips Part 1: In this lesson, we will start painting the tulips using various texture methods I am using Quit anchored own rose and Winsor Violet for my tulips, but feel free to use whatever colors you desire. Make sure to use two colors that will blend well together. On this first tulip petal. Paint the pedal with water, leaving the paper damp but not puddled. Using a strong concentration of quinacrine, own rose paint lightly touch the edges of the pedal all the way around with paint. Dab off the excess water at the base of the brush. If need be, - ran a couple of wiggly lines through the middle of the pedal with the paint. While that pedal dries, moved down to the next tool. Have been paint that front pedal in the same way you just did the first pedal painting just one stripe in the middle. Yeah, on the third tulip paid the middle pedal with a less concentrated layer of quinacrine own rose and let it dry completely. We will come back to it later. As we paint the tulips, we will jump around from pedal to pedal, trying not to paint next to a still WEC section take a few minutes to let it dry. If you need Teoh on this pedal of the centre Tula, paint the pedal with Windsor Violet in a lighter value, then pick up some more concentrated violet paint and charged the darker value paint into the bottom center of the pedal. If the center pedal of your top tulip is dry, paint the left side pedal with violet from the bottom to near the top. Okay, then pick up some quinacrine own rose and start painting it from the top of the pedal, blending it into the violence. I decided my violated the base was too light and added a little more concentrated pigment and added a little more rose to the top of the pedal, now at a pinch of salt to the top inside the pedal. If the salt is bunched together, take the end of your brush and separate the crystals a bit. In the centre tulip, paint the left side pedal with violent, no puddles, then Sprinkle a pinch of salt over the pedal, using quinacrine own rose paint in the top pedal of the centre flower that barely touches the violent section You just did. It's okay if it's still slightly damp because we're going to charge into the lower part of that pedal with some violet paint. Notice. I had a little puddle of paint and removes some of it by soaking the excess up with my towel dried brush. 10. Painting the Tulips Part 2: Yeah, In the top tulip on the right side pedal, paint a darker value layer of the quinacrine own rose color. Then clean your brush and dab off excess clean water and lightly touched the tip of the brush in several places on the pedal to create water blossoms on the bottom Tulip. Check to make sure the rose paint is dry and paint a layer of violet on top of it. While the paint is still damp. Sprinkle a pinch of salt over the pedal. Let's jump back up to the top pedal and paint this pedal with violet and then charge a drop of rose paint into the base of the pedal. Okay, paint the small triangle shape on the center. Tool up with the violet and then charges small dab of rose into the base. Next, paint the tip of the centre pedal that is folded back with violent. Rinse off your brush, dab it on a towel and then subtract some pain from the center of the pedal. If you have any specs of salt on unpainted areas, be sure to brush them off before painting. Paint the lower side pedal of the bottom tulip with violent paint and then charged the rose paint into the wet, violent pain. Yeah. Next we'll jump back to the middle tulip and paint the remaining space with quinacrine own rose, then Sprinkle on a pinch of salt. Now paint the top pedal of the lower tool up with quinacrine own rose, and then charge some violent paint into the wet rose pain back to the top to it. Paint the remaining space with quinacrine own rose, then charge into the wet. Paint some dabs of violent paint, then Sprinkle the paint with a pinch of salt. Finish off the tulips by painting rose and violent into the tips on the lower tulip, charging each with the other color. Now let your tulips try, and then you can lightly rub off any remaining salt with tissue. In our next lesson, we will paint the leaves and stems. 11. Painting the Leaves and Stems: In this lesson, we will start painting the leaves and stems, using various texture methods we learned earlier. I'm using permanent sap green hooker screen, French ultra marine blue and a little quinacrine on gold. But feel free to use whatever colors you desire to begin will paint the top of the leaf on the left with permanent sap green. You then charge into the wet paint. Some lines of quinacrine own gold paint paint each stem with the permanent sap green, charging in a touch of quinacrine on gold like we did with the first leaf. Next will paint the leaf tip on the right with clean water and then drop in some permanent sap green with a little stripey design. You. I bet leaf in the middle will be painted with the wet on dry technique like we did in the texture lessons. Paint light value stripes on the leaf with the permanent sap green and let that dry. Next, pick up some hooker's green paint on your brush and start painting the lower portion of the leaf on the left while the paint is still wet. Charge in some stripes of French ultra marine blue paint up and down on the leaf. Let's go back to the folded over center. Lee Finance a more stripes on top of the dried ones. Let that dry with clean water on your brush. Paints um, stripes on the upper portion of the leaf on the left. Dab each line of water you paint on with a tissue, and it will subtract the paint. Now using permanent sap green, paint the middle leaf, you know, using a darker value of the same paint. Paint in some lines on the damp paint. Don't forget this little lower section of the leaf. Here. Go back to your striped wet on dry leaf and paint some darker value stripes with the permanent sap green paint again using permanent sap green paint the middle section of the leaf on the left while still damp. Charge lines of quinacrine own gold into the paint, as well as lines of French alter Marine blue. - Now use hooker screen to paint the remaining Lee section and charge in some lines of ultra marine blue paint for texture, doing no, Let the leaves dry and in our next lesson will paint the border 12. Painting the Border: in this lesson, we will paint the border of our stained glass inspired painting to begin with. Paint the small corner squares and alternate the small side squares with quinacrine own rose paint, sprinkling with a pinch of salt in each square. You shake off any extra salt. Next, paint the alternate small squares on the sides with Windsor violent pain. Sprinkle a pinch of salt on each of those squares also, and shake off the extra salt. Finish painting all the other rectangles with French ultra marine blue paint. Because this paint has a granule ation in it, we're going to just let it produce its own texture effect as it dries. - All right. - Now , let your painting dry completely, and I will show you two ways of finishing off your painting in the next lesson. 13. Finishing Your Painting: in this lesson, I'll show you two ways. You can finish your stained glass inspired painting. One way of finishing your painting is to use the black dimensional paint in all the seams of your stained glass pieces. It takes a steady hand and practice. To do this, you can use the sheet of paper you did your practice texture. Painting on to practice using the dimensional paint. Practice just making lines to begin with. Go in different directions to get a feel for how the paint comes out. You have to keep a steady pressure on the squeeze and keep the nozzle moving. I will admit it's not easy. I found that it was necessary to occasionally wipe off the tip of the bottle. Now practice painting around each one of your stained glass texture pieces. Get a feel for which direction of painting. It's more comfortable for you, you know, and I'm not really painting this fast. Uh, you know, - remember if you put your finger in the wet paint, it will smear and it doesn't come off the paper. Notice that if you push the paint ahead of your nozzle, it will spread and leave a line in the middle. I find it easiest to keep the nozzle at about a 45 degree angle to the paper. The easier way of finishing off your painting is to use a black marking pen to draw around each piece of your stained glass. You decide what will work best for you? Uh, in the next lesson, I have a bonus project for you. Yeah. 14. Bonus Project: Now that you've finished your stained glass inspired watercolor painting, I have a bonus project for you to try. The bonus Pdf pattern is located in the projects and resource is section. Download it to your computer and printed out on an 8.5 by 11 inch paper. Transfer the pattern to your watercolor paper by your favorite method. Use the techniques you've learned to paint a bookmark and card. Try some different colors after you finish the card. Cut around the outside edge and attached to the front of a folded card stock right a greeting and send it to a friend. I can't wait to see your creativity. Please post photos of your creations. 15. Thank You: Yeah. Thank you for taking this class. I hope you've enjoyed trying a new process and learning new techniques in creating your stained glass inspired watercolor painting. Please be sure to post pictures of your class projects, your bonus projects and anything else that you created using this technique. And if you have any questions, feel free to ask. Please leave a review. And if you follow me, you can find out when I post new classes be inspired and have fun creating.