Watercolor Tips & Techniques | Elizabeth Rohrbaugh | Skillshare

Playback Speed


  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x

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

26 Lessons (2h 14m)
    • 1. Welcome!

      1:47
    • 2. Class supplies

      4:43
    • 3. Tape Tip

      3:35
    • 4. Getting Started

      7:43
    • 5. Lifting

      3:17
    • 6. Adding depth

      4:48
    • 7. Bleeds

      9:39
    • 8. Organic Edges

      3:42
    • 9. Analogous Colors

      7:30
    • 10. Soft and Hard Edges

      6:30
    • 11. Troubleshooting 1

      4:57
    • 12. Troubleshoot 2

      7:43
    • 13. Tape Reveal

      0:36
    • 14. Bonus Tip

      0:26
    • 15. Creating Washes

      8:33
    • 16. Blending Washes

      9:10
    • 17. Adding Contrast

      8:37
    • 18. Mixing Colors

      9:23
    • 19. Dry brush

      8:01
    • 20. Additional Dry Brush

      3:16
    • 21. Tape Reveal

      1:15
    • 22. PSA

      4:50
    • 23. Transparent Layers

      7:20
    • 24. Layer Part 2

      2:28
    • 25. Most Important Tip

      3:57
    • 26. Thank you

      0:42
  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels
  • Beg/Int level
  • Int/Adv level

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.

41

Students

2

Projects

About This Class

I'm so pleased that you're joining me for this class! The idea, to collect and share many of my favorite painting techniques, has been swirling in my brain for a long time now!

I'm sharing some of my favorite go-to watercolor techniques that I use in almost every painting. They are applicable for landscapes, florals, abstract-just about any subject! As I teach the technique we will incorporate it into a painting. Some will help you begin a painting. Some will help you correct a mishap, and some will add that special touch that you've always wanted but weren't sure how to add. 

Through this class we will complete 3 different projects, but most of all we'll have a lot of fun along the way!

So let's jump in and paint! I can't wait to get started!

Meet Your Teacher

Teacher Profile Image

Elizabeth Rohrbaugh

Watercolor and Acrylic Artist

Teacher


 

Well hello there! I'm so glad you're here!! I'm Elizabeth. I am a self taught artist with a love of painting. I primarily paint in watercolor and acrylic and I can teach you to do the same. I'm honored that you've joined me in class! 

Art school isn't a requirement to be an artist so I hope everyone feels comfortable here. I try to break down my lessons into simple steps, with just enough instruction to be helpful, but still allow for your own creativity. Remember, there really are no rules in art! Maybe that's why I love it so much! 

So grab your brushes and some paint and join me in these classes. I'd love to see your paintings too so please feel free to share them in the projects and leave me a review if you're so inclined-I'd be fo... See full profile

Class Ratings

Expectations Met?
  • Exceeded!
    0%
  • Yes
    0%
  • Somewhat
    0%
  • Not really
    0%
Reviews Archive

In October 2018, we updated our review system to improve the way we collect feedback. Below are the reviews written before that update.

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.

Transcripts

1. Welcome!: Hi friends, welcome to my studio. Thank you for joining me for my Skillshare class. If this is your first time here, I went to extend especially warm welcome to you. I hope you learn so much in this first class, and I hope it sparks your creativity and inspires you to paint even more for those that have taken other classes for me. Thank you. Thank you for returning. And I've been looking forward to recording this one for a long, long time. When I'm teaching, my students often ask me, how do I paint this flower or that tree or this landscape? And in all honesty, my answer is, it depends. It depends on what you're trying to communicate. It depends on the mood of the painting. All of those things need to be taken into consideration. But what I want to focus on in this class are some of my go-to techniques that I use over and over again. When I'm feeling stuck or when I went to express something a little bit differently. And I hope that they will be applicable to you for whatever painting you choose. I know I use them in florals, I used them in landscapes. The only thing I don't paint his portraits. So you may be able to use those there too. I think you're going to have fun with this class. I hope you learn a lot and I hope you enjoy the time as much as I do today. I'm going to teach you some tips and techniques that you can use in honestly any painting. And my goal is always to teach you to paint. Not necessarily to paint like me, but I love to share what I've learned over my lifetime, painting in watercolor. So let's get started. 2. Class supplies: So let's start by going over some of the materials that you'll need for the class, and especially for beginners. I don't want you to get hung up on having exactly these colors or exactly this type of paint, et cetera. Please use what you have. Don't go buy something new. But I do want to stress that starting with professional grade or artist grade, paints and paper will make a world of difference. If you're using Crayola paints, for example, Crayola watercolors or a student grade, you may not get the vibrancy in the pigment load, you won't get that. And that will impact the finished look of your painting. But for this purpose, you can certainly use those to practice. So I've got some Arches watercolor paper here. This is a 140 pounds, and I've just broken them into about 11 by 14 sheets. We can go smaller or larger. I do prefer my favorite paint, I have to say are Daniel Smith professional watercolors. Again, if you don't have that, It's fine. I also often use art philosophy, has a great travel palette. Lots of them, actually. There's a lot of variety and the pigment load is great on these. It's great to take along if you want something compact. And so I have my mixing palette over here. It is messy. And I'm going to keep giving you inputs about a right way or wrong way. There are seldom, seldom right ways to do things. You need to find your way. And that's what I'm going to stress in this class. This is the cleanest this palette ever looked. I just reloaded it. So if you're a messy painter, that's fine. That's your technique. Go with that. Some of the brushes that I'll be using are, these are some of my favorites. There's black velvet silver, and I have a 46. I do have an eight and 10, so I may grab larger sizes. These are a great, economical, but good-quality brush. If you're looking for something to buy for the first time, you can see they're a little bit fuzzy right now, but when I do wet them, they come to a really good, May need a pencil here or there. I also have some Skoda brushes that I have traveled brushes that are just awesome if you're interested in buying new supplies and when aren't we? But again, no need to just have a few round brushes somewhere between the 468 range. And honestly, that's what I use 90% of the time. You don't need the whole array of brushes for what we're going to practice. I do have a water bucket. Any water container will do. I have one that does have a split. So I often use that to keep clean water and dirty water. Some paper towels, anything to blot your brushes on. And this is one of my go to little tricks that I like to share in my classes. This was recommended to me by Susan crouch. She has used this forever, I think too. And it's just a little Tupperware container with a roll of toilet tissue? Yes, That's toilet tissue in there. Scrunched up. And then I have several layers of tau paper towel wrapped around it. And I just squeeze that in there. And I use this. I've had this honestly for years. So I sometimes change this out, but maybe once or twice a year and for whatever reason, it just takes off the right amount of water. But again, whatever you're used to use that technique. So those supplies, I do have a little scrap paper in case I want to test colors. You'll see the sunshine coming in on my studio table. I'll fix that in a second. But gather your supplies. Whatever paper you have, some paints in a couple of brushes, and let's get started. 3. Tape Tip: For our first lesson, I went to address something that really touches every artist. I think at some point or another. And that's staring at a white sheet of paper or a blank Canvas. There is a fear, even if you know, I want to paint florals or I want to paint a landscape, there's that initial obstacle of where do I begin? How do I start? So if that paralyzes you, if that stops you in your tracks, I want to give you a little tip here to get started. I've got my papers secured down. You don't need to do this. This is a 140 pound Arches paper, but I do have some artist's tape just dividing the center so that I can do two different techniques if I want to. And as I said at the beginning of the class, I want to give you a lot of the tips and tricks that I've learned along the way. Little things that can make your life easier. So one of them has to do with the artist's tape. I learned from a really fun teacher at cheap Joe's art supply to go workshop years ago. And Artist's tape comes in multiple colors or it can, I prefer the white just so it's not distracting. But sometimes when you tear this off the roll and just put it down on your paper and you go to remove that edge after you've painted, you're so excited, you get a tear in, it feels like it ruins the whole piece. There may be ways to fix that with a mat or to cover it with a frame in a different way. But I wanna give you a little tip to try to prevent that in the future. When you tear the tape off the role, place it on your shirt or on your pants or something just for a few minutes. So that I think you can see this in the video. There's just a little bit of fuzzy from my shirt. Mine often has dog here because I have a dog that loves me and it takes away a little of the TAC just enough so that when you do place it on your paper and remove it when you're finished, it won't tear up that top layer of paper. So that's tip number 1 in this lesson. The second one, the main one, when you're looking at a blank sheet of paper or a white canvas, is that knowing fear of, I'm going to mess this up. So I need you to know and chant this if you have to. It's just a piece of paper. It's just a piece of paper. It's okay. We can do it again if something goes wrong, no one is being harmed in the painting of this painting, everything will go on as it should. Everyone will still be in their state of health. The important things won't change. So say that to yourself if you need to. But when you're trying to get over that initial spark of, I wanted to paint, but I'm so scared looking at this paper. Here's a little trick. 4. Getting Started: Spark of, I've wanted to paint, but I'm so scared looking at this paper, here's a little trick. And I'm, I've stated at the beginning, I'm not picky about the supplies for this class. It's really just to get you painting. This is however, a size eight. So I mentioned I wasn't going to use a whole array of brushes. You really don't need very many. And I'm just starting by creating a little wash of green. This is, I believe, under sea green by Daniel Smith. B, you can see I'm getting it really wet and just getting a puddle on my page. And the reason I'm doing that is to get this started with a splatter. So I'm going to paint a floral and I'm just putting some clean water. You see, I'm really not being careful. I'm just putting some clean water on this page. Kind of randomly. It's not soaking wet. There is a little bit of a sheen in spots and that's the point. It's a little bit different. Not every area is covered with water. And then I'm going to take some of my wash of green and get that brush really wet. And I'm covering up this side because I want to use it later. And we're going to splatter. So you get that brush nice and juicy and wet and just tap it against your finger. If you want to be more dramatic, you can add more paint. And it's still going to leave some white spots. As you can see. I'm going to add a little bit of that wash in different areas. Just generally in the center, I'm going to kind of leave a little bit of white for my flowers. But there you go, right there. You've gotten started. If that's what was blocking you and painting, we've already solved it. And again, if you don't like how this ended up right there, we're going to add layers. We're going to change it quite a bit. But it got you started. You're not paralyzed with fear. And you can add in a little bit of different greens. There's water on that page, so it's going to bleed and move, especially when it does things like this. Those are the beautiful aspects of watercolor. You want to paint loose. I hear that all the time. I get so uptight with my paintings. I want to paint loose. There's not much more loose than splattering paint on a page. So I hope that technique gets you started sometime when you're stuck. And one other tip if you don't like where something has splattered while it's still wet. You can pick that back up. Just dab it with some clean water and blocked. And if I want another flower down here, I can plot that out. So I'm going to keep adding a little bit more of the color, different greens. Just while this is still wet, I want that movement. I want some looseness and dimension in my painting. If you don't have green, use blue and yellow. We're going to talk about mixing colors and a bit. So you don't have to have all the same colors that I have. You can improvise. They can be pink and purple if you want. One, a little bit of depth. So I'm getting, you can see I'm getting a little bit stronger pigment load. It's not as much water. It's more paint. And we'll create some dimension of leaves with this. Once it dries a little bit. I'm kind of going all around the page. I don't want any one particular area necessarily to be dramatically different. I want a balance, but I want to add some darks. Leaving a little bit of light is fine. We can always cover it. You can't really go back to white when you're painting in watercolor. And I just want to point out while I've got it out. This paint here, you can see that bleed right there. This is called cascade green. And it bleeds into a peacock blue. It's just gorgeous. So if you want a little bit of variety there, that would be a great color to let it bleed against the yellow. And I don't know how it's gonna turn out. And that's part of the fun. And if you're not having fun while you're painting, what's the point? So I like to just leave some things up to nature. Leaves sing some things up to the paint and see what happens. And if there's a bright more golden color coming in here, maybe from that yellowish green. And let it dance across the page. I would also encourage you to watch this a couple of times if you need to. There is no harm, absolutely no harm. But every kind of benefit in doing something multiple times. That's the only way you're going to get better at painting is if you just keep painting. So if you want to watch this a few times, go back and do that. It won't hurt anything. And I would encourage you to practice, paint the same thing over and over again. No one. No one, no one. Does it. Great The first time. I don't know where that idea ever came from. But I think it is one of the most prevalent falsehoods that I hear on social media. I see it all the time in painting classes that I teach. People get disappointed after the first time. If it doesn't look like a masterpiece, it's not exactly how they envisioned. That doesn't happen to anyone else either. So don't let it deter you. Okay. I'm going to let this dry just a little bit and we'll come back. 5. Lifting: So we have all of the greens dried now. And I want to show you one little tip that perhaps you were painting leaves or something closer up that you wanted to show a little bit of lightness. If you wanted to lift some color, just say, for example, that this is a little bit too dark down here for me and I want to lighten some of that. Sometimes you'll get a blob of paint that looks a little irregular or draws your attention too much. And just by changing it a little bit, it can take your eye back into the center of your painting. So let's just say I want to remove some of this green. I have the same brush. 6. Adding depth: So we just went over lifting if you wanted to lighten an area. But what about if it's not dark enough? So I want to go over glazing, which you can use in any painting. Landscapes, florals. However you, whatever subject do you want to paint. This is a great technique. And I think people get hung up. Our disk get hung up, or afraid of watercolor because it feels like, oh my gosh, it's one and done. I messed it up. Now I have to start over. That isn't always the case. So if I wanted to add a little bit more dimension, so I like this cascade green down here. I like the undersea green. But it's kind of all similar value. If I wanted dark in an area, you go back in and create another wash that has a little bit heavier pigment load, if you'll notice, it's not as watery is that first one that I started with. And this is mostly dry now. So I'm not going wet into wet. This is more wet into dry. And you can do some negative painting with this too. So this is like a bonus tip. This is multiple tips and one. So say I want to create some, some more darkness down here. I really like that golden yellow, that golden green and the blue. But this just needs a little bit more punch. So if I wanted to create some sort of leaf shapes, they're irregular though. I'm not being tight. Notice I'm holding my brush back here. It's really wiggly. I'm not doing this like I'm drawing. I'm being loose. And that's what a lot of people strive for. And I'm just going for leaf shapes. So you can go back in and paint over anything that you've got there. That doesn't mean it's going to cover it. So people often, I think, consider acrylic painting as easier because you can go back in and completely cover up something. If you didn't like it. Watercolor, you can't always do that. But you can add some dimension if you want. So I do want some really dark areas and I'm going to do this more than once in all likelihood. Um, because I like some contrast. I don't like wishy-washy watercolor. I think I've said that before and some of my classes. So if you've taken others of mine, you may have heard that. I like the contrast and I've still got almost pure white paper here in here for my flowers. So maybe next to that I want to give a little bit of a punch and I can still make it wet. I could still splatter if I wanted to. If I want to use that technique again, cover the areas that you don't want splattered. Get some wash on your brush and go for it. So where this is wet, it's going to blend a little bit more. It's going to ease into where that water is pooling, where it's dry, you're going to see more distinct splatter. And then the end, that'll be really fun to have that kind of irregularity, that dimensionality in that painting. And then if you take that away and go, Oh my gosh, oh no. I've covered up my white. I'm being a little bit in traumatic here, but just get some clean water and use that same technique that we talked about and blot that out. No worries. And you really don't want solid patches of white, solid patches of green, right? That's the whole point. If you want to paint loose, be loose with your brushstrokes. And we can always, always go in and define this a little bit better. In the end, I'll show you that coming up. 7. Bleeds: Okay, so hope you're having fun. I think this is a blast. I'm even standing up painting because it's so exciting. Now is the fun part. Everybody wants to paint the flowers, right? The green is just kind of there. But I want to highlight that if you get this all wrong, any of the flowers that you might paint here won't look right either. So backgrounds can be fun. And it's worth spending the time doing that. And hopefully, you've just taken away that, that splatter technique and that looseness. That's a fun way to begin. That's by no meat, no means finished. We can always add some detail there. But let's get started on some of the flowers. And because everyone always asks me about this color, it is one of my favorites, I'm going to highlight it in the supply list. Again if you don't have it. No worries. But I just like this pink. It's called wrote a night genuine. And it's by Daniel Smith. And it's just a really, you can get a really light soft pink. But it's got some punch to. If you need it too. You can see there how it when you pull the paint out, you get a nice bright pink. And what I want to show you here is a technique called bleeding really. I mean, that sounds awful, but that's what we're going to do. So I've got sort of three general flower shapes and I honestly did not design it that way. That's just kind of the way this flowed. There's one here. Sort of, you could imagine facing down. May 1 be facing up that way and another facing this way. So at this stage, take a look at your painting and see what you've got to work with. Yours may not look, may not be in this orientation. That's fine too. There are a lot of other little spots that we can add in some pink just to give you the garden kind of feel if that's what we're going for. But I'm going to start with this one. Actually, no, I'll start with this one. Just to show you an easy way to get some dimension. Now I'm just laying down basically clean water. Still using my size eight. You don't need a 100 brushes. You can use just one for a painting. And this kinda of like might be a pedal that falls to the side. I'm just laying it down in there. I'm going to also lay a little bit of clean water over here because I want this to be really free inorganic. Now. Wasn't, this wasn't necessarily by design. But I want to just mention this was clean paper right here. This is not that has some green in it. If you know anything about color theory, pink and green won't mix to be really a nice combination. But next to each other, they're awesome. So I would suggest that, that might be in my next class, color theory class. Get yourself a color. We'll get on YouTube and look at some of the plethora of short videos about color theory. But you can see that pink up here is a little bit more muted than right here. And that's because there was green underneath. So if you go back and do this painting again, that tells you, you do want to leave a little bit of white so that you can get some pure color. Because this will be muted back here. But I'm just letting that sort of fade out into that background, pulling some more pink. And I want this center here be pretty dark. And then let it fade that way. So again, look at how I'm holding my brush. You can rip that out of my hand really easily. It's very light, very light touch. So if people say, I can't do that well, I'm not doing anything magical here. I'm really just sort of blotting some paint on the paper. Everybody can do this. And I think I mentally have peonies on the brain because while I'm recording this and where I live, it's peony season. And I've been painting them quite a bit. So we're just gonna go with that. Maybe these are some peonies. And I'm just laying in a deeper color in the centers. Because the petals as you move outward are typically a little bit lighter. So I'm just letting my color sit in the center. And I want to show you one other quick. This is one of my favorite techniques and we'll use this over and over again. Do you see these sort of teeth like looking shapes? I really don't like that. I don't want it to end up like that. I want it to blend softly like this one. So I'm going to try to avoid a shadow here. Let's see. There. I'm just taking a clean, barely damp brush and just wiggling on the ends of those pink pieces. Can rinse it off and blot it again. And just wiggling. Here, let me zoom in a little so you can see that. So right here, I'm just wiggling. And that softened, dried up. So you can see that would've probably been a little bit distracting in a finished piece to have those teeth marks so kind of in there. And I wanted to get rid of it while I could. So you can do that later. Like we did the lifting, but it's a little bit easier while it's wet. And then you get a little bit more of an organic kind of blend or bleed after the fact. So I'm keeping my strokes a little bit irregular. And I want this one just to bleed out a little bit more. I kind of lost some of the pink. So I just add a little bit of water. Again, the bottom part of the flowers, typically, because the petals are more concentrated. So as the pigment moves, this will become lighter and lighter. The pigment is moving with the water. And it's moving out towards this outer edge where the water is. And maybe I want to don't want just flat pink. I want to warm it up a little bit. So I have some liquid acronym gold, which is liquid sunshine. It's just a gorgeous color. Very little bit. This is a powerhouse. So I'm just touching a little bit in there. And it just adds a little dimension to those petals. Just a little something, something that when, when this dries and it blends together, It's sort of like where the sun will be shining through. And you can mix that with the pink. And I'll give you a slightly richer color. Again, mix whatever color. If you have purple peonies, make purple ones. If that's your favorite color, go for it. I happened to have some pink and white. So that isn't necessarily a finished flower at this point, but it kind of reads like a peony, right? We're going to let that dry a little bit and then create another one down here. So we'll be right back. 8. Organic Edges: We're zoomed in on this shot because I want to show you something really fun. Can you see here? There's just a sheen, just barely. The paper is still just a little bit wet. As it dries. You're going to get a hard edge along here. You can kind of already see, does not look like the shape of a flower. So if I want to sort of capitalize on that, while it's still wet and a little bit organic. Now's the time. So don't walk away forever necessarily when you let something dry, you might miss this. So I'm just adding a tiny bit. And that's how I can get that sort of ruffled edge of a peony. And wow, look at that. How organic that looks. It looks like I tried really hard and I obviously didn't. And in this one down here, you can see the difference. This is a little bit drier. It moved up here. Let me rotate it a little. So you can tell. It depends on how you like it. If you want this to be that hard edge, That's great. I'm going to soften just the inside, just a tiny bit and let that keep moving. But what I really love is that edge that made the flower for me without me having to worry about it. Now let's back out over here. You can kind of see this is a leaf sort of in front of that flower and that's okay. It's fine. But I don't really like this splotch. Maybe I want to just create a pedal with that. And I am loving the sunshine that comes in here. It makes for great lighting, but it also creates a strong shadow. So I apologize, I'll try to maneuver around. But if I want that same kind of definition on that pedal. So it sort of looks like it's behind this leaf. You can just kind of push your paint a little bit and get the same effect. Overall. I want you to notice I'm not doing the exact same thing in every spot. And that's what I think one of the true beauties of watercolor is the variety. How it moves. Sometimes you can try really hard to get it to look a certain way. And it doesn't matter. What you do is some of the, some of the paint and paper is just going to have its own freewill. But embrace that. That's the beauty that I look for. I love it. So we can still create what we're looking for. We still have flower shapes and we'll define this more. But it looks soft and organic and loose. And that's one of the techniques that I love. I hope you do too. 9. Analogous Colors: Okay, friends, I want to keep going here with the next flower. I'm going to use the same technique, clean water, size 8 brush. And again, I envision this pointing sort of down, you know, how peony bushes kind of Splish together. They're all kind of floppy. It's a very heavy bloom. And I think that's what I love about it. So I'm using the direction of my brush to mimic that. It's going to sort of fall to the side. And I love that there's some turquoise blue sort of, there are often add that in my paintings. So we'll see how that ends up. Again. Same color that I'm starting with. We're going to mix it up a little bit though here in a second. And I'm, I'm starting at the bottom of what would be the flower bulb. Because I want this to move very organically. So a peony, I can put a reference photo in if you're not sure what they look like. They are my favorite flower. I especially love the white ones. And you see how it mixed with that green gold. That's okay. That's okay. Don't panic over that. That's some of the beauty, some of the softness and how this is all going to blend together. You have to let go and not be uptight. Now with this flower, I want you to notice I started down here and I'm letting it bleed. I'm going to leave some lightness here, just as this kind of did, because that adds dimension. So I'm not taking the shape of a flower and painting it all in with the same value, the same depth, the same concentration of paint. So yes, I want it stronger down here. And I'm just kind of laying my brush. That will give some irregularity to the top of what would be the pedal. And I'm going to do that again up here, leaving some of the white. So this is still wet. I've wet this area. And I'm just going to kind of indicate that there's some more flour out here. Can you see that leaving some white gives the high something to look for? It makes it more interesting. You don't want to spell it all out. I want to make this a painting that people yearn to keep staring at me. And I can tell that this is just a little bit wet, so that's why I was adding some more in there. I'm just kinda dancing back and forth. So maybe this is the inside the center of the flower and you can kind of see a little bit of that. Not sure. Just let yourself play a little bit and add some variety again. I had let me move this so it's more in the sunshine. I'm losing my son. There. I added some of that quinacridone gold. Just to balance your painting. If you only put that right there, that is exactly where someone will look. So I want to offer a little bit of variety. In other places. I'm barely barely touching that. It's such a strong color. I hope I do hope you get that. That is one of my favorites. If you don't have it already in No, I'm not an affiliate. I would love to be loved. Daniel Smith paints, but more so I love the result I get. So I'm just adding a little bit at the edges. We'll come back to this part. But while this is still wet, and I have another pink, this is a magenta quinacridone, magenta on my palette. Again, if you don't have that, use whatever colors you have, the lessons here can be utilized in almost any painting. But the lesson is, mix your colors up a little bit. Don't just paint with one color that ends up looking pretty flat. So I'm adding a little bit of that magenta just in a couple of other places, and we'll go back and work with that later. But while this flower is still wet, I want to let that dance on the page a little bit. So I'm not going all the way up to where the paper has been wet before. I'm letting the paint go there on its own. So little on this flower. And you can sort of see, hopefully you can see this has a pinker hue. This is a little bit richer. And that's what the eye will be attracted to. So I kind of, I, now I'm deciding I want this flower to be my focal point. And putting in some of the, just the tips of those fluffy petals. And the real trick, the real technique I want to share here is knowing when to put your brush down. That's probably the hardest. I wouldn't say that I've mastered that because I'm still playing because I love it. It's so much fun to watch. But I'm going to zoom in and then we're going to let this layer dry. I just want you to see that some of the detail. So you can see there's still a machine. That means there's still water on the surface. Right there, there, there this whole petal. So we're going to let that rest and we'll be right back. 10. Soft and Hard Edges: I've zoomed in on this flower in particular, because I want to show you a little bit of detail. So say I want to call attention. I love this flattery pointed edge of the pedal there. I want to mimic that here. So I'm just barely, I've got the tip of my brush loaded with some sort of highly pigmented paint. So by that, I mean, there's not a lot of water and I'm just touching into the pigment. It's sorter the consistency of milk, if you will. But there's not a ton of water on my brush. And I just want to barely tickle that edge of this petal and add some definition there. So I've got sort of a harsh line. And I don't want that either. So I've rinsed, I'm rinsing my brush and just barely blotting it off so that it's clean but not wet. And I'm going to tickle that edge too. So that same technique that we used before. Here it comes again just to soften that and create more of a petal like gradual decrease in color. Didn't want it to be quite that harsh, but I wanted some definition. So if you can, let me talk you through it, you can kinda see where the shadow is. I'm just barely touching my brush down and touching the edge of that. I'm leaving this edge alone. I'm not brushing the whole thing away. But just by laying my brush down and tickling that edge, it's allowing enough water from my brush to hit the paper to give the paint a little bit of room to flow. So if you can see the Xin Now that I've left, I'm trying to get the right camera angles so that you can see that in there I just defined another petal. So that makes it look a little bit softer. Similar to this one. I love that. I love this. So I just wanted a little bit more there. I may add a little bit more here as well. So again, I'm just getting a little bit of pigment on my brush. And I want to deepen this and add another layer. That's what's so beautiful that peonies, there's 800 pedals in each one. And they just loop and drape and lay all over each other. And it's so pretty very irregular. Layer this one. And you could do this all day. Honestly. I just want, I think there's a balance between providing the definition so that you can see what it is that we've painted. And then going overboard with the detail. So I want to give just enough that makes, that would make people want to look some more. But not defined every nook and cranny, I like to leave some things to the imagination and let the I figure it out on its own. Just trying to shape that a little bit. So I like the balance of this strong color here and the lightness of this one and it almost fades away. These almost fade away in some places into the green. Let me back out so you can see soft edge. These are hard edges and it shows definition. Having a balance of those two is what makes a painting interesting as well. So there's another tip. Balance things, but don't match the match them. So you may have more hard edges than soft, or vice versa. When you look in nature, most things are not created equal. There is not the same amount of a dark color in a flower is there is the soft. There aren't. You know, if you, if you cut a flower in half, there may be more petals on one side than another. So having that balance allows your eye to rest there because your brain is constantly looking for symmetry. It wants to cut things in half and see if it's equal. And when it's not. But, but your brain thinks it should be, it's frustrating. So creating things that are unbalanced, there's an odd number of petals, there's an odd number of leaves, et cetera. You're, I won't focus on trying to make them equal. And that gives a more peaceful nature to the painting. I think it allows your eye to just continue looking around the painting and not focusing on one thing. So now I'm going to come back once this dries and we're going to work on this area and finish up some of the leaves. 11. Troubleshooting 1: So when we're looking at this overall composition, and I want you to know this is real time. So you may encounter hmm, I need to consider that maybe this looks at in place or in this case, this general light area. I loved the lightness, but it doesn't look natural. These flowers wouldn't just be floating in space like that. So we want to add in a little bit more green and give the indication of some stems and some support. It doesn't have to be exact. And I do really like though, the contrast between this light green area and this bright pink, That's gorgeous. So I don't want to ruin all of that, but I need to make it look like it's real. So I'm just mixing up some different greens and adding it in, in some places. And we're going to let this play. So there would be some attachment that makes sense, right, to this flower here. This one perhaps is attached here, so I don't need to worry about that. It's behind this flower. So allowing a little bit of that light green to show through. We'll still attract my attention to this flower, which is what I want. I've decided that this is my focal point here in the painting. And that's just naturally what you're looking at, right? So I'm adding some green right up to the edge if it bleeds in. Oh my gosh, oh no, I've ruined it. No, you didn't. We want some pedal to go over. It's going to hold that flower, right? So it's okay. And actually that pink and green mixing because the pink is going to activate a little bit now that I've touched it, it's going to mix a little bit and provide a generous dark. So it will look very natural because those are the colors that are already in that painting, right? So I'm going to add a little bit more out here. Maybe this is a leaf coming out of that plant. And my being really tight and, oh, I've got to paint a perfect leaf now. I'm adding in some color giving the indication of a pointed leaf. There's likely one that comes up the side of this flower. And I will go in and keep darkening this because I want that center pretty, pretty dark in contrast with that light green. And maybe there should be some out this way. Again, we weren't super particular. There's some suggested leaf shapes here. We can go back to those and define them a little bit more. Same with this. I kind of like leaving that little bit of light area here to define that pedal. That's okay. Maybe when you, when you back up and look at it, which is helpful looking through a camera. So here's another tip. If you can't get back far enough away from your painting to really look at it. Take a photo, and almost immediately, it will tell you what needs to be modified. And it's like magic. I don't know. Every time I'm struggling with a painting, I'll take a picture of it. And as soon as I take the picture, I can see what I need to fix. So here I'm just adding a little bit more of that green gold color. I wanted something warmer. And you can glaze that over if you'd like. And by glazing, I mean, adding a very thin layer of that color to sort of tint what you have in the background. Or perhaps some of this quinacridone gold. That'll really add some visual interest. 12. Troubleshoot 2: And that's another tip. So we've had a bunch of tips. I'm going to highlight them all here at the end and jot them down in the notes. But in this painting, there's been a bunch. You want a balance of cool and warm colors. So if I had painted the majority of this, this cascade green or even the undersea green. It's a bit cooler. And that doesn't read correctly in nature. In nature there is a balance of warm and cool. And maybe there's some yellow flowers here. We can just kind of like give the indication something to look at, something for your eye to bounce around. Let me zoom out a little bit so you can see the top. And perhaps there, because there is a whole bunch of pink here to give a little bit more balance. Let's add some in those spots, those spaces get some of that magenta or the road and I pink the genuine. And I don't want it super watery because I don't want it to go everywhere. But in some of these lighter areas, maybe there's a bud. Just an indication. I'm not going to define that one a ton because I don't want to take away the attention from here. So let's see, there's 1234 places of pink. I like to have a balance of an odd number. So maybe in this light area, just an indication of another. Does that look like a flower bud? Maybe kinda soften that out a little bit. And then when that dries, we can add a little bit deeper green to make it really indicate it's going to read like a bug that hasn't opened. And we can lift some of this. So I'm going back and forth with all these techniques that I've shared. You don't do something one time necessarily and call it finished. I'm gonna make that just a little bit more pink thing green. Same there. Okay. And now that this has dried, I don't really like that hard edge right there. So I'm going to take some clean water, blot my brush and just tickle this edge. It's still going to be lighter near the flower. But now it's not quite so distracting. It looks like light, not a piece of green that I didn't intend to be there. Right. So at this stage, I would step back, take a picture, see what you've got. See what you want to add some more emphasis to. And maybe what you want to darken. You can always keep layering and making things darker. And that is a beautiful thing because it provides a lot of contrast. You need to be careful to preserve these whites. And that's what I wanted right here. I may deepen. This petal, looks like it could be in a shadow perhaps with that green there. I added just a little bit more pigment and then I'm softening that edge. Again. The hardest part is knowing when to stop. So if I want to create just a little bit more contrast on the leaves, you get a thicker paint. See there's not much water in there. And I can continue to deepen some of these shades just to give the indication of leaves. And maybe that looks a little irregular there. So I'm going to soften that green just a tiny bit. Looks like I tried too hard leaving those spaces. So we'll let some of that bleed in there. Just a few more details. And I would call that one done. Of course. Of course you can go in and add as much as you want. You could add pen work. You could add a little bit more golden yellow there, which I may do because that seems like the center of the flower and I like this. It's totally up to you. I wanted to give you these techniques so that you can try it on your own. And I would love, love, love, love, love for you to share those with me, send them to me over Skillshare, post them in the projects below. You can also DM me on my Instagram. I love to share your work there as well. So I will post a finished photo of my painting. I might tweak just a little bit more. And then you share yours with me. I'd love to see what you made. 14. Bonus Tip: Hey there friends. I hope you learned a lot in that last floral lesson. We're going to start the next lesson off with one of the most important watercolor tips. If you are right-handed, as I am, always, keep your paint water on the right. And you're drinking water on the left. 15. Creating Washes: Okay, I had been that one was a little bit cringe worthy, but it's very true. And if you can't have some fun while we're painting, What's the point, right? So for this next lesson, I want to focus on a different subject. We're going to do a landscape. But the focus of the class is still on technique. So I want to teach you how to do a wash, which is something you would typically use in a landscape for a sky, et cetera. You may also use something like that for a floral if you wanted to do a background. So to keep things simple, because I've been preaching about supplies, I am going to stick with my size eight round brush. I have already taped this Arches paper off to about an eight by 10 grid. And this is a 140 pound paper. I do want to caution you if you're using a lower grade paper, a lighter weight, it will buckle when you do a wash because you're adding a lot of water. Typically. That's what a wash is. But to keep things simpler, I'm going to do a pink sky. We don't have to have a blue one. Let's do sort of a dreamy kinda landscape. We're going to make this up. So I'm using that same genuine wrote it. I genuine that pink that I had talked about. And when you do a wash, the trick that I want to tell you is to make sure you make enough. Especially if you want a sky that is very uniform. If you're looking for a cloudless blue sky, for example, you won't see much variation in the concentration of blue. Typically when you look out over the horizon and I would encourage everyone to do this observed nature. It will give you clues as to how to paint. But typically, a sky is darker at the top and then gets lighter at the bottom because the horizon is farther away from you. We're going to make sort of a realistic yet it's not because it's pink type of sky, but I do want to have some clouds. So as you can see here, I'm mixing up quite a puddle. I may even do more than this. I'm losing a little bit of space and I don't want to get it in my green, but it's very, very wet. I'm adding a lot of water. And then additionally, I'm going to use clean water and make some brushstrokes. Again, look at how I'm holding my brush. It's very light to the touch. The reason I'm doing it this way is I want some areas that won't be pink. I want a little bit of cloud. And I'm going to take this down and do a gradation into another color towards the horizon. So I'm leaving a few spots. I'm not sure if you can see the sheen on the paper this time it's not quite as Sonny right now. There's little fuzz mark. But I'm leaving some spots that are white dry paper. And I'm carrying this pink down to about the halfway mark. We're going to go slightly lower than that with the sky on this one. And then I'm going in to my wash. You can see here on the right and I'm starting at the top so I can see how dark that color is. I can go a little bit darker than that. Watercolor typically dries lighter than what you've put down. So don't be afraid to add a little bit of paint. And as I mentioned before, I really like this color. So I don't mind having a little bit my brushes kind of following the same pattern of strokes that I used before when I was laying in the water as a wash. And that sort of indicates it reads as some slanted sky movement. So there may be some clouds moving across the horizon. And if you look at the sky, observed nature and there are heavy clouds, you would notice there are darker at the bottom because the moisture resides there, it's ready to fall out of the Cloud. So if you want to add some dimension, you would do that at the bottom, you would make it a little bit darker. Let that color kind of bleed up into the sky. Now this is fairly light. You can always go darker. It's not going to, the color won't stay in place. Very well while all of the paper is wet. So if you want to have a little bit of this concentrated color here, you may need to let it dry just a little bit. I want it darker at the top. You can also blot some of that off if you want some lighter areas. So I'm rinse my brush and blooded it off and I'm lifting again. Remember we did this in the last lesson. And then you can blot. And that gives you indication of some clouds. If you get sort of that hard edge, like right here, you wouldn't necessarily see that in the sky. I want to soften that. And we're going to lift some of this color and blot some of that up. And I don't want just straight lines across my sky that doesn't typically look that way. So I'm kind of going back and forth and lifting some of that off. Now you'll see some wispy designs like that, but not these really straight hard edges. And if you've taken my misty landscape class, can you see this bleeding here? Let me look at this a little bit closer. How the paint sort of just transitioning down and flowing. We do a lot of that work in that class as well. So I suggest you go over and take that one. That's a lot of fun to do. I've gotten a lot of great feedback from that class. So again, this is sort of a hard edge. You may or may not like that. It's totally up to you. This is your sky. I was just softening that just a little bit. And I'm going to very lightly carry this pink down towards the horizon. And then I want to add in another color. So I've just carried clean water down to this point and I'm going to stop the video and then come right back. Don't let this dry. I'll be right back. 16. Blending Washes: Okay. I can only upload certain size video for these classes, so I didn't want to make that too long. We're still at the same spot. This is still wet right here. And I just want to point out, I love how the clouds are kind of naturally forming up in here. And you can exaggerate that by just blending in a little bit of damp water and those automatically flow. I don't like how this line stopped right here, so I'm just going to break that up really lightly. Same over here. Just by adding a tiny bit more. And it's all still wet, so it's going to keep moving. Soften that up. And again the sky, just like other things in nature. I know I sound like a broken record. There aren't very many straight lines. If you look in nature, trees do not have perfectly straight trunks. The clouds will not have perfectly round shapes. So irregularity is a good thing. Don't feel like you have to be able to really perfectly sketch or draw any of the things that we're painting here. So again, light brush, I'm holding it, just barely sort of bouncing it. And I talked about color, variety. I like a balance of color. Now I'm not going to add cool color in there necessarily because I like I've just in particular like warm colors. So this is still wet all the way down to here. I'm going to carry that band of water. It's pretty clean water down just another couple of strokes, just below halfway. And we talked about that in the last lesson 2 of splitting things equally. The eye, we'll look for symmetry and if you don't have it exactly, It's sort of, it'll become frustrating visually to look at that. So I'm carrying that down to about three quarters of the way. And along the horizon. I don't want to have a pure son, but I want to give the indication of a sunset. So I'm dipping back into my quinacridone gold very lightly. It's a very light wash. And I'm just going to add hints of that. Right below the pink. And because this is still wet slightly above it and below it, that line is going to move and spread, which is what I want. And if it doesn't, we will help it along. So I really like that warm balance. And this pink is sort of a hot pink. Bring in some of that golden yellow. And it's just a great combination. So if you want this to, I want this guide is sort of meet over here and it isn't quite without destroying this gorgeous cloud bank that we have here. I'm just going to add a little bit more of that. Rotor night pink. Let those to mingle along this line by tickling and sort of pulling down. I want that to flow where the water, where the clean water is so that it mixes naturally. And that's what the watercolor will do. I know this sounds extremely simplistic. But the watercolor paint will only go where the water is. If it meets up with a dry spot, it will stop. So while these are active, this is all an actively wet area. I'm just going to let that come together. And if you want this to blend a little bit more, which, you know, a pink and the yellow together would give you a really warm sort of an orange. Go ahead and carry that in. It's okay that they mix. I just want it to mix gently and sort of organically. And then I'm going to make sure that this yellow is soft and carries down by rinsing my brush, blotting it, and then adding more clean water. And you sort of make overlapping strokes at the bottom. I'm just very, very gradually taking my brush down a little bit more and then a little bit more each time I go. And by doing that, it allows the paint, the color to gradually be carried downward. And the farthest reaching at the bottom, it becomes softer. You are lifting a little bit of color each time. Just gradually. If you get back up into that yellow, some of that will come off. I preach, I prefer that. I think it looks nice and hazy, sort of what you would see in a sunset. It wouldn't be super stark. So the paper is wet all the way down to here. And that's about as far as I want that yellow to go. So we've got some burst of clouds, got some vibrant pink. If you wanted to warm that up. A little bit of that, quit acronym gold and mix it with the pink first. And where it's still wet. We can let that dance on the page. And that kinda create some color harmony as well, because you're leading into yellow here. Then it doesn't look like pink stripes and then yellow. You sort of get a good nice mingling of that gold reflecting up into the sky. And it's going to keep moving for a little while. It's still fairly wet. While it's wet is the best time to manipulate it. If you come back in later and try to add a lot, it will one, look reworked. And two, you're going to have to manipulate some of those hard edges. Right now while the paper is wet. You can still get those soft blending kind of shapes. Once it dries, it's a lot harder to get that. You can already see right here. It's starting to dry and it dries a little bit quicker for me because I've got this paper under some bright lights. Yours may not, and it will depend on the type of paper, of course as well. So I'm just barely touching the paper with the tip of the brush. And if you want to maintain some of those lighter areas, you can blot out some of the some of the water so that the paint stops blending totally up to you. I'm going to stop here because I don't want it to be overworked. And we'll see how it looks when it's completely dry. 17. Adding Contrast: Okay, The sky is pretty much dry. And here's a tip. The way to check that without messing it up is if you touch it to the back of your hand, which typically you won't get fingerprints or anything, then if it feels cool to the touch, it's still pretty wet or it has moisture in it. If it doesn't feel cool, it's you can plan on it being dry. So I'm going to continue down here. I really like the way that this yellow sort of leaves sort of a foggy kind of feel. And I want to create a sort of a distant looking maybe tree line. And yellow and purple are complimentary colors. So in the last lesson, I talked about getting a color wheel and learning a little bit about complimentary colors or analogous colors. When we were doing the peony, adding that magenta with the road and night, genuine, the pink. Those are analogous colors. They go well together. They're next to each other on the color wheel. Complimentary colors are across from each other. The pink and the green pop. You notice that because they're across from each other on the color wheel, not directly across, but they're closer to complimentary colors than analogous purple and yellow or purple and blue. Kind of give the same kind of pops. So I want to add a little bit of purple along this horizon line to sort of indicate soft tree line. And I will include this color. I'm not even sure what it is. Any purple you have, you can use, which of course you can mix by mixing a pink and the blue or red and a blue if you have it. And I want this to look sort of soft and then the distant distance 2. So I'm kinda just blending that out a little bit. I'm going to slightly stronger color and some spots and to make it look like a tree line. I'm still using my size 8 brush. Tell you that it's a workhorse. You can do just about anything. I'm just kinda pushing that paint up in irregular patterns to give the indication of trees. Notice I'm not in real detail painting out any specific tree branches or limbs or a tree tops. Maybe it's not even trees, maybe it's just distant rocky hills that sort of have a purple cast on them. I don't know. And I want a little bit of variety in the depth of the color, how strong it is in different spots and it's still wet so you can see how that's moving. And maybe we'll just add in slightly deeper purple color. Or even a rich blue that I believe this is ultramarine blue. Again, color's really you can do a lot. You don't necessarily have to have the same colors that I'm using. I hope that's gotten through by now. Anything that will give a little bit of that contrast, which is what I was going for. So you can see how much how wet this is over here still. And I don't want this blank spot right in the middle of my painting. Why? Again, as we talked about, your brain will look for symmetry. It's not exactly in the middle, but I want it to be, my brain is fighting for it to be there. So I'm going to kind of break this up just a little bit and sort of draw the eye over to about this mark over here. So I can lift a little of that paint, soften this area. And then I'll carry some more of this blue over or the purple so that it sort of fades into that. And as this dries or this, you can soften or strengthen the color. So I'm lifting just a little bit. And maybe I do want to kind of draw that's sort of like a light yellow over there. The clouds have maybe deepen the color here. So maybe I'll add a little bit of a stronger blue just to draw some attention to this area. And maybe a little over here. It is still pretty wet. So I'm surprised at how how long it's staying wet like that. Usually the paper dries pretty quickly, especially with these lights on. But that's leading to the very final tip that I'll leave at the end of the class. So make sure you watch all the way through. And I'm just kind of I don't know, maybe a road we'll go back there, something like that. So I'm going to get some more concentrated color. And in some areas, again, I like contrast. I don't like really wishy-washy colors in watercolor unless it's a soft white flour or something like that. So I like to give people something to look at. So I'm going back in and adding some stronger value. You don't have to. If you like the soft pastel look, keep it that way. Depending on the paper you're using as well. Some tend to absorb the pigment a little bit more than others. It depends on how much sizing is on it and how course if it's rough or coal or I'm sorry, hot or cold pressed. So if it's rough or smooth, I'm just going to soften this line a little bit. So you see how that, that lesson we learned in the last project about sort of tickling the edges. I've done it. I don't know how many times already in this painting. It doesn't necessarily need to be restricted to one subject matter. So you can use those techniques in almost any painting you want to paint. And that's why I thought this would be a fun class. I hope you're enjoying it. If you are, I would love for you to share it with someone. Share it on your social pages. Let other folks know that this class is live and that you had a good time and that I tell silly jokes. I give a lot of tips. So I'm going to let that dry again because our next layer, I don't want it to necessarily lead down. I'm thinking about maybe a path that leads back there some green fields or something. But I don't necessarily want the purple and the green to blend because that wouldn't be very pretty. So I'm going to let this dry for a few minutes and come back. 18. Mixing Colors: Okay, coming back to this, it's almost dry. There's a little bit of a damp edge at the bottom. But for this next step it's okay. So in this tip, this technique, we're talking about mixing colors. And what I want you to note here is that I wasn't as cautious about the pink mixing with the yellow as I was about the purple mixing with the yellow. And that goes back to color theory. If you want to teach yourself how this works and you don't want to go watch any videos, et cetera. Just play with your paints and line your colors up. The ones that you have that are warm. That's typically the orange, yellow, red, pink against some of the cool. See how they mix together. Or look at a color wheel. You don't even have to buy one. You can just look at one online and look at complimentary colors. Mix purple and yellow, and see what you get. Mix red and green and see what you get. And the reason I'm suggesting you do this is because every shade of red, we'll mix differently with different shades of green. So knowing the colors that you have in the materials that you're working with is extremely valuable. But the reason I'm not as worried about this next step is that I want to carry down into a color that is analogous to blue. So we're going to move into some green or maybe even, let's just throw in my favorite here, turquoise. And I will list these colors. I didn't do that in the beginning because again, I was talking about just using what you have. I don't want you to feel that you need to go buy new page. Now, that's fun. If that's what you wanna do. You have more than my permission. But I don't want people not painting because of that. I think that's a shame. So I always try to recommend just using what you have and you will still learn. It may not look exactly like the lesson that you just took, but you will still learn a lot. So we're going to move into some green. Again, I've just dabbed in a little turquoise there because I really, that color even a little bit more. And what I really like is how there's sort of a soft area right here that's got a little bit of color in it, but not too much. I wanted to capitalize on that. So if you can imagine a field in the sun is hitting it just right. Maybe there's just a soft tint of green. It's not really green. But it's sort of a quiet space for your eye to land. And that's important to have an, a painting as well. You don't want every inch of it busy. You don't want every inch of it the same value. So I've talked a number of times about having some variety. And that's important in the design as well. So having this sort of little bit of a blank space right here, it's kind of interesting. So maybe we have, I'm just going to kind of sketch it with my brush. In area there's sort of a road kind of goes back into this direction. So a couple of things leading there. That looks interesting too, doesn't it? It kinda draws your eye into a certain area of the painting. So whatever greens you have, I'm still using this as the undersea green that I had. And I'm just going to kinda give the indication of sort of a field that is sort of defined. Again, it's not going to be anything in particular. But while this is wet, just going to create some patches of areas of different green. And I'll have to wait like we did before with the sky and with this tree line, I can add a little bit back in there. Maybe this sort of break that up again. And having these different levels is interesting to the eye as well. But if I want to really deepen some color, I'm going to have to wait until some of this is dry. Let's just going to keep moving. Now I have the same, that green gold. And we talked about before. I've only added a couple of colors into this painting from the last project. And as I said, I will list those. But you could also mix some of them if you wanted to. I kinda want to. That cascade green that will sort of break apart into a blue would be a nice addition here. And I'm just softening these edges again. So, you know, in that flower we did a lot of the tickling of the edges are enjoying that all again here. And I'm kind of just pulling the paint directionally in the lines that I want it to be. Just want to give it an indication of where it's leading. And maybe a little acronym gold. And I don't have to worry about any of these colors mixing yellow and blue make green. So the fact that I'm adding in some gold here, it's not going to turn ugly when it meets up with this turquoise here. So it's okay. And maybe I want to leave a little bit of white area. So another technique that I wanted to share with you in this one, we've talked a lot about that tickling the edges and soft blending. What about dry brushing? So if I wanted to get a little bit of area that kind of has some visual interests. And I want to lead the eye back here. But I don't want to spell all this out for everyone to look at the viewer. So I've gotten me make sure you can see that it's relatively dry. It's not completely dry. There's just a little bit of water in this brush. But you can see when I dab it, the paint stays where I put it. And that's the cascade green. So I want to add a little visual interests. Maybe this is a path and there's some broken areas. So there's a little bit of wet with pigment here, but this is still dry and white. I'm going to start here and kind of brush it. And when I hit the White Paper, watch what happens. I get some of that broken area. Doesn't that look cool? And I'm going to leave that because I want to see how that leads in later. If you don't want quite so much, maybe, maybe you don't want quite as much white. Rinse your brush and blot it and pick up a little bit more pigment again and go back. Now I've got a little bit more color and it adds some more dimension. So I think that looks pretty cool. Now, I'm going to let this dry and come back again. 19. Dry brush: Okay, and it is still a little damp over here. But I want to capitalize on this part here. So I'm getting a little bit of the quinacridone gold in a similar way that I did with the cascade green. I've just got a barely damp brush and I'm just getting a little bit of color on there. Because I want to, I like how this kind of indicates spectrally Sunshine maybe. So I want to just warm this area up just a little bit. So I'm going to use that same dry brushing technique and sort of not fill in. Just supplement, just give it a little bit of a hint of warmth there. And then I want to add a little bit more contrast because again, I wear my eye goes is along this horizon line because there's the most contrast there. So I want to kind of lead into that. I want to bring the I along here and just add a little bit more definition. I can kind of tell that this is a field, but I wanted to just give it a little more. So maybe even back here. Just a little line of trees maybe. That leads into that clearing. And again, adding another layer gives depth to the painting. So it gives the eye more things to look at. So I'm using the undersea green just to add another level there and kind of carry this over here a little. And then perhaps, maybe there's another sort of a hedge row or, you know, how fields weeds grow up in certain areas but not others. And the reason I wanted to do that now is you see how that automatically softened itself. It's not a really boring, straight plop of pain. It's still moving just at tiny bit. So those are the things that you'll get used to. It's just knowing when, how much your paper has dried, how much it will still move if you put some paint down. And then I want this one. A little indication here. Might soften that up just a little bit. Maybe even give it a little, a little dance of that quinacridone gold. Because it's carried through the sky. And over here, I just want a little hint of it on this side. So I'm just kind of softening so that I can get a little bit of that gold over here. And you can always lift. If that was too much for you. Can always soften it and lift it. But I kind of like how it sort of breaks across the page because this has dried now. And I'm getting just a little little flecks of it. Okay, I want a little something else over here maybe. And again, so this kind of leads back here and there's sort of already a line there. We can pick up a little bit more of that turquoise just to give the indication of direction. And you can see the same thing happened. That paper was still wet there. So I get that nice gradual kind of movement. Things are less defined the farther away they are. So back here at this edge. Maybe I want to fuzz that out just a little bit more. I like that it's dark there. Sometimes it's just one touch. One touch can make all the difference. So you can see that kind of like this light area against that dark. I love it. Maybe I just want this. Maybe we lift this a little bit more. I want this just a tad lighter so that we have more contrast. And I'm just going to work this edge just a tiny bit. Again, if you're not sure, step back or take a picture. I don't have the luxury of the picture while we're working in a class. So you take advantage of it if you can. Just adding a slightly darker turquoise color. A little touch of it back here, maybe. Understated. I don't want to fuss too much. I just wanted to show you those couple of techniques of creating the wash. Now if you wanted a full color sky, again, you would need more of the wash puddle created. You don't want to be dipping back into your I'm your solid paint necessarily. You want it all the same concentration as you're applying it. But we did a wash. We did some of the softening, we did some lifting. We did a graduated color blending here. We talked about complimentary colors and analogous colors. Here. We did some dry brushing. I love it. Put a frame, a mat around that, and I think you're good. So show me what you've made. Add your project at the bottom of this lesson. I would love to see it and share it on social media if you'd like. I will reshare it. If you don't want me to. I totally understand, but I love sharing my students work. It helps me get the word out. And I love highlighting what you've done. I hope you're proud of your creations and I want to share in that with you. So come back for the next lesson. 20. Additional Dry Brush: I want to give you a bonus video. I want to make sure you saw and understood the dry brushing. So I've taken my brush and rinsed it and bloated. And you can see it's not leaving too much water on my finger, but it's not completely dry. There certainly aren't any puddles. And with it that dry, I'm going into my paint and just pulling a little bit out so that it's fairly concentrated. I'm rolling the brush so that it's filled on all sides. I've loaded it on all sides. And with that, it absolutely is not dripping. There is not a load of water in that brush. And then I'm laying it parallel to the paper almost. So the side of the brush, this, this is the bell or where this bulb of the bristles are. That's what's going to brush up against the paper. So I'm just with a very light touch. Just kind of dancing across that. And you may even have to rub it. And that's the whole point is that shouldn't flow out of your brush. So I wanted to just give the indication of sort of wheel marks, tractor, wheel, you know, this is going back a path. And make that a little rougher and add a little more contrast. And that's how I'm choosing to do it on this one. So I barely have paint in my brush. And you can see I'm actually having to kind of push to get anything to come out. It may not be comfortable for you. You may not like the feel of your brush on the paper that way. I've heard some students say that. But it certainly does give a different kind of look when you do that. So I just wanted to make sure that was clear and highlight it so that you could see it close up. And I wanted to just make that a little bit more, even across this pseudo path. This looks a little bit empty. So when I stepped back and looked at it to try to get some perspective, that's what I noticed that this was mostly white over here. And I didn't like that. Sort of all the dark and then nothing over here. So I may soften this area because as it goes back, it would be less obvious to the eye. So I don't want much detail back here. I want the detail here. And that's why I did that. So I hope that was helpful. 21. Tape Reveal: And take me to the period from March a check made. I cannot wish to explain a lot. In common failure. This triad land. And how well they are the same. Then add up on a concert to fail to reject Ho, and so the share some. When fully aware of this. 22. PSA: I wonder hop in here in this lesson and give a little bit of instruction that doesn't have to do necessarily with painting technique. And I think this is especially important for emerging artists, new artists, beginners, et cetera. It's so easy today to share your work and to see what others are doing on social media, on YouTube. All of all of the templates, all of the formats are out there for us to see. And while I want you to use these techniques, I want you to mimic what I've done. I want you to practice. I do want you to share that with me. I don't necessarily want you to recreate my design. In these classes. I'm sharing techniques and the format culminates in a very general painting. So a very general landscape. You can change the colors, you can change where the treeline is, et cetera. You can change where the peonies are. You can change what type of flower it is. I'm teaching you techniques that I want you to use in any painting you do. But that said, I want it to be your painting. And I'm saying this because there is of a broad range of artists that I see that are being copied. And other people are selling their work for profit. And that's where everyone draws the line. And I think that a lot of new artists don't understand this. There's no way to get better than to paint. And very easily learned from other people. You want to see how they did something, how they created that soft wash or that range of colors, et cetera. But to take that and completely and blatantly copy it is a no, no. My class is intended to teach you techniques. Again, I've said this a number of times. I want you to use them. I want to share this information with you. It's taken me a lifetime to gain all of this information in a way that I can put it together easily for you. I look at a painting as a puzzle, and I want to break it down into pieces that I can attack first and then second. And how would I make this color blend with that color, et cetera? That's what I want you to take away from this class. You choose to paint a bunch of peonies. That's great. I want you to share that. If you're sharing something that you have copied or you've mimicked, or you've learned from another artist. The simple thing that you can do is to just give that artists credit. So for example, if you paint these peonies and you want to share that on Instagram, I want you to do that. You can simply just say referenced from Elizabeth's roar, Elizabeth roar boss Skillshare class. Or if you watch generate any on Youtube, simply give her credit. That's all anyone is asking for. So I hope that is taken with the intent that I'm sharing it. I don't want new artists making the mistakes that I see happening all over social media. So simply give credit where credit is due. And consider if you had worked your lifetime 20 years at least, to learn these techniques, to learn how to water color, to learn how to create a design in your unique way. Would you want someone copying that as if it was their own? That's the only question you need to ask. If this doesn't look like it's truly my work and it's individual to me, and it feels genuine and honest. That should tell you something and you probably shouldn't share it as if it is. So ending on a positive note, I do want you to copy these. I do want you to practice them. I'm not concerned that any of these designs that I'm sharing in this class would even be necessarily worthy of selling. It's simply to share techniques and I did that in a way to put it together into a painting. So please do share those with me. I just wanted to give a little tip to everybody else about other artists and sharing their work. So let's get back to painting. 23. Transparent Layers: We have some gorgeous sunshine in the studio again today. So I wanted to share another technique that is really fun to do with flowers. We did the peonies where we created a wash in the pedals, sort of blended very softly into nothing from a very concentrated color. I want to show a little bit more defined flower, but still capitalizing on that transparency that is so beautiful with watercolor. So this will hopefully be a kind of a quick lesson. I just have my magenta that I've used in the previous quit acronym magenta in some of the previous projects. And I've switched to a size six in my brush, you could still do this with a size eight if you'd like. I just wanted to have a little bit more control over the tip. And I'm just creating a really light wash. And I wanted to show you on Arches 140 pound again how to create a really simple flower if you'd like to make greeting cards, etc. This is a great technique. So I've got a fairly, fairly dilute wash. with some clean water. And I'm just going to make some flower petals that come together in the center. And the shadow here kind of gives you a, a great perspective. I'm going to zoom in just a little. So you can see. I'm just creating sort of a curved shape petal. I'm filling that in. And I'm going to rinse my brush and blot it and pull some of that pigment back out. Alternatively, you could blot with a paper towel. And the intent here is we're going to create a multi-layered flower that has a lot of transparent layers in it. I'm moving my palette to the side so that I can turn my paper. And I'm going to create another one here. This is just a really general petal shape. Nothing in particular special about it. But the shape down will pull up some of that pigment and blot. It's very, very light. You can make that as light as you want. And I think you can see pretty quickly how we're going to build up this flower. And the end result is just really interesting. It's soft, it's subtle, but it's beautiful as well. And it's something you could pull together kind of quickly. Like I said, for our greeting card. If you'd like to send those, you do have to work a little bit quickly. And this could be done again in any color, whatever you prefer. Notice how I'm not joining them all at the center yet. And I'm working a little bit apart. Each petal is a little bit spaced from the previous one. If I were to do this right on top of the one next to it, the colors would obviously bleed together. And so I mentioned at the beginning of this class that it will culminate in one significant obvious sort of tip instruction regarding water color. And I'm going to share that when we're finished here. And I say obvious because you've probably heard it before. Hopefully, what I've demonstrated here makes you see it in a whole new way. So now I'm going in between the first two petals that I had painted, they should be mostly dry. We've plotted a lot of the water off anyway. But I'm lifting what's inside here and blotting. And what I want you to see is that the layer that you had underneath just barely shows through such a beautiful aspect of watercolor. You couldn't achieve this with acrylic. Acrylic is essentially a plastic paint. I mean, that's binds into fields like plastic even when you're finished with it. So it's not at all transparent. There are some more opaque than others, of course, just like there are in watercolor. So I've laid that down. I'm still doing the light wash. I pick up with a damp brush. I'm picking up some of that pigment and blotting. Can you see that pedal behind? They're showing through my cool. So I just keep turning. And if you'd like, you can make the petals as you go inward, sort of, they were sort of working towards the center of the flower. You can make them a little bit stronger value if you'd like. But I'm doing this to demonstrate the transparency of the paint. And you can see there's a lot of water on there when I first put that down and then I brought it up. So it's essentially dry now. And really quickly, you can create a really pretty design. And I'm intentionally overlapping. I'm not trying to fit these in the middle or in-between those petals. So that may seem obvious as well, but I like to give some instruction as I go. You can see there I just dropped a droplet of water if you pick it up quickly, no worries. So I want to point out, pull this forward a little bit. That little edge of the flower there. Isn't that beautiful. And that's what we're looking for. So I'm going to keep going and come back and show you the result. I'm not gonna do anything different. I'm just going to add more petals. You do the same. 24. Layer Part 2: So this method that I just taught you, this technique is similar to the lifting that we used in the first peony lesson or in the sky. I'm just showing you another way of using it. So I'm sure you can imagine that you could also do the same with leaves or with other flower petals. You wanted to show some dimension. What this does is the transparent layers look like they're in the background. And then I've brought more definition and contrast as I moved forward. So to finish that off really quickly, you could imagine either a really dark background or I'm just going to use my quinacridone gold. Add in just a little center, just an indication of something. It sort of looks like a lotus flower. You could use this on magnolia leaves or petals. Just things that are coming to mind that look like this to me. And that's what I want you to take away. That's not the primary lesson that I want you to learn, but the tips that I want to show you are intended to be applicable in any painting. I've said this a number of times. So that's how I want you to think. Think about the scene that you want to paint as a puzzle. And how would I break that apart? I've got layers of petals. How would I start? Am I going to start in the center and go out or start from behind the perimeter and go in. It's just a different way of thinking. So many people say "watercolor is so hard, I can't do that." When they've probably had experienced painting with acrylic. It's not hard. It's just different. Sort of like teaching your brain to speak another language. That's all we're doing. So I hope this was helpful. I'm going to come back and finish out the lesson. I want to see if you create a bouquet of these that would be beautiful. Some that are lighter in value, some that are darker. Remember, very end balance your design with those elements. So show me what you've done. 25. Most Important Tip: I want to end with what I think is the most important technique, tip instruction. However you want to describe it. And I mentioned before that you've probably heard this before. If you've been painting for any length of time, I'm sure you have. And that is, there's really only one lesson in watercolor, and that is to control your water. Now, I've been painting most of my life and I had heard that a number of times. And one time it just rang true. Now, it's similar to, you know, I'm a Christian. If you read the Bible, you can read a passage a number of times in your life. And one day it just speaks to you completely differently. And that's what happened here. 26. Thank you: That's all for this class friends, I hope you learned a ton. I hope you enjoyed these techniques. Let me know if something was new to you. And if it's going to help your painting, I would love to see your projects. And if this is the first class you've taken with me, I have several others on Skillshare. I'd love for you to try those out too. I'm also on Instagram, sometimes on Facebook, but follow me on Instagram for my stories and more of my paintings. And if you ever have any questions, ever have a need for information or something I've used isn't quite right. Just let me know. I'd love to hear from you and I hope to see you again soon.