Watercolor Waterscape: Paint Reflections Using the Wet-on-Wet Technique | Maureen Shafer | Skillshare

Watercolor Waterscape: Paint Reflections Using the Wet-on-Wet Technique

Maureen Shafer, Watercolor Artist

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6 Lessons (36m)
    • 1. Greetings

    • 2. Materials

    • 3. Sky, Tree, and Bush

    • 4. Reflections

    • 5. Finishing Touches

    • 6. Thank You


About This Class

Welcome to Watercolor Waterscape: Paint Reflections Using the Wet-on-Wet Technique.

In this class I'll be showing you how I did this painting from start to finish, starting with the sketch and ending with the touch ups and finishing touches.


Techniques we'll be using in this class:

  • Wet-on-wet

  • Dry-on-wet

  • Lifting wet paint

We'll start the painting by doing the sky using the wet-on-wet technique. Once it's dry we'll do the tree and the bush using the wet-on-dry technique.

Afterwords, we'll move on to doing the reflections using the wet-on-wet technique. I suggest you watch the lesson in its entirety before you start it, because once you start doing the reflections you can't stop until everything is done.

Finally, we'll do some touch ups and finishing touches.

This class is for you if you have experience painting, are comfortable with mixing colors and controlling the thicknesses of your paint mixes, and understand how to make judgment calls about your own paintings. You'll see how I make one when I make a correction to the trunk while the paint is still wet when doing the reflections.

Credit: The music in the last lesson is Happiness from bensound.com.


1. Greetings: Hello. Mining is more rain, and I'm a watercolor artist. In this class. I'll be showing you how to do a water escape painting with reflections like this one to start with a bushel, Knew how to paint. Describe area. After that's done, I'll be showing you how to do the reflections. The reflections air done in one wet on wet wash. You start by wedding. The paper. Then you had the blue paint for the water. Then you immediately add the green and the brown paints for the reflections. And finally, you do some list to indicate movement in the water. While the paint is still wet, you have to do everything in one shot, or you risk creating unwanted back runs, also known as blooms or Carly flowers. I talk about this in a bit more detail at the beginning of the lesson on the reflections, since you have to work quickly when doing the reflections, I suggest in view that lesson in its entirety before you start so you can see how I do them . What makes the colors I used for this painting? The color palette is simple and mixing the colors a straightforward but the fluidity of my mixes varies all the way from fluid to very sick between that and having to work without hesitating when doing the reflections. This class is more suitable for people who have experienced painting and are at ease with controlling the sicknesses of their paint mixes. I hope you enjoy the class and come away from it with some new tools for your toolbox. 2. Materials: Let's start by looking at the color palette for this painting. It's comprised of ultra marine blue sailor, blue, green shape, burnt number and, as a yellow, a pure primary yellow. The notation under each of the swatches is the pigment number for that color Color names don't necessarily mean anything, and this is especially true if they low blue green shapes. So I want to take a closer look at it. Not all manufacturers called Halo Blue green shade by that name whole buying a brand of orders, great paints and the one I used calls it peacock blue. In the Cartman line of student grade paints by Winsor and Newton, the color is called turquoise. Manufacturers of reputable brands of water color paint, whether artists great or student grade include the pigment info on the tubes of their paints. Let's take a look at these tubes of paint to see the pigment info on the tube of whole buying peacock blue. We see the pigment numbers P G seven and PB 15. On the tube of Cartman turquoise. We see the same pigment numbers that indicates that these two colors are the same. We'll be referring to sail a blue green shade as stable blue for the rest of the class. For brevity, sick, mixing the colors is straightforward. By adding ultra marine blue to burnt number, you can create everything from darker browns to various grace. If the paint is thick enough, you can create blacks like the one I used to do the pebbles on the shoreline. In short, the more ultra marine blue you ought to burn number, the darker the color gets to make all of the greens. I used ultra marine blue mixed with aso yellow lemon yellow was a good choice for a yellow , too. It's a cool yellow, which means it has a greenish undertone. If you prefer to use the cooler yellow to mixture greens, any cool yellow will be good. You'll see me mixing the various colors during the lessons. I used ultra marine blue by itself for the sky and Taylor blue by itself for the water. I did this painting on the £140 cold press Fabbiano Artist iCal, a brand of 100% cotton artist grade watercolor paper. I buy it in sheets measuring 22 by 30 inches and cut them to size I used the 1/16 sheet, which measures 5.5 by 7.5 inches for this painting. Buying artist grid watercolor paper in sheets is more cost effective than buying it in pad form. I used number 68 and 12 round brushes for this painting, a 3/4 inch flat brush on a large, flat brush. I also used a rigger or liner brush. This one is a number two. In addition, I used the hog's hair bristle brush and the soft scrub brush from the Zen line by Royal and Lang nickel. You'll see how I use them to lift right paint and do clean ups. You'll need a board to take your sheet of watercolor paper, too. The one pictured here is made of Masonite, and it measures nine by 12 inches. You'll need masking tape to secure your sheet of watercolor paper to the board. You need a towel and or paper towels. I use paper towels to remove excess paint from my brush before putting it to paper. I use a towel to remove excess water from my brush after I rinse pain from it. Kleenex are always handy to have on your work table, and I use them for this painting. You'll also need a pencil with a light lead, like the three H or a four age to do the sketch of the tree and the bush. I didn't use an eraser for this painting, but I make use of 21 I need to erase something. The first is an artery stir. It's used to pick up loose graphite from the paper. You've another dab it on any pencil ones you want to lighten or roll it into a sausage shape and roll it across the paper. If you need to remove more graphite arteries, just do not a race completely. So when I need to erase more thoroughly, I use a brown eraser. I find my painting with the pigment micron pin. That's it for the supplies. I've provided a PdF, which explains the concept of pigment numbers in more detail on the Projects and Resources page. This pdf also includes information on how to choose the paint colors for this class by pigment number. In addition, I provided a pdf on how to cut sheet watercolor paper. If you want to use some for this class 3. Sky, Tree, and Bush: my sheet is ready to go on them, ready to start the sketch. I'm keeping the lines like because I don't want the one for the tree foliage to be showing through. Once the foliage is done, we'll be starting by doing the sky, and if necessary, I can darken up the ones for the trunk and the bush. Once the sky is done, your sketch doesn't have to look exactly like mine. But don't make it too complicated to start with our mixing. Some ultra marine blue paint toe, a consistency that I refer to as juicy in the paint, is fluid without being too watery in a juicy mixed. The color has a bit of kick to it. I'm wedding the whole sky area with clean water, including the tree in the bush but avoiding the shoreline. I'm done. The paper shiny, wept without having any puddles on it. With my number 12 brush, I'm sweeping the painting over the whole area, since we'll be making my brown and green paint mixes with ultra marine blue and I'll be making the colors start. The blue paint will get covered when I do the tree trunk and the bush I want this to be very light, and I also want to give the impression there were clouds in the sky. So I'm dabbing the wet paint with the Kleenex. All done. I have to let this dry before it continue. It looks like I'm going to have to darken up the lines for the trunk and the bush. Once this is dry, this is dry. Now I've traced over the lines for the trunk in the bush so you can see them but left the one for the tree foliage light. I want to struck by doing the tree foliage using yellow green, so I'm going to make some ultra marine blue and aso yellow. - The mix is done. I've added enough also yellow to make yellow green. The paint has the consistency of cream. I'm using my number six brush to do the foliage. I'm moving it quickly, making random marks covering the whole area. - I want to dark agree now, so I'm adding more ultra marine blue to the mix and pretending the latest coming from the talk, writes one. Keeping this color concentrated at the bottom left. - I'm adding ultra marine blue to the mix again to make an even darker green. I'm keeping this darker color confined to the bottom left of the foliage is well. Now I want to really dark green for the shadow area at the bottom left, so I'm adding more ultra marine blue to the mix. Still, not a stark is I want, but I want to preserve the darker green I've just mixed for use for doing the bush, so I'm adding the ultra marine blue toe a corner, only to get to the dark green I want the paint in this corner is now what I refer to us oily, meaning it has the consistency of oil. - To start doing the bush, I added enough azo yellow to the mix at the top, right in order to get back to a yellow green. - No , I'm getting some of the darker green on the left to continue notice. Harm blending the colors together so there's no obvious demarcation between them. Finally, I'm getting some of the darkest green to paint the shadow area of the bush. This has gotten very sick by now, which is okay because I want the shadow area of the bush to be dark. I'm lending in the colors again to make a smooth transition between the two. - I'm going to mix a dark brown color using burnt number and ultra marine blue for the tree trunk . I've added too much ultra marine blue and the mixes a dark rate instead of the brown I want , so I have to add some burnt umber back to it. The consistency of the mix is oily. I'm planning to do a lift on the right side of the tree trunk while the paint is still wet to show the latest coming from the right. I don't want any blue paint to be showing once I complete the lift. So before I paint the trunk, I'm removing some of it as a precaution, using my hog's hair Bristle brush. I'm using clean water for this task. I'm stopping here because I don't want to damage the paper and blotting it carefully before starting to paint the trunk. Ultra marine blue is a pigment that lives relatively easily, once dry, so I was able to remove much of it. I'm using my number eight brush to do the trunk. I'm doing the lift now using clean water. It ended up being water than the strip of white I created. There's no blue showings. Why making the lift wider? There's still no blue showing, so I'm going to lift a bit more paint. Still no blue. I'm stopping now. Next up the reflections 4. Reflections: it's time to do the reflections. Since they're done in one wet on wet wash, you have to work fast or you risk creating unsightly back runs. Also called booms or cauliflowers. Backwards occur when water or watery pink hits a damp wash of color. Discard shows. Two examples of what I'm talking about backgrounds may also occur when you attempt to lift paint. That's not what enough, any more to do lifts properly. As you see here. That means that your paint nexus have to be ready to go before you start doing the reflections, because there's no time to mix paint once you start my mixes air ready to go. The mix of, say, low blue for the water is juicy, like the ultra marine blue mix for the sky. Waas for the greens. I'm for going the yellow green since I have to work fast. The lighter green is the mid green I created by mixing the different colors of green that were left on my plate after I finished the bush. The other one is a darker green. I've just mixed again. Using ultra marine blue and azo yellow, I called the consistency of both of the green mixes milky, meaning more than juicy and less than creamy. I've mixed up a bit more of the brown color again, using burnt number and ultra marine blue. This mix is creamy. I'm starting by wetting the paper, making sure I wet it thoroughly like I did for the sky. I'm avoiding Wedding the shoreline. - I'm sleeping in the sale of blue paint. Now, using my number 12 brush, I'm adding a bit more at the bottom to create a bit of tonal variation. With my flat brush, I'm getting some of the mid green paint. I'll do the bush and then the tree foliage with this color first. Now I'll add the darker green pink to both areas now for the trunk. I've just made a bit of a mess, but it's no biggie. Ultra marine, blue and burnt number are both pigments that are relatively easy to remove once dry, so I won't have a problem during the clean up. Now for the lifts. I'm holding my brush at an angle, but you can hold it vertically if you like. I'm using a clean down brush for this. - Although I made the reflection for the trunk thicker than the trunk itself. On purpose, the pink has spread out too much for my liking. So I'm pulling some of it back with a clean, damp brush. No, I'm adding back a bit of fatal blue paint. What I've just done here is purely a judgment call. If I had felt that the paint was not white enough for me to do this without causing a mess , I would not have done it. I'm going to let all this drawing now. 5. Finishing Touches: I want to do a clean up and put the finishing touches on my painting. Now I want to start by cleaning up the shoreline, using my scrubber brush by Royal and Lang Nickel. I've decided to use this brush because it's more tapered than my hog's hair. Bristle brushes. I've turned my board upside down so I can see better. - Okay - I'm , ready to go with the finishing touches, but I just noticed another bigger cleaning up I need to do. I want to soften the hard edges on the sale of blue paint on the shoreline. To do that, I'm passing a wet but not soaking wet brush over them and blocking them for this task. I prefer using a round brush. - I'm done with the cleanups, the bushes looking flat because there was no tonal variation to it. So what I'm going to do is gently lift some pain from it. I'm using my number eight brush for this, but not loading it with water. Notice that I'm touching the paint very lightly. If I go too hard, I'll remove too much paint. Okay, - I'm stopping here because I'm happy with how the Bush looks now. Now I want to live some more paint from the trunk because it doesn't look quite right to me . Now I want to add some branches to the tree foliage. I made a thick mix of burnt number and ultra marine blue for this task. - I'm not happy with this color, so I'm adding more ultra marine blue to the mix. I'm switching to my rigger brush because it has a finer point, and they want the branches to be sooner than the last one I made with my number six brush. Now I'm adding marks to the shoreline to suggest there are twig strewn about. The rigger. Brush is perfect for this job because when you move it quickly, it has a loose action and is good for making organic looking marks. I'm doing the set random. - No , I want to add some pebbles to the shoreline, so I'm adding some more ultra marine blue to the mix in order to make a black color to finish. I'm blending in the paint on the trunk of been better using a clean, damp brush. That's it. I'm happy with my painting and I'm calling it quits 6. Thank You: Thank you for being with me for this class. I would love to see your work. So please poster painting on the project gallery until next time. Happy painting.