Watercolor Workout - Basics And Beyond | Robert Joyner | Skillshare

Watercolor Workout - Basics And Beyond

Robert Joyner, Making Art Fun

Watercolor Workout - Basics And Beyond

Robert Joyner, Making Art Fun

Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
54 Lessons (7h 30m)
    • 1. Introduction

      2:33
    • 2. Welcome

      2:49
    • 3. Materials & Setup

      4:49
    • 4. Transparency

      4:48
    • 5. Transparency With Three Hues

      4:08
    • 6. Water & Gravity Fusion

      7:06
    • 7. Water & Hues

      4:47
    • 8. Hue Transitions

      4:27
    • 9. Stroke Speed

      3:39
    • 10. Silverware

      7:59
    • 11. Silverware Continued

      5:09
    • 12. Abstract Squares

      11:45
    • 13. Sphere & Cube

      9:09
    • 14. Red Sphere & Cube

      8:38
    • 15. Value & Color Challenge

      12:04
    • 16. Random Painting

      9:41
    • 17. Easy Mountain Project

      5:12
    • 18. Easy Tree Project

      8:30
    • 19. Easy Landscape Project

      8:23
    • 20. Introduction To Intermediate Strategies

      1:18
    • 21. Light On Form

      9:28
    • 22. Light On Form Continued

      10:42
    • 23. Chairs With Some Watercolor Magic

      4:51
    • 24. Chairs With Watercolor Magic Continued

      7:56
    • 25. Chair With Watercolor Magic Final

      10:15
    • 26. Red Barn

      9:10
    • 27. Barn Demo Continued

      10:20
    • 28. Barn Demo Golden Hour

      12:04
    • 29. Drawing With Brush

      15:53
    • 30. Blend Drawing With Painting

      8:37
    • 31. Blend Drawing With Painting Continued

      12:51
    • 32. Going Bananas

      14:19
    • 33. Melons

      10:49
    • 34. Exploit Drawing

      7:01
    • 35. Exploit Drawing Continued

      12:47
    • 36. Random Landscape Painting

      14:43
    • 37. Projects Introduction

      0:42
    • 38. Metal Pots Project

      12:47
    • 39. Slotted Spoons Project

      14:40
    • 40. Three Scoops, Please

      7:13
    • 41. Lipstick And Perfume

      14:58
    • 42. Tea Cup

      7:43
    • 43. Tea Cups Continued

      6:27
    • 44. Fish

      7:09
    • 45. Fish Continued

      8:50
    • 46. Galloping Horses

      5:25
    • 47. Galloping Horses Continued

      11:15
    • 48. Horses With Negative Space

      9:39
    • 49. Horses With Negative Space Continued

      5:22
    • 50. Abstract Floral-Gray

      8:45
    • 51. Abstract Floral - Red

      12:46
    • 52. Abstract Floral - Tulips

      6:51
    • 53. Abstract Floral - Rainbow

      9:22
    • 54. Closing Thoughts

      1:45
20 students are watching this class
  • --
  • 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.

425

Students

24

Projects

About This Class

6ea52cf2.jpg

Welcome to Watercolor Workout.

This is a course designed to develop the basic fundamentals and embrace the characteristics of watercolors. It's suited for all levels from the very beginner to the experienced artist that's been around for a while. We will cover many subjects and styles which will make you step outside your comfort zone. After all, this is where great things and growth happens.

The class will begin with a beginner module. In it I will share various demonstrations for developing a keen awareness of the characteristics of watercolors. These lessons aren't to be ignored even if you have been around watercolor painting for a while.

As we mover deeper into the workout we will incorporate more advanced ideas including how to exploit 'happy accidents', wet-in-wet washes, drawing with the paintbrush and more.

There are many exercises along the way but the class ends with a series of projects that will test your skills and ability to maximize the uncontrollable qualities of watercolors.

I hope you enjoy the workout. And when you are finished with the class you can flex your new watercolor muscles.

More Watercolor SkillShare Classes By Robert Joyner

Beginner Friendly

Watercolor Workout - Basics & Beyond (you are here)

Easy Watercolor Paintings

Color Harmony With Watercolors

Simple Watercolor Landscapes; Paint Your Own Loose, Colorful, Monochromatic Artwork

Perfect Gift Ideas You Can Make With Watercolors

Intermediate & Advanced

How To Plan Awesome Watercolor Art

Solve Your Watercolor Troubles

Unlock The Unique Qualities Of Watercolors - Focus On Color, Transparency, Value And Neutrals

Watercolor Flowers; Wet-In-Wet Techniques

Flowers With Watercolor - Fresh And Loose Painting Tips

Tips And Tricks For What To Do With Your Bad Watercolor Art - How To Turn

Advanced Watercolor Techniques - Working With Values, Reflections And Capturing Light

Advancing In Watercolor - Intermediate Tips & Methods For Painting Fast & Loose

Advanced Watercolor Landscape Masterclass

Advanced Watercolor Class; Brushes, Values, Layers & More

Watercolor Beginner Technique Masterclass With Easy To Do Projects

Meet Your Teacher

Teacher Profile Image

Robert Joyner

Making Art Fun

Teacher

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.

Your creative journey starts here.

  • Unlimited access to every class
  • Supportive online creative community
  • Learn offline with Skillshare’s app

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.

phone

Transcripts

1. Introduction: Hi there, I'm Robert Joiner And welcome to lighter color workout. And this class we're going to cover some of the basic watercolor skills you will need in order to harness the characteristics of watercolor painting. If you have any experience at all with watercolor painting being, you know, it tends to have a mind of its own. And this class, we're willing to embrace those happy accidents. And we're going to encourage colors to run fuse mingle, because that's what the medium does best. There are certain aspects of the medium that we can control, but for the most part, isn't a medium that needs to be controlled all the time. And like any good work out, it all starts with the core and then we're going to challenge our skills. So B wants to become better. He simply have to branch out and try things that you've never tried before. If you do this same thing all the time, you're going to continue getting the same results. I promised that we are done with this workout. You will have a much better idea on how to use the watercolor medium and how to relax and have fun with it. You will have a stronger base of skills and techniques to apply to your artwork. To class is broken down into several sections. In Section one, we are going to cover the basics. These are the fundamentals that we're going to build upon as we move forward in the rest of the class. And in section two we're going to cover light on form. So we're gonna go over values and how well we can see value and color. And ultimately what we want to do is make our objects looked more three-dimensional. And the next section we're going to go over various painting techniques, primarily drawing with the paintbrush. This is a great way to add energy and spontaneous linear interest and your artwork, you can also capture subtle details and textures, and it's just a fun way to paint. And the final section we're going to do projects. And these projects are slightly more advanced than anything you've tried along the way. And believe me, these projects are going to flex your watercolor muscles on it. I was pretty cheesy but had to throw it in there. So if you're ready to get started, we're going to kick it off with materials and then dive right on into those basic watercolor painting skills. I'll see you on the inside. 2. Welcome: Hey there, welcome to the course again, I'm Robert joiner. I want to thank you for being here and taking an interest and what I loved to do for a living and that is paint. And of course, teach you guys everything I've learned along the way. Now before we get into materials in the first series of lessons, I just want to let you know that the first module is for beginners. I'm going to cover some of the watercolor characteristics, some of the basic skills that we will be using throughout this course. So for those of you that are brand new, don't be intimidated. Just simply watch the videos, take them in, and then do these demos on your own each lesson project. So I encourage you to watch it and then break out your paint paper and brushes, and then do the same thing I do. And then post your project, Get that thing gone as soon as possible. That way you're up to speed. And as we move to more intermediate and advanced ideas, you're not left behind. You don't feel like you're in the dark. So again, a workout to me is about building those core foundational principles and skills, but also it's about learning new things, taking on ideas, styles, subjects, et cetera, that we've never tried before. So I hope in this class I can present those to you. I don't know any of your backgrounds or what you've done with watercolor painting. But I am just simply going to really do a lot of research and take on subjects and ideas that maybe it perhaps, and hopefully you haven't tried. I know some of the styles and subjects I'm doing this course are brand new to me. So not only are you getting a workout, but I'm getting one as well. So thank you for making me learn and get outside my comfort zone once in a while too. So hopefully, you know, this is a 30-day course. I'm going to release lessons Monday through Friday. I'd take the weekends off. That's family time. You can bank on, you know, two to three lessons every day until the end of February. Now, if we are a few weeks into the course and you're curious to get started, of course you can, he can join this class and start learning at your own convenience. So I'm not expecting you to be up to speed with everything. All the lessons are basically there for you to take in and to absorb. And they will always be here on skill share for you to go back and watch so long as you're a member. So again, I look forward to sharing these ideas with you. I can't wait to get started and let's do that with materials. See you there. 3. Materials & Setup: Welcome to Materials. Before we dive into all the fun, I just wanted to cover the supplies I will be using if you do not have all of these brushes are paints, no worries if you have questions, just leave a comment in the discussion. Now I will try to respond to you as soon as possible. So I will cover recommended paint, my favorite brushes, paper quality, drawing materials, and then my basic paint set up, which is how I'm painting in the studio. For brushes, I have a pointed around. This is a golden natural by silver, a number ten, I will have a mop brush, a Princeton Neptune number eight. And we'll also be using a sword brush. This is a three-eighths Princeton Neptune sword. I also have a needle brush. Now, you don't have to have a needle brush. If you only have a sword brush or something that can put down some thin lines and detail should be just fine. Again, those are my brushes. So let's dive in to the next fun thing and that is paint. I use Holbein. I've always used the brand. I've always had good results with it. Here's another tube of cobalt blue, but I do recommend artist grade paint that has a John pipe palette on there. I had neutral tint, cobalt blue, ultramarine blue, burnt sienna, new gam bows, cad yellow, lemon, Alizarin, crimson, pyrrole red, and then cadmium orange. So those are the colors I will be using in this course. A couple of water reservoirs is recommended. Near my reservoirs, I have a couple of towels, roll it up that will help me dry off my brush and remove excess water. Some masking tape will help. For paper, I recommend artists gray paper. This is a 140 pound cold press. It is a Blick premium brand, but good paper is going to have a huge impact on your artwork. Of course, this is a larger sheet which I will cut down to smaller sizes later on when I get into some of my demos. So you can fold it in half eaten and then fold those in half and then a quarters. So there's an example of one of my demos. You can see I use that paper and just fold it in half. Also, I recommend having some drawing paper handy. I use 24 by 18 drawing paper, but print paper, any sort of paper you had, the drone is fine. I recommend having a couple of for B2B graphite pencils, either mumble do, maybe a kneaded eraser. So I have a piece of foam core there that I use for my artwork. So I will just put a piece of tape on the back corners and then add here that to the foam core. Underneath the foam core, I have a towel. You can use a block or whatever you have handy. So you can see I will just roll this up several times. I will put my foam core, which is it my color back board, and then put that at the top of the board. And that's going to give me a downhill run for all of my washes. So again, I do recommend having that board elevated. Lastly is some paper towel was because, you know, painting is kinda messy and they're pretty good to have around. Now as far as my setup, I am right-handed, so I keep my palette on the right-hand side. I have my water reservoirs most of the time sitting on some sort of paper towel or napkins. And then i, another series of tau was there. Again, this is two of them. So I will take that and then roll them up. And then once I have that, I'll put it right there, the water reservoirs. So that way whenever I need to remove excess water from my brush, paint, whatever is pretty handy to have it there versus trying to figure out where I put it last time I used it. So that's pretty much my setup. I will go ahead and put my foam core board down with my towel underneath it and then a little demo there just so you can kinda see my setup whenever I'm painting. So I will have this setup for all of my demos and that way you can know what to expect. So again, this video cover my preferred watercolor supplies and whether or not you use any of these is totally up to you. But just sort of an FYI I thing. I thought it would be good to let you know, but I'm using for my watercolor painting. And then lastly, I showed you my setup and how I like to pink watercolors. 4. Transparency: In this lesson, I will talk about transparency, a comment and very important watercolor characteristic. I will do a transparency demo. I will discuss T mixtures, avoid too many passes and make sure it's cool. So I will start this one using my number ten golden natural pointed around brush by silver. And I will add a bunch of water to my Well on the top left-hand side of my palate. So you can see here I'm dipping in some fresh clean water. I need plenty of paint to do this demo. I'll be using burnt sienna. Feel free to use any hue of your choice. What I am mixing up is a key mixture. T mixture has a lot more water than pigment. So whenever you mix yours up, just make sure you have plenty of water and then use just a little bit of hue to mix. Now the paper is a 140 pound cold press paper. It is cut down to about 11 by 15. I am putting in a kidney shape. As I paint the kidney shape, I want to be sure I don't do too many passes into the paint. I've already put down. So if you're unsure what I'm talking about, the goal here is to put the paint down and leave it alone. The more you fudge with it, the more chances are that you're going to create some sort of watermark or you'll end up with an uneven wash. So I just did right there was bad. I went back into it too many times and actually remove too much pigment. And you're better off just to leave it alone if he'd go in and try to fix it even more than chances are you will disturb the paint, which is already starting to stay in the paper and you will end up with a very uneven wash. So again, try to put the paint down with his few strokes as possible and avoid going back into it too much. Now, I've put a hairdryer to work and I've draw the paper. Very, very important. If you use a hairdryer to allow it to cool before you paint on to the surface. And that's because a paper will actually be warm, so it's going to retain some of that heat. And that's going to cause whatever layer you're paying to dry quicker and sometimes even create some unwanted marks. Now you can see I'm only using this same key mixture I mixed up in the beginning. I'm not adding any more pigment to these layers. So I painted the first shape. I use a hairdryer to dry it and let it cool. I came back over it using the same T mixture at Painted another one. Again, very, very few passes, is so easy to even take your brush and rub into the paint, dry paint, a little bit too hard and what you're going to do is disturb the paint underneath. You will actually reactivate it. So the goal here is to use just the right amount of pressure and don't rub into the paper too much. And again, avoid too many passes. Even you running your brush back and forth over the wash will again cause some unnecessary results I you may not want in your artwork. So you'll see here as I add another layer, again, everything underneath his dry. I'm using light pressure just enough to get the pigment on the surface. And then once I put it down, I leave it alone. Again. I'll take a hair dryer to it, dry it, I will let it cool. And then here we are. Everything is 100% dry once again. And now I will paint my final layer again using the same technique in the same paint. So very little pressure into the surface. Again, don't fudge with it too much so that you end up with a nice even series of washes. Note that I was able to do about five series of washes. Perhaps you can even do six. The key here is to end up with even washes for each layer. And then to be able to see that transparent quality. So one layer stacking on top of the other. In this lesson, I introduced you to transparency, a common watercolor characteristic. I did a transparency demo using a t mixture. Again, avoid too many passes for best results, put it down and leave it alone. And again, if you use a hairdryer, makes sure that paper has cooled before you add the next layer. See you in the next one. 5. Transparency With Three Hues: Welcome to a three color transparency demo. So very similar to the previous demo, but this time we will use three colors. We will again use that key mixture, avoiding too many passes. And then note how we will make the secondary Hughes by layering one color over another. So let's get started for this one, I will use my, my golden natural silver number ten pointed round. And now we'll use a little bit of water on the pallet. So we will use the same sort of key mixture as we did in the previous demo. So be sure you have a lot more water than pigment. The Hue is cadmium yellow, lemon. I opted to use the lightest yellow on my palette. So the key again is to put the hew down and don't make humanity passes. So cover the paper and then let it dry. I'll be using a hairdryer off camera too dry it. And once it's dry, which it is now, I let it cool now without adding any more pigment to the mixture. So still the same key mixture, I will add a second circle. I will leave a little bit of the initial circle showing. So I'll, we'll basically have two circles or one ring around the one I've just painted. Alright, so you can see there, I've allowed that to dry 100% and of course cool down. So a little bit of pigment on the palate, and now a lot of water into this. I am going to be using lay Alizarin crimson for my red. I will add a second circle beside the yellow. Obviously I'm overlapping them as well. So when I overlap them, I'm overlapping both circles are the yellow. So again, put it down, leave it alone. And then I will let that cool and then drive. Before we add the next one. Here, I'm just adding a little note there to say, hey, avoid too many passes because as soon as I start to paint, paint, paint the read over the yellow is so easy to disturb the yellow underneath. So even though that's dry, you can certainly reactivate it with water and some vigorous brush marks. So again, 100% dry here and cool. And now I'll add my second key mixture of red to the circle. Again, sort of a light pressure. We don't want to press too hard into the paper. And then just a few passes there to spread it around. So now you can see a little bit of orange peek through where the red and yellow are starting to overlap. Now I am going to use ultramarine blue, again using the same technique that we've already discussed. So light pressure and avoiding too many passes over the previous layers, let that dry 100%. And now you're starting to see a little bit of violet and also a little bit of green, where the blue is mixing with the yellow. And of course where the blue is overlapping, the red, the Alizarin crimson, you're starting to see some magenta and purple. So here we will have a look at the finished art is dry. And you're going to notice, I'll love this secondary colors. So transparency again, as a common watercolor characteristic. And to achieve them, we have to make sure we apply the paint evenly, avoid humanity passes and of course, rubbing into the surface too much. So in this lesson, we again talked about transparency. I did a three color transparency demo using T mixtures, avoiding community passes. And the result is you get those secondary Hughes where one color is layered on top of or underneath another. 6. Water & Gravity Fusion: And this lesson will talk about water. Again, this is a common watercolor characteristics. We will look at water as fusion and then also how gravity can do the same. We will also do a demo where I will pre wet the paper. So we'll do a test on how water works there as well. And then a conclusion so that we can wrap our head around all this wonderful stuff. Now, I will begin this demo with my silver brush there, so still use them. I'm pointing around and mix up a little tea mixture. They're so nice and thin and then do a little swatch. So I'm putting this down on dry paper. There's my little swatch of blue, no big deal. But now as I mix up the next one which will be orange. So my orange, if you forgotten, is over there in the corner. And again, a T mixture there. And I'm going to add a swatch below the blue. Now, water is fusing these Hughes together. So water is very much an important component and the watercolour medium, and remember my board is at an angle. So we're also dealing with gravity. So the water will fuse the Hughes together. And of course, gravity, things running downhill. We'll also move the pigment and blend them. So here I'm adding another swatch of yellow and again, noticing how the orange will flow into the yellow and that has happening by water. And then of course, gravity. And I'll go in and now mix a green just using some of the cobalt blue and cad yellow lemon. And I'll make that a little more green just so this can be nice and pretty when I'm done. And there you go. So again, water fusing these Hughes together. So understanding how wet beside wet works. So when you put down a whitewash, then he put down another one that's a different hue. When there are both wet, there are going to fuse. So unlike what we did before, just above it, where we layered colors. But when we layered them, we let them dry and then we added another one. See you're getting the fusion, but it's more of a transparency. So the colors aren't necessarily merging together us as much as they are. And the demo I just completed. So now I will do another demo and I'm going to pre wet the paper. I will put a really good amount of water down. Hopefully you can see that it's starting to puddle up. And now I will take a little bit of Alizarin crimson. So I'll mix up the, say, a milk mixture. So quite a bit of pigment, maybe a little more pigment than the T mixture. And because the paper was pretty wet, as soon as I dropped the pigment into it, again at the pigment will disperse into the wetness of the paper. So anywhere where there's water like that and you put pigment into it, and obviously the water becomes a conduit and it's going to move that pigment around. Here I will do another swatch. So again, just presenting the paper, but not as much as the first time I did this example. I will use the same amount of Alizarin crimson. Now notice because it's less wet, so I'll put less water than the first time. It's going to bleed or run into the water, but not as much. Alright, so depending on how wet your paper is, will oftentimes have a direct impact on how much the watercolor of the pigment is blending into the wetness of the paper. The second example where the paper wasn't as wet, it didn't quite bleed and run as much. Now in this one is going to be even drier, so I'll use less water than the previous two examples. I'm going to add the same Alizarin crimson mixture into it. And notice again because there's not as much wetness and to the paper, then it's not going to bleed as much into the water itself. So very important thing to understand about one or color. Water is a key component, obviously through the medium. But whenever you're dealing with a wet surface and you add pigment to it, then it's going to run into that water. So anywhere that paper is wet, that's where it's going to go to a certain degree. It just depends on how much paint you put down and how thick the pain is. So that's just a really good lesson I think to understand, I'm going to talk about this a little bit more down the road, but before we wrap this up, I have one more demo to show you. So here I'm going to present the paper as I did before. And I'm going to put a good amount down before I get pain. I'm going to remove the excess water from my brush. Now i'm going to dab directly into the Alizarin crimson and then touch that into the wet area. I just did notice how the paint doesn't disperse as much. So when you use thicker paint like that into a wet surface, know that the water isn't going to dissolve it. It can't penetrate it as easily as thin doubt paint. Just really, really good stuff to know. And again, a very important characteristic of watercolor painting. So as a recap here, water can fuse colors together, so it can easily blend one color into the other. Gravity is an important thing to note. And when your board is at an angle, no, there is going to run in that direction. Also know that if you are working with paper that is wet, the watercolor is going to disperse into the wetness of the paper. And remember too, that when you're dealing with a wet surface, but you're also applying much thicker paint. It's not going to dissolve into the water as much. So understanding how Paint responds on a dry surface, and of course, how Paint responds when I'm painting over a dry layer is important, as is understanding how to deal with a wet surface, knowing that water is going to continue to dissolve and move your color around. And then also the thickness of your pink is going to determine how much that pigment moves. 7. Water & Hues: In this lesson, we will talk about water in Hughes. So we will use water to thinner hue as we thin the Hughes. Notice that they will get lighter and value. And we are looking for gradual shifts and value. And I will do a eight swatch test. There we go. Let's get started. So I have a small piece of a 140 pound cold press paper. I am not skipping on quality. I am using the same paper I showed you in the material section. I am going to mix up a rather thick amount of Alizarin crimson. You can think of this as like a honey mixture. It's got a lot more paint and very little water. Now, for each swatch, I'm going to dip my brush and the water, and then then the paint. Again, clean the brush, dip in water and then add a little bit of water to the mixture. That's going to be a little bit thinner. I will do my swatch, clean the brush, dip it in water, and the water to the pigment. As I do this, note how each time I create a swatch, it's lighter and value. That color is going to shift a little bit as well. But obviously I'm not mixing any other color with it. It's still going to remain Alizarin crimson. But again, the transparency is starting to show up as I add more water. And then of course, we're getting a much lighter value. So we have gone from a very rich, deep burgundy red. Two, what will ultimately be a pink? Good to know, these are great resources to have for your water color painting. It says, I get to my last swatch there. I was actually able to do nine. So if you do it right, you should be able to get at least eight. But if he even get 9101112 swatches without no one swatch looking too much like the next one, that you've done a great job with adding the right amount of water and not too much or not to less. So notice, as I write here too, the colors on the left-hand side are darker and more opaque. And ma se darker, darker in value. You could also think about a darker in tone. As we get to the right, they become more transparent and lighter and value and or tone. That was so much fun. I would do it again, but this time I will use ultramarine blue. So again, very little water and a lot of pigment to start. If you start to weak, then you're going to run out of room. So make sure that first swatch is nice and thick, so I'll wasn't quite thick enough. I added a little more pink and that should do it. So that, that mixture right there should be a little bit sticky, like honey. Now I'll add a little bit of water to it and then make sure you clean your brush. So I'm going to get that paint off, dip it in water, and then go into the paint, do my swatch, clean it, dip in water, and then back into the paint. So rents and repeat. So really I didn't mix up enough paint there. So I got myself in a little bit of a bind. Even though this is a very simple exercise, it's more challenging than you think to come up with eight to ten swatches where you have a gradual shift from one hue to the other. It takes some skill. You have to know how to manage your water and of course, how to manage the pigment as well. So not too bad and will have to go into these swatches a little bit and paint over it because then it wasn't quite good enough. Shift from one q to the other. So there you go. Just because you've been paying with watercolor for a while doesn't mean you're going to master this sort of exercise. So here we are again, you can see the swatches so a little bit clear now, a little more up-close. So again, water and Hughes, using water to thin Hughes, more water equals lighter values. And also I didn't note here more transparency. We want to do gradual shifts and value and, or hues. And if you can do a eight swatch test, then congratulations, I think you have passed this part of the course and it's time to move on. 8. Hue Transitions: Welcome to Hugh transitions. We will learn to mix Hughes gradually. This is a great way to discover color variations. Were looking for subtle shifts. And Hugh, and we'll basically go from one view to another. I will begin by pre mixing a little bit of ultramarine blue. And we can pretty much use maybe a milk like mixture, so slightly thicker than tea. And I will put a swatch down. Maybe that's a little bit too weak. But we're gonna go with it for now. So again, we've got a little bit of ultramarine blue to start now, I'm just going to dab a little bit of Alizarin crimson into that mixture. And I'll add a little bit more. So just a little bit at a time. And notice how even on this third swatch, that the hue is starting to shift. And I will add that now Seward leaning more towards a violent now, obviously is important too. Mixed the two, correct, Hughes, If you want violent. I talked a lot about this and my easy watercolor paintings course. We've talked a lot about water, no mixing colors and how to get the good violets and things like that. So I am using ultramarine blue because it has a red bias and I'm using Alizarin crimson because it has a blue bias. So the two of those mix really well together. My paint is getting a little bit dry. So I'll just add a little bit of water to it. As I'm getting into these final swatches, I am basically getting into pure Alizarin crimson and look at all those lovely variations and between those lovely blue violets, then we get into those pure violets, and then we get into those magentas and then finally, a cool red. Again, you can mix any two colors together and do this. You will be amazed at some of the hues you can come up with. Now, I'm doing cues that are more obvious. So like I'm mixed the ultramarine blue and the Alizarin crimson to get the violence in the middle. Here I will start with cad, yellow lemon and then mix in a little bit of cobalt blue. So as you know, the blue plus the yellow will give us a green. And then ultimately we're going to end up with a blue. So I will completely mix these swatches until I get to the point where there's just simply no yellow left and the mixture. And it's those subtle variation is what we're looking for. And of course we're looking to control the amount of paint we put in. So paying a little bit closer attention to a gradual shifts and I guess more detail oriented in how we approach this idea. Here we're getting into some lovely keels. So those lovely greenness blues. And now we're finally getting into some more pure blues as I get into these last two swatches. So ran a room there. I'm willing to do one more swatch below. And even this swatch here has a little bit of yellow in it. I could have probably push that even more with one more. But anyway, there is the demo, so you can see those changes. But again, burnt sienna, ultramarine blue, try umber with CAD bread. I mean, just try a bunch of different colors and see what you can come up with a very interesting exercise to do. And you will discover a lot about your palate. So for our recap, this was Hugh transitions. So mixing Hughes gradually, this is a great way to discover color variations when you're mixing two Hughes, subtle shifts in hues are what we're looking for. And we're basically will end up with going from one view to another. Hope you enjoyed the lesson. I'll see you in the next one. 9. Stroke Speed: Welcome to stroke speed. So we will look at slow strokes, we will look at a fast strokes. We will look at the effects or impact that has on the paper texture. And then why wet paper cancels all fast strokes. So I will start here with some ultramarine blue and mix up maybe like a milk mixture, so slightly thicker than T. Well, once I get my mixture right, I will do a swatch. The first swatch I will do, I will use a slow stroke, some going across the paper very slow as you can see. And taking my time. And notice that it pretty much covers everything. So perhaps towards the edges of the rectangle, we can see a little bit of that paper texture. But in the middle of the triangle, everything is covered. So basically, when you use a very slow stroke, you get a very even wash. So you will not get any texture of the paper. Of course, if you're painting on hot press paper, you're not gonna have any texture anyway. So this exercise wouldn't even apply to you. So now note that fast stroke. So as I whip the brush across the paper like that, notice how were you seeing a lot of that texture? And it doesn't matter if you go left to right or if you do circles, vertical strokes. If you're using a very fast stroke like that, very aggressive, then is going to reveal the texture of the paper so long as you're using cold press or rough press paper. So you're getting a lot of that noise from the paper texture when you do that. So if you're looking to get that sort of reflection or that sort of vibration of the texture there, then know that your stroke speed has a lot to do with it. Okay? Now, what I'm writing there is this doesn't work on hot press paper as I mentioned before. So hot press is always going to give you a smooth stroke. The last example I give you here is a pre-web paper. Now this could be yellow pain, it could be blue pain, it could be red. Doesn't matter. Did the deal is we're dealing with a wet surface. Now. Watch the fast stroke. See, it doesn't work, does it? And that's because what we learned before is that water is going to dissolve in, water is going to penetrate that pigment and disperse it. So you're not going to get any of the texturing that you had before with the dry paper. So if you're again looking for that sort of texture, look, you have to do it on a dry surface. And he sort of wet surface like that, especially if it's really wet, is simply going to dissolve it. You're not going to get the results you're after. So just some FYI I hear about stroke speed. Very important stuff to think about because these are all tools and resources we need for good watercolor painting. So in this lesson we looked at stroke speed, slow strokes, fast strokes, and how to get the paper texture to reveal itself. And then we looked at how black paper will pretty much cancel any sort of texturing that you may want. 10. Silverware: Now that we've talked about all those wonderful watercolor characteristics, here's a wonderful project we can do. I will use good technique. Hopefully, I will combine slow and fast strokes. I'll will use thin and thick paint, and I will share a few tips on how to remove unwanted paint. I'll, we'll start of course with my silver pointed around. And I will put down a little bit of water and I'm going to premix a little bit of gray. And we'll do that using ultramarine blue. And of course the other primary. So I can use a little bit of my gambles Nova and then my PI role red. As you mix your gray, know that, you know, you can shift the overall hue. So if it has a bias that's leaning towards a read, you can just add blue. If it's leaning blue, you can just add a little bit of red or perhaps a little bit of yellow. So mixing Graze is pretty easy. I think the key here is to have a, either a cool gray or a warm gray. If it's just in the middle where it's not warm or cool, sometimes it may come across a little bit and money. I so there you go. I'm adding my basic washed there and notice when I put it down, I let it alone. So just like in the very first lessons we talked about, we don't want to go over it with too many passes. So what I'm doing now is I'm using just water and I'm going to take a stroke all the way down for the handle. And remember water is a conduit is going to pull that pigment that I have in the top of the spoon down into the handle. That's a good way to create variation in entrust any washed like this. And now I'm going to remove a little bit of that paint and just use water and let that drop into the wash. Now notice I just put the brush to the wash, the tip of the spoon now left it alone. I kind of pressed it into it which is going to remove some of the paint. It'll leave some of the water as well that I had. And now I'm going to drop a little bit of more saturated colour and to the left bottom hand quadrant of that spoon and then drop a little bit into the handle. So once that dries is, should we give it the illusion of a reflection and a little bit of a shadow as well. And notice what I'm doing on the fork. So I started with a darker wash there for the base of the fork. And as I paint the points and the tines, I'm just using water. Some strokes will start at the base where I added the dark and pull upwards and other strokes, I'll just start at the tip of the fork or the point and come back down into that dark area of the base. And the water is going to pull it in both directions. So even though we're dealing with gravity and the water is going to flow downhill. And remember my board is at an angle. That color is still going to move upwards as well. Maybe not at the same degree as it's moving downwards because of gravity, but it's still going to pull that pigment upwards. So again, that's just using water as a way to spread pigment, and that's the characteristic of water color painting. These are the things, the very, very basic skills that you need to understand about the medium. So here with a knife, I started with a very, very thin key like mixture of hue and then I'm using a slightly darker hue for the handle. And now I'll use a little bit of that darker hue is still on my brush and just drop that into the blade. And that would just give it a little sense of reflection or shadow. But notice how it didn't force it. Notice I didn't put it down and I left it alone because I want that watercolor feeling. I wanted to look very transparent. I wanted to look very watery. And at the end of this, I don't want it to look like a piece of silverware that I copied out of the magazine. I wanted to look like a silverware. There was painting with watercolor and really showcase the beauty of the medium. Now that stroke I just did for that spoon was very quick. So when you do a very, very quick stroke like that is going to leave guess, right? Some of the texture of the paper. So I'm showcasing some speed there as well. And now I'm lifting and removing a little bit of that paint. And when you do that, make sure you don't have too much water, but you need enough is going to dissolve some of that paint. And the key here is to get in and get out. Don't shot a fudge with it too much. Again, if you do too many passes and you start to try to push it too much farther than it should go, then it's going to start to ruin that freshwater color field. Now for this fork, I'm trying a differently. I started with the times and now I'm using a very weak mixture for the base of that fork. And I know because we understand the characteristics of watercolor that the hue that then ascend to points of the fork are going to run down into the base of that fork. So again, just really trying to showcase the, the effects of water and how it really impacts your art. How you can use it to move your pigment around, how you can use it to fuse colors and things like that. And even though we're doing a very simple grayscale painting here, is still fusing the different values of gray. So another light value blade and a nice dark handle. And I dropped a little bit of that darkness into the tip of the blade. And that's it. So I'll drop a few little dots there of dark and then leave it alone. So that's the key. When that dries, that's going to reveal that nice transparent look and it's not going to look to money. Now for that spoon I'm doing there. I use a very quick stroke around the outside edges of the spoon. And also use a very quick stroke for the handle of the spoon. And that's going to reveal texture, right? We've already, we've talked about that and now I'm using that in this little study. So again, hopefully you can see that I'm trying to really push the idea of using those basic skills in this study. And it's so important to understand and master these basic skills. So just removing a little bit of paint here and there. And now you can have a close up the piece. So simple, easy, but again, the goal here was to show you how we can use water, those quick and slow strokes to reveal a texture and so on. For our recap, this was the silverware project, again, the beginner module where we are learning the watercolor characteristics. Hopefully I was able to demonstrate good technique, a combination of slow and fast strokes using thin and thicker paint and then Tips for removing pain as well. And not mentioned here is water, the impact water has on your artwork and how you can use water to manipulate your washes. 11. Silverware Continued: All right, another project here, Dawn somewhere, but this time I'll will use good technique, will again use those slow and fast strokes will use thin and thick paint. But the difference is we're going to blend Hughes using water and of course gravity. So instead of working with just a grey or one whew, we're going to work with two. Alright, so we'll kind of get that feeling, that civil where that has that little bit of a gold look to it. Maybe some copper, right? Alright, so I would just do this below the previous demo. I've got my grace still mixed up. And I'm going to start Same idea. So I will again try to use as few passes as possible and paint with this few strokes as possible. The tip of my forte. And, and now run my handle downwards, a nice fast stroke there. So hopefully when I'm done and maybe it will reveal some of that texture of the paper. And now I'm using new gamble, a little bit of cad, yellow, lemon and some water, so I'll just send that out a little bit. And now in this dropping that into the paint, so on that really like brushing it on the paper as so much as I'm just kinda dropping it just enough to let some of that drip down and run into the gray paint. So there I started with yellow and then I did a stroke of gray. And now I'll just run a little bit of grey into the yellow. So again, the key here, and I think the theme you're hopefully very aware of now is put it down and leave it alone. So we're trying to avoid too many passes. All right, and in the end, you will have something that's got that crisp look to it and won't look for. So it'll have, It'll be very transparent. And the water and gravity, we'll kinda do its thing. And he leave you with that unforced of free kinda watercolor. Look thou think hopefully you would want and desire in your watercolor art. Alright, so, uh, started with a dark spoon there and then a light-colored handle. So, and again, mixing up my sort of golden yellow here, and I'll drop that into the spoon a little bit into the handle and hopefully now fudge with it too much. So I've got that yellow now, so I'll just start with yellow. And it's running the base, some paint for the base of the fork and then into the times and the points, and then down into the handle. And now I'll reverse it and then drop a little bit of gray into that and that putting it everywhere. So I'm only dropping the grey in certain places. And this is more random. I'm not trying to force it or are trying to come up with an exact replica of what silver. I'm not even using a reference image. I'm just kinda doing this imagination. I've seen things like this on Pinterest and other places. I thought it would be a great project to use for this demo and these characteristics that we're trying to learn. Alright, so that's moving along pretty good. We've got five down, maybe one more to go here. I'll start with or end with my spoon. And I'll part, I'll paint part of the spoon and then finish with the yellow. And now I probably have a little bit of gray and yellow and my brush. So they're starting to mingle and again, trying to do as few passes as possible. So you really start. So the end when this dries, it has that sort of watery look. Then I'm after and very, very transparent. Again, I know this is, I want this to be crisp and clean. And the goal here isn't to pain award winning stuff we're going to present. And the next art show is just really to hone in on those watercolor characteristics and the skills we've been working on so diligently. So let's have a look at the finished art. So this is dry. And you can see how that watercolor and those Hughes a blended on their own. So we'll have a little stroll down memory lane here and look at the first demo. And then we're getting into the second one here. But notice those fast strokes reveal some of the texture of the paper. And we have a nice soft look. So hopefully I was able to use good technique and this project showcase some slow and fast strokes using thin and thick paint and then of course, blending Hughes using water and gravity. So that's it. Hope you enjoyed the projects. I will see you in the next lesson. 12. Abstract Squares: Alright, this one, we can let the hair down and loosen up a little bit here, have some fun. We will still be exploiting the same idea. So using water and gravity for fusion, using multiple Hughes this time instead of just one or to avoid too many passes a gimme what that clean, crisp watercolor look. And of course, we're going to have a ton of fun exploring color. So the paper is 11 by 15 a starting with my silver watercolour brush again, my point it around. I'm going to pre wet sum squares and they're not gonna be perfect square, somewhat tilt, summer tilted, some are big, some are wide, some are skinny, and so on. But again, this is just exploiting and getting familiar with the idea of water as a way to move and spread the pigments around. I'll mix up a little bit of cadmium yellow limit. And then onward into the first square. That yellow had a little bit of red in it that's already on the palate. And I'll continue to put a little bit of that red down. And notice I'm not painting every single edge of the square. I'm getting close to the edges, but I know the water is going to disperse and pool pigment from where I put it down. So over time, you know, that water is going to know, spread the paint for me, I'll have to do is just put down enough and get it in the general area. And the medium. And water will do us for the rest of it for me. Alright, so just using No different queues, a little bit of Alizarin crimson and a little a payroll read for that red swatch. And now moving back to yellow, which has a little more red in it than the previous two I put down. So you can use any colors you want. Obviously, there's really no formulae here. I encourage you to explore, you know, colors. Tried to mix it up a little bit. In this one I'm thinking I'm going to start with these sort of lighter values at the top. And then as I get towards the bottom, I'm going to use more blues and violets and a little bit darker hues. And now notice on the second set of squares here, I'm not prereading the paper, I'm just putting the paint down on a draft surface. And again, just mixing it up and just having fun exploring the two different ways. It's good to just push paint around sometimes without a lot of stress on yourself to do something magnificent or really, really tight. Now find these sort of projects are great for that because it pretty much anything goes, you know, so long as you stick within the comfort of putting watercolour paint down. And we've, we've talked about those things. I've, I've mentioned several times, many times actually. So you get the idea. Now, while the paint is still wet, we can drop other Hughes into it. Now again, notice I'm just dropping it into it every once in a while I'll do a stroke. But you won't see me blend too much. I'll just kinda put it down. And then again, that water and gravity do its thing. Now as I'm holding the board, my foam core up in a little more of an angle there that's going to encourage a downward run of the water. So that's just something I'm doing just to kind of move the water down a little bit more into those wet washes. I'm using thick yellow paint in that red square. So notice that thick yellow paint isn't going to break up as easy as the thinner washes. Again, we talked about that in the very beginner lessons. And how thicker paint doesn't dissolve as easily as thinner paint. So the water can't penetrate that thick paint that well. So it can penetrate the edges a little bit, but not the entire thing. At this point, I'm going to kinda start to think about changing Hughes a little bit. And I want the colors to be crisp. So oftentimes, you know, if your palate started to look like mine and it'll just start to get muddy and all the colors will start to run together. And then next thing you know, all your colors look the same because they're all kinda blending with each other. So really, I'm looking at how the water is piling up and the squares I've already painted. So as I paint these squares here, I'm going to touch a few of those places and notice how gravity and water is going to fuse. So at that previous square, the colors are going to basically drip down into square below. So as I paint these squares again, I'm just trying to make as few passes as possible. Sometimes I'll go back and correct things. Maybe move one corner like I did there so it's touching the other one. But I'm trying not to disrupt the washes that are in there. And if I do, I'll just drop color into it and try to avoid making too many passes or rubbing into it too much. Because again, I want this to be nice and crisp when I'm done moving into some sort of magentas here. So Alizarin, crimson, a touch of ultramarine blue, more red than blue for this wood. And just again, a continuum, the same theme. And letting that water bead up. And then touching a little bit of a new color into it and nu square. And let in that those colors just merge and run together. I mean, that's the beauty of watercolor. And anytime you can incorporate this sort of idea in your painting is great because it really showcases the beauty of the medium. And when it dries, it has that nice transparent look to it. And it's just, you get some really good color combination, some good transitions from one color to the other. And water and pigment and gravity are doing all the work for you. So in order to really, I think, harnessed the power of watercolor, you have to be able to showcase a little bit of this stuff in your paintings. If not the maze. Well, BY dawn, acrylics or oils, right? The, these are the things that are unique about watercolor painting. And oftentimes, you know, artists will especially beginners. And even I'm guilty of it. I'm not just going to pick them up beginners here and experience artists. We this fudge with it too much. We don't give the result we're after, or we just don't do a good job of planning a painting. And therefore, and we kinda had this vision of what we want the painting to look like when we're done. And then along the way, watercolor is gonna do its thing. And then we end because we don't really plan it that well. And, and really look at our subject and understand where the light values will be, where the darker values will be. And get a, a good plan for how we're going to now bring start this painting and bring these ideas forward through the process. Then we start to get in trouble. And we're going to touch on that a lot as we move into the intermediate and advanced sections. This workout, I'm going to go quite a bit into planning, will go into some landscapes, maybe some Still Life, where we have to put more thought into how we're going to layer things. But for now we're just having fun, enjoying the characteristics of watercolor, let in this medium shine and do its thing where understanding gravity or understanding the effects of water and all those things that you know, I've talked about. So alright, all of the washes are still wet, so every square I've painted is still fairly wet. Obviously, the ones I did in the beginning are no water at this point and It's a good time to drop color into it. Sometimes they call that charging. So where you had a wet wash and then you come back with another color and you drop that into it. Now I can also lift pain. So I'm using a clean brush there and just going through some of those and lifting it so well lifted. Again, you want a clean brush and you just want to put your brush to the surface, a little bit of pressure and maybe create a stroke and then get added there. Don't try to go back into it too many times. Okay, so now I'm using gravity to push the water in a different direction. So I'll flip the painting upside down. And now I'm going to use some darker hues. And again, lightly charge it or drop it into some of these wet washes. Again, don't try to create a lot of brush strokes here. You're just thinking about dropping paint into the pigment as opposed to using your brush and creating too many strokes. If you do that, you're going to lose that organic blending that the water and gravity are creating for you. But I do want to stress that as I charge or drop paint into these wet washes using very light pressure with a brush. I'm putting in in a few places, but I'm that you're trying to agitate all of the washes too much. We don't want to put them in a dryer and blend them all up and tussling around. You just want to drop in a few places and then let it go, let it blend and bleed and to the wash that was already there. So again, you know, if you, you'll find that if you end up with squares that are too muddy and they disliked really flat, then probably chances are you'd rather too much and you just did a little, you know, tried to work it more than it probably should have. So a little bit of lifting here. So very clean brush, a good one sweep in there and then get out. So there you go. On. Here's my piece. So hopefully you enjoy the project and these are a lot of fun. You can do these on a really large scale. And using a for art for your house. And again, you can use different shapes or whatever your heart desires. But, and this one, we did some abstract squares. Again using water and gravity for fusion. We're using multiple Hughes. We won't to avoid committee passes as we've stressed quite a bit so far. And then just have fun exploring color. You know, this is a great time. As I mentioned before, just to push paint around without any pressure to do anything exciting, we're going to do much more complex sort of subjects later on, but now is the time to just get familiar and have fun with it. And that way later on, when we start to do more advanced projects, you're less intimidated. 13. Sphere & Cube: Getting back to the basics here, we're going to look at value in form. So capturing light and shadow, who will look at a phi value scale? Lightened shadow, facts, softening cast shadows. Timing is very important. Using or should I have said stacking layers and then the conclusion and this demo, I'm going to use neutral tint for my gray. But as I've mentioned before, you can always premix your graze if you wish. So again, I'll go do that one more time. Ultramarine blue, a yellow, and then a red. And then depending on if it's warm or cool, you can add blue or red to shift the temperature. So right here I'll do a swatch. I'll add a little bit of water to it, which will reveal it, you know, its temperature. And then I want to add a little bit of blue, so I'll make that a little bit cooler and then a little bit of water to that as well. You can see that it's just a touch cooler and a little bit cooler even still. So I'll do my swatch and a little water, and there you go. So that is a good way, an easy way to mix your neutrals if you don't have a neutral ten or any sort of gray. And, but again, for me, I'm just going to use my neutral ten. Now I'm going to create a simple scale starting with a dark and then adding a little bit of water to each swatch. And what that's going to do is give me a scale that starts dark on the left obviously, and then lighter as it moves to the right. And I'm going to use that scale for this demo. And a little touch up there on my swatches, maybe those were a little bit too light and we should be good to go using my 4B graphite. I will draw my sphere and then my cube. And wherever you are, you're drawing. Obviously, if we know for a layout drawing like this, try to use light marks. If you don't want the pencil marks to show. There's sometimes I don't really care about pencil marks. I'll let them show my artwork. But for this demo, I'll try to keep it somewhat clean. I'm using that kinda underhand grip which will allow me to use lighter strokes. So now just some clean water to wet the sphere. Okay, so I'm painting onto, alright, a wet surface. I will add my light sorts source, which is coming from the top left-hand side. Now we have a light source from, You know, it's bouncing in all directions, but it's also coming down, hitting the surface and balancing up. So underneath the sphere there, if you squint at the image on the right, you're going to see some reflected light. And that is nothing more than the light coming down. Balancing and then hitting underneath that sphere, also the lightest hitting our subject which is on the top of the ball and the sphere right there where the, it goes from light to shadow. That is called the core shadow. So you'll have a little bit of a light value there, but then it'll get really dark. And typically the core shadow is the darkest of the shadows. So again, if you squint your eyes a little bit at the sphere on the video here, you can see that I'll include this sphere in the resources as well. So you can have a look for yourself. And of course, I know you want to try this project on your own, so you'll have that resource. So using a very, very light value, pretty much the first value on my scale. So I have a five value scale there. I'm going to paint the ball and the shadow, and also the sides. And I can do this because now I'm looking at the MA subject. I can see the, there is a top of the cube there that is fairly white. And then there's a little section on the ball, that's Y2. But everything else. I can paint this very, very light shade of grey. And from there I can just use darker layers to add the shadows. So there I'm softening the shadow. So a cast shadow will have soft or diffused edges on the outside. So as a shadow moves away from its subject, is going to get softer and softer. And typically it will be somewhat soft or blended the edges. So I'll just use some clean water to diffuse that. Now I'm going to remove a little bit of that paint for the top of that sphere. So now everything's good to go. But, you know, I want to start to add the next value to this. Now this is still wet. So again, you have to remember water is a conduit for the pigment. So as i paid this, I'm going to allow a little bit of spreading of that water. So I want the one, the top left-hand side of that ball to be somewhat lightened value. But I know that pigment is going to run into it because it's wet, but I'm going to come back enough to allow for that extra movement. Okay. So again, this is just where we're trying to understand and respect the fact that there is water there. So the value is going to move, the pigments going to move. And now timing is important, you know, so as I get to this next layer and we're going to start to add the core shadows. I don't want it to be dry. If I'll wait until it's completely dry. And then I'm going to have to blend everything. I'm trying to do this sphere wet into wet. So I'm going to wait until that sphere. And what I've done is almost, you know, to that point whereas dry by no OK is still paint into it. And now as you paint into a surface like this, again, timing is important. If you wait too long And then sometimes you'll get watermarks, you'll get those sorts of Kali flowers. And other times, if you don't wait long enough, then of course, all this dark pigment, pigment is going to run and to the white of the sphere where we have our light. And I want to again keep that fairly light at that point. And at this point I should say I'm going to let it rest. I'm actually going to remove a little bit of pigment there for that reflected light. And again, this is still wet. Okay. So I have to allow for that movement. I know the water is going to dissolve that. Now I've led this completely dry, is 100% dry. And you can see where a, an object contacts another one. There's typically a very, very dark shadow. So I'm going to put that shadow in and then blend it. And now I'm adding the dark side of the cube. So here again, that side of the cube is 100% dry. And I'm this adding a slightly darker layer over top of it. So again, trying to get those clean strokes and try not to fudge with it too much. Now where things contact on the ground like that, I'm going to soften that edge so that way it doesn't look too stiff. So let's have a look at the demo here. And truth of the matter here, the sphere, the shadow on the sphere is probably a touch too dark. Or the core shadow could be a little bit lighter in value, but all in all, I think it kinda gets that feeling of form. So it has a three-dimensional look to it. And hopefully we have learned a little bit from this lesson. We covered a simple five value scale. Light and shadow facts, softening cast shadows so that outer edge of a cast shadow timing is important. Really understanding the wetness of the paper is a valuable, valuable stuff for watercolor painting using layers. So how I use two layers to capture the darker side of the cube. And now you should have hopefully a little more information on how value impacts form. So getting your value placements correct is the key to capturing a three-dimensional object. 14. Red Sphere & Cube: Alright, this cover another ball and cube here, but this Thomas a red ball. So we have a, two different colours we have to contend with. And we're going to discuss some reflected light. Same thing, softening cast shadows, timing using layers and then a little recap here, the end. So let's get started. I will use my same 4B pencil there to put the layout drawing in time using a standard tripod hold on the pencil, but still trying to get some fairly light layout lines. So there you go. Got the shadow now we're ready to roll. Now, I will do a swatch test. It's always good to test your colors, discipline to understand whereby what HW, HW, Excuse me, I will use for my darkest red. I will add some water to that. And to get that kinda middle value. And then maybe one more for those lovely pinks and that should do it. And not really trying to match the red ball exactly. I just want to get the idea. The goal of this lesson is to understand all the techniques we've talked about working wet into wet, understanding how water is a conduit for the painting dealing with gravity and so on. I did add a little bit of magenta or I'm sorry, ultramarine blue to that red two for my shadow. So I'll use that shadow for the red ball. And here's just a simple grayscale I will use. For the Q. I'm going to use water and pre wet the sphere. Again, if it's too wet, you're going to lose control. You can see the red ball has a little highlight right in there. So I'm going to remove the majority of that water and I will do that again. And depending on how wet your paper is, how much water you use will determine how much this watercolor moves and invades that space. So whenever I paint around it, I tried to you leave maybe a little more space than I think I need. I tend to come up short most of the time. So I looked at my tendencies. You may come up your tendencies may be a little different, but again, we have to allow for that water to diffuse and move the pigment. And so now I will go in with a slightly darker color in there and start to paint some of the main shadows around that highlight. We still have the bounce light effect. So if we squint down on the ball and you can see it's just a little, you know, area there where the light will come up and hit the bottom of that red ball. And then also you, we're still dealing with the core shadow. So when we squint down, we can see where that light disappears and the shadow begins on that's going to be that core shadow area. And that's going to be the darkest. I'm the haven't put that on the sphere yet. Now I'm going to use my greys for my shadow. And I know those reds are gonna bleed into it, which was great. Anytime you have two objects near each other and they're different hues, they're going to, you're going to have color that bleeds into the next object. So if you look at the shadow of the red ball on top of the white cube, you can see a little bit of that read. And on top of that q. So the red is reflecting into the white. Now, I'm not trying to get it perfect. I just need to know before I began and acknowledged that. Ok. Well, there is read in the shadow, there's a red ball, there's a white object there. The ball is sitting on top. So therefore, I can almost guarantee there's going to be some bread in that shadow. So that's kinda how light works as how color works. So anytime again you have two objects like that that are touching each other, I'm look for that reflected light. It may not be a big deal, honestly, that's not anything that I incorporate in my artwork. I don't really allow for reflected light. But for this demo I thought would be good to just acknowledge it, that it exists. And again, you know, I'm trying to use this workout as a way to do things that ordinarily do either soloists, not only for you, but it's for me too. So there's my Swatch where I'm using my core shadow a little bit. Just a clean brush there, little bit of water on it. And I'll just move that pigment around just a little bit again, I'm not using harsh strokes here is very light pressure into the surface and that way it doesn't disturb. That watched too much. I didn't really mention it in the introduction, but we're still trying to obey the not too many passes. Anytime you do that, it's going to certainly do things that you probably don't want it to do. So less is best. Now where the ball contacts the top of the cube, there is a little bit of a hard shadow there, so I'll just allow for that. And this is dry, this is a 100% dry. And so I can go back into that just a little bit and allow that and put that shadow Lynn. And then here I'm adding a layer to the backside of that cube, which is slightly darker. Now, I don't know what happened there, but a little bit of a mistake there, forgot to paint the cache shadow. There have been good to have that cash shadow painted with that first layer by hey, no big deal, I can still go back in now and paint that cash shadow. But again, if I were on top of my game here, I would have put that in before I allowed that drive to dry. Now, look where the cube meets the surface, the table surface. Look how dark it is right there. So what I'm doing now, I'm actually going back into the white on white studied. I'm also dawn my cube study now adding a little bit of a dark line there. If it diffuses a little bit, that's fine. If you really look at that, shadow is fairly soft anyway, but typically where one, where the objects will make contact with a surface like that, you'll get a hard shadow, especially on the psi that's in full shadow. So anyway, that's that I'll soften that shadow and we'll have a look at the demo. So there you can see it, a little bit of that. You see that red of the ball kinda bouncing into the surface of the cube. So we'll look at the first demo I did. And now we've got the second demo. But notice how we still have that little bit of reflection on the ball there. So I was able to get that even though I was working wet into wet and there you go. So value and form demo to so using two Hughes, We talked about that reflected light. So the red bouncing into the white softening cast shadows, which I did okay, there I didn't really be my shadow greatness demos, so I apologize for that. Timing is important as always, using layers. So you saw me add the shadow on the backside of that cube. So allow that first layer to dry. And I came back and stacked a layer over top of that. And then hopefully, what you've learned is that value is very important again, to capturing form. Getting those value placements correct, or at least somewhat correctly placed is key. If you're off a shader to that's okay. But the main thing we have to acknowledge there's that value is important for capturing form in a three-dimensional feel for our subjects. 15. Value & Color Challenge: There are many challenging things about art, but Understanding Value and color is one of them. So basically how well do you see color and value mu see color key, you see the actual value of the color. So if you were to grayscale it, what value would that be? If you can get your values right? Believe me, painting becomes a lot easier. We will talk a lot more about value as we move forward. But in this lesson and we're going to do a test, we will start with a grayscale chart. And we will test and one hue at a time, whichever colors you use on your palate. And the goal is we want to match the grayscale values. And this will tell you or reveal how well you see the value of a color. And at the end, I will show you how well I did. So we will take my test. I'm going to show you right now and I will grayscale it. So that will reveal how well I understand value and color. Now if you remember, we did these simple sphere in cube demos. I started with a grayscale. So the black and white version at the top, we're going to use a similar Grayscale for this exercise. So I will start with a piece of 11 by 15 paper and I will add my gray scale. Now I'm not pre mixing my graze, I am using neutral tint and it has a fairly cool bias to it. So slightly blue. If you do not have a gray, you can just simply premix it using the technique I showed you earlier in this co