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

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44 Lessons (6h 5m)
    • 1. Introduction

    • 2. Welcome

    • 3. Materials & Setup

    • 4. Transparency

    • 5. Transparency With Three Hues

    • 6. Water & Gravity Fusion

    • 7. Water & Hues

    • 8. Hue Transitions

    • 9. Stroke Speed

    • 10. Silverware

    • 11. Silverware Continued

    • 12. Abstract Squares

    • 13. Sphere & Cube

    • 14. Red Sphere & Cube

    • 15. Value & Color Challenge

    • 16. Random Painting

    • 17. Easy Mountain Project

    • 18. Easy Tree Project

    • 19. Easy Landscape Project

    • 20. Introduction To Intermediate Strategies

    • 21. Light On Form

    • 22. Light On Form Continued

    • 23. Chairs With Some Watercolor Magic

    • 24. Chairs With Watercolor Magic Continued

    • 25. Chair With Watercolor Magic Final

    • 26. Red Barn

    • 27. Barn Demo Continued

    • 28. Barn Demo Golden Hour

    • 29. Drawing With Brush

    • 30. Blend Drawing With Painting

    • 31. Blend Drawing With Painting Continued

    • 32. Going Bananas

    • 33. Melons

    • 34. Exploit Drawing

    • 35. Exploit Drawing Continued

    • 36. Random Landscape Painting

    • 37. Projects Introduction

    • 38. Metal Pots Project

    • 39. Slotted Spoons Project

    • 40. Three Scoops, Please

    • 41. Lipstick And Perfume

    • 42. Tea Cup

    • 43. Tea Cups Continued

    • 44. Closing Thoughts

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About This Class


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.

Meet Your Teacher

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Robert Joyner

Making Art Fun


Hi, I'm Robert Joyner.

I'm a full time paint-slinger from Goochland, Virginia specializing in watercolor, acrylic & mixed media paintings. Best known for my signature loose brushwork and carefree approach to creating abstract style artwork.

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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 course. And that was mixing your three primaries. So blue, red, and yellow. And that should give you a decent grave. He wanted to be cooler or warmer. You can always add blue or red accordingly. So once I get my grayscale n And I want to be pretty particular about it. I want to make sure that the grayscale gives me at least six values. So from dark to light on the right-hand side. Once I had that down, I'll go ahead and draw some columns. And what I will do is take one color at a time. So you can see my palette there. I've got 12345678 colors. And I'm going to start with my cat, orange, sorry, that is not in the picture here. I wanted to bring it in a little bit closer so you could see the swatches versus the mixing a mixing it the same way we've talked about before. So I started with a very, very weak mixture, so lots of water. And then as I move left towards a darker values, simply just cleaning my brush and adding a little more pigment. To the mixture. And again, what I'm trying to do is look at the value scale, the gray and white or I'm sorry, the grayscale. And I'm trying to mix an orange that would be that would match the grey above it. And we'll see now, I determined that the orange wouldn't get dark. As dark as the swatch on the left. Some Hughes just simply don't go that dark. So that was my thinking. So I left out a swatch for that end. So I'm not mixing colors and I can mix orange or red with another color and get a darker value. What I'm trying to do is just work more with pure color for now. And then that'll give me a good idea where my weak areas are. Typically people will either see blue or red incorrectly. And when we get to the end of this video, we'll see if that holds true. For me. You can see on this red swatch them door now this is pyre role red. I started with the dark value. So I went far left as I thought I could go and work my way to lighter values. So you don't always have to start with the light value. You can simply start with the dark and work backwards by encouraged you to mix it up. So maybe start one at the light value and work dark. And then on the next we'll maybe try starting dark and then heading light. And that way you don't get into a rut and you're constantly kinda bouncing back and forth between these. This is Alizarin crimson. Alizarin crimson is a very, very dark color. And I'm going to see if straight out of the tube there will be as dark as that neutral tint straight out of the tube. So I felt like that color I could get a little bit darker than the pyrrole red. Now I'm dealing with cadmium yellow light or lemon. And I will start with the second swatch there. And that's going to be about as dark as I think I can go. Again, am I correct? I don't know. We'll see and I'll get my light swatch in there. And then maybe lift a little bit of that there. And then and let's see. Well, yep. I just went with the two swatches. So now I've got three more colors, or actually four more colors. And this is my new game bows. So for those of you that don't have new game bows, and he can just use yellow ochre. Yellow ochre is very similar or you can use a little bit of red into your yellow. So yellow ochre is just a yellow with a little bit of red in it. Now I started with the darkest value that I thought I could go. So that's pretty much out of the tube with a little bit of water. And now I'm working towards my lighter values. So those are my yellows. And now we can move into a brown Well which will be burnt sienna. So making a few adjustments there. With this one, I will start with my lighter value. And you can see that shifts a yellow, burnt sienna is really yellow with quite a bit of red in it. That's all it is. So it's just a warmer yellow. And obviously you can think of it as a brown too. So starting pale obviously and now working towards my darker values, That's not quite dark enough. So you'll see me at a little bit of pigment to that. So that's okay. If you don't think he quite nailed it, add a little more pigment or add a little more water or whatever you have to do to match your values. So constantly when I'm doing as I'm looking back up at that greyscale and I'm trying to look at my colors and say, yep, I think that's about, you know, this value and so on. So it's a very, very interesting challenge, again, I think, to see grayscale and to say, okay, well that's a light value or that's a dark value. That's pretty easy for us to do. But once you start adding color to the mix, then it becomes more challenging. And you'll find, when you get to your, your swatches, you grayscale at you desaturate it. You will probably find some flaws in your color theory and how well you see the value of color. You may find a pattern where you see darker values better than lighter values or the opposite. You may find that your reds are throwing you off like you're consistently to too light or too dark when you're reds and blues, maybe your yellows are too dark, so you'll, you'll see those patterns reveal itself. And then we get to painting an actual piece of art on this is going to come in handy because value is very, very important for the artist. And, and really, I'm probably one of the most important thing is right up there with good drawing skills and just understanding your medium, which has a lot of what we have covered to this point, that the characteristics of watercolor painting, understanding what the medium does well and how to use it to your advantage and how to control it to some degree. And then of course, when to let it do its own thing. And that's, that's the beauty of watercolor, is that, you know, you have to kind of balance the two. You have to know that you're going to be able to control it a little bit. But oftentimes it's going to have a mind of its own and you really kinda have to let it do its thing. Once, once you start dealing with wet and wet washes and certain conditions, as we've talked about so far. Alright, so finishing up my cobalt blue. So the blue above that was ultra marine. And I'll just kinda make an adjustment. So there it is on, there's my swatches and now let's look at them side-by-side. So what you're looking at there is the color version I did on the right, the one you just saw me do. And then on the left-hand side is the same exact one, but I took it and I desaturated it. So that's going to remove all the color and showed me how well I see values. So if we start at the top, remember I had orange, red and then Alizarin crimson. So as I look at those top three rows, my reds, I can tell my light values are probably a little bit too dark. Mid tones aren't too bad. And then the dark tones are probably a little bit too light. So that's just something I need to work on. And I look at my yellows. So I had cad, yellow lemon, and then I had my yellow ochre or my new game bows. I think than light was good. The second thing swatch was okay. It looks like cad yellow lemon is just not going to be able to get dark enough to match that second swatch. But all in all, not too bad on the yellows. My burnt sienna swatches actually looked pretty good. I was happy with what I did. Perhaps the first swatch, the lightest value could have been a little bit lighter, but not, not too shabby a thought the ultramarine blue turned out really well. I was happy with that. And I kind of like the cobalt blue. I think with a cobalt blue, I probably could have pushed that to the darkest value and had been Ok. So I probably could have gotten maybe one more after that. But anyway, there is your value and color test. Again, the characteristics of watercolor painting. Starting with a gray scale chart, testing one hue at a time. The goal is to match the grayscale values and it will reveal how well you see color values. So good luck and have fun. 16. Random Painting: Welcome to the lesson and this one I will do some random painting. This is a great exercise to do. It really just helps you gel with the characteristics of water color. So the goal here is to do three small studies. I will demonstrate how to scratch into the wet surface. So a technique we haven't really looked at yet, we will explore in many ways and just become more familiar with watercolor and how it responds in certain conditions. This will help you gain experience, as I mentioned, and will look at thin and thick paint and then a conclusion at the end of this video. So I'll start out just by adding three random kind of shapes for my studies. This is a half sheets, so it's roughly, I think 11 by 7.5, something like that. So i'm working fairly small. So I'll start with a little bit of orange. And again, this is random painting. I'm not trying to paint anything literal. Just want to fill these three shapes with some random color, some random marks. And the purpose of this is, you know, especially if you're new to watercolor painting, or even if you've been painting what our color for awhile. And you find yourself just being a real rigid and not being able to let watercolor do its thing. And this is a good way to do it. So you just basically fill each shape, whether, you know, random strokes and colors. And you can let everything mingle. And in that way, when you get to a painting, you get to where you're trying to do something more refined. You're not surprised you not in shock. By the way, watercolor behaves. And you really have to get over the fear of watercolor. And it's really when you accept the medium for what it's, what it does good and when it does naturally, is that's the point where you kinda start to embrace it. And you say, OK, well, clearly we can control a little bit of watercolor shore, but there's a lot of it, especially this wet into wet sort of I'm technique which is you're going to do a lot of these sort of washes, were there no one color touches, the other. Things are wet and they're going to mingle. But for the most part, it's not really a medium to be controlled 100%, if you wanted to do that, you will get into oils, acrylics, mediums that don't work and had the same characteristic as watercolor. So again, when I'm doing these strokes, I'm putting strokes down in different directions. I'm leaving a little bit of the sparkle of the paper. So if you're not sure what I'm talking about. And that's the white of the paper. So cold press paper has a texture to it. And when you run your brush across a even, you know, I mean, if you do a really, really slow like we did before, when we did the speed, lessen the brush speed. If you do a super slow, then yeah, it's going to fill all the cracks, but if you start to put it a little bit of speed behind it, being maybe you're just aware of the wire, the paper you start too. Leave some of that texture in the paper. It gives the, the painting a little bit of a sparkle. And once that white is gone, you can't get it back. And that's another one of the challenges of watercolor painting, is understanding how to deal with white. So some subjects may have white objects in the composition or design. So you have to understand where's that coming from. We don't have there's a Chinese whitewater color, but for the most part, we don't really use white in this particular medium, but there is white and the paper. So there has to be some planning for that in advance. And planning is something we're going to talk about quite a bit at once we get past this beginner module. So again, this is just working with very thick paint now. So I've got my sword brush basically just dip right into the yellow. And so basically you can think of this yellow is rather tube and just dropped it into some of the red dots that were on the page here working with some cobalt blue and, you know, a bled into wet. So does kind of letting those colors mingled on Google and thicker now. So I'm putting thicker paint over thin paint, adding a few marks, but at the same time trying to adhere to what we've talked about, which is, hey, don't, don't try to go into too much, don't make too many passes. And I'm trying to let the bulk of that wash do its thing. And I'm kinda just glom back and filling with some of the white area, adding a little thin line, adding some thick paint into it and kind of letting it dissolve and run a little bit. I'm, so, these, these sort of exercises are so valuable. I remember when I was learning watercolor. I guess. Not trying to be weird here, but I mean, we're always learning the medium. You never really get to know it so well that you had the luxury of taking things for granted. I mean, it's a challenging medium is all. It will always be challenging and will always give you and do things that you didn't expect. And how you deal with it is important. So if you go any, you try to correct it too much and you try to force, force it to do something that You just simply have to have, then that's when you think the medium will start to become even more challenging for you, is really the good watercolour artists know how to deal with mistakes and they know how to deal with those accidents, I should say. And say, okay, well, if it wants to do that, then, you know, let, let it do it and then I'm going to go with it. I'll I'll put a tree there or I'll put a a car there, I'll put a person there and I'll go with it and I'm not going to try to mess with it. So I mean, that's, that's really, you know, the key. Now re here. What you saw me do with Scratch into the paint, as long as the paint is still wet, you can scratch into it to reveal the white of the paper. Here I'm using an exact, exact DO knife, but you can use your fingernail. You can use like a Swiss Army knife. Now you can see where I'm scratching now and to the top part of that painting, that was still very, very wet. So if it's too wet, then what's going to happen is the paint is going to back run into the scratch. And that's going to just leave kinda this little scar on the artwork, which is fine. You may like, like that for texture or could be a twig or a branch or something. But you'll, you'll find that if you start to experiment with different witnesses of the paper and paint, you'll find that right point where you can kinda scratch into it and it'll hold the line a little bit. It'll hold the white of the paper just enough. It's going to backfill a little bit because it's still wet. But it's not going to do it as much as if it were to wet. So that's, you know, this is just all about random market-making, not China do anything acute or finished here. This is just getting real familiar with the medium and letting it do its thing. And again, this is familiarity. This will help you when you get to a painting and you won't be startled by what the medium is going to do on its own. So that's pretty much do it for this demo. This have a look at the finished artwork if you want to call it that. But you can see all the different techniques and different things on the page. So in this lesson we talked about just don't want some random painting studies. How to scratch into a wet surface. You're just explore and become more familiar with the medium. The more you can do this without putting a lot of pressure on yourself to create finished art, especially if you're new, the better off you are. This will again give you a lot of experience. We talked a little bit about that thin and thick paint. Remember thin paints going to dilute more and water were thick paint isn't going to dissolve as much. Okay, so that's that I will see you guys in the next series of lessons, which will be some easy landscape demos. 17. Easy Mountain Project: All right, welcome to the landscape demo. This will help you test your basic skill. So all the things we've covered so far is a simple landscape. We will use the characteristics of water color to the best of our ability. We're going to keep it loose and keep a transparent. We're going to try to reveal and save some of those white sparkles of the paper. We will use wet and wet and of course, wet and dry layering. And a conclusion at the end of this video, the paper is roughly ten by eight inches, will use mime two or four B and is draw out my edges and then begin right in with the sky. So Dr. surface, so I haven't pre wet the paper at all. Notice my did that first mark on it revealed a lot of white sparkle of the paper because of that stroke speed. And the fact that it's a 140 pound cold press, cold press paper is willing to do that. Now just using water to dissolve it in other places. And it's running a little bit of cad, yellow, lemon and a little bit of the Joker mixed in with it or the new game bows. And just let it do its thing. Alright, so that's the key. Now we want to put it down and let her rest. And here I'll start to work with the land. I'm leaving a little bit of a gap there where the land will meet the sky, but not much. Some places are bleeding into each other. But I've got a little bit of that white paper there as well. Here I'll add a little gradations. I'm adding a little bit of a darker blue to that sky and let her run. So notice I'm not trying to control the water control where everything bleeds. And that's the key, that's the things that we've talked about many, many times so far. Here I'm using a hairdryer and I just want to dry it off. Notice how as I dry it, how much lighter the painting becomes. It's going to lose about 20% of the value in that first wash. So that's where I'm left with this as a 100% dry. So now I'm stacking layers. I'm putting one layer over top of the other. We did that first when we started to learn about transparency. We did the three colors. We did the yellow, the red, and then the blue. And we stack those circles on top of each other. That was basically painting wet over dry and then using layer stacking them one over the other. Once you, as I'm painting this sort of magenta, purple is going over the yellow and the yellow is going to give that purple glow. Had I put the purple n2, the yellow when it was already wet. Obviously the lines would be much looser because they will be bleeding into the sky. And he wouldn't get the same sort of glowing effect. So that's kind of, again, the, the beauty of the medium that makes, I think watercolor so charming is that, that lovely glow, that sort of sketchy look. You can really get to this when you're working quick, you know, kinda confidently and just letting things do it's then the medium do its work for you. But you can see in but three or four minutes time on this painting came together really quick. But really the medium did allow the work for me. Here I'm mixing up a little bit thicker paint, so adding some thicker whew a to the mountain area just in a few places. And that said So just a few dots here in there just to give it some sort of detail. And it's just not so flat and boring as all I'm after. And now we will have a look at it here. I took this image which is coming up. If I can ever finish drawing my little square around the piece, I'd like that and natural light so you can get a feel for it. So, but it's simple, but I think it really shows off a lot of what the medium is intended to do. And that's to be transparent, loose, and they had a carefree look about it. So in this demo, we did a simple landscape using the characteristics that we've worked on so hard and diligently to this point, I was able to keep it loose and transparent. A kept the white sparkle of the paper here and there. And we did some wet and dry layer, so allowing the painting to dry 100%. And then we came in layer over top of that, and then I will do it. So I included a template for this demo. So if you want to do something similar, you can feel free to use the template or you can just simply look at my artwork and just draw a few lines and it should be pretty quick and easy to do. So, good luck with this one, and I'll see you guys in the next landscape demo. 18. Easy Tree Project: Alright, welcome to landscape demo two. Again, we are testing your basic skills, your basic knowledge of using the watercolor characteristics. And this one we will look at a simple gradient is Scott wash, a layered foreground, a layered middle grounds, a dark vertical and how to lift pigment and then a conclusion at the end. So you can see the setup there. That paper is the same size, so working fairly small there. And I've got my pointed around, so that's still my silver pointed round. I am going to pre wet the paper. And when I pre wet it, I'm going to leave a few places of the white of the paper. And you can see I've got places in the sky. I got a little area on them. And the Middleground and a lab kind of a triangle, and a little bit in the foreground as well. And now I'm using some cobalt blue and starting a little bit darker at the top of the sky. And now just using the water to dilute it. And again, the water is going to fuse these colors together. So we've got a bunch of different shades, tones of blue, even though it was just one color, is going to dry and then have a nice sort of a random look to it. And it's going to be graded, meaning it's going to be darker in some areas and kinda lighter and others, I use a little bit of ochre and a touch of the cad yellow lemon for the foreground. And now I'm tilting the paper and various directions to allow that wash to run. Um, so it doesn't run all downhill. So you can tip your page sometimes and let the water run the opposite way Course you can tip it to the side as well. And that'll keep the wash from looking too predictable. So there you go. So look at that simple sky. The water and gravity did everything. I just splashed down some whew. I made the OK controlled how dark it was at the top, I wanted a little bit darker and let the medium do the rest of the lifting forming. So this is just a little bit of the magenta and purple is I have my palate mixing that with some blues and yellows and just kinda graying that out a little bit. And again, this is a 100% dry now. So everything I do is working over the dry first layer. And we're getting that transparent quality. So we're getting the globe of the yellow from underneath coming through the layer I just put down. Alright, so now using a little bit of ultramarine blue, a little bit of Alizarin crimson. I will mix up a little bit of purple silica, eggplant, purple, and up. A little more blue is probably a little bit you read. And I'm going to do a little swatch. I have a piece of scrap paper there just below my art and that helps me test the color before I put it down, I put a little bit of yellow. When do that in a little more water just to thin it out a little bit. So now using the side of my brush to point on my brush. And he's kind of dragging it along the surface with a little bit of pressure and that's going to reveal some of that white sparkle. And now because a lot of this area I'm working on now, that top left hand side is dry. I'm going to negative space, paint. A feeling of some grass maybe coming up and meeting these sort of purple bushes. And negative space painting is a great painting technique. We're going to have a whole section on negative space painting because I think it's really, really important for your art skills as a painting technique that I think you'll like in you can use and in many different ways are. So now a little bit of neutral ten, a little bit of burnt sienna. I'm going to borrow some of the purple as well and come up with a nice dark here. So I'm looking for a good dark vertical. And it's going to be a tree and just dragging that brush along the surface and there I just did a quick flick to reveal that kinda rough texture of the paper. And I'm sorry, my hand is in the way, but I'm using the tip of my brush this the point to draw out some branches and just makes sure that branches aren't all in one direction and make sure they're different sizes. Some long, some short, some going outside way, some gone sideways and down, some one more angle upwards. Just so you have good variety. There's really no image I'm using here. This is just sort of random painting in terms of a subject in this kind of playing with the medium and just coming up with some simple demos and ideas that you can do fairly easily with your watercolor. That'll help you test a lot of the skills, you know, put those things to work for you. And a real painting versus just kinda dawn swatches and studies and different things like that. And now using my paper towel, I'm going to lift some of that paint. So you can just sort of precedent to the paint and then just lift it. And then that's going to remove some of the wet paint. And now I've got my sword brush, which is more for details. And all those flattering there and adding just a few small stems and twigs to the tree. So here, again, using the sword, the tip of it just to indicate some grass, that little bit of texture moving down into the foreground. And just really connecting the foreground into the middle ground is all that's really dawn to something. Pull your eye up into the painting. My camera is certainly blowing that out. In terms of the light. I'm not sure what's going on there, but I'll look into it. But now I want maybe one more small tree back off here just to give it some distance. So having a large trunk there in the foreground, contrasting against a lighter and smaller tree in the background gives that illusion of distance. So that's just kind of a little tricky can do with painting window. We'll talk a little bit about composition, things like that to in this class. But for the most part, shifts again, a quick easy demo. I'm going to lift a little bit of that. They're a little bit too dark. But again, another quick, easy landscape demo you can do and test your basic skills. So there's a finished piece, nice and dry. And hopefully you can see some of that loose quality, some of those carefree strokes and kinda not trying to control the medium a whole lot. And let it, let, letting the gravity, water in the colors do the work for you. So again, a simple gradient or wash in the sky. A layered foreground is the stacking one, wet layer over a dry same thing for the Middleground. A nice strong vertical. Just to ask them interests to the composition. Showed you quickly how to lift pigment, which I've done a few times and so far in this course. So you should be pretty familiar with it, slows the pain as well. You can easily do that. And then I'll wrap it up so we got a one more easy landscape to go, and I'll see you in the demo next. 19. Easy Landscape Project: Alright, welcome to easy landscape demo number three again, tests than those basic skills will create another simple landscape Using the same characteristics we've talked about. Keeping it loose and transparent. Timings, important, wet and dry layers and all that fun stuff. So same size paper and nothing has changed. So these are fairly small demos using my silver pointed round, starting with a little bit of cobol Blue and a little bit of neutral tint. Mix them with that and I'll go right into the sky. And that is dry so I haven't pre wet the paper, so I'm working wet into dry paper here. And this kinda quickly dragging that brush along the surface. Again China not to go back into it too much. Letting those that color become, remain as fresh as possible is the key. Like I've mentioned before, you start really gone into this a lot and it's going to start to flatten out and become real boring looking and we don't, we don't want that. We want to keep those colors fresh, keep the strokes fresh, and so on. So again, basically the same colors, but just a little bit darker here. And just adding a little feeling of some sort of a hill or something in the distance. So that's a fairly easy beginning. I will take a paper towel and lift a little bit of that water and pigment that was running towards the the Hill. So I want to keep that separate out my little bit of dark and the top part of the sky. But I didn't wanted to mingle too much with those grayish blue hills up put in. And again, those hills are real soft, sort of feathery, wispy edges because I let that run into the wet the sky. I did that on purpose because I wanted that to be fairly weak. Edge, edge quality wise. Now I've got a pale grayish green and letting that mingle is sort of spread across the foreground. Again to sort of using my brush and different ways. So kinda running it right to left, flicking it up. Just so I get a, a, a variety of brushstrokes. So not everything is worked horizontally. Some strokes or horizontal other strokes are sort of flipped up at an angle and so on. So that's going to help kinda give the brush that are a little bit of character to it versus being real stiffened flat. Also put a little bit of burnt sienna into that mixture right at the end. And just kinda splashed across the foreground, obviously using a hairdryer here, too dry it off. You notice that when I'm using the hairdryer, it's nice and smooth across the paper. I'm not China. Wiggle it back and forth too fast. Sometimes that will push the water in the wash. And ways that you may not like too much. Alright, again, as you know, everything dry, notice the white sparkle of the paper. I left a lot of that in there. So the horizon, the mountain lion didn't exactly meet the foreground and Middleground perfectly a left, some little sparkles and little gaps in there that white, I'm here is just a sort of a brownish red gray. But it's a much darker value than I've used so far. But notice those brushstrokes are nice and loose. I didn't try to control that wasn't painting individual trees are bushes. I had an idea what I wanted. And a sort of attacked it in a way that I wanted to be spontaneous and free looking. And here I'm mixing up a thicker mixture, so burnt sienna, OH, marine neutral tint, perhaps even a touch of Alizarin crimson in there. And I've got my pulling it around. And I'm going to do that quick flick, the brushstroke speed, AP, And notice that sparkle of the paper on the tree trunks. We, so we've got that texture exposed, which is good. And now I'm going to switch to my, my sword brush and do some small branches. But notice that like almost calligraphic sort of loose strokes happening there that's working and back and forth, having fun with it. And then there's an alarm that kinda goes off and says allright, all right. That that that's enough. Let, let it go. We don't want to do too much. So you just kinda have to have that alarm clock that goes off. And that reminds you that, you know, you don't wanna go too far with it in there, just splashing a little bit of water into the wash. And that water, as you know, is going to fuse things. It's going to dissolve and dilute paint. And it's going to do some work for, so it's going to bring a little bit of variation to that heavy wash. So again, working with some CNRS, some grays here, and adding a little more body and hue value a to this foreground. Some of those strokes are still wet so we're getting a little bit of bleeding. And I'll just use that same sort of color for the foliage in those trees and the Middleground. And notice how quick I put that in. I wasn't paint individual leaves or trees. I just sort of ran that across and kinda did almost all of them. And you at the same time. And that's the key, you know, that's, that's when, you know, you're in that zone. For watercolor where you're not trying to control everything, you just getting the gist of it down. And you know, the medium is gonna do a lot of work for you. It's going to come back in there few things together and start to make it look a little more interesting. So a little bit thicker paint here towards the end. So just sort of a few more low sticks and branches and some nice loose brushwork there. And that should pretty much do it for that part. Now I'll go back into the foreground here. Once a few verticals, maybe poking up here, maybe some grass or little sticks for something there. And that pathway. So here my brush, it's fairly dry but has little bit of pigment on it, but I'm working those quick strokes across the paper just to indicate some foliage on the big tree. And now mixing up a yellow green and adding a little bit of a green foliage to that tree as well. Just so we have some brown leaves sort of in the middle ground and the trees on the right. And this, the trees that are closer to us here is, has, you know, a little bit of that green leaf to it. So we didn't get some variety in there. Here. I'm using my exact DO night to scratch into that wet paint. So you're familiar with that? Maybe a few twigs and the middle ground as well. So pretty, pretty easy. Again, just kinda relying on the medium that do a lot of the work for me. Hopefully we look at this piece. You, you know, it's not about trying to create an award-winning landscape. That's going to be the next show. It's about really embracing and harnessing the beauty of watercolor and letting things mix and mingle and bleed and gravity and all those wonderful things. Okay? So again, this will be the last landscape and this section, hopefully you are excited about giving this a shot. I had the template which is included in the resources, so feel free to check it out or you can use my painting as a template as well. So that I'll do it for this one. I'll see you guys in the next lesson. 20. Introduction To Intermediate Strategies: All right, well congratulations on finishing the beginner module. Those are just some of the watercolor techniques and characteristics that we have covered so far. Law very important for us to at least get those things on the table. There are a lot more basics we could talk about and perhaps we will as we move forward. But for now, we're going to simply build upon those ideas. So we're not going to forget or abandon anything that we have learned and we're going to add to it, and we're going to use those ideas and other subjects. And of course we're going to talk a lot more about how we can manipulate and strengthen some of those techniques as well. So in this next section, the intermediate strategies, we're going to begin with light on form. So basically trying to understand how we can maximize our subjects and make them look more three-dimensional. They're going to be very, very simple objects at first, and then we'll make them a little more complex as we dive a little bit deeper. So without any further ado, let's get started with those intermediate strategies. I look forward to sharing this stuff with you. Thanks. 21. Light On Form: Form and edges. These are intermediate watercolor paintings strategies. In this lesson, we'll talk about, well, we will paint a simple object. We will apply the hard and soft edges we have discussed. We will look at value placements. I'll, we will also look at light on form in order to create a three-dimensional object, which we've have looked at also in the cube and the sphere. We will apply fusion and gravity, which you are familiar with, and transparent layers which your familiar with as well. And then at the end of the lesson we'll have a little conclusion. And then it will be your turn to give these ideas shot. So as a reminder, I will show you the lesson we had, the very first one about transparency. So in our little kidney shape up there, we applied one layer, very thin layer and stack them. And then the values got darker and darker. We did a similar object with the circles using dry layers one over the other it to create different hues. And then we did gravity where these colors blend, merge and mingle. And then we had an important lesson here about water. Depending on how wet the paper is, will determine how much the watercolor disperses. And of course, how thick your penis, so thicker paint doesn't disperse as much. You also remember the sphere and the cube, how we looked at a value. And this was sort of an introduction to understanding value placement is important. We have to not only use the watercolor techniques that are characteristic of the medium, well, you also have to get our value placements and our hierarchy correct in order to create form. So there's a shape which is a square, and then there's a cube, which is a form. So a form has multiple sides. It's not a flat shape. So I've got a simple object here which is a chair. Pick this chair because it has both hard and soft edges. So I will apply a very light value for the cushions. So the back cushion and then the seat cushion will be a lighter value obviously than the legs. But also I'm going to use a different technique to create form. So even though we're looking at this as a chair, we want to break it down into shapes. So the back of the chair is basically a square or a rectangle. In the seat of a chair is also square or rectangle. In this case, we can't see the entire seat because in perspective. But we can certainly create form by applying value correctly. So I've got my basic shape there for the cushions. And at this point, if I tried to work directly into that really wet paint, then what's going to happen is it's going to disperse too quickly. So just as a so you have a guide here. My light source will be coming from the top right hand side. So the psi of the cushions, both the up the back and the seat itself are going to be in shadow. But I don't want that shadow. To have a hard edge like the legs. The legs are very square there, very geometric. So what I have to do is get my timing right. And if I work into that too soon, then what's going to happen is that that shadow's going to bleed too much into the rest of the cushion and a sock when it really give it that good form. So again, we're going to talk about timing because we have to time that wetness of the paper in order to control how much that paint flows. And we don't need a really thick layer. We don't need it to be too dark. So we're going to use a very thin transparent layer in order to get our Hughes somewhat correct. Now in the meantime, I've used a some burnt sienna and yellow ochre to paint the legs. Now I'll just use the idea of a one stroke N1 hue. Because I know as we did in the little kidney shaped action that I can layer over top of that. So once that dries, I can come back with another thin layer, probably the same exact mixture and create a darker side. Now I'm going to do a little sketch here in the upper right-hand corner. And this reminds you that spheres have blended values. So when you have a round object, the transition from light to shadow is very soft. Unlike something that is square or has no as geometric man-made, usually, those things are hard edges and for the most part, so where one side is hitting light and the other side is in shadow, you're going to have a very distinct hard edge. Always going to be very noticeable when you compare it to a round object that tends to have a much softer transition. So this chair is a good example of having to apply to painting styles to get or techniques to get what the look we're after. Now at this point, the cushion and the back of the chair have started to dry. So I can consider starting to mix up a hue that's going to be just dark enough to indicate that shadow. So I'll apply that. And then, you know the drill now we're going to leave it alone. And then remember that the less passes we have, the better. So I've got my cushions and, and it's not a perfect drawing or anything. And that's okay. It's still looks like a chair and that's all we're after. Now here's the deal. The front of that seat cushion of them pointing to you right there. It's going to be lighter than the left-hand side that's in the shadow. And that's because it's closer to the light source. So plains are important. So you had the shadow plane of the seat cushion and then the upright back of the seat cushion that are in shadow. Those values are roughly the same, but the shadow I'm putting in now on the front should be a little bit lighter. Because again, that's going to get a little more light because of the angle is closer to the light source and it's catching a little more light than the left-hand side of that cushion. So here I'm just going to remove a little bit of that bleeding by one of those legs, that Brown of the legs to bleed into those cushions a little bit just so we have that a watery a watercolor fusion going on in the end. So now I'm taking a hair dryer to it. Now I'm getting the legs nice and dry. So now that the legs are dry, I can mix up a darker value which will be burnt sienna, a little bit of ultra Marina touch of neutral ten. And I'm doing a little swatch there, the top just to check my colors. And on the left-hand side of those legs, I'm going to create a darker shadow. And that's willing to give the illusion of that light source hitting the legs. Now that back leg, it looks like it has two light sources on up. I'm not going to worry about it. I'm going to keep the light source coming from one direction just so at the end, I've got a chair. And that looks like it's and it's getting one light source. And we can see the form of it. We can see the the squareness of the legs and we can feel the softness of those cushions because they have much softer edges. So this is a really good exercise to capture how hard or soft something is. And also it's a good exercise on understanding and learning when and how to apply these basic watercolor characteristics and techniques. So again, here is the image so that was taken in natural light. So you get a good feel for the colors and hopefully you get something good out of this lesson. And I look forward to, of course, seeing what you guys do as well. So again, for this one we did a simple object. We apply both hard and soft edges accordingly. It was very important to you understand value placements. And then we looked at light on form. So we want to use light and shadow to create form. We used our fusion and gravity. We also use transparent layer, so we stacked one thin layer over another, and that's gonna do it. So again, I hope you enjoyed it and I'll see you guys in the next one. 22. Light On Form Continued: All right, and this lesson will again continue this form and edges, we will paint another simple object, a chair. We're going to use all the techniques and ideas we used in the previous chair lesson. But this time we're going to add a little bit of texture easily. We will again look at value hierarchy and then we'll look at this idea of cross contour lines in order to add form to our subject. So let's get started here. It's a white chair, so not much to it . I'll just mix up a very, very pale gray. And I'll start with just getting the basic frame, the white bamboo. I'm not sure if that's fake or artificial, but doesn't really matter. And near the goal with this one is to really utilize that bamboo. And we're dealing with a. This kind of white subject that has a darker background or darker back to the chair, but for the most part. The. The chair itself, the frame is very pale. So when we're dealing with something like this, where you're not going to get a tremendous range in value, we can easily use some other tricks if they're there to help us show the shape and form of something. So really just, you know, again, a very pale gray to lay in the legs, and once I get that. Then we can start to just give that sense of as much light and shadow as we can. I'm going to use the same light source as before. I think these chairs are, as I mentioned before, sort of have two lights on them. I'm going to put my light source coming from the top right hand side, as I did before, and. I will keep it that way for this one, and that's going to help me kind of imagine the light and shadow and again, I'm not trying to draw a perfect chair. This is really more about capturing the form and then capturing that the characteristics of, you know, the techniques we've talked about with watercolor painting. Now everything is pretty dry. I have added a little touch of darker gray to the left hand side of those around forms because these legs and pretty much all the frame or is round, I got a little bit too much dark and some of that color spread towards the front of that. Those shapes, so I'm having to lift some of that hue with just a dry brush or it's not dry is damp. And but it doesn't have any pigment on it, very important if you have pigment on, it obviously is going to bleed into the color. It was good to use that just to, again, lift some of it. So you get that subtle feeling of the left hand side is a little bit darker than the right hand side. Now, that cushion needs to be a little bit drier, so the cushion is soft, so I don't want a hard edge and there's really aren't any hard edges at all in this chair. So once you mix up a very, very pale, bluish gray and but the cushion is still slightly wet. OK, whenever you're working with watercolor, this still slightly wet like this, you had to be very careful not to have too much water. On your brush, if you have a lot of water on your brush, it's going to bleed into that wet paint, so that paper is going to sponge and extract all that moisture off your brush and the next thing you know is going to be running into the into your cushion. Now, also, notice, I use the wet, damp brush just to soften those edges, but I didn't press hard into the surface and I kept a very light pressure. So the chair is a light values and we look at the frame of the chair and the cushion. It's a light value, which I this just indicated. In that swatch, let's just forget the color for a second of the backing, sort of sort of like a weave. Going on with the backing and that value is about here, so it's about a mid range grade. So I want to make sure whenever I mix up my brown, which I'm using, yellow ochre, burnt sienna, a touch of blue, I want to make sure that it's matches that sort of values. I don't want that brown to be too pale. It will be easy to go in with a very pale yellow and it ends up being almost the same value as the chair itself. So again, this is all kind of like value hierarchy trying to find your lights and darks. And in this case, again, that backing. It's going to be the darkest, so I will add all of that so I know there's a lot of texture, there's a lot of detail happening on that chair, but I'm going to simplify it so I will add my first layer of brown. And I have to be patient, so I have to be patient to to take it to the next step and the next step is going to be to add that sort of texture to it. Now, I forgot to add these little crossbars, so I'm going to go back in now with that pale gray and just kind of lightly indicate those. And I'll get a little bit darker shadow here, Hue, to indicate the, you know, underneath the shadow and then the left hand side. But again, I'm going to rely on across contour to help me indicate form on those legs. So we'll do that in just a moment. So here I'm just adding a cast shadow, this a very subtle blue, so a little bit of cerulean, a little bit of my grays and yellows. And we'll just kind of get this accentuate that color a little bit there, and I totally forgot the shadow on the little brace there on the right, but that's all right. This is more about understanding light on form, trying to capture hard and soft edges. And in this case, we're going to do a little bit of texture. So taking a hairdryer to the back of that chair. Now, I'm not going to get it fully dry, but I would say it's about 90 percent dry and I will use a darker value. So I want something darker than what I had before. And I'm going to also switch to my sword brush because it has a really fine tip on it. So you wouldn't want to use a smaller brush in this case, I want to add a feeling of those those textures and that weaving going on in that chair . But I'm not going to, you know, look, study the chair and count how many holes are. I'm just going to look at it and then just give the impression that. Is there some only trying to indicate texture? I'm not trying to paint it exactly there, I'm using a paper towel just to lift some of those marks. So I will take a hairdryer to it now and get it nice and dry. And then we will start to look at cross contours, so known as the chair. I have an enlarged there, but it has these joints where the bamboo sections meet each other and they're not straight lines or actually curves that sort of go around the legs, the braces and the back of that chair. So those are good. We can easily add a feeling of those and that's going to help represent the roundness of the leg. So we have a little shadow there going on, kind of a soft shadow in most places. But any time you can sort of use these cross contours as a way to indicate form, there are a lot of fun to add into your subject. In this case. I'll add all of them easily. Just add one or two and people will know, OK, that's probably a bamboo chair or, you know, oh, that definitely shows the sort of curve and the roundness of that object. I'm going to add a little more shadow to the left hand side and underneath some of these the frame. And now I've got my liner brush because it can create some fine lines. I'm going to work and notice how I create those curves. Kind of a smiley face almost, but it curves a little bit more than that around the legs in a few places. But notice how that immediately. Tells the viewer that there's something around there that that object has a rawness to it and is no longer even an option to to be square. So these the left hand side of that back, those tubes are kind of running up and then this tube is running away from us. But notice how the direction I create those curves. So, again, cross contours are a great way to indicate form and a little bit of subtle detail on your subject. So any time is there, use a little bit of it and see how that helps your painting. So that's that. And let's have a look at the finished art. So hopefully you can see those heart, those kind of soft edges and the roundness of the legs and how those cross contours help. You know, the backing of the chair has that feeling of texture like some sort of basket weave going on there. And that's that. So in this lesson, again, it was a simple object using all the wonderful techniques we've talked about, we added a little bit of texture easily and we looked at a value hierarchy and then we also looked at cross contour lines. So that's that. Hope you enjoyed the demo. And then the next lesson, we're going to start getting a little bit looser and a little bit sketchy with these chairs and having a little bit more fun, slinging our brush and seeing what we can come up with. 23. Chairs With Some Watercolor Magic: Welcome to the lesson again, we're talking about form and edges. So light on form. And again, these are intermediate strategies. We will pay another simple object which will be a chair. We will learn how to draw with a brush. We will use calligraphic strokes. We will also combine that with fast strokes, which we have talked about earlier. And the goal here is to paint with a little more freedom, you know, to really harness the qualities of watercolor. That'll be loose. Let it mingle that. It kinda do its own thing. Okay? So I will begin with my sword brush. So the sword brush is more conducive to drawing, has a little bit finer point. And that's what I want to go with. I want to kinda use my brush to draw. Now I could have easily grab the pencil to lay in the chair, but sometimes it's good to learn how to draw with a brush. And because again, this one has a really fine point to it, it works really well. And drawing with the brush is a good way to add these sort of calligraphic strokes to your artwork. Now you don't have to draw every single edge. So you can see I'm just going around drawing a few details, but, you know, I'm not trying to capture every single and looking cranny on the chair. I'm just, I'm pretending, you know, I had this sort of pencil in my hand. And I'm trying to just understand the perspective of the chair. Now notice the strokes I just put on there. They were the dry stroke like I just showed you. So that's creating a fast stroke down the surface of the paper. And again, this only works if you have hot press or a cold press paper that does not work on hot press. Now I'll go in and add these little crossbars that support the structure of the chair. And, and you can see, you know, this has a nice loose feeling. So by just changing your mentality of like, Okay, I'm gonna paint this chair. And just thinking in terms of more of just drawing it. Then you get this really sort of carefree look about it and all the colors. As I'm mixing the paints, I'm using different shades. You can see I've got the yellows and they're bleeding into the greys. And here I'm looking at kind of his webbing, this sort of detail work on the backing of the chair. By simplified it about as simplified and two diagonal lines, vertical and horizontals. And now I'll go in and touch some of the joints and some of those aren't even plays correctly. But the goal here is to kinda get the essence of the chair. But more importantly, to try to embrace the medium. Painting with China work with those wet and wet techniques, allow the colors lead used the texture of the paper by using those fast strokes. And of course I'm mixing in a little bit of that drawing. Now I'm going back in and adding a little bit of, I don't want to dry too flat sum adding just a few dark hues to where I feel like there's shadows would be. And here I'll just add something there to for the cushion. And again, he came to see it's a cushion. I mean, no one would know that there was a cushion on that chair, but it doesn't really matter at the end of it all, I'm painting a chair and I'm practicing these sort of calligraphic strokes. And more importantly, like I mentioned before. Now this is about harnessing the lovely characteristics of watercolor and letting, letting the medium do its thing. So we're, we're not trying to control it as much as we did in the previous chair demonstrations. So here is a piece. The image was taken a natural light so you get a better feel for the colors. But you can see nice and loose and very watercolor ish. Okay, so in this lesson we painted another simple object, introduced the idea of drawing with a brush. And I also use that you can think about calligraphy and sort of making these long, wispy lines across the page. We use some fast strokes who to accentuate the texture of the paper. And the goal here was to paint with more freedom. And that is really all about letting watercolor, gravity fusion, all that wonderful stuff we learned in the first section of this course, do its thing. 24. Chairs With Watercolor Magic Continued: Welcome to the lesson. Form an edges for intermediate strategies. Again, pinning a simple objects so that we can really understand and harness this idea of light and shadow. But then we need to infuse that lovely watercolor feel that the medium has to offer. We're going to begin the painting with the dribbling water on the paper. I will allow water and gravity to mix hues as we've discussed before. And we're going to loosely capture light and shadow. We're going to look at the Lost and Found edges. And then a conclusion at the end, which we will take a look at the artwork and hopefully wrap it up and give you a nice solid lesson here. First thing we didn't notice is I'm going to dip my brush and water and I'm going to dribble the water on the paper or Salam source splashing it. And Hidden Myths, I'm not covering every single square inch with water. So some areas are dry, some areas are wet. And that's going to create this lovely hard and soft edge field to the piece. So there's my inspiration. I pick this monks, I really like the lines of the fabric and I think they kinda give a really good shape of the sheet, the form of the cushion, I should say. And now I'm going to use a little bit of yellow ochre and burnt sienna. Touch a blue, and draw with my brush as we've talked about before. Some thinking, more along the lines of drawing here and not painting. So this looking at the wood forms, how they're coming down into the legs. And then the, you know, the seat comes out. And then we had this sort of perspective going on. So that front corner as closest to us are, the back corner of the front is further away. So that's gonna give us our basic perspective. And notice though the bleeding going on. So some areas of those strokes are bleeding into the wet surface. Other areas are holding a little bit firmer. So that's going to give you this lovely. Again, Lost and Found are hard and soft edge quality from your brushstrokes. And it's just a really good interesting or an interesting way I should say, to approach your painting. So sometimes if you're struggling with, you know, just painting loose in general, you know, now that water is going to make that pigment move around the page. If you have some areas that are hard or dry. And of course that pigment isn't going to move as much. So it's a nice way to do it because you get these sort of random results. And I think as we've talked about before, watercolor is conducive to random painting. I mean, yeah, you can get in there and pain tight and do these sort of illustrations. Table artwork. But you know, I think the medium is best used. And I think represented through these sort of Lost and Found edges, hard and soft edges. And this kind of drift, the carefree look. And that's to me. And if he can use watercolor that way it takes some skill, it takes an experience and you know, some knowledge. But I think it's really worth the investment of time to learn it this way. When you start to tighten up, then you're going to lose out on all of these lovely watercolor characteristics. So there I'm dropping a little bit of blue into those warm washes. And that's going to cool it off a little bit. Here I've got a little bit of a mix of blue and red. So some ultramarine, a little touch of my read in there and painting some shadows on the right-hand side of the chair. And notice that's all wet. So of course that patient's going to bleed a little bit into the yellow I painted before. I've got a little bit of this kinda gray leftover paint on the brush. And I think that's going to work well for just for adding a kind of a pale value cushion. And here I'm going to use a little bit of my CAD, read this, a very, very weak key mixture there and just drop it into the, the, the, the study. And I don't really care where it landed. It could it landed on the leg. It could have landed on the cushion like I did and it just so happened to land or some dry parts of the paper. They also landed on some areas that were wet. And then of course that water is going to start to eat into it and spread it around my boards at an angle. So thing, gravity's gonna do its thing as well by disallowed how those colors really start to mesh and mingle. Here I'm paying the shadow, but notice how it went right over that leg on the lower right-hand side and it almost dissolved that leg. So you're getting this sort of Lost and Found action going on with the back right corner of the leg of a chair or now I'm gonna take a hair dryer to it and dry it off. And that's going to put the control back and my and my hands. Okay. Because now that everything is dry, I've got control. But let's look at those quality look how everything is bleeding and running into each other and we're getting watermarks and all these hard and soft edges. I mean, that to me is watercolor painting at his best. And I think that's again, how I like to teach it, how I like to paint with it. Whether, whether or not you like that loose ideas up to you. I mean, you may prefer to kinda rein it in a little bit and paying a little bit tighter and that's fine. But the goal of this lesson was to just teach you how you can use a slightly different technique and then combine it with this idea of lightened form. Here notice how these lines, these kinda pinch striping as it goes over the chair, that cushion of the chair, the locale it gives it volume. I mean, look how that sort of AHRQ and curve of that lines make it feel like a nice soft cushion. It gives it that padding look. I'm sorry for all the moving here. I'm not sure what happened, but, you know, it's just, I thought was an interesting piece to share with you. Again, you can't really copy anything here, but you can use the technique. And that's what I want you to try the most is to think about that technique and dribble the paper so you get these hard and soft edges there on this drawing with my brush I using very, very light value there to indicate corners and different parts of the chair that were lost. But there you go. There is the finished piece. So again, image taken a natural light. Hopefully you can really see that loose watercolor feel and worked a lot wet and wet. We dribbled water on the paper, so we had some wet, some dry. We allowed water and gravity to mix the hues and do its thing, which we've talked about quite a bit. The idea was to loosely capture light and shadow, so form. And then of course, had those lovely Lost and Found edges when we're done. So I hope you enjoyed it. I look forward to seeing what you do with this idea. Thanks for watching. 25. Chair With Watercolor Magic Final: All right, welcome to the demo, promise this is the last chair we're going to paint. So this is number five. We're going to again look at how to loosen up the idea and a painting, a simple object, then really embrace some of these expressive watercolor techniques. So we'll going to splash some. Hughes will use a variegated wash which we've used before. I just haven't mentioned it. Some fast stroke, some hidden myths on the details. And then a conclusion at the end, which we will look at the finished artwork as we always do. And then give you a little recap on what we learned. So I'm starting with a little bit of neutral tent here and a little bit of yellow ochre, some mixing that a very thin tea like mixture. So watercolour is thin to thick, so we start sort of pale and we kind of go a little bit darker as we get into the painting. So a little bit of civilian blue there. And with that, so just sort of looking for a neutral gray slightly on the warm side. And it's going to change it up a little bit. So I sort of painted that in the wrong spot on the paper. Sama have the bump that over to the right. So I just sort of wipe that off and I'll get right back to business here. So starting with the sort of a warmish, neutral here, warm gray and painting the back braces of the chair. And now I've got the yellow ochre. I use for the seat. From there, I'm just going to use a wet brush and whatever is on the brush and just drag that down into the legs. And now I'm putting some pigment there and I'll just clean up that little bleed. And I've got a wet leg there, so I'll put a little bit of a shadow on it. Despise splashing a little bit in there. So, you know, just sort of, you know, building on the confidence I've had so far. So I've used, you know, quite a few of these techniques so far I'm getting familiar with the chair, and again, I'm very comfortable with it. So what we're gonna do now is splashed Cerulean Blue around. I don't care where it lands, so long as it's on the paper and anywhere else and a little bit of red there. And this drag that into the wash while it's wet. And I know those colors don't belong there. So if you look at the inspiration image on the upper right-hand corner, obviously, none of these colors really exists. But, you know, if you've tried to match color, you're going to lose that battle every time. And this sort of technique, the approach I'm using is more, you know, letting the colors, you know, having more freedom with it. So letting a little bit of that cool blue mix with the yellows and the seat area letting those reds and blues mixin with some of the lighter washes I have for the base of the chair, the back and the legs. Now let you just sort of see those colors for a while. See how random those colors, you know, our, our mingling and how they're just sort of doing their own thing. I'm not trying to force it or control it. Near the goal here is to. No really harnessed that those exercises we did early on where we did the abstract squares and the water and the colors is run back and forth to a, to a degree. And, and just try to bring that feeling, that freedom into an actual subject. And that's hard to do. But I think, you know, you have to kinda go there first, like we did in the beginning of this course, this class. And now we're going to see how our brain will let us get away with it when we actually paint a subject. So using a dryer here, I'm just sort of getting the majority of the moisture off the paper. So I want this to be nice and dry before I start adding the next layer. And I mentioned in the preview of the lesson that we're painting their light to dark. So I'm going to start to come back with some darker hues now, I'm also going to start to capture this some of the details. Now I'm not trying to paint the chairs, it is obviously, but I want to capture or maybe some of the woodwork and some of the interesting edges that are on it. And I'm not going to get all of it. I just want bits and pieces. If I get bits and pieces, then the viewer can fill in the blanks and what I have left out or didn't really capture. So I've got this leg on the far left here and it's got like a little bit of a reflection on it. So I'll I'll paint that leg and then run it up into the top, which has this sorted detail to it. This nice woodwork. Almost sort of a farmhouse sort of style chair. And, and now I've got a nice dark color to work with or the black of the chair. And I'm not going to go to black and I'm gonna kinda still work in those mid tones. You can see I'm using water to lift some of these sort of reflections that are on the chair. There's a little bit of a shine to that paint. And here I'm moving a little bit thicker now I'm gonna go with some ochre, some crimson, ultramarine blue, some neutral tint, and come up with something watery but more pigment than water. And I want a little more control over what's going on. So I want to drop some darker colors. End to this. We want to capture some of the details of the chair and, but also just a few more darks where I'll start to see him. Now, just some water and I'll drag that water right into that dark pigment. And over time, that's going to slowly bleed into that side of the chair. And maybe at the end of it, I'll have a sort of a feeling of a reflection hit in that the back of the chair, the wood, but if not, and that's okay, that's still have something kind of interesting to look at. Here. I'll just go back and shape. Some of those features in the back of the chair, again, not a China, get fussy with everything, but this a little bit here and there. A nice quick stroke there. So look at that, how it left some of the color underneath. So those lovely washes I used. And now I'll sort of do the same thing on the front. And it's nice to see those yellows and Alizarin crimson, There's pinks and blues and different things underneath that dark. Wash them, put in for the base of the chair. And there's a little reflection here and there on these wood. The wood, and I'll just leave a little bit and I'm just using a web brush and kind of blending that in a little bit. So all techniques you're familiar with. And the thing I'm doing here is just sort of looking at the chair for inspiration, a few details. Law really just trying to harness the magic of watercolor and let some of these washes and gravity and things like that sort of do its thing for me. And let that be the art, let that be the thing. And not trying to impress people with an award winning depiction of the subject. So I'm not trying to create an illustration that made the company may want to showcase all the lovely detail of the chair. And this is more about using the chair as a way to show off the medium. And that's what it's all about. You know, something, you know, artists, you know, we all have to sort of pick our own lane when we start to paint and deciding We're gonna go, you know, loose, tight. Where, where are we going to go with our style? But for this one obviously I picked a Lane that was nice and free. But again, my thought with watercolor is that's squares best at his best. And you can see now to splashing some blues in there and into the shadow and just trying to let the color live and all that stuff. Just let it really be spontaneous, energetic, but not ever painted in a quick loose, random, fresh, ok, so we don't want to push it too far. And that's, that's a hard thing to do, but as something over time you can get used to. So there it is, there's a finished piece. So again, if you were to put the inspiration image, Masada, it would certainly not look exactly like it. But as far as a nice loose watercolor sketch of a chair, I think it works really well. So painting a simple object, we splash some hues. So just sort of slinging the hues on the paper and let it mingle and through the wet paint and water, we use that sort of very good wash so you can see the blues and the yellows, the seat. So all that's a variegated. So Assad does one Hugh, you got multiple Hughes in those washes. You can even see some of those pinks and breads and things like that. Living inside that chair. We use some fast strokes, some hidden myths on some of the details. And in the end, we get a nice loose expressive piece of art. So that's it. I'll see you guys and the next one. 26. Red Barn: Alright, we painted simple object, let's call this one a more complex objects. So we're dealing with things with more details, more angles, and so on. But the goal here is to use some button dry layers which you're already familiar with, and some variegated washes which we've tapped into, but we'll elaborate on a little bit more in this lesson. I'm avoid details in the shadows, suggest other details. And then a conclusion at the end, which of course you will have a good pic of the demo. And then I'll probably just go over a few things you wrap up lesson as I always do. Alright, so I've got some pre-mixed colors here, some reds and graze on the palette. I'm gonna use a touch, an orange, a little bit of cad Red Light, a little bit of Alizarin crimson. So kinda throwing the kitchen sink worth of reds at this, but very thin. So if you remember our lesson where we worked with using water and Hughes and basically starting with a very dark, opaque almost layer and then adding water until we get to an almost a transparent layer. So we're, we're dealing with a very, very thin mixture there of that red and now Didot that for the roof. So we have a gray roof on this thing, metal roof and again, very thin, very weak. And letting these things mix and mingle a little bit is fine. So adding a little gray into the red, little red into the gray is going to be fun and it's gonna create a little bit of harmony and you're going to avoid stiff edges. So if you remember our lovely exercise we did with the abstract squares where we're letting those colors run and mingle a little bit. That's kinda over after, but with a little more control. Now I'm going to take a hair dryer to it here and try to, speaking of control, get it back in my corner. So as you know, in watercolor as wet, you're going to have less control. But once it dries, you regain that control. So now you a better chance in creating some hard edges, right? Because you know, when you're painting wet into wet, you're not gonna get hot hard edges. I mean, that's more conducive to painting, kinda round and smooth objects, blending and so on. But when we're painting all over dry pain or a dry wash like I'm gonna do now. Everything's nice and dry. We're going to have the option to create some nice hard edges. So going back into my cat red light and a little bit of ultramarine blue and should get a decent color to work with here. And I'm not trying to color match the image at all. That's not what I do, but I am paying attention to value. Value is how we're going to create form as how we're going to suggest shadows is how we're going to suggest a three-dimensional object. So if you start getting into color matching, you're going to lose the battle. Number one because you're not, you're not ever going to be able to match nature. But if you think more about value and just get it in the ballpark, you'll be fun. So they're on this flashing a little bit of water into that wash. And here I'm just adding some nice rich blues into it and just sort of blending that around, but not too much. Remember, I just kinda hit it and got out of it. Maybe a little bit darker under the IV there of that roof. And that should be pretty close to getting us where we need to be. So again, very good wash is when you have more than one color. And it and so I felt just using the one red shadow color would have been a little bit too boring and I think it would have dried flat. So by adding a touch of that blue and even dropping a little bit of water into it, It's going to give me some variation. So it's an intake that dark wash and make it more interesting. And the dark color I put under the IV on the right, that's the side that's in the light that was more of a, of an ultramarine blue, but it's going to blend and bleed into that red shadow. But that again is a variegated wash, so you're getting more than just one color and the wash. And anytime you do that, again, you're going to have a more exciting wash. So you knock. And if you don't do it, I should say. There are a lot of times the washes becomes rural flattened dole. So I'm gonna dry eyes and there's no contrast in it. There's no warm, there's no cool or anything. So one of the watch to be this sort of warmish blue colour or red color. But I also wanted to break that up a little bit with a cool. So while that still wet but not completely saturated, I added some rich kind of Greys Blues there to suggest a door and maybe a little window or something up top where they toss out the bales of hay and all that stuff. Oh, I'll just suggest a little bit of grass and there. And I did the same thing in the background. But notice how letting everything mingle and mix and I'm not trying to control everything. I'm just paying attention to values as all I'm Dawn and paying attention to some of the things I've learned over time like, no, don't paint too many details and the shadows. So when things are in shadow, you're better off to leave it quiet. So don't try to obsess and put every single window, every single little nuance in shadows. Because then it's going to ruin the light is going to become very distracting. When really things are in shadow. You just sort of want to turn them down and let them kinda be quiet in the image. Okay, so now I'm using my sword brush and I'm dropping a little bit darker pigments into the Windows. I'm using it to draw some lines. So I'm pretending there sort of this sort of texture on the roof. And that also helps with the contour. It helps with the shape of the roof. But notice how I'm rule loose with the colors. I don't I don't ever like put something down and just leave it flat. A China drop, a little bit of dark hue and a little bit of warm, a little bit of cool. And just mix it up a little bit. You know, that's what, again, that's how you create these happy accidents and that's how you get that nice loose care for. You feel that we like so much about what our color. So very quick demo. But the same time, I was paying close attention to values and trying to manipulate the medium and allow it to do what it does best. And that's to create lovely fusion and a nice transparent quality. So hopefully we look at this image right here. You can see a lot of the things we've talked about soul so far. Plus we have nice three-dimensional shape. Now we're turning this sort of cube idea into a rectangle. Now we're turning it into a barn. But we're still maintaining that, that free spirit of watercolor and encouraging it and allowing it to do its own thing. We're not trying to control every little bit when you really look at this piece. Here, the magic and the feeling and any sort of quality you may like is probably in the accidents and how the medium is allowed to do its thing. And it's not controlled on every single square inch of the paper. So in this lesson we used a more complex subject or object. We did wet and dry, so we did a layer and then or wash and then we allow it to dry. We came back over it to get those nice crisp, hard edges that we need for those sort of man-made square objects. We talked a little bit more about a variegated wash. Remember to avoid too many details and the shadows. And we only suggested details everywhere else. Okay, so hopefully you enjoyed the lesson and I will see you in the next one. 27. Barn Demo Continued: Now we will look at form an edges and when to use a barn as our mu's as well. And then we're going to look at the values. So planning values as important, we'll look at layered Bosch's avoiding to me details and the shadows again. And then a little wrap up at the end of this video. So I'll start with my pointed round. And the goal here is to just pre wet the paper. But again, I'm not going to do too much water is just a matter of getting a wet. So that can get a nice kind of a loose wash. This. Now, when we look at value, we, we, we, we looked at our subject. We always want to take a moment to look evalue structure. So where's our lightness late? Where's the darkest dark words like coming from? And that's going to help us plan our watercolor. So what are color as we've talked about before? It's probably best use painting light to dark. Now, I don't want to put rules down, but I'm in this demo as hell, I'm going to focus on it. I wanted to thank okay. The barns relatively one color, so this sort of cool yellow or red rather. And whenever I'm thinking about approaching this subject and painting it, I'm like, okay, well, how come I can't just use a whole wash of the sort of faded red on the entire barn. And that can come back over that and add darker values accordingly. So dislike We are very, very first exercise where we did the kinda kidneys shape or we this layer very thin mixtures whenever top of each other to get a darker value. That's the same idea. So we kinda get back to those very simple basics. Understanding how layer's work and how we can stack one layer over another dry layer. And it's going to give us a darker value. So that's what I'm after here. So you can see I've put down a very thin mixture of Alizarin crimson. So a watered-down Alizarin crimson is going to give you a very cool red. So kind of a pinkish color. So that's why I opted to go with I'm going to make the bar and a little bit smaller now so we don't have to, so doesn't obscure or hide the palette. I'm going to add a little bit of yellow ochre into that now. And I'm going to paint the entire barn. And I can do that because I know the front of that barn is in shadow. So taking that wash all the way through the barn is fine. And I can start to dry that off. And as I do, I'm going to premix a little bit of yellow ochre and a little bit of burnt sienna. And once you water that down quite a bit because I roof is a very light value as well. So I don't want that roof to come across too dark. So whenever I'm painting, I may look at my subject. In this case I am four colors, so maybe some guidance on the Hughes I should use. But I'm letting value Connor run the show so I don't want to I guess what I'm alluding to is I don't once you try to color match so much as I want to make sure I get the right value in place. Because if the values are off is simply going to ruin the light. Now, once you take a little bit of Alizarin crimson and some ultramarine blue and mix up a kind of a pinkish magenta sort of color. And now and of course everything is dried shoes. I was using the hairdryer there. Too, dry everything off. And I'll kinda stacking layers. So I'm kinda gone back to more of a tight way of painting. Watercolors work what in a way you get that really lovely fusion and the random mixing and mingling of colors, somewhat random anyway. But when you start to stack layers like this, you know, things are going to be a little bit tighter because you're not gonna get as much of that. I know a good painting has a little bit of both. So it's going to have some wet in wet, it's going to have some wet over dry. And a painting needs a little bit of detail in there if you do everything but in wet sometimes it just comes across a little bit too loose and you can't really gets your edges and your shapes down as much. Now when I picked out that whew right there, I was had to keep in mind that water color is going to dry lighter. So we've talked about that before too. So it was important for me to do that. So I may come across a little bit strong at first, but you always have to consider things are going to dry a little bit lighter than then they go on. So again, taking my hair dryer to it now, I'm going to get it, get a dry. And then hopefully you can start to see how this simple, very basic painting concept of understanding values is the key to painting light on form. It's the key to making your subjects stand out. And no matter what style you painted and you always have to consider value hierarchy. So kind of take a moment and look at your lightest lights, your darkest darks kinda know where they're going to be and then plan it accordingly. And since I didn't go too dark on the front of that barn, I can come back now with a slightly darker color and just indicate a few details. Again, I'll normally like to put a lot of details and shadow. So I recommend no be, be very sparse with The amount of information you put in shadows because that will start to ruin your light and shadow. So he can start to see now that the barn is taking shape. So this getting, again the value right is important. But then also remember we were able to use that layering one mixture over another in this piece and we still end up with some transparency. So when you look at the the barn, that the shadow side, I mean, we still have plenty of transparency in that dark area. Took a brush right there, wet brush, a damp one, and remove some of that black, some of those kinda hard edges just so we didn't have all a bunch of hard edges and shadow. Just to sort of finish this off, I mix up a little bit agreeing. So spirulina in with a little bit of my caddy Yellow Pale. A touch-up. I ochre again bows. And I'm also going to make this one angle on the barn a little bit lighter because the the angle of the top of the barn, because there's two angles there, that's going to be more direct. And sun. So as almost as flat as the ground plane, the ground plane is going to be the light is value besides the sky. The sky is where your light sources. So unless you're dealing with a very cloudy day or some sort of atmospheric condition the sky can be is generally lighter. The lightest and value then the ground plane. And then your angle was so like the roof angle. And then your verticals. Verticals tend to be a little bit darker value as well, especially if they're in shadow. But we won't talk too much about that. This, this course really isn't about painting. I'm finished art so much as it is about kind of bouncing around between the techniques that watercolor characteristics, you know, painting a variety of subjects working on multiple topics. So you kinda get an all around education and experience with different things. So you had just painted a few trees back there, a little cash shadow. And there's the finished art. So hopefully you can understand a little bit more kind of getting back to those basics of stacking dry layer over dry layer. Keep in that transparency, making sure we don't go too dark, allowing for that watercolour paint to dry a little bit lighter in value. Then we're, then when we put it down about 15 to 20%. And again, just mineralizing the details and the shadows. And if you get them, you know, to hard to stuff, you can always do what I did, which was used my brush to lift some of those hard edges. So there you go. So a little bit about planning your values, the importance of it. Sometimes if things are too dark, you had to kind of scale them back a little bit and don't pay them quite as dark sometimes are too light and yet the pain and a little bit darker to make them work. But anyway, I hope you enjoyed this demo and I'll see you guys in the next month. 28. Barn Demo Golden Hour: All right, our last little barn here. So again, forms an edges light on form trying to capture a realistic idea on the page for, for light, understanding that, you know, some edges have to be hard, some can be soft and blended and so on. So we're going to work with a wet and dry layers again, we will kinda consider our values and then a little wrap-up at the end. Alright, so there is our barn. It is considered the golden hour. So rate as the sun is setting, or perhaps possibly in the morning, early morning as it just as breaking the horizon there. And this one to me about pick this image because I thought it was a little more challenging. So when you're dealing with these really heavy shadows because the sun is so low in the sky, you're not getting a lot of reflected light. So the front of that barn, this in shadow, looks very, very dark because of that. So when the sun is higher in the sky, that is kinda, the whole sky is illuminated. So even though something is in shadow, it's receiving kinda reflected or bounced light that's coming from the ground even though it's in shadow. Alright? And so just in terms of my technique, what I did is I kinda wet an area where I knew the barn would be. And whenever you wet things like that, pre wet it and you put pigment into it, it's going to dry even lighter. And that's because as dissolving into that water as opposed to loading your brush with pigment and just painting it on a dry piece of paper. So again, we pre wet the paper like this. It's going to dissolve it a little bit more. We talked about that and I'm whenever our very first series of lessons where we let the paper, we dropped painting in it and we watch it disperse into the water. So this is kinda know, getting back to knowing a little bit about those basics and then exploiting those ideas a little bit. And now I'm going to take a hairdryer here in just a second anyway. Once I draw my little rectangle around our piece, I'll dry it off. And you know, again, you're gonna get it quite a bit of a drop-off here, especially because I'm pretty wet the paper as I alluded to a minute ago. And and that's going to work to our advantage because right now we have all that Alizarin crimson, we have yellow ochre, a little bit of new gam bows. And that side that has light on the barn. And it almost reads too dark. But you can see as I'm driving at here is already starting to fade a little bit, quite a bit actually. So now that as Dr. I'm going to kind of draw a little swatch there, a square around it. And now we have to consider that shadow side. And this is where things get tricky. Because the roof is darker than the front of that barn. Okay. So we have to leave a little bit of wiggle room then the common mistake here is to go to dark on the front of the barn. And so when you do that, then you have nowhere else to go for the roof. Now I'm going to remove the image for a second just so we can focus on the mixing of the paint. So I'm using a little bit of ultramarine, a little Alizarin crimson, a little bit of burnt sienna. So it's good to have some test paper. And again, you have to consider that we're painting on a dry surface now. So all we're not no longer painting on the wet paper. So everything I do now will be on the dry surface of the paper. So I'll do a little cash shadow under the IV and then I'll go into the front of the barn. So again, I have whenever I picked out the color here and when as I was mixing, I had to keep in mind, there's going to be a drop-off, but I also have to keep in mind that we were going to have a very dark roof. That's going to be our darkest dark. Here. I'm just dropping in a little bit of Alizarin crimson, a little bit of blue, lifting it in a few places, then you kinda have to get in and get out, right. If we go around and we get to Fiji with it, and we're going to lose that lovely crisp watercolor field. Now, just for giggles here, I'll just connect the fence to the house here and make a little bit of a scene. I'm not really trying to paint a finished landscape here. And I'm just kinda adding a few details here and there because I loved the paint just like you guys to as hard to hard to stop Howard to stop right. And get a brush and loaded loaded brush in her hand and hairdryer and the other one and I'm going to town here. Don't know when to stop. So basically I do my wife would tell me, you know, it's your time's up here and help me with the kids and get some dinner go on or some that she's not like that she wrote relaxed. Anyway. So now I'm gonna dry it again. And we'll see a little drop off and value on the dark side of this barn. But the main thing you have to know here is that this is about leaving yourself wiggle room, okay? You gotta have enough wiggle room to add the, the really black roof. And that's on it. And that's what, you know, value hierarchy is all about, is about taking some time to look at your subject just to see where there's lightest lights and darkest darks are. And then he may have to make some decisions on okay, I need to scale that back or I need to scale that up in terms of value. So now just a little bit of ultramarine, a little bit of neutral tent. I even put a little bit of yellow ochre in there to sort of warm it up. And I'll always want to keep in mind, I don't want to get a pure black out when I go super thick, super opaque, if i can always maintain some transparency and my washes. That's fine. Sometimes I will use colors straight out of the tube. And when I do that is really more of an accent than it is a wash. So my washes, I'll, I like to keep a sense of transparency to it. Alright, so maybe a little bit hard to tell here because we have a little bit of a glare. But you'll see when this dries and I show you the image when I'm done, it's going to come across darker than the front of that barn. Promise. Alright, now, with that, still that dark there on my brush, I'll will use, considering this kinda bounce in that dark around a little bit in a few other areas. We've got a little detail of the barn there on top. Now to sort of suggest that I'm not going to get fussy with it. I don't think. And and now it has gone into some lighter values here. So I'll be called those mid tones. So you have your lightest values and then you have these kinda mid tones. The bulk of a painting is generally a midtone. The, a lot of the work we do is going to be in that midtone area. And you're going to have splashes of light, lightest lights, and you'll have splashes of your, of your super darks. But for the most part, your mid tones are where the bulk of the painting is. Alright, now just again, I can't help myself here. Just adding instance scribbles and tree branches, tree trunks. And, you know, again, I wasn't really plan on trying to do anything finished here, but I thought am I just do a few details just to just because it's fun to do. And but the main goal here was to focus on that hierarchy. And you know, the challenge there is understanding how watercolor dries and how thick is your pigment. And if you're dealing with super thick added to pigment, you're not gonna get much dropoff. But if you're diluting it with water and you're putting it down into a wet surface, there's always going to be that drop-off. So that's adding a few darker tones into the tree for branches and few though details there, little cash shadow from the fence and maybe a little barn door there and maybe a little roof on the other side, kinda Ekin out there. And little window for the top. So yeah, hopefully, I think you can see now to how that roof just reads shader to darker than the front of that barn. But I left a few gaps there and let the little bit of that original ochre color on the roof. I think it's good to do that. And our perspective is kind of off that roof. That route top roof line should have been angular downwards and I didn't quite get that right, but I'm a little bit rough around the edges. When it comes to that stuff. I don't really pay for perfection so much as I like to just end up with something that's funded. Look at out kinda like imperfections, but anyhow, that is kinda where we're at now. Little cast shadow on the bar in there, maybe another little tree back in behind the fence. And slowly, but surely coming together. And hopefully you're starting to understand a little bit more about your know, your value planning, just taking time to look at your subjects, which is key. Because if you can't, if you don't do that part right, then if you don't get your values right, then nothing else really matters. You can have the best flow in loose fusions and stuff going on. But when your values aren't there then allows homes that will ruin it just because it doesn't quite ring true to you in the viewer. So that's that. Let's have a look at the finished piece here. I'm just going to take a moment and I'm just going dry it off at this point and then we should be good to go. So here it is in all its glory. So nice and dry. Again, I take my images and natural light. Indoor lighting is going to give you a yellow tent. So hopefully this will give you a more accurate depiction of what we got. So again, painting a more complex subject, but removing allow those details. Working wet and dry, sometimes even wet into wet. Value planning people, that's where it's all about you. I have to always understand those lightest lights and darkest darks and plan accordingly. So that's that and I'll see you guys and the next one. 29. Drawing With Brush: Welcome to the lesson. We're going to explore some painting techniques, different ideas we can do to put paint on the paper. This section we'll be drawing with the brush. We will infuse watercolor characteristics all along the way. We will mix light and dark values. Avoid details. We're just trying to get the general idea down and then a lovely conclusion. Wrap it up at the end. Talk so that we hopefully get the most out of this lesson. Now you know, you can draw with a pencil, which I'm demonstrating there. But also we can draw with a brush. Some people just think a brush is for painting only, but it can be used similarly to a pencil. So I have my sword brush and then I also had this small point at around. So both of those are conducive to making good thin strokes, long strokes, which is what I'm going to demonstrate in this video. So whenever you're drawing with your paintbrush, it's probably best to have a thinned key or milk like mixture of paint. So if it's really thick and dry, you're not gonna get a very long line. So in this case I'm going to premix a few colors and there I've got my inspiration image, so I'm going to bounce around. So we've got some buildings, we've got some cars and so on. So there is, I believe it's a taxi towards the right-hand side. And I'm going to explore that 1 first. And you can see this image is grayed out. So I'm not focused on color here. And I'm only focus on, not focused on I'm thinking more arbitrary colors. And when I use a gray image, I think it helps me get away from the actual color of the subject. So even though these cars may be yellowish or yellow, orange, and real life, I'm thinking more arbitrary. So I've used some thin blues, some grayish blues, and purples as well. And notice that I'm keeping that idea of letting things mingle and mesh a little bit. So working wet into wet. Letting the color do its thing, not trying to control everything. So if I get a little bleeding or a little drip hearing there that made me was an accident. I'm not going to sweat it out. I'm going to let it be. So here you infusing a little bit of yellows and different things. So you want to find that drawing or just having the idea that you're drawing is very, very useful in painting, especially watercolors. Because you get to a certain point in a painting and you may have to add some details. You may want to do some line mark. And all that. So this, having the experience of using your brush as a tool for drawing is very useful. And honestly, painting is drawing. There. There really isn't much of a difference between the two of them. One is you have a brush and you're putting down color. The other, other one is you have a pencil and you're putting down some sort of gray. It could be a colored pencil and so on, but they're all the same. I mean, brushes come in very thick sizes and different shapes and all that stuff. And pencils tend to come with a point or maybe you're using vine charcoal that has a wider base to it. But in any case, here, the goal here is to just find some freedom with the idea of drawing with your brush. When you're, when you're doing this, you know, again, we know we're not trying to draw picture perfect. Drawing images of what our subject is. We're just trying to find freedom with using the brush so often that, you know, it's easy to get it super tight when you have a brushing her hand. But if you use it in this sort of a calligraphic kind of free to explore and roam around sort of way. Then it's just really good experience to have a kind of gets you thinking a little bit differently about your art. And again, this is a very important thing as you will see as we progress through this drawing with a brush section. How useful this will be when it comes to infusing it with the idea of painting blocks of color and shape and so on. So as you can see, very imperfect but very nice and that we're getting that watercolor effect. And that's what we're after. So here I will bounce around to the next one and I'm going to do the taxi and the left hand corner. And again, not putting down not trying to color the taxi itself. So I'm not adding any sort of blocks of color as she is more looking at it and then say, okay, if I had a pencil in my hand, how could I kinda scribble around and doodle and draw this thing? And so just trying to keep it nice and loose. So that's sort of the flow after anyway. And letting things run and mingle and, and all that stuff is a vital part of this exercise. Two cars are kinda interestingly, they can be a very challenging subject. But they're basically rectangles. Are these, I guess you could say rectangles that are kinda hovering above ground level and then the tires connect that rectangle to the ground. And so you have a shadow. You just had this sort of kinda shadow underneath the floating rectangle. If you can envision that or not. But that's how I kinda cesium. And then of course, the rectangle is chiseled out into angles and shapes that helped make the hood and the windshield and and so on. But so continuing that, so I'll add a little shadow there coming across. And again, I mean, for this stage in the game, that's all it needs to be. So again, just fine in that freedom with the brush to draw, giving my, my brain, my body a chance to absorb. You know, the idea of drawing with a brush. It's all part of it. So gone through those physical motions and then mentally training yourself that you can easily draw with a brush is important. Now I will look at the building and the back. Some sort of public building. Looks very important, doesn't it? So I'll start with just the top and then the steeple and then work my way down. And again, just sort of hit and miss on certain areas of the building. So I'm not trying to get completely absorbed with everything that's involved in the building. So just kind of looking at it, trying to get a few shapes down, trying to get a few details down, and then letting the rest kinda settle back a little bit. So, you know, even at this stage now trying to keep that random painting feeling gone. But this time this thinking more about kinda random drawing, kinda like sit around, sketch in and doodling versus trying to render a picture perfect drawings of things. So it's good. This is a really good way to get familiar with your brush. It's a good way to create thin lines, thick lines. On dry brushing lines where you get quicker strokes and you start to get a little bit of that paper texture showing through some lines like I'm putting in now. I'm using my other brush now. Actually, no, I'm sorry, that's still my sword brush. Medici's and the tip of that to create kind of really thin feather pencil like lines. And then of course, as I press in to the surface, it's going to spread the bristles out a little bit. So I'm going to end up with a much thicker lines. So really good. Exercise to do, we'll do this quite a bit on just to fill it out here on this plane around with one of the figures standing there. And again, not trying to pick a color or hue that should be there. I'm just randomly dipping my brush in the different areas of my palette and get some pain out. Alright, so moving along here and getting into it looks like the building again. So I'm going to go back to the building in the background there and play with that, some of those shapes and just takes a moment to observe the building and try to see things I wouldn't ordinarily see if I were just simply glancing at it or hey, it's a background so I don't need to really worry about it and just needs to have an interesting shape and I'll move on. But here I'm taking a little more time just to notice how things connect and fuse together. And and of course, his trying to keep it loose and playful with the execution. So, you know, when you're doing this to just take note. If you have weaknesses and perspective. If there are certain challenges with drawing figures, if you find there are certain things you're attracted to. Some maybe you'll do this. You're like, man, I really enjoyed working with the cars. Or maybe you want to draw the trees or the shrubs or the rectangular buildings in the background. So it's good to know as an artist. We have to, most of the time anyway, paint and gravitate towards the things that we find interesting. And in a landscape like this where you have figures, trees, buildings, cars, things of that nature. You may get ten people, ten different watercolour artists to paint it. And each one will feel differently about each part of that. So some may be more inclined to towards the architecture. Others may be more fascinated with their cars or maybe how the cars are connecting with the bushes and the trees. That's sort of good things to know because that's where you start to develop somewhat of a style. So you start to find out the things you're interested in painting. Just because you're interested at looking at something visually like, oh my gosh, that sunset or that mountain scape is just phenomenal. And it doesn't always translate into a good subject for you. So like if you take this idea and you start drawing fruit, you start drawing tea cups. You start drawing different things. Then he may find that, you know what? I enjoyed drawing tropical fruit, I mean, actually is something that for some reason when I paint it or draw it like this, I'm really gravitating towards that as a subject and as an artist on that creative level. And maybe you never really knew that something that would appeal to you. So you're sort of all the while making these connections that become very important as an artist to your work long-term. It's so easy to fall into that trap like, oh, that's a really cool image. I'm going to paint it. And then you kinda lose your way for a variety of reasons. But sometimes you lose your wages because there's not enough excitement there. There's nothing really that you can sink your teeth in twos and artists that you're excited about. And you're like now in any like, Well what's going on? I mean, I enjoy looking at the image, but for some reason it just not connecting them with me on our level. So I don't know, just kind of something to keep in mind there. Alright, so I have a look at the piece here. So again, drawing with the brush, this is your kinda breaking the ice with this idea. And you can see nothing's really colored n It's all outlines. And hopefully it's going to do us some good and use some good as we move forward. And okay, so we were drawing with a brush and fuse the watercolor characteristics and we're looking for transparency, bleeding, dry brush, all those wonderful things that we have talked about when mixing light and dark values. So you don't want everything to water down or lightened value. You don't want everything to dark, so it just kind of mix and match. It doesn't have to be darker, light in any specific area, just whatever you feel like putting down. Again, avoid too many details. Don't get too caught up in things that don't matter. Just give the general idea down, like you're sketching and doodling and move on. So there it is. I'll see you guys in the next one. We're going to add to this wonderful idea of drawing with the brush. 30. Blend Drawing With Painting: Welcome to the lesson. We're going to explore a painting techniques again. Again, these are various ideas. We're starting out with drawing with a brush. So here we're going to blend the idea of drawing with the brush, with the idea of painting. So we're going to block in some color, again, minimal details using thick and thin paint and then the wrap-up at the end. So mixing up some paint here, I'll go with my yellow, a little bit of touch-up orange and red into that and get something substantial T but maybe a little bit thicker. So I'll put down a splash and then I'll put in a little punch a read. And even though you can't see my palette here because I'm bringing in the image. You know, the goal here is to think about like a variegated wash. So we're not, we don't want it to drive flat like we've talked about this. Good to have, you know, a little warm, a little cool. And you know, just whatever you do. Don't don't just use one hue, so don't mix up a batch of orange. You know, if you want to do yellow, orange taxi and just use that same one so you can off to the side, you can put a little more red in it. Off to the side. You could put a little more yellow when it over there. So you have a wide range of similar hues that would work for the taxi. And that way when the wash is done, it's interesting to look at versus something that is going to come across. Again, we can sort of timid look in and we wanted to kinda have that carefree feeling of water color that we worked so hard to get there. So we really, we really worked that idea and that last section where we worked with chairs and we painted the barns and stuff like that where we hopefully took a very simple subject and kinda let water color be the focal point. Instead of letting the chair be it. It's how we paint it that becomes interesting. And that's when our, I think takes on a much more. What's the word I'm looking for here, I think is when it becomes a little more engaging, when, when the style and the way something is done as, as interesting or more interesting than the subject itself. That's when you feel like, you know, you know, you're on the right track. Now let me kinda back pedal here. I saw where I'm working now. Remember, I'll put that down and now, and I'll let it dry a little bit. So allowing it to dry a little bit is going to reduce the amount of bleeding now it's still really wet. So when you see the image here at the end of the video, you're going to notice that there is plenty of bleeding and fusion going on. If I did that a little bit too early, then maybe there would be too much. So we wouldn't get a good separation of. The values and stuff. So I kind of let that dry a little bit. And, you know, kind of now I'm still kinda blocking things in. So I'm getting a few colors down. I'm sort of, you know, kinda wanna put color down. I want to block in M, but I'm also taking my Tom about it. So I'm kind of working back and forth and I'll put a little splash here, little splash their mix a different color or put some blue in it, put a little splash. There only be Google over here to this area and work a little bit over there. So I attend to kind of bounce around a little bit. And so I don't get too caught up in one area of the painting. So there I used a little yellow for the headlight. And notice how all that fusion is really starting to become important now and now I'm going to start working in eventually some stroke. So there you saw that was drawing I was drawing a circle around the headlight. And, you know, add my little shadow here to kinda start to make this thing sit down on the page a little bit. And shadows have a tendency to do that. And then I'll start to infuse a little bit of drawing as we get a little bit deeper into it. So just dropping a little bit of color here and there again. You know, this is about kinda random painting, right? We, we kind of want to hold on to that idea a little bit. And even at this stage, of course nothing is perfect and that's fine. So there's a little there's a, a green bush behind the taxi. So I'm going to use that to negative space paint a little bit, which we haven't talked about. So putting that green behind that car, it allow me the option to sort of make an edge on the hood and define the left-hand side of that car, the front left hand side. And now just some water on the brush there. So I clean my brush and I put some water down. And I'm gonna kinda balance around now to the building. Now the goal here isn't to create a finished piece of art. This is sort of too. Use that idea of drawing and painting combine. So you'll see now I'm kinda drawing more than I am painting, kind of bouncing around, hitting a few edges, hidden a few lines that create the shape of that building. And that's the fun part about this exercise is you paint a little bit to kinda block in something in. And then you kinda pull back and say, okay, well, I don't have to really paint that. I can almost draw it. Put a line there and draw and it'll be fine. I'm going negative space paint around this taxi in the background. Desu, create the shape defined where the top and besides that taxi R. And now just sort of putting it a little bit more saturated value there. And all fun stuff. So at this point is still mostly painting. I've started the drawing process, but I would say I'm still more painting than I am blocking things in that I am drawing. And that's because everything is still sort of wet, right? Go in there and I start putting a bunch of line Burke around. Then it's just going to bleed too much. Ended that watercolor. So that's where timing is important. So we don't want to rush the line work. We have to be somewhat methodical and careful about when we put it down. And then once we go for a course, you know, we're going to really go for it. Alright, so now just removing a little bit of paint on that hood, so it is a napkin, so there's my line work. So coming back in, adding details with that line. So here sort of kind of drawing that tire. And now I'll get in. And I'm kinda intestine that underneath the girl. And now I've got my small liner brush there. And I drew a few lines to represent the grill. And it was probably a little bit too early because that dissolved pretty quick. I was hoping that would kinda hold form a little bit better but didn't quite get it. Sorry. So I will pause right here and I'll see you guys in part two. 31. Blend Drawing With Painting Continued: So this is still setting up and everything still fairly wet on the paper. And so I wanna take another little section here and toy around with that building in the background. We saw me lift a little bit of that paint on the orange swatch there and it's removing some of them moisture so I can sort of get into that area and painted a little bit sooner than later. Alright, so I've got a smaller brush now. And so this is kind of my really small pointed around. And I will want to dry off some of these areas so I can start to infuse some drawing into it. I want to get to that point. So here, adding a little block of color there. And I'm gonna do a little bit of negative space painting around this car. Again, I'd just to play with it. So again, this exercise is about, it's still random painting were still know, just kinda playing around with this idea. And, you know, the goal was to always keep that sort of playful thing in mind. But we want to add some color to our subjects and then of course come back and draw in to it. So we sort of get this line work that becomes part of the subject. And it's as if we're again holding a pencil and drawing into it. So that's sort of the attitude you want to have with it. But again, the drawing was gonna come and shortly once things get dropped off. But here in the air, you know, I'll add a line in there and I'm thinking I'm drawn it. I'm not painting it. I have a pencil in my hand and I'm simply drawing it as if I was just using a drawing paper and paint and a pencil. So there again, just a little negative space painting, playing around with that little taxi in the back and playing around with colors, arbitrary colors for the most part. I know those kinda deep Brown's, mahogany looking color don't really exist much in the photo I'm using. But, you know, just exploring and having fun with it. This is pretty dry. So that added a little kinda of this awhile mark there. And now I'll get into this idea of drawing and a few details of the building. Just to give it a finished look, to give it this sort of playful, sketchy look. I mean, there's a lot of artists that do the sort of line and wash techniques. I'm not crazy about, you know, putting a line around every single square inch in edge of a subject, I like things that are more random than that. More or less predictable, I guess. Then, you know, doing this kinda draw a coloring book sort of thing where you put a line or on everything. I like to hit and miss it. So that's kinda what I'm after here. And again now I'm kinda in that mode of undrawn, so you can see that really fine lines. And I'm basically drawing out my subject now, which I will put backup for you. And but I'm not really paint it. Know I'm like, okay, how much information, how many lines or how much drawing don't have to put down two to get a sense of my subject. And here I've just used very few lines, did not. I mean, just a few around the columns and the little triangle pitch there. A few for the, you know, the steeple as it reaches up. And now I'm going to take a little bit of sky blue and detailed the rest in. So I'll do some negative space painting around the top of that steeple. And if our donor landscape and I needed a sky or if I wanted to paint this, that's all I would have to do. So I'm learning like, Okay Robert, you know, hey, a little splash of color, a few lines here in their hit miss on the drawing. And though a little blue around the edge and you got yourself a cool building, a nice, playful, carefree, not force sort of idea. So it was a lot of discovery going on with this sort of thing now. So here you can see I'm drawing a lot more. So instead of putting down a big batch, a color, I'm kinda going in with my small brush, adding some details here and attacking this example with more of a, of a drawing to begin with. I like the idea of putting now color first, but you can mix and match however you wanna do it. So now that was more kind of blocking some color in getting some color down, but using my small brush to do it. But locale coup that looks, you know, we start combining this sort of random idea of painting and drawing and kind of bouncing back and forth between those two ideas. So super cool, fun way to approach your subject into approach applying paint. So these are all painting techniques. Things that are going to hopefully get you to think a little bit differently about your subjects and how you, instead of doing things in an ABC way, you have multiple ways to play with it. So here I've got my small brush again and I'm drawing, I'm drawing a few lines around the sign on top of the taxi, drawing a few lines on the back of the taxi to create the trunk. Adding some dark hues into that for the tires. And just in creating some cool line work. And they I'm going back into the grill so you can see, you know, it's funky is, it's not really anything that is somewhat close to the subject, but here the image is just a means to paint this all it is, it's some use it say, hey, look at me, I'm cool. And then that's it. You know, we take it from there. And we put our own twist on things. We add our personality and our way of putting, putting it down. And, you know, in the end I think it just becomes a little more creative. There's a lot more freedom, more room for error too, but it's so much better than painting and a cookie cutter fashion. So look at the, all the drawing I'm putting in on this one taxi, so nice and free with it. And you'll start to see how this can become an addictive way of painting. And when I'm painting and honestly I, I like to infuse the two ideas. I find myself always picking up a crayon, a piece of charcoal, or even my brush. We can draw with my paint brush a lot too. And I get, I kind of carve my subjects out through painting, no blocks of color values. And then I use the brush or whatever else to, to draw some of the details and edges and things like that that, that, that need maybe a little more attention. So anyway, so you can start to see how this combination is certain to help out a little bit. I've got a little bit of a leftover paint on the palate and I've got a little time here and I got some paper leftover to so I'm going to fill this thing up. I can tell you when I was painting this, I just had a ton of fun with it. I did a bunch of them. I'm only showing you this one, but I have a stack of I really got into the idea of it and just really embraced it and did a bunch of different things that they were that maybe the end of the class, I'll show some of the stuff that didn't make the cut. It's just that, you know, you don't want to hear me say the same thing over and over again. So I just tried to get the ideas out there and then I figure if that's what I have out there is good enough, then you no. Need to repeat myself and you guys probably don't need to hear me repeat myself. Alright, so now it is blocking in color. So just kinda random painting, random drawing, right? You can see me drawn in the headlights, drawing in different details of the taxi, the wheels. I'm running out of space down there obviously, but I'll get in what I can. And and this again, combining the two, which is a lot of fun. And of course you could do this with any subject. I thought this would be cool because, you know, a scene like this has a lot of detail and there's a lot of options and you'd gives us pretty much everything we need. So we got some man-made objects, we've got some things in nature are the trees and stuff. So a lot to choose from there in terms of how we can bounce around. Of course, you can use images from your beach vacation and fruit, whatever. I'm gonna do some tropical fruit with this idea in the next few lessons. So starting out with some cars and buildings and I'll show you how we can take it and blend it with something else. And hopefully that's enough of inspiration and information for you to run with it. Now notice the strokes I just put down. That was very much drawing with my brush. Very thick paint, so very, so you don't always have to use thin transparent watercolor. Sometimes it's nice just to dip into that thick paint and just put a little bit of water on it. And go nice and rich. And put down those big accent colors and pop, pop it on, you know, a few places here and there. It really has a nice look to it as well. Especially if you can infuse like really thin washes with, you know, those sort of milk washes and then give it some of that nice thick pane as well. More opaque than honey sort of mixture. So there it is. So there's my study. So infusing, painting and drawing, I'll bring you in a little bit closer so you can see some of the paint and see some of that thicker paint texture and stuff like that that I use. So again, fun, fun stuff. That's the way it should be. Art, should be fun. You shouldn't be stressed out biting your fingernails and sweat. Now the next masterpiece, just have fun with it people, the masterpieces will come so long as you're enjoying the process and learning how to use the medium. Ok, so again, blending, drawing and painting using various techniques, minimal details, thin and thick paint. And he saw the picture there. So have fun with that. You guys run with it and I'll see you in the next lesson. 32. Going Bananas: All right, more painting techniques and drawing with the paintbrush. This time we're going to go bananas. We're going to draw details with the brush, some outlines, some shapes, volumes, things like that. And we want to maintain that watercolor look. We're going to blend some cash shadows so they don't look too stiff. And then of course a little wrap up at the end where we will check out the artwork and then give you a few more tips on how you can use these ideas. So there is the inspiration image. So again, you know, drawing with a pencil is common, so I'm just going to demonstrate it here. So I'll wouldn't think about this more in terms of a sketch. So kinda playing around with it, not trying to do a photo representational drawing. Psychologists kind of working quick and looking at angles and being a little more playful versus being a little bit, you know, trying to be realistic, as I mentioned before, someone take that same idea and try to replicate that with a paintbrush. And I'm going to use some yellow ochres, some burnt sienna, some neutral, some different colours that are on the palette I liked. And I encourage you to be loose with the colors when you do this exercise. Because if you don't, then you're going to end up with a sort of drawing slash sketch painting that's going to completely be free or in the drawing isn't going to be visible. So when you use these sort of arbitrary colors and you put a few dark values and the light area, a few light values and the dark area. Then those marks tend to kinda hold up throughout the sketch. Alright, so that second drawing there again, just sort of drawing with a brush. And here I'm going to add some hue to the volume of the banana. Now notice his head Miss, I didn't cover up every single inch of the white of the paper. And I'm being loose with I'm letting it and letting the colors mingle and fuse a little bit on their own. And that second Hugh was just a little bit of burnt sienna. And what that, that was just a little bit of dark blue. Since the banana is a dominant warm yellow. I thought it'd be good to add a little bit of coolness to that. So that's just like the chair exercise and the different things we've done so far to break up a flat wash. So flat washed would be if you only used one hue and everything was warm or everything was cool. And when it dries, it just looks flat and boring. So even though there's no blue or green perhaps and the inspiration image. And you have to remember that the picture is or the photograph is what it is. And as an artist though, we have to make things look interesting on the paper. Now if you were at a job and your job was to create an illustration that represents the photo, then of course he wouldn't have the liberty to do these things. But if your quest is to create a nice watercolor sketch and to kinda create, have at habit to portray and to have that sort of loose, carefree feeling that whatever color are so good at that sort of randomness, right? Happy accidents. Then we have to take some liberty to make some changes, okay? And to have a little bit of fun with it on there, I'm just going a little bit of lifting. So that was a damped brush but had very little water in it. It was just, you know, dampened out to extract some of that paint. But it was important to know that, you know, I got in and I got out. So I didn't sit there, fledge in and mess with it too much, you know, I had a job to do. I decided how I wanted to do it and I did it and I left it alone. I so now I'm going to work a little bit of cash shadow into the banana there on the bottom. And I'll do the same here. The banana on the left. So just sort of creating some hard edges. So we paint wet into wet. Obviously the colors are going to fuse and blend. But as I do the hairdryer here and things start to dry and they become a little bit lighter and value as water color does when it dries, then I can kinda come back and make a hard edge or to, just to show the shape and volume of that banana. All right, so here I'm using a little bit of red, so a cad Red Light and with some burnt sienna and awesome drawing. Alright, so adding details by drawing and not so much painting. So that's where drawing can really be fun. And if you are an illustrator and you'd like to do these sort of things and you'd liked this idea of drawing. Use this in your illustrations because this is really a great way to have a nice, playful look to the artwork. And it sort of gives it everything that you know that, that it needs, gives it shape, it gives it form. So you can start to feel where the shadow is. You can start to feel where the darker sides of the banana, banana are. And here I'm just doing a little more drawing. So just using some more those warm hues that are on the palette, creating that peel and trying to make it look decent. So the goal is to, again, it isn't a copy. The image is just to create a capture the essence of it. So that when you stand back and you look at it from a normal viewing distance, you can see it's a banana C. You don't have to sit there and scratch your head about what it is. I'm within as you get up close to it, it starts to fall apart a little bit. So all these Hughes and these lines and everything that they start to pop out a little bit more. And you start to see as sort of playfulness are now as I go into this banana museum, much thicker paint. So this is almost straight out of the tube paint. And you know, a lot of people don't use watercolor that way so that, that kinda gets back to that. Tea milk and honey. So T is very thin, watery and transparent milk is very transparent but not so much as T mixtures. And then honeys at really thick out of the tube paint. And he can use it that way. And it's okay, you know this perfectly fine. You don't have to have the entire watercolor sketch or painting to be transparent. And I personally feel you want a little bit of each. You won't that light transparent wash. You want that sort of thicker milk wash. And then you want those opaque areas too, like for accents and, and things like that. So whenever we look at this image and when it's done, you'll, you'll be able to see those thicker areas that I'd put in. And that's fine. I mean, it's almost like painting with acrylics, but you're getting the best of both worlds. You're getting those transparent, a watery mixtures and then you're getting those thick strokes of almost texture pink. So they're a pain in the banana first. And then I came back with the shadow. Now letting that shadow bleed into the yellow and the gold and the banana. So whenever you're experimenting with these ideas, mix it up a little bit, you know, paint the shadow first and then come back and paint the banana. Pay the banana and then do the shadow, draw some outlines first and then no sort of come back and fill it in with some color. Put some color down like I'm doing now. And just sorta kinda random, going back and forth to the shadow side, the light side, and then come back and add some line work. And that's what it's all about. You know, you want you don't want to get stuck. Or getting this habit of daunt things the same way all the time, but more that the beauty of this sort of doodling and sketching, and hopefully this whole class is to introduce you to the basics, the characteristics, and gets you to embrace that first. And then to teach you some ideas on how we can exploit those and, and have a little bit of fun with it and not an OB, so stuff about it. And all of these techniques can be combined. You can use this idea of drawing like I'm doing now and combine it with different things that we've covered, different subjects, things like that. So you can see now I'm going back in with some line work and all of this is still really wet and not really wet. But you can see that bottom left banana has a lot of sheen to it, so that's vary what? I've got another little area here. I want to cover this page with bananas, so. Again, just sort of playing around now getting, now find the more I do this and the more I get into it, the looser things become, the more ideas start to circulate too. And that's why it's so important to do these things. I'll finish art is good, but it's just simply a measuring stick of what you already know and you're never going to do your best work when you're doing a finished painting. It's kinda like a performance. You know, any no, ballet dancer, actor or whatever. They'd do rehearsals or whatever they nail it, or when they're in their practice and on their own they're nail it, they inhale it. But even when you're out there in front of the audience and the musics on the lights are on. You know, we, we tend to give it about, you know, if we can do 80%, 75 percent of what our capability is, we're lucky. So that's the way it goes and that's how finished art is. But we earn here and you're doing these doodling your carefree about it. There's no pressure anymore. See you not stress and out on having to paint something awesome that you can post on Instagram. The sort of had this OK, I'm going to experiment, I want to play and I'll want to learn and I want to push the boundaries of what I know. If I sit there and paint when I know all the time, then what's the point? This stuff that I'm showing you now is seems mindless sometimes maybe or as may seem like, what's the point, what I'm after. But for artists that, for those of you that spend time and you do this. And what is going to teach you what you may already know is that it starts to develop a style that you start to find things that you latch on to. And there's other things that you may not latch on to that you may say, Well, but that isn't quite what I'm after. Maybe I don't want to pursue that angle. But the goal is to and, you know, do things in a way that you wouldn't ordinarily do them. And you find discovery, you know, you start to see things differently and you start to develop these signature brushstrokes. He's color mixing, an approach, just the attitude alone that hey, knock-in approach my art and is very carefree way and not stress out about it. Or I can sit here and knuckle down and hold the brush tight and clench my teeth and, and, you know, do something very forced and stiff and predictable. We don't wanna do that. Art is really, you know, once you start learning the medium, you start getting comfortable with what It's ranges are. Then it comes down to your signature. What is, what is your art like and how can you put your personality, your style, and energy into it? And this is what this sort of stuff teaches you. If you do it over and over and over again, you're going to start to develop that sort of personal connection to the medium and your subjects and find your own voice, your own way of doing things. So hopefully this video helped, I thought was pretty good there. I'm just removing some paint so you can see the shadow. But yeah, that was a lot of fun. I totally enjoyed this exercise of painting and drawing and working with a simple subject is to find my way. But in the end I thought was a great piece. I'm Albert probably take that, hang in my kitchen. I love stuff like that. But anyway, we know, so drawing details with the brush of varying the hues and values and the thickness of the paint. We want to maintain that care free watercolor look in different ways that you can know Blinn cast shadows working wet into wet and so on. So hopefully you enjoyed it. And of course I'll see you in the next one. 33. Melons: All right, similar to the bananas were going to do the same ideas. We're going to draw a little bit, but this wouldn't be more, but like a minimalistic drawing is just adding a little touch hearing there, again, varying the hues and values, maintaining that loose watercolor look. We'll do some button but fusion to get some gradation, few shadows and the object and then a conclusion at the end. So we can have a look at the artwork and little recap. Alright, so using my small appointed at Brown, going to start with this sort of drawing of the top of the melon. So if you're looking at the Mellon inspiration there on the right, I'm going to one and the top left hand side. So now I know I can come right below that with some darker green. So I mixed that green with a little bit of cobalt, little bit limiting yellow and barely touch it. And I know when I barely touch it like that, it's going to blend. So we're going to get that fusion. So the green and the yellow will start to mix. But also the yellow that I put down was thicker than the green I'm putting down now. So because it's a little bit thicker paint that this thin wash that I'm doing with the green on the shadow side isn't going to invade it as much. So just a little thing about, you know, using that thicker paint is going to again, allow the moisture to be a little more resistant to it. But it's still going to blend a little bit like you see here. So you notice if we look at the inspiration image and compare that to what I'm doing. There. They're not really close. I mean, there are similar perhaps and the perspective and all but color matching. Looking the exact places where it's light and value and darken value and all that stuff. I mean, there's imperfections when we compare it to the image, but you can't be too concerned about that. Ok, I mean, if you stress out about that stuff, then that's where you're going to ruined the watercolor feeling. All right, so here I started with the shadow side. So I took the green, the darker green in first here I'm adding some yellow ochres and some CNRS and dropping that into it. And now I'm going to go super thick on the yellow. So this is in between honey and milk, so a nice thick mixture. Well, this isn't, I'm sorry, this is the skin or the Rhine and then I'll just wrap that around. That was a nice drawing line by the way. Although as a just a thin stroke, treated as always drawing that edge right around. So I'll get to that yellow and a minute. Apparently I wanted to do a little gradation here, so I know it's wet. Okay, so I can take a darker mixture of the green and run it along the bottom. And now I just let them mingle. I'm not going to fuss with it. However, it dries is fine with me. As long as I get a little touch of that darker hue towards the base of the orange where it's touching. The worse fading away from us. That's all I wanted. A gradation from a lighter shade of green to a darker shade of green. It's when we go in there and we start messing with it and go. That doesn't look like the picture. It's kind of like my Petschauer. That's when we start really getting in trouble. So we'd his movement a depiction of a melon and a slice melon. And it had said, if you're after a footer representational piece here, then honestly you probably should be done with oils or acrylics or something more conducive to that. Because you are really going to lick your paint so much that it's going to lose that watercolor look about it, then what's the point of views in watercolor? If it's, you know, if you're going to force and control, control it to not really do what is best designed to do. Kind of like buying a Ferrari and going ten miles an hour everywhere. If you just want to put around and buy yourself a little Han De or some. So here I did the inside green of the Mellon. And now I'm going around with a ochre and some burnt sienna. And adding the feel of the Rhine, there was a little bit lighter value on that area that's hitting sun, hitting the light rather. But, and I know that's going to blend and bleed a little bit. That's okay. That's what it is supposed to do. So as when we start to get in the way of that is when we tend to get in trouble. Watercolors like, hey, this is what I'm designed to do. Oh, well, I'm not going to let you do that. I now want to mix up a nice dark shade here, a dike, dark value, I should say, and where some of this is starting to dry now, I can start to go back into it. So where that rind is now is probably still damp, but it's starting to dry a little bit and we're gonna get some bleeding but it shouldn't bleed as bad as it would have had I did it as soon as up Hannah's. So that's just a matter of timing, being a little bit patient with it. I'm dropping a little bit thicker and darker paint there at the base, whereas touching the ground. That's going to give it, that's going to anchor it a little bit more so it doesn't feel like as floating there. So it was good to have that little bit of a contact shadow. In it. I'm so here just to kind of a more of a neutral gray there. So not as much color in that shadow. And you can see it all that green is still very wet. So all that's bleeding into the shadow, but that's what I did. And I think the natural instinct would be to try to force, try to fix that. Instead of letting it do its thing and when it dries, that's going to be interesting to look at. Just as interesting as something that maybe is painted it a little bit better or more accurately. So as those accidents really that are a big part of watercolor painting, but unfortunately we are bringing doesn't light and perfections, especially AS adults. And we try to correct things to death. So going back in with some darks now distorting, starting to put some dots down and draw some little shapes of seeds in there. And speaking of drawing, as I said, this is more of a minimalistic drawing, some sort of getting the bulk of the painting down. And then I'll come back and do some sketchy lines later on. So now I'm using thicker yellow paint to capture the light hitting the slice there, that top part of the slice. So it's going to show the thickness of it. And That's all starting to look good. I like how everything is starting to fuse together. So I'm using a little bit of CAD, read a little bit burnt sienna, some neutral, some ultra marine as well into that. And coming up with this sort of warmish dark color and mixing a little bit with the greens as well. And now I'm going to sort of draw, you know, add some color first, but sort of as him seeds or Lewis shapes that could be the seeds in this part of the Mellon. And at the end, the view are just, they're going to look at it. They could care less and they're not going to see the inspiration image. So there's no look at it. Oh yeah, there was their seeds. You know, you only need to draw one or two or had one or two defined. And the rest just can be little dots are done really loosely because they're going to envision or make up the rest of it in their mind. You know, once they see one, they can, they'll see a bunch more. And that's the beauty of sort of loose abstract painting. So now using my dark hw here, so a little bit of this sort of grayish color, grayish blue that's on the palate and adding a little cash shadow near that. Yellow is still wet. So the rind of that and that's okay. And I want that to run a little bit. Kind of enticing the watercolor to give me some magic, right? Not trying to avoid it. Here I'm starting to draw now. So I'm drawing some lines, some, some edges and some angles and stuff like that. Details that I kind of missed out on when I was painting it bug when we paint, why didn't the wet like this, you know, you're going to have a lot of soft edges. And now I can come back with this brush my small little liner here and just draw some details. So that's all I'm doing. I'm drawn here. You can see I'm drawing the little, the wedge on the top, bringing that line down into the Rhine. Drawing a few seeds and a sorta kinda bouncing around a little bit. They're using some blues, Some more of a blue-green here, playing with colors, trying to see how far I can push it. So again, minimalistic drawing, but drawing nevertheless. Again, this will be a lot of fun to do for some illustration and different things like that where you kind of want it to look like the object, but you want to add a little playfulness to it. But anyway, there it is. So hopefully you like to sow some minimalistic drawing and painting. Again, varying hues and values, keeping that loose water color look little wet and wet for fusion. And using a fusion of course, for the shadows and the object. So everything is nice and loose way it should be. So I'll see you guys in the next one. 34. Exploit Drawing: In this demo, we're going to exploit drawing. I'm going to keep the washes. Then we will look at variegated washes, adding perspective lines just to give the piece a little more depth. And we're going to use minimal details which could be a, an ongoing topic as you probably know. And then a conclusion at the end. We'll have a look at the art and a little wrap up. So there is my inspiration image and the right. And even though this is sort of an offline you building if you squint down, it should remove some of the color. And you'll realize how dark that building is. Either mistake when doing this sort of this type of artwork, I should say, is either to go to dark or too light. And when you're dealing with a light subject like this. And if you just compare the building to the sky, you'll see it's definitely a midtone. And you have to take into account, you want to lose about 15 to 20% of the value of the color. Because we are dealing with watercolor, there's going to be that drop-off as it dries. So what I'm doing now is, is using a mix of some neutrals, some yellow occurs in there. You can see there's a little bit of blue as well. That is considered a variegated wash. So you're not using one whew, you're actually using multiple Hughes. And we've done this before. This is nothing new, but a variegated wash is suitable. And even though we, we look at this building, we could easily just pick, you know, a sort of a pinkish off white and just paint the whole building that color you have to know. And it's just simply going to look very flattened dole. So the goal isn't to reproduce the image and do a illustration of it as more to create user for inspiration, for creating some art. So something that resembles watercolor, that has the characteristics, and so on. So here I'm dropping a little bit of yellow in there. And I just wanna make sure again that we have an interesting wash when all of this is done. Now we don't want to fudge with it too much. That's just simply going to dull the colors. Even if you add warm and cool hues. You're just going to basically rubbed the paint to death and all the crystals and things like that are going to rub together. And they end up with something that's flat even though you use multiple colors. Alright? So as you can see as this is drying, it's getting much lighter. And I think for this example, I wanted to do two versions there. I'm just showin