Watercolor Workshop: How To Fire Up Your Art | Ron Mulvey✏️ | Skillshare

Watercolor Workshop: How To Fire Up Your Art

Ron Mulvey✏️, Artist / Art Teacher

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9 Lessons (1h 11m)
    • 1. FIRE UP YOUR ART/ Intro

    • 2. Getting Ready For First Sketch

    • 3. Materials To Start Your Fire

    • 4. Summer Mountains and Sky

    • 5. Working Up Your Sketch

    • 6. Summer Clouds Sketch

    • 7. Seascape/ Mixed Media

    • 8. Seascape Finish and Frame

    • 9. Last Touches and Preview


About This Class


Sketching indoors and outdoors is the perfect fuel to FIRE UP YOUR ART. I do watercolor sketches, like the one above whenever I travel or feel the need to 'spark up' my creative fire.

Our class today will bring you down to the beach and if all goes well you will see exactly what I mean about 'sketching' as a tonic for your creative spirit.

You will see what equipment I use on a sketch and you will be able to follow along. I have kept to a simple straightforward watercolor technique that works well in the field. We are translating the colors, forms and moods of a Summer day at the river into artistic symbols and feelings.

Cameras take pictures and artists make pictures.

Come along with me on two sketching trips and do participate. I will prepare you for the first sketch called Summer Mountains and Sky with a preparatory pencil sketch before we start. All you have to do is freeze the frame as we sketch down by the river.


Here is a sketch of the river I did back in 2004 that was later finished in the studio. 


Learn How To Develop Ideas From Your Sketches.

We will be doing two sketches and working on one in the studio. The other one 'SUMMER CLOUDS' is a stand alone and leave it alone sketch. Some sketches are best left to sit a while like a well aged cheddar.

We will also do a studio sketch with pencil crayon and watercolors. Exploring new ideas is another way to FIRE UP YOUR ART. I made several changes to this studio sketch before I was satisfied.



Last up is a short preview of our next class: Go Big Watercolor and Acrylic

Let's get to it and start re-charging our artistic batteries. See you in class.



1. FIRE UP YOUR ART/ Intro: Hi, I'm Ron Movie and welcome to our class today and we're going to be going sketching today. It looks like it's winter out there, but where we're going, it's summer down to my beach where I get inspired whenever I'm feeling like I need something to get me going. I go down beach in any weather, but the sketches were doing today are from the summer, and we're going to be taking those sketches, and we're going to bring them back to the studio and work on them. Think of your sketching as a gathering at, then bringing it home to the studio, where you can sift and sort, using artistic principles and applying different techniques with your watercolors or whatever you're using to be creative gathering and sorting and sifting. That's what art is about. Keep the flow going. Don't get stuck in your studio. 24 7 Get outside, get out of the city, get out in the country wherever and get a spark going. So this is one of the sketches that will be doing. I've worked on it in the studio after doing it down by the river, and this is what we'll be doing and bringing home and working on it. And I'll give you a little out outline here before we go down there just so that you can jump right in with me and do a painting down by the beach. Basically, you'll need a big brush, some watercolors and a smaller brush and some good paper. Some watercolor paper I use £140 watercolor paper Saunders or Can Seuin arches? They're all good papers. Take him down on the beach with me. Get a sketch like that, fire that creative fire in you, get it roaring. You can be your own artist. You can find your own creative center, and the best way to do that is get outside and find a place where it's quiet or noisy, whatever you want and start sketching. Start recording. Start looking around and interpreting what you see. Instead of copying it, I want you to find your creative center. I want to be a springboard for your creativity, and you confined your creative center by sketching. You'll find out today. Let's get started. Let's head on down to the beach. I know by the end of this class you'll have a greater love for what you do, and you'll do it with a lot more skill 2. Getting Ready For First Sketch: Kents on watercolor paper. I paid about $15 Canadian for this. It's excellent paper you can see is not too rough, and it's smooth, and it will stand up to using a razor blade, either on the flat. Seacon scrape away sections have got a little dirty or you want to bring back the white or the tip of the blade to pick up white highlights. Here's the sketch we did outside down by the river, but I thought I'd give you a little head start, get a piece of paper about half a sheet and see the three trees. Just put in a line here for this treat one a little bit higher. And the next one, although these air equal, I would say a little lower and maybe a little bit farther apart for design. So I'm just showing you, if I was going to do this picture again, I would change that one thing. Now I'm just gonna leave this like this, and next thing is to get this line that's coming across here. So just a small outline. And then there's a couple trees that are popping over here, and you control a few of those in here and there. A couple little circles, maybe down by the bottom for the red tree. Next thing is another line up top for the mountain. Don't draw too dark, maybe a little zigzag there and then the other mountain over here. And that's basically all you need to start the watercolor down by the river. So if you'd like to throw a little bit of these shapes in, it will be easy for you to follow when we do the sketch. Because a lot of these things are done in the studio. Jenna, basically, we're going to just put in a blue wash here. We're going to put in a little bit of violence, a little bit of the yellow and the trees. That's all I'm going to show you. Do this tape up your picture if you'd like and put it on a board, get a few collars were going to be using just the basic Brad, yellow and Blue, just like I have here. And I'm going to put them in a little kid. I'm going to show you my kid right now. How what I do when I go down to the beach 3. Materials To Start Your Fire: - If I'm going to beach your I'm going travelling. I would like to have a few extras. You don't need this much, but I'm just going to show you. I like the watercolors like this for traveling, but I also take a long tube. Colors like this try to pack things so that they don't follow over the place. That's for my water. Bring some water. I used tape. Sometimes I take my pictures down. So selection of pains, couple different rags. Now, this is something new. I consent right up here. You see, uh, when I'm painting and I can put everything ready, get my brushes and just work right here That put the water in here. So this is a good little thing to find things that make life easier. Stick all your paints and here you see and eliminate a lot of this. So economics is great. Don't take too much, but take enough. A selection of brushes. Always good to have. I was gonna take everything else so you can see it as again. Tape this water now. Extra one, just gays. And over here we have some acrylic set, a bit watered down. I like to paint with water down acrylics tube because they're already mixed, and sometimes you can just get these out and use them instead of the water colors. So let's just leave those there over here. We have pain, pencil, an eraser, good toe have and some paper towel. So if I was going to set up the first thing, I would probably do if I didn't have a lot of things. Take my case, paints here a rag. Then I squeeze out some pains. Put my brushes here and I take my trustee board. I like these boards because you can put your paper on there, get a wet. It's cut for the same size Here. It's about 10 inches by seven inches here, and you'll see when we go down to the river today. This is basically to set up. I have right here, and I use my thes trade pains here and ah, few of these colors. I like to bring a little sketchbook simply because sketchbook eyes great for making notes, color notes, etcetera, a camera I will bring. But I only bring out my camera when I'm all finished it up and we're ready to go sketching 4. Summer Mountains and Sky: No way Standing in the middle of a little Swilcan River, I want to get a spark for my imagination and my creative output. Come down River. See what I can see. Do a quick sketch and go home. See what I get. Let's try first. I'm going toe wet The paper. I have a little bit of blue on. My brush is perfect for today. Like wet both sides rice and just let it sit for a few minutes so it can absorb the water. You can use tube colors or collars from our palette here. I like to use a combination of both bitter old for Marine. He's a Windsor and Newton. Remember the papers wet? Whoa, There goes a big spot till paper. Dominant color today is blue. Just splash on little blue. Make sure you leave a little white. Take a look at it, maybe turn it this way. Put a little stronger blue top, which is now the bottom because it turned it upside down. I think it's going to be the bottom trick is not to get fussy. Just let it happen and make sure there's a few little white spots showing to make my trees . It's gonna let it drip up a bit, then lay it more flat. Turn those into trees. Take a little bit of the ultra Marine and a bit of black to get a darker color. Papers drying because it's about 90 degrees out here on a July day, I'm gonna go with three trees. Next one is a bit lower, and I'm going to use this stroke. That's a fir tree for tree. A little back and forth stroke. They're about the same here. Something a little. Top this one and take the end of my brush. Score the paper a bit that will give a trunk. Now I'm gonna take the actual end of the brush. Rub it in that dark solution. Put it a tree that is called a spar. It's lost all its leaves, even at a few branches pointing down top. You see how this really came together? Looks like a pine tree. Let it sit for a minute. Okay, we take a richer green, a little bit of cadmium, yellow, medium and a little bit of the halo Ultra marine color that's gonna go in between here right over the bottoms. There's a lighter yellow. Put that at the top there, spotted in. Also take a lighter color. It put it into a darker car lift. See like that great technique. Rub it on your drag. Lift off color. Everything's not dark and pasty. Want some white areas in your painting? Now I'm going to take a little orange. This is a vermillion, which is a red orange. Take a little this for 1,000,000 fairly thick. Just drop in a little bit here and there. Wear it. Wash in the mountains behind here to stay away from the big tree and do a little lacing, just leaving a little wet area. Little dry area. Leave a little area in between like that. See, it's a nice effect. Straight line. There a little bit of the crimson just to give a little distance. Rad will mix in trees. A little bit of that green it, like lately, just lightly put in little mix in with the edge is one of the most important things is to have a soft edge of the top of the mountain. So I dried off my brush and add a little water to my brush. Took all the paint off first, then a little bit of water to soften the edge on uneven, lighter mountain. Just a little bit of blue coming in on this side, Off in the distance. Coming right in here once again Leave that little space there. Here comes my last part. Take a little bit of blue swipe across the top Had some water swipe again at some water Right again I'm really wetting the paper Leave that little just a little edge between there and here Hopefully that will just fall down It's that beautiful summer sky I will now put one dark in the bottom A little bit of this black and some of blue and some of the crimson I was clean These paints up later. Just gonna add a couple little dark spots at the bottom that will bring the picture forward . Here we go Little spark creates a big fire Let's find the spark and fire up our heart 5. Working Up Your Sketch: it's going to put some water into here and take my 1st 3 colors. Make a little puddle. You'll notice how soft my pains are because I just let them soak in the water for about five minutes and they're much more manageable like that. So I've got blue and yellow on. I've got three brushes going, and now I'm going to choose a red. I'm going to stay with the Crimson, read the reason being It's cooler and I think up this has a little yellow and not much. I'm gonna put it in there that will warm up the red a little, but it's still on the cool side crimson. And now I have my three brushes like three paints and I have a picture I did outside, and I'm going to be adding some darks and lights more ducks and lights in the sense that I'm going to be passing from a dark section to a light section. Let me just show you what I mean. I'm going to take some full strength, Fei Lo and I think what I'll do is it's dark here, so I don't want dark there, but I'm going to put some right here. What? Once I've put the paint on, I can also take a little more water on another brush. I bought these brushes, these air Robert Simon's. And you could get 10 of them for no, maybe $40. And you always have lots of brushes. Now, you see these little beautiful little passages of Violet that we did outside When we're sketching, I don't want to change those, but they will show up more because I'm coming down. He said no. Here's white. Look at this. This is light. So I could probably come in here with a little darker at all. These little sections will now start to stand out. Of course, I have a rag handy to soften the edges. Okay, here comes this guy. I'm going to probably go dark over here and bring it across. They just put a little bit on. I'm adding water and would tilt the paper a little bit. And actually, I'm going to bring down a second section right through here and bring it right into the cloud there. See? I mean, right into the mountain. You get that nice variation at the top. Dark and light to go I could even tilt this up if I wanted and bring it down. Just a smidge of water. By the way, Smith means a little bit. I think it's an English expression. Very interesting. Oh, this is not a cloud. Here, look my mind. Just follow this shape. I wasn't even thinking there. This time. I'm going to add a drop of the crimson into it. Notice I'm mixing my paints on the paper. That way I can do a thing called keying the colors King. Them means adjusting them so they fit with other colors. Maybe making a darker, making it warmer, making it lighter. But I like it when in the mountains where you get the mountains are darker up here and then you get a mist coming through. So I'm keeping that sort of idea here. Now that's the beauty of sketching outdoors. It sparks up your painting. You really get to certain memorize things. Remember them, and when you get back to the studio could apply them to your painting and just bring them up a bit. I think what I'll do here is go a little bit, read or hear. Maybe I could push it forward to the fall so that you could almost be a fall picture. I could put or in a little yellow over these, and they would be the Tamarack trees in the fall. And the reason I know about Tamarack trees is I get up and sketch in the fall. You see adding, Developing, enhancing, modifying, lengthening, shortening, darkening lightning. Of course, it's always good at some point to be bold, and I think what I'm going to do here is I am going to mix these all together and make make a neutral for the sky. Just see what it's like. Oh, perfect little Storm coming in. Looking from her last sketch, I feel is too much blue in this picture. Let's just see what happens here. Pull that down there. Maybe the rule. It's hard to say, but I'm thinking, No, I was going to put it there, but I don't think I want to. More or less. Have it like a rain coming in there like that angled cloud there. We have some clouds moving in front of this guy. Maybe a little more red. Yeah, well, more red up here. And they sort of started this ain't starting to echo the trees. You see some verticals in the sky mixing right on the paper. Oh, it's That's nice. Okay, now we're gonna let that drift down. It almost looked like a rain. And when it's come down a bit, it will more or less defused. So I mean, by mixing right on the paper, you get a very dramatic effect. And I'm not, because this is, you know, I just might. I just might wet this like this, to encourage thes clouds to appear like they're coming right in over the mountains. Sea. Now, you know you might go. Oh, what happened there? Don't be afraid to try something. See how I'm softening the edges? And when I soften the edges, I get what's called film color Filling the color is what we see in the sky. See, it doesn't It won't go there. He watched, just prayed a little better water, and it's almost like it's coming right in front of this. Beautiful. I wish this would come down a bit. I'm gonna have a drop of water to this. Go and then just a little drop through here. See there getting out of hand just let it go this way. You'd be surprised what this looks like when it's dry. Just encouraging it on the edges just a little bit. Keep the edges soft. - Always good to pick out a few whites. A few light areas, especially in some dark spots like here. It doesn't hurt to scratch it up a little, get a little bit of white highlights. Does she have you? If you have a strong people, people dark in this one, keep it light. Here. This is farther away. So it would follow the rules of aerial perspective and be a little darker. See how I've gone over this and made it green like this kind of falling down right into the tree. I want to show you how to bring back some weights in the sky rather than picking. You actually put the flat part of the blade down sharply on Yes. Keep some pressure blowed off a great way to bring back this kind of paper to absolutely white. This does it hurt, had little texture here and there. Just to tell people he's a trees. There we go 6. Summer Clouds Sketch: Let's see what we could do today with clouds that are moving in, temperatures drop to about 80 degrees. A little more pleasant. Little win. Let's see what we captured today. Well, first thing I've got to do is wet my paper again. If you wet your paper, you get soft results, especially for clouds. So this is Strathmore sketching paper 1 £40 and I'm going toe wet both sides. Then get my collar ready. I've decided that I'm going to soak it in the river here. Different papers need a lot of different amounts of water. This is an English style paper. What a sizing in it. So I'm soaking it, enjoying getting my feet cooled off. One of the beautiful things being in nature. Even if you're in a city, find a place with a fountain. So you're painting. Get your paper floppy, wet, sloppy, wet. Okay, I think that's good enough. Let's go see what we can do. You know there's no right or wrong way. Just get it done. I'm gonna take a little yellow because they look up at the sky. I could see that there's warm areas in the sky, so I'm gonna do my drawing with yellow Oakar. Nice thing about being outside as you can. Get your brush already. Flick it. Now I'm going to draw everything A draw in the mountains Gonna be pretty wet. So I think what I'll do first. Okay, That's a place. A happy accident What I'll do first just covered event to tap it to get the excess water off so it doesn't spread all over the place There's my yellow and I could see my cloud shape Fabulous cloud Just huge, ponderous, Full of light Soften the edges What's a little wiggles? Another one over here, little one peeking over the mountains We're just gonna be concentrating on the sky when it dips down here, Another mountain over here Cloud their notice What I'm doing is softening all the yellow reading it filter out into the wet paper See how that even though it's like 80 85 degrees Celsius, which is, I don't know, 25. I mean, what eighties Firing height. It's pretty warm out here and the paper dries fast. Want a lift off? A little bit of a thicker spots, you see. Open it up. Now we're going to use John Singer Sargent's technique, which is established the mid tones, usually in a picture. You'll have more mid tones than dark and light tones to establish the mid tones. The 1st 1 is that big, nice cloud up there. Medium brush is what I'm gonna do next happen. And I'm going to start with dropping in a whitewash of this ultra Marine pinch of cobalt and I'm going to be moving my board, the papers almost wet, almost dry, more water. And I'm just going to leave a little edge between the yellow and the white paper, and that's going to represent my white area. As I say, I'm doing my mid tone. I'm going to start up here adding water, tilting the paper. There's a cloud there in the mountains coming up behind. It's gonna be the mountain here, so a little bit of blue there shot at the top. I learned this little lesson from Rex Brand, and he put a really good dark shot at the top. Take a look at it from up here. Yeah, it's looking good. Let's get some. Next tones are going to be the mountains. Check him out. So did the sky which is a mid tone mountains air mid tone and we see you have some darks in the trees. And of course, the lights are up in the clouds. Do a little thinking here. Sometimes it's not good to paint paint paint. Looking at that, I'm feeling very good about it. We had some exciting sparks flying there, and now I looked up my mountains and I decided that I'm gonna take this one as a mountain and this one and just go over that. Okay, here we go. I took some Eliza in Crimson is a little bit of black here from yesterday. I don't want to use too much. Black could get a little city for watercolors, But there's the illusory crimson mixing it over into this green yellow. Get a brown, actually. And I just need some warm tones. And, of course, here's my strong blues, which I've wedded up, and I think probably will need a little more crimson for effect. It's actually shown me what to do. I love those happy accidents. Let's just start moving around here. We've got some blue, it's softened up. We have some nice soft yellows on. We have some lizard crimson. I could see it's dripping down through here. You have to do a little warm here. So what? A little in there and then some blue Hold it up to you to see it blue, Take a look at the mountain Up there is up here. Remember, the paper is getting dry Way go. So I left some white when I see why. But it's sunlight heading the mountain there. So let's put that in right now. A little bit there. Just put it around the white spot for now. Go on, get mix up a little stronger blue here. A little bit of ultra marine in with black so I could get a good strong And I need that I need a line They're my first dark, My second dark Oh, look at this. Look at this was amount coming in here. This one looks like it's behind. I was going to get rid of this odd shape, but I like it. I like to dot there with a strong red. This is my crimson. Ever since I saw Georgia or keeps painting of the Red Mountains, I'm not afraid to put in red shape now at least at the beginning. So there's my read on that little creative spark. I said, why don't you put a little bit of blue into that white area, But don't cover it completely, because it's kind of echoing here, So I'm gonna go around it. I can always get rid of the white area. Kind of melt in. Look at that. Oh, that's nice. I could do that right to here, too. Put a little bit of dark around like that. Okay, here comes a little pepper stroke. He's a little dark pepper stroke. All you have to do is take a little blue, maybe a little sap green and popular. If you take a look at it, water is getting dirty. Pour it out, get some new water. I'm thinking the edges up here a little bit to the same. So I had a little bit just a little something breaking up. OK, Now for the part of the sky, turn the picture upside down and we're going to go with very simple lizard crimson. It's a little bit of this blue way go very light, lots of water and we're gonna do 123 1st 1 up here with a little white areas. Have another brush handy. Soft in the remember Were working upside down here. I'm going to go a little darker. Way I'm gonna go a little darker is out of pitch of black. Just depends more red way go. That's when I turned the paper over. It'll show what? Okay, then this one. Notice how I'm staying away from edges because that's the rim lighting. Rim lighting is when the lighting is sort of behind something. Get a rim of light. Okay, there we are. Take my brush so often A few edges. It's drying very fast, but spark is here. I can feel it. Take a little more. A little more Read to the bottom one. Things get more violent as they get near the horizon a little bit there. Leave that little edge just between the two. So they don't believe Oh, and I could see a little guy right here. OK, And now, looking upside down, I'm gonna dark and a little bit of the top here on one more. Here, turn the picture around. Oh, I like it. I'm not sure I don't want to fool around with too much so soft on the edge. Always soft. Take one more look at the clouds and I could see we've got a storm coming. You want a spark? Get out in nature. Even if it's in the city at rush hour, you'll feel that spark. We got risk going dark. Let me I'll show you in a second. I'm gonna get that dark spot in there. See? That's sit in and up here a little bit. Here it is really gonna start to storm. See the light go down. Okay. There is that big cloud storming up. It was even darker a minute ago when the son was going right behind them. Excellent. The rest I can do at home. Whoa! There's a little accident Really excited here, there, finding that creative spark, that's what it's about. 7. Seascape/ Mixed Media: So here's our four colors pink that has the green after image and purple has the yellow after image. We also have a few paints. First of all, I'm going to just do something very simple, not complicated. I'm just gonna put some pink down, maybe go dark to light. Maybe I'll think of Let me think of a mountain. Are there pink mountains? I'm sure there are. There we go. Nice shape goes from dark to light to dark, like a ribbon. Can I only use one pink? No, I could use a different pink, but it's still pink. I'll do dark here and then later on, and maybe dark hair and a little lighter. This pink has. Actually it's a little warmer, then the other pink. So there's pink. What was the after image of pink green? Now the thing about complementary colors are opposite colors. Is they cancel each other. If you put green over pink, it will turn into a a fairly nice brown, but we don't want to do that. What we want to do is just softly add that after image around the pink, it will make the pink glow. If we put this over the pink. We get a tertiary color, and what that is is It's kind of a grayish color. I think I'll just at the bottom two. Let's put a little bit into that and see what happens. See, it's a very, very nice car, but it's not as bright as the green. See. I'm gonna go into the pink and beside the green. Thank you There. We have a fairly glowing mountain. Well, let's just go with the mountain idea here and let's even it off a bit Here, there we go. We have a land form, a little blue. It's gonna come up to the green mountain shape behind it, so there's some blue and blue is very close to green. So if I add a little bit of yellow into the blue at the bottom, say some yellow ocher, which is a fairly simple yellow, the green becomes what we call adjacent to the blue because it takes yellow and green. It takes yellow and blue to make a green. There's the blue. Let's bring that right around here. So pink is right next to read. Let's take a crimson red. We'll put that right here. Now the crimson red with the green will do. The same thing is here. It will be sort of brown. But the crimson red is right next door to blue, so their neighbors notice how my picture is taking on at harmony. The reason it's becoming harmonious is because I'm using Jason colors and I'm using complementary colors. You know, I'm gonna take this brighter yellow here. Just put it right in here. I'm thinking that the water the papers dry at the bottom, so that should be okay. No, they see the pink castor. I'm going to put a little more pink in there. Just a little more. A little more blue at the bottom. So can I do one more? Can I add another color? Let's check it out. Just get that blue coming down. Okay, Lets see. Well, here we go. Looks nice. Slip and slide. Wear blue to green, Green to pink. That's the opposites. Orange haven't used orange. I don't think I'm gonna put orange in. Didn't leave orange. Oh, we got blue to the red and we're gonna let that drift because that will give us the violence, which is what we want. Pick up a trip there, Violet. So I drift the blew up into the red. I'm now getting a violent, but I don't want to drifted into here. I'll get a tertiary color, which is a combination of all three primaries or secondaries. Three collars make tertiary color or we call them neutrals. I could put a neutral in the sky. Yes, let's do a neutral in the sky. A neutral is when you take the three colors which we've used a yellow, a little blue and bitter red. And we bet we we balance it so that it gets down to a mucky looking grey. There we go. And a little pinch a red, It's a little green. So there we go. Now it's a little brown. So a little more blue. Oh, that's about it. Great. There's pretty neutral. It should look gray. So what we'll do is turn the picture upside down the water. I'm not gonna touched Well, I could touch the blue. Yeah, because it's a neutral. I'm gonna get sort of a cloud formation coming up here. Maybe, Maybe not. It's always nice to have a little white somewhere. Actually, I'm gonna put it right across and let it drift down into the blue. So see the neutral color. Well, we're pulled it over here too. The neutral makes the other colors releasing a bit. It looks like clouds. Look at that. You put on an angle. What? It sort of drift down. Now, what started out as just some color theory, And then I got the idea of maybe a mountain shape. I've got the start of, Ah, good little picture, which I could do over and do the whole thing in water colors. So opposite or complementary colors with adjacent colors and a neutral make a good picture . 8. Seascape Finish and Frame: here I flopped down on a piece of glass. Glass is great because if you put a little water underneath like here, keep your painting moist. Now. Sometimes there's too much water on the top. So a quick little paper towel on the top just placed on top and just tap gently will pick up the extra water. You don't want a bunch of water puddling on the top when we do this, a little bit of the blue, which is stay low. And, of course, because it's on a piece glass, I can tilt it. And I'm just because, and also because it's wet. It's going to take the paint and spread it all by itself. So a little dark section right here keep things soft, clean my brush. I'm intensifying the colors. Now I'm gonna add a little bit of the Eliza Rin Grimson right up to the green. See the green pencil crown. Now the Eliza Rin is mixing with the blue to create a very beautiful, soft violet. Here, I can take a little bit of this. Yes, it's running. Watch. Just drop it in. It's going to dry later, so I'm not too afraid of It's too dark and I'm gonna take a little more than blue and just let it sort of a little blue in the sky here. I don't want to come to the green. I don't want to come to the yellow too closely. So I'm just gonna drift that up. And there's my intermedia gray at the top. Take the blue, clean the brush a little bit of the crimson. Then we get purple. Well, I like purple. Maybe I'll just throw some of that in anyway. So there we go, see, see a color and you want to use it. Use it. Purples, a secondary color. And now I need to add the yellow Joker. But I'm going to do it judiciously because I don't want to turn the purple brown, so I take a little bit. And there we are. To most people, the untrained. I would just say gray, and sometimes we just say that it's gray. The colors been grade. It's not pure anymore. Now I'm coming in the top, see the papers starting to dry a bit, and I'm adding a little more of the red, mixing it on the paper. I'm going to let it drift down? No, it's not drifting very well. He's a little design principle. Bring this past the middle. And then a little shot here and a little one here. They got 3123 Now I'm going to encourage it with some water, but I don't want to go over it. Just want to encourage it to drift down into the blue a little bit, but I don't want to add too much water. I'll get some water marks. Almost looks like a rain coming down there. And because the papers wet, do a little lifting there. Bring my paper towel into the bring my paper towel in here and left a few of the spots before it gets out of hand and then going to go this way for a little while again. Get things back on track. Okay? In here. What will I do there? I think what I'll do is take a little bit of the read, and I could just I'm just going to do the crimson first, see what happens. That's a pretty nice drift. So this would be a little bit of a mixed media because I'm putting the paint over the pencil These air prisoner color pencils. So they're good pencils rather like that. I don't lose that break green in there. Maybe soften that up. And maybe a little more of the reflection in the water here that looks pretty bold. Who let it dripped down? Remember, the paints mix themselves. Now the green is definitely not in the water. So I'm going to lift it a bit to get an opportunity, maybe to put a little green in that water later. - But the red under painting does offer a little interest to the picture that with the pink under painting, give us a picture. Some interest thinking reflections. Now, you see, now that I've made that darker is bluish shape there. I could put a little bit in down here. Now see rain coming down. It's nice. I like that. The one culture with pencil crayon is it's going a little wild there. Bring it back. I always liked that. I'm gonna put one in here, see what happens, and I'm just gonna take a paper towel and I'm paid any attention to this part. See, I just lightened it up a bit. I feel like the down here bitch. Paper towels are great. Get that misty. Look in there was starting to look good. I'm gonna let it sit. I promise you, I'm gonna let us set. You know, landscapes are funny. It because nature is full of analogous colors. The colors are very suited to each other. Nothing really stands out. But having done landscapes for many years, I do like some bright colors once. So I find these Prisma colors air. Great. Because you can't get much brighter than that. Here we go. Looking a little like morning now, but I still like the green there. Should I put a little bit of a little hint of orange in here? Why not? Putting orange into yellow is really making it an orangy yellow. Okay, there's your picture all framed up. Don't underestimate here. Artistic abilities. Spend a little 3 to $5 get a little frame. Put it in. Put it up on your wall. Don't even tell anybody who did it. Get five or six up there. People will say. Oh, where'd you get those nice pictures? Had you would say Why painted them 9. Last Touches and Preview: okay, It's the end of the class. This is really where it gets exciting. I'm glad you've skipped over here and read the notes in the class description. It's important that, you know, a sketch is never perfect, but it's always really important. And once in a while, of course, you do get some real gems, but sketches air for working at you can see behind me that I have my sketches. I want you to come back to this class and do the follow up. Just getting a sketch and working on it is the beginning. Turning the sketch into a full blown picture is what art is all about. It's a sustained effort. Okay, First of all, I took two of the sketches that we did in the class. I can remember the sketch with the rim lighting around the clouds, and I've kept that in my mind, this one and this one because you can see I corn about it, a little bit of blue to this and subdued it a bit. But the pink is still there in the green. So this one, this one, I will show you how it took those and the other one and made the one that you see below this little sketch here with all the color notes, and this one is from here. So I drew that out, and then I did the one with the rim lighting in the clouding with the Round Hill, which I like. And there's a round hill again. That's from this one up top, the one that was the Seascape, and they put them all together. A few of the notes I made were like, I want to use the neutral wash so it washes down into the bright orange and we do have an orange blue, which I'm using from the mastering colored class. And I really liked these little red spots from from this picture here. But I also liked the neutral colors that came down here spilling down. So the sketches have given me lots of information to make a great little picture. There's my little color scheme. I'm going to be using a yellow more of a hansa yellow and then a cadmium yellow, probably medium or light. I'm going to be using in the lizard crimson, a bright, probably cobalt and say low blue, mixed together with a little. The crimson will give me this lovely violet color here, pink violet. And over here, this blue gives me the green. So we have some great combinations. We have a yellow and violet which are opposite. We have a red and a green which are opposite. And then we have a little bit of analogous color scheme going on because they're very close in their families. So that's what I've worked on. And I've made all kinds of little notes for myself. What? To make dark, What to make light. This is what We'll go over in the next class, and I'm gonna show you how to put this together. We just give you the quick intro now to starting this watercolor. We'll start with some water on the brush, and I'm going to take a little bit of Academy of Yellow medium on one side of my brush, and I'm gonna wash it down like this. Try and think abstract. Try and think water. And don't be too fussy. This one's even shorter And take a little water. Don't be afraid of the drips. There's water down here. Notice. So I left a few white spots here and the drips coming right through. Always paint your light sections and mid tones first, So we're gonna come right across here. This paper is lovely. Bring some down. I want that feeling of coming down. Remember, we have a rain in the picture. Clean water is very important. When we're doing watercolor and a rag, just soften it. Not all of them. And there's a good beginning for my watercolor. So get yourself a nice big beast. Paper gets a big brushes. You could do 1/2 size too if you want. And there are two sides to the paper. So if you make something that doesn't work out on the first side, we conflict the paper over and do the next side. Hey, this has been a great class, and I'm so glad that you all came. I'm looking forward to the next one, but I'm also looking forward to seeing what you've done because seeing what you've done helps me see what I've done. Let's work together on that and share what we've done in this class