Watercolor for Beginners | Kolbie Blume | Skillshare

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Watercolor for Beginners

teacher avatar Kolbie Blume, Artist

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

14 Lessons (1h 51m)
    • 1. Intro

    • 2. Supplies

    • 3. Cutting Paper from Large Sheets

    • 4. Grip (How to hold your brush)

    • 5. Taking Care of Your Brushes

    • 6. Filling Up a New Palette

    • 7. Prepping the Scene

    • 8. The Wet-on-Dry Technique

    • 9. The Wet-on-Wet Technique

    • 10. Glazing

    • 11. Project #1: Relaxing Patterns

    • 12. Project #2: Aspen Tree

    • 13. Project #3: Mosaic

    • 14. Recap

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About This Class

If you've ever wanted to learn watercolor, this class is your first step. We dive into the basics like choosing supplies, how to fill up a watercolor palette, and foundational watercolor techniques -- and then we'll put them together for three fun-and-easy projects to test your new skills and lean into the magic of watercolor painting. 

"Watercolor for Beginners" is the perfect first class if you've never taken any of my other Skillshare classes! The lessons in this course will prepare for success in any of my other popular classes.

Meet Your Teacher

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Kolbie Blume




Yes, even you!

Don't believe me? 

I bet I can change your mind!



I'm a full-time artist, writer, and online educator -- but up until a few years ago, I was working a 9-5 desk job and thought my artistic ability maxed out at poorly-drawn stick figures. 

In my early 20s, I stumbled on mesmerizing Instagram videos with luminous watercolor paintings and flourishing calligraphy pieces, and my mindset slowly shifted from "I wish" to "Why not?"

-- and the rest is history! ... See full profile

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1. Intro: Hi. My name is Colby, and I'm a self taught watercolor artist. I'm so excited that you've decided to take a peek into this class because this is watercolor for beginners if you've never picked up a brush before. But you've always wanted to learn how to use watercolor to create magical paintings and to create light and color blends. This is the class for you in this class. We go over some of the very most basics of watercolor so that you can have a great foundation on your watercolor journey. We're gonna talk about my favorite watercolor supplies, and we're gonna talk about how to Philip a palette that looks like this. And then we're gonna go into some of the most basic watercolor techniques, like the wet on wet technique and the wet on dry technique. And as we learned those techniques and practice them, we're gonna put them to good use by painting three projects. First, we're going to paint some fun watercolor patterns, and then we're going to paint the trunk of an aspen tree. And finally, we're going to have some fun with this color for colorful watercolor mosaic. If any of this sounds like fun for you right up your alley, I would love for you to keep watching 2. Supplies: in this video. We're just gonna briefly talk about the materials that were going to use when it comes to paint brushes if you're just beginning. But you do want to start off on a pretty high quality foot, I would recommend starting with this you tricked brand synthetic sable it Siri's of paint brushes in round shape, and I would get sizes 06 and 10. These are the sizes that I use in all of my beginner workshops. And these were the size is that I almost exclusively used on Lee these three sizes for at least the first couple of years of my painting. And still to this day, these were the sizes that I reach for the very most. So one thing toe. One reason why I like this brand, this synthetic sable it Siri's is because there since the Brandt, the bristles are synthetic, which means that no animals were harmed in the process of making these brushes, and they hold their point really well. And holding a point in with your paintbrush is really important so that you can get a lot of details and really get the most out of your brush. If you just want to know what to purchase as you're starting off your watercolor journey and you want to start with some good supplies. This is what I would recommend next. Let's talk about paint. So when it comes to water color paint, there are lots of different kinds. I would recommend purchasing your water car paint in tubes because I think buying them buying your paint in tubes is a slightly more cost effective way because you get more bang for your book, Um, and then buying permanent red, deep lemon, yellow and Prussian blue. Red, yellow and blue are the primary colors, and with red, yellow and blue, you can make over 100 other colors just by mixing them in different amounts. So all these three are professional grade watercolor. My two favorite brands are Windsor Newton Professional, Siri's and Daniel Smith. Extra fine watercolors. Um, there are lots of different other brands, though, that you can purchase while I'm using professional grade paint. In this class, you don't necessarily need to use professional grade paint to make really beautiful things , and you don't need professional grade paint to make the most of the lessons in this class, either. And now let's go to the other most important factor, most important supply in our watercolor journey. And that is paper. So there are two different kinds off basically two different kinds of paper, their student grade paint, and there's professional grade paint and for Sudan grade paint. Um, I always like to buy this Skansen Excel watercolor pad £140 cold press, so it's specifically watercolor paper. And for professional grade paint, my favorite is arches. 100% cotton, £140 cold press paper. But especially when I was starting out, I was totally fine and, um, learned thes techniques, using the less expensive and more affordable student grade paper. And then I eventually moved on to professional grade paper when I was ready to create some really nice final projects. So regardless of whatever you start out with, I know that you can make beautiful things with whatever you have on hand. So that covers the very basics of the materials that we have. And I'm just going to talk a little bit about some nice toe, have extras I always like to have Q tips around in case. There are puddles because if you have too much water on your paper enough so that it forms puddles that is going to cause some problems. So I liked half Q tips for that reason, and then I always like to have. Typically, when I buy tubed paint, I squeeze it onto a pallet like this. And it's handy because you have a mixing palette right on here so you can mix all the colors that you want. But it's also nice toe have instead of just a plastic pallet. Ah, ceramic or a porcelain palette like this one because sometimes in plastic pallets, the colors kind of beat up and don't mix very well. But they always mix very well on these ceramic or porcelain ones, And one of the benefits to is, I purchase this from a small business, so it makes me feel good to support other makers. In addition to the the mixing palette, some extra supplies that are handy to have our ah, pencil and eraser for when you're sketching things. Ah, this is just ah, regular ah plastic eraser by Tom Bow. But it's also useful toe have when you're doing watercolor. What's called a kneaded eraser. Onda kneaded eraser is kind of this'll s'more like stretchy material of eraser on. Basically, it takes off a little bit of the of the pencil, the, um, pencil on your paper so that your pencil sketch isn't quite so dark. Basically, you roll it over the pencil, and it makes it lighter so that when you paint with your water color over the pencil, the pencil doesn't show quite a smudge. And some other fund materials that I like toe have to mix and match for mixed media pieces are colored pencils. They could be watercolor pencils or just regular colored pencils. I like to use them with watercolor to create fun textures and patterns. I would also recommend having like a micron pen and archival permanent ah, 10 with just a small tip, because using water color with ink can be also really fun. And then gel pens can also be a lot of fun to use with watercolor. So this is just a ah secure a jelly roll. White Joe Penn and I also like to use sometimes white wash with water color. Um, we're gonna talk about how to use White with watercolor later in this course content. Usually you use white space, but I also sometimes like to use this doctor Ph Martin's bleed proof white to add some really stark contrast. So then, other essentials you need to have water on hand. I usually like to have two cups, and I often keep my cups in a heavier jar so you can do it. And, like Little Mason jars like this, or if you have mugs at home, I like to keep my water in mugs or like heavier glass containers, because that way they don't tip over as easily on. And then I always have to so that I could have one that's clean and one nuts dirty as I'm painting. And then I always have a paper towel off to the side to block off extra pigment or water from my brush. And then sometimes I use this M bossing heat tool to dry my layers of paint in between, so that I don't have to wait for hours and hours for the paint to dry. This is totally optional. I bought it for like, $10 on Amazon. I don't even remember the brand anymore, but it's typically used for M bossing, but I use it to dry my paint layers in between. I like to use masking tape toe hold down my paper sometimes, especially from doing big washes. Or sometimes I even use washi tape like skinnier washi tape to create fun patterns and use with the watercolor. And we're going to talk about that in later modules as well. So So that about sums it up for all of the materials I like to use and the materials that I'm going to use for this classy. I will see you soon. 3. Cutting Paper from Large Sheets: in this video. I'm just gonna quickly show you how I take large sheets of paper and cut them up into a manageable size. So I take my scissors, Uh, this big pack of papers from Arches. I got it from blick dot com, and it is 22 inches by 30 inches, and five of those sheets come in a pack. So I just take the big sheets. I cut them in half, and then I cut them in half again. And I do that, um, once more until I have about Oh, probably a little bit bigger than five by seven. Um, but this method works really well for me, especially as I'm just practicing and wanting to whip out some fun little small pieces. And then I have a paper cutter to the side of me. If you can see if I I'd wreck, which I'd recommend using. If you want to have straight edges, I just kind of eyeball it with scissors. But there you go. That's my method for cutting my own sheets from large sheets of paper. 4. Grip (How to hold your brush): before we start painting, let's talk just a little bit about grip. So by grip, I mean how toe Hold your paintbrush at different times. I think that it's sometimes confusing because you might be tempted or think that you hold a paintbrush like you do a pencil, and that is, for the most part, untrue. If you painted while holding your paint brush like a pencil, it'll be pretty difficult to do all the techniques we're going to practice in this class. Plus, you'd probably over time lose the coveted point on at the tip of your paintbrush. And we, as we talked about in the previous module, that the tip is always something you want to preserve as long as possible. So that speaks to number one as much as possible. You try never to. I use the paintbrush with a lot of pressure directly on the tip, so I would never use this round, paintbrush like and jam it into the paper. If ever I need to create dots or anything like that, I would hold it at an angle and create the dots like this so that I could preserve the tip as long as possible. And that brings me to my very first, my preferred, um, method of gripping the paintbrush. So just for the record, I normally hold a paper pencil like this. So I know most people hold a pencil like this with the pointer finger right on top, but I usually have my middle finger right on top, just cause it provides me a little bit more control. So the way that I hold a paintbrush in position number one is very similar to that just a little bit looser. So I usually hold the paintbrush a little bit, like toward the middle of the handle, but And instead of having my, um, fingers and my hand wrapped around it very tightly like this with my middle finger almost perpendicular to the handle, I hold it a little bit looser and have my fingers kind of spread out. And if I were, um, if I held my pencils with my pointer finger, it would probably look like this. And I hold it like this just so I'm not using too much pressure on my paintbrush, but also so that I can make wide strokes and, um, exert just amount of pressure, But still have enough flexibility and leverage to use the bristles all the way. So having a more loose grip position like this helps you, Teoh actually better control your paintbrush, especially with water cooler, because you're trying Teoh instead of control the paint. You're really just trying to guide it gently. So typically, this is my first position for holding a paintbrush. Okay, so Position one is with my pointer finger and my middle finger and my thumb wrapped around it, My other two fingers supporting it underneath. And I'm kind of all flexed out like this around the middle of the paint brush. And this is how I paint. Typically, if I'm painting sideways or big washes or trying to make loose strokes, this is the position that I use, and this is probably the position that I used most often. But the second position is just is important. So instead of holding it loose across the brush like this, the second position is more, um, a little bit more controlled. So Ah, the differences slight. Instead of having the handle rest gently between my pointer finger and my thumb, the handle is more above this knuckle right here And that's so that my pointer finger can have just a little bit more control over it. And this is the position that I use when I'm trying to paint, uh, specifically pretty detailed things. So I'm actually gonna paint for this one and demonstrate both of those positions too. So the 1st 1 the first position where I'm holding it pretty loose, the handle iss resting in this groove between my thumb and my pointer finger. Um, I would use this for big for big washes and like laying down some some paint and just generally letting loose and having fun with watercolor and letting the watercolor have fun with itself to, um So that's the position that I'd use for that for big washes. And then the second position, like we just talked about, is more for detail work. So I moved the the handle upright right here, and this is the position that I used to like paint leaves. I'm trying to paint some leaves, and I hold my paintbrush like this so that I can simultaneously keep my paintbrush at an angle to preserve the point, but also have enough control to gently guide my paintbrush across the paper. And when I'm painting with details, typically especially with like a larger brush where I have to preserve the point, I'm just pulling the paint brush across the paper. And that's what this position helps me do. Um, this also, this position also allows me to If I need to have even more control, I can move the handle further up my pointer finger and, um, move my hands a little bit further down, even onto the fair, you'll and have as much control as I need. Typically this, like second form of the second position. So if this is the first form of the second position where the handles resting above my knuckle, the second form is where it's resting in this second knuckle right here. And I typically use that, uh, I move it up a little bit so I can control better control the pressure, especially when I want to create very, very thin, thin lines. And so just slightly moving this paintbrush allows me Teoh, keep my paintbrush still and use it to create very fine details while still preserving this point. That's what the little amount of pressure, Um, where that little amount of pressure comes in handy because the least amount of pressure that I use while using the point the longer the point is going to stay. So that is the second position. And then the third position is one I use when I'm trying to get big washes. And I'm trying to go all the way down the paper. So instead of this is a completely different way to hold the paintbrush instead of holding it sideways. Ah, in my hand, sideways like this, I actually hold it. So the handle is in my poem and my fingers are wrapped around it just like this. If I were Teoh, live in JK Rollings magical world and use a magic wand. This is how I imagine I would hold it. Um and I typically use the paintbrush like this so that I can get big, wide washes across the expansive paper. And again, this angle is optimal for going from top to bottom with these big washes and keeping the paintbrush at an angle to preserve its point while still using the full, um, capacities of the belly of the brush, the bristles of the brush to get a nice smooth wash. So this is position number three with the handle in my palm just like this, and my pointer finger and my thumb on top onto the side of it so that I can control where the brushes going while still holding it almost completely flat against the paper so that I can preserve the point. So to wrap up position number one is where I have this loose, my fingers loosely around the middle of the brush to have some control when I'm doing big washes but also have a little control, as I am trying to get into the details. And then Position number two is where I moved the paintbrush slightly up on this second, this first knuckle right here so that I can use my papers to create specific shapes and more detail and then position to Point B two B is where I move it slightly up again to be up on the second knuckle to get even greater control over the details. And then Position three is holding the handle directly in my palm and using this position for big washes. So those are the three main grip positions that I use to paint with watercolors 5. Taking Care of Your Brushes: okay before we get started painting in the next module. I wanted to spend just a brief video talking about how to take care of your materials, particularly how to take care of your paintbrushes. When it comes to paper and paint, it's pretty easy to take care of thm paper. Obviously, you shouldn't get like more what than it needs to be. And if you are trying to take care of a painting after it's done, then you should probably frame it or put it somewhere where it's not going to get ruined. And as much as a paint can be light fast, I would still recommend not keeping it in direct sunlight, if possible, and paint. Ah, if it's in tubes, just make sure to fully close the cap when you're done. And if you put some paint in a pallet, I would just make sure that it dries out all the way before you put it in an air tight space. This palette is not air tight, so it doesn't really matter. But if you have an airtight palate, um, and you pour some, you squeeze some paint into it, then make sure it drives out all the way at least three or four days, I would say before you close that pallet because if there's any moisture left and you close it while it's airtight than mold will grow on the outsides of the paint. And, um, while that doesn't completely ruin the paint, you can scrape off the mold. It's pretty gross, so I would. That's how to take care of your paint if you're using an airtight palette. But really, the most important thing I want to talk about is how to take care of your paintbrushes because I think that these air very often overlooked and as a child as you are painting, you may have developed some bad habits, so that habit number one is using of your water cup to store your paintbrush. You may have done this lots of times. Pretend this is filled up with water. But if you were painting and decided to keep your paintbrush, just sitting bristles down in the water cup. That is a big no no, because remember how we talked about in the paintbrush deep dive that the shape and maintaining the shape of your paintbrush is so important to keeping up its quality, especially when it comes to keeping up the point. You want to try to preserve this point as long as possible, because the point on the top on your paintbrush is what allows you to create really thin lines and delicate details with your paintbrush and so it gives you It increases its longevity by a long time. But if you decide toe, keep your paint brush bristles down. In a jar like this, you're immediately going to ruin the like, not immediately but after. After a short amount of time, the point is going to be get less and less pointy, and you're gonna find it very difficult to get. Ah, the thin hairlines that make thes paintbrushes so high quality. So never keep your paint brush bristles down in water over for any period of time. Just never do it as you're painting. If you decide to switch brushes, just lay your paintbrush down flat like that, or if you would rather have something to put your paintbrush on, you can purchase what's called a brush rest. I have this little brush rest that I got from some Etsy shop a few years ago, and basically it's just something small with a little groove in it that you can keep to keep your paint brush off of your desk if you don't want to get the paint on your desk. But it's still flat, so it maintains the point and shape of your paintbrush. Um, and this is to keep it while it's painting. Now, after you're done painting, Ah, and before you put your paintbrushes away, make sure you let them dry flat by letting them dry flat and allow the water to evaporate on its own. Um, you are also maintaining the quality of the brush. If you like me, keep most of your paintbrushes in a mug like this. Um, so I keep my paintbrushes standing up on the handle like this if you keep him on the handle . If you store them like this without letting them dry first than water is going to seep into the fair, you'll remember this metal clasp into the fair. You'll and eventually it will loosen the bristles on your brush and ruin your brush. So before we don't want the water to seep down into the fair, you'll as much as possible. And so make sure to let them dry flat. Also, make sure to fully wash them after you're done painting so you don't have to. There is such a thing as watercolor brush soap. You don't need to purchase those soap cakes. I mean, I think I would maybe recommend washing your brushes with the soap once every few months. But really, the most important thing you need to do is wash it out with clean water. And, um, I would not just use the dirty model water from your mug as a significant source of clean water. Instead, I would walk over to your kitchen sink or your bathroom sink and hold your paintbrush under the sink and under a gentle stream of water, just kind of use your thumb and your forefinger gently to massage the bristles out from the ferry old outward through the belly of the brush, Um, and just to kind of gently make sure you shake loose any pigment from the paintbrush. Don't be too hard, though, when you're massaging the brush because that can loosen the bristles is well and ruin them . So, um, one more thing as you're painting is one you're trying to get the paint off of your brush while you're in the middle of a painting session. So let me just grab this monk right here. Um, you don't want to jam your paint brush all the way down to the bottom to loosen any of the pigment particles. You can kind of gently use the bottom or gently used the side to get off any paint particles. But if you do it too hard on the bristles of your paintbrush will again eventually come loose or the shape of your brush will. You will lose the shape of your brush. So one trick that I have and the other artists watercolor artists have is to get the pigment off of your brush, because sometimes it just doesn't work to shake it back and forth. It's to do a figure eight shape where an infinity loop in your in your water because it provides different directions for your paintbrush, and it is actually pretty effective at getting the pigment off of your brush without having to use the sides very often or the bottom very often so and then Once you've done that, then just go ahead and use a paper towel to gently wipe off your brush. And once you're done painting, ah, and you've gone to the sink to fully wash out the brushes. Best you can. Then just leave your paintbrushes toe. Lie flat on your desk, for I would say, probably a few hours. Usually I do about 12 hours. I let them dry flat on my desk before transferring them to the storage space where they sit handles up. If you want to avoid this altogether, though, you could store your paintbrushes flat in a drawer somewhere. Um, for me, that's just not super feasible because of space. But that is how to take care of your paintbrushes and how to take care of other materials that were going to use for watercolor. So I just wanted to give you that overview because I learned the hard way by ruining way too many brushes, um, making these mistakes. So if you just incorporate thes pretty simple care steps into your practice of painting, you can make your materials last a long, long time, and that's what I want for you. So thank you for watching, and I will see you in the next video 6. Filling Up a New Palette: in this tutorial, I'm gonna show you how I set up a brand new palette using a plastic pallet with 20 different wells and a bunch of tubed watercolor. So watercolor in tubes. I have an assortment here of Windsor Newton and Daniel Smith and I will go through the colors and my process and why I chose the different colors and, um, why I choose to organize them and lay them down in a specific way. All in this video. First, let's talk about the colors the I chose. So if I'm going to create an everyday palette, basically a pallet, I can pull out onto my desk every day and use for just about anything I'm going to paint. I would choose this 20 well, little plastic foldable palette from that I picked up from Blick art materials because it's compact, and it's small enough that it doesn't take up a ton of room. But it has thes nice mixing pallets in addition to the wells where your paint is gonna go, and I have found this to be a really handy palette, especially if you are trying to keep a budget because this folding plastic problem I think is about $5. So I just for reference. I've been using the same exact palette using various colors for about a year. I think this is last May. Actually, a little more than a year I've had to fill up a few of the wells again, but some of the wells I haven't used as often. So because of my experience with that old palette, I decided to make a new palette, knowing which colors I reached for often, which colors I didn't use very often. And so this is like a new and improved set of colors that I would definitely recommend you have on hand. Ah, you can see I've ordered it in a rainbow order. So let's start with the bottom first. I have my set of reds. Um, my set of reds and pinks, really, In this first little section, here are opera pink Quinn rose and permanent Red deep. I think that having all of these variations of pink and red can help me get some excellent mixing options there. And then for my orange section, I have Scarlet Lake, which is like a red, orange and Windsor orange, which is more of a light orange, Then towards the yellows. I have yellow Oakar and permanent yellow, deep and lemon yellow and then moving towards the green. I have Salo yellow, green and hooker's green. And these air, the more yellow greens. Which is why there blending into the yellows over here. So I organized all of these colors in the Roy G biv order, which is, if you don't know all of the colors in the rainbow. So, Roy, uh, roo, why Red, orange, yellow g for green bib, blue indigo, violet. And so this first, uh, this first half of my palate is our my reds, oranges, yellows and half of my greens. Then we move up here and this is a more neutral site it, but it's the other half of the rainbow. So I would say this has most of my bright colors and these air more of my neutral colors. So I'm starting with Prussian green right here, which is kind of like a blue green, but not quite as blue green as fallow turquoise right here, which is more traditional blue green, a really stunning turquoise color. And then we move on to the blues. So I have Prussian blue, which is probably my favorite everyday blue. Then in two Go, which is a darker blue and Payne's gray, which is like a navy blue, it probably has some black or grey pigments in there and then para lean. Violet is kind of like a maroon ish color and ultra marine violet deep is, ah, more traditional violet purple. And then finally, we have Thekla ASIC, neutrals, lamp black and burnt number, which is brown, and I actually switched the two so burns numbers here. He's got mixed up a little bit, apparently in violence here. And then I also like to have one well of white wash, even though gua sh doesn't really if you want it to be opaque, Um, I would use it while it's wet, but I like to have a dried well of white wash in case I want to make a tint of any of the colors that I'm using. So you make a tent of a color by adding white to it, and that can make some fun like pastel colors with all of the colors in this palette. So those are all the colors I'm using, and now let's get down to how I place them in the palate. So if I'm starting with oper pink on my colorful red orange yellow sides, then I'm just gonna twist off the cap of my opera pink. And I'm going to squeeze ah glob of this pink right into the palate right here. And you could squeeze any amount that you want, but to make it last, I would make it a decent sized club. So I'm squeezing a little bit of that opera pink into this palette, closing the cap, and then this is a trick that I learned. Um, this year, while I've been experimenting with this method, I'm just going to take the end of a paintbrush here. And, um, I'm going to push the paint into the size of the palate and just kind of flattened the paint on outside. So I don't wanna waste much of the paint, which is why I'm just using a handle. You can also use a brush if you want, um, like the bristles side. But I'm pushing the paint down to be a little more flat, And that's because when you're painting with watercolor, one of the most important qualities to maintain on your brushes. Is this point right here? When you have, when you can maintain the point on your paintbrush, then it less you bleed more flexible with your paint brush, and you can make a lot of really flying details. And one way to maintain this point to preserve it as long as possible is to never like jab into your your palate. And so if you can have your paint more on a flat, even surface, then you can pick up your paint more at an angle, as opposed to having to, like, jam it into the palate. So that's why I like to or rather I've decided for my pal. It's moving forward to once. I have the palate in the paint into the palate to smooth out as much as I can into more of a flat surface. So I'm just gonna go ahead and do that for all of the colors that we have. And there you go. Here is a brand new palette. The Onley thing left to do is to wait for it to dry. So typically, when I let my paint dry, I set it out for, uh, at least 24 hours. But honestly, I usually let it dry between two and three days. If you use this plastic pallet from Blick, it's not airtight. So you don't have to worry about, um, closing it, But because this proud the paint is still in liquid form, I would keep it open if I were you. So set it up on a high shelf or, um, somewhere where you're not gonna accidentally knock it over, especially within the 1st 24 hours, as the paint is still in this like liquid paste kind of form. But, um, once you let it dry for a few days, the paint is gonna shrink a little bit, so it's not gonna be quite as big inside the palates as it is now, But then it will be ready to use. And then the final step will be to swatch all of your colors so that you can have that color scheme in front of you whenever you pull out this palette. So I'm gonna let my palate dry for a few days, and then I will do the color Swatch. One note before I go let this dry first is initially I had Windsor Orange this light orange included in my lineup. But I decided to take it out, mostly because I think that this permanent yellow deep is kind of similar to Windsor Orange and, um, also disclaimer. I forgot it was in the lineup as I was filming this video. So ah, instead of Windsor Orange and messing up my rainbow color scheme here, I mean, of all the colors I could have for gotten this one was not important, which is why I forgot it. Um, but instead of Windsor, Orangi included Daniel Smith, Payne's gray, um, to add on to Windsor Newton's Payne's Gray. And that's because Daniel Smith Payne's gray is darker than Windsor Newton Payne's gray. Um, I honestly Daniel Smith Payne's gray is almost black, Um, and so I just thought it would be fun to have both of these two versions of Payne's Gray, especially because I know that they're different in my palette, and I use Payne's gray a lot, so it seemed like, Ah, in addition, that made a lot of sense. So over here, just to sum up before we let this dry over here we have our reds and pinks and then oranges and yellows and greens. Ah, and then some blues over here. So this one is turquoise, but the pressure in blue and indigo and then dark blues and purples with violets and Caroline Violet. And then finally, are neutrals with brown lamp black burnt umber lamp black and some white wash. Um, the white wash. Some of the binder. I came out in a little liquidy as I poured it in. So if that happens as your pen pouring in any of your paint, it's no big deal. You can totally makes the binder back in with the paint, and it will be completely fine. Um, so that's exactly what I did. And now I'm gonna let these guys dry before I used them again. So it's been a few days, and my palate is mostly dry. I would probably let it dry since it's it's been about 48 hours, and I think I would let it go, Um, maybe like 24 hours more before I think it's done. But I am ready to swatch it. It's dry enough so that I can swatch out the colors and see where I am, and then I'll let it dry s'more. So I'm just going to take my paintbrush and get it really wet and dip it in the first well , and then just paint a little square of oper pink to see what that looks like. And then I'm just going to do that with all of the colors right next to each other. And there you go. There is the swatch chart of this palette that will be like an everyday palette that I have to use. Um, sometimes I like to hang swatch charts above my desk or where I can see them so the I can see all of the different colors together when I'm deciding which ones to use. Um, they could just also be fun Mementos toe have if you, you know, throughout the years for memories as you keep changing your palate order and the colors that you keep in your palates. And, um so they can They can be kind of fun. So that wraps up this little tutorial on how to prepare a palette and start using it with 20 wells, 20 different colors. I hope this was helpful for you. 7. Prepping the Scene: before we can paint. I know that some of you may not have picked up some water color in ah, lot of years. And so even figuring out what to do when you first start might be a little confusing. So I'm gonna go through my process for how I get the paint going and, um, put it on the paper and how I prep my paper beforehand. So we talked a little bit about masking tape and I wanna say I don't always use masking tape to tape down my paper beforehand. Usually only do it if I'm going to have a big a big wash over my paper so that a lot of water color is going to sit on the paper Or if I know that I really want crisp lines cause also, occasionally I like to do big washes without tape just for the effect of the Messi strokes on the outside of the paintings. But just so that you know how to do it. Here is my method for putting down tape. Um and this comes from experience of being frustrated because, believe it or not, there is a frustrating way just to make sure you have masking tape or painter's tape or washi tape, any kind of tape that will be nice to your paper and then go ahead and put your tape down, as in a straight of Linus Possible. That's obviously not necessary. But it's helpful, especially if you're planning to use this painting to frame or to show off, and you want to have nice, clean, straight lines. That said, you could also want to frame something that doesn't have clean straight lines. Just know that, especially if there's a big wash on top of this paper. Once you take off the tape, you're going to see the white space underneath here. That's kind of framing the painting. So next you might like I did at first think that OK, I'll just put my tape on the next side over here, and here's why. You shouldn't do that. If you put your tape in the order of like, bottom side topside, where you just go sequentially like that, then you're going to have this piece of tape is gonna be on top of this piece of tape. But the tape up here is gonna be on top of this one and so they're all going to stick together. And when you eventually take off the tape, it's gonna be hard to take them off one at a time. And so to avoid that, I always do, um, pieces of tape that are parallel to each other first, so either top and bottom and then side to side or side to side and then top and bottom. But that way the pieces of tape aren't sticking to each other. So that are rather aren't overlapping on different ends so that you can take off the pieces of tape individually without worrying about accidentally lifting another piece of tape. And as you're putting on the tape, I would just try to maintain the same distance, the same whitespace edge around your paper. Um, this just takes practice. I don't measure it usually just kind of eyeball it, Um, and I don't always get it exactly right. It doesn't have to be exactly right, and you don't even have to really care about that. But what I would recommend is putting your tape down so there's about half a niche of white space around, um, you're painting area, and that's just so it keeps the paper a little more taught. If you don't want that much white space because this much white space may show up in a frame, Um, then you could do, you know, just like a centimeter around the edges. But note that the less white space, the less paper you're covering are covering up with your tape, the less taught the paper is going to be. So the more white space you can cover, the more flat your paper is going to stay. And that that's why I usually do about half an inch, maybe 1/3 of an inch, four paintings that if I don't really have a specific need for that smaller frame edge. Now I'm going to show you how to activate your palate. As I discussed in the introduction video off to the side of my painting area. I have two mugs full of water and one I keep clean and or at least try Teoh, and one is like my dirty water. And if I'm painting for ah while, then sometimes I have to go on replace my dirty water. But usually you don't have to do that for a while, because even if your water looks dirty. It might not be dirty enough to really fully tent your paint or mess up your blends, but I always have, Ah, cup of clean water, for sure, so that I can have clean water to use to make my pigments more vibrant and more pure as much as I can. And then I have a paper towel off to the side to blocked off any water or excess pigment. As I'm painting first things first, pick up a paintbrush if you have a size zero size six or size 10. Ah, the three sizes that I recommended earlier. I would probably pick up a size six size sixes. I would say like an average sized paintbrush, and next take your water and just give your paintbrush a little swirl in the water. Just toe. Make sure you pick up a little bit off. You get your bristles pretty wet, and then you can just kind of lightly um, pull your paintbrush to the side of your mug to get off a few access droplets. Don't do this too hard. Ah, we talked about this in the brush care video in Module one, but you don't want to do this too hard, Teoh, Help take care of your brush. But you can do it a slightly to get off any excess water. And then once you have that done your paintbrushes ready to paint. But what about the paint? If you start trying to pick up pigment with ah without, like getting it wet first or just with this wet brush, you're gonna be able to pick some up. But it might not be as what as you want. So my recommendation is to with your paintbrush kind of dip it in your water and then leave some droplets on whichever well you're planning to use and then mix those droplets in with the paint to make almost like a little puddle in the well of paint. And that is when in my in my experience, your paint is really ready to paint with. So once you do that, then you just kind of go ahead and start painting on your piece of paper instead of using your paintbrush to transfer droplets of water into each individual. Well, you can also get a spray bottle if you have one and just kind of lightly spray across your palate, too. Get your Get your paints ready to go. Just a few light sprays across the paint. Teoh, activate it a little bit before you get started so that your paint, um, is nice and smooth when you're ready to pick it up. So once you do that and then you dip your paintbrush in your water, that's off to the side here. And, um, the water that's on the paint well, in addition to the water that's on your paintbrush is going to make your paint ready to go . So when you first start painting on the dry paper, you might find that you get some like streaky brushstrokes. That's because you don't have tons of water on there yet. And so if you want to get the more classic, like, really watery water coloring textures, we're gonna talk more about that in this course. But the key to that is always more water. So either more water on your paintbrush as you go Teoh paint as you go to pick up more paint or more water, transfer more water to the paint well itself, and just leave it there to create like a little puddle in your paint Well, um, or more water on your paper. And sometimes you can do that by, um, like taking off your paint, getting your paint brush clean in the water and then just painting with water and adding more water to the paint on your piece of paper. Throughout this course, we're going to discuss everything we've talked about in this video more in depth, including water control and painting on dry paper versus painting on wet paper. Um, and so if you're still a little confused about the techniques I'm talking about, don't worry, because this lesson really was just a overview on how to prep your palate beforehand and how Teoh actually get started once you've picked up your paintbrush. So with that, I'm just gonna wash off my paintbrush like we talked about in the brush care video. I'm just going to swirl it around in a figure eight to get off the pigment and then lightly top it to the side. And then um used my paper towel to, oh, at an angle to get off any excess water and lace, lay my paintbrush down flat to dry. So thanks for watching this getting started video. And now let's move right along to some basic techniques 8. The Wet-on-Dry Technique: Now that you know how to hold your paintbrush, let's put that knowledge into action by discussing the very basic techniques of watercolor . First up and this lesson we're going to talk about the wet on dry. The wet on dry technique is what happens when you use watercolor, which is inherently wet. So that's the first wet in the wet on dry technique to paint on dry paper. So I think that, at least for me, when I first started painting, the wet on dry technique is typically what I thought about when I thought about painting. The paper is usually dry right, and you use the paintbrush. Teoh control exactly where the water color paint is going to go. The wet on dry technique is characterized by really crisp defined lines and keeping the watercolor contained wherever your paintbrush goes. This technique allows you the most control over your subject matter what you're painting and where your paint goes, and this technique is typically how you create very crisp details. And, um, you often use it in conjunction with layers and layering so that you can create really complex and uh, complex pieces that have a lot of depth and intricacy. So the trick with the wet on dry technique is that even as you're painting with dry paper, it's important to think about how much water is on your paintbrush and in the paint that you're using, because that will dictate what the result will be as you're painting on the dry paper. So if you use paint and a paintbrush that has that have a lot of water, you're going to get a really water coloring blend or, um, wash or whatever subject you're trying to paint right. And wherever you put the paint down, it's going to stay watery for a little bit. Um, and that makes it more malleable as you combine other techniques. But if you don't have that much water, um, either on your paintbrush or in your paint, then what happens is you can get, um, kind of streaky. Um, this rough texture. Often this is called the dry brush technique. If you're using it on purpose to create this kind of streaky kind of stroke on your paper by using a an almost dry brush, and this could be a really good way to provide texture into your peace if that's what you want. But if you don't want this kind of streaky, uneven stroke or texture than it's important to note, this Onley happens when there's not enough water in your paint or on your paintbrush. So if you're painting and you really want more of a smooth water coloring wash like on ah, some of the other ones we painted earlier in this video, then you need to add more water either to your palate where your paint is, or you need to maintain more water on your paintbrush. So that's the wet on dry technique using wet paint. Because watercolor paint is always wet to paint on a dry surface, usually it's paper, Um, and the wet on dry technique creates crisp lines and details because the paint on Lee goes where your paintbrush tells it to go. So with that, let's move on to the next basic technique. 9. The Wet-on-Wet Technique: next up, let's discuss the second most basic watercolor technique. It's called the wet on wet technique, similar to the wet on dry technique we start with A. It starts with wet watercolor. But before you lay the watercolor down the paper that your painting on, or whatever surface that you're painting on is already wet, so that can be wet with paint. Or it can be wet with clean water. Either way, when you paint using the wet on wet technique, the paint no longer has any ah limitations as to where it can go anywhere on the wet surface, so as opposed to the wet on dry technique where the paint on Lee stays where your paintbrush tells it to go. The wet on wet technique allows water color paint. Teoh naturally explore where it wants to go, as long as it's going wherever the papers went. So that's one important rule to remember about watercolor in general is it always wants to go and explore where there's water where your paper is wet and, um, the wet on wet technique. Painting on a wet surface allows the watercolor paints to kind of bloom and soften and blend into your paper. And if you're painting on ah surface of your paper that's already wet with paint rather than just with water, it allows colors to blend together and into each other, and this knowledge is going to be very important throughout, um, your watercolor painting. In my opinion, the wet on wet technique is really what defines watercolor and sets it apart from every other painting medium. And it is the most tricky part of watercolor because it is much less about controlling where your paintbrush goes and developing skill in forming exact structures. And it's much more about embracing imperfection and seeing the beauty in art as it naturally happens. And in my experience anyway, the more you try to exactly control watercolor in the wet on wet technique, the more of, ah muddled mess you're going to get one you gently instead of controlling water color. If you just gently guide it in the wet on wet technique, knowing some of the rules that we're going to keep discussing, then you're going to come up with stunning results. The wet on wet technique I find is also helpful if you're looking to use water color as a form of relaxation and creating beautiful blends that are just a delight to paint. Um, watching watercolor blend in with itself is probably one of the most relaxing things I can think of. And so if you're looking, if you're ever looking for a way to de stress and watch beauty in action, the wet on wet technique with watercolor is typically how I would do that. So that is the basics off the wet on wet technique painting on a wet surface. One other thing important to note is that not all wet surfaces are created equally, so you can have, depending on the amount of water that you are using, and the water can either be on your paintbrush, on the paper or in your paint. Depending on the amount of water that you're using, You can, um, create different kinds of blends. So I would say that this blend right here is pretty typical where there's not really a whole lot of form to the watercolor. It's moving around on this what surface, but it's not out of control. You can still see some places where the white spaces showing through so the paint's not infiltrating everywhere. Um, but it's infiltrating enough that it didn't keep the shape that I made when I first painted inside of it. So this is I mean, I don't want toe claret. Classify anything as normal per se, but, um, this is probably like a decent medium amount of water where I got the paper. What enough that it stayed wet for over a minute. And the paint can move about fairly freely. Um, but it's not out of control. That's not the Onley version of the wet on wet technique that you can paint, though. So if that was a quote unquote normal amount of water, you can also use even more water and even less water. And both of those give you varying amounts of control. So generally, one thing I would say is that the more water you have on your paper, the less control you have over where the paint goes. So, um, I'm getting this paper really wet. It's almost puddling on the paper. My water is, and so now I'm going to pick up some paint and you see how, instead of blooming like exploding onto the paper, the paint is just kind of sitting on top of the paper, just kind of sitting and swirling inside the water that's on top of the paper. And that's what happens when you have too much water when you have so much water that it just kind of puddles. If you can see puddles on your paper, then that's typically too much water. Um four. Watercolor? A. Because if your paper, especially if you're using professional grade 100% cotton paper. Uh, if your paper is not thick enough to withstand, um, Teoh, soak in this water all at once, then it's too much water for professional grade paper. I will make a note that if you're using student grade paper, you get more puddles than you would with professional grade paper. But they're still not good to have around because the paint doesn't stick to the paper. The paint just kind of moves around on, uh, in the water that's resting on top of the paper and puddles us also make it so that, um if especially if you pull it see, look how I had the paint all in different areas. But now that I've tipped the water so gravity pulls all of the water toward the end of this section. That's also where most of the pigment is to, and so because we know that watercolor wants to be where the water is. If there's too much water on the paper, it's not even going to stick to the paper until this dries. Um, and that's not It's really tricky to paint with watercolor that way, unless you want to create, you know, do what I'm doing and put a bunch of water, ah, bunch of colors in a big puddle like this and kind of swirl them all together. That could be an interesting experiment, and it can be fun. But typically, I try to avoid puddles as much as possible if I'm trying to paint something very specific. So that's what happens when you have too much water. But what happens when you have too little? If you want to create something, um, that has that is slightly blurry, so it's not quite as defined as if you're using just a straight wet on wet technique. But, um, you didn't want it to have quite the chaotic um, blend that happens when you use, like, ah, normal amounts of water right, like with this piece that we did earlier. Then, um, what I would do is put a put down a wash of water and then wait for a few seconds, maybe, like 30 seconds. If you're using professional grade Weston that if you're using student grade and then paint right on top off that water of that paper so you see how it's still wet. My paper is still wet, and as I'm painting on here, I get those fuzzy edges, those blurry edges that are characteristic of the wet on wet technique. It's not maintaining crisp defined lines, but it's still keeping my line as opposed to this wash. Over here, these lines air blurry, but they're very clearly still lines. And so that's what happens when I use very little water. Um, both in my painting on my paper via the wet on wet technique, I can get fuzzy lines like this. Blurry lines, blurry shapes doesn't have to be lines. Um, that's still, for the most part, hold their form, So those are the three kind of varying stages of water control. When you're using the wet on wet technique, I would definitely spend a lot of time experimenting because the wet on wet technique as I mentioned before is in my mind the defining characteristic that sets watercolor apart from other paint mediums. And as you master the what on what technique, you can unlock the potential of your watercolor artistry. Teoh. An infinite degree. One thing about having too much water. If you find yourself having puddles in your piece and on your paper and you're not sure what to do about it, you can use a Q tip or a paper towel and just kind of mop up the puddle and mop up the excess water. And once you do that, then you should have enough water left over to maintain the wet on wet technique. If not, you cannot just a tiny bit more and use it to form. You know what it is you were trying to do. The wash the soft washer blends without having the chaos of too much water that causes the painting artistic to the paper. So a Q tip or a paper towel or anything else to just mop up the puddles and move right along. So that's the wet on wet technique. And now let's move right along 10. Glazing: next up, let's talk about another basic techniques of watercolor called glazing. This technique is when you paint on a layer of water color that's already dry. So one of the characteristics of particularly professional grade water color paint is it maintains permanence on once it's dry, and that means that one you paint on top of it after it's already dry. It's not going Teoh reactivate. Its not going to get blurry again. One caveat I will note is if you use a lot of pigment, so a lot of color and you don't wait for it to dry for a long time. Like if it's only been a little bit dry, or if you used a dryer to dry it and try to paint on top of it right then some of the pigment might shake loose. But for the most part, if you have just a fine wash of paint and then you paint right on top of it after it's dry , then the bottom layer is going to stay dry and keep those crisp lines. And glazing is what happens when you paint on top of that dry layer, and particularly when you use that dry layer and watercolors transparency to your advantage to create something new so different from a lot of other kinds of paints. Watercolor has a transparency because of its reliance on water. Right, So the transparency, meaning you can see usually depending on how dark of a pigment you're using, you can see the layers underneath. Um, whatever your painting and glazing is helpful. If you want to utilize watercolors, transparency, Teoh, create new subjects or change colors or to create complexity in your piece. So with this, um, painting just now, my blue circle was already dry, and so I painted a yellow circle right on top of it. And that allowed me to create this little middle portion of green because yellow and blue together make green right and because of yellows, transparency and blues transparency, instead of just seeing yellow on top of this blue, I have blended the two colors together in two separate layers. And that is one of the most important ways that you can use glazing in watercolor painting , utilizing different colors of layers, Um, and using glazing to make even more colors come through and have even more complexity and depth to your pieces with those different colors, just as an extension of that, I have this slightly orange wash right here, and so to show you what I mean by glazing glazing is one. You paint on a layer of water color that's already dry, and you can use either the wet on wet technique or the wet on dry techniques. So, like I, um, meaning. Instead of just painting on this dry layer of water color, I can get it wet first and then use my layers that way and try a used the wet on wet technique. And one way that I like to do that is with Grady INTs or sunsets. Um, if you have a layer that's already dry, you can use the wet on wet technique to create a second layer right on top of the first dry layer toe. Help create a smooth, radiant meaning, a transition, a smooth transition from one color to the next. And, um, when I paint sunsets, this is a way that I do it a lot, and we're going to talk a little bit more about this technique and about greedy INTs later on in the course. But I just wanted to demonstrate to you how this is glazing. It's glazing because, first of all, I'm painting on an already dry layer underneath. But I'm also using the paint, uh, to create this blended portion off this Grady int that I'm creating so that it starts with this like earthy, brownish orange. And then I have a middle color in between before I get to the bright pink on top. And that's what glazing and the transparency of water helps me to dio. Glazing at its core, though, is still painting on an already dry surface, and so on an already dry layer of water color paint. It's just what happens when you paint multiple layers on top of each other, and so you don't necessarily have to, Um, always be utilizing different colors. Uh, instead, you can just see glazing as breaking down watercolor into different layers so you can create Ah, what you want one layer at a time. You don't have to do everything all at once, and that's what's true with this little illustrated leaf so I can paint my watercolor leaf and then let it dry and then paint veins right on top of it. and this is also glazing because I'm painting on a dry layer of watercolor with more water color paint, so that wraps up our basic overview of glazing in watercolor and Teoh. Sum up. Basically, it's using watercolors. Transparency, Teoh your advantage by using multiple layers, Teoh bring out the depth and complexity of a peace, and at its root, it's painting on top of a dry layer of water color. And so glazing is really important in terms of putting together the two basic techniques. The wet on wet and the wet on dry technique and building complex pieces on top of each other. Glazing is an especially important topic to remember for water color, because using layers and watercolor is slightly trickier than with opaque paints like acrylic, orc wash or oils with watercolor. Because of its transparency, you have to be careful about how you layer things and in what order. But watercolor, also because of its transparency, has an incredible potential for amazing emotional depth and vibrancy, and we're going to unlock ah lot of that potential in this class. So that is my lesson on the intro to glazing and I will see you in the next lesson 11. Project #1: Relaxing Patterns: in this video, we're going to paint some fun patterns and do some fun exercises using all the techniques that we've learned in this module. So the wet on dry technique, the wet on wet technique and glazing. So this lesson has just little tutorials for four different patterns that I think are really fun to paint and ah, fun way to explore color and shape and movement of watercolor. So let's get into first. I'm going to start with some fun with the wet on wet technique. So to get started, I tapes down this piece of paper, and I'm going to use my number 10 brush and getting it wet. And I am going to make an array of colors basically in stripes across my paper. Some of these stripes I'm going to activate on wet paper, and some of them I'm going Teoh paint at first on dry paper, but then watch the colors blend together as I paint next to them. So I will show you exactly what I mean right now. So I'm just getting the top like fourth of my paper wet with water right now, and then I'm going to pick just in General, if you're trying to dio colors that blend well together, colors that are next to each other on the rainbow always blend really well. And I talk a little bit about that more in the color theory portion of this course. But for now, just remember that colors that are next to each other on the rainbow always blend together . Really? Well, I'm just gonna I got my paper wet, and I'm just gonna paint a little stripe in the wet paper just like that, and then wash off my paintbrush. Notice how the stripe in the wet paper is blurry around the edges. That's because we're using the wet on wet technique, right? Eso the paint doesn't have to stay in crisp, clear lines. It can move around and be a little blurry. So now I'm gonna pick up some of this red over here this dark red and just right next to that first blurry line leaving a tiny little bit of white space. I'm gonna paint another line, and I'm just going to keep doing that going cross my palate until I get to this Quinn Quinn Rose right here. And then I'm gonna go back to the purple and Quinn Rose. So this is gonna be just a little pattern off wet on wet Redd's. I'm going to go back to pair a lean violet, which is like a maroon color, and I'm just painting these wet on wet stripes right next to each other. Eso I'm on the wet paper already and watching as how the stripes blend in with the paper and kind of blend in with each other. Right? So here's my last one. It's gonna be kind of like 1/2 1 where some of it goes on the tape also. Okay, so there's my first layer. And now, instead of doing getting my paper wet first I'm going to paint on dry paper. Now I'm going to paint a little swatch, but I'm gonna paint on dry paper first, make sure it's really watery, so it doesn't dry immediately after I start painting it, and you can just have a touch the top of that wet area if you want. And then while it's still wet, I'm going to pick up, um, the next color on my palette, and I'm going to paint right into it, so it's kind of like I'm making an extension of the first color. And because of the wet on what technique, those colors will blend together. So there's yellow, and I'm gonna pick up some greens and do the same thing, the same kind of pattern. Just blend it right into the wet surface while that little stripe is still wet. And so I want to make sure that this is still wet before I move on and pick up another green and just blend it right into that wet stripe. And so, even though I'm painting on dry paper, I'm getting a blend in between these stripes because I'm pushing, basically extending the wet area of the paper with my paintbrush using wet watercolor. So I'm gonna do a little bit, have just a little bit of a darker grain on, then go back to yellow Oakar over here and keep doing pushing, just pushing into the previous stroke just like that, and we're done so that method making stripes is one of my favorites. Teoh make this like, ah, single blended stripe all the way across my paper. Now let's practice making stripes without completely blending them, but having them just barely touch. So I'm going. Teoh, use this hooker's green to start and then go right into my blues. Ah, over here. So I'm gonna make a stripe, just like a single stripe like that. Wash off my pink rush. I make sure that strike, that single stripe is still wet before you go and I'm picking up my next color, which is Prussian green. And then I'm gonna make another stripe and have it just barely touch the stripe next to it by, you know, moving your papers just slightly into that other stripe so that they're blending together in that one place. But they're still maintaining their own space. Their own, um, striped shape. Because of the wet on dry technique. Wherever the paper is dry, though, those stripes you're going to maintain their shape. So next I'm going to pick up some of this fallow turquoise. And as you're painting these stripes, try to, um, make the places where they touch different and make the size and the slight shape, like the width and the length of the stripes different. Also, that variation is going to really provide, um, some fun play for the eyes as you're looking at this. So that's just one thing when you're painting patterns like this to pay attention to, um, so I'm doing four colors. So I did Hooker's green to start non going back to Factor Hooker's green. And so some of my stripes like that one was a little sideways. And it touched this blue stripe in two places. And maybe this Prussian green one. I'll have be a little shorter and just haven't touched at the top. But see how, especially when you just touch in like one specific place you get A. Really. You get a cool view of how colors blend into each other and bleed into each other. So a bleed is what happens is really what we're practicing right here, where you let the colors just naturally move into each other. And it's not in, um, like, unorganized, smooth way. It looks more like like a burst or ah, a slight bleed into that next shape. So that's what this particular shape and warm up is helpful for. Um, so there's my blue stripe and then back to green. I'm just pushing that one down, always consciously trying to add some complexity and diversity so I'm gonna make that one a little sideways, and then I have just one more room for one more strike just like that. Okay, so there is our third striped pattern using, um, the wet on dry technique and the wet on wet technique having these slightly bleed into each other. And now, for our last little warm of exercise, we're going to try to utilize glazing to complete this, um, page full of stripes. And if you recall, glazing means painting on layers that are already dry, and so this is gonna take a little bit longer to paint, because either you're gonna have to wait for the shapes to dry or if you have, ah, heat tool like an embossing he tool that I have. Sometimes hairdryers also work. Um, you can dry the layers in between, but just know that that's what's going on. So I'm going to move right along from this blue to indigo, and I'm going to paint a square. Ah, a little stripe like we've been doing. And then I'm going to let this dry before I move on. Okay, so that square is dry, so I'm going to pick up the next color in our sequence, which is Payne's gray, and I'm going to paint right on top of it, kind of at an angle and paint another rectangle. And, um, I'm going to make sure because this is Payne's gray. It's a little darker than Indigo, so I'm not going to use Ah Thanh of pigment because I want the transparency to show through . So I'm going to leave it just like that and continue painting in this way wedding each rectangle dry and then going on to paint the next right on top of it. Okay, and there we go. Um, I'm going Teoh, zoom in a little bit so you can see all of the layers that we created with the's glazed rectangles. So here are these rectangles that we painted using glazing so that you can see all of the shapes underneath. Um, and that has made possible because of water cars, transparency. And while we're at it, here is an up close look off all of the other patterns that we created in this lesson. So using the wet on wet technique and the wet on wet technique on dry paper and the wet on dry with just a little bit of wet on wet bleeds and then some glazed rectangles. These are all really fun patterns to practice and fund warmups to do If you're trying to get into color play and I hope you enjoyed it, so I will see you in the next video. 12. Project #2: Aspen Tree: We've learned a little bit about the wet on wet technique and the wet on dry technique, and now, just so we can cement that in your brain, let's let's try putting it into practice by painting on up close view of the trunk of an aspen tree. So first we're going to start with a layer of wet on wet. So take your number 10 brush and just paint the middle section of a trunk of a tree so basically painted like uh, it's a rectangle with rounded edges is what I would say and then fill that hole rectangle in with water. So because we're using the wet on what technique we're gonna paint on wet paper. And that's technique is going to allow us to lay down the first layer of the subtle contrast in the bark on an aspen tree. Along the border of this wet trunks, you can see where it's wet. It's shining, the light shining on it and the dry paper. We're just going to, um, glide. Gently pull our brush along the edges, allowing the paint to move in toward the wet area of the trunk. And if you'll remember, we talked about the wet on wet technique means that water color wants to move wherever it's wet. And so because Onley one side of this trunk where we're painting is wet. That's the only place that the water pour. Color paint is going to move, so just toe blend this paint and a little bit more. I washed off my paint and I picked up some clean water from my cup. And I'm just kind of manually blending in this paint by like tapping in the pigmented areas , always at an angle. To maintain the point of my brush, I'm tapping in the pigmented areas just to move the paint outward a little bit. One thing to note, as you are painting is the trunk of your tree may dry before you get a chance to paint it all. And if that happens, no worries. Just re wet it with, um, some more water before you get going. You want to make sure that you re went to your paper before you start painting. If it starts to dry, because if you start painting on it while it's dry, of course, you're not going to get those blended pigments on the trunk, right? It's going to look like dry, dry lines. And once you've painted on the dry paper, it's going to be tricky to make it look like the wet on wet technique again. So re wedding your paper keeping track of what parts are wet and what parts are dry is going to be an important part of this process. So once you've re what your paper just continue doing exactly what we were doing on both sides. So this side and then on this side on both sides of the trunk by gently pulling up your brush that has a little bit of the pigment and pulling it Oh, just along the very edge of this wet space and then washing it off and was clean water manually blending in this paint into the wet trunk area. Okay, when you have both sides of the trunk outlined in the dark color, then it's time to We're going to keep painting, using the wet on wet technique so you still want your trunk to be a little damp, but this time pick up some slightly more pigmented paint. So over in my palette right here, here's my Payne's gray I'm picking up some slightly more pigmented paint and then along the trunk in various areas, paint lines extending, um, toward the middle of the trunk. And because we're still using the what? On what technique? We want them to be blooming, um, outward like clouding up exactly like they're doing. So just paint some lines so that we can get thes blurry lines. You can do a few long ones like this, um, but also make sure to do some short ones. So what we're doing, remember, is painting the bark on an aspen tree and aspen trees have this really unique look right where the bark is kind of white with, um, black or dark, um, textured cracks in it almost. And so, in order to capture that texture, we're gonna do some wet on wet lines and some wet on dry lines, and we're gonna do them in different layers. And so that's exactly what's happening right now. This is the wet on wet line so that we can get some of the cracks in the bark to capture the effect of the cracks in the bark that are like, um, have tendrils seeping up. Um, and there aren't quite defined. Using the wet on wet technique Teoh have give a loose representation of that effect is, um, a fun way. Teoh. Try to capture the magic of thes aspen trees. Once you have painted different sizes and different shapes of lines, let's just do one Worrell. So aspen trees have, like little eyes like little World sometimes. And so on this line, I'm just gonna paint like a circle basically, so that there's just a little I in the trunk of this aspen tree, and we're gonna make it a little more defined in the next layer. So after you're done with this layer, let it dry, and then we'll move on to using the wet on dry technique. Want to? Your painting is dry. We're going to use a smaller detail brush. So this is a size zero and still using Payne's gray. We're gonna paint somethin wet on dry lines. Now remember that wet on dry. If we're gonna use the wet on dry technique, it means we want thin. Clearly defined well doesn't have to be thin, but we want clearly defined shapes and lines and because the papers dry, we know that the paint is on. Lee going to go. Where are paintbrush? Tells it to go. So using very thin lines. And when you want to make thin lines, it means you're using very little pressure. Just paint some little cracks along the side of this trunk. It can be on top of the wet on wet texture that we created or it can be elsewhere, and it doesn't have to just be along the side. Some of them can be through the middle as well. Um, I really wouldn't pay too much attention to the composition, so much of where the lines are because this is one of my favorite things about nature. Uh, trees are not perfect. He, um, look kind of crazy and understood. Trying to exactly replicate that is just going to cause probably a little frustration, especially if you're a beginner. So I prefer to just kind of lean into the imperfection and paint wherever and just kind of let my hand land at various places without paying too much attention to where I am. Um so just paint a few lines. Few what on dry lines just like that. And, ah, in some places, I do have a specific pattern that I want to create their own. That's particular to this world. So the eye of this aspen tree I'm just going to use see curves a little bit to make it look like there's a little I coming out of here. And using the wet on dry technique on top of the wet on wet technique creates this really cool. Ah, depth to the peace. And, um, this texture is helping Teoh. This kind of rough texture is helping to make this tree looks slightly more realistic, even though I would probably call this more of a loose form of watercolor. And there you go. Here is the an up close representation of and asked the trunk of an aspen tree, and we used it using the wet on wet technique for the base to create thes uh, this blurry background. And we outlined the edges of a wet on wet trunk so that we can help shape create like, this rounded kind of shape of the tree trunk by going from a subtle dark to light radiant on the inside. And then the white of the paper Act, says the white of the Aspen tree bark, right? So then we just needed to add some of the little cracks and the details along the bark to create this whole effect. And we enhanced those cracks with wet on dry and marks all along the trunk here. So this is a good project to help you practice using the wet on wet technique in specific ways with boundaries and using the wet on wet and wet on dry techniques together in the same painting, which is how all paintings air formed, as I talked about earlier. So thank you for joining me for this project and let's move right along. 13. Project #3: Mosaic: in this watercolor tutorial, we're going to practice making a mixed media mosaic using some skinny washi tape, um, and AR watercolors and some gel pin. So first, after you've taped down your sheet of paper with normal masking tape, take some skinny masking tape or skinny washing tape or some skinny tape that will be nice to paper and make some kind of geometric design on your paper. I didn't have a plan in mind before I put down the tape. I just kind of laid down some lines and got going. Once you have the tape down, take some clean water and get your paper completely wet on even on top of the tape. So I usually use my big number 10 brush or bigger for washes like this to put down some paper. And make sure to ah, as you're going over the tape, that you're using your paintbrush at an angle so that your bristles don't catch on the tape . Andrew in your brush. So after their waters down, you can start laying down the paint, and there are basically two ways you can do this. You can go one shape at a time, like I'm doing in this one? You can, um, stay within the confines of one triangle or parallelogram or whatever it is that you've made and use the wet on what technique to create some fun blends. Or you can paint all across the tape, um, and just painted like a big wash of color on top of your paint. What really matters here is making sure that you're keeping your paper wet, making sure that it doesn't dry before you get a chance to, um, create some blends. And another thing that matters is to make sure that your color blends are, um, they look nice. So eso paying attention to What color's your mixing? Where? Ah, trying not to makes complementary colors as much as possible. Um, in the square on the left, I mixed green and orange, which don't really go well together, um, at least as well as other colors. But I think it provides an okay contrast and and it was fine. So if you do accidentally makes colors that might not create like the prettiest of blends, that's totally fine. It there's no rule that says you have to create, um, use analogous colors together to create color blends. So just put these colors together, using the wet on what technique and, um, using, you know, strokes of clean water, sometimes to blend the colors together. That's kind of what I did when I put the green and pink together in the top, right, because usually green and pink do not go well together, cause green and red are complementary, right? But in order to kind of make that greedy int work, I used a wet brush. Teoh put a buffer in between those two colors. So, um, once you have put all your colors down, use a Q tip to mop up any excess paint or any excess puddles. Any extra things that you might see and then let your painting dry. Um, so I'm using a heat gun here because I don't always have patients toe. Let my paintings dry on their own. Eso I'm just It usually takes me, I would say about 2 to 3 minutes of painting, uh, maybe, like six inches or so of painting drying six inches or so away from the paper. Teoh get my paper fully dry, and sometimes I don't get it completely dry, so I have to go over it again like I'm doing here. Um, but once I see the paper start to, like, shift and move and bend to flatten again, usually warps a little bit and then kind of flattens. And then, um then I know it's dry and I give it up just a little stroke. So after it's dry, take a white gel pen. And I'm also using a gold gel pin throughout this and just trying to draw some patterns right on top of the water color in the shapes that you have made using the washi tape. So in one triangle, I may just a little grid pattern in this, um, kind of parallelogram kind of shape. I'm doing some line drawn florals if you I don't have tons of tutorials, online drawn florals. But I know a lot of artists who do so I will link my favor. Artists who to line drawn florals in the resource is section of this lesson. Um, but I draw some line drawn florals and then some polka dots with the white gel pen in another, and then I'm going to pick up my gold gel pen. Once I'm done drawing some polka dots in this triangle. I'm gonna pick up my gold gel pen and paint some more polka dots. I say paint, draw in some more polka dots in a different in a different triangle. And then once I'm done with the polka dots, the gold ones, I'm going Teoh, do one more geometric shape with the gold gel pen and I'm going to draw some lines. Um, not in a grid pattern. Just some vertical lines in kind of a scribble e, um, scrawl kind of way. So, like, not straight. They're kind of messy lines. But I'm just gonna draw those right on top of that little triangle, and then I'm gonna leave the rest of the shapes. Um, just paint. So once I'm done drawing on the inside of the shapes, then it's time for the best part. The tape peel. So go ahead and take off your tape and reveal the white space of the paper underneath separating thes fund geometric designs that you've made with, um your paint and your gel pens this technique making a mosaic out of watercolor and other mixed media. So Joe opens that I use is a really fun way to just play, to play around with color blends and play around with shapes. And then, um, using the white space toe reveal something really beautiful that stands out and is just so fun and playful toe look at. So this is one of my very favorite methods of experimenting and playing with watercolor, and I hope that you enjoyed it. So let's take a quick look at some of these patterns, and I will see you next time. 14. Recap: thank you so much for joining me for my watercolor for beginners class. I hope that you enjoyed yourself. And I hope that you learned a little bit about watercolor and a little bit about yourself. I think that watercolor such a versatile medium and personally, it helped me learn Teoh, embrace my imperfection and learn from supposed failures and figure out how to move forward despite or maybe because of all of the chaos of the world brings watercolors. Magic lies precisely in the fact that it cannot be controlled. And that's what I love so much about it. Watercolor helped me to embrace my own imperfections and love myself and my art for exactly what it waas. And I hope that this class helped you along your journey and helped you embracing. Swore your creativity just a little bit more. If you want to keep learning for me, you, uh I have lots of other classes on skill share, and I also have other resource is and tutorials on instagram and YouTube. You can check out my instagram. My handle is this writing desk and you can check out my other work at www dot this writing desk dot com. Um, and finally, if you want to share any of the projects that you've practiced in this class, I would love to see them. Please, please post them to the project gallery right in skill share. And I will be happy to leave a comment and leave you some feedback. You can also feel free to start a discussion if you have any more questions. And if you decide that you want to post your work to instagram or anywhere else just to make sure to tag me so that I can, um, give you some feedback and pop possibly share your work. I usually do some steel share features in my stories once in a while, and I would love to share something that you've painted. So thanks again for joining me, and I will see you next time.