Watercolours with Confidence! Learn step by step how to paint beautiful artwork. Class 1 | Wendy Framst | Skillshare

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Watercolours with Confidence! Learn step by step how to paint beautiful artwork. Class 1

teacher avatar Wendy Framst, Passionate about Watercolours!

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

91 Lessons (6h 24m)
    • 1. Introduction to Watercolors with Confidence Series

    • 2. Course structure

    • 3. How to use the course

    • 4. Costs

    • 5. Do I need to know how to draw?

    • 6. Prepare for success

    • 7. Summary

    • 8. ACTIVITY: Play time! Let's warm up

    • 9. Main Materials: Introduction

    • 10. Main Materials: Health and safety

    • 11. Main Materials: Health and safety Part 2

    • 12. Main Materials: Paints Introduction

    • 13. Main Materials: Paint Quality

    • 14. PAINT: Index Numbers & Different Brands

    • 15. Main Materials: Granulating Pigments

    • 16. Main Materials: How much Paint to use

    • 17. Main Materials: Tubes, pans etc

    • 18. Main Materials: Watercolour dries lighter

    • 19. Main Materials: Paint Lightfastness

    • 20. Main Materials: Paint Opacity

    • 21. Main Materials: Staining Properties of Paints

    • 22. Main Materials: Metallic Paints

    • 23. Main Materials: Paint Summary

    • 24. ACTIVITY: Triangles

    • 25. Main Materials: Brushes

    • 26. Main Materials: Brushes Parts and Terminology

    • 27. Main Materials: Brush shape

    • 28. Main Materials: Brushes for this course

    • 29. Main Materials: Brushes care and cleaning

    • 30. ACTIVITY: Alex's Hearts - A Simple Greeting Card

    • 31. Main Materials: PAPER

    • 32. Main Materials: PAPER. Sizing

    • 33. Main Materials: PAPER. Format

    • 34. Main Materials: PAPER. Blocks

    • 35. Main Materials: PAPER. Watermark and Paper rip

    • 36. Main Materials: PAPER. Archival

    • 37. Main Materials: PAPER. Stretching Paper Part 1

    • 38. Main Materials: PAPER. Stretching Paper Part 2

    • 39. Main Materials: PAPER. Care and Handling

    • 40. Main Materials: Aftercare of paintings

    • 41. Main Materials: Palettes

    • 42. Main Materials: Water container

    • 43. Optional Materials: Masking Fluid Introduction

    • 44. Main Materials: Masking Fluid. How to use Part 1

    • 45. Main Materials: Masking Fluid. How to use Part 2

    • 46. Main Materials: Masking Fluid Remover

    • 47. ACTIVITY: Sailboat Greeting Card Part 1 masking to preserve whites - Drawing

    • 48. ACTIVITY: Sailboat - Part 2 Applying masking fluid

    • 49. ACTIVITY: Sailboat - Part 3 Painting

    • 50. ACTIVITY: Sailboat - Part 4 Painting additional detail

    • 51. ACTIVITY: Sailboat - Part 5 Painting Waves

    • 52. ACTIVITY: Sailboat - Part 6 Removing masking fluid

    • 53. Optional Materials: Pencils, Watercolour Pencils, Terry Cloth, Hair Dryer

    • 54. Optional Materials: Sponges

    • 55. Optional Materials: Spray bottles

    • 56. Optional Materials: Pipette

    • 57. Optional Materials: Kneaded eraser

    • 58. Optional Materials: Tracing paper

    • 59. Optional Materials: Key and cap opener

    • 60. Optional Materials: Mr Clean & Tissues: Erase-lift paint from painting (REQUIRES ADULT SUPERVISION)

    • 61. Optional Materials: Iron

    • 62. Optional Materials: Rubbing Alcohol (REQUIRES ADULT SUPERVISION)

    • 63. Mark Making 1: Dry on dry techniques

    • 64. Mark Making 2: Sponges

    • 65. Mark Making 3: Toothbrush

    • 66. TEXTURE 1: Salt

    • 67. ACTIVITY: Snowflakes: Create texture and shapes with salt and masking fluid

    • 68. ACTIVITY: Snowflakes: Create texture and shapes with salt & masking fluid Part 2

    • 69. ACTIVITY: Snowflakes: Create texture and shapes with salt & masking fluid Part 3

    • 70. TEXTURE 2: Stencilling including doilies

    • 71. TEXTURE 3: Watercolour Pencil Crayons

    • 72. TEXTURE 4: Saran Wrap


    • 74. WASH 1: FIREWORKS

    • 75. WASH 2: How to do a Smooth Wash: wet on wet

    • 76. WASH 3: Graded Wash

    • 77. WASH 4: How to do a Smooth (Flat Wash) Wet on Dry

    • 78. Circle Collage: Name the technique, then create your own Circle Collage

    • 79. Majestic Mountains: 1 Introduction and Objectives

    • 80. Majestic Mountains: 2 Materials, sky and first ridge line

    • 81. Majestic Mountains: 3 Graded wash, second ridge line

    • 82. Majestic Mountains: 4 Second ridgeline

    • 83. Majestic Mountains: 5 Blossom and third ridge line

    • 84. Majestic Mountains: 6 thicker graded wash

    • 85. Majestic Mountains: 7 front right hand mountain

    • 86. Majestic Mountains: 8 left hand mountains darker graded wash

    • 87. Majestic Mountains: 9 finishing up final mountain bottom left hand side

    • 88. Majestic Mountains: Summary

    • 89. Majestic Mountains: Some Simple Variations

    • 90. Well done. See you in class 2.

    • 91. Hearts greeting card b

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About This Class

Hello! I am Wendy Framst. Welcome to Watercolours with Confidence Class 1.

If you have always thought watercolours were unpredictable and difficult to control then this is the course for you. I take out the mystery and show you very simply how watercolours behave with water on the paper.

This course is divided in to multiple classes.

This is class 1.

Then you go on to class 2, 3 and 4. If  you like you can watch the all videos in sequence or skip to other sections if you like and go straight to ACTIVITIES and PROJECTS to start painting right away.

Over the following videos and classes, I will demonstrate through simple exercises how watercolours can be a fun, wholesome and satisfying way of painting.

At your own pace, and in your own time, day or night, you will gain confidence by developing an understanding of the medium through very simple to gradually more complex projects and activities.

In this watercolour course packed with 10 hours of insights, tips and tricks, and valuable content you will be introduced in a step by step methodical way to materials, colour theory, techniques and methods used in painting with watercolours.

You will gain confidence through learning how common mistakes are made and how to fix them in our troubleshooting section, as well as through learning to using your tools effectively by doing easy activities and fun projects.

You will create projects that will inspire you to start experimenting yourself in no time at all.

You will learn which materials to get as well as some of the optional tools you can collect to make some fun effects. You will also learn how to keep costs low and quality high.

After being introduced to materials, you will be guided through how to paint a smooth wash and a variety of other mark making techniques. After the comprehensive introduction you will be guided through progressively more complex projects.

Each project builds on skills you were introduced to earlier and no steps are cut out.

Some of the later projects are a little larger and more complex, but include guidance about how to build up your skills until you are more comfortable with tackling a larger subject.

Although drawing is a great skill for any art practice you do not need to know how to draw to gain confidence in this course

You will get to:

  • solidify fundamentals of watercolour painting
  • understand how to master the interaction between water, pigment on paper
  • learn how to fix issues including blooms (blossoms) and drips
  • learn how to use brushes and other tools to create various washes, edges and marks
  • practice and learn various techniques that will give you the necessary tools to help you become a confident watercolour artist
  • to learn how to make a bookmark and lovely little greeting cards
  • how to use photo references to create paintings
  • learn about colour theory and properties of various watercolour pigments
  • create varied projects and paintings that can be tailored to your own unique style
  • learn about fun materials to create lovely effects
  • and much much more …

More Features of this Course

  • Painting with watercolors is easier than commonly believed

  • How to achieve brilliant rich colours through layering techniques

  • How to make the most of the transparent quality of watercolour paint

  • How to take an idea for a painting from inspiration through to completion

  • In the “Trouble-Shooting” section, you will learn how to fix common watercolour mistakes including blooms & drips

  • You will gain confidence with watercolours through step by step instruction

  • How to plan your compositions

  • You will learn different techniques such as “wet on wet” and dry-brushing

  • You will learn techniques to help preserve the white of the paper

  • How to paint crisp edges and how to soften edges

  • You will learn about primary, secondary and tertiary colours and how the colour wheel works

  • How to clean and care for your equipment

  • You will learn which supplies are the “must haves” and how to choose yours from a variety of options

  • You will have fun exploring how to apply paint to the paper in many creative ways, with many different brush types and other materials as well

  • You will begin making small projects such as a bookmark and a greeting card and gradually work on larger and more complex projects as they gain confidence.

  • Learn to do ink and wash paintings

  • You will increase your art vocabulary through the use of art terms

  • Those who do not enjoy drawing can still have fun with painting

  • Students learn the meaning of “archival” and how to help their projects to last

  • Learn about “plein air” painting and will be shown supplies ideal for this painting method

  • How to stretch paper and rip paper to size

  • You will be given health and safety cautions

  • The most important thing is to have FUN!  You will get to relax, splash some paint around, experiment to learn which colour combinations you like and see how many different ways you can make marks

  • Complete 4 projects and numerous hands on activities

Who is this course for?

  • This course is ideal for people of ages 12 and up who always wanted to learn how to paint with watercolours but did not know where to start.

    CAUTION: Younger children should have supervision when using certain optional cleaning materials including Rubbing Alcohol and Mr Clean Magic Eraser. These items form a very small part of this course. You can choose to skip these materials and their usage and still benefit greatly from the course.

  • If you always thought watercolours is difficult to control, then this is the course for you as I take you through steps to give you skills that will enable you to build your confidence gradually.

  • If you are curious about watercolours and want to try to see if they are for you.

  • This can also be a great revision and a brush up on skills for more experienced watercolour artists

Are there any course requirements or prerequisites?

  • Great for beginners. No prerequisites are required.

  • You don't need to know how to draw for this course. There are downloadable templates available in the online resources section that can be used for tracing if you wish.

  • You may simply want to paint along with me creating a new set of subjects and paintings, converting them into gifts such as bookmarks and greeting cards.

  • Bring along a willingness to learn and try the fun projects in the course.

And I am with you every step of the way. You can message me any time you hit a wall, and don’t know how to proceed. And I would love to see your paintings and projects that you make as you paint along with me.

So let's get started, have some fun and get those brushes wet!

Meet Your Teacher

Teacher Profile Image

Wendy Framst

Passionate about Watercolours!


Hello! I am Wendy.

Before I could walk, I held a crayon and made marks, often in places that my Mother did not appreciate (on the walls). I could not stop then as I cannot stop now. My high school Art instructor tried to push me beyond my interest in realism and mockingly called me a “human photocopier”. He meant it as an insult, but I could not think of higher praise.

I have drawn and painted all my life, but it was only after I began to create Art about and for my 2 beautiful children that I became serious about being an artist. My first published paintings are illustrations for the children’s book “Feathers” and my children modeled for many of the playful scenes.

In addition to painting, I have worked as a social worker for over... See full profile

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1. Introduction to Watercolors with Confidence Series: Hello. My name's Wendy, and I'm so excited to welcome you to watercolors with confidence. A soon as people learn that I'm a watercolor artist. The next thing that I hear is watercolors are so difficulty you can't control them. You can't fix watercolors, but I'm here to tell you that yes, you can. There's some tips and tricks that I have up my sleeve that I want to share with you, and so just stick around and we'll get right to it. The other thing that I hear is water colors are really washed out and faded, but with today's colors and layering techniques that we're gonna use, you'll find that your colors are rich and vibrant. When people ask me why to do watercolors, I remind them that watercolors air less messy medium something that you can simply clean up with soap and water. They're easily transportable. You can take them out when you go out for a day of sketching or hiking. Um, and also you don't have to deal with those nasty toxic fumes that some of the other mediums , like oil paints, injure. Personally. I love watercolors because of the spontaneity of them. You can get some of facts that maybe you weren't quite expecting. But they you can incorporate those into the projects that you're doing, and they can provide some beautiful, luminous results. You may be wondering who this course is for. Well, this course is for you or your friends and family who have always want to try watercolors. But they didn't know where to start. We're going to talk you right from the beginning, all the way through and build more and more complex skills. As we go, you may be asking yourself, wouldn't making learn? What you're going to learn is that painting with watercolors is probably easier than you think. You are also going to learn that you probably need fewer materials than you expect. All you really need is one brush, one color, some paper on some water. Been an instructor for about 30 years, and my students range from Children all the way through to adults. Watercolors are just a very versatile medium that do appeal to all ages, and it expands across cultures. I know you have a lot of options when you're buying watercolor courses, so what you should know about this course is it's intended for the absolute beginner. Through this course, I demonstrate and describe a lot of tips, tricks, techniques and answer all the questions that my students have been asking me over the years way throughout this course, you're gonna learn by doing do you paint along with me? I'm step by step. I'm gonna show you how to use materials, how to do the projects. So as you paint along with me in no time, you're going to gain confidence with water colors. 2. Course structure: Okay, So what you're gonna do is complete all the videos, theater activities, the assignments and the projects in class one. And then you go on to class two and class three and so on. All together, in the water colors with confidence. Siri's, you're gonna find eight assignments, five activities and four projects because I really want this to be an interactive hands on experience. This is the first class of the Siri's. You can use the results of your projects to frame them and give them as gifts to your friends. You could use them as greeting cards, bookmarks, any postcards. I want to tell you a little bit about resources and templates. Resources contain information that I want to put together for you all in one place, and you can find them in sprinkled throughout the various sections of the course. Templates are included for those students who went to paint, but they don't really want to draw, so they can use the templates to copy into their own paper. Show you that I'm serious about this being an interact. Of course. Right away we're gonna jump right into an exercise where we explore the nature of watercolor paint. I absolutely love materials. And so I was not able to contain all the information about materials in one section. Therefore, I've got two sections from materials, the main materials and they have optional materials. What I'm gonna do is introduce you to the materials and how to use them. And then I'm also going to tell you about the materials that I use and why I used them. And what we're going to do with all of that information about materials is reinforce it through some really cool hands on activities. Once you have all your supplies, what we're gonna do is we're gonna use them to make as many marks as we can. We're going to use brushes and sponges, toothbrushes and more. And in addition to making marks with off, the traditional materials were going to use of other materials to make some nontraditional marks, such as using sold for textural effects or doing some color sanding in the washes section. I'm going to introduce you to a few different ways on how to do wash is this is a really fundamental skill or watercolor artists. So I encourage you to spend some time here and make sure that you're really getting the hang of how to create a nice, smooth washes. One of the other sections that I've incorporated for you is something that I'm calling circle collage and what this is. I have laid out a few different circles, and I put different techniques into them. When I want you to do is test your recall and see how many of the techniques you can remember a name. And then I'm really interested in you making your own circle collages. You look like great little artworks all in the room. Now, what kind of Canadian would I be if I didn't introduce you to painting the beautiful Rocky Mountains? This is very simple yet powerful project designed to help you with grated washes. And when she master that technique, it's something you're going to be able to apply to all your future paintings in class number two. What we're gonna dio is we're going to talk about color theory and we're gonna make a really nice little birdhouse bookmark project together. Eller Theory section. What we're gonna do is talk about primary, secondary and tertiary colors. Then we're gonna put all those together and together we're going to paint a color wheel. The reason for this is cool. Real helps us to make some decisions about which colors you want to use to achieve the moods you want in your future paintings in the birdhouse bookmark project, when I do is they take you all the way from the beginning with the reference photo to a line drawing. And then we add some pain to that. You can use this for a great little sketchbook project. Or as I did, you can turn it into a bookmark in class tree. What we're gonna do is talk about troubleshooting because people think there's no way to fix watercolor of mistakes. The troubleshooting section is one of the most important sections in this whole course. In this section, I'm going to show you how to address some of the issues like blooms. When to do your painting is too light. What happens when you get some blossoms on other mistakes? Using a similar process, as we did with the birdhouse bookmark, we're gonna create the slightly larger project and pain some playful little goldfish when I want this project to remind you is to keep a camera or a sketchbook on hand because you never know when inspiration from your daily life is gonna strike. Okay, I hope you'll know with the symbol of Canada is it's the May belief, and the belief is going to form a focal point in the next project. This is a beautiful leaf collage, and the leaf collage is going to incorporate all kinds of tips, techniques and tricks that I showed you through. Of course, we're gonna use spray bottles and splatter and paintbrushes and pencil Goran's on and on and on. But a great thing about this project is you can actually scale it back according to your ability level and also the materials that you haven't had. You could use those instead of all the crazy techniques that I've got going on in mind. 3. How to use the course : If you're beginning student, I encourage you to follow along in the sequence that I've laid things out for. You watch the videos, theater activities, do the assignments, do the projects and take your time from one section to the next section to the next. You sure that you feel comfortable with concepts before you move on. However, if you're someone with a little more experience or if you're working majority artists, young people, you may wanna go ahead and skip right to the activities, assignments and projects sections, the material sections and the color theory sections are pretty heavy and theory. There are activities in a sentence throughout to make sure to watch. For those, the assignment section is an area that does two things. First of all, it's an area where you can demonstrate your knowledge so far. But it's also an area where you can upload your student artwork so that I can provide you with some feedback on it. I just love to see the results of my students practices. Some of these activities and projects are best when you layer them one on top of the other , so please don't feel that you need to complete a painting all in one sitting. It's just fine to work on it a little bit on, then go away and come back at another time when you're fresh, ready to start. Of course, I would encourage you to remain consistent and efficient. Keep your materials in such a way that you can set them up easily. Try to set aside a regular time each day to practice and try to practice daily. You're going to improve much faster if you practice often. I find that when I get to Precious with my paintings, then they start to tighten up and name lose the really laced spontaneous feel. So I encourage you to do each other projects and activities that I have laid out for you a few times, maybe 5 10 times. And in that way they're going to become more second nature for you. Once you become really confident in using those skills, then you can move on to more complex projects and started incorporating your own ideas and inspirations. You can pause, slow down or speed up the videos to keep them going at a pace that works for you. The important thing is to practice practice practice. And remember, I'm gonna be here to enter any questions that you have. I can't wait to see you in the next section. 4. Costs: Ah, a few words of advice. Painting with watercolors can be a bit pricey. And so some of the students don't like to practice because they don't want to waste their materials by really, you need to practice. So what you can do is maybe use smaller pieces of paper or pain on both sides of the paper , and now will help you a bit with the cost. 5. Do I need to know how to draw?: painting and drawing go hand in hand. However, not everybody loves drawing. So I've created some downloadable templates that you confined in the resources section. Feel free to use thes resources to trace right onto your watercolor paper and then you can go ahead and jump right in with the painting. Have fun with that. 6. Prepare for success: you may find it helpful to preview the videos so that when you're ready to begin the project, you've got everything them hand and you know the sequence of events. Then when you're ready to begin, set aside the time in a place so that you have all of your materials there and you're not gonna have any interruptions. The ratio of students completing online courses could be frighteningly low. Please don't be one of those statistics. Reach out to me. If you have any questions and comments, I'll do my best to help you through the course. The most important thing is to have fun, fun, fun, fun. So splash some pain around. Mix it all up, see which color combinations you like, see which materials you prefer to use. But practice, practice, practice. Another thing encourage you to do is keep and date all of your projects, even the ones that you're not crazy about. You're going to be amazed by how far you've come as you work through the course, and it's really nice to look back and see where you began 7. Summary: a Z. You probably already guessed through this course. We're going to first talk about our materials, work through those. Then we're gonna go on and make some marks. I'm show you how to do that. Then we're gonna work step by step through some projects. The first projects are very basic and simple, and they get more, more complex as we go along and as you gain your confidence with water colors 8. ACTIVITY: Play time! Let's warm up : Hi there. I hope you're ready to have some fun. This is a hands on course. So right away we want to get you to jump right in and practice using some water color materials. Please don't worry about using exactly the same materials that I have here in front of me. Pull out anything that you've got on hand. I'm sure that you have some supplies kicking around. You just need a brush and a couple of colors. But this example I'm gonna use this parable orange by Daniel Smith. But remember, you can use any color you have. You mean don't have tubes? He may have cakes or pans and game. We'll talk about all that later. Right now, we just want you to slosh some water and paint around and get those brushes wet. I'm putting in about half the amount of my pinky finger here. It's a very small painting, and so I really don't need that much paint. I'm gonna add a little bit of water into the well beside it. And then I have this brush that has some fairly stiff bristles. I'm just gonna mix the paint rate into that little well of water. And so I have a very liquidy concentration. How much pain to use and how much water you use. That's what I want you to experiment with right now. So try Wen. Amount of water and one amount of paint the next time, add a little bit more water and do the same experiment again. What I'm gonna do now is I'm going to create a little bubble of water on just sloshing around. Do no worry that you have a specific shape. It's just we wouldn't have some water on the paper. Now what you'll find is, if we just drop some paint into that, it spreads all over the place. I'm gonna put some on one end to the paper adding a little bit more paint to my mixture because I want a richer color. There you have it. That wasn't so hard, was it? You've created your first painting with this course, and what we're gonna do is just set this one aside for a moment and let it dry. Put it up here and we're gonna take a piece of paper, another piece of paper, And this time, when you and I use, um permanent rose. Same idea. Just put a small amount of paint in the tray, and I'm going to put a bubble of water. It always works better if he makes the color up first, but he gets so excited. I forget Teoh. So mix the colors up and then apply some Warner. I'm going to put a little more water on just to make sure it's still nice and juicy. All right, now we're ready. So same thing. See when I drop it in. If I tip it, the water will travel across water and the paint will travel across the page. Can you use a little more paint than that? But this is pretty thin paint. It travels quite easy. If my pain is very thick, it doesn't trouble us quickly. So now this time wouldn't want you to. Dio is tip your picture back and forth and back and force, and what you'll find is if you tip the painting a lot, you get a really uniform amount of water and paint across the surface of the paper. If we leave it resting on an angle, the pigment will flow down the page and that side will get darker but if we continue to tip it while it's drying, it will distribute it more evenly. So let me compare that one back against the 1st 1 we did. This one's still not dry because there's so much water and pigment. But you see, there's a light area and there's a dark area, so sometimes you're gonna want. In effect. We have some lights and darks, and sometimes you're gonna want, in effect where you wouldn't really. Even so, keep those in mind. But there's when more fun little experiment. I want you to try this time have one puddle of water. Now our paint is already mixed up, so we'll do the 1st 1 orange. I'm going to do a 2nd 1 on the other side and this one I'm gonna do pink, and if I tip it, you'll see the same as the pink example. It's distributing more evenly across the page, but each colors staying in its home puddle. So where the water is, the paint will flow, especially if it's thin. If it's thick, it may just sit there, but when it's nascent thin, the pain will flow across the page. So hope you give this a try way tears the fun part. Let's create a little bridge of water. Now the pink is flowing into the orange and the two colors air mingling and now the oranges flowing into the pink. So the more times that you tipped the paper, the more these two colors are going to mix. If you want an effect where it's just a slate mixing, then you only tip it a little bit. But if you wanted to be more evenly distributed than you, tip it and you tip it and then you get this great affect. So get your brushes out. Get your supplies out. Give us a try. Try a few different colors, see how they work for you. Just have some fun and get those brushes wet. I'll see you in the next section. 9. Main Materials: Introduction: with so many different kinds of water colors, materials to choose from. How do you decide which ones are gonna work for you? So the next couple of sections are all about materials? I tell you, as much information as I can about, um I tell you which materials I use in why I use them. In fact, I have so much information about materials that they've broken it up into two sections. We have our main materials that we use all the time. And then we have optional materials and those ones are for more fun and whimsy. And you can use those in smaller amounts, and we use them less often. So we've broken them up into those two sections for you. The material section contains a lot of theory because I'm telling you how the supplies work . I'm sure you have their work. I am telling you as much information as I know about the supplies. There's a lot of theory there, but there are also activities woven throughout. So if you wanna skip through and get right to the activities, you'll find them because they have the word activities in the title. Because some people have been asking me what kind of materials they need. What I've done is put together a comprehensive materials list at the beginning of it. It has a beginner's material list, which involves everything that you're going to need for this course. But I love to play with materials and supplies. And so I've also got additional supply lists for each of the projects, so you'll find the comprehensive materials list in this section right here. All right, so I've already told you I've got a huge amount of supplies that I'm gonna talk to you about and show you how they work. But in truth, the reason the watercolor painting is so popular is he's really all you need is one brush, one paint, a piece of paper and an idea, and you're good to go. I just want to remind you that I'm going to try to demonstrate as many materials as I can so that you can see them in action. But you don't need to have all of the same materials that I have. You can adapt whatever it is that you have on hand and still get great results with your pictures. E wish that I could tell you that the less expensive supplies produced the same quality results as the more expensive supplies. But unfortunately, that's not been my experience. So they want you to do is buy the best quality supplies that you can match your budget. And even if you can't find or access the same supplies that I'm using pain along with me experiment completely. Activities complete the projects, do the more than one time until you're comfortable with them, and you're going to find you're getting great results with these projects. 10. Main Materials: Health and safety: welcome to health and safety. Before we go on to discuss each of the materials, it's important for us to first mention very important health and safety topic toxicity. So generally speaking, watercolor materials are one of the safest kinds of materials that you're going to use for painting. As a society, we are becoming more and more aware of the hazards of certain pigments in art supplies. So it's up to you to ensure the safe storage and use your materials. Many of the watercolor materials were going to use our potentially toxic. For example, pigments containing cadmium, mercury and lead are toxic. I won't be addressing the toxicity level of any specific materials, but I encourage you to visit the manufacturers websites for more specific safety instructions. Here are a few safety tips, so tip number one. Please ensure that Children who are using watercolor paints are using non toxic materials. Tip number two. Don't eat the paint. Tip number three. Keep containers and tools specifically for painting. Don't eat or drink out of thumb afterwards, although I do have to confess that sometimes when you're in the middle of a painting, it could be hard to remember Which one's the rinse water and which one is your drinking water? Tip number four. Don't put your pains or other materials in your mouth, and don't put your brushes or the tips of the brushes in your mouth to chew on them. Tip number five. Wash your hands after painting and please tip number six. Do not let your pets drink from your paint water. Tip number seven If you're worried about contact with your hands and your skin, wear gloves and an apron and police make sure that you use state practices and follow the safety tips as we've outlined them for you. 11. Main Materials: Health and safety Part 2: We've already talked about the toxicity of a few of the pigments, and we want you to read the manufacturer's label for those. But also, in addition to those materials, there are a couple of cleaning supplies that we use in optional materials where Children should be supervised if they're using these in particular, it's a rubbing alcohol and Mr Clean Magic Eraser, so you can absolutely skip those sections if you're working with young Children and you'll still have many, many, many other materials that she can use to paint these projects. 12. Main Materials: Paints Introduction: E. I absolutely love supplies. This will give you a little bit of a taste of what I'm talking about. I use all of these different kinds of paint. And so let's talk about some of the brands that I use when, if the brands a really like is DaVinci, I find this is a creamy paint, and it's a bit thick Chris than some of the others. Another of my favorite brands is Daniel Smith. They're a huge variety in different colors. I already talked about Windsor Newton. I love Windsor and Newton really fine colors. I went in to show you that there are two different sizes that I buy the painting. This is a whole buying paint. I find them very creamy, and I used them for a lot of my portraiture work. This is the old packaging. I just want to show you for comparison. New packaging. It's a little more environmentally friendly 13. Main Materials: Paint Quality: when decision that you'll have to make is what quality of paint you'll use the terms used for the different qualities of water color paint our artist quality, also known as professional or student quality. As you've probably already figured out artist quality paint is more expensive than student quality, even though the same pigment may be used in artist and student pains. The main difference is that the artist quality paint has more pigment in less filler with this means is that you'll use a smaller amount of artist quality paint than student quality to get the same depth of color. In contrast, student grade paint has a lower pigment load, and listen me require many layers to achieve the same richness. Let me show you an example. The student quality brand of paint from Windsor and Newton is called Cartman. When I started out as an artist, I couldn't afford the artist quality, so I used a lot of common watercolors. Both of these pains are version from Windsor and Newton. This one is an artist quality paint, and you can see that right on the label. Windsor Newton also makes a really nice student quality paint, which is called Cottman, and when I was starting to paint, I used a lot of Cotman paints. Gradually, over time, I replace them with the artist quality, but they're a good option for you if you're on a budget. All right for our demonstration, let's put the student quality paint at the top. What we're gonna do is add some water and stretch it along the paper. Now we're going to use the same amount of artist quality paint and add some water. So look at that. As you can see here, the student quality paint stopped sooner than the artist quality paint. The amount of pigment didn't want to continue along the page any farther. Where is that? Ran out of room for the artist quality pain. It could continue down even farther because the richness is so deep. So I know that I used to slightly different colors of paint, but the main point I wanted to show you is that it takes less paint to go farther with the artist quality than the student quality. So even though a tube of artists quality paint is more expensive, initially it's going to save you time and energy. Later when you only have to do one layer of paint instead of three or four layers of paint . And also you're gonna get drew more dramatic results faster. When you use the artist quality paints, what do you think? 14. PAINT: Index Numbers & Different Brands: different brands of paint often use the same common name for the colors. For example, ultra Marine or Carmine, which we have here. However, when you paint with, um, the color can be slightly different. So let's try an experiment. I prepared a little paper here car minus the color we're gonna use, and I've got three different brands. I've got Divinci hold wine and Windsor Newton, and they're already prepared in my palette. So let's try the DaVinci first. It's a very thick paint. All right now makes it really well and putting it on a bit thicker at the top. You know, thin it out a little. Clean out my brush. I think that one more time. Now let's do the same with the whole mine, little thinkers so you can get a good comparison. And finally, the Windsor and Newton. - Now that these colors have dried a little bit when I'm noticing is the Da Vinci has a little bit more of brown tones to it. The whole bind has a little bit more of red tones to it, and the Windsor and Newton has a little bit more of a pinkish tone to it. So, although The common name for all three of these colors is carmine. They all look slightly different on the page, especially after they dried. So why do you think this is? Although companies may use the same common paint names, there's an international standardized method of identifying exactly which pigment or culmination of pigments is in your paint. This is called the color Index name, and it's represented by a code. The code begins with the letter, for example, peas for pigment or Ennis for natural. And then it's followed by an abbreviation for color, such as, Why for yellow or are for Red. Then there's a combination of five numbers called the Color Index number. Let's switch and talk about reds. Now what I noticed. Waas My PIRA, read by Daniel Smith, has a code of PR to 54 My Windsor Red by Windsor and Newton also has a pigment code of PR to 54 So I got them in this palette here, the Daniel Smith on the Windsor noon. So let's test them out. First of all, the pira red, his queen a thin color. It seems to have a lot of gum, Arabic in it and now the Windsor and Newton. The winds are red. They're to me. These colors look very similar, but the Windsor Red is a fair bit thicker. It has a Les Biller in it. In this version, just lift a little bit of the pigment out of here to give a closer comparison in terms of thickness. So let's let that dry and then we'll have a closer look. Here we are back, and it's all dry. It seems that the pyro red is still a bit shiny. So what that tells me is it has a fair bit more filler in it, more gum Arabic in it, I m so that even when it's dried, it's got this shiny nous to it in comparing them. When I'm seeing is that the Windsor Red is a bit deeper on the dark side than the pyro red . But when she get down into the later values, they're very, very similar. So when I hope you remember, after seeing these two examples is that even though paint by different companies may be called the same name, the color maybe slightly different. And even though paint by different companies may have different names, the pigment in it may be the same and may have the same foundation. The best way to know if the pigment in the paint is the same is to look for the color index number on the labels. And if you're interested in learning more about pigments and the color index, are recommend resources like these ones, the Wilcox Guide to the Best Watercolor Paints and the Artists Handbook, which is a complete professional guide to materials and techniques. But don't just take my word for it. Go out and try some experiments on your own and do some research and see what you think. I'll see you in the next section. 15. Main Materials: Granulating Pigments: we don't want to talk about now or granulated colors. What this means is there's a bit of a tax you left behind after you applied the paint. I'm going to start with the Windsor and Newton dioxins in purple. I'll apply it really heavily on one side of the paper and thin that out. That almost disappears on the other side. This way you can see the full range of values that the pigment can produce. Next, let's try the permanent move also by Windsor Newton. So the same idea, um, can apply very thickly at this end and thin it out as I go along. As you can see, the strip on the talk is quite smooth. The strip on the bottom has more spots in it, or granule ation. I like to use quite smooth paints in my paintings, so I have a large tube of smooth paint, and I have very small tube, which has hardly been touched of the granulated paint, so you'll have to choose for yourself whether you want some texture in your paint or whether you want it to be quite smooth. 16. Main Materials: How much Paint to use: one of the questions I'm asked time and time again is how much pain do I use as a general rule, I use an amount of pain that covers about my pinky finger. Now, let me show you something like that. It's OK if you put a little extra paint in the well, then you need, because when it dries, you can simply revive it with some water and use it again. 17. Main Materials: Tubes, pans etc: we have a lot of options when it comes to paid formats, Paint can come in tubes or in cakes. Let's just visit each of these for a moment so you can help to make the choices that are gonna be best for you. Let's talk about watercolor pencils. So what? Color watercolor Pencil Kranz come in a format very much like pencil crowns. You can draw with them and then add water later. And that will give you in a smooth the fact, like watercolors, watercolor pencils, air good when you're out doing plan there, what color cakes can come in preset packages, and they're nice because you get a variety of colors all in one place. What you do is you peel off the plastic and you'll see that the color is inside the little pan. Some people are a bit concerned about using pens like this because they're worried. If they get the paint contaminated, can they use it again? The answer is yes. You could just simply clean them off and let them dry out, and then they're fresh for use a game. Once you add water to reinvigorate, Um, I'm sure you remember something that looks like this from your great school days, but in fact, a lot of artists quality paints can come in a palette that looks similar to this the painter already established. Four Yunel you need to do is add some water to wake them up, and then you can use them on your painting. You can get a water color marker and you draw your lines with this, and then you can go cross or with water to vary the amount of lightness or darkness. This one has two ends to it. One is a thin end, and then the other thicker. And as you saw, here's a watercolor stick. Thes air. Interesting. Daniel Smith is making this particular one. What you can do is cut off chunks of this and put it into a palette, and then you add your water and you use it just like any other watercolor paint. It's got a very high pigment load, and last, but certainly not least, this is my favorite option. This is watercolor that comes in tubes. The reason that I like water colors that come in tubes is because it helps to keep the pain fresh inside. For when you need it. You can use just a little bit of the color, but you can put it into your palate. And even after a dries, you can reinvigorate it with a little bit of water and reuse it again. So although there are a lot of products available and their new ones coming out all the time, we're gonna keep it simple. We're gonna focus mostly on paint that comes from tubes for our projects. But have some fun and try the different products as you're able to. So there you have it. There lots of choices for you to play with. And I hope you do just that. Find which ones work the best for you. And maybe what you'll find is as I do, certain formats are better for different types of painting than others. But it's only through experimenting that you're going to figure that out. So get your paint ready 18. Main Materials: Watercolour dries lighter: one of the qualities the border color paint is that it dries a little lighter than when you first put it on. So let me show you what this looks like. Just mixing on the pain tap. We'll make a little square. Let's see how it looks when it's dried. All right, now it's dry. You'll see that there is a darker area here that happened as it was drawing some of the extra pigment came to this side we will find is that this is a bit lighter than than our starting point, and we'll show you that for comparison's sake, have no fear, though. If you wanted it darker. It's simply a matter of going over the game if I want to make this paint as rich as it was when they first started, it's easy to just go over at once again. You went the area. Be careful to stay as close to the original edges you can, because otherwise we'll get some stray marks, and it it will be only one layer instead of the double layer. - I'm placing the color as carefully as I can as the original area so you can see because it's wet again. It's much darker than the original, but it will dry a bit later than this. Remember, it's always easy to go darker on water colors. So what I want you to remember is that watercolor pain will dry later than when you apply it. But that's no problem, because you can simply do another layer. So if you want it darker, you just do another layer. And it's better to paint in lawyers anyway, because if you put on too much paint all at once, the gum Arabic will rise to the surface, and that creates a bit of a shine that we don't usually want. It's good to paint in layers because the luminosity of the white paper beneath the surface will reflect through the layers better, and then helps us to achieve that beautiful look that watercolors air so famous for 19. Main Materials: Paint Lightfastness: Let's talk about light Fastness. Late Fastness refers to how long a color will last before it begins to fade. Your discolor in your paintings, colors that paid more quickly are also known as fugitive colors. You can read on the label of your pain to determine how good the light Fastness is for any given color. Paint with the light Fastness reading of one is excellent and paint with a light Fastness reading of three or higher considered fugitive. Let's take a look. So here's a DaVinci paint. The late Fastness is a to, and they've labeled it very good. Here's a Windsor and Newton cadmium red. The late Fastness is raid above the Siri's number. This one is a light Fastness of one, so it's excellent. Here's a Daniel Smith opera Pink Opera pink. The late Fastness rating is a four, so this is a fugitive color. We'll talk more about this one in a second. The whole buying labels are a little different. Instead of using numbers, they use stars in their rating system. This one has two stars, so that's still a good light Fastness rating. So let's go back and talk about fugitive color opera pink. You may wonder why I use opera pink, knowing that it's a fugitive color. There's really no other color that looks like it at all, and I enjoy doing florals, so I do love my opera. Pink fugitive colors can last decades, especially if you cover them with museum glass and protect them from sunlight to keep them out of direct sunlight. If you have more questions about light Fastness, I encourage you to go and visit the manufacturers websites. They have a lot of information about the qualities of the paints on their websites. 20. Main Materials: Paint Opacity: Another really important topic for us to discuss is the opacity of paints, how see through it is or whether the latest blocked there's a really great way to demonstrate this. I'll show you if you're going to do this. Experiment yourself. Make sure you're using a permanent marker one that's not gonna smudge as soon as it gets wet. Let the marker dry a little bit, and once that's dry, you contest the opacity of your paints. We're just gonna use a little bit of paint for this. You can't make it too thick. Um, you want to be able to see through it. You'll see that the opaque pains are going to show more over top of the dark mark than the transparent paints. The transparent paints are not going to show through. The dark mark will show through. Let me show you some more examples. And while I'm doing that, I want to tell you why a pastie is important. Their group of watercolor artists who believe that you should only paint with transparent paints because the luminosity is much richer when you're using transparent paints than opaque points. I'm not as concerned about capacity in whether you should or you shouldn't. I like to use the right paint where it's needed for the project that I'm working on. I do use a fair number of opaque pains, especially in portrait. It's one more example here. We'll just show you the weight. Wait Paint is another controversial topic in terms of watercolor artists. Ah, lot of watercolor artists feel that you should never use white paint, and it's true. The luminosity is much better when you're using just the weight of the paper than the weight of the paint. However, from time to time I get into a bind, and I do use white paint for small areas. All right, let's have a look. So we've got the cobalt turquoise, which is you can see the cobalt turquoise over top of the felt pen mark that we made. Where is beside it? We have Windsor blue green shade, and the black of the felt pen is completely showing through the paint hands. A yellow light is next, and that this one we can see a little bit of the yellow showing through, but the black mark is coming through a swell the whole by in the two hole. Buying paints that I used are very opaque. This one is shown brilliant. Number one is a great color used in portrait. It's and this is the titanium Wait. You can see both of them are quite opaque, so it's up to you whether you want to use opaque paints or not. But at least this is now a test you can use for yourself to see which ones are transparent and which ones are opaque. 21. Main Materials: Staining Properties of Paints: the next quality of water color paint that we want to talk about is staining. There are three levels of staining property low, medium and high. What this means is how much of the pigment will lift off if you try to remove it. I want to show you an example. There's different levels for these two panes, so we'll use the Queen. Ah, Crotone Goal by Daniel Smith I'm going to use the Windsor Violet by Windsor Noon. But this example I'm going to put the paint on in full strength. Very little water and a lot of pigment. So this was the queen. Ah, Crotone Gold. Next, I'm using the Windsor Violet. Very deep, rich, beautiful color. What we want to do is drying up. Make sure your colors air completely dry for this example. Otherwise it could interfere with the results. You know that they're dry by touching them with the back your hand if it feels warm than their dry. For this example, I'm also going to use a synthetic brush the bristles of a synthetic brushes stiffer than the bristles on a natural hair brush. So that's the one I'm going to use for this example, to see how the lifting works. I'm waiting the paper and releasing some of the pigment. Now a block them and see what happens. So as you can see, there's still a little bit of the color left on both of them. There's the last color on the gold than there is on the purple. It could be because that was a deeper value to begin with. But try this experiment with some of your paints to see which ones are more staining than others. I will see you in the next section. 22. Main Materials: Metallic Paints: these a really special and they're fun to use with water colors. These air my metallic paints. There the brand is Pearl X. What I do is I mix these with gum Arabic, and they create a very shiny surface. They can add some dimension to the water colors. 23. Main Materials: Paint Summary: Okay, so there is a lot of information to know about paints. And I hope you enjoyed going through all these sections with me via free to go back and watch anything that you want to regain so that you can reinforce the lessons that we've taught as one more feature to work you through these lessons. I'm gonna have some projects that will walk you step by step on how to do all of the things that we showed you. Here. See you in the next section. 24. ACTIVITY: Triangles: Welcome back. I hope you're ready to get some paint onto the paper. What we're gonna do is just take a break from talking about the materials and actually have you play with some of your materials. So I've got a few different colors here, and I would like you to experiment with some of your colors. We're going to keep it really simple. I'm just gonna use one shape and I'm going to repeat the shape. And then what will do is fill those shapes in with some color. The purpose of this is so that you start to play and you start to realize how much water you need And what happens when you add extra water and what happened? Which ones are your favorite colors? So let's get started. This one is Pira Orange by Daniel Smith. Then I have a Windsor read by Windsor and Newton. Next, I have a cobalt blue violet by Daniel Smith, and it's warning two week around the edge. So I just want to make sure to clean the edge on this particular one. Otherwise, it's gonna be really difficult for me to get the lid off in the future. This one is a spring green by Daniel Smith. This particular color always makes me really happy. My son gave me this and it just makes me think of him. And it is an absolutely beautiful color. In last but not least, I haven't Ultra marine blue Now remember you can do is many or as few of these as you want to dio. I'm going to use triangles for my shape. You can use any shape that you want to use. You can stack them. You can arrange them in a shape that would symbolize a flower you can make a son with, um, anything you want to do. The mean thing is that we just want you to be putting some paint onto the paper, so I'm also going Teoh it with mine. I'm going to make them different sizes. I'm going to use the same shape but different sizes of it. And one of the things for you to keep in mind when you're building a composition is the odd numbers for some reason, seem to make the most beautiful compositions here. I'm gonna overlap one of my shapes and put a small wind down here. Really? There is there are no rules around this. Just give yourself some areas to put some paint. Let's put one more tiny one poking out from behind here. There no rules regarding the compositions. However, odd numbers do seem to be more pleasing than even numbers. So I will add Know that I've got six and they've said that Let's put one more re up here. When did the other things for you to keep in mind is that when you're painting your large triangles, your large shapes use your larger brushes. It's good to get as bigger brushes you can into their Don't worry about that too much right now. What I'm gonna do is just get started. So I'll start with the orange color. I'm putting it almost street from the two, but it did mix in a little bit of water, and I'm just spreading it out through the shape. Now, remember, this is just your introduction. Don't worry too much about if you go out of the lions or in the lions. Just see what kind of colors you have Next. I'm gonna pick the red. Let's pop that over here. And I believe this is the kobo purple, which is a new color for me. I love purple. So I wanted to see how this one will work. And next up is that beautiful spring green? No. If I were to put the green and the purple touching each other, then the green would run into the purple. So for now, I'm going to skip that section and come down, which would probably also noticed is each time between colors. I'm doing my best to rinse out my brush and then if you have too much water on there, you can just tap it onto the towel. I've got another I've got a blue here, Ultra marine blue. Um, if I were to put my hand down here would be right in a soupy mess. So I'm just tipping my paper in order to be able to get a better angle. All right. Almost finished. So now I am out of colors and I'm going to come back in with the orange for this tiny little one up here. Now, here I am, using the very tip of the brush. Some of the others I could have used more the belly of the brush, but in order to get such a small shape and finally will come back into the red. Now my purple is still wet, so I need to leave a little gap of space. So there it goes into their happy accident. So this is what I want you to do. I want you to fill your page with triangles. Stack them up and rose. If you want to overlap them. If you want to put them in a circle, use lots of different colors. See which ones are your favorites and feel free. If you want to have them into mingling, allow that to run in together. I hope you had fun and I'll see you in the next section. 25. Main Materials: Brushes: all right. Remember I said it was a supply junkie. Well, here is a selection of a few of my favorite brushes on, and I can help you to understand what you're looking for when you're buying watercolor brush. First off, I want to make sure that, you know, watercolor brushes have a smooth bristles. They're not stiff. The stiff ones are for acrylics or oils or some other medium watercolor brushes need to be absorb int, and they need to be flexible in order to be able to hold the Warner. And when I'm asked, which is my favorite brush, my response is, Well, it depends. It depends on when I'm trying to do the ideal brush for when type of painting is different than for a different type of painting. One of the considerations that I want you to think about is what are your brushes made off ? Are they synthetic materials or the natural hair materials? Synthetic brushes? When you push them against the surface, they spring right back into position. Where is the natural hair brush? When you push it, you'll find that it retains the shape longer when it's wet, so that's a good indicator the synthetic brushes are good for making nice, crisp lines. Natural hair brushes are good for holding water longer. All right, so we've described a synthetic brushes, and we've described the natural hair brushes that I have. There's another option, which is a blend brush. These brushes are a combination of part natural hair and part synthetic, so it can give you, um, a bit of both worlds. And finally, I want to talk about my hockey brushes. You can see here there are a few different sizes, the ones that I have ranged from one and chill the way up to three inch brush. You would use thes depending on the amount of surface you're trying to cover, and I apply the water with ease in order to create some nice, smooth washes. We'll show you had to do that in the project section. 26. Main Materials: Brushes Parts and Terminology: Hello and welcome back. I would like Teoh talk about brushes, and what we're gonna talk about is the different parts of the brush. So as you can imagine, the edge up here is called the tip, but next to the edge, where it gets a little bit wider in the bristles that is, um, called belly of the brush, and you get different facts depending on with your painting with the tip or if you turn the brush on side and paint with the belly. If you're just looking for some thin lines, you do use more of the tip, and if you're trying to cover in an area quick, quickly, you'll turn it and use more of the belly. And that's that. Hold a lot more water and pigment next. The thing that holds the bristles in is called the feral, and there's a crimp down at the bottom of the barrel that detach is it to the brush handle . There's also some glue inside that holds all the bristles together and helps to hold the handle on the feral. Together with the flat brushes, everything is almost the same, except we would call this the edge of the brush, Um, or it's also been referred to as the toe of the brush. But we still have a belly and the feral, which has got a crimp and handle. Next, I want to talk with you about the hack a brush. The hacky brushes a little bit different. It has a goat's hair on end. Best ones that I have found have got copper wire going around which hold everything into place. There's glue along in the edges. I really like these brushes for washes. They hold a lot of water. All right, so there you have a few brushes. We're going to talk about more brushes in the various brush sections, but now you have the terminology. When you're looking at them, have fun playing with those brushes. 27. Main Materials: Brush shape: Okay, now that we've discussed the materials that you're using, what it wants you to think about is the shape he rushes. As you can see, I'm mostly used. Ram brushes myself. But there are times when other brushes air gonna come into play. So there's a selection of sizes of brand brushes here. Then I've got some flat brushes as options. The edge is is blunt on the top of it, and the sides little bit dinner, and this brush is a little bit of a different shape. It's kind of a combination. I use this for a wash brush, and the tip of it is rounded, Yet the sides are quite flat. This is called a filbert brush. Another interesting said brushes that they have here thes air called rigors on what Riggers do. They have very long bristles, and they could be quite thin. There be used for painting grass or hairs, something like that. This interesting shape is called the fan brush, then brushes pretty self explanatory. In the shape of it is in a fan. They can be used for all sorts of things, like trees, grasses, foliage. They could make some small, distinct marks we can make several marks with just one sweep of the brush. Here's another specialty brush. This one's called the dagger or a sword brush, and you can see that angle on here to give you a nice, crisp line. Now, once you've taken the plastics off, don't try to shove it back into their. Otherwise, we're gonna have hairs that will be tipped or bent to the shape. We want to put it on back on, if you can, through the bottom, so that the bristles stay intact. Toothbrushes. You can see here that I use them quite often, so stick with me in the mark making section and I'll show you how to use them. 28. Main Materials: Brushes for this course: for this course thes of the brushes that I use the most. And so these are the brushes that I want experiment for you. We have here some hacky brushes, my double sided Paul Jackson Kolinsky Sable brush a couple of synthetic brushes of different sizes and to brush. Now, don't worry if you don't have exactly these brushes when you're looking at your brushes, usually they will come numbered. The larger the number is, the larger the brushes, and the bigger and area will cover. You'll find later. When we're talking about washes, it's really important to use is larger brushes you can for a space. It is good to have a variety of sizes so that you can work on a range of different projects and last but not least, the toothbrush. We have a few techniques that we use the toothbrush for it. And so watch the mark making section, and I will give you all the tips on how to use toothbrush, including how not to brush your teeth after its full paint 29. Main Materials: Brushes care and cleaning: With all of this money invested in brushes, you're gonna want to know how to take care of them. One thing I want to tell you right away is don't handle the bristles of the brushes by many young students that love to rub them along their cheeks. And, um, I let them know not to do this. The problem is you have oils from your skin that get into the brushes and with watercolor. That's a problem because it oil and water don't mix very well. Also, over time, oils from your skin will yellow the paper and it will destroy your painting. It won't last long. Won't be archival any longer. Don't leave your brushes sitting in the water when you leave your brushes sitting in the water. This can cause a couple of problems. One is it bends the tip of your brush and then they're not painting smoothly anymore for you. But the second thing is that the water will travel up the brush and it can split the wood. It will come under the paint and actually split the wood. Don't draw your brushes this way, because the water travels along the barrel up into the wood, and then it sits there. It expands and it contracts. And then the wood against the feral becomes loosened, and it may pop right off, or the would will split. One more thing to watch for If you're getting water into the Farrell, it travels along in expands and contracts, and the glue will loosen when the glue loosens. Then that lets go of the hair's better on the brush. If you're using your brushes for anything other than watercolor painting, for example, oils or acrylic paintings that can damage the brushes in a way that they won't be useful for water colors anymore. As already mentioned, oils and water don't mix well, and the brush won't receive the water in the way that you wanted to. In order to clean your brushes after their dirty. Most of the time, you just need to rinse them in water and you'll find that the pigment is completely gone. Sometimes with my synthetic brushes, I do need to use a brush cleaner on them, so you just use a little bit a brush, soap or detergent and water, and you rinse it in there until you're sure that all the pig menace released When you're using a natural hair brush, usually all you need to do is give it a good rinse and then brush with water, and that will be fine. Sometimes there's some staining colors that you really want to make sure you add some brush cleaner onto them Now. I don't receive any endorsement from this manufacturer. It's just the brand that I use. Do you add water to your brush, and then you can scrub it in to the soap. Sometimes if I want to give it an extra clean, I rub it into the palm of my hand just to make sure to get the soap up into the pharaoh, and then you rinse it out. And I just knew I teach a lot of young students, and they're not always so great with cleaning their brushes. In fact, they leave me some nasty surprises sometimes, Um, by not cleaning the brushes when this happens, no problem. You can just rinse it out and use the brush cleaner. As I've shown you how to do. Remember to get it up into the pharaoh. When it runs clear, you know it's all clean. What I find is. My synthetic brushes usually need more cleaning than my natural hair brushes, but it's the same process, so just scrub it into the palm of my hand. This one had some green paint in it, good as new. 30. ACTIVITY: Alex's Hearts - A Simple Greeting Card: and welcome back, everyone. I'm really excited to show you this project. It's quite a personal win for me. So the purpose of this project is just to get you to try a slightly more complicated shape and applying paint on it in a fairly concise way. Um, don't worry too much if you don't get it exactly right the first time. You can feel free to practice it a few times or you can try a slightly less complex shape. I also wanted to talk to you about the inspiration for this particular project. This was quite a personal win for me. My son and I have been making hearts to show our solidarity for everyone impacted by the cove it pandemic. So he made some hearts for my phone case, and I just love the design that he came up with. So he offered Teoh print off another one for me, which I've used as a template. You'll find this template in a downloadable format in the resources section, and what I did was I traced it onto my watercolor paper and now I'm ready to begin. What I'm going to do is use red paint for this project, and I'm gonna mix it up in my center Well, so I'm adding some water. Let me just move this over to make sure you can see what I'm doing. So I'm adding the water to the paint and then moving it over to the well where there's a little bit more water. It's a fairly small project, so we won't me too much paint that ought to do it. I just wanted to be a tiny bit thicker. I love the look of red when it's nice and juicy, but if it's too watery, it can look a little bit flat and dull me. Move thes brushes out of the way. I'm just going around. The shape we will probably find because I'm working with a circle is that I need to continue to turn my project around. If you find that your pain goes on to thin in the beginning, you can always do a second layer after it dries. - As I mentioned, you're welcome to use any shapes that catch your attention. This one is just personal to me, confined inspiration anywhere, and I did get my son's permission before I used his design circles. Can be tricky to paint. You have to angle the edges in such a way that you can make the sweeping motion with your wrist. So I my natural sweeping motion is this way. Not this way. So I keep turning my page so that I can get a better angle in those corners. - Really loving the break. Beautiful red color Just to remind you, this one is Windsor Red, but Windsor New and the brush amusing is a synthetic brush. Because I'm wanting nice, crisp edges now it's important not to go too far without loading up on paint again. Otherwise, they thin it out, and it's not as a rich and beautiful. So I keep coming back and loading my brush up. It's just glancing back and forth between my project and my phone case to make sure in painting the great section your game, I'm needing to turn my paper so I could get that angle just right almost there, - turning to reach my edge game edge of my circle At this stage. Remember what it hopes that you're doing is experimenting with your pains, experimenting with your colors, experimenting with your brushes. Find a variety of different shapes that are interesting to you and see which colors you like and vary the amount of water. This project I did use ink. Wait a bit of thick paint. Normally, if I'm going to use if I want to really dark and intense color, I would do multiple layers. Oh, almost forgot the little hurt side of the heart inside the overlap. - Oh , right. I'm pretty happy with I inspired by my son's design. Let's just give that a moment to dry and we'll come back and take a look. Welcome back. As you can see, everything is dried up. Now I really like this cute little image, and I particularly like it because it was my son that designed What I want to do with It Now is turned it into a greeting card, and I was just reminded of the importance of greeting cards and homemade greeting cards by a friend of mine. There was somebody that I went to high school with, and when we were in high school, I gave her a card that I made, and recently we just reconnected on Facebook and she told me she still has the card that I made after all this time. So I want you to know that the items that you're creating here can be used as little gifts for your friends, and I am sure that they're going to treasure them. Anyway. This is how this particular card works. It's pre made, and it has a little folder inside of that. So what we do is we put the card face down inside the folder and you just slide it into that little pocket. Then you turn it around and you can readjust it and center it. There we have it. A nice little gift for your friends. I hope you enjoyed this project and I'll see you in the next section. 31. Main Materials: PAPER: painting surfaces, watercolor paper or other painting surfaces are one of the biggest influences on a watercolor paintings Success. In this section, we're going to talk about the weight of the paper. Would a tooth means and reference to the paper painting surfaces other than paper and the care of your paper? And finally, what I use and why? Let's begin with a weight so you'll see here. I have a few different types of papers in front of me. Usually you'll find it on the label. This one says £300. This one's 1 £40 and this one is also 1 £40. I have a few loose sheets. This one is 1 £40 this one is 300 papers measured by weight, and the weight is a certain number of sheets in a ream. The heavier the paper, the more cotton content it has, which means it can take more abuse. So I really like to use a very heavy paper. £300 paper watercolor paper is measured in pounds. The heavier the weight, the more durable the paper and the more cotton that will be in the mixture. This is important because counting allows the paper to expand and contract more evenly as it gets wet. Some common weights used or £90.140 pounds and £300. I love to use £300 paper, even though £300 paper is fair, bit more expensive. If you buy a large sheet of it, you can cut it into smaller chunks for your beginning projects. I don't use paper other than that, because I find it just can't replicate the same effects that I get on my £300 paper. Next, I want to talk to you about the tooth of the paper. The tooth is how smooth or how bumpy the paper is. Paper is made in a few different ways. You can have handmade paper that's made in molds, and it's put into the mold and it flattens out. But you find that's quite a rough paper. Other paper is made and it's made in sheets, and then the sheets air run through rollers. At the end of the process, you'll find some called rough paper, which means it has a very high tooth or the bumpiness factor there, hills and valleys on the paper cold press means at the end of the process, they run it through cold rollers. And again, there's quite a bit of tooth to a cool press less than in a rough but more than in a hot press so hot press paper. As you can guess, it now has been rolled through some hot rollers at the end of the process, and it's quite a smooth paper, so I can I encourage you. Try some of the different papers and see which kind of a tooth you like. I use arches £300 cold pressed paper. 32. Main Materials: PAPER. Sizing: you may hear the term sizing and wonder what that IHS sizing is. The addition of gelatin toe watercolor paper. This is done to make the paper less absorbent and helps to keep the pigment from spreading through the paper uncontrollably. Different paper brands use sizing in different ways. Sizing is added before the papers pressed, but many brands, such as arches apply. Exercising on the outside layers the top in the bottom. This you will hear called internal and external sizing. If you want more absorbency, you need to remove some of the sizing by winning the paper before you use it. If you scratch the paper, you may be damaging the sizing on what will happen then is that the paint will be attracted to the area that was damaged. This may be in effect that you're looking for, in which case go ahead. But what you really want to be careful of is that it's not happening where you don't want it. Let's see what happens. So have a look. Sometimes this effect is exactly what you need in certain areas of your painting, so give it a try 33. Main Materials: PAPER. Format: I like to paint in fairly large size 22 inches by 30 inches, so I buy my paper and individual sheets. This is just a section up one. It's important to use the best quality watercolor paper that you can. That usually means using paper with the high cotton content. For these exercises, you can use £140 but for your finished projects, I recommend £300 paper as this is. Often, my students become quite frustrated when they're using a different paper than I am because they achieved different results than I do. Less expensive paper comm buckle, creating hills and valleys as the paper expands and contracts. Although the paper I use also may buckle because it has a really high cotton content. I just iron out the buckles and then they flatten it between two boards to get it even flatter. Another quality of the less expensive paper is that it doesn't hold together very well when you scrub it. This is a problem because the damage paper results in Pilling. Pilling is where the fibers of the paper separate and bunch together in little clumps, leaving damaged uneven surface and is really difficult to paint smoothly on it. I hope I've convinced you why it is important to buy the best quality paper that you can afford. But to stretch your investment further in another section, I'm going to show you how to rip the watercolor paper so that you can use smaller sizes for multiple projects. 34. Main Materials: PAPER. Blocks: another way for you to buy watercolor paper is to buy it in some books. I have a couple of different examples here, and the cover tells you a lot of information about the paper. So this is a Strathmore watercolor paper. It's their Siri's 300. The higher the number on the Siri's, the more expensive the paper in the higher quality it ISS. This one is a cold press. If you remember, that means at the end of the manufacturing process, they run it through some cold rollers, and they you get a bit of a tooth. I'm not sure if you can see that, but the tooth is the hills and the valleys. This one is 100 and £40. Next, we can take a look at the bar. Brianna Paper five. Brianna paper is also a cold press This when it tells you right here it's 25% content and this is also £140 paper. Um, Fabbiano indicates a which kind of paper that they've got by this little color down on the bottom. This one is blue, which goes with Cole Press and the weight. Other times they'll have another color to indicate whether it's hot press or whether it's £300 paper. So, UM, you have you can look for a lot of different sizes in watercolor pads, but it's just one more consideration that you have for border colored paper. So these are just two examples out of the hundreds that you'll have. The sizes will bury. The brands will very test out a few and see what you think. Here's some samples of water color blocks. The same is with the other paper. The different companies make watercolor blocks, and these two companies they color code the type of paper that it iss, so you can see that this one is £140 it's a cold press. This arches watercolor block is a £300 and it's also cool press, although these probably look very similar to you as the watercolor pads. The differences, these air glued down on four sides purpose for gluing it down on the four sides is when you paint on it. It will expand and contract, but it will still routine. It's mean shape, preventing the hills and the valleys. I used to use watercolor bluff all the time. The advantages off, um are you don't need to structure paper. Another one is this cover will protect your paper and they're really portable. So they're great to take on plan air painting. The disadvantages of them are You can only pain on the top page. So if you want to do more than one painting at a time, you have to have multiple watercolor blocks. It could be a little bit expensive, but the main reason that I don't use these any longer is I like to bend my paintings as I'm working on them to control the flow of the water and the paint. So this just this option doesn't work for me anymore. As with all the other supplies we've talked about, I hope you give these a try and see if they suit your painting style. Happy painting. 35. Main Materials: PAPER. Watermark and Paper rip: you may hear the term watermark, and I want to show you what this is and how to look for it. What the watermark is is a section usually stamped into the corner, where the manufacturer puts their label in this instance for the arches paper, it's a little bit raised, but when you hold it up to the light, you can see through it as well. So that's the best way to see the watermark. The watermark is important for a few reasons. The watermark will tell your customers when they buy your artwork, what quality of paper it is that you're using and that it's an archival paper. But also that watermark signifies to you which side of the paper is up with arches paper. I have no problem using both sides of the paper, but for other papers, it does matter if this piece of paper is too large for you, we're gonna rip it down into size so that you have to two papers. But if you're going to rip it, your watermark is only on one corner of your paper. So what you need to do is make a little mark for yourself, so that you know, which is the top. I'm gonna put a little tea here for top. In fact, I'm going to write the word doc. And that way, after the paper is ripped, you'll know which is the top. No gain on remind you for the paper that I used. I've used both the back and the front. I haven't found a difference, but for other papers, there is a difference in the tooth between the front and the back side. So to rip a paper, you don't just cut it down the center. What you'll do is you'll decide how large you want it. In this case, I'm gonna rip it in half. Do you? Fold it over and you press really hard along here and then you fold it again, back on itself. Let's do that again. And one more time. This is for £300 paper or any other way to paper as well works really well with £300 paper. Some of my friends like to hold it in the air and karate chop it. There you. And now we know that the top is here because it has a watermark and we know that this side is the top because we pre marked up before we ripped it. The reason that we're ripping it instead of cutting it with the scissor is we're trying to get a nice edge. The same the same is this spark allergic the end here. So it leaves you with a really nice texture, and you can leave your edges raw. 36. Main Materials: PAPER. Archival: I want to talk about the carrying handling of your paper. The chair mark hot will mean something is acid free, durable and stable to museum or library standards. Most paper will deteriorate. Archival paper is resistant to deterioration. The manufacturing process can help to eliminate unwanted elements that are known to cause paper to deteriorate some environmental considerations to help preserve your artwork. So it's really important to not handle the paper as much as possible because the wheels from your hands will get onto the paper. This may create a resist, which means that the paint will have a tougher time sticking to the surface of the paper. Another reason not to handle your papers that wheels from your hands could get onto the paper, and this could over time yellow the paper and finally, don't scratch the paper when you scratch the paper that disturbs the sizing in it, and then you'll end up with dark marks in places that you may not want. Sometimes you do want this technique and then by all means scratch away. But for our purposes, we want to make sure you're helping your paper toe last a long as possible. So keep it stored in a nice, safe place where it will be covered and free from all of those things. 37. Main Materials: PAPER. Stretching Paper Part 1: because of the way that I paint and because I use very heavy paper. I purposefully don't stretcher. Take my paper. Instead, I flatten it with the steam iron and press it between some boards after the fact. But but if you're using a lighter weight paper, you may consider stretching it or taping it down. So for the first example, I'm just gonna use some masking tape to tape it down. What this will do is it will hold it in place and given a little bit of structure when it gets wet. But you make sure that your board is dr. Make sure that your paper is dry. Otherwise, this tape wanted here to it. You could be as fussy as you want it with making sure your edges or street personally. I just eyeball it and then you push on the edges and maybe even burnished them with a spoon , rubbing it with a spoon until it's nice and tight. What will happen with this method is the paint won't go under the surface, and as the water gets wet, it expands, and when it dries, it contracts, so we'll keep it nicely in place here. The difficulty with this method when you're using masking tape is that masking tape doesn't expend and contract as it gets wet. So the paper, well expanding contract and come back into place as long as you're not using a lot of water , This method is just fine. If you're going to be using more water, then I recommend that you use something different. Let me show you. Here I have artists gummed water, paper tape, and it comes in different widths, so even narrow in here a little larger and when that somewhere in the middle. But what I'm gonna do this time is stretch my paper, you stretch it by wedding it you don't actually pull or tug on it as soon as you put it in the water, the papers going to expand and then you put it on your surface and you put your tape around it. So let me show you have got some water. Here you can you can soak it in the bathtub. You can so could under faucet. Um, or you can do it in a container such as I am. It really depends on how big your paper is. Make sure your hands are clean when you're using this method, and I put it onto my board. I've already ripped some of the tape and you'll see one side is sticky. It, um, it becomes more sticky when you added water to it. I want to catch the edge of your paper and then smoothed that out. Grab another one. I like to tape across before you do the sides, and here you're gonna want to make sure that your edges are parallel to each other next side in the last one. I just want to smooth that all out, make sure there's no bubbles in it and press on the paper. I let that dry naturally, and once it's dried up, then it's ready for you to paint on. 38. Main Materials: PAPER. Stretching Paper Part 2: What we're gonna do is paint a little picture on here. Then we're going to dry it up and then we'll remove the gummed paper first. I went the whole page next to a mix a little bit of the paint in the wells, so just gently puts him purple along this side and let it bleed out, and I'll do the same with Green. The paper on this said, is already dry, so I just need to add a little more water and a little more paint. I'm gonna tip the paper and let the paint bleed a little down across the page. I would use this as a background and paint something else on top. But for now, what I want to do is just dried up so you can see how were removed. The tape now we're painting is all dry, and the tape is dry. What happened is, as I was drawing it, some of the tape was already lifting, so that's a good sign. It means it'll come off easily for us if there's sections that are sticking. What I do is I went it with a cloth wedding It with the cloth helps to loosen the glue. - Now , remember, the purpose of the tape in this example wasn't to keep the edges completely. Wait. The purpose was so that when the paper expands and contracts, it does so at the same rages. The tape that expands and contracts where paper, Even though it was quite wet, it's relatively flat now. I hope youll give this technique a try and see how it works for you. 39. Main Materials: PAPER. Care and Handling: I want to talk about the carrying handling of your paper. The chair mark hot will mean something is acid free, durable and stable to museum or library standards. Most paper will deteriorate. Archival paper is resistant to deterioration. The manufacturing process can help to eliminate unwanted elements that are known to cause paper to deteriorate some environmental considerations To help preserve your artwork, ensure that brand you're using is made of archival materials. Do not expose your artwork to direct sunlight. Used museum quality glass in your framing. Wherever possible. Keep your artwork out of humid areas. Higher temperatures can also increase deterioration and protect your artwork from pests that may spoil, tear or eat paper pains. So it's really important to not handle the paper as much as possible because the wheels from your hands will get onto the paper. This may create a resist, which means that the paint will have a tougher time sticking to the surface of the paper. Another reason not to handle your papers that wheels from your hands could get onto the paper, and this could over time yellow the paper and finally, don't scratch the paper when you scratch the paper that disturbs the sizing in it, and then you'll end up with dark marks in places that you may not want. Sometimes you do want this technique and then by all means scratch away. But for our purposes, we want to make sure you're helping your paper toe last a long as possible, so keep it stored in a nice, safe place where it will be covered and free from all of those things. So there you have a few tips to ensure that your paper is archival and that you use storage and handling methods that maintain the archival quality of your artwork. 40. Main Materials: Aftercare of paintings: I've been asked how I store my paintings. This is a work I did with some of my students, and I didn't want to frame it. So would have done is I go on a mat made for it, and I put it on top of foam core, and then we wrapped in cellophane. So now it's protected from the elements and its remaining flat, and yet we can see through it, but it'll still remain protected. One of the most simplest is just to put your paintings into plastic, and that way you can show them to people without them being damaged. As you can see, these two have been through a fair bit of wear and tear. Er, I like to use thes is demonstrations in my classes, so I take them with me so the students can have a good look, but at the same time, I'm protecting them. Another option that they have that sparely inexpensive is a paper portfolio of mine is really well used. It used to have a string round here and there. I'm holding it together with an elastic band, but this allows me to keep a few documents safe and when they want to transport them. I can just take this alone on a more serious note, the name taking trips because I do like to travel with my paintings and I, um, willing to create paintings while I'm traveling. So here is one option, which is a portfolio. This one is fairly heavy duty there, lot of pockets inside with some hard plastic that keeps everything flat. There are pockets in the front to keep things in, but I found when I travel with ease, the zippers have a tendency to get broken, so I don't keep anything really value in pockets. But it is great for protecting my artwork and portfolios come in all different sizes and price ranges. So this is just one option, and underneath I have my largest portfolio here. Underneath, they have my largest portfolio, and it is made of hard plastic you material, and you can transport some fairly large projects in these 41. Main Materials: Palettes: would I have before me is a mountain of palate options for you, ranging from some very inexpensive options to some much more expensive and elaborate options. Let's go through them. So first of all, what you can see here is I have just a plastic lid that I have saved. Now this is very inexpensive. As you can imagine, however, it's not a great option because when you try to mix multiple colors, you're going to need multiple lids. Otherwise they'll run into one another. But it is an option that I use with some of my students, especially my junior students moving up from there. I have this ceramic option when you have a palate. What you need are some wells some areas where you can add some water to ensure that the consistency of the paint in the waters nascent smooth, and that there no clumps of paint left on your brush. Do you do need an area that has some room for mixing? Here's another ceramic option. This one has a few more wells available to you. The nice thing about the ceramic pallets is that the pain tends to flow more evenly across thumb and it doesn't puddle in one area of the other, so you can really see what colors you're getting, and you can mix more than one color, and they won't continually run into one another unless you gently tipped, um, to allow that to happen. Here's another option that I have. I use this pilot for my students. It's a bit cleaner now than you can imagine it. Normal hiss. Um, what I do here is I put my paint in little pockets up on the edge, and then I mix it with the water farther down again. We've already discussed. We want to make sure that we have a nice, smooth consistency of painting water together when we apply it to the paper. These haven't incline, so the water will run down the side here, and that's where you'll mix it. This one is the palette that I currently used the most. This is really the bottom layer of it, but it could be used as a lid. I've got my colors ranging in values as we go around. There are three large wells where I can mix up my paints. I generally mix my light values in this one my yellow's my oranges in here. I put my mid tones, my reds, sometimes my blues, depending on how dark they are. And here I put my darker values purples, greens. Brown's, mixing them by value this way allows me to get a nice range of color and didn't know where everything is. This palette is pretty dirty right now, but it's quite easy to clean up with just a wet sponge. You can remove all of that extra paint, but as I've mentioned before, we could reconstitute the pain simply by adding some water so I never throw out the pigment along the side. Here. This Pollitt is another ceramic palate is very heavy. £7. Um, I used this palette exclusively for my whole buying paints to keep them separated from the others. It has a lid for it, and you can also mix paint in the lid if you run out of space is. But as you can see, there's a nice, wide open area for mixing paint, and you can store your brushes here and in these holes along the side. I saved these three options for the end because thes are travel pallets thes of the palace . I would use the come going plan air painting, so this one has the cakes of paint in it, and you can use thes little wells for mixing up the color. This one has the wells along the sides. There's a thumb hole for holding. You could fit some brushes into these little areas here, but my brushes air quite a bit bigger than that, so I don't tend to you to do that. This is another one of my travel pal. It's as you can see. There's a removable shelf, and this area can be used for mixing paints. There's a well here to mix paints and here as well. What I've done is value study of the colors that I have, so I know when I travel what my range of paint colors are. I've got a sponge inside for easy clean up, and it's got a lid to keep everything nice and secure. When you're traveling, there you have it. Lots of options for politics. I hope you will find one that suits your needs just right 42. Main Materials: Water container: Okay, What's this odd assortment of containers that we have in front of me when I'm wanting to show you is you can use pretty much anything for watercolor container. If you remember the health and safety section, though, I want you to use something that you're not going to be using to eat or drink from a game I have here. Just plain old jar. You can use that. Um, this one is a collapsible container. It's very good for your plan air painting and then in store it and open it again. When you're ready, this collapsible container can fold up nice and small so you can toss it in your backpack and then you can take it out Planner painting when you go. The container that had been using for this course is a large, wide mouth glass container, and I chose it because it has nice, rounded edges. He went rounded sides to the container that you're using so that when you rub your brush along the side of it, it doesn't catch and cause damage to your brush. Another thing that I want to talk with you about is using a two container method so often I'll have two jars side by side and I'll use them. And I use the 1st 1 for my dirty water. And then once my brushes mostly clean, I'll use the 2nd 1 for my clean water. I really like this idea of the two container system. Unfortunately, somewhere along the line, I usually forget which is which. And so it's easier for me to just use one container and stay close to a water source so that I can clean my water frequently. If you use very muddy water, you may find that that discolor is your paper. Do you do wanna have access to fresh water? One last thing I want to talk to you about is distilled water. Sometimes our tap water has some acidity to it. So distilled water will have a neutral pH. And that would be the best for use with your paintings. Personally, I've just used tap water for all of my paintings. Okay, I will see you in the next section. 43. Optional Materials: Masking Fluid Introduction: Let's talk about masking fluid now masking fluids known by few different names. Mask include, obviously, Miss Kit and frisk it to name a few. One thing before we go any farther than I want you to know is do not shake the bottles. Do not shake the bottles and says, Right here, do not shake. The reason for this is masking. Fluid is made up by latex, suspended in a liquid on when you shake the bottle. What happens is the little latex particles at here together, and so suddenly, when you shake it and shake, it's a more and shake it some more. You end up with a clump of latex, which is totally separated from the liquid in there. What you want instead is nice consistency where everything is blended smoothly. 44. Main Materials: Masking Fluid. How to use Part 1: Here's how masking fluid works. If you want an area left white, what you do is you cover it over with masking fluid. Then, once it dries, you can paint over top of it, and your area that is covered in masking poop will remain protected once you remove the covering, then you're painting will be white underneath. I fly masking fluid with color shapers, and I have a variety of different kinds here, and they also used stylus these balls on here. This tool is often found useful for working with clay or working with paper craps. You can apply masking fluid with the brush, but you want to cover it with a brush cleaner first so that the masking fluid doesn't stick to the bristles. I used to use a brush, and I really like the way the lines look when you apply it with a brush. Unfortunately, I've destroyed a lot of brushes, so I no longer used this. I use thes tools Instead, you can use masking fluid over top of a section of your painting that's already colored, and it will sort of freeze the color at that spot. A word of caution, though, if you paint masking fluid over an area that's already painted. Sometimes I've found that it lifts the pigment underneath it. It doesn't go back to completely weight, but it may lighten it a bit. If you leave the lid off of your masking fluid, it gets dried out and clumpy. So when I do instead is I pour a little bit into a container so that I can use it. Then he put the lid back on right away, and this is the amount that I'm using. You can just dip it in here because the masking flute, I'm trying to keep the masking fluid pristine. That's why I poured into the container and use it from there. I wouldn't pour that back into my package, my original package, because then he could thicken it up When I want to do that. Similarly, you can add some water to dilute masking fluid this kind. However, if you do that again, I wouldn't put it in my a bottle of the full amount. I would put it more into container like this so that I am only diluting a small amount of it at a time and getting it ready once it's too dry in the container. It's just simply unusable because is like a river 45. Main Materials: Masking Fluid. How to use Part 2: make sure that when you apply masking fluid to your paper that your paper is completely dry . Otherwise, it does something to the composition, the chemical composition of the masking fluid, and it doesn't come off properly anymore. Also, one of my students has discovered that when the masking fluid gets too hot, her project was in the sunlight and it got too hot. She's having a really difficult time lifting the fluid. It's very sticky and and soft. I've heard it said that when you apply masking fluid, you don't want to leave it on for a long time, maybe a day or two. I haven't actually had that problem, and I've left it on for maybe up to a month. Masking fluid can be sold in pens I did use one of the pens. Um, my lines ended up beautiful, crisp and clean and thin. However, I had some difficulty removing it, and I'm not sure what that waas so I haven't used the pen again since then. Some manufacturers will add a pigment or color to their masking fluid so that it's easier to see when it dries. The brand that I use dries to Justin off weight, and it can be tricky to see on the paper. I try to stay away from those brands that have color in them because I'm just a little worried that it's going to tint my paper in the work that I do. I use a lot of masking fluid. I hope you'll find these tips helpful if you decide to try this very useful medium and you will see masking fluid used later in projects. 46. Main Materials: Masking Fluid Remover: we've talked about masking fluid. This is a masking fluid remover. This is what it looks like when it's fresh in the package, and this is what it looks like when it's been used a little bit. What happens is you rub the masking fluid with this. He's remember I told you, I don't want you to be rubbing the paper or you leave oils from your hands so you use this instead and that helps to lift the masking fluid that you have put on there. I will show you how those work in a little while. 47. ACTIVITY: Sailboat Greeting Card Part 1 masking to preserve whites - Drawing: Hello, everyone. Welcome back. What we're going to do now is create a sailboat greeting card. So what I've done is I've got a piece of paper here. It I would want is a five by seven greeting card. So I have had to cut a seven by 10 paper, and then I can fold it in half to get the size of card that I want. And just to be sure, have your envelope ready and make sure that your card is gonna fit the size of your envelope. If not, you can always trim it down. And here I have the sailboat that I want to make. This is going to be This template is going to be available in the resources section off this course, and I'm gonna draw it onto a greeting card. But before I do that, I just want to talk to you a little bit about some of the supplies you see in front of me. So here we have a pencil sharpener, watercolor pencil grounds. This is a container that I'm gonna put my masking fluid into. I brought this one along. This is often what I use when I don't have my other one available, and I reuse thes milk container lids over and over and over. This is a color shaper. It's got a rubber end is my preferred way for applying masking fluid. But here we have a script liner and this a ruling pen. This is also a good tool for applying masking fluid when you weren't really fine lines, and I do want some fine lines in this. So let's give that a try. A needed small piece of kneaded eraser Ah, variety of brushes, my masking fluid water and a towel. And we will bring out the paint when we're ready to use that. So what I'm going to do with this project is let's start by using watercolor pencil crayons to actually draw the image onto our paper. Now you can trace it if you prefer. I'm just trying to show you lots of different ways of accomplishing things. So we're doing a different example this time than we have in other lessons. So I'm gonna take a blue watercolor pencil crown, and I want to center it in my page. So I'm gonna put the the mast in first. Now, of course you do. not need to do this exact image. You're welcome to create your own images. Whatever inspires you from this lesson. But if you do not enjoy drawing, then by all means just trace from the template s curbs. I find a really lovely in most designs, so I incorporate them in lots of different little places. And this pattern has a lot of little s curbs in it. Just trying to get the basic shapes. Nothing Lovely little ask her could go right there. I put in these extra little, um, lips around my boat because I wanted to have different areas where we could put some color . All right, now, thes curly cues, when we want to do is start them a little ways behind the first sale. And I, um, make a curve down and they come up in an s than a curve back in a C shape. I curve up in an s back in a C shape, and what I want to do is have this ending shape about the same distance away from the edge as the other side. Hey, that's not bad at all. Okay, so there we have our pattern 48. ACTIVITY: Sailboat - Part 2 Applying masking fluid: Now that we have our pattern all drawn on, the next step that we're going to make is to put the masking fluid on. You know, if you remember, masking fluid is a tool that allows us to maintain whites on a page or to freeze a painting at that stage. So when I'm going to do is mask both of the sails, and I also want to put a little bit of masking just below the blue line on these waves. In fact, I'll come down a little farther. It will give us another element of design in the pattern. So we take her masking fluid, we do not shake it, and we pour a little into a container seal that operate away. I'm going to do the sales first, so this tool is a little bit wider. It allows me to put on more masking fluid a bit faster. This one will be for very fine lines. So I'm just going to stay inside my pencil line, my watercolor pencil line, and I'm gonna do the big sale as well. You may decide that you want one or both of these sales to have some color on them. But I'm wanting to show you how masking fluid works. And so I've decided that my sales will both be Wait, go right now. If you happen to get some masking fluid on your paper, let's say like this. I don't want you to worry about that. What we need to do if you don't want those dots there is let them dry. Once they're completely dried, they'll be really easy to remove. But if you rub them right now, you're just going to spread them and they may get sort of ground into the fibers a bit. So just let that dry and then we'll take care of it. Leader. I see I have some small dots here is well, but in fact, I think I might leave those, and I'll add a few more just to indicate, as though there's a spray coming off of our ocean. But before add more of those when I want to do is use this ruling pen and it just dip the tip into the masking fluid and they making some simple way of shapes underneath the wave shapes that are already there. You could make this pattern as simple or is elaborate as you want to. You can have multiple rows of waves. If you care to. I think I'll leave it there. For now, though, I've just added two more supplies to the table. One is, um, brush cleaner and the other is a toothbrush. It's will open up the brush cleaner. Now the problem. If I put my toothbrush into my masking fluid, it will spray nicely and we'll have a great effect. However, what will happen is when it dries, it will drying into the toothbrush in, and I won't be able to use this toothbrush anymore. So instead what we do So we could it with a little bit of soap. So we dip it into my water and scrub it into the soap and seems that I've got some color there. So just clean that I hoped. I'm not sure if it was the color on the two fresh before their Rio. So clean that out one more time. Just dab it on my towel to dry it and go to fresh spot on my soup. Okay, there we go. So I've got just a little bit of soap going part way up. The bristles tap out the extra water and when they want to do is just puts a masking fluid on the tips of the bristles. It is very small painting, so we don't need a lot in fact, him tapping out a little bit of the extra and whether one is a very fine mist around where the waves are. I'm gonna put a little bit up into the sky as well behind where the sailboat is traveling now I've got masking fluid and soap on my toothbrush, so and when you rinse that out, But don't use that water for your paints. Otherwise you may get, um, some unintended consequences. So whether l do you is clean my water before we do any painting at all. And what you can probably see here is I've got some beautiful fine mist over all of this area. Let me turn it. Just see if you can see it a little better. But I also ended up with some very large circles that I don't want. So what I'm gonna do is I'm gonna leave this project to dry so the masking fluid can dry, but for a painted and then we'll take off those big circles that I don't want. Also before I painted 49. ACTIVITY: Sailboat - Part 3 Painting: Hello, Welcome back. As you can see, the masking fluid is all dry, and you can tell that it's dry because it's changing color. I'll just tip that for you. Seek and see. Now, if you remember when we left, we had some little spots that really weren't where we wanted them. So I'm going to use my masking fluid remover and just pull those spots rate out of the way . Just getting under one of the corners and it lifts read off there. But there's still other little dots with no miss. We see. I've got a little bit of a discoloration where my masking fluid was. No worries. When we put the color on, these will be minimized quite a bit. What I'm gonna use for paints this time is my little kit of Cotman. It's a travel plan air set, and as you can see, it's a fair bit dirty. So one of the things that I wanted to show you was if your colors get a little dirty, all you need to do is just one a wet brush over top of um and rinse that off so you can lift it out. And then the color will be quite pure gain. It's a weight under there. We're going to use a neighs light blue for the sky, a dark blue for the water. We're gonna use a red for the bottom of the sailboat. And, um, I think I'd like to put a yellow stripe along in the boat as well. Um, in what I have got here is a little strip of scrap paper because it's always a good idea to test your colors Quite often. When I'll do is a leave a scrap like this, I'll have it smaller, and I'll just leave it right in the kit. So we knew exactly what kind of color of God. And when they're in this form, it can be really hard to tell which colors air, which, because they're they're very concentrated when much darker. - The color was a bit contaminated when I first went into it, so I did it a second time. And this is a better version of the pure form here. Same thing for the 2nd 1 and last one. All right, so these are the colors that we have on hand. So what? I wanna dio I just put my kit over to the side so I can reach it. Okay, First of all, I'm gonna wet the sky, and now I can be qui I can go right over top of the sales because they have the masking fluid on it. Um, I'll make this post in the center, but darker. So I can even go over that dork helper. Dark colors cover over light colors. So my sky is going to be fairly late. And what I will do is first of all, it was this blue that I want, So I'm gonna mix a little puddle of it in my lid. Fact e went bit more water than that, so I want it very late. So what I'm gonna do is I'm gonna wet my paper first. I won't wet the area where the boat is, but I'm going to go all the way up to the waves. Some of the watercolor pencil crown is being, um, softened up in. So it's spreading around the pages. Well, in fact, that's quite a beautiful color. I don't need much more. In order to show you the effect of the masking fluid. I'm gonna overdo it a little bit and put some extra cholera on because that will help the weight of the sales pop out more. I went to soften the edges, so I'm just gonna take a paper towel. And so cops some of the, um, edge. And then I'm going to wet another brush, take some of the excess water out, and I'm just going to tickle the edge, Would you? Don't want is a big, hard line there, So I'm gonna wet the brush again and clean the brush and I'm drying it on my paper towel, and then I'm just tickling the edge to soften it. One of the things that I'm noticing is I have two spots of masking fluid rate there, and so I need to lift them out. And if I use my color shape every now it's got all of this pigment along the edge. You will stain. So I'm going to just very gently scrub it up with the ruling pen and lift that boat. Oh, sure you would. Ever doing there is a bubble of masking fluid right here. So just getting underneath it and lifting it and trying, really, it would be very easy to damage the papers will be careful that you're working very gently . Now that that's gone, I'm just gonna add a little more water to this section. You don't want to have a lot of water on this card because the paper is quite late and it would buckle and bubble and destroy the effect where I think that that's great. Now what I'm gonna dio is let this try. 50. ACTIVITY: Sailboat - Part 4 Painting additional detail: Welcome back. There we are. It's all dry. Let's add some of the remaining details. I'm going to use my smallest brush that I have here with me. This one is in number six and I want Teoh. Um, I want to paint red near the bottom here, and I have this fairly dork Eliza in crimson. But what I was noticing is there's a little bit of a light blue still here so we can lift that. Just wet the area, and then I'll blot it with a clean paper towel. Make sure your paper towel is clean. I've seen some people, um, prepare the area really, really well, and then they blooded it with a dirty paper towel and remained very dirty. Got worse, in fact. Okay, that's pretty good. So it's not totally gone, but it has lightened a fair bet. So what I'm thinking, actually, I want to do a nice little yellow stripe first, and then we'll do the red around it. That color is really bright and cheerful. No. Well, that's drawing. I'm going to move to a brown for the mast, and I'm gonna turn the page so that I can reach it. better, you know, dark. And that a little more. In fact, I'm going to switch to the other Brown. That's right beside it. Oh, great. Super. I'm gonna do the little flag at the top. I'm just going toe clean out this paint a little more with some fresh water. So I put the water into the well and I scrub it a little bit. And then they removed that and put it onto my paper towel. No, I see the fresh paint poking through. I'm twirling it on my little palate Teoh and win a toilet. What's happening is the bristles air coming to a sharper point because I want to do this little flag up here. Now I'll come along the bottom and I'm gonna do the lift at the top of the boat and feel free to leave some of the weight in if you like. Yellow is not quite dry. So what I'm gonna do is use the hair dryer and drive that up and I'll be right back 51. ACTIVITY: Sailboat - Part 5 Painting Waves: All right, let's try that again. So now I have used a hair trigger to dry the yellow paint, and I mean to come back in and get some more earthy Eliza in crimson and just run it along the top part of me along the bottom of this, um, edge looking pretty good there. No, we'll come in and do the bottom underneath where the yellow is. - I'm just as we go. I'm just making some decisions about how deep I want the bottom of the sailboat to be. All right. I'm going to stop here and enjoy it again. All right, there we are. The red from the bottom of the boat is dry. There's a little bit up here that's still a titch. Wet. But I'm gonna be painting under here. So what is important to me right now is I don't want where I'm painting the waves to be wet . Otherwise it could run and lead into that section. But because that's up there, it's not going to touch anything I'm working on. So now what I'm gonna do is come back and get some ultra marine blue. I'm just going to test my color, make sure I've got the right one. It's quite a beautiful blue. This one here. I'm just mixing a little bit of that up on the edge of my palette. Put a little more water in there, so I've got lots. I don't want to run out while I'm painting. Okay, same as before. When I'm going to do now is now that it mixed my paint up, I'm gonna wet the paper. And wherever you wet, the paper is where the paint is gonna flow. I didn't go up into these little weaves because it's a very small area. And when I come in with the paint will be able to make nice, crisp waves. If I have too much water around, the pain will blossom out into those spaces and these air fairly small, delicate little areas. So I want to make sure to really get into those groups in a nice, crisp way. Some of the masking is poking through. I can see it now that there's a big contrast with this dirt color. It's gonna look great. Would it leave? Is little tiny weight dots on the tops of these waves now trying to work quite quickly because I don't want streaky areas when it all to be connected and fairly smooth, which was the point of putting mortar down first. All right, now that I've got those tops and tips established, it could come in with a larger brush to paint farther down the page. I wanted a little bit darker, so well, it's wet. I can just grab some more paint. We're just having some fun with some shapes moving my brush from side to side rate. I'm liking that very much. Let's dry it, and then we'll removed the masking fluid. 52. ACTIVITY: Sailboat - Part 6 Removing masking fluid: there we go. Once again, it's all dry and you can feel it if it is, um, still cool to the touch, then it would be damp, and this one is very warm. So we're all sat when I'm gonna dio issues the masking tool remover and I'm going Teoh start to push down and pull we the masking fluid and it will reveal the weight that's still underneath the sale. That's a great sound. Now I have all these little dots of masking fluid and I have the waves. So let's start to remove the dots. Gives agreed illusion of sea foam. There's still some more over here. What I often will dio once I've got some on is just pull it off the corner of my tool. Just making sure that it is truly dry. It looks a little bit wet yet I could just feel to see if there's seems to be any additional masking fluid. And there is yet right here. Here we go. Now, I'm also noticing a little bit of a pencil mark, so we just want to lighten up, okay? And you have a sailboat greeting card. I hope you enjoy this little project. And I'm sure your friends and family are going to just love getting nice little gift like this. I'll see you in the next section. 53. Optional Materials: Pencils, Watercolour Pencils, Terry Cloth, Hair Dryer: here are a few more of the supplies that I just can't live without, and I use them all the time. Let's talk about pencils. You may decide that you want to have your pencil lines show up in your painting. Most of the time. I just using HB or a mechanical pencil for drawing the lines in my pictures. But if you don't want your lines to show up, you may consider a sketch and wash pencil. This is water soluble. Or you may want to use watercolor pencils with watercolor pencils and the water soluble pencil. When they're activated with water, they act a bit like the paint and they'll just dissolve. He won't say the lines. In addition to pencils, I also use a micro fiber cloth or a terry clock. I use a micro fiber cloth or a terrycloth towel or paper towel, and you've already seen the hair dryer gets used quite a bit. Remember, don't have the air too high or you're going to shoot papers and everything across your table, or you're going to move all the pigment over to one side of your painting, so practice holding it high above your painting and use it on a lower speed. So here you haven't hear some of the tools that I just can't live without. 54. Optional Materials: Sponges: Here's some sea sponges, sea sponges, air Great for getting a textured effect. What I do is I pounds thes into my paint and then I sponge it right onto the paper. Can't wait to show you how this is gonna look in trees and different textured items. 55. Optional Materials: Spray bottles: Well, this is a course about watercolors. So what kind of course would it be if we didn't talk about spray bottles? So I use spray bottles for a variety of different things, and they use a few different sizes of spray bottles, and they have different amounts of liquid that come out in them. They may come in little bursts or large bursts, and I'll be talking more about those when we get to the project sections. So these ones have just water in them, and these ones have the paint will right into it, so we'll talk about how to load it and how to use it. 56. Optional Materials: Pipette: this is a Pipat. You can also use a water drop or or anything that will scored up. Some water we're gonna do with this is I squared up the water and I put it into the wells so that I can mix it them with the paint into the different sections. I could take the water from my container into my palate, but that would take me a really long time. So Piper is a handy tool to get you there a lot faster. My young students love it. They say that it's like they're doing science experiments. When they're playing with it. I just find it quite invaluable. 57. Optional Materials: Kneaded eraser: here. We haven't needed eraser. You'll see that it's pliable and very soft. And this is good because when you are racing off your surface, it's not going to destroy the paper so you can erase lately. Or you can just push it into where the graphite is and you'll see that it lifts it. So don't use another eraser, because I don't want you scratching the surface. Remember, when the surface is scratched, it leaves behind a texture that can be undesirable unless you're looking for that effect. 58. Optional Materials: Tracing paper: here have some trace and paper. As you see it comes in rules. It also comes in sheets. What I use tracing paper for is I draw my line drawings onto the tracing paper and then they transfer those onto my watercolor paper when I'm ready. 59. Optional Materials: Key and cap opener: here. A couple of interesting pieces of equipment, first of all, show you this one. It's a key and what you do with it as you slide the end of your paint tube into here. This is when you're tube is almost empty, and what you do is you roll it up, and as you roll it, it's pushing the paint to the end so that you can use it and it keeps. It helps to extend the life of your paint. This one's a little different. This one's a juror opener, but I use it when my paints are stuck and I'm trying hard to get the lids off. Of course, you're going to keep your paints nice and clean. Sometimes I don't wait the surfaces as well as I should, and so they get a little bit stuck. They just pop it in here, and it gives you extra grip so that you can open your paint, too. 60. Optional Materials: Mr Clean & Tissues: Erase-lift paint from painting (REQUIRES ADULT SUPERVISION): Here's a set of tools that I like to use for lifting. Now, I only use this technique near the end of a painting, and I try to use it only on small patches. I don't like to use it across the whole painting. Um what it icis you use Mr Clean Magic Eraser. You see that they come in bricks about this size, and what I do with that is I cut it into smaller chunks. You can win it and then scrub directly on a painted area. I like to blot it afterwards, and you can see that it lifted, quitted, loaded the paint over there. If you want to be a little more precise, you can get an eraser shield. I've taped up some of the sections that I don't want used. Put that on your paper. You don't get in the water, squeeze Oh, the Warner. And then just give it a little scrub and he find it lifts beautifully. Now gain. I don't want you to go crazy with this kind of a technique, because what I find is it, and it lifts that internal sizing. It will. It definitely lifts the external sizing and it probably lift some of the internal sizing, too. So if I'm to paint on top of that, my paint will spread out a lot faster than I'm used to it spreading and it becomes darker onto my page. So I don't like to paint over top of an area that I've used the Mr Clean Eraser on. It's a single use. Once you've used it, then you would put the remainder in the trash. And be careful. This is a substance you're gonna want to keep away from Children and keep it away from your pat, so keep it stored safely and have fun trying this technique. Sometimes I like to use tissues, and I use them for effects like lifting. If I morning to make nice, fluffy clouds or lift some waves out of a big ocean, Uh, you can. They're quite absorbent, as you can imagine, and it leaves a really nice soft touch. Tissues will do a similar job two paper towels, however, they're just a little bit softer, so try them both and see what you like 61. Optional Materials: Iron: Here's a painting that I'm working on with the friend. As you can see, even though I'm using £300 paper, it's still got a curve in it. So what you can do is use a nice clean toe attorney painting upside down on their and I've got a steam iron on hot steam. I just iron straight onto the back on the steam setting, probably getting some things T Some artists and you like to put a towel in between. The surface and the iron are designed directly its nascent flat now. But just to be extra sure, what I do now is place a big book or some boards on top to flatten it even further while it's still heart. So when's I've ironed it? The steam helps to flatten it out than we put the book over top and the book that's the extra weight. I leave it there to dry. Once it's all dry, you can take the book off and you'll see that it's flat. I find that ironing it end. Using the book or boards helps to flatten it more than either one of those things. And here's our picture. Now make sure your painting is completely dry before you iron it. Otherwise that colors could run. Sometimes you want to flatten a painting while it's still in process, so there won't Onley do this process at the end of the painting to flatten everything out. If I have too many hills or valleys in my painting, it could be hard to paint a straight line and the paint will pool in the center. I'll iron it from time to time. Even when I'm in process now, I can finish up this painting and they know everything will last smoothly. 62. Optional Materials: Rubbing Alcohol (REQUIRES ADULT SUPERVISION): also rubbing alcohol. Now, what to do with rubbing alcohol is you make drips into your paper when it's still slightly damp, and that's going to make sort of a fish eye effect. Just wait till you see that we're gonna use that in an upcoming project as well. 63. Mark Making 1: Dry on dry techniques: s so it's time to make some marks would have got in front of me are a variety of different brushes. And I want you to take all of the brushes that you have and make is many different marks as you can with, um, I'm gonna give you a few examples to get you started. What if done here is a squeezed out a little bit of paint, three different colors for some variety. You can use this many or as few colors as you want to use. This is a dry on dry technique with the first dry refers to is how wet the paper is. And as you can tell by the name, I haven't put any water on here at all. So this one is a dry paper. The second dry refers to the wetness or the dryness of the paint, meaning I'm gonna use it straight out of the tube with just a little bit of water. I wouldn't use a completely straight out of the tube that's going to be a little bit too thick and lose the quality of the water color paint. I'm gonna start with some ram brushes, so I have a few here, remember, what we're trying to do is make is many different kinds of marks, as we possibly can, so we use a little bit of purple and mix that up. But I'm not putting in much water at all. It's very thick paint. It's going to be quite dark color cause there's hardly any water in there. So let's just start with a few dots. Simple enough. Now we'll try some lines. Where do you think those lines air? Fairly straight. Let's try something a little bit more curved now with this round brush. One of the things that I can try is make the lines as thin as I possibly can, and then, without totally lifting the brush from the page, make them as thick as I can. So barely touched the surface and then, ah, push really hard and then a lift again. So let's try that again as thin as I can, pushing hard and then lifting again. Then that and left one more thing to try, perhaps, or sum's exact lines. Okay, that was all with one brush, and you have lots of different options there. Let's try another Ram brush. This one's a bit smaller. This one's a number four gold stable. It's a synthetic brush. Use another collar just to give us an variety, and to remember which was made with which brought my paint is still really dark because of hardly any water in it at all. It's the same thing. Let's try a few dots. It's so dark you can hardly tell it's green. Now we'll make some straight lines straighter. Alliance and some curves be consistent with what we were doing the first time around. Let's try thin, thick then so it barely touching. I'm pushing as hard as I can, and then I'm barely touching again, barely touching hard as I can and then thin again you could. Can you see how you would use those for perhaps leaves or different patterned areas? And all it took was just a brushstroke. You could also consider making the pedals for a flower with this just back and forth and getting a thin and thick area in there. One more in here. So the idea is just play, play play. Another ram brush is the rigor rigger. Brush has very long bristles on it and typically a thin area very little bit of water to be added rain. So same thing we're going to start off with a few dots, these air making really small marks in some lines. This is a natural hair brush, so I'm hardly putting any pressure on it. But you can see that my lines have a little bit of a squiggle to them as it goes over the tooth of the paper. That's because it's a natural hair brush. If this was and and because the bristles air so long now we'll try some Kirk lines moving on. We're going to try to see what we can do with some flat brushes. Now I'm going back to the first color. So let's try some thin lines, and what I'm doing is using the tip of the brush. If you get it wet and brushed the edges out along the side of the water container and then reload it with some color, you can get even sharper lines. Or, alternatively, you can use the flat edge of the brush and make some nice, thick lines. And what happens if you start off in and then twist? Let's try that again. Just play with that see what you can make. See how many different kinds of strokes you could do with each brush. Let's switch to a smaller flat brush. What I'm doing is I'm applying a lot of pressure in the beginning, and then I'm lifting as quickly as I can. Or you can just try the niece flat area of your brush and you see you were a first. Apply it. There's a lot of paint, and it's covering the whole paper, and as it begins to dry out, it's skipping over the surface of the tooth. We've got a few other brushes to play with here. Let's try fan brush. Fan brushes are great for making texture. They're great for, um, having areas where there's a white space next to a painted space altogether and a quick commotion. We want to make sure there's only a little bit of paint on the brush. Otherwise, all the bristles are running together. Um, so the edges air a bit joined here, but they'll separate more as we use the brush, and some of the liquid is coming out of it. Do you see that they make a number of mark side by side for use the rigour. We may be able to get some of the same kinds of marks that these air making them all in one motion. And now that the paint is drying out, the Brussels have separated a little more. So the fan brush is great for things like for or grasses where you want a bunch of individual strokes. Another special brush I have here is a dagger. This one's a brand new brush, so it's got gelatin on it, holding on the bristles in place. We have to wash that out first before we'll be able to hold the paint. It's just like a little glue holding everything together. You can see now how the bristles air starting to separate because glue was off of it. So let's see how small and thin of the mark we can make and will use this smaller, shorter side here and see how that's working, getting these longer, smoother lines here with very thin ends at either side. So the thing about the dagger is tried to see as many different kinds of marks as you can make with it. So here we've made some nice, thin marks. What about the thicker ones. This one is quite a versatile brush. You can make a lot of different marks with just the same one. You've got a lot of options for it, and yet it holds a fair amount of paint on it. Okay. I was having so much fun with that. I burning in a couple more brushes, have a little bit of room left on my paper. So let's see what we can do with that. I brought in a natural hairbrush. This one is a 30 by Davinci. Um, it's one that beer ghetto corner uses a lot. What we're gonna do with this one is just pound set rate into the paint and we're gonna pound sit on the paper. I'm gonna It's a really big brush, So we need some more bait in that I'm going to use a smaller brush just to mix my paint up . There we go. Nice puddle. But you can see it's still really dark in color. I don't have a lot of water in there, so I just pounds it in gently and it really soaks up the water. The natural hair brush holds a lot of water and a lot of paint. I'm waiting to see that some of the bristles are sticking together. Now, if I gently tap it, what you're going to see are a few small marks like that. But if I push really hard hope and needs more paint if I push really hard, what happens is it feels in the surface more You. You get more combinations where it's clumping together. Here, all the marks were separate and spread out more here, they're starting to run together more. We'll rinse it out and use a different color and show you again when I mean So we're just mixing up the color right now. I'm using the smaller brush because if I use the large one, it will just absorb everything in its path. I'm using a bit more water in this mixtures you can see. Then I have been using. You can tap out some of the water because we do want more of a dry brush technique, and this holds hold much water. All right, It just soaked everything up from that puddle. All right, I'm gonna tap some of it out. Rub some of it owed on the side here. In fact, I'm gonna take some out with the brush, cause everything is still connected. All right, let's tap it and see what we've got here. So what this gives you is a different kind of effect. It almost looks like a sponge technique. And what I would do with this is determined every so often because I don't want the same mark, the same mark, the same mark. And of course, another technique you can use with this big, huge brush is just to lay it on. You can try going thin, thick, then again, then thick. Then again, see how many different kinds of marks you to make with each of your brushes. 64. Mark Making 2: Sponges: Okay, I've got a few sponges here. Let's see weekend what kind of marks we can make with them now. Same as with that natural hair brush. If you totally soak it, what's going to happen is you get a different kind of mark and everything will run together . But if you just tap it into your paint, dry paint will use a green. This time. I'm not thinning it down with any water at all. I'm tapping it in there. I've loaded up my sponge. Now gently press it against your paper and you get a bit of a textured effect. Let's try a couple more. I'm turning my sponge so I get a different type of effect. I don't want the same. The same, the same. The same, The same the same. Well, there may be areas where you'd want that. Usually, I want some variety in my marks. Let's try a different sponge. This one has a different texture. It's much softer than the last one, but again, I've got Cem edges that are sticking up here. This is what is going to make the mark. The hills on the sponge will touch the hills on the paper. Let me show you what I mean. I'm just gonna add the smallest little bit of water and top that on. So this looks a fair bit like the big natural hair brush that I was using Here is a slightly different technique. I have one more sponge. This one is quite stiff. So I'm gonna when it first. And I'm just hitting the end onto the paper. 20. You think? 65. Mark Making 3: Toothbrush: Okay, lets end with a couple of toothbrushes. This one, the bristles, our fair bit softer. This one has differ. Verceles. You can see a used them a lot. They're all stained. So what you do with these is you wet them first, tap off the extra water, and then I scrapped them Ray into the paint. I don't add any more water than that, Depending on the look you want. You can add more water if you want a later splatter. I'm using the tip of my finger. You can see there, and I'm rubbing it against the brush, and that's knocking the paint onto the paper. Let's try the other toothbrush and see how that differs. No, this toothbrushes of Let's defer, and when I'm spraying it, it's shooting across farther. So I'm getting more, um, long gated patches. The 1st 1 I have little dots, and they stayed fairly much in that area. This one is shooting across the page, and it's making more of a streaky line. So even with just the toothbrush technique, you can get a few different effects. See how you like them. I like to use the toothbrushes when I'm covering a small area that he needed texture. For if I need a really large area than I would use a spray bottle and I'll show you that technique in a different section. All right, just play, have some fun. Make is many marks as you can. And I am really interested in your feedback about some of your favorite marks. So let me know. How you doing see in the next section? 66. TEXTURE 1: Salt: Welcome back. We are going to talk about texture now. Texture is how smooth or how bumpy something is. So when the surface is smooth, we would use a smooth wash like we haven't some of the previous videos. However, in this one, what we're gonna talk about now is how to get some areas that are dark and light and all mixed up to give you different kinds of surfaces. So, having said that, the first thing that we're gonna use assault there's few different kinds of salt that I have here when what I want to tell you is that the effects that we're gonna use here are best when you use them with dark colors, the work on most of your colors. You do want to try them with different pigments to see what kind of effects you can get. However, when you use light pigments like yellow, then you don't see the effects as much. So I'm going to use a halo turquoise. They low Turquoise is a pretty dark color, so let's see how that looks in here. It's pretty and it's very rich. We'll add just a little bit of water because I want to keep it in nascent dark. See your nascent dark, that IHS. It's pretty running, though. Just a little bit more for good measure. And here are three different kinds of salt that we're gonna use. I have table salt and I have kosher salt, and then I have coarse sea salt. These are just three of the options that you have in front of you and you're going to see that they all have slightly different effects. You may not have these kinds of salts, but use what you confined and give them a try and then let me know how the results turnout for you. Which colors do you like best? And what kinds of salts do you like best? Okay, so we've got our paint mixed up and what we're gonna do is three different patches of paint and pigment. Now you can see they're all still pretty juicy. They're still pretty wet. And we need that as soon as it dries. It's not going to work any longer. The way that the salt technique works is we're gonna Sprinkle some on here. And what you find is that the salt sucks the moisture towards it and then it absorbs into the salt, and then the salt itself changes color, so that's how you know it's working. So let's try the table salt first. Over in this patch, you'll get different effects, depending on how much they used soap equipped. Quite a concentration in the center here and towards the edges. There's just little bits. Let's see how that works out. Next, we're gonna use the kosher salt in this one here and gain. I'm spreading it out a little bit, Um, and I'll put an area of concentration in the center so you can see the difference on how it works when it's in a concentrated area and an area where it's more spread out. And finally, we're gonna use the coarse sea salt in the last pile. Same thing. I'll have an area that's more concentrated. All right, so this is the kosher salt, and this is the coarse sea salt. They look a little bit the same at this stage, so we need to give that a few minutes to dry and then we'll come back and take a look at how that IHS Hi. Welcome back. So if you recall when we were here last we had a wet salt everywhere, and we dropped it in on the pigment. And now, as you can see, what happened was the salt attracted the water to it, and as it did so, it pulled the pigment alone. So it's left these beautiful, different patterns. This one was the table salt. This one was the kosher salt, and this one gives a fairly similar texture to the kosher salt. This one is coarse sea salt. All right, so now what we have to do is brush the salt off and you don't want to do this. Well, the painting is still wet or you'll get smudges and it will undo a lot of the nice texture that you had there. I'm just gently brushing it off now. I used to really like the effect of the crystals left by the salt. And when it turned when I turned the paper, they would glint in the sun as they caught the late. However, I want to caution you about that. We want to remove all of the salt because what will happen is if you leave the salt on the page and there's any of humidity in the air if the salt will continue to attract the moisture in the paper, and you may end up with a completely bleached painting over time, so never we've removed the salt. What I'm going to do is take a slightly damp cloth and just block out the extra salt and lift it out of there. You don't want to scrub because if you scrub you, me lift the pigment. If you just gently blot, it hasn't disturbed the texture pattern at all. One more. Now you go. Let's have one more look at thes. We'll see you next time. 67. ACTIVITY: Snowflakes: Create texture and shapes with salt and masking fluid: Are you ready to use more of your supplies? All right, this project is gonna combine masking fluid and salt techniques. I also wanted to remind you that you can use different sizes and shapes of paper. So for this one, I'm gonna use a vertical profile instead of a horizontal one. And my paper is slightly longer. This project is being inspired by our long Canadian winters, and it's going to be a snowflake pattern. So I have already poured some masking fluid into my container. Remember, I don't want to just dip my brush or my tool into the masking fluid, because over time, it will, um, congee eel more quickly if I do it that way. So when I want to do is put a little into another container that I will use and then discard. So don't put a lot in, so just get the tip wet. Now what we're gonna do snowflakes have six sides and I'm going to come off center. So I'm either gonna go a little bit above or a little bit below my center for my 1st 1 and it's going to be the largest snowflake on my pattern, so I'm going to begin with a narrow X and you get to decide how thin or how thick you want your snowflake to be coming on the other side of the X and went down the center got a little dot there. And I'm just gonna leave that because my intention is to have a few dots noon for this pattern. What I'm gonna do is make a little, almost a triangle shape at the end. Let me show that to you. And I'm going to do the same thing for each of the ends. We went our snowflakes to be a little bit symmetrical. They don't have to be perfectly even. But that's one of the beautiful things about snowflake patterns. Is there a symmetrical mess story? And now that is a good time. What do you want to do is do a sweeping motion. We go like him doing a hell in between two of the spokes of my snowflake. Then I'm gonna turn it and do the same thing in between each of the spokes and when I'm going to do is when I get to the last side, I want them all to line up. It's almost like a flower shape. And remember, this is just one pattern. You can have lots of ideas for snowflakes, but generally speaking, you're gonna wanna have six spokes coming out of the center. What we're really looking for here is a nice lacey design. And if you remember what the masking fluid does is it preserves the weight of your paper. I think I wanna have just little spokes coming off of that flower shape as well. There. That's my first pattern. Now, for this design would I'm going to do is use three different sizes of snowflakes. So this one was my large one. Next, what I want to do is a medium one, and I'm gonna do a slightly different design. But I am going to start with the the narrow acts and then draw a line through it. It's just I don't want to line up exactly the same as this one. I'm gonna turn my paper slightly, so we have a different angle to start with and they moving it slightly off center. Now that I've got my basic spoke. So this time when I want to do is use, um, an arrow design. I'm gonna put an arrow at the end of each of the spokes. That's a great start. Um, now what it wanted Dio is it Do a scooping motion like an upside down hill or maybe a spider Web. And when I wanna do is put a little dot near the tip of each of these. If you prefer to connect it, you can connect it. But what will happen is our eyes will connect those shapes together from a distance. That one looks good, too. Let's move on to one more, and this one is going to be even smaller than those two. So I'm going to start the same way by making a narrow axe. No move. This one's slightly off center in the opposite direction, maybe a little bit longer than that one. What I was trying for here is to go with a small medium and a large size. When's her spokes air in place? No, What I want to do with this one is decorated with dogs so different size dots. I'm just put a little circle on the end. I mean a switch to my stylist. It's really good for making dots that's more like it I'm really interested to see what kind of patterns you come up with. Remember, No, snowflakes are the same, so you can come up with as many different patterns as you like. If you want to make this project easier for you, what you could dio is just use one snowflake to start with and then gradually build up and do more examples. And you can use different colors in the background, can use slightly different shapes and sizes. Try to have different sizes of paper. Okay, those are the stars of the show and feeling like I want another small win rate here. And so I'm just going Teoh draw in May spokes. And this one's going to be a bit smaller yet, And let's do the arrow shape on the ends of this one. We won't need as much detail on this one because it's so much smaller than the others. I think it needs a little something else, so maybe I'll put some dots in between Oh, rate. And so now let's do another one about the same size on this edge, just for Ballen's to put it slightly higher. Do you have a lot of choices to make here how many snowflakes you want to put in where you went to drop them, What kinds of shapes you like to use. Curved, straight combination. I think that one needs of some little spokes coming out of the centers of my flower shape as well, making these will longer than the first ones. And then I want to put the little V shape on the end of each of those. Okay, I think that's enough of the larger snowflakes. Wouldn't want to do now is just put very small ones in the open space on the ends. There is one, and we'll finish it off with one more down here. Maybe two very little ones. Great. Yeah, I'm going to show that to you. And before we go and finish with the masking fluid, what we're gonna do is put a little bit more spray across. So we take the brush cleaner. I'm just going to clean off the surface of it and a dip my toothbrush in water. I'll just rub it onto my little towel to make sure there's nothing on it and a scrub the toothbrush into the brush cleaner and then I just dip the tip into a container. I want to make sure that there's not a lot of water left there. So just pulling the water off. And now I'll flick it with my finger and then getting some very tiny little dots. I think that will be enough. I'm really excited about this project. Let me show you there some little dots of masking fluid all over this. Now we need to let the masking fluid dry before we go into the net stage. So I'll see you in just a minute. Probably about 15 minutes. 68. ACTIVITY: Snowflakes: Create texture and shapes with salt & masking fluid Part 2: I hope you're ready to have some fun. The hard part about this particular project was in assembling the supplies and making sure have everything on hand. So I've got my paint here. Cadmium, lemon, yellow permanent rose and Windsor blue with the green shade. All of those paints are by Windsor and Newton. I've got a win in Chaki. I've got a pipette. My synthetic is a gold sable number six. I have my beautiful, double sided Paul Jackson Kolinsky Sable brush, which is about a six and an eight. I have my water and my towel, Of course. Then we've got some salt for this project with a combination of kosher salt and I have some sea salt. The sea salt is more clear. The kosher salt is more of a milky color, and they also brought along a spray bottle just in case. And I have a color wheel. Now what you find is that I do most of my color mixing actually on the paper, and what I found is if I wet the surface and drop in some color and then put some color in another section, those to mingle. So if I were for example to just use yellow. I could have a light yellow, medium yellow and a dark yellow so I would be in, like this pie wedge here. But if I went the whole area and I drop in some yellow and then across moment, I dropped some blue. What's gonna happen then is I get a whole quarter. Well, third, I get a whole third of my color wheel as potential colors because I have my yellow on one side. It may blue where have dropped that, and then when they intermingle, I have the potential to get any of the colors in between and dark and light versions, depending on whether my colors or dark and light. So let me show you how this works. What we're going to dio is first of all, mixed up our color. It's so much easier if you mix up your color first and then went your paper. I get so excited about getting started that I often will wet my paper first, and then it's a race to try to get my color mixed up. So what I'm gonna dio is put some water in the wells beside my paint. I'm using my synthetic brush for this and then mixing it into the water. Rinse out your brush. I'm going to do the same thing with the permanent Rose. And I'm gonna do the same thing with the blue. Now, these colors are really intense. They're going to dry a bit later, Um, after we apply them. But I want this painting to be quite soft, so I'm just gonna add a little bit more water. More water means lighter color. Sure to clean. No to brush between. That's how you keep your colors Nace. Okay, Now what we're gonna dio is wet paper. You know, you have some decisions here to you need to decide if you want to go all the way to the edges or if you're gonna leave some white spots. When you leave some weight areas along the edges, that can have much more natural organic feel to it. So I'm going to do that. Often I paint rate up to the edge and in fact, over the edge. But for this one, let's do it a little differently now. I always stir with my latest value colored first, and in this case, that's yellow. So I'm just gonna drop in some yellow. I think what we'll do is, um a yellow, pink blue. We might have little sprinklings of color in other areas or versions of those colors, but I'm wanting to keep a really pure So I rinsed off. May brush? No, I'm coming into the pink and down here, I'll put the blue. I'm really liking that. But I think because this is a winter scene, I went a little more blue and so pop it in up there. If you want wait to show up on your paper the way you do that is by surrounding it with something dark, I think just a little bit of pink down here. Now what I want to do is tip my page. If I tip, they paid a lot, everything is gonna run together, and I I i me end up with muddy colors. So I'm trying to keep everything in there quadrants, and what I'm noticing is the color is a little bit too, uh, late for me. And so I'm just gonna drop in a little bit more, um, of the pink here, A little bit more of the blue here. I really want to make those snowflakes stand out a little more off the blue here and just want a paper towel to soften ends. I'm not sure worried when the paint and the water run off of the edge. I can be really nice effect, but they don't want this big puddle of color right there. Okay, Justin, reassessing one more scoop of pink here because what will happen is when we add the salt, the salt actually lightens the colors as well. You know, Rich, that blue is turning out. That's my favorite. One of my favorite colors. We have a little snowflake down here that's hiding paint half of that blue and half of pink . Okay, now, we wanted to work really quickly because we need to add the salt. Well, it's still wet, and we don't want to do. Um, normally, I would just Sprinkle the salt randomly all over, but I want to show you the difference between the two different salts and the effects that they create. So I'm going to put the kosher salt on the top, only more towards the top, and I'm gonna put the sea sold more towards the bottom. What? I'm noticing is there's a few areas that still have no paint, so I want to just drop in a very little bit more. Um, I try to get on my paint where you want it before this step because it doesn't really the The salt can become too saturated and not work in the same way. But I just want the spokes of our snowflakes to show. I'm emphasizing the color there and the pink just to gain emphasizing some color, and you can go back and forth with this as many times as you want, but which you want to also try to do. You is stopped before everything gets dry. Otherwise you run the risk of creating blossoms. Now these colors are a bit more intense than I originally imagined, but I'm really loving how fori and bold they are if you don't like this, in fact, what you can do is Leighton. It, um, used later colors when you're mixing them up in the beginning and don't come back in with more intense color at the end. But I'm really wanting you to see the effect of the masking fluid, so I'm trying to exaggerate the dark areas around this now and know that my salt is working because it's changing color. In fact, we could probably add a little more. So we were keeping the kosher salt at the top years and the sea salt towards the bottom. If you put too much salt, it's gonna really bleach out your picture. So encouraging. Experiment with how much salt you're gonna need, How much paint, how much water. And this is a great exercise for playing with that, because it's never gonna look the same each time you do it. Okay, I'm gonna leave it just like this, and I see you as soon as it's all dry. 69. ACTIVITY: Snowflakes: Create texture and shapes with salt & masking fluid Part 3: Are you ready for the big reveal? I know I am. It has been about two hours for the salt and the paint to dry, so I've been reading non so patiently for this, Um, but I'm really liking the bright, vibrant colors, and it can't wait to show you the next step. So what they have on hand is I have a masking fluid remover. I have a clean cloth. I have something to put the salt onto, and I have some clean water. So what we're going to do is begin by just gently scraping off the salt. If you try to scrape it off before it's dry, what happens is just It's much is everywhere. So you want to make sure that it's really good and dry. It should just fall off. It's like unwrapping a present, so exciting to see what's underneath. It was a little bit damp appear yet. See it? I just can't wait like a little kid. I can feel that this oneness stuck on a lot more ever so gently rubbing my finger across. Well, there's another patch that wasn't quite dry. Got a little bit of a streak of color. Okay, Now what I'm gonna do now that I've taken that off, I'm going Teoh wet my cloth and squeeze out most of the excess. I just wanted to be a little bit damp, and then I'm gonna gently blot across the surface, and what I'm trying to do is remove any extra salt crystals that may still be there. I couldn't go to a clean spot in the clock. No one across contaminate my colors. Wow, that's got a really fun pattern to it. When I'm going to do now is just take a moment and dry that with a hair dryer, because the next step is to rub with the mask. Include remover and again if it's wet. What that will do is just run streaks of paint across, but it's already looking pretty spectacular. We'll be right back here we are now, when I want to tell you is that before I started using the hair dryer on this project, I moved the paper towel with all the salt on it. Otherwise, you're gonna end up with a royal mass because the salts going to go shooting all over the table, and that is no fun to clean up. Uh, here we have the masking fluid remover and what I'm gonna do is just rub it alone. Areas that have the masking fluid on it and pushing pretty hard. I'm getting these little snakes of masking fluid with the bank win. Now, in all these little dots where we had sprayed with the toothbrush or starting to be revealed as well, it's lightening up the color, just gonna feel it with my hand and they can tell that there's more crystals up here. There we have it. A fun and whimsical peace based on snowflakes. I hope you enjoyed doing this project. Remember, we used salt and masking fluid is our main ingredients other than paint and water, Have some fun splash from being around and we'll see you in the next section. 70. TEXTURE 2: Stencilling including doilies: Okay, it's playtime one more time. What we've got here is a bunch of different stencils that we can use or something that we can turn into stencils. No, stenciling is not really a traditional watercolor technique, but to do something that we're going to be able to adapt for watercolors, we're going to apply the paint a little more thickly this time that we normally do. So we don't use as much water I would have got Here is a sponge, and I've got some paint already out thes three or whole buying paints got brilliant pink, a lilac and a peacock blue. Well, im going to wet my sponge and squeeze most to the water out. If it's too watery, is gonna go rate through your stencils. So let's use thes Doyle. Ease first. Now notice. This one isn't just paper. It's paper, but it's got a coating on one side and that the water doesn't soak in quite a smudge then so the pain kiss my lightest color. Let's apply the pink first, and I'm just gonna use a pouncing motion. Need a little bit more water, and that was a bit too much. Here we go my one more time and when I'm doing is coming around where my doyley is. Let's have a look. Gently lift it up. I love that effect. Let's try this story, Lee. Now, which will notice what you may notice is this one doesn't have nearly as many holes in it. So I put water on to my sponge to clean out my color. Now I'm switching to another color and impound. Sing it a little bit in the well. This is going to be lunch thicker than the painting that we've been doing so far. If you don't, if you have it too thin, what will happen is it will seep underneath and then just smear over everything and it won't work. Equate like a stencil anymore. You have to come rain over the holes that you want to cover fun. Look at that pattern we've got now. I also brought a little piece of lace and you can use the laces a stencil asses. Well, let's just apply that rate over top, so I'm gonna squeeze out a lot of my paint. Now the place is much thinner than the Doyle is that we were using. And so your paint needs to be absolutely thick, because if it's wet, what will happen is the cloth will absorb the water and paint mixture, and then everything just runs together and you don't get the pattern. Morning raid over the sides of the lace. Let's take a look nice. So it's not as solid. And also some of the purple was down here first, and that area was more wet, so the paint bled into those areas. But we've still got Queen a nice look around here. It's not completely solid. So what I've got here are some plastics dentals, and I'll just arrange it along the edge, this pain to still quite wet. So I just want to come to a section where it's more dry. I'm gonna go back to that beautiful pink, but I have to clean out my sponge burst so it put it in the water and they squeeze it out. You can see it's quite clean again. I'm coming back into my pink, use up everything that's there, soak it all up. You wouldn't finding is there's not a lot of pink left, so I'm just going to add some of this nasal lilac as well carry on through another section of the stents all and here I'll do the leaves in the snakes blue, and I'm just using a pouncing motion. I'm not worried about filling it in completely, and also I'm not too worried. If it goes across into another section. Let's have a look what we've got here. Fun. I love it and they love the different patterns altogether was not a big, solid, continuous section. It's just a nice soft effect. And what we can dio is finish that off. I've got when more stencil here that has some really positive messages on it. Let's dio let's to wish. Now everything is a really wet So I want to make sure I'm just dropping this down and I don't want to move it around a lot. And you have some choices you can gain. Use the sponge and pounds through this time. What I want to do is used my watercolor pencil crowns and I'm just gonna fill it in. Okay, carefully lifting it up. There we go. Now. I just need a little brush and they'll put a bit of water on here, and that will activate the pigment and spread it through the area. We've already made some greeting cards, but can you see how this would make another great idea for a greeting card? So you can use the stencils that we have as backgrounds? Or they can be the main attraction in the focus. I hope you enjoyed this project. 71. TEXTURE 3: Watercolour Pencil Crayons: all right. We're still talking about texture. Remember, texture is how rough or smooth something else. So this time what we're gonna be talking about is watercolor pencil grants new. I really like to use watercolor pencil grands, especially when I'm trying to get texture or when I have new students. So the one of the classic ways that you use watercolor pencil kran is you can just color with it like you would a normal pencil crammed and you can see that you can go quick, dark, or you can go point light with this. And then what you do is you take a damp brush and you just gently come over top of it. And what that does is it activates the pigment and helps it to float through the water. It was just like classical watercolor paint, really nice for plain air sketching because you can take them there. They're portable, and they're fairly clean and, um, easy to transport. So that's one way to use the watercolor pencil crowns. You can also just use the texture of the watercolor pencil crown without wedding it just to get a rough edge or rough of fact on top of your traditional watercolors. But the technique that I really want to show you is the color sanding technique. What we're gonna do with that will begin by making a shape. So let's make a nice little heart, because I really, really loved this technique and what we're gonna do is we're going toe wet inside the heart raid up to the line there. We're just on the inside of the line, in fact, because if we went the line, that will activate the pigment, getting a little bit of it on the ends out of the heart, and that's just fine. Okay, it's all went while it's still wet. We want to take this, which is a sanding block. Here. You can see it. There's some shit different sheets of sandpaper, and we take our watercolor pencil cran. Now, I usually like to start with my lightest color first, and we just send above the West area. Now, anybody who's seen my other sections of painting will know a love, love, love color. So I'm not going to stop with just one color. I'm gonna come in with another one. This is a darker blue. I'm gonna leave that area of it later. So we've got some variety in the colors we've got going on here. See how as though the little droplets of Sanders hitting the water, their ballooning out, some of them are ballooning out and some of them are staying quite fine. We're gonna switch to just one more color. Not because we have to, but because we want to. You all right? That's pretty good. Now, what we're gonna dio is just go near the surface and below the extra sand away. There you have it. Look at that. All those nice little bits of sand in there and lots of different colors. Lots of different variety Really broken up the surface of that heart. What do you think? 72. TEXTURE 4: Saran Wrap: I love, love, love, texture. And so all of these techniques are so much fun. Here's another one that I really enjoy. And it is using Saran wrap for clean lot where this one's called plastic wrap. It's all the same thing, and they've prepared a little piece to get us ready. Now, in this technique, what we're gonna do is we're gonna wet the paper. We're gonna drop in some color and let it mingle a little bit. And then while it's still wet, we're going to put the saran wrap over top, and you can see where there will be hills and valleys in the Saran wrap where there's a hell in the Saran wrap where it's not touching the paper. We're going to have, um, light. It's gonna be almost white in that area. Where is touching the paper? What? We're going to find this. It's a darker concentration of the color as the pigment is trapped underneath there and sort of attracted to the areas where they're connected. So again, let's start talking about it and let me just show you how this works, so as promised to the first thing that we're going to do is wet. The paper. You've got my hacking brush here even just put the water all over the place. My surface is really shiny and wet, nace and juicy. Okay, I'm gonna get my brush, and I'm using the brush to just drop the color in. I'm not really painting with it. You can, but I'm just applying some color randomly throughout and clean the brush between colors, or else I might get some muddy colors. Now I'm going to the Mayan red and you'll see that in placing them near each other. But I'm not actually touching them yet. I'm doing this because I want to keep my colors nice and fresh. I'm adding a little bit of hands. A yellow. Why would we use one color when we could get away with using four e love color? All right, and finally have added a Windsor blue nice and dark, and it's blossoming out beautifully, which means it's a fairly thin concentration of paint and lots of water on the page, so it's flowing really nicely. So while everything is still wet, Aiken gently, gently tippet and allows some of the colors to flow into one another. Mm, not too much because of the colors that have gone on my paper by tippet and tip it and tip it. Everything's gonna mix together. It's gonna become Kuwait a neutral color. Instead of all these separate, vibrant colors. It will just mix together and everything will neutralize each other, making it more brown or more gray. And I really like thes hits of brilliant color, So I'm keeping them all nice and separate. In fact, when we just put a little bit more pop of red in there Bender mixed the clean, the brush o first. Before you do that, try it again. Yeah, So now what I'm gonna dio is take my cling wrap Mice ran rap and I'm going to scrunch it all off into a ball and then I'll and roll it again. And what that does is gives me a few extra little creases and kinks and hills and valleys. Sometimes when I'm doing ah, water scene, I will want the streaks in hills and valleys to go horizontally, and so a pull it tight. But in this case, I just wanted to be random. I'm gonna scrunch it a little more and apply it to the top. And what a one is some areas where the paper is touching. The plastic is touching the paper and some areas where it's not touching. Now, this technique can take a long time to dry because, as you can imagine, the water is trapped underneath the paper. But eventually it does dry. Let me give you a little bit of a closer look, and we're going to have to set this aside for about 24 hours and we'll come back and take a look at it after. Tough. All right, if you can remember when they left you last, we had just put the self ing on. There's some hills and valleys on the paper with the cellophane. Let me see if you can see a sideways look. And west going happen is where the cellophane is touching the paper. We're gonna have some darker areas where we've got these heels in the paper. We're gonna have some lighter areas. All right? This is so exciting. Are you ready? Let's rip it off. Oh, what do you think? So this is another texture technique, and I hope you give it a try. Use some different colors, see what works for you. I hope you get some results that look just as great as these ones. 73. TEXTURE 5: Rubbing Alcohol (REQUIRES ADULT SUPERVISION): All right, So now we're going to keep talking about texture. And this time, when I want to do is show you one of my other favorite techniques with texture. This time, instead of salt, were using rubbing alcohol. So we use it kind of the same way we're gonna makes up the pain to head a time, put it on the paper, and then drop the rubbing alcohol into it. Um, I've added a second color to my palate because I've found through experimenting that it seems to react differently depending on the color I'm using. So, once again, I want you to try it'll your colors and use some rubbing alcohol and give me some feedback . Which colors do you like? The best. Which colors aren't just not working for you. So along those lines, we're gonna have to talk about the water, the amount of water on your paper, cause this is really important on Dave. Found the success or failure of it's gonna work depending on how much water you have in your paper. But before I get to that, I just want to remind you you are not to be inhaling these fumes, so use a well ventilated area and read the instructions on your rubbing alcohol to make sure that you're using it safely. Okay, so now with rubbing alcohol, the amount of water on your surface is really important. If your paper is too dry and your paint and pigment or dried out already, then the rubbing alcohol is gonna have very little effect. If your paper and your paint are very, very watery, what's gonna happen is the rubbing alcohol is gonna bounce into them, is gonna push the border away. But then the water is going to come back and it's gonna flood it, and you won't see the nice same effect. So what we need to do is have sort of a damp surface. And then when we put the water, when we put the rubbing alcohol in it, accident is a resist, and it pushes into the paint and it pushes the pain away, and you get these really great images are textures as a result, sort of like a fish eyes. The best explanation I can give you for it. But let's stop talking about it and let's get to doing it. So, first of all, I've got I have already put some rubbing alcohol here in the palate, and my halo turquoise is already mixed up. My Mayan red is here, so let's just get that ready to go as well. And once again, the same is with the salt. You want to be using fairly dark colors because if you're using yellows and really light colors, this effect just it may be working for you, but it just doesn't show up is dramatically. So you'll be wondering, Did it work? Did it not work? So make sure that you use really quick dark colors. All right, here we go. So I'm gonna put a bit of the turquoise here, and you need that to dry up a little bit, so Well, I'm waiting for that. I'm gonna put some of the Mayan red here. I can show you how it's looking and what I can see. When a tip it is, the surface is still a little bit shiny. We want some of that shine to be gone. All right, maybe we should wait a little longer, but I'm really excited to get to this technique, so let's give it a try and see how it goes. So I'm taking a Pipat and I've gotten as much of the water out of it as I could, and I just soak up the rubbing alcohol into the Pipat. We've got a few drops worth here, and I'll drop it drop at a time, so that is a really great effect. However, you can't see the whole thing. So let's do a larger surface. I'll expand the ridges. Well, we wanna have a lot of room for our playground. Okay, Well, I had a little more rubbing alcohol have soaked it up in my life at and we tried just some small little drops here. Isn't that fun? Look at the effect we're getting. This is a really good level of wetness. If the paper and paint on it is too wet, it will push out. But then the paint and the water will come back over top of it. And it'll almost erased the effects that you've got there. Let's try it on the red. It's been waiting a long time. Wow, Look at that. Would a great effect. Okay, so that was rubbing alcohol. What do you think 74. WASH 1: FIREWORKS: The first watercolor technique that I want to show you is a wet on wet technique. I like to call it fireworks because the colors will blossom out. Can't wait for you to see this. So, you see, I've already premixed my colors and I've got a yellow here, uh, purple I blew and in the lizard in crimson, now wet on wet refers to two things. The first wet refers to how wet the surfaces, as you can see right now, it's a dry, so we'll take care of that. And then the second went refers to how wet the paint is, so if it's very thick, we call that dry. If there's not a lot of water in it than it, we call that dry. So this is a wet on wet technique. So I've already got my paint mixed up to equate a thin consistency, and the paper will wet now with the hockey brush. This is a 1.5 inch tacky I'm putting a lot of water on. I couldn't see that me being give it when more coat, just to be sure, I wanna have the paint able to just slide around there On the surface, this one is a number four synthetic gold sable, and I like to start with my lightest values and work up to my darkest values. It's easier to go darker. It's harder to go lighter. So if you start with your light values, then you have an idea where you are. I'm generally tapping the bottom of the, but I'm holding the brush at the base so that there's some flexibility and the name tapping the front to release the paint. Have a look at that. As you can see, the pain is blossomed out a bit. Hence the fireworks name. Let's try the Eliza in crimson. See how that works. Same thing. I'm holding the tip of the brush and I'm just gently tapping it work. There's so much water in here. When I lifted it, it started to move. That's one of the beautiful properties of water color when you get it to slide around. Now, if you want the distinctly remarks, then don't tip it much. If you want the colors to blend more together than continue to tip it side to side. OK, moving on to blue to avoid from getting the colors to muddy. I tried to keep the blue in areas where the other two colors there was not a lot of the other two colors. As soon as you start to mix and mix and Mex colors, they all blend together and you can get some neutral colors. I wanted this to be quite a cheerful break picture, so I didn't want a lot of mixing. As you can see, the paint continues to move through the water, making some really beautiful effects. Nice and juicy. Last but not least, the purple has put some up here and some down here. We've got some great blossoming happening, so this is really fun and easy wet on wet technique. Please give it a try. Use all kinds of colors. Keep your color separated into sections to avoid the the mixing of the colors and getting neutral colors. Unless, of course, that the color that you're looking for go have some fun and play with this and going to soak up a little bit of the extra Warner that's on the bottom 75. WASH 2: How to do a Smooth Wash: wet on wet: So let me show you how to do a smooth wash using this paint. First of all, you went the area, and we're going to mix up our paint. In truth, it's better if you mix up the paint first. I used my Pipat to put some water into the well, and then I add the paint into their and mixing it, throughly turning my brushes. I go to make sure that there are no little clumps of paint left on my brush. I can then take this mixture and put it into my already wet surface, and you can see how blossoms out beautifully. You may decide at this point you just tip it and cover your area. The water will only flow into the sections that are wet. They don't go to the area of the paper that is dry, and it's smooth because I was sure to mix it in my well before I applied it to the paper. Let me show you what happens if you take it straight from you're mixing area. Then you get some clumps of paint, and when you applied these, you have streaks of paint that even if you tip it into the water. They don't mix smoothly, so people will ask me why there's didn't end up smooth. I'm just going to apply a little bit more Warner, so you can see this better. Where there was a clump of paint, it's just not moving. The rest of it is moving and blending in with the water. But the campaign is sticking to the paper, and it will create streak across. So the steps are. First of all, you put the paint into the well. Then you use the Pipat two scored some water into a second while and you take a paint and you mix it into the water area and you make sure they're no clumps of pain left on your brush so that you have in a smooth mixture. Then you wet your paper and you can take the premixed color and apply it to the paper. Then you can tip it around to help to achieve really nice, smooth consistency in watercolor painting. Smooth washes air used over and over again, especially for a nice layering technique. So it's a good idea to practice this over and over again until become second nature to you all right. So you may be asking yourself how important is a washing? Where can you use it? So I want to give you an example from one of my own works. Here. Have a painting of some apple blossoms and you'll notice that it was made from layer on layer of smooth washes. There's no granule ation. We'll talk about granule ation in a different section. So in order to get this effect, remember the steps that we talked about and practised them over and over so that it becomes second nature before you actually apply it to a painting. 76. WASH 3: Graded Wash: The next technique I want to show you is a grated wash. Now, grated wash is something that we use over and over and over in our first project, majestic mountains. So when should become really familiar with how to do this technique? What we're gonna do is this is another wet on wet technique. But this time it's and it's like a, um wash. The A graded wash has a darker edge to it, and then it gradually gets later and later as you go down the page. So I've already got some paint mixed up. This time I'm just gonna use the dioxins in purple so you can see it's quite thin. Here, take a hack a brush and wet the page because again, this is a lighter weight paper than I usually use. I'm gonna wet the back just to help it stick down to my table. But when Marco just to be on the safe side if you remember when they was saying is we won't win side to be darker than the other side. So we'll start by applying the pain at the top. Although I am using the brush, I'm not really brushing and brushing and brushing. Don't over brush if you over brush. What happens is this removes the sizing and then the paper will. I'm start to crumble on pill and you'll get a roughness in your texture. When I'm doing is I'm flowing the water back into the paint. They wanted to be nice and juicy along that edge, and then I'm just gonna tip it. I moved it into a different direction just to smooth everything out. No, I am tipping it back so that the pigment can run along edge. And what I'm thinking is this is a bit too light for my liking. Goodness, do not leave the brush in the water. I'm just adding a bit more pigment to dark in that up while it's still went. If this was dry and I did this, we would be creating some blossoms. There we go. Now I'm getting a lip of color along the edge. I just want to tip it gently and then should enhance the grated effect. So this I distill very weight and there's a smooth transition area through here and now we have the names dark edge along the top. Give that a try. Tell me what you think of the Greater Washes 77. WASH 4: How to do a Smooth (Flat Wash) Wet on Dry: All right, so now we're gonna try something quite different. Now we're going to do a flat wash off the difference between a grated washing. A flat wash is the flat wash is gonna be very smooth. And we want the same amount of paint along the whole surface of the paper. This can be pretty tricky to Dio. If you are just learning to use a flat wash, I encourage you to use a light color like yellow, and it's easier to get a flat wash with yellow because it has less variety in the value range. We'll talk about that some more, But just know that if you wanna have success with this and you're just starting out, try and nice color like yellow. I'm gonna go for more of a challenge and I'm gonna use the blue for my flat wash. This is a little bit trickier to do because it's a darker value and it's got a broader value range, so it can be tricky to keep it nice and smooth. So one of the first things we want to do is make sure we have enough paint mixed up. There's nothing worse than getting part way through a wash and having to go back and mix up more color because you're not sure it's going to match up with the first color. But also some drawing can happen, so have some paint ready at hand. Well, just mix up a little bit more for the flat wash and making sure to use a natural hair brush . It holds more paint. It holds more water. You won't have to load up as often. It will stretch you little farther. It's really important to keep your brush and your paints very juicy as you go along. So we're dipping it into our color, really loading up that brush. I'm gonna start at one corner, and I'm bringing it along there. Where they don't want to do is dragging into the middle when a instead want to do is keep everything connected, keep it really juicy, and before you start to run out of paint, grab some more paint. Add that into the mixture. The trick is to keep everything nice and juicy and wet as you move along the page, so looking pretty smooth so far, and we managed to incorporate that line before it dried on us. I'm just quickly moving down the page. Some tips for washes are to use nice, big fat brushes to cover larger areas. I'm using a smaller one here, so you get the idea of how to keep it all connected and working really quickly again. Before you rented a paint load up again and keep the edge nascent juicy as well. There we go now. When I'm noticing is there's a little bit extra paint on my edges, so I'm just going to dry off my brush and drag it along end. It's called a thirsty brush when it's dry like that, and it soaks up the remainder of the paint and we'll do this edge as well. My only other chip is, um, dry this with a hair dryer before you put it back on the ground. If you were to dry this on the table symptoms, What happens is the water drips to the edges, and then there's some uneven drawing that happens, and we create blossoms back up into the painting. You can drive this up with a hair dryer 78. Circle Collage: Name the technique, then create your own Circle Collage: Okay, so you've made it. Through are very extensive list of supplies and optional supplies. So now here's a little exercise that you can do when I've done is I have used a lot of different techniques that were shown, and I, um, put them together in these little collages. It can be pretty tricky to draw a circle, so would I. Do is I find a circle shape, some on an object about the size that I want. If you're going to use a glass, for example, there is a large side and there's a small side, so raid away there. You've got two different templates to use. You just put that on your paper and you treats around up. Then what I did was I used multiple techniques on one page, and they used different colors when I was doing that. So let's see if you can gas the techniques that I used. So let's start with this one. Any gases as to when I used there. If you guessed cling, wrap the near absolutely right. So you put the cholera on than we put the cling wrap on, and it create where the hills and valleys were it created thes different patterns. This one here, any thoughts about what we did for that technique? What we did for this one is we went the whole circle. We put in some color on one side. We put in a little bit of color on the other side, tipped it around, let it mingle a little bit and left these beautiful light colors. So that's where you're going to get. The luminosity of watercolor painting is when you allow some of the whites to show through . Here's another one. Any thoughts about how the purple one was made? If you guessed rubbing alcohol, you are right. So we with the area we put the paint on and then we put a few drops of rubbing alcohol on and it create pushed out the paint. How about this? One does actually a couple of things happening here. This one is assault technique and this one this one is about masking fluid. We've got a few more samples here. This one was also Saran wrap. Here's salt. This one is rubbing alcohol. This one was watercolor pencil crowns and also M. Cem. Some gold mixed with gum Arabic. This one is Another technique that I quite enjoy There are Doyle is that you can get plastic toy lease. The paper ones don't work as well because of water colors it absorbs. So you put it on and then you just dab the color over top of it. A sponge can work well for that to put the color on, and the color goes between where the doyley is. That's that one. Here. We've got some repeats, so hopefully you'll guess thes with no problem. This one is Salt Saran. Wrap the doily technique and asking fluid. So I hope you two will go out and create your own collages using the techniques that we've shown you and put them together in your own way. Have some fine. Can't wait to see your results. I'll see you in the next section. 79. Majestic Mountains: 1 Introduction and Objectives: welcome to our project Majestic men's. I really loved this project because I'm Canadian girl and mounts are everywhere around me. I just absolutely love the way they look. But this project in particular, was chosen for you because it's only gonna require one color. What you're gonna learn in this project is how much water to use in order to get a great wash when it created washes is it's darker on one side and later on the other. So in this case is darker at the top, and it fades out and it gets laters goes down. But we're going to do success of layer after layer. And as we travel down the page, they're gonna get darker. Let's talk about what you're gonna learn with majestic mountains. This is a great project because it covers a lot of bases, even though it's a relatively simple project. So what you're gonna learn is the brush control you're going to learn about graded washes, which are putting, is putting a dark value on one side and like value on the other side, you're going to learn a wet on wet technique. You're going to learn about blooms and how to try to weight them, and you're going to end up with just a great project. At the end of another great thing about majestic mountains is this project uses a technique that I use over and over and over, which is the wet on wet technique and getting smooth washes. It teaches you how to lay down water. First, put the color into it, and they moved the color around to where you want it. So this is a great project for you to do over and over and over. Try different colors, and I'm gonna want to see the results, so make sure to send me photos of the work that you've been doing. 80. Majestic Mountains: 2 Materials, sky and first ridge line: Hello. Welcome to Majestic Mountains. This is a great project for people who are just starting painting. I love to use this project with my beginning students. You really only need a very limited number of supplies. I have a hacky brash, and I have a couple of brushes. One is a synthetic brush and the others in natural hair brush and I have a pie packed here . I have one color Prussian blue. I have this template for you that's available in the resources section of this course. You can put this template behind your watercolor paper, put it on the window, and the light will shine through. And then you could just trace the project onto your paper like I did here. All right, Now I'm noticing that the lines on my majestic mountains air just a little bit too dark. So would have God, is it gonna needed eraser, and I'm gonna pull it out. Remember, Like you when you were in kindergarten grade school and just roll it up, and then you can gently roll it across the mountains. Now, don't roll too much. Um, because you could go right back to wait paper and then you won't be able to see your lines , so I'm just lifting a little bit. Event. Get a slightly later gray color. As we go down the page, the colors of Gwen gets stronger and darker, the values and so I don't need to live the ones on the bottom, but the late ones at the top would show. And so we do want to make sure that they're a bit later. Now it's time for the paint, and we I'm going to use Prussian blue for this exercise. You just put about the amount of your pinky finger nail in there, and that's enough paint to do the entire painting and use the Pipat to take some water. And I'm going to put the water in the well beside my paint and when it can keep my pain uncontaminated. So when I'm mixing it, use the synthetic brush to lift it and put it in the well beside. That way, I keep my original color nice and clean. It's trying to creep in there. Okay, once you've got it all mixed up, then we're ready to wet the paper. Gonna hack a brush? This one is a 1.5 inch jacket. What I'm doing is I'm winning the entire page. This is going to be a graded wash. Meaning I want more color on the top, then on the bottom. But I'm wedding the whole page because they do. One have streaks part way through the water. Hopes the pain to be applied and distributed more evenly. Okay, Now I'm going to take my brush, and I'm going to apply the paint gently across the top. So I'm not actually like painting it on like this. I'm just using the brush as a way to get the paint on there. So I'm quit smoothly and quickly, dragging it across the top, going right off the edges on this painting and you'll see what is happening is that the water is causing the paint to blossom forward. If you feel like you're painting is a bit too dry over any. What you can do is put some more water on, but I don't put the water rain on top of the paint, put it more in the middle of the painting, and then I'm gonna tip the water so that it runs down into the paint and I'm gonna tip it. I'm tipping it side to side a little bit. And then what I'm gonna dio is bring it forward. When I'm doing now is I'm tipping the water back into the paint so that it can make it more running. And I'll do a little bit of a side to side action to get more of the horizontal motion between the streaks in the paint. I'm gonna tip it forward to gain so that the paint is running down the page and into the water on the side. Here we have some paint that's running along so we can just connect everything by wedding the edge a little bit the other side as well. It doesn't matter that this area down here is an even because the later we're going to go over this with more and more layers and not will just blend in the section. That's really important right now. Is this top edge in here? Okay, we're just going to allow that to dry now for about an hour 81. Majestic Mountains: 3 Graded wash, second ridge line: Hello. Welcome back. Okay, it's all dry now, and what we're going to do this time is well, we will be painting down from where The mountain, Linus. So this is the actual mountain that were concerned the most with, However, we can't just paint this little section in here. What we'll do is we'll wet everything from the pencil line down to the bottom of the page. All right, so because this is gonna be a grated wash, what we want to do is we wouldn't have the darker color at the top, and it's going to gradually fade to a lighter color. And with each layer, that's what's going to happen. And if we do it right, we'll end up with a misty affected from down below. So we wet the whole section from the pencil line down, and then we'll put the paint of long the pencil line section, and we'll let that bleed down the same that we did in the sky. But this time now, our line is where the mountainous. What you want to do is make sure that you only have water on the bottom side of the mountain. If you put water on the top of the mountain. The color is gonna go up into that space, and we only want it to be down below. The color has a tendency to travel where the water is, so let's keep the water below the mountain line. Let me show you how this works, so I've got a great big hockey brush. Stay away from the line and you can slop the water on down below. That's just fine. It's got a bit of ah, tint to it already, but that's OK. So in putting lots of water down here because it's really important to go quite quickly if it dries, it's a so you never had any water on it in the first place, going braid off the edges where I'm coming closer. Do my pencil line. I'm just going to turn it around so I can access it better, as sometimes paint upside down so I can reach my area better. No, I'm coming up to my pencil in but not equate all the way. There's still a little gap off weight between where my paint is and where my pencil. Linus, I don't know if you can see that, but I'm not quite up to the pencil line, and I'm using my natural hair brush for this one just because I want to do it quickly. And it went a lot of water. It holds more water than the synthetic brushwood hold. But I'm noticing, even as I'm putting the water on here that it's already dried below that area, just reconnecting it, trying to work quickly, but at the same trying. I'm trying to line up with my my lines. All right, now we're ready there and then people switch to my synthetic brush, mix up my paint. I encourage you to mix your paint up first. Okay, here we go. Now what I'm gonna do is with the water with the paint on it, I come rate up to my pencil line. If you decide you want to change that line, it's This is the time to do it. You can move it a little bit. I've switched to my synthetic brush because I want to have nay sharp edges. And the synthetic brush seems to push in on the tooth more than the natural hair brush does . And I get a really nice, crisp, solid line with it working as quickly as I can, but I'm still taking care to have nay, sharp edges, and I'm also as the water's flowing out, I'm watching to see that it's a blossoming, and that lets me know that it's connected to where the water, that it's still wet on the paint that I'm joining it to. But you see that it's not traveling above my line because there's no water up there. Almost done all right. If there any areas that I want thicker, I can just add a little more. I'm not really brushing it on brush brush brush In that way, I'm just trying to slide some color here. And then what will happen is I'll tip the painting so that the water comes up and pushes the paint near the edge. And when I get a bit of a lip along there like I'm getting now, then I'll tip it back. And this is where the magic happens where you see dry spots. What you can do is just bring a wet brush in and connect that back in. I've got something on my paper and what I can do. It just wet my brush and get underneath it and I scoop it out. You need to be careful because I'm starting to drip, so I need to turn it the other way again. It tipped it in one direction so that I could fade out in that way. And then I tipped it in the other direction to have the paint run in the opposite direction . Now what I want to do is doing to leave it completely flat, because what will happen is the water well pool at the edges and then it will come back on itself. So if there's any even drawing a MiG end up with blossoms, so I'll dry it on something that slightly raised maybe my palate, for example, and it will take about 15 to 20 minutes, depending on how what it iss. So test it with the back of your hand when you think it's dry and see if it feels cool. If it's cool to the touch, it's still wet. Just do that gently. I've had students flocked their hands on, and then you made a big mess, so just carefully touch it to see if it's still cool, leaving a little longer to dry 82. Majestic Mountains: 4 Second ridgeline: Hello. Welcome back to Majestic Mountains. What we're going to do now is we're gonna put on the third layer of paint. Remember, this is project about grated wash. So we went darker at the top, and it's getting later. And then when we did our next mountains, they're darker at the top and they're getting later. So we're going to just continue on that pattern all the way down to the bottom. But this time, what we're going to do is skip this layer of mountains here so will come from this layer next. So remember the steps. What we're going to do is wet the whole section and then apply the paint at the top. But first, we're going to mix up our paint so I find a have better success if I'm using the synthetic brush for the mixing cause the bristles are a bit stiffer, just going to add a little bit more of the Prussian blue into the mixture. Okay, think our color is ready to go when it's wet. The surface of the paper. This is a wet on wet technique, which means that the paper is wet and the mixture were using for the paint is pretty liquidy, so we can imply big brush strokes. As long as we're a fair bit below the area that we're intending to paint, we get lots of water on the surface. Remember the reason that we're winning the surfaces? It just helps us to keep everything more smooth and get a smoother wash. One of the essential techniques and watercolor painting is in a smooth washes. Great. Now I'm gonna take a smaller brush. Just come in a little closer. I'm still not coming exactly on the line yet when they apply the pain, I want to line up those edges is nicely as I can. And if you remember, also, the paint is attracted to where the water is. So we don't want any water above the line. The ridge line that we're trying to create with our mountains. Okay, I'm gonna turn it upside down. A painted. I find a have a better angle that way. Now I put the P rate on the edge of my mountain line and they connect the paint into where the water is. If I don't have water on edge where the paint is connecting, not this sharp edge, but the other edge. Then it could leave a hard line. And when the morning isn't a smooth effect, so I want it to be connecting down into the water and they have some beautiful blossoms happening. I have some beautiful feathering out here, so that's a good sign that the water is working well when trick to make all of this work well is to work really quickly, which can be hard when you're trying to get nice crisp lines. But after you practice them, you'll get both. I had the good fortune of being able to trouble with a friend through the Rocky Mountains this summer, and I can tell you that the edges of the mountains are absolutely nay, said Shark. Like these lines are really awe inspiring. Just moving along the remaining edges gain. I'm trying to work as quickly as I can. I don't want the beginning edges to be dry by the time I finish with the ending. The reason that I've turned the painting around is it that edges closer to me, and my hand is not in the way of where I can see my edge clearly. Okay, there we go, that's enough with the initial past and same as before. What we're going to dio is tipped the water into the paint, but you have to really be careful. If you let it tip too much, it could travel down the painting, which is not what we're looking for. So I've got a bit of a lip of color building up there, which is beautiful, and you go, we're gonna tip it now. And what's happening is the paint is travelling down through the water, just making those edges even softer. Now I'm noticing it's no traveling very fast. So what I'm going to do is flatten it out again, come back in with my hacky brush and adds more water. I'm adding the water below where the paint is. I'm not adding the water into the paint. I find that it works better to keep everything smooth that way. No, I'm tipping it back and I'm watching the water run into the paint. I'm keeping a really close eye on it because it has a tendency to want to take off at this point. Okay, that's pretty good. Now we're working to do is just tip it gain and let everything flow across the page. I love that effect. This is one of the reasons why I don't like to take my paper down because I'm noticing that this area is not running as smoothly as this area. So I want to bring a little more water up into this section. There we go. Good. Everything where I wanted to. A little bit darker at the top. It's getting lighter as we come down. It's not perfectly even which actually adds to the effect of these mountains. We're gonna let that dry up and the movie back for the next layer. 83. Majestic Mountains: 5 Blossom and third ridge line: So what happened with that is that the mountains were all painted up, and then it was set down to dry. And what happened is that the area that was wet is pushing into the area that was dry, and it's creating a bit of a blossom along this edge. No worries here, though. We've got a couple of solutions. That plan happens to you. Um, what we're going to be doing is painting a darker layer over top anyway, so that won't matter, and it will just get covered up. However, if that's near the end of your painting and, um and you're not wanting that there, you could consider cropping that edge off if it's something that you just can't get rid of that you can't live with. So now we're ready to begin Layer number four and same as before. We're going Teoh wet the whole thing below the area that we want to paint. We don't want any water above this section, because if we have water up here than the pain is gonna want to travel up, and that's what we're looking for. We're just trying to dark in these mountains as we come down so very first thing we're gonna do is mix up our paint. And this time I want you to purposefully trying to make your paint a little bit darker again. Even if you're painting with the same amount of value on this layer, you're going to get a darker result. But I want to emphasize that by adding even a bit more paint and little less water to this particular mixture. We do need a bit of waters and pie pitch. Okay, I'm gonna add just a little more. I want to make sure I've got enough. There's nothing worse than running out of paint part way through. It's better to work in a juicy surface, so we want to make sure we've got lots of paint and that we're not mixing the paint up while everything is drawing. Okay, that should be good. So first of all the hockey brush and we're painting across the bottom layers so this layer has done. This layer is done and this layer is done. Now we're coming up into this mountain across this ridge line here and down, using the hacky brush to cover a nice big area in a short amount of time. We're not going on to this section here. Okay, Switch to my natural hair brush, turn it upside down so we can see a little better. It's a bit closer to me. And I'm going to come in closer to the line, but not completely right up next to the line. Okay? No, I'm gonna switch to my smaller synthetic brush, and I'm gonna tip it away from me ever so slightly so that the water will run downhill and not be pushing it up towards me and may change that angle later. But for right now, it will help me. So I'm not battling with the water, trying to go over my lines that I'm creating here. We're in putting the paint at the top. There is no water at along the very edge of the mountain. And then I'm just tickling it down in to where it does meet up with the water. That's how I am keeping really nice, crisp short lines, just changing that shape a little bit. It seemed a bit unusual to me where there was a gap. You can do that as long as you, um a very concentrated mixture paint then it will cover over anything that's below it and being really careful to match my same edge. Otherwise, I would get a blurred line for the edge. Now I'm noticing that it's really dry where I'm working. I just realized that the reason that it still dries this was the edge of my next mountain ridge. So what I'm gonna have to do is change my line ever so slightly and give myself a new line there and join that in. And I'll just wet the area below it so that it blends in, cleaning the brush out a little more. I'm gonna tickle the edge. I want to catch it before it completely dries. Normally, I don't put the water straight in, but this time I need to catch the edge because it was so dry, um, so that I could blend it out. I will come up into this area trying to work as quickly as I can. Edges are nice and craggy and sharp. Okay? No, As I said, I just want to remind you I'm not really, um, painting it and painting it and painting it a painting. I don't want you to go over and over and over it with needs to happen here is you just lay the color down and allow it to flow into the water Because of taking so long to get all the way across. I'm just gonna add another layer of water underneath everything. And then I'm gonna tip the water into the area that was painted. And you can tell that it's working because we're getting these little fingers happening in the color. Be careful, though, because if you leave it too long, it'll just one right off your page. And if that happens, you may have to disguise it with a little tree or something. Hey, really loved that look, you could leave it there if you like. I'm tipping it back because I'm going to do the same effect in other direction on an angle . I'm letting it all blur down. Okay, so that's it for this layer. We're gonna let it dry now, remember, try to, um, have it propped up a bit when you dry it. So otherwise, when you put it down, it will have a pool of water along the edge, and that wit area may bleed back into your painting so if you can support it up a little bit, well, it's a drying. Then you can avoid that problem. Great was See you as soon as it's dry for the next layer. 84. Majestic Mountains: 6 thicker graded wash: Hi. Welcome back again. Um, now we are ready to put on the fifth layer for majestic mountains. I'm noticing here that where we added the little bit that was starting to dry. It's not quite a smooth as the rest of the painting, but that's OK, cause that's the layer we're gonna work on now. So just to recap this the first layer, here's our second layer. This one is the third layer. This little space in here is gonna be the fourth player. So now we're gonna do is cover from this section right here on down to the bottom. So same as before, we're gonna wet all of that. We're gonna be careful not to get any water above the mountain lines. And But before we do all of that, we're gonna mix up our paint. We want our pain to be really nice and thick this time. So we're just mixing up our paint. I'm using the synthetic brush to mix it to make sure that all those little spots of paint get mixed. Radian. One of the things that can happen that you may not like so much is if a chunk of paint gets on the brush and then you brush it onto the painting won't move around the same way. It will just be stuck there, and it'll be too thick. So that's why I always mix it in my palette first. Okay, so now my paint is ready. Get my hockey brush and trick is going to be too. Remember which lira him on from down underneath those mountains. Lots of water in the area that's not near the mountains, which will probably find Does it actually gets easier as you go farther down the mountain chain because the area that you have toe wet is getting smaller and smaller. Use the natural hair brush I may need to switch. Just find that it holds more paint. We can go farther before you have to load it up again. But symptoms? The bristles don't lie nice and flat until I don't get his crisp align. It seems to be working really well because this pain is pretty thick. Seems to be working great. I'm putting it on near the edge. I'm really paying attention to what's going on in my edge. There's just sort of brushing it out into the water to make sure it's connected to the water, and it gained the reason. But I'm doing that is I want to make sure that I'm getting in a soft edge on the bottom portion, but no one in Ace's crisp edge on the top portion of each mountain. So this is the area that didn't blend so well last time. Because you can see it seems to be just camouflaging right in there at this time. No problem. Okay, that seems nice and juicy still. But I'll just add a little more water, to be sure, imagining it underneath, not rape into the paint. I can tell by thes edges that it's it's pretty running. I will have to be very careful with it this time. What I'm doing is I'm tipping it to run the water in, but a trying to control this edge so it doesn't take off for me rate. I'm gonna tip it in one direction first. I love the way that looks as it's rolling down the side of the mountain, and I'm gonna bring it back and what I'm looking for. It is a gathering of paint along the lip along the Ridgeline edge and when they see that what I'm gonna do is to fit in the opposite direction. Um, rich and soft and feather. Really at the same time. Okay. Now would just let that layer dry. Bring it back here. Okay. Now, remember, when you're letting it dry, don't leave it on a flat surface. Um, we wanna have it raised up a little bit so that it doesn't pool on along the edges when it's drawing. That will allow for more, even drawing. 85. Majestic Mountains: 7 front right hand mountain: here We have majestic mountains, and we're about to do lay or six. I was looking over the painting after it dried, and they noticed we're still seeing some feathering in here from the blossom on the edge. I am not minding that effect. Um, and I know it's gonna be minimized when I come over to game with another layer. If something like this happens to you, though, and you don't like it, remember, you can know, miss crop it off or you could do one more layer on top, and that will minimize the effects of that feathering their. So what we're going to do for this layer is we will wet the mountains, so I'm going to work on this side as well as this side will do one first and then the other . That's were wealth of their side. Mix up our pains now very little bit of water this time around, and a lot of pigment, a lot of paint, no great, that's ready to go even a little more in there, and now I'll bring my natural hair brush so that the water is a little closer to the edge without going over the lines working quickly, but I have less distance to cover. Then when I first began painting, so it's a little easier to do, especially because we're only doing half of the time. I'm going to turn it upside down so we can reach the edge more easily and begin to apply my paint with my synthetic brush. I really like how the pain is blowing through and meeting up with the water, but I think it could be a little darker. It's going to dry even later. If you recall, so wouldn't been do is add a little more pigment paint to my mixture. What I'm inclined to do is I add the paint on one side of my mixture. I don't mix the whole thing every time, and what happens is then this side of me mixture is going to be darker. Then the other side. That's the side that I take from in order to apply it much darker and Richard color Now, after adding in some more paint, making some decisions about where the top edge of my Ridgeline is just gonna turn it so I can see a little better, I really like the effect of a greeted wash with the dark on top, and it gets later. Some people prefer if they're more colored in, so you could be making those decisions at this point on what's going to work best for you and your aesthetic. I'm gonna tip the water into my paint. I don't see a lot of water there, so just flatten it again. Adds more water with the hockey brush dam below. With painters now, it seems quite juicy. Appears will be very careful when you tip it. Otherwise your paint may wanna shoot across the paper on you. So once again they know it's working because I can see these little fingers starting to take place, and I'm starting to get a buildup of paint along the Ridgeline. Now I'm gonna turn it around that I can let it flow through the water, the water in the pain of running off the bottom of the page, and that's just fine will clean that up in the moment. No, I'm tipping everything back so that the water is running to my rich line again, and the reason that I'm doing that is a warning. One more sweep of paint and water to come across the page. If you're seeing some spots that you've missed, just touch them with a wet brush. This time, when I tip it up, Tippett at a bit of an angle and more. You tip it, the more uniform your blue is going to be if there's still water and paint that are active on your page, the flow back and forth and back and forth if you want more of the effect was laid at the bottom and blue on darker at the top and you just stop there. If you wanted to be more uniform, you can continue to tip it. I am just noti