Watercolours with Confidence. Painting a lovely Birdhouse Project & Exploring Colour Theory. Class 2 | Wendy Framst | Skillshare

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Watercolours with Confidence. Painting a lovely Birdhouse Project & Exploring Colour Theory. Class 2

teacher avatar Wendy Framst, Passionate about Watercolours!

Watch this class and thousands more

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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

16 Lessons (1h 9m)
    • 1. Watercolours with Confidence: Introduction Class 2

    • 2. COLOUR THEORY 1: Definitions

    • 3. COLOUR THEORY 2: Primary colours and the Colour Wheel

    • 4. COLOUR THEORY 3: Secondary Colours

    • 5. COLOUR THEORY 4: Tertiary Colours

    • 6. COLOUR THEORY 5: Complementary and Analogous Colours

    • 7. COLOUR THEORY 6: Flip side of the colour wheel and Colour Palette

    • 8. COLOUR THEORY 7: Intensity / Chroma

    • 9. COLOUR THEORY 8: Colour Temperature

    • 10. BIRDHOUSE 1: Introduction

    • 11. BIRDHOUSE 2 : Reference and Drawing

    • 12. BIRDHOUSE 3: Underpainting

    • 13. BIRDHOUSE 4: Painting Second Layer

    • 14. BIRDHOUSE 5: Final Details

    • 15. BIRDHOUSE 6: Summary

    • 16. Congratulations. See you in Class 3

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About This Class

Hello! I am Wendy Framst. Welcome to Watercolours with Confidence Class 2.

In this class, we will paint a Birdhouse Project and learn about Colour Theory.

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 2. 

If you have not already done so, I encourage you to check out class one which provides load of foundational information about materials and how to use them as well as where we paint a really helpful project called Majestic Mountains. 

Then proceed on to classes 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, gaining confidence in 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 watercolours 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. Watercolours with Confidence: Introduction Class 2: Welcome to the water colors with competent series. This is class two. I hope you enjoyed CLASS1. In this class, what we're going to do is paint a bird house bookmark project. And we're going to discuss color theory. Each class has its own hands-on assignments and projects for you as well. I've attached the instructions for these to each class. For each class, you're going to find the relevant references and templates to make it easier for you to follow along. And there's a materials list for the whole series as well as for each of the activities and projects. Please do ask me if you have any questions at all and hosting, share your artwork. I would love to see it. Let's get started. 2. COLOUR THEORY 1: Definitions: I love, love, love, color. And so I want to share with you a few things that I think you need to know when you're getting started. Working with color color can be really exciting, but it can also be a bit scary. So let's keep it as simple as we can just to get you started. So first thing that I want to talk to you about or some definitions one of the definitions that you're going to hear one of the words you're going to hear is the word Hugh. What he refers to it just means color. Um, it also can mean a synthetic version of a color when maybe you don't want to use the natural color, but for our purposes, just think of Hue as color. So what I'm going to start with here are three basic colors. So we've got red and this is a Windsor Newton Red, Windsor Red. This is a yellow a really in yellow. This oneness also by Windsor Newton. This one is ultra marine blue, and it is by Divinci. So what we're going to dio is just place a little bit of these colors into the three little pie shaped wedge is that I have here in front of me. Feel free to paint along with me by making your own color chart. So I'm just gonna fill it in with pretty pure pigment. But we do need to add a little water. All right, so this is the idea. The next cover, we're gonna use this red. I remember the other name for colors. Hugh, isn't that beautiful and rich? Now we're going to use ultra marine blue. And here's the blue, which probably notice is colors from the palette. Look, quit a bit darker than when you mix them with water and put them on the paper. So it's no accident that I picked. These colors are used. A yellow, a red and a blue, yellow, red and blue are known as primary colors. What that means is you can't have any other color to mix together to make yellow, orange and something don't make yellow. Just yellow makes yellow at same with red and the same with blue. There are different versions of yellow and their different versions of bread and their different versions of blue, but they're known as the primary colors, so we wanted to start out with those. So their colors and they're all some known issues. No, What I want to talk about is value value is how darker light something else. I have a little value scale here, and what you notice is it starts out at wait. It gets gradually darker and darker, and then it ends with black. That gives you a full range of values. Values really important when you're talking about color value talks about how dark er's how light something is. This is value scale, and it shows you the cool range from light to dark. You may be surprised that here I am showing you a grayscale when we're talking about color . But it's really important to know that even color has value. Colors can be light and colors can be dark. We want to show you that when we're talking about colors being lighter, dark, we're talking about their light or dark value. And what you notice is the colors that were using they're going to be sort of naturally lighter or naturally darker. They're gonna have naturally a lighter value, or they're gonna naturally have a darker value. Let me demonstrate this for you. We'll start off with the yellow. I want you to start with the color as dark as you can get it. So the dark is value that a yellow will go wash off your brush and thin that out, wash it out again and then it out. And I'm wiping in between each layer, and you should see that it's a dark yellow on one side, and it's getting later and later until it's almost completely weight on the other side. Let's do the same with red, so it's really dark on one side. In fact, I'm gonna put a little bit more pure pigment right there. I'm renting out my brush, and then I'm tapping it on my towel just to clean that off, rinsing my brush, tapping it off and pulling them from the bottom. I'm not starting over here where it's really concentrated. I'm using the edge that have thinned out, and I'm making it more thin as they move along. This is a little value study, but it's using color. Last but not least, ultra marine blue really concentrated on one end. I really thought my brush, tap it on my cloth, rinse out my brush. Tap it on my club. Now we did lose some here, so I'm gonna just add a touch more in the mid tones. No, what I wanted you to see yellow is lighter than red or blue. Red is a bit lighter than the blue. So what we're going to do is we're gonna flip this to black and white just so you can see that even though the colors are a dark toe light for each of the colors for each of the Hughes, we have a dark version in a light version for each of the Hughes, but in relationship to each other, the yellow is later than the red or the blue on the red is somewhat later than the blue, So the blue has a very dark volume. 3. COLOUR THEORY 2: Primary colours and the Colour Wheel: way. Right now, we're going to talk about our primary colors and the color wheel. So the color wheel was first conceived of by Sir Isaac Newton when he was studying Rain bows on what he realized is there sort of relationship and between the transitions between the colors and so he connected all of the colors and he put them in a circular format and the ends of the rain bows he put together because their relationship just continued on through there. So let's talk a little bit more about this and how it relates to color theory. So I've got here a fairly simple color wheel. We're going to start with the most basic colors that these colors you cannot get by mixing any other combination of colors. You need the pure pigments in order to have these colors. So in front of me, I have yellow, red and blue. These are called primary colors. What we're gonna do is put our primary colors rate in the center of this color wheel chart . Okay, so this is nice. Bright yellow is called a really in. This is really in yellow is made by Windsor Newton, the red We're gonna uses Windsor Red, also made by Windsor Newton. I'm hardly adding any water at all, but I do need a little bit of water to keep it flowing. Beautiful, rich, rich color. And finally, we're going to use the ultra Marine blue by Divinci to feeling that last square notice. When there's no water on it all looks almost black when we add a little bit of water. Suddenly color comes popping out. So here we have our primary colors yellow, red and blue. You can't makes anything else to get yellow. You need a pure yellow pigment. You can't mix anything else to get a read. You need a red pigment, and you can't mix anything else to get a blue. But what we can now do is use these primary colors to get other colors. 4. COLOUR THEORY 3: Secondary Colours: Okay, So the cool thing about color theory is that when you use the building blocks of the colors eso the building blocks will be your yellow, red and blue. Then you can actually get a whole bunch of different colors. Let's do an experiment and see what happens when you start with yellow and you add some red to it. I'm gonna put some more yellow at this side, clean out my brush. Really well, then take my beautiful, rich red and put it on the other side to need some water. So this is the tricky part when they want to. Dio is bring my yellow across into the center of the wheel and almost over to where the red is, and you can see that it's getting thinner and thinner, similar to our value charts that we did earlier. Never again do the same thing with the red. We'll take it a room, this center, second layer and what we're looking for is the transition of what happens when the yellow and the red meat bring in a little bit more yellow, and I will bring in a little more red. That red is really strong color it overpowered the yellow there. Try that again We moved a little bit of the red in a pop in little more yellow Here we go. So what you can see is it's a bit of a muddy orange, but we've gone from yellow to an orange into a red. So that's the secondary color raid in there is our nice orange. Now we'll try it with, um, yellow and blue. So same thing will put the yellow one full strength at this end. Wash up brush blue at this end. And the trick is to get the transition nice and smooth. Click. This time I'm gonna add a lot of water in the center. Keep everything flowing. Yellow is a fairly weak color is very light volume. We have to be gentle when we're adding the blue beast. The blue is a very powerful color from right, So we've got our orange and we've got our green. Now what is it that you think we're going to get when we mix the red and the blue, we'll give it a try. Mixing the red fairly full strength here and the blue full strength and put a lot of water in the center. - A little more pigment, little more color. What, and they have it. Just a recap. We have primary colors yellow, red and blue. You can't get thes colors by mixing any other colors. However, when you mix the primary colors so we mix yellow and red. We given orange. When we mix yellow and blue, we get a green. When we makes a blue and red, we get a purple, so those colors in the center or called our secondary colors orange, purple and green are secondary colors, and from there we can go even one step further. 5. COLOUR THEORY 4: Tertiary Colours: Okay, So now we've talked about the primary colors and we've talked about the secondary colors and we're going to get into the world of tertiary colors. Primary means one secondary means to tertiary means three. So we've were displaying them on these rings here. This center layer is the primaries. The middle ring is the secondaries, and this outside ring is for the tertiary colors. So what we're gonna do is we're going to mix the primaries and the secondaries together were actually instead of using the colors that I've mixed up because it's hard to replicate those we're going to use some two colors. I like really vibrant colors. So we're going to use the tube colors to make sure that everything is nay sing crisp and clear. So let's get to it. The secondary colors that I'm gonna use our pira orange permanent green and dioxins in purple. They're here. It's ah whole by and permanent Green. A Windsor Newton docks is in purple and a Daniel Smith pira orange. So first of all, what we're going to do on the outside area is we're going to place the primary colors around the color wheel. So let's put yellow here, and then we'll put this beautiful red here. The reason that we're starting with the primaries is in order to make a tertiary color, you use a primary color and you mix it with the secondary color. And so we're just establishing where our primary colors are going to be. And then wills put in the secondary colors. And here is the blue. So now that we've got all of our primary colors in place, we're going to go on to the secondary colors and you'll get to see these beautiful babies. Pop here is nice. Pirouette orange. It's so intense and vibrant. The dioxin seen purple. Not that's a little money there, and let's make sure everything is nice and clean. If you do happen to get some pain into your wells, you can just wet it and pull it out before you thoroughly mix it in there. Have clean my brush and they pulled out the orange that I could see. All right, just a little bit of water. And last not least, we've got this really intense permanent green. So just to recap, yellow, red and blue were our primaries. When you mix blue and yellow You get a green When you mix yellow and red you get an orange When you mix red and blue you get a purple So now what we're gonna do is see what happens when we mix those colors together I'm gonna put some green on one side of my little pie wedge Come to yellow on the other side, Put some water in the transition area Maybe just a little more green and just a little more yellow over here and what we end up with is a yellowy green. And when we label this tertiary color this third color, third level color, we store with naming the primary first and then we get into the secondary. So this is a yellowy green, not a greeny yellow. I mean, you could call it either, but the tradition is that you're going to start with the primary color. So let's see about the green and blue. So we've got some nice ultra marine blue here, and Agence more of this juicy permanent green bringing those two colors together and we're ending up with the bluish green in the middle. Uh, and gained blue is the primary. So we would say that first. So it's a bluish green. Moving on will now do the balloon and the purple. Thank a little more blue. How about you? And now the blues overtaking it will go back and add just a little more purple. Both of those colors are really intense. They wanna overpower each other, coming back for a little more blue. You may have to play with that to get just the rate violence, but that's a fun exercise all in itself. This is a really worthwhile little exercise. It gives you learn information about how to use paint, how to mix them, how much water you need to use and how to balance all of those together. So do you hope you give it a try and see what kinds of results you can get. - There is some back and forth and back and forth just to make sure you get the mixtures. Just right now we're working on a red and orange, and because red is the primary, we would say we're building a reddish orange, - wash my brushes a little better, and come into an uncontaminated section of the palate just to get a little bit more yellow in there. I think we need just a bit more and put it in a different well, to make sure it stays nice and clean. All right, back into that mixture. Just blended in. Okay, there we go. We have a homemade color. Real primaries on the center primaries mixed together to give us the secondaries on the second row and then primaries mixed with secondaries to give us a tertiary in between. Great. Now it's your turn. Go on, give it a try. 6. COLOUR THEORY 5: Complementary and Analogous Colours: Okay. Remember I said we were going to bring the color wheel back here? It ISS This'd is a really helpful version of the color wheel. It's got two sides to it, and both sides can help you to understand different things. What were you want to talk about right now is that we've got all of our primaries here. The blue, the red and the yellow. And then the secondary colors, as we discussed, were green of violet and orange. And so they're all laid out there. And then there's a tertiary color in between each of those as well. A remember there named by the primary color first and then the secondary color next. So when they want to talk to you about now, is that the colors that are adjacent to one another, so within maybe one step, so blue and green? These colors are a Jason. They're called analogous colors, so colors that are right beside each other on the color wheel, they blend and harmonized really quite easily. So if you were trying to mix some colors, you're usually gonna have quite a lot of success with these colors that are beside each other on the color wheel. So let's talk about each of the primaries and when it's compliment would be so. The complement of blue is going to be right straight across the color wheel from it, so that would be orange. The compliment for yellow is across the color wheel, and that would be violet. The complement of red is right here. That's a green, and when I want to do is show you a little bit about how the complementary colors of work, um together and how they can excite each other or how they will dull each other out. So let's take the primary colors burst and just list them along here. Really nice bright versions of hm, So we'll have a red. And remember the other two. We've got a yellow now ender flu who lets see if you can remember what the compliments are . So for red, it's compliment is green, and if you remember from the exercise that we did just a minute ago, green is a secondary color, and it's made up of yellow and blue, so the bread would be the primary, and its complement is the color that's comprised of the other two primaries we've got yellow and its complement is the secondary color purple. It's such a rich color. I think I want to add a little bit of water there so you can see it better. There we go. It's peeking through all that darkness. And Cain, if you remember, this secondary color here is made up of the other two primaries. Red and blue. Our final secondary color compliment is orange. When you do painting and you put the complementary colors beside each other, they excite the I, and there they give you the most contrast that they can in terms of color. However, when you mix the complementary colors, you end up with more of a muddy color. Because, in fact, what you're doing is you're also mixing all of the primaries together because this is a primary and this is a secondary comprised of the other two primaries. Let's take a look at what that would look like. So we're gonna take some red and mix it with green and put it beside. So there's a red and here comes the green and watch what happens. As soon as they touch, we get a pretty dull, muddy looking color All right, let's see what happens when we mix these two complementary colors. We're gonna put the yellow on one side, some purple on another and see what happens when we mix them together. Let's get a little more yellow in their yellow is a very pale value. And so it takes a little bit more sometimes to compete with these really strong, dark colors. There you go. And then we'll do the last one. I'm just gonna add a little bit more The Ultra Marine. Make sure we get nice, intense color here. Fact, I'm gonna put it in another. Well, just to make sure it's really pure. My blue was getting a little bit money, and so it just wanted to start a new fresh pile blue. Can we go? The blue on one side and the oranges coming in right beside it. And you see, you were they intermingle. We get a really neutral color. Just gonna add a little bit of water so we can see that color better. So to summarize, when we put complementary colors beside each other, they look really beautiful and they add to each other they intend supply the color of the other. However, when we mix them together, we get a more neutral color, great color. And so, if you're wanting your paintings nice and bright and brilliant, you can just add a little pop of the complement to make things really stand out. However, if you need to push something back and make it less intense than you can add, its complement rate to it you go. 7. COLOUR THEORY 6: Flip side of the colour wheel and Colour Palette: or ain't going back to her color wheel care. What we're gonna do is flip it over and using the color blue. So blue is one of our primary colors are just want to talk you through. If you wanted to do a painting and you want to use a very limited palate, what you can do is take a look at this color wheel and find the colors that are evenly spaced against. So we start off with the blue color Here in our little triangle points to the color triad. So what it's telling you to do use is yellow and red, which makes sense because blue is a primary color. So a very basic palette could be your primary colors if we move it to Violet as our main color. What it's telling you to use when you're using a three color palette is green and orange, so violent orange and green again. That makes sense because those are the secondary colors, so you can use that relationship to have a very limited palette to paint a scene or two to paint a picture and what you'll have, you'll end up with quit a lovely image as a result. The reason that I'm pointing out triads for you is when you're starting out. Sometimes it can be confusing, which colors. So I use how many colors who are using. You can get really complicated pictures that have a lot of things going on in them when you limit your palate to just three simple colors, that can help you to increase the harmony throughout your picture and give you really pleasing result. 8. COLOUR THEORY 7: Intensity / Chroma: The next topic that we're going to talk about in regards to color theory is intensity intensity has a few names. We also call it chroma or we call it saturation. And what we're referring to here is how, um, great or pure colorists, as opposed to how dull color would be. Let's have an example of us we're gonna use a bread on. We're gonna find some different ways to dull it down. So we start with our bright red over here. And then what happens if we take some of that red? And at the compliment to it, we're just going to put a small little bit of the compliment in it. So what you can see is the color is changing. It's not nearly so bright anymore. We're gonna add a little bit more of the compliment. No ive meat that a bit watery will just add a little more red back in, but also more of green. Here we have the red, its nascent great and rich next to it. We've added a little bit of the compliment, which is green, and it's becoming less bright. It's more dull here. We've added a little more and it's graded out even more. It's a bit of a muddy color. There are other ways that we can make a color less intense or less saturated or dulled the chroma. Let's try the red game. Here we have it, the nays pure red. And this time with him, can it add is a little bit of brown to the red. This is a permanent brown by Daniel Smith. So you see that the effect of the brown is very similar to the green. That we added. It just makes it a little less intense, not quite so bright, more dull. We're gonna add a little bit more brown yet, and it's become even more dull. There's a few ways that you can reduce the saturation level or the intensity of a color. You could also add black, which would be moving it towards the shade of the color. Um, and that would dull it down in the same way you get less of the beautiful, bright red color. You can also think about reducing the intensity of the red by adding water to it. So if we start off with our nice break red now, I'm gonna have another version of the red. That's a little more water down. So this does a couple of things. It changes the value of the color, but it also and changes the intensity or the saturation of it. Okay, have some fun playing around with dulling your colors down and let's see how that goes for you. 9. COLOUR THEORY 8: Colour Temperature: all right, we're going to talk about another quality of color, and that's its temperature. How warm, or how cool that ISS and what this refers to is in relation to each other, whether something seems a bit cooler, like think of blues and purples or if something seems more like the hot, fiery colors like reds and yellows, there are also warm versions of blue, and they're cool versions of yellow. So when we talk about these colors, what we want to do is make sure that we're doing so in relation to one another. But generally speaking, everything on this side of color wheels. So the yellow green, the green, the blue green, the blue, the blue violet and the violet. They're all on the side that is generally thought of as the cool colors. The other colors the yellows, oranges and the reds and even red violet are considered warm colors. Remember, it's all relative to how they are with one another, and what's happening here is the blue wavelengths are actually shorter and so they can get through. There's less interference and weaken, see blue, even when it's at a distance. So think of it in terms of the sky and the mountains, and you're seeing your cooler colors more in the distance. Whereas the warmer colors the wavelengths are larger. It could be easier for interference to occur with the warmer colors. And so they dissipate. You don't actually see them off in the distance, but you do see them when they're nice and close. So what I've done here is a simple little chart, and I was just playing with the colors s so I hope you do so as well at. For example, blue is very cool color red is a very warm color. So I put them side by side to see if it looked like this little red dot was coming more forward. And in this instance I did the reverse. I put surrounded it by the red, and I do think that you can see of the illusion of the red dot coming forward a bit in this example here of used a brown and a nice that permanent green. Same idea. I think that the warm the brown does come forward a bit in space and here have tried even another example. I've got a really cool pink here next to a nice warm yellow. So play around with the color. See if that's working for you. Playing around with your colors is going to help you to become more familiar with the temperature of your colors and to know which colors you want to use in the warm areas on which colors are going to help you to push things back in space. We'll talk more about these concepts as we go through our projects, so have some fun play with these. 10. BIRDHOUSE 1: Introduction: Hello. Now we're gonna try a birdhouse project. What this is based on is when I went for a walk about when I was visiting a friend in the Netherlands and they noticed all these great bird houses as I was going on my walk, so I took a lot of photos of them. This project is going to use a photo reference, and what we're going to do is a line drawing, then trace over it with ink, and then we're gonna put some color in one of the things that I really want you to take away from this course is that is a great idea to have a sketchbook with you wherever you go , because you never know when inspirations going to strike. So this would be a really great little project for that. You can draw the picture in your sketchbook, and then you can just add simply a little bit of color and some ink, and you end up with a great looking real peace. Let's get started 11. BIRDHOUSE 2 : Reference and Drawing: now when I want to do is talk to you about sketchbooks or bookmarks or those sorts of things. So this is going to be just a quick little pen and ink drawing and with some washes in it, and the topic is gonna be bird houses. I was out for a walk when I was visiting the Netherlands, and I came across all of these beautiful bird houses. So I've taken a few pictures here that you can see for reference. What I did was I simplified it into this image, which is available as a template through our resources section of this online course. Then they transferred that onto my watercolor paper. Now what we're gonna do is use a permanent ink marker, make sure it's permanent ink. You don't want it running after you add some water later. And I'm just going to go over the lines with this pen. No, this is a simple little project. You can use it for bookmarks, for journaling, um, for cards, greeting cards. I think your friends would really enjoy getting little gift like this. And what this project is going to demonstrate is a dry on dry technique as well as a wet on wet technique. There's a lot of little lessons it just rolled up in this one little project. - Um , I've added these little flowers and vines along the sides just to give it a little bit more pop and interest You want. Teoh continue to entertain your viewer, and they just trail along the sides of the wooden structure. Do your scenes don't need to be too complex in order to make a ruling. Nice little painting. Just draw whatever it is that you see in front of you. Almost there. Couple more little lines here. Just around the curve. There, I tried to make thes two edges match pretty closely, and then the third edge is in behind. So due to perspective, it's a little bit shorter than the two front ones, and it tucked a little vie in and around it as well. Your version. You may want to include nice little bird in your birdhouse, whatever it is that you see. Okay, One more re in the front here 12. BIRDHOUSE 3: Underpainting: Now you see that I already have my paints ready. Would have used is a permanent green by a whole buying Windsor Blue by Windsor and Newton. I use dioxin purple, but also by Windsor and Newton. Then they've got Ozzy, Red Gold by Daniel Smith. And I've got Quinn. Ah, Crotone, Sienna. I'm going to start by just putting a little hint of color in the background using my hockey brush. You want to make sure that the ink is dry before you do this, Otherwise it will run. I'm just putting water across the whole thing. Now it will do is add a little bit of green. Remember, mix your green up. It makes up any of your paints so you don't have a little clumps of paints on them. And I'm just putting a very light wash in the back room because I'm mixing it over a wet surface. It'll end up being even later. Still a bit too dark for me, adding a little more water. It's popping it here and there. I'm not trying to cover the surface. Totally switch to a little bit of a blew up top. A little more water. It's okay then I'm going over top of the birdhouse. Do you want to leave a little light? Later? Area and I wouldn't want to do is just soften those colors by adding a bit more water in. In fact, it's a fair bit darker than I was intending. So I'm just going to blot out a little bit of the blue. You see how easy that was? And we've got some interesting shapes. We've got a little bit of color, and this just establishes our background. No, what we need to do is let this dry about 15 minutes. Or, if you have a hair daughter handy, you can dried up with their dryer. 13. BIRDHOUSE 4: Painting Second Layer: a drug mine up with the hairdryer and know what I'm gonna do is just take my eraser and lift as many of those pencil lines as I can, so they're not showing through. It's a good idea to do this. Before you add any water or paint. They lift a lot easier. When it was erasing it, I noticed it's still a little bit wet. It took out, picked up some of the residue from the eraser. Because of where it is, that's going to be just fine. But be careful for that. Make sure that it's completely dry before you were racing. And in fact, it's better to erase rate after you put the pen lines on. Now we're going to paint the wood, so what we'll do is we'll just wet the sections where the wood is. I'm gonna do the top part first. I don't want it all to dry before you come back in with the paint so we'll do the bottom part after I finished in the top, and I'm going to use a very little bit of the Aussie red gold as late as I can get it here and just apply it in streaks, going right over the blue that I had in their before. And it's okay if you go a little bit outside the lines. The lines really do lot to pull this painting together. I am putting the color more towards the bottom. I want to leave a little bit of light near the top, and that just emphasises where the shadow area would be can. No. I'm going to move on to the next section and I'm wedding the wood as ago. Still a little bit of residue in my paintbrush. No matter. I wonder when it first, so I can have nice even strokes later will come back with some wood grain. It's okay if I go reigned over the lines because its permanent ink a little bit more of the Aussie red gold just applying a hint or a blush of color on there. It's a really simple, fast technique for sketch booking planner painting. There you go. No, we don't want to do is dry that up, so I'll use the hair during a game 14. BIRDHOUSE 5: Final Details: I Welcome back now it's all dried up. I'm gonna add some detail using a dry on dry techniques. So my paper is dry and my paint is going to be quite that coming out of the two. I'm just going to add some little strokes to give it the illusion of wood green. You don't want to cover up the entire area that you've already painted. So just one or two little strokes here and there will be all that. You need to give it a little bit of detail in interest. Just traveling downward. I started at the top and they moving damn word through my paper. I'm putting the strokes on more to the left hand side and near the bottom, leaving the top area and the right hand side a little bit more late to give it a natural illusion of curves around thes wooden logs. My a brush is really dry this point. It's skipping over the surface of the paper, giving an uneven texture, which is really nice for wood green. Okay, so that's all done. No, What we can do is come in and feeling the nice little leaps we've got. Since we've already used this permanent green color would you want to do is just mix it with a little bit of the blue to give a slight variation in green, it will be, ah, bluish green, and don't feel like you have to completely fill in the whole shape. In fact, it's much more lovely if you leave some areas of weight on your paper. I've got quite a few leaves here, so what I'm gonna do is change the color a game. This time I'll go for just a darker version. Off are green. It's looking a lot like the bluish green mixture, but there's a bit of change. So, in fact, what will do? Just use a little bit of a purple to give it a bit more volume, changing the value a little bit. And if you end up putting too much on, just blot out a little bit of the access. I think I like that. I forgot one little buying down here in the front. Let's give him some color, too. There we go. Now all that's left are the flowers going to paint this one on the bottom in a purple. Remember, you don't need to cover the entire surface. I'm leaving a little bit of weight in each of the petals. Also was. I'm applying it. I'm noticing my purples very dark. So what I'm going to do is lift a little bit of that color. So I cleaned my brush and I'm topping it out on my paper towel. And then I'm coming in to lift the color, and I'm wiping it back onto the paper towel. This had just lighten the value a little bit. I'm going to do the same with the top flower. We're almost done. I've got a little bit too much weight on here, so I'm with the damp brush. I'm just spreading it out a little more as it was painting. I was realizing I want a nice little hit of some bright color in the center, so I'm gonna adequate knockedem coral to my palette. Hardly need any of this wonderful. Now the only thing I think it needs is a little bit of darkening down near the bottom. So what we'll do is we'll add in a little shadow and I don't want it to be too harsh, So I'm going to wet the area first, and I want to use a nice dark value. So I'm going to mix some of my purple with a little bit of my blue, a little more purple when I want his nice, cool color. So then it represent that it recedes into the shadow. The blue will cool the purple even more. I'm just going to stay underneath my objects and bring that down. Feather it out ever so slightly. We want to soften these edges even more, and I think just a little bit more violent in there. The violet was to add variety to the color. There's a little bit Teoh, um, isolated. So I'm just tipping them in order to blend the colors more. Let them run down the page when a soften those edges even more. So I'm just gonna take my paper towel and gently block that. There we go. Quick little painting. What do you think 15. BIRDHOUSE 6: Summary: Well, there you go. We've made a bookmark. Who wouldn't want this? I bet your friends and family would love you to make them some bookmarks. I hope you enjoy this project. What you were learning from it was the importance of keeping a sketchbook around or working from photos And the things that are around you get your inspiration from your life in your world. I'll see you in the next section. 16. Congratulations. See you in Class 3 : Congratulations and well done on completing class today. I hope you enjoyed painting along with me and that it was as much fun for you as it was for me. Now, if you haven't already done so checkout Lab coming classes. The next class, we're going to build a goldfish project. And we're going to talk about troubleshooting. Troubleshooting is to help you fix any mistakes that you may encounter along the way. I'll see you in the next class.