Watercolours with Confidence: Troubleshooting, fixing mistakes & Goldfish Painting Project. Class 3 | Wendy Framst | Skillshare

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Watercolours with Confidence: Troubleshooting, fixing mistakes & Goldfish Painting Project. Class 3

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

17 Lessons (1h 3m)
    • 1. Watercolours with Confidence CLASS 3

    • 2. Troubleshooting 1: Introduction

    • 3. Troubleshooting 2: Pencil Lines

    • 4. Troubleshooting 3: Paint is too light and avoiding paint clumps

    • 5. Troubleshooting 4: Making an area darker and cropping a scratch mark

    • 6. Troubleshooting 5: Lifting stray colour

    • 7. Troubleshooting 6: Fixing Drips

    • 8. Troubleshooting 7: Hard line

    • 9. Troubleshooting 8: Hard line continued

    • 10. Goldfish 1: Introduction

    • 11. Goldfish 2: Reference and Drawing

    • 12. Goldfish 3: Inking

    • 13. Goldfish 4: Painting First Layer

    • 14. Goldfish 5: Painting First Layer Part 2

    • 15. Goldfish 6: Painting Second Layer

    • 16. Goldfish: Bonus Session & Summary

    • 17. Congratulations! See you in Class 4

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About This Class

Hello! I am Wendy Framst. Welcome to Watercolours with Confidence Class 3.

In this class, we will paint a Goldfish Project and learn about Troubleshooting/ Fixing Watercolour Mistakes.

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 3. 

If you have not already done so, I encourage you to check out class 1 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 2, 3 (this one) 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 CLASS 3 : Welcome to the watercolors with confidence series. This is class three. In this class, we're going to paint a playful goldfish scene as well. We're going to address very important topic called troubleshooting. In the troubleshooting section, you're going to receive a lot of information about how to fix watercolor mistakes. 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 that 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 with a troubleshooting section. 2. Troubleshooting 1: Introduction: this'll section is called Oh, troubleshooting. Sometimes things occur when you're painting that you weren't expecting when those air happy accidents Great. Then you move on from there. When it's an effect that you didn't want, however, then we're going to take a closer look at those issues and how to fix them. 3. Troubleshooting 2: Pencil Lines: Let's talk about pencil lines as the first issue to discuss. Some people don't like to see pencil lines in their finished product. US notice. In majestic mountains, we don't have any pencil lines showing up because the paint was quite dark, and so it camouflaged the lines that were there. However, if we had put a line in this section, for example, the lines would have shown so How you can deal with that is by lightning them at the beginning. You draw them quite lately, or if your lines are already too dark, then what you'll do is erase them. Let me show you what I mean. So you don't want to push too hard on the paper. You'll indented paper. Here are lines now remember kindergarten and those clay sneaks. Take your kneaded eraser and roll it up like a snake, and then you could just roll it across the lines, and that will lighten them. Be careful, though. If you roll it across the lines too much, your lines will become really faint. And then you're not gonna be able to see them after you've got some paint on them. It's a balancing act, and you're gonna need to practice this a little to find out what level of line you want. Some people do like the effect of the lines in their drawings, and so that's perfectly acceptable. A swell. 4. Troubleshooting 3: Paint is too light and avoiding paint clumps: Let's talk about what to do if the paint is too thin, and by that, when they mean is there's a lot of water and there's just a little bit of pain. So let's demonstrate that we're adding the paint into the water mixture when adding the paint into the water. There's a lot of water and a very little bit of paint. We'll apply that if we want it. Darker would be easy if our paint mixtures already made up, but let's say that it isn't We have to work really quickly because it's easiest to correct it while it's still wet. I am. I'm quickly taking my painting, adding it into the water and mixing it thoroughly because I don't want any clumps of paint in there. If there's a lot of water running along in my painting, then they can use a paper towel to wake up the extra. This one's already dried quite a bit, so we don't need to do that. I'm applying the paint and you'll see now that it's actually darker. If I had gone straight from my pure pigment to my paper I made have come in with some chunks of paint and that's going to be a problem. Eso remember to mix it completely in order to clean your brush off so that you don't have those chunks paint. If you do get them into your painting quickly, try to mix them on the surface of the paper and tip the page so that the water evens it balances out the area. Now what I've done is a dried the paint that we painted twice the two layers. I did that because I want to show you what happens if we want to make a darker now that it's already drawing all right. The first thing that we do is we makes the paint up, and as you know now we're going to mix it to make sure there are no columns of paint on your brush at all from when that's ready after that's ready. Then we went our object, even if we only want a dark and a portion of our object. We need toe wet, the whole thing, and we want to make the lines match as closely as we can to the original, otherwise will get a double line. - What we're doing is we're darkening the object after it's already been dried, and I needed to add a bit more paint because we've already given it to layers. In order for it to have any impact, we need extra pigment. I am tipping it to make sure that there's a balance between the pigment in the water and to have in a smooth wash, So that's how you darken it when it's already dried. 5. Troubleshooting 4: Making an area darker and cropping a scratch mark: we still have a little bit of a variation between the bottom of this mountain and the top of the mountain. I want to even that out even farther. The best way to camouflage something that's an even is to go when layer darker. So let's give that a try. Well, makes up our paint because we've already got quite a few layers on it already. We want to make sure we have a lot of pain and just a very little bit of water. In fact, I'm not even going toe wet the area first, so it's really important to paint quickly. Way had used water that would day loot the pain teeth and farther, and we're trying to go for equated deep intensity. - Alright , so I've carefully reed on the edges, matching the map the best that I can, and now we're going to dry it up. And, um, I can't see the transition any longer between the two sections, but we'll see what happens when it dries. Here we are now we've dried it all up, and it's pretty even and consistent across the whole bottom mountain. One more thing that I want to show you on the misty mountain example is this little section here. There's a small scratch on the surface of the paper, and what happened was that absorbed a lot of pigment and it made that darker mark. Sometimes you're gonna want that kind of in effect in different areas of your painting. I don't really like it here in this project. Unfortunately, I haven't found a way to repair that difference in volume. So because this is near the edge of our project, where they would do in this instance is just cover it up and crop the painting in that area , so it's not showing any longer. 6. Troubleshooting 5: Lifting stray colour: There's a little daughter of water right here. Where we want to do is flood the area with water just to make sure that it's not staining and lift it back up to the surface of the paper. And while it's still wet, then you can just lift it out. 7. Troubleshooting 6: Fixing Drips: when I want to talk to you about now is what happens when you get a drip that runs right across your paper. So let's do a little experiment and set up a situation where this is happening. So I'm going to begin by creating a puddle of water. Lots and lots of water is pooling with water. And then I'm gonna take some color and drop it in there. I want you to be able to see it Well, so I'm adding a little bit more color. Okay, Now, if I tip it ever so gently, everything stays where it's supposed to be. But if we tip it to you for whoops, there goes Now, if this is an effect that you're looking for, great, you've done it. But if this is an effect you're not looking for Oh, so when I'm gonna dio is the paint that is on the end Here is no problem. I'm going to dilute that and whisk it away, and I'll show you that. So take some clean water and a just flood the area with Warner. And then I like to blot it with my paper towel. Make sure your paper tell is clean. I've seen students blood something, and they blood it again with the dirty area and then it stays dirty. Okay, so that pretty much took care of this end. There's still a little bit of film that you can see there. You can scrub that away if you like, But im it's for the most part. It's gone now. This area here. I didn't flood this area because what would happen is the water would travel up into my shape. So instead, what I do is I blood away as much as I can rate next to the spot where I don't want the paint and I've got a few layers of paper towel and I'm just sort of rubbing it into that space. I'm not scrubbing it. I'm just rubbing it in, and it's kind of soaking up there. So you see, this is what we're left with. No, I'm gonna dry this so we'll be right back. So here we are, back. And as you can see, it's all dried up. There's still a bit of residue here outside of me shape. And as I mentioned, I didn't want to flood that area because as soon as they flooded it. Once it's touching a wet surface. It would push rate into there and now would lighten the paint in here. So we just blotted it the best we could. And we stayed outside that line. No. Where they've got is a very stiff bristled brush here, and what I'll do is I'll take a little bit of Warner, and I put it on top of the area that they want a lift. You can see that it's the pigment is warning to lift already, and now I'll take my stiffer bristle brush, and I'll just scrub along in there in that area that I'm trying to lift and come back in with a paper towel, a clean paper towel and lift that out so you can still see it ever so slightly. But it's much, much more minimal now, and that is how you fix a drip. I'll see you in the next section 8. Troubleshooting 7: Hard line: The next issue that I want to talk to you about is how to avoid getting a hard line when you're trying to make a graded wash, which may think, if you want, just one side of this darkened is that you wet the area that you want to have darkened. Where they want you to do, though, is to make sure that you put water over the whole thing. You may be avoiding that because you don't want to go outside of the line, but that's all right. You can just blot it if your water happens to go over the edge. So let's give it a try. I want to show you what the line would look like. So if you're trying to darken this side of your painting, you just win it. And then you put some more pigment on the edge. What you should notice is that where the water stops, the paint will stop. So when's this dries? We're going to end up with a hard edge here, so the better thing to have done would have been toe wet. The whole section, even though the paint would travel across it, would only go so far and then evenly blend out into the water area. All right, so now you can see what happens. Because I didn't take the water all the way across the page where the water ended, the paint stops. It stayed within the area. That was wet. So we ended up with some hard lines across here. And I know what to do to avoid that kind of a problem. 9. Troubleshooting 8: Hard line continued: All right, We're gonna go back to our example of majestic mountains that we completed and apply the techniques that we just learned for the grated wash and how to avoid hard lines through it . If you'll note right here, this section is a little bit and even so, we're going to wet do we went half of it. No, no, no. We're gonna wet the whole section and then apply the paint to it. The darker paint should camouflage the later areas, So let's give that a try. We're putting a lot of water in the center area. We're putting a lot of paint in the center area and whence we haven't quite wet. We come back in with a smaller brush and bring it all the way to the edge of the painting, almost touching it. I'm going along this line as quickly as I can, trying to be careful, not toe go over the line, but still doing it quickly so that my water doesn't dry out. Which will find is that with practice, this becomes a little easier. And for this stage, what I like to do is use a synthetic brush because it's it pushes into the grooves and gives a much crisper line than the natural hair brushes do. I find they have more control with the synthetic brush, but this they will put more paint along the top edge. I'm just being sure to cover. The area that I found was streaky, and what I do then is run the extra water off onto my paper towel in soak up. You know, if I find it's still streaky, I can come back in because it's still wet and employ a little more paint. Remember, this was the technique we used while the painting was still wet. How to darken it Once again, I'm gonna just tip it a little bit to equalize the pain and water mixture, and I'm gonna run the extra water off the edge. I'm still preserving the misty section at the bottom, but the top is much smoother. 10. Goldfish 1: Introduction: the way to the next project, which is goldfish. I found these great little goldfish when I was having dinner with a friend and we took some photos of, um to bring back to the studio paint leader. What you're gonna learn in this section is that I used a photo as my reference material. Then I'm going to bring them back to the studio created line, drawing writing onto my paper. Then I'm going to trace around an ink on. We're going to add some paint when it wants you to remember is to preserve some whites in this project, and then you just add a little bit of color and you have a completed project. 11. Goldfish 2: Reference and Drawing: Now we're going to try something a little different. Here's a photo that I took when I was eating at a dim sum restaurant in Victoria. Beautiful little fish floating around there. So what they want you to think about is that you can draw things from your environment. No matter where you are. I'm sure you'll be able to find something you can draw. So this would be a great little picture for a sketchbook drawing or for greeting cards, something like that. So let's just use this reference photo to make ourselves a little picture. What I'm gonna do is just sketch it directly onto the paper, use a light touch. - Something about these little sketches is you have to worry, too, too much about the accuracy. It's more about them. The moment urine and capturing the experience that you're having. Do you want it to be nascent fresh when they find is when they do these little sketches on location, I can usually remember the sounds, the smells, what was happening around me, who I was with. It was really fun to do things like this on location, if you can, or to work from your sketches order work from your photos as soon as you get back. I'm thinking about as I'm doing. This is a one to capture the flowy nature of the water moving through the fins. One of the things about fish eyes is because they're underwater. They don't really reflect light the same way that people's eyes do. I like to include a little highlight in there anyway, even though you wouldn't really find it. Otherwise, they find that the fish's eyes look a little bit lifeless. Here's where the Gill will go, and it's really hard to see, but there's one more little Finn along the side here when they include. Okay, I think that's a good start, but I think my little fish needs a friend. I'm just gonna just my paper. Sometimes it's easier. Teoh do a certain angle in a direction if you turn your paper so don't feel like you always need to draw straight on. Move it to the angle that's gonna suit what you're working on. I think these I think these fish are gonna feel a little more connected if I actually draw them overlapping, even though in my reference photo, there's a bit of space between them here. I'm gonna draw them more together. The angle of this body is a little bit different from Just get the back in their first and then the underbelly pull that tail fin in, and then there waas another little fin down in the bottom. There we go. Now this top fin comes out partially along the back because of the angle that we're on. It's thinner near the top, and it gets vicar as it goes down the back. A little bump here where the I the other side of that I would be. But we can't really see it from this angle, So the bump just indicates it's there. There's the other. I looks like he's keeping an eye on his buddy. Now there's a fin that is flipped out, so I have to draw that carefully. The backside of it curbs here, And then there's a little piece that tux under there. Okay, think I'm pretty happy with that. Um, what I'm noticing is theirs qui there's something in the water here, and I believe that's a bunch of bubbles, so I'm going to make a few little bubbles just for fun. Since We'll put some on this side. Then we'll put a couple over. Here is Well, no, this is a whimsical piece, and it's just to capture the location where I waas so I can get away with doing some fun. Things like that. And even when I'm drawing bubbles don't want everything to be the same size. It's good to have some small ones and some larger winds. Now. One more thing Teoh give the sense of location of this piece is an noticing some nice coral in the tank. Your so we'll make our own coral as M. Drawing this I Once again, I'm thinking thick and thin, large and small and undulating sorts of shapes can put a few little circles and night for texture. And, um, one more piece here behind this little guy. I think that will do. And one more thing that's in the tank or these little grass like structures so we could use a few of those as well. I'll just put them here along the bottom. There's a main stem, and then these long, skinny leaves. I'm deciding what to put into the picture based on how the composition feels to me but also looking at my reference photo. I don't want to keep it exactly like the reference photo. There's too much information in this one. I'm just wanting to give a hint in my painting of what the scene was like, where I saw it. And the main focus should be on the stars of our show. The two will fish. Okay, now that I've got some greenery here, I just need one more little patch. It would be lonesome. My foot was all by itself. So I'm going to put a little bit more, um, peeking out down here. I don't need a lot, but I don't like to have that element or by itself. Let's Inc it and see where we've gotten to and jam. Then we'll paint it up and see if we need any more information. 12. Goldfish 3: Inking: I'm using a pig MMA micron. Five permanent marker. It's not going to run when I add water over top of it. - I put a little bit of a break in the dorsal fin in the back. Just to add some variety. You have to make some decisions about which lines you need dark and which lines you can paint in later. If in doubt, don't draw it in right now. You can come back later and added in after your painting is done. - If you wanting to make some changes to the shapes that you initially laid down, now is a good time to do that with your felt pen, and then you can erase later. If you do it, raise, use in need a bowl eraser you don't damage the surface of the paper were the fitness of re lapping the body. I don't want to draw the dark line through to make it look like the fin is in front of the body shape. Not going to outline the the branch that geezer on because I'll just fill them in with paint leader. Otherwise, that will make that element of the painting to pronounce. That's not where I went the emphasis. It's just a background support. It's not. One of the main features came just checking over my drawing. I think like that as a start. So if I might need to do Racer just removing a few of the lines. The pencil lines letter showing through keeps everything looking so much cleaner green to leave the center but the plant. 13. Goldfish 4: Painting First Layer: Okay, so now we have our tool Fish. We have some nice coral in the background. We've got a little bit of greenery in here. We've got some bubbles going on. Um, what they wanted to you is start with the stars of a show and get the color in there. Um, the color of the fish is this beautiful, bright red. And the photograph that I'm working from doesn't even capture the beauty of the red. The intensity, the colors that I'm using are permanent rose by Windsor Newton cadmium, cadmium, lemon Also by Windsor Newton Pirouette Orange by Daniel Smith Windsor read by Windsor Newton, Windsor Blue and Permanent green by holding. All right, let's paint the body. Now I'm gonna wet the whole thing, but I'm gonna leave an area at the top where it will be quite light. So I'm not putting any water there, and I won't put any color there. Same thing with the top of this. Been to such a small little picture in order to get some of the detail switched to some smaller brushes, what you can do is keep a another little paper on hand just to test out your collars. Oh, yeah, I like that Red. Nice and bright once have added it to the border, it looks a fair bit more dull. What would do is add a little more pigment and that will brighten it up. You know that. I'm imagining that there's sort of a light coming from the top. And so that's my later, um, area and my warmer area. So I'm gonna pop in a little bit of orange and you see, by not painting it, it's given it another layer of volume at the bottom. I wanted to be more in shadow, so I'm going to switch to a cooler color, which is a pink. This is the permanent rose. I'm liking that a lot. I don't want it to be weight on the bottom. So it just add a little bit more water in there to spread the permanent rose around. And finally, I want to paint that little bottom thin. Gonna put in just a little more of the red to give it even more pop. Nice, bright, bold colors there, um, from my angle, it almost looks like my fishes swimming upside down. So we think what I'm gonna do is bring the snout out, Lou. Farther there, that helps. I'll move on to the other fish while I still have all my colors. Ouch! From when it first I'm going to use the same recipe will use the pink more on the bottom side and more of the orangey color up on the top with the bread in the center. Let's establish the red first. Wow, it just wants to travel into all the water. There's beautiful. That's what watercolor will do when you mix it the paint with the water and you've got a nice thin application of paint and a great juicy surface for it to travel on, sort of liking that shape with the weight in there, we'll just leave that now I want to switch to the pink. It would be really tempting to overwork it. So try to just put your colors on and in a fresh way and let them flow through the paint as they want Teoh through the water, just trying to give an impression here. This is a bit of loose style painting in a switch to the orange for the talk. We've got more of the warmth on the top, and they noticing that there are some lines through the Finns from trying to give that illusion without having a really thin little double. Zero brush is breaking up the shape at the top here. Don't want it to To human. Yeah, I think the fish are pretty good. And when the very thin, transparent layer of pink on the bottom thin Here we go. 14. Goldfish 5: Painting First Layer Part 2: now for the and moving on to the coral because I need to let my fish dry before I put in anything else. And, um, for the coral, I'm going to use a very, very light blue before I paint the fish anymore. Put on any more details. I'm going to let it dry the coral. I just want to wet it. I'm staying away from where the fish is that they don't want the pink to run down into that space. I'm thinking that this blue is a bit of a shadow on the coral, but it also is providing a little bit of texture. You know, I love, love, love, color. It's really hard for me to use and stop it. Just one color can add a tiny little highlights of pink in here, just for some variety. It's almost too much. The widow do is come back with the water and soft animals out. - That's better. It just toned it down a little bit, and I'd like to do the leaves, but I want wait until the coral that is right next to it is dry. So I'm going to move on to the bubbles and what I'm going to do is leave. Ah, highlight in the bubbles. - Okay . In a switch to green with leaves the same thing. You don't have to feel like you have to cover in every single part of every single leaf. It's OK to leave some weight areas in them. Just gonna test to see how my coral feels. Think that's dry. I'm turning it so I can get a better angle of my stem. What I'm gonna do is twirl my brush in my palette with the color on it to try to get a sharper tip. And I'm gonna barely press great. We're almost finished. Now, what I need is a really dark color for the I, um I'm just gonna use my felt pen with I and I'm trying. Teoh stretch my hand over top of the painting some nuts, smudging everything, keeping in mind that I left the highlight on the bubbles on the left hand side. So I want to be consistent and the rest of my I will go around that freight and same thing for the other fish. I think all of a sudden it's got much more life to it. Okay, I just need to dry that up. So I'm going to dry it with a hair dryer 15. Goldfish 6: Painting Second Layer: So now that I'm reevaluating my picture just taking a look at to what else I need to do for the final touches One of the things that have noticing is in my reference, the eyes air actually read, There's no wait in there, so we'll put a little more red. But I'm also going to bring the rid further around the I a little bit and, um, at a little detailed to the bubbles and a little detail to the leaves. So sure you were name thinking about your So first of all for the red, I am just going Teoh, add some red to the I because the original has red on the I carry that out to the rest of the body. We're gonna close up some of the lightness that's at the top here, and then I'm gonna feather that into my picture. Got a lot of water, and I don't want it to lift everything underneath it. I'm drying my brush off. Just feathering that back in the extra layer of red has made it more saturated, so it's a stronger color. What I'm going to do is coming up my brush, pick up a little bit of green. Just the smallest amount of green put a little bit, agreeing into my bubbles into the largest ones. It's not really broom in the small ones. Similarly, I'm going to pick up a small amount of blue and put it on a few of my leaf shapes. Just so I have a bit of a change in value. I like that better. Just a little bit more detail. I'm gonna do some fine lines of a darker color because I see some story ations in the tail and the fins. We just want to give that illusion with Cem thin streaks of darker color and there you have it. 16. Goldfish: Bonus Session & Summary: there's this great little product than they'd like to use with water colors. It's called pearl acts of the brand, and what it is is it's a powder to cut another size here, and would I do is I mix it with gum Arabic. So we've got a little bit of gum Arabic here, and I'll put that into a smaller container so I don't contaminate it. And then and then I'll add the gold powder to it. You can see it there. So let's make sure my Pipat is all dry and we'll just soak up a little bit of the gum Arabic. You can also get gum Arabic in powdered form. This one's a liquid form, just a little bit of it there. And if we need more later we can do, we can add it. I've got a tiny little plan here paintbrush, and I'll move some of the pigment into maybe absolutely bigger brush. Here. You move some of the pigment into the continued that I have the gum Arabic in, and then just mix those up until it's nice and liquidy inconsistent. I really enjoyed this metallic powder as an add on to my watercolor projects. Just gives it a little bit of extra spark. I went stride painting a fairly large area with the goal powder. And what I found is it didn't The value doesn't change. So we didn't like it in a large space. Just like it in small little bursts. Okay, sure. My brush is nice and clean. I'm just gonna use it on fish in a few little areas for detail. I don't wanna overdo it. All of a sudden, it's got another layer of interest in it. When you add a few little scales, I would be really easy to go overboard and put on too much, so I think Oh, just about wrap it up over here and now the little guy Perfect for journaling and sketch booking. Okay, There you have it. That's all it's gonna take. And now way 17. Congratulations! See you in Class 4: Congratulations and well done on completing this section. I hope you enjoyed painting along with me as we made those playful little goldfish. And I hope that they inspired you to keep a sketchbook or a camera on hand so that you can record scenes from your daily life that may lead to future paintings as well. Additionally, I hope you found the information in the troubleshooting section helpful to respond to any issues that you may run into along the way. This'll allow you to have more freedom to paint freely, knowing that you can come back and respond to issues as they arise. Check out the other classes in this series if you haven't done so already. In the next class, autumn leaves, what we're going to do is take all the information that we've had in the previous classes and combine it to make this a great vibrant color Bo, collage of leaves. I'll see you in the next class.