Abstract Watercolor Landscapes - Part 3

1. Abstract Watercolors Textures: Introduction: Hi, I'm Jane loosen. My style has evolved over the past 25 years and today, I love being creative and stretching the boundaries of watercolor. I really enjoyed coming up with the lessons for this course, and I hope that you will enjoy them as much as I did creating them. Now I becomes more challenging. This is where we use various materials to create textures in the landscape. And then when it's finished, we see what we can turn it into. That's what makes working in this abstract way so exciting. Come and paint along with me and learn to think outside the box and create some interesting abstract landscapes. 2. Creating Textures In The Landscape: So for this painting, I'm using three colors. It's Windsor and Newton, burnt sienna and raw sienna, and Daniel Smith's paralleling green. Just using those three colors to keep it simple. But you can use whatever colors you want to happen, just like those colors, the materials that we're going to use is some cheese cloth. Now this you combine any grocery store and you just cut up cut. Let me show you on the paper, cut a very uneven piece because you don't want to get the regular grid pattern all over is our pulled it here and there. And I've pulled these threads that can just create wispy branches and twigs and things like that. And some might even pulled off. So, but I'm gonna put this down on the paper like that once my paints down to create some interesting textures, basically, I'm also going to use this interesting fabric that I, that I got at the, at local fabric store, which has some very interesting textures. And you'll see that once the painting is finished, but you could use cheese cloth all over if you like, or any material. I'll show you some other material that I have that you could use. C, this has got flowers in it, so you could cut uneven pieces of that and have flowers on the one side, on both sides. What whichever you can do, create your own design basically. So let's just get started here. So I'm going to, with the top oops, my paint brushes dirty. I'm going to with the top third of the painting too, as a sky area. And we'll do very pale. So paralleling Green. I don't want the sky to be prominent. May put a little bit of yellow into it, but also very pale. And that's gonna be it. Now I'm going to just take some parallel in green and put that down. Clean my brush. Take some burnt sienna. Maybe a little more parenting here. Take some rows here and into that. Just mix your your paints. Have some variety. And income make this a little higher than that. Now, the important thing is to keep this width on. I'm using practiced caper and gets dry very quickly. Now, you can put your cheese cloth down. And fiddle around with the loose bits at the top and try to get some interesting layout. Scrunch this up a bit so it doesn't have too many grid patterns. I did say it saves some of these loose bits which I want to add here. And we're going to go over this because this is not going to make a grid pattern unless we go over it where we want the patent to be. So oops, and I don't want it to be that talky. The oops. See that slip problem. At these loose bits. Have to remove that one. Raised, separated and put it down again. Gotta be careful. I'm gonna take my other material and put it on the opposite side just to get some different type of texture. And wherever you got over, it is where the patent is going to be. And if you leave some areas which I'm going to do because they don't wanna do it all in that pattern because it'll just, it'll look maybe overdone. I'd like to have even more thread the, so I'm just going to add some more, keep weighted down. And it kind of like that. And I think I'd like to actually have some more yellow here. Put some yellow in here too. This is kind of too busy, green and some RED. Now comes the patient part. We have to wait for this to dry. And when it's dry, we'll take a look at it and see what else it needs. Depending on where you are. It could take a few hours and you really don't want to take it off until it's completely dry. Little dry, and then we'll see what else it needs. 3. Assessing Your Results and Finding Shapes: So now that this is dry, let's take off. The materials are a burden and you see how I deliberately lift some areas and pain to because I didn't want even I didn't want to take just everywhere to make it too busy. I love the patterns here. Are they beautiful? And I like this up here. So let's take a look at that and decide what else we can do. I see a sort of natural mountain here. So I think what I'm gonna do is I'm going to introduce some blue. I'm going to, just to get some distance in this landscape being to use Payne's gray, very pale to start off with. And just put in this mountain area who maybe have arranged there. And I didn't like this dark line here. So I'm going to take my little scrubbing too and scrub it out somewhat. And we've gotta be careful not to damage the paper. So maybe I need to go a little darker just to get rid of that. Or incorporate that line that's there. And that's going to dry lighter anyway. So now we've got some, some interest going. That gives us some distance. Maybe to define this a little more and do my spray bottle because I don't want any harsh lines. And take some of the parenting. I don't want to do this because I liked these patterns that are going on him very much. Basically. You could do anything, you could do a tree here. I want to think about this. We could do some birds in the sky which may add to it. But at this point, I just want to leave it for a while and decide what I wanted to do with it. I'd made just be fine the way it is. So let's what we could do though, is take off the tape and you always want to pull away from the paper, says not to tear the paper. I'm thinking maybe the sky is a little too, too bland. And what I do want to reweight the sky and maybe add some blew into it. And then what we could also do not get carried away too much. And put it over here as well. Without losing these. Now as patterns that are going on. What we could do with that is takes some cellophane paper. Now, I always save my cellophane when I buy maths full my paintings. And I saved them to get nice textures in my paintings. And if you see here what it does, it gets very subtle texture. Think I'm going to do some here as well. Just with that. Keep it keep it pale. Well, there's does dry. Now we need to put something heavy on it. On the cellophane, and I'm going to put a book on it. I can print it out. And the whole painting is a painting stri, and I'm going to let that dry. And I think that's going to just create a little teeny weeny bit of subtle texture in the sky. So we'll take a look at it when it's dry. 4. Adding The Finishing Touches: Now that everything's dry, you can see the very subtle patterns that the cellophane created in the sky here. Not so much, yes. So what you can still at this point fix it by putting down, maybe we're just in the corner here. Predict cloud or something. So let's see what that looks like with the matter around it. And I've just cut up this old met. That helps me to see what my painting looks like with a frame around it, which always makes a painting pop. So I'm very happy with that. And I might even dark and net a little bit more because the pains grade dries pretty light and I didn't want it to be too hard line, so I'm going to spray it to let it disperse a little bit. But see that with using interesting materials, you can come up with a really interesting abstract landscape. So I was fiddling around with this camera and I decided it needed some doc somewhere, not didn't have enough doc, so I spritz it with my little spray bottle, this one. And I just added some green and let it run down. Said we didn't lose this nice texture here. I was afraid to do that and ruin the texture. You can just put the frame around it again. I think that's made a big difference to this painting. Just added some more depth to it. Now it's your turn to give it a try.