Mastering Simple: Techniques That Create Successful Watercolors Every Time

1. Mastering Simple INTRO: Hi, I just got back from the sketching outside. Oh, by the river. So wonderful thing to be in nature. And that's where I've learned. That simple is the best thing to master. Hi, I'm Ron Movie, and we're going to be mastering simple today. And we're going to be doing exactly what you need to know. Master simple. I'm excited because I'm going to show you how to start right. How to keep going in the right direction, and how to arrive at that special place for that feeling of rightness comes. I really know that feeling when everything comes together and you know, you've done it right. And it feels right. And it is right because you've mastered it. So what I have here is a complete watercolor course. Yeah, 80. If you're just starting, this will get you started in the right direction as I mentioned. But let's say you're running into a little bit of trouble here and there. You don t have the edges you like or your washes aren't flowing right? Or you're always going back and sort of adjusting to any things. This course is for you also, I learned from teaching this course. Every time I teach something, I go deeper into what I think I know and realize there's still a lot of things I don't know. And that's the excitement of learning. You can't lose. This class is going to get you from where you're going to where you wanna go. You're in control. When you've mastered the simple things that I am demonstrating in this class, you're gonna be mud free, stress-free. And I wish I could have done a better free. Let's get going and start the class. 2. Simple Materials/Project Overview : We've got three brushes in this class. A little mock brush. This is a synthetic squirrel and a round brush with a big belly. This is called the belly. This is the feral. You want a brush that holds a lot of paint and most of the paint goes up in the Pharaoh. So the bigger the feral, the more water or paint it holds, and the more fiber here that will hold the paint. There's nothing wrong with an inexpensive brush. They don't last that long, but they don't hold much water. So if you're if you can afford a better brush, around $30, maybe $20. And that's great if you can't, simply Simons is not a bad brand, is about $7 or $8. Synthetic doesn't hold as much water you see you can actually see it's not it doesn't have that capability. I do use their simple simply Simons has kinda interesting, simple. We're learning simple and there's a simple Simon. These are great for detail. So here we have the Winsor Newton cake pan colors. We'll be using the cadmium red and the phthalo blue, a little bit of the cobalt slash Manganese Blue, some of the cadmium yellow, some of the hansa yellow, yellow ocher, and even a little bit of phthalo green. So these are great if you don't want to spend $200 on getting them all in a tube. But over here I have my gram paints, which have little honey in them so they don't dry out. And we have a Hansa yellow, and we have a fallacy in blue and ultramarine blue and a Permanent Alizarin crimson. Permanent Alizarin crimson will not fade. I do like my water. I have two or three jars of water when I'm working. Because as the water gets dirty, you want to keep your brush clean. You have to change your water. Just have enough handy so you don't keep running around getting jars of water. I like the microfiber cloth because they absorbed the water quickly and I don't have to waste on paper towels. This is a bristle brush. What this does is it lifts the paint. If you need to lift off an area or scrub a little area to clean it, you'll see me use this in the class. And I have my 30-year-old sable synthetic blend brush was about $40 yeah, 30 years old. The reason being is I clean it. I put soap in my hand and then I work the brush back-and-forth. See even with water, you'll see something comes out, see the blue coming up. So you put some soap in your hand and then do that until it comes out clean. That's very important to care for your brushes, especially if you're laying out some money. This is our warm up project, which teaches the dragon poll. It teaches how to get sparkle. It teaches us about grainy colors. It teaches us about colors that sink in. We call them standard colors. It teaches us about neutrals, and a teaches us about Lacey edges. So do this one first, just to get a warm-up on how wet paper and dry paper react to pigments. Next up is a little flower study using the little techniques that you learned here. We do a simple drag and pull with a complimentary background for flowers. Now, obviously, these are just made up flowers and you can, you can get the idea your paper with this little flower technique. It looks great in a diamond shape. That's formatting. It looks fine like that too, but it takes that flower technique in the first two and develops it into something. So the orchid picture, number three. And here's our two florals, loose florals. Both of them have some merit. This is looser and more grainy. This one's a little more finished. But I think you'll appreciate doing these because they take a little more depth and they add a little more composition to you. Picture and looking at a little sparkle there. Okay, the seascape. Why the seascape next? Well, because it's different than the flowers, but it uses all the things we learned in doing the flowers. And it adds the sparkle stroke through here. You can see that we do a few exercises to get that sparkle, dragging the brush across the paper on a scrap piece of paper. And this is on Canson paper. I have to mention we have two papers in this class, arches 140 pound and Canson, 140 pound, both cold press. This is the Canson. Nice and smooth. But look at that great effect. I love this little picture because it only uses three colors. A little bit of yellow, some Alizarin crimson, and some phthalo blue. But this is where we learn to do a little pointillism or what we call stippling. So that's up after the flowers. Summer Birch, inspired by this little sketch. You will love it. And I take it all the way. You can actually stop halfway through the painting. And it'll be just fine. It'll look much like this, very free and loose. And then I just tighten it up over the next couple of films to show you what it's like to make a decorative surface or a surface pattern to it. So that's another little project. I'm sure you will enjoy it. So here's our next project, this called country road. And there's no white paint used here. This is just the paper. And it's definitely traditional watercolor technique. You'll see during this particular class how to create good shadows, how to create vibrant whites by leaving them alone, and how to contrast colors to make the other colors stand out. So simple composition. I'll include this in the file section. So if you want to see the pencil drawing and copy it, you can. But of interest is let's just cover that for a moment. That's the Arches paper and there's the Canson paper. And this is the little study. It's important to do a study before you do a bigger picture. So the study is not meant to be perfect. We just draw that really quickly, throw down some colors and paints, get the idea of how to do the more finished product, which is right there. And our last picture for the day. I know it looks like a fish. I can't help. It started out as non objective and then it went to abstract. And then I got my little funny little Pac-Man guys in here. And this fish showed up. I don't know, to set tidal pools to me. So I started putting in little little watery things and I like it. I like the way it ended and I didn't fight the idea of the tidal pool. It actually came when I was finished. I actually finished it like this. And it didn't mean anything, but when I turned it this way, I got that feeling. Anyways, it's loose, it's free. Follow me with it. The last section doesn't even have any words. It's just me painting. I think you'll enjoy that. And I'd love to see what you do with your abstract. Let's get going and start the clock. 3. Mastering The Simple Things: You know, learning how to manipulate paint on dry paper. I think the simplest exercise, I hate the word exercise. Let's do a painting. You don't want to do an exercise. Do that outside with your running shoes. So there you see I have a big drop there and I'll get rid of a little bit of the paint. Now what I'm gonna do is manipulate a shape with this brush. And it's fairly strong, right? If I want, the shape looks like a pine cone. If I want the shape to be less saturated with paint, I add a little water to my brush, but you'll notice how I'm wiggling the brush. This is Arches paper and it's very absorbent. So there is where I would need a little bit more water. That's the technique I used for this little paint in here. It's also the technique I used for this painting, which we will be doing in the class. So manipulating the paint on dry paper, a simple thing to master with your watercolor. And that's what I did for this one of our flower studies in the class. So I'm taking some Alizarin crimson and I'm going to make a dot. Dot yeah, on dry paper. There we go. Just put a little bunch of water on there. And you have two choices. You can take the brush right from where it is, and not add water to the brush. And you don't get a lovely pedal. If that's what you want. It can also be a lot of other things. Or if you add water to the brush, always tap it on a little rag so it doesn't drip too much. You'll get less saturation of the paint because you've added water and you've made it thinner. Also, the water gives you gas. You can travel farther. You see polar right to the end. So one of the most fantastic techniques that you can do with watercolors. Reason being, it's simple. What you want, something complicated. And I can give you a complicated, and that's painting with three brushes at the same time. In the wind. That's complicated. This is easy. I can even turn at C. So you can do a lot with this technique. You can extend it, you can just play with it. Just with water. See, touch it. Soften the edge. See when you soften the edge, That's exactly what it does. It softens the edge. And one of the simple things to note in watercolor or any type of painting is when is an edge hard and when is it soft? So that's drawing paper. What do you do on wet paper? Well, wet paper reacts differently. First of all, you take some water, you have to wet it. Now, if you wet it right away and try to put something in it, you'll get a dispersion that's amazingly quick. You see? But and say wait awhile until the water goes right into the paper and sinks into the paper and saturates the paper. The effect will be different. Now I haven't waited too long, but even just waiting that much, take some thylacine staining paints disperse better than granular page. So painting on dry paper, painting on wet paper. Wet paper creates a softness. Dry paper creates a harder edge, but you can soften the edge with water. That's what we're doing with our flower studies on dry paper and wet paper. And it's a simple technique which you are going to master. How to use neutrals to make a pure colors, saying, there's a beautiful example of pure colors. Now we can make pure colors sing by adding a neutral. Neutrals are easy to make. You can look around your palette just for some dirty paint. That's what we call it, but it's not dirty paint. It's fantastic paint. Neutrals make colors sing. You take some pure colors, like red. You take some blue. I'm going to use the stain or colors, colors that sink into the paper. So I have a violet. Notice I'm cleaning my brush each time. You don't have to do that. I just keep my colors clean. Except by the end of the painting, they're all dirty. But in the beginning, okay, so now what I'm doing is adjusting, adding little more blue, adding little red. I don't want it to be blue and I want it to be red. I want it to be neutral. And neutral colors. Make colors saying, keep saying that. Okay, now I have to test it. So I'm going to test it right here. On the back. You might say that's brown. And brown is a neutral color. Add a little more blue to it. See how it took me. There we go. Now there's a lovely neutral. It's a dark neutral. I'm going to put it around the wet paper here and just come right up to it. Notice that simple brush technique. Put the brush down and I'm just gently twisting it with my thumb and finger. See how the red is much more vibrant here than it is here. If I brown up to neutral, put it right next to this. Remember, I'm playing with my colors, not trying to do something. Now I come up to the edge of this neutral, which isn't very wet, and I leave some sparkle. Now you can see how that is affecting or creating a visual effect that you won't get with just the pure colors. How to identify and use staining colors and granulating colors. The staining colors are obvious, like phthalo blue. Notice nothing sinks into the paper except the pure color. No, what we might call debris. It's just pure color. That's fellow seen blue, but ultramarine blue. It will sink into the paper and it will leave a little texture in the ridges. You see it starting to already. So knowing that if I add more, knowing that is very important because if you use ultramarine, which is a granular color, and you don't use it too thickly, it will more or less like Fellow scene. But once you get to a certain thickness or less water and more paint, it will sit inside the paper. So that's a granular color or grainy color. Another one would be right here. Burnt sienna, which is a lovely brown. Or you could say it's an orangey brown. Notice by just using these simple techniques here and having this knowledge, how I'm getting a very interesting painting. You know, if my last name was started with P, I lived in Italy or Spain. I could probably make a lot of money on this little thing. So there you go. You see how there's the colors really beating up and creating what we call a grainy effect. So granulated colors and staining colors, definitely a simple thing to learn. And you will learn it in this class. When I first started watercolors, I had cheap paper, cheap paints, cheaper brushes. Cheap, meaning they weren't very expensive than they were not of good quality. The results were pathetic. And I really thought I didn't have much talent. And then it started to go into library and found out that all papers are not created equal. This is Canson, 140 pound cold press. This is Arches. Listened to the arches. Listen to the Canson. One is rough and one is smooth. They, they have different applications. If you're looking to make a sparkle painting, meaning you want lots of sparkled linear paint. I'll just mix up a little neutral here using ultramarine, which is a granular paint. And a little bit of the, there we go. And the more that, a little more of that. Okay, Now watch what happens here. When I turn the papers on this side, this has very little tooth, meaning very little roughness. If I put my brush in 45 degrees and go across quickly, this is the result. I get a little bit of sparkle here and there, but observe the arches a tremendous amount. So if I want a lot of sparkle in my painting, I would use this paper. If I wanted. Just a little bit of sparkle. At the end of the stroke, I'd use the Canson paper. But if I'm looking for a lot of sparkle, like like an ocean or waves or whatever, a rough road, grass, I would use the arches. We are going to do it with seascape using the Canson. And I'm going to show you that it's quite suitable for certain sparkle effects. The sparkle effect is a simple thing to learn. I like to use a big flat brush for lifting. This painting here, done in the summer. I have some lines coming across here from the sky, so I wet the brush. And I've used some fellow here which is kind of on purpose because if you use the low and you lift, it leaves an image underneath as if the sunshine really is going through it and lightning it. So I used stain or colors here. It's not going to get all muddy on me. Okay? Lifting. Great little technique, one that you'll be learning today. Next. Great little technique, easy and simple to master. It's called dry brush. Now, dry brushing is when you take a brush that's dry, give it a little just a little tap, Not too hard. Tap it into some dry pay paint that's just slightly damp. And you can see the dry brushing in here. All through here. That's what the technique is. Great for. Bark, hair is a texture stroke. So look at this, See. If you want to do grass. You could do a whole painting using dry brush. You just crosshatch. Look how much paint is in that brush. Just from dry brushing. That little bit of paint I picked up. 4. Simple Dropping And Pulling: To get started today with something very simple. So we can always do something simple. But to get it mastered, we have to do it more than once. Let's take a look at how simple works. I love this little simple trick. You can use it for a lot of different things. It's pulling out the color. So I have some crimson here and I'm using Arches paper. And then I have about a number six brush which I wet thoroughly and then tap it on my towel. I come right up to it. I touched the puddle, push the brush down, and I'm going to turn the puddle into kind of a petal. Just like that. Brush in the water again. I'll try it on this side. Notice the water that just entered into it. And as I do, you'll see that it's losing its strength. Let's try it again and see what happens when we use a little smaller brush and a smaller puddle. So over here we have the very, very strong dot there it is. Little paddle brush in the water. And then just give it a little wiggle outweigh. Little wiggle this way. Give a little wiggle this way. You see the difference? My paper is not flat, so if I flatten it a bit, it will run equally on all sides. Let's try another one. Same color. And the paper's flat this time. Put the.in. I can fix that later. What does leave it for? Well, let me just show you that. Let's just put the.in again. But let's add a little more because the bigger DOD needs a little bit more paint. There we go. Then I have paint on here. I have to clean it off, touch it to the rag a bit. And let's see what happens. When I just come up a little bit. I should be using a bigger brush pen. This is okay. You can use a small brush and fan it out. See? I'm using my left hand here. Just regular back-and-forth. I love this Arches paper, cold press, 140 pounds. Since flowers are delicate, you have to be delicate also, a little bit of phthalo just to drop because these are all wet and just touch it. Let's see what happens now the paper's flat. This one may have started to dry, but let's just see what happens. Good. Multitudinous amount of enjoyment. Because it's one thing that you're mastering. Simple, put down the DOD. This time I'm not even going to clean my brush and I'm going to just use the same brush, but just barely going to touch it and then wiggle it out. Let's see what happens here. Wiggle it out. I'm going to wiggle it and then I'm going to wiggle it smaller. Like that. You may like to turn your paper. Me. I'm just going to gently move the brush and get smaller at the end. Easy to come from up here. You notice all my panels are little three petals. Now on this one I'm going to make smaller because sometimes flowers have smaller petals at the top. Plus I don't want to bang into that one. Now, watch this. I wet my brush and it's not too wet. Damping it, touch it. Now I'm going to go very gently around the outside to soften the edge. Very gently. Just barely touching the brush. And you have to do this before, oh, touch it so you don't get too much water. You have to do this before the paint dries. And I can do it from this side too. I'm softening the edges. Now right in here, I'll be very careful. I want to leave a little white there. So I'm just going, Oh, did you see what happened? See that big blob of water. Why did that happen? I forgot to touch my brush to the rag so I had too much water, but I don't think it's going to matter. I think it's gonna be okay. And I'm going to add a little just a little something on the ends here. See? Maybe on all of them. Yeah, I'd like to. Now I'm going to ask you a little color theory here. What is the best color to put with purple? Well, actually there's no right answer to that. But traditionally from the French impressionist painters, yellow is the opposite of violet. So I take a little bit of yellow. And I'm going to put in a little yellow dot here. You will. The yellow dot here. A little yellow dot there. I'll make sure I don't touch it. A yellow dot there, a yellow dot there. Maybe yellow dot there, yellow dot there. What am I doing now? Decorating my little flowers with a complimentary color, or you might say an opposite color. So there's little green. So I'm gonna do a little flip now. And this is the secret of the flick, is the baby finger sits on the paper. It gives you stability and your, you can kind of move this end. And then you can just push it down. And Flickr. You see, you can just hear and they're put in some little green. Flicks. Three is a good number. You can add all kinds of little tricks and flex. So he pushed down, I haven't loaded my brush again, I just loaded it. One time. He's kinda have an orchid feel to them. My Jew orchid leaves don't look like that. They're quite a bit different. And now the brush is getting drier. So what do I do? I can add just a little bit of water on the end. And now the leaves get lighter. So adding water to your paint, mix the paint lighter. I think I'll stay away from up there. There we go. Now, that's a great little painting. Very simple. The blue didn't really do too much and give it a, it gave it a bit of a violet color. So I might drop another little bit of blue in there. It's still quite wet. Thing to master. The steps are simple. What else can you use it for? Probably you can use it for a lot of things. This is an orchid I accidentally knocked over yesterday. Tampering this little orchid for two years at bloomed twice. But we managed to report it and I just couldn't hold back. I had to show you this beautiful flower. And you can see it's a little more complicated than our first study. But having the real thing in front of you gives you ideas on where to go next. So here's a little begonias us from blooming for six months. And the contrast of orange and violet are pretty amazing. When you think this is not red, it's more of a blue and a red, so we call it violet. And this is orange, which is a combination of red and yellow. So they're secondary colors. Orange is a secondary color, red and yellow. And violet is the secondary colors, blue and red. But the two of them are, I would suppose you could call them opposites are complementaries. Yellow also works really well as a complement to violet, but the orange is really dramatic. I loved this contrast of orange and violet and yellow. So we're going to do some orange, violet, and yellow. First I'm going to experiment, I'm going to put some orange into this one first. Okay, so I'll take some water. I'm going to do it with a little bit of the cadmium red to use my little Canson paper. And let's see what kind of an orange we get with the cadmium mixed with some cadmium yellow, cadmium red, medium or light with some cadmium yellow. And you'll see that that is very close to that. Orange. Different yellows and different reds create different. Oranges. Okay, I'm going to put some orange in here. I'm just going to lay them in and little strokes like this. So cadmium yellow. Let's move it right close into it. And the papers is really dry. And push the brush down and pull it. I may even leave that little whitespace there. See, we're just going to see what happens when we put the orange against the violet and the green. It's amazing how colors work. There's that little bit of yellow, which of course will be perfect with the orange. I just keep turning my paper. And a slave to the orchid or the begonias, as far as their shape and what they look like? No, but they are an inspiration for me. You can make your own flowers and stick keeps something simple like this, but use some color sense also to enhance your painting. Now notice I'm using contrast again. I'm going from dark. See I can still keep adding a little bit in there. I'm not sure about in here. I'll just take a look at my picture after I've pulled the color of it from all the way around. Yeah, like that. Maybe come in a little closer here and notice my brush. I'm not too fussy. If I leave some white showing that's even better. See just little bits at a time. Now if you want to get a really fine brush, you can. That's why we use small pieces of paper. You can use a smaller brush, big paper, big brush. But always try to get a point on your brush. A little point that you can get into a little corners. This sable brush, I've had a long time. It's getting a little blunt on the end, but it's working. Okay, There we go. Now, doesn't that enhance the painting? A lot? Yes, it does. I can add a few little spots in here like that. And there we go. A little bit dark right here, which I'm going to take some photos straight cadmium, and rub it in to that little dark spot, see if it fixes it up. A little bit of the pure yellow, cadmium, yellow, cadmium red, Wu. And I'm just adding this orange looks, this orange is actually making me draw a bit. It looks like a beautiful navel orange from Florida or a Seville from Spain. So now I'm blending this up. Well, I made a commitment to do this, so it's altered a little bit, but the paper's still wet. There we go. We started with this little painting using the dot and pulling it out. We added a bit of green. I could have added more green. I can do this painting five or six times. It'll turn out with different every time. Let's see what other great funding, fantastic little projects we can do, mastering simple techniques and feeling happy about what we paint. 5. The Simple Orchid: Paper here, that's an old piece of arches. And here's, here's what I'm talking about it, take a little bit of that violet that we started with. 0, don't want to use hot. I could come over here, take a little of that, make a little dot. Make it a little bigger than. We'll do it quickly. And I'm going to take a better brush and then take my, my little brush. It must be lighter, so I'm going to take more water on the brush you see. And the shape of the leaf is more round C for the orchid. And I can turn my paper. Now the orchids, the leaves actually fit underneath each other. But that's a little thing I'm not going to do. Not this time I would have to put in a couple of leaves, not their beliefs and their petals. I'd put a few panels and, and when they're dry, then I would slip another one bit behind. But that's okay. Now if you look at the orchid, you can see those yellow in the middle. And the problem with that is if I put in yellow onto here, it won't be really yellow. So I'll take a little paper towel and just dab the middle to widen it up. Wait for a moment. Lifted off. And now I can take a little bit of the, looks like a very light yellow. I will do the cadmium, just a drop on here. And just put a little bit of yellow here and there. Okay, that's good enough. Now, this is not dry, but let's say you let it dry for a moment or two, maybe 2 min. And then you can add these little dots you see? Now I'm going to try it with a wet. And I just take a little bit of this crimson, say, put it on my paper. And a pinch of, obviously it's not quite crimson. Yeah, it's a little bit of the fellows. And it might be a little too dark. Or maybe it's just perfect. I'll try out there. That's pretty dark, but it's going to disperse. And so am I faithful to the actual look of the orchid? Know the orchid is inspiring me. I don't have to do things exactly the way they look. You'll see that none then they, they got really fine around here. You see fine. And if you look at the R code, you can see, oh, look, there's little white rim here and there's, this would be a wash of color. And I mean, you could spend a long time faithfully reproducing the orchid. I will look at this. You see these streaks of yellow. This was an old piece of paper. Sometimes painting on paper that has a little bit of a wash and it will work. Let's see if I can fit in a leaf here. I'll take a little bit of this. Allowed some water to it. And this brush is kind of small, but it might work a little more water. I want it quite light, but I want the brush full of pay. And I'm going to now see holding my finger. I'm going to start here. And then when I make my little line, I'm going to wiggle, wiggle, wiggle. And now I've added another petals, not a leaf or a petal. This put it right close. Wiggle, wiggle, wiggle, wiggle it out. Look at the shape as you go. See that little introduction of a little bit of fallow. How it's added to the little bit more, it's more violent than the crimson. Now this one, I've got a big blob on my hand to my brush side. Be careful. Wiggle, wiggle, wiggle, wiggle. This Arches paper. But I don't know. It's pretty good. Now look what I'm getting here. I'm creating my own little flower. As I look at it, I think I'll add another one. There's 123123. I think I'll add another one in here. So this is more like the begonias, where the flowers clustered together. And there's my little technique, it's coming along nicely. Let's take some of the Big-O and your color and the academy and little water to it. Let's see what happens when we just shoot out some little lines like this. All over the place. Just shooting out lines. Have I a preconceived idea of what this looks like? No. I'm just using simple techniques and seeing what happens. Maybe I'll get some green. A little bit of sale. Oh, that's the warm green. I want a cool green because I haven't worked in the orange. So I'll take a little bit of this. You know, practicing and playing with simple ideas and simple techniques. Keep playing with them until you've mastered them. Well, get rid that some darkish, dark green strokes to each one of these. You can just build this and build it for awhile. And fill your page with petals and strokes. Little water, it's getting a little dry. Using complimentary colors. Maybe add a little bit of a little thing on the end of each pedal, or add. Before it's too dry. A little drop in here. See, every time you add something, something happens. I would think probably I would sit and add quite a bit of these little green little marks. Now this is a good idea for a painting. You know, it's not the finished product, but it's a good little study. We call them studies, where you pick up an idea and see what you do. This almost looks like a vase here. Why don't I take a nice flat brush, simple little flat brush, and take a little bit of yellow straight from here. Oh, Ronald, you're doing a wreck that makes sure it's mixed up nicely. There we go, this cadmium. And we're going to put the academy and write down. But this far, give it a little street or streak C, pure yellow, very dark violet. I'll have to add a little bit of, let's see, a little yellow ocher to neutralize. It is pretty dark. I mean, this may not turn out at all. I mean, but I am going to now go right over everything. See what happens. Nothing ventured, nothing gained. Coming right in here. Now there's parts of this picture that I really liked. I liked putting the dots on. And now we're neutralizing here the background. And the Arches paper is really taking in the paint. It's not getting muddy. And remember, don't be afraid to mix up a fair amount of pain. And now where are the orange was I'm darkening is C and is making a lovely, almost a brown. But I'm liking it. Then we come in here to be careful here because I'm not what I wanted to come down. I don't want to ruin this yellow here and add more violet. And remember this is, these are all standard colors. This is says arches, that's called the watermark. Wow, I'm, I'm kinda liking this. I'm thinking this is looking good. Okay. I do here. I think I'll make an echo. I'll take this crimson. I'll come right down beside here. Leave that little white mark I like that. I'll come down here. That's too close to that. I think I'll keep it dark here. So I'm going to go with a very bold, dark, neutral, probably as dark as the paint will get. And the reason being is I might eliminate this one here. So I think it's a better design. Right there. Oranges, very, very bold. I'm going to come along, they're going to leave that might even put a few more in there. The yellow come right up to it. Notice I'm only using three colors, but I am using a neutral. So now I'm going to go more into the silo. Down here. These can be candles. Well, before I get rid of that little white streak there, it's kind of abstract at the bottom, which I like. This is wonderful here. Little bit odd here, maybe just kinda faded down. Yeah, maybe a little more yellow here. And I think it's time for the begonias effect. Let's call it the begonias effect. That's when you add the cadmium in. Cadmium drops a little bit in here. This is lovely here. So I've decided I'm going to crop this. So a good way to crop is to take a piece of glass. I'll leave a little bit of these little lines here. Make sure it's straight. Take my scissors and score it. So now I'd like to just take my paintings, my little ones, my children, put them down. And you can see that these two are more finished because there's good contrast between dark and light. This still has a lot of mid tones, right? And what is dry? I can go a little farther with it, adding some darkness to it. I'm liking this soft edge here. So I'm looking at my work and I'm thinking, what am I going to do next? You take a simple technique and you add it to your pictures. And that's what we're doing, mastering simple techniques and becoming better watercolor artists. 6. Simple Free Flowing Flowers: A little more traditional approach is to do a little thumbnail of whatever you are going to be doing, that it's kinda like preparing. And then after you've prepared your minds, ready, you've got a few things solved before you even do the painting. And I'll take a little piece of paper about the same dimensions. It's maybe a little bit long this way, but I can always crop it. I'm just going to put this right on here. And I'm going to use this. Should I use a green pencil? I think I'll stick with just a light graphite pencil. Now remember, pencils will erase. So put in your round at the bottom. A couple of lines for shadow and the oblique line here. So I've put a few in front this time. And maybe three. Then I do a little shape here and a little shaky, maybe down here. Almost like a pyramid or a triangular shaped like this. You see, let's try a little different technique. Let's wet this and drop in some of our favorite colors. So I put some water, not everywhere, but mostly around the outside. See this? Around the outside shell, we go with the begonias color. What do you think? Sure. That take some cadmium two cabinets, Another, another cadmium. So there they are, maybe a little more of the red pinch, more of the yellow. Okay, Now, two ways to do it. One is just to kinda pop it on, like to see leaving a few little white areas is great. Just leaving so rough edges. We will take a little bit of the pure cadmium, put a little bit of that in. These could almost be geraniums also. Clean my brush. And this time we're just going to take the, the pure yellow up here. Remember those little petals on the ground there, there we go. So let us say, let's mix the neutral. And let's pop it in and put this little violet shadowing. Now this is dry. I put this one in wet. So the first thing to do is just go around the outside of this a little bit with a little bit of water. Just the edges. And because it's dried overnight, It's not going to go anywhere. So trying a few things always a good idea when you want to master something simple, like blowing a bubble when bubblegum back in the day to do it a few times before he got him. Once you get it, it's pretty simple. So this time we got to blue and I'm going to add a little bit of yellow ocher. And I want to mix up enough so I don't have to re mix. So whatever I get here, That's what I'm going to go with. Okay, there we go. Now, I'm going to be turning my paper. And remember I'm gonna be pulling so you know, you push the brush, Come up to where you like, and then pull it back. Just go around the outside. Leave us a little white spots there. See that? Because the paint is going to bleed into wherever I went to see that little spot right there. I'll just go around that. There we go. Notice I'm pointing the brush at the edge of the flowers that come right down here. And now I'm going to take a look at it and see what I do. So now I add a little bit of water, see a little puddle of water there. And we're going to bring it down a little bit softer here, up beside the vase. Cross there. And just keep adding water around the edge. See how quickly that set him That's because of the sale of blue phthalo blue. You will have to be a little careful. It sets very quickly. See there, see that line. But that's no problem. I'll just take a little more, a little more crimson and pop it in like that. And this is a variegated background, is, it's all sort of spotty. I think I'll come in here a little bit. Give it a nicer shading right up inside there. And straighten that out right there. Take a little bit of crimson, put it on my paper here. It's kind of a violet actually. And let's put that right here, right up beside the flower vase. And we're going for like a square loss. Now what we wanna do is soften the edge a bit near the back of the shadow. The back of the shadow is always softer than right were the sources, That's a sharp edge right there. You want a sharp edge? And we'll just soften this a little bit, which will give it more of a roundness. Take a little more of that crimson, drop it right in the base of the shadow, and then let it dry and maybe a little bit up in there. Now we're gonna take a little bit of the crimson here. And I'm gently going to put it right next to this little sparkle on the paper. See the sparkle little bit of the orange from the paper here. See the paper orange. I can take a little bit of that. It's still comes up. So we're going to add a little bit of warmth to this. And back here. And here. Go around my little petals. Maybe a bit in their topics see tapping, then take a little bit of the purple, just a little bit. One more little one in their head, just a little couple of shadows underneath the petals. Maybe a little shadow coming across this way. I don't know if I should have done that. Probably I'll just lift that right up there. Nicely done now I let that dry. See how the failover, see the sale, how it's really sunk in there. I'm going to take a little more of the phthalo and crimson and a little old occur before it dries. One of the simple things to do is understand how wet or how dry your paper is. Now this is fairly strong, so I'm going to add a little more water to it just to drop. Let's check it on the Canson paper. That's, that's nice. That's dark. Now watch this. I'm going to hold the paper down as buckling a little bit. And I'm going to give it a little swipe like that. So I'm doing the opposite of this. I'm putting a little darker spots here and there. Near the bottom and keeping the top light. I liked this little drifting thing here. This is nice. Now, this white area in here, I can do two things with that. I can take a little bit of this after a wash my brush. I didn't put a couple of little spots in like that for now. Just to sort of simulate the background there. It takes a little bit of this and put a here. And then I'm just going to soften the edge very carefully. And later I'll put some flowers are there. I like it. I like this little spot here. It sort of reminds me of the little flower spots too. So I know that's going to show up there, so I'm going to put little more darker in there. There we go. There's our second attempt. Let's put them together and see what they look like. See my lovely pink papers. Getting a little bit worn. Gonna push this down now. Clean brush. And we'll put the two of them together. And you can see they both have their own mirror. Probably I think what I need here is just take the end of my brush. Cadmium yellow, little bit of the cadmium red. You can see it's a little dirty. Clean the brush again. Let's try that again. Cadmium yellow, cadmium red. Check it out. Okay, I need a little one here. See little closer to it. Nice. See how that adding those little Secondary colors, the oranges and reds. Nice. Now we let that dry. All these little simple things or procedures that make a successful watercolor. All you have to do sometimes on a very loose painting like these ones is add what we call a detail. So we were using some very good Cadmium. So that's we'll stick with the cat VMs. I'll start with a red. I had a little water to it so that it gets nice and thick. Would just check it here. And I'm going to put one right here. Oh, maybe right there, there we go. So put a little drop like that. Were to put a few of them. And what's next? Well, you can take your little brush and you can give them a little wiggle like that. Just like our little flower trick. He had 31. Or you could have left them as little circles. But this is where creating little petals. I'm sticking with three you could do for, you can do five, do as many as you want. I'll put four on this 11. I'll do four on this 1234. Yeah, I think four is better. Well, you mad for in this one to1. Then, wow, Well, then take a little bit of the cadmium yellow, fairly strong. Little water to it. Cabins are great when you're finishing a painting. Because it's thicker. Well, there's one I forgot. I had a little yellow and a little yellow next to it. Different kinds of petals on different kinds of plants. So whatever flower you pick, you add what you want to make it yours. Now the small brush, we'll mix a little more of the neutrals. This is the fun part. This is where you get to adjust the darks and light and add some juicy darks. Okay, there's a very strong purple. And I'm going to put a little strong purple right here at the base of the shadow like that. Can you want to sit for a minute? Take a little brush. After it sat for a second. And gently fan at our shadows are darkest at the base and the edge is the sharpest. And as they go out, they get softer. So now you see how I've spread that out. And I have a lovely little shadow. Put a couple of shadows in here, just a little dark marks. Next thing I'm gonna do is add some of that. Purple. The yellow, and a little fail. Too much. Add some water. Add some more violet. Can use Alizarin. I wouldn't use cadmium here. There we have it. I'm trying to get a neutral color now. Little bit of yellow ochre. There we go, because I want to put a dark in here. I'm going to come right up to this and add dark all the time, saving the white. We don't want to get rid of the white. There we go. Remember this is on the arches, so I take a little drop of water now, little more, working my way up into the flower. Right up in here. Bershka and load dryer now, so I just leave it. I can see that I have to come in here a bit, soften the edge. And also a very small amount over here because this would be too abrupt. So put a little bit in here. And let that a fan out with some water. I don't want any texture there. I want it nice and soft. I have to say the arches has lots of texture. There. I know I've done something else to us. He keeps adding to the painting simple little things. These little pictures. You can add as many details as you want. I always like to add details with a small brush. I mean, it makes sense. Details aren't big. Details are small. So just coming along here with a little, little bit of a dark spot there. To echo this dark spot. Pick the transition more equal, see even something like that. That's, I might leave that, that's a great shape. Or you can fan it up. See. You can do a lot of things with angles. By pulling in an angle. What you do is you add direction and you're painting the points somewhere, like a little darker angle at the top. And this is simple to do. A darker angle at the top, coming right into the flowers. See, you start to get this kind of lighting effect. Or you can just fade it right out and see these little brushes on the 45-degree angle. Just quickly running it over the Arches paper. And this works lovely on and on Arches paper. And I'm leaving what's called a shared edge in a way, the white here is the same as the white here. And I'm liking that. I got a little white spots up here. I mean, I could add any color I want. I can take some pure cadmium like this and just add a little drops of pure cadmium up here. They could be daisies. I really like this here. You see that? So adding and subtracting, you're going to get your picture is going to come into just the way you want it. And that's fine for this one. This one I've left in the hazy, sort of fuzzy sort of way to show you that you don't have to keep bringing into a heightened polish or a high degree of finish. This is just fine to maybe a few darker cadmium like that. Would add a little more interest to the left side, which is supposed to be in the shadow. You see a little bit a cabinet. Don't be afraid to use some really strong pure colors for the dark side of something. Because the dark side, the shadow side always has the brightest colors. Just adding a little bit of this and a little bit of that. Take a little cadmium and a little bit of this cobalt manganese. And let's see, a little bit of green put in here in their seat. A little bit of green here and there. So you just play with your painting. And if you don't like the green, then just leave it and try another color. Try another little bit of a bright yellow coming right in here. See if you want to leave a soft edge, leave a soft edge. If you want a hard edge, put in a hard edge, simple thing to do and please, when you get them finished, show me what you've done. 7. Simple Seascape Brushwork: This is the Canson disposable palette. It works really well. Paper dry brush, small. Let's see what happens with a small brush. This is what you don't want to do. You don't want to just take dry paint. It's called watercolor for a reason. So add a little water, just a little. You'll notice that as we get near the edge, it gets rougher. And you get this little ragged edges. He starts out quite fall and then it goes like that. Let's try another one underneath it. Take a little more. Of course we're gonna be doing a seascape here. I'm using this as my model. Keep the brush on an angle of 45 degrees and pick up some speed. There we go. Again, a little bit of water, little bit of painting. Put it down, wait for a moment. Slowly and pick up some speed. As we get closer. I'm going to bring in a little bit of perspective. Yes, perspective, aerial perspective. And then as things get closer, they get darker. As they get farther away, they get lighter. So let's add a pinch of red to it this time. Now there are different reds. You would not want to use a cadmium red. It's pasty, it sits on top. Great for some things, not for others. So a little bit of the Alizarin crimson permanent is what you want. Now this will be a lot darker. So what I did here is I added a little more here, a little darker, as you can see. And now we're going to wet the sky generously with my big brush. Wet that sky. Let the water's really soak in for a while. I'm not going to tape it. I'm going to show you how to hold it and maybe with a brush or something on the side of the paper. Sometimes I don't tape, sometimes they do. And then I'll go and swipe right across the top using the ultramarine and the thylacine. I've mixed the ultramarine and thylacine, the ultramarine to sit. It's a little bit more on the top of the paper and the thylacine penetrates deep into the paper. Okay, Now watch it, see how it's drifting and how it's collecting at the bottom of the paper where the horizon is, it's going to create a nice little bleed mark there if I just let it sit. Okay, so let's just do that and watch what happens. Don't touch it. I just touch it and run it across very slowly. Letting the dry brush naughty. I'm actually not even touching the paper. I'm right on the top of the water. Soon as you touch something that's wet to something that's dry, it'll spill down. But that's another little idiosyncrasy of watercolors. They do things. You don't even know what they're doing. Sometimes this looks like a little sand bar here. See, just using some simple techniques. Look how we've come up with a very interesting little picture that looks like it's way up in the North Pole or Siberia, Northern China, somewhere where there's a lot of ice and snow. Now see the little dots create a little interest in the distance. So what started as just a little exercise has now turned into a very nice little picture. Here's the little study here with the tidal pools. And you can see this is quite a bit warmer. On this painting. I'm going to be adding a little bit of a shape here and the shape, maybe there's long shape to start with. I'm going to show you how to do it in a single stroke with this little brush. Make sure you're always cleaning your brush. A simple thing to master, keep your brush clean. Let's try it here. That's better. If you think you're going to keep your palettes clean. Think again, I have probably 50 of these. Get them at the Dollar Store for $1. Can go wrong with that little bit of crimson. See that there's Tibet. And I wanted to keep to the secondary college. I don't think I'll use a neutral here just to make a crimson color like that. And I'm going to make a dark one. And I'm going to make a lighter one. There's the lighter one. Just using more water. Okay. I'll take the leg one first. And I'm going to point my picture this way is that I can keep a straight line here. See about a 45-degree ankle. Push the brush down a bit. Just like the petals on the flowers. And then just lift the brush gently. You always get a little drop at the end and come back. Then takes a darker thaler. No problem. That's probably going to happen to you someday. Once you wanna do is get some water quick. Very quickly, very quickly because this is salesy. I'd say that was about the happiest accident I've had in months. And it's live. There we go. It's almost gone. There it is Now. We don't want to lose it. So we'll probably wet the entire sky. There we go. I can still see a little bit of it in there. So I'll take my soft brush and I'll rub, but not hard, just gently. Now I may have to put a little cloud and that's shaded. More blood to drips come off. I like these map boards is they get a little soiled looking. Well, I see a little bit of it there. See right there See that little curved which adds to the picture. I think that if you act quickly with water, if that was not a thylacine, be absolutely no problem. We'll look at my little. This has turned out pretty nice. Actually. Soften the edge there. Form there. Let's put another little land form on the other side. It's probably wet. What'll happen? Well, I'll take my paper towel and just tap it to dry it up a bit. We'll see what happens here when I do this. I want a very, very carefully I'm going to touch it. All good. We're okay. And you don't want going with the bigger one here. I can see a shape there. Just add. Right down to there. Who just go back and forth gently. This is Canson paper. Doesn't react the same as the Arches paper. Now to make sure it's fairly straight, I'll turn my painting upside down. Take a look at the horizon line and see it needs a little bit right there. I like things on the horizon line to look straight. A cricket world is not quite my cup of tea. There is a great little shape and I'll let it sit for a moment. Just a moment. Because it is sale of scenes sinking in. And now I'm going to apply a little bit of water on the edge, the smallest amount to create a soft edge. One of the secrets of aerial perspective. As things get farther away, they get softer. The atmosphere does it. I can see I need a little bit of a tap in here. And I might add one more right here. To darken it up a little bit, add a little bit of interests to it. A cold painting. It's a little hard on the eyes. So here we have some very nice light orange and maybe it's spring. And we're getting some color coming in. So Rigoletto just put a little in there and then fan it out with a little light watery brush. Notice I can go right over my name and it doesn't smear. That's because it's done with thylacine. So you see that little warm spot in there. Then I might take just a little tiny bit of cadmium yellow. The smallest amount, put it on my tape because I know it's clean. Or take one of the mat boards here that's definitely clean. Always check to see if your paint is clean, especially the yellows. So bathroom water to the yellow. So this brush has some very clean yellow. We're going to put a little yellow in the water right there. Little warm, warming up a few things, very light glazes. One of the simplest things you can do is add a glaze. Glazes, add warmth, cool things down, create contrast. Just simply give more interest to the paint layers. Put a nice little bit of yellow right there. Not much. Just warms it up a little seat. Mates actions here and there. Maybe a little darker here. It could go a little darker maybe. Okay. I'll take a chance and take a little more of that. Say hello. And I'm going to just put a little washington like this. Put a little wash and very carefully, gently. Notice I don't touch that. What I do is I clean off my brush, dampen the brush, turn the painting upside down and soften the edge. You see, soften the edge. And there we go. Now it's a little darker. Looking at cloud coming down there. See, I'm having a good time now. I'll take my big brush here. I'll clean it really well. I'm going to check it on my paper. I'm getting a little bold here. The paper is dry right here. So what I'm going to think I'm doing is going to come across with a nice blue. And I'm thinking they'll drift down here a little bit. Okay, so if the paper's a little bit wet, it will go or is drying. I'm going to use some pure manganese. Manganese blue. Very good. Move for skies. Take lots of water. And take a little bit. It's a bit of a turquoise, blue in a way. And I'm gonna be careful here because I don't want this to bleed on my paper. So once I've cleaned, once I have it on my brush, see how that dissolved at all. And then I'm just going to touch it with tau. Okay, now I'm going to turn the paper upside down. I don't know if you can see, but it's quite dry here. So here we go. I'm gonna put a little slow swipe right across. I think I probably can take some pure phthalo now. And do that right hand corner with a little bit of the manganese. It should work out just fine. Now I'm going to let that drift down. And these clouds or yesterday, the fellows, the trick here. First the manganese and then some fellow shouldn't do it. Okay, Now I'm going to let it drift down. You can take the brush here and just Cokes and along z. Now what we'll do is tilt the paper right up. I usually use my tail, want to tilt it now. So it runs downhill. 8. Simple Seascape Details: Okay, here it is dry and I want to make it just a little darker. So while I'm going to do is take my little sable and blender brush. And we're gonna do a little wash there. So I'm going to take some of the sale. We're going to put it here. And I'm going to send it quite a bit. Make sure there's no little spots in it. Make sure it's quite thin because I want us to get to stand out. Now the easiest way to do this is to start at the top corner. See it's not too dark. And this is on Canson paper. So that blue is going in really fast. And I have to add a little water now. I don't want any ridges. It'd be very quick here. It's even starting to form right now. See that to be very fast with the sale of blue. Bringing it down and take a little more of that. And bringing it down, letting a drift down. As long as the paper is wet, the sailor will behave. Soon as your paper is not wet, especially with the Canson paper, will behave the same. There we go. And now a little bold stroke here and there. Now remember it's going to drive better than the way it looks. I suppose that's a way of saying it. Now just leaving that like that is just fine. Now when you remove the tape, make sure that you pull it away. Especially the Canson paper tends to see it tends to sort of peel off some of the paper. But that's okay. I have a big mat cutter, cuts off anything I don't like. Now this tape has been on for awhile. So it's going to be a little tougher. I don't have this problem with arches, but I pull it away from the painting just in case it reps. So be careful when you take the tape off that you pull it to the side like this, don't pull it straight like that. You're more than likely to go in and rip the paper. And that's not so great. There we go. Let's just trim this up and see what it looks like presented, how to present your artwork. Very important. Canson paper kind of grabs edges really quickly, especially fellow blue. But I really like this shape here. I linked the hard edge. It's not really hard, hard, but it's stylized. You see just by putting another simple wash on, It's given me some very artistic look in the clouds. Or now you can see the Canson papers really absorbing all the washes that I put on. So I will take a little more clean water. And on the dry paper a little more Phthalo to just a little bit, not too much. And I will do another wash upside down. So the paper is a little buckled, but that's okay. I've started to talk. I see that's probably not quite dark enough because I really want it to be darker on one side of the sky and lighter on the next. That'll work. So you see my wash? It just goes over it and then I just tilt my paper a little bit. I have to tilt it a bit. So the wash continues down. What I get in here. I take water very quickly, add a little water to my brush. And now I continue my wash because I don't want really heavy bleed lines. Bleed lines are when the paint dries wet paint dries against a dry edge like right there. But I'm looking less than liking then more water so that the last little wash doesn't leave any lines. And it's not a bad idea just to continue a little farther than you think. Just the water. So that we avoid a fleet lines. There are seats a little darker, they're going to add some. Fail to it. Whenever you add a load to burnt sienna and burnt umber, it gives a little bit of a green tone look at this little bit of a greenish hue to it. And now it's a little bit light, so I'm going to go a little darker. Just a little bit too light. Little more blue. Okay, there we are going to watch the sky because it's dry. It's drying. And I just going to.in a few darks you see the darks just dot them in. Contrast is very important in a painting. When you create contrast, create interest. Now these are going to dry a little bit lighter, but I've added them in there. Just see what it looks like. Yeah. And you know what, I'm going to add a few more in here, just little dark spots here and there to add interest. And of course, dark brings the painting forward. If you put darks, really dark up there, it won't look right because that's far away. The same color here. If I tap it in like this little green undertones, you see those little beads? Little right there sealing the paint and gathers. All I have to do is continue across, dabbing those little guys, and being careful to get the edge when I'm finished. So I almost have to mountains there. So now I wet my brush clean off most of the pain and soften the top edge. And it adds a little interest. See it's kinda bleeding there. It's because the water has come into the pigment. So then I just found it MC. And I could put one good Little dark one right there. For interests. You see, interest is created by small darks. Look how these dried up. They're not dark anymore. So I've put a few on here, a couple more dots. And look, they dried up really well here. They're not even dark anymore you see? So you have to put a fair amount of dark paint to get a dark. I've always wanted to do one thing here though. I've always wanted to add a nice bold Alizarin crimson at the bottom. So you know what I'm going to do it. I'm going to take a little Alizarin crimson, make sure it's really clean. I want a clean crimson. So I'm going to find a spot that's clean. There we go. It's not much. In turn the picture upside down. We're a little bit on an angle. And I'm going to come across there is my low Ireland and faraway island, going to come across here and then quickly dip my brush in the water. This is Canson paper. You have to keep the wash moving, dip it in again, bring it right down in there. Sometimes you can hold the brush and pull the paper. It's okay to have a few streaky lines up there because that gives the cloud effect. Now, I think that's a great improvement. Would like to sweep it up a bit here. Okay. Wow. Am I doing complicated things here? No, these are complicated. These are simple things. One good old oblique in the painting. See that? Then? Gently tap it up to the mountain. I do. I want to soften that a little bit. Yeah, just a little bit of water. There we go. I'm just doing simple little glazes with color. And we'll let that dry. Come right up to the mountain there. Keep adding to the painting simple little things. Every time we do it, it'll get better and better. 9. Simple Seascape Tips: It really is true. Little things make a difference. I've added a little darker sky. I've had a little bit of texture in here. And here, especially going from dark to a little lighter. I've added a little dark in here. So beautiful. You could use cobalt. I used manganese blue in here, and I added some violet here. A couple of little violet, violet cloud. They're just using alizarin crimson. Let's just call it crimson and a little crimson cloud here. And I've kept the almost hard edge on the clouds. I liked the luck. It's decorative. It's almost a little bit symbol wise. They look like mountains, they look like clouds or whatever. And I've repeated that little bit of a hard edge here. One of the things I have to say about Canson paper is really good for details. Like if you wanna do super high realism, You're not going to use rough arches paper. You're gonna be using like this. And you're gonna be taking little bits on your brush and building up layers. Simple little painting. Started out with a few simple strokes. It's being developed into something That's very intriguing. It's a nice little landscape, wasn't hard. We just kept at it. And this is what you get. Of course, there is a time to stop there. I'm liking what I got here. So there's a great little painting. It's a little bit up here on my stipple that a little more here. See, just using a damp brush. You can get wonderful texture. Look for get grass, rocks, lots of great little textures using the stippling technique. There we go. If it's a little too strikes me, that shows up dabbing your brush again. Soften those little stippling marks. Simply by going over them. They're a little stipple here. Take a little bit of the Alizarin crimson. Just a little bit. Put it in here, see how strong it is. Clean your brush so that it's just has water on it. And then rub it in. Again, dry the brush to pull it up. Little bouncy brush. This is almost a rigger brush, but not quite. It's a nice long brush. And then keep an eye on the edges. Because with the Canson paper, the edges dry, rather hard if you're working on dry paper. So I'm quite pleased with this. And I think you will be two if you keep at it and keep adding simple things to a simple painting. So if you look up close, you can see little details here. Light blue here. And I stippled in with my brush. Little dark sections in here. Give you an example. Take a little bit of a dark color. Stipple it in. Just tap it in. It will dry lighter. Then take the paint off your brush and fan it out. So I did that here or there, up in the sky. So stippling is a great, great way to put a controlled mini wash on your painting and give you a really exciting little surface. 10. Draw Our Country Roads: Hey, I'm pretty excited about this little project. And I'll be helping you draw it. It's not complicated. And we'll use a lot of the simple things that we've mastered on the other projects. Okay, Let's go and draw it and get started. A quick little sketch here. This one has a little lean too on it. You can add that if you want. And it's a little steeper. I've left the tree out here. I want to just go through the steps of getting basic house or building. Now, you'll notice that if I put a line through the middle here, it's just above the middle here. And this one's a little bit off to the set off to the left. I want to move that over. So on my paper I have to find the middle and I can pretty much eyeball the middle is here. And I want my little host come to about here because we're doing this painting here. So very simply, you're going to make a rectangle. Or if you want, you can make a square. If you use a square, it'll be a little bit narrow. So I like to make my house a little wider. And it's just above the middle. So there we go. Now it doesn't look like a house, but that was never looks like a house until it's a house. And then you can find how high you want your roof line and then just come down on both sides. This is a very simple way to make a house or a building. Make sure the roof comes over. Then you can just add another line right here, but not all the way down to here. You don't even have to fill that in. Just make sure it's a little higher than here. If you want, you can add some height to the house by adding a foundation like that. Now, if you do that, then you have to bring that down just a little more. You see? So that's up to you whether you want to put that I liked that line in there. The windows we can put three windows in. You know, you can do what you want. But I'll just put it in these little side windows. Maybe it's a schoolhouse or community hall. Well, if you live in the city, you probably have something really modern. But out in the country, this is the quintessential country, country road. If you want, you could add a cross here for a church. You can add a little build top on it like this for a barn. But I'm just going to add the chimney. I'm going to make it a little higher than the house. One side, nothing complicated, and a little line on this side, which will be darker later. So now you want to put in a small line like this. And that's called the fascia. And we can clean that up later. And then the roof comes out a bit more like that. They're not even going to do any shading here. He will make a nice straight line. You can turn your paper like this. Turn your painting upside down, your picture upside down. Sometimes you can get a little more square c. So there we go. And first time, not first-time, but I'm going to erase this. This is a soft gum type eraser. The brown eraser was very nice. I think I'll lighten that line up there too. And then I have my badger hair brush and I just sweep it off. There we go. Just to mark in a little shadow here with a few strokes of your pencil, just like that. Okay, here comes the road. Come a little bit above the shadow and just turn the corner like that. And it doesn't have to be perfect. And then another row, another line just very thin. Just bring that across. And then another one like this. So this I'm going to shade it in, you don't have to, but just to help you see the side of the house here you see. And this will be dark also. So I'll just do a little shading there so you can see what it looks like. Okay, there we go. Now, there's a little spot there too, That's going to be shaded in and that's your soften theirs, the road comes across. You might try that a few times. Then there's the horizon line, or really it's just the bottom of the land far away and the roads sort of disappears into that. Right there. Okay. Details. The first thing we're gonna do is the fence. And the reason we're doing a fence is a little trick to the fence. Put a little post, usually the posters on your own property. And doing little round post, we're not going to make it all 3D right now. There's one post. The next post is a little bit, it's going to be a little bit lower. So it's lower and you can make skinny posts, whatever kind of posts you like. The next post is going to be a little closer. So we're just going to mark them in and see the distance gets a little less every time until eventually the posts look like they're touching each other. Now, I like to sometimes make one of the posts follow hoovering. It adds a little interest to the posts. So this one could be leaning and seal like I've put it in here. And also if you don't like the big fat post, you can go with a narrower posts. And like I said, I like to make this one lean. Straight is not leaning into the picture. Is better. There we go. There's a little fence. If you want to put a little something over there, you can the tree very simply. Let's just put the 123 trees. And so the one tree is going to be right here. The next tree is going to be side the house. And a little bit in front of the house, see? Just a little bit in front. And then we can have one leaning here as the big one. And it's going to be a little lower than this one. There we go. One side of the tree is bend this way and the other side is more or less straight. So let's bring down the spring down the big picture here so you can see this. Okay. Trees, the girth of the tree here or the width of the tree, you can determine making wide or make it narrow. Then make just a little shape that goes up like that to start with. So how thick are these limbs? They're the thickness of the trunk. So if you take half of that and you take half of that, these two combined would be the same thickness as that. Here's that handy eraser. I really liked these brown erasers. And you just keep wiping out these, keeping, making those. Why? You see? And then you can add one here. They go up and then change directions. Bring one in here. Just make the why very easy way to retreat. And I'd like to take some smaller limbs over like that. Now this one's a little more intimate. You can see because of the tree is closer. Okay, Now this tree looks a little unbalanced, so I'm going to add another one here. Bring it over to the edge of the paper. Remember, each one gets a little bit narrower and you end with a little y. The bottom that I'm not too happy with. I think it would look better stopping there. And this one is still, this one is still higher. And then you repeat the same on this one. This one, I'm going to make it a little straighter. Maybe it's an ElementTree, but it's the same principle. You always have one going up the middle and then turning into a y. Just remember the why, the why of the tree. Okay, that's very sudden. This one's a little thin, so I'm going to thicken it up a bit. Maybe even thicken this a bit. I'll bring it on this one. I'm going to bring a branch right over in front of the house. You see there's your wife. Okay. I like that. It'll soften this edge here. It's a little bit too dark. But darken this edge because one edge is in the shadow. The left edge is the edge of the shadow. Anything in front? Just erase it. There you go. A little bird's nest up there if you want the faraway trees simpler, just make one going up like that. Think of 12 tree. There's three there. And then put your y's in. And it's a little bit easier to do because it's spring, we're going to have a little bit of a little bit of a haze, little smoke coming up there. This is all the details you need except for the shadow of this tree on the house. And how do I do that? Well, I just add a few little shapes going this way like that. Okay. This one, the shadows over here, just pointing a little bit on an angle here. As they get farther away though the shadows flatten. Everything flattens as it gets farther away. But here, because the sun's coming from here, we have this. And you can make your shadows go anyway you want, but just get some shadows in there. Okay, Very nice. That's a good start. And then we have a little bit of a mountain coming down here, maybe just in the middle of the road. And we have a little bit of hazy mountain maybe back here. But we can get that with the painting and all of this here. You'll see me do this one, and you'll see me do this one. This is gonna be straight washes, not a lot of pencil lines. But if you like the pencil lines, take a look at this painting and I'll provide a picture for you in the materials. And you can do some shading just like I did here. Put the middle of the road even though it's not paved. So it'd be a little texture in there. Well, there you go. 11. Lay-ins / Both Country Roads: I just squeezed out ultramarine, failover see in blue and Alizarin crimson. And these are Winsor and Newton Cotman brand, very good brand. Everything else is fine, but I like to use my grandparents for the ultramarine. The big thing today to remember his big, big thing, to remember big, medium and dark. So let us begin. Let's mix up two different kinds of neutrals. 30 degrees. That's a perfect elevation for the board. I'm going to mix up two puddles of water here and see generous amount of water. And I'm going to do a warm neutral, so I will take some yellow ocher. Continues some of this Alizarin crimson here. And that's also here. You can see it. I'm just choosing to use the gram and that makes them wonderful orange. You'll notice I have two little spots underneath here. So I am going to take some of that as a secondary color. Yellow plus the crimson makes a lovely orange and just add a little more of the ocher to it and a little bit of more of this to make it stronger. Because I may want to use that same thing on the other side. Take a little bit of the yellow ocher, put it there. Okay, what am I going to add next? We're going to add red to this also. So I've done the same thing I've read in the chromosome, the Alizarin crimson to both sides. And we're okay to ogres, two chromosomes. Now it's the blues that makes a difference. Ultramarine blue here. Next on lovely warm gray. We call it a West Coast gray or a mist gray. Clean the brush. Nice big jug of water here. See this big jug of water. Don't use little jugs of water. Dirty too fast. Okay, Then I take a little fellows scene. Just a little drop to start with and see what that does. See the difference. Okay. They look similar. And I have a little scrap piece of Arches paper here. There's the ultramarine see, clean the brush. Just a little bit of water will change. And there is, the ultramarine doesn't show up too much as different does it. Let's add a little more ultramarine to it. And let's add a little more, say hello to this one. Let's see if the difference is going to show now. Okay, it's definitely more blue, not as warm. Let's try this one. More violet. You see that to marine usually has a violet undertone. At least the one I have. You'll see that ultramarine with a violet undertone or green undertones and there's all kinds of different undertones. So I am going to go with this one. I want to warm it up again. So all I have to do is add some more yellow and a little more of the Red Sea or alizarin crimson. And now you see it's gone to a different, it's gone to this purple. But if I add a little more blue, a little more of that, we are an ultramarine. Add some blue. See how balancing out your college before you even paint. Very important. So now we have another one. Isn't that amazing all these little colors were getting. But we will get back to the original, which is this one. Okay. It's too purple. Okay. So I need a little more blue. No, I don't. I'll put little more blue. I need a little more yellow ocher cleaning the brush and probably a little drop of the original. And we shouldn't be in business. Now, not quite. Yeah. Do you give up just because you can't get it again? No. You keep at it until you find the color that you like their ER. I would say this one here is pretty close to that. It's a little bit cool, So a little bit of that and that's a little warm. Now. See, cool and warm are really delicate balances. So look at all those shades. All I have do is take the one here. I liked his violet sort of cast. I'm going to go with the violet cast. And I'm gonna be doing the picture first. That doesn't have a lot of shading on it. Okay? So here we go. We takes us and what we're going to do is we're going to be going right over the tree in some areas and leaving a little bit of white. Over here. I'm going to life with some water. And I'm going to add a little bit of the orange. So here's the extra color down here that I've taken from here and put here. And that's the orange with a warm color. Notice I'm putting the warm color in. I'm not too concerned if it bleeds into the sky. What I want. You see that little orange color is not nice. Come across here. Come a little closer here. There we go. Now you see these little white areas up here. Just take your brush and damping a bit. Bring it in like that. Little bits of white or gray. Here comes the row. We're going to start the road at the bottom like that. And then we're going to add this color. Turn the painting this way. And we'll add a little bit in the sailors seen at the top. Different tones are good. Putting a little bit of this, a little bit of that. Those are neutrals. Really good. Now we're going to warm up the yellow ocher here by taking just a little bit of the Theophilus here in just a bit. It gives it a light green hue. Maybe just a little bit more. Just to light green. There we go. And let's get a little bit more of the yellow ocher here. Plus a little bit of the cadmium this time. This is where all of these little places where I like these kind of palates. The answer is lots of places where you can put things. There's a, there's a lovely little yellow. We'll take a little bit of the blue. Just write straight blue, like that. There it is. Mix it in. And we'll put a little a bit of that in here. And they're going to come along the side of the road with that blue. Okay. Now we're over to the other side. Is it okay if the blue spills over into the road? Yes. It's okay. No mistakes in art. Just redirections. There is the green. I think it's feeling spring. I get a feeling of spring here. We'll look at that nice variation there. Let's put some warmth up against the house here, right there. Definitely. I'm getting a feeling of spring. Just tap a little bit in here, look at that. And now I let that dry. Why do I let it dry it? Well, because I want to see what it looks like. So just have my neutrals here and have a little spot, a little spot there that got a little out of control. I like to hold a paper towel. I find it helps to take that and see what happens there. Now it's formed a little circle there, which I just gently rub. It's ultramarine. Why? Because it's coming right off. Hold. Let it down. Lovely, great. See what the pencil just taking a little bit of color. And the tip of a brush, that's Princeton brush by a Neptune. Princeton Neptune number for $35. It's a fabulous little brush. Now, look what I'm doing here. This pain is going to have what's called a gray scale using some neutral colors. I want this to shine out. So look, I'm going to put a little bit of this neutral up in the sky here. And my smoke, it's going to have a little bit of white there. There we go. These look like trees in the background. Now that's something I'm quite pleased with. Is the, that look right there. This arches 140 pound paper. It's pretty, it's pretty decent. Now you see how I'm leaving the white around this little one here too. Now if the trees are oranges here, they should be a little bit of orange here and up, but I'm going to bring some mist coming in here. So that's enough of the orange. Clean my brush. A little bit, little bit of orange there. Road in the orange first. That's pretty much what we did in the other picture. But look at, look at what I'm doing. See the sparkle. Just by running the brush quickly over. You get some sparkle. The shadow on the tree is going to be violet. So I know this is a little thing, but I'm going to put in the shadow there. And for now, I'm going to put in the shadow on the house, just use just using little like that, just little, little marks like that. Okay, last thing I have to do is the green, which I've already mixed from this picture. And this one is drying up and it's great. So I may need a little more of this screen. So I'm going with the cadmium. This time I'm using a little bit stronger cadmium and a little bit of the orange. I'm going to keep it a little more on the orangey side. See the sparkle again. Don't be afraid of sparkle there now it's bleeding in nicely. The spring that right across. Not sure about that. But I like it because it extends the house. So soften the edge. Very damp. Brush. These can be all low, low clouds in the horizon. There. Great. Now I want something coming down here, so I might just lift this abet. You see that brush lifts like a, it's kinda pointing to the house. Bring this yellow up into the house. He just by tapping, I want a little warmth on the house. Tap that in like that on both sides. And we can darken that later. So just put a little blue in there for now. So there's a couple of color nodes. We have a little red and blue. You see how this is coming down? Very, very. I'm going to pick that up because I want this white spot here. I don't want to get rid of that yet. And there we go. We've got a good start for both pictures. What do I do? I let them dry out. I find that when I do the first land, I gets excited. And sometimes if I just keep continuing with the wet paper, I lose something. I don't admire it enough or something. So let it dry, give it about 15 min and let it dry or use a hairdryer. 12. Finish Little Country Road Study: We can have a lot of fun with this simply by warming it up. Done the big things we're gonna do two things, warm something and create a really nice graded wash here. So how do I warm here? I take a little bit of cadmium, put it on, put it on here, just like that. Then clean my brush. So you have a bright color node here. And now all you do is faded out. Faded out by adding water to your brush. Just like that. That's not going to be that yellow when it's finished. But even if it is, all you'd have to do is lifted off a bit. If it's too yellow. So there's the grass coming right up and as things get farther away, they lose their color intensity. So by the time I get to here, you see it's lost its intensity. Next step, dark to light right here. I'm going to take some yellow ocher. Then I'm going to just take my dry brush. I'm gonna come up. I'm going to add some warmth to the picture here. So I'm putting a warm undertone where the trees are in the distance. Leaving a little white baby pop it in here. Let that dry. Oh, look, the road ends here and then there's nothing here. That's interesting. It's like the two worlds there. It looks like the house is sitting up in the air there. So what I want to do is just add a little line here and maybe a smaller little section of trees there. Now this is the other side of the house. So perhaps what I'll do there is add a little more bright yellow there. So it looks like there's grass behind the house also see bushes, whatever. Now it's level with this spot right here. And I can read it up later. If I want a little bit of the brown behind here, too, little bit of red. Put down a little bit of color in there. Take a little, let's make it a little less bold. Let's neutralize it a bit with just a little bit of the ultramarine blue. Then we come in here holding the brush up and it's a little greener. Okay, Now, now that works better. Put a little more of the green in there, tap it and this is all cricket here. Look what happened there. That's got to come across here. Now. Yeah, I think I'd be able to draw a straight line. But if you're not paying attention, That's better. So I'm going to use a little bigger brush. And I'm going to mix up a lovely brown using a little bit of the cadmium orange, isn't it? That's a nice strong color. And I'll take a little bit of the ultramarine. And the reason being is I want it to be neutral, neutral brown, not too warm and not too cold. There we go. So we're gonna go dark here and was gonna go cross the shadow area. C. Disliked that. It's a little hard to see upside down. Then I'm going to add a little water to it. Keep bringing it down. If I miss a few areas that's good. Little bit showing, then turn it around this way and give it another little swirl like that. And remember, we can erase all these lines if we'd like to. So for the shadow area, now that I've decided that as a shadow there, I'm going to make it a little more dark. Now, ultramarine. That's a grainy color and this is Arches paper, so it should look pretty good. It will come right off in here and just give a little swipe. Swipe, swipe, see, isn't that great? It does not add little interest. The side of the road here. Okay. It and where the houses, the shadow on the road, where the house is C. And now we can do a little bit on the trees, we can give it a little bit of the brown. Hey, the bark on trees is brown. That's one thing we know. Not always, but and on the side of this tree, we're going to come right down beside it, like this. And on the underside here, I'm just putting a little, little bit of paint here and there. Little bit of paint. That's all. Nice. Shadow in there. Not really a shadow, just a little texture. Next thing I'm going to do is put a little quick little wash in the sky. Turn it upside down. Watch my edges. And what should I do to the sky? If I make it darker than the tree, it will really stand out. But what color do I use to put in the sky? This is a neutral and it's kind of violet. So let's make up a violet. Let's stick with a secondary color and not get complicated. We'll take a little bit of the hello. There's a nice violet and put my brush in the water and add lots of water to it. And let's begin. On the light side. I'm going to edge out all my little limbs. Now to do that, you have to have a very good brush that has a point on it. But it's not difficult. And for those of you who like to do a few controlled things like this, this is a great little simple technique to do, but you can't do it with a cheap, cheap brush because it won't hold the paint. But with this brush, I can hold a lot of paint. It's actually like a felt pen. Now I've done all that. So I want everything to go to the top and let me pick up some of that page. See see me picking it up. Picking it up. They can even use the side of the brush. And why? Because I need to finish the sky. And now I'm going to go over the sky with this. And I want to add some water now. And this little tree here is in the spring. So I'll show you what I'm gonna do. I'm gonna bring that close to it, go around up and leave just a little bit here and there has not a tree joke. Leave. Okay, here we go up to the chimney. And on this area here, we're just going to pop it in very simply with our brush here and there. Even if we leave a little bit of white showing it, that's great. Posts. Very simple. Little bit of a shot of a darker violet. I was driving along the highway the other day. And boy, a lot of these fences are falling all over the place. They're all benton. Oh man or disarray. There we go. Do a great job on this with just small brushes. Just tiny brush. This is the roof on the other side. I make it thinner. Every golf dark underneath. That's the soffit. And I can add some of that on the trees too. So there we go. We're moving along on a little picture, adding here and there. Little darks, little lights on dry paper. I find this a little dark. So there's two things you can do. You can lighten it or to make this a little darker or an unnecessarily darker, but let's make it brown or I add a little bit of my cadmium there. And I have a nice brown, you know, depending on where you live. Gravel can be gray, red, can be all manner of colors. So I'm mixing right on here with this mixing right on here with this little brush. The middle, keeping it rough. And once again, this is Arches paper. A little bit of green this time seemed kinda coming into the shadow area here. Things don't have to be always red, yellow, and blue. They can be different shapes. Okay, let's take a little, little bit of the ultramarine. And let's keep the color a bit to make it more neutral. This looks more like evening time. The trick is to make it blend together. And then the paint will do its own mixing as it dries. Yellow over here, another bright yellow. This one has a little bit of phthalo in it. Water. Come right up to the fence posts. Over here. It's a little brighter. Pull it up in here. Hey, I can make this fall simply by really going big on the oranges. Let's put a little few darks into the into the road. Couple of darks. Spread out. Add a little water to them. Sure. That is Harry. Side of the house. Inside the Windows. Shadow on the tree. Hey, let's make that dark green for the shadow. A little red. Little green. Whoa, we went a little bit harder. I got a little red on the end of my brush. I think of this as like a quick little study. You don't wanna get too serious about it. We just kind of trying to find a nice imbalance for everything. I can go a little darker on the shadow here. Little shadow underneath the soffit there. Now watch what happens when I do that. Read in the chimney. The whole picture comes alive. And I use a nice bright red. On the other side. I add a little bit of blue to the red and get the shadow side. I can put in some of the branches. Notice I just hold the brush. And poet. I'm always surprised at how wonderful the colors turnout when you just leave them alone. Three little accents in the road. Take a little green. I'm going to lose the road scene. There we go. Pull his green right up into the road and bet. And one last dark to tell me where the road ends. Using some of the cadmium red, a little bit of burnt sienna, and a little bit of the fellow blue. And we're going to add a little quite a dark right in there. Coupled darks, well-placed will always make your painting look interesting. And we can do some more darks later. There are some well-placed darks. 13. Big Wash Big Country Road : One of the easiest things to do is the flat wash on dry paper. Next to that is the graded wash. I'm gonna I'm gonna be using a little bit of burnt sienna. Now if you don't have burnt sienna, you can take a little bit of cadmium red and some yellow ocher, you'll get it more or less the same thing. You'll notice that I put the burnt sienna with a little bit of the blue here, a little bit of a dirty paint. We say dirty just means it's neutral. And now I'm going to come down my papers on a 30 degree angle. And right in here is a shadow. Now I'm going to leave the shadow a little bit, just going to skirt over it like this. You see that? That's my first application. Next, I take a little bit of water, add a little more of the burnt sienna, so it's a little more saturated with color. You see? And this is where I pull my brush. You see, I like this right here. They pull it like that to get a texture. Not all the way. Part of the way, as it gets closer, what I wanna do is I want to add a little bit of the cadmium red. I could add Alizarin crimson, but the cadmium red and the burnt sienna are granular pains. So they'll go down into the little grooves, which is what I want. Once again, coming in fast, especially up the middle, see the curve. Pulling up. This is the good thing about arches as you can. Pull the brush right over the top and you'll get a very nice gravel texture. Okay, Next, I'm going to now add a little bit of the ultramarine. Ultramarine is granular, so I'm working with a grainy paints. They're all going to sit on top. Now here's where I'm going to be adding a few little dark spots, especially in the middle of the road, the side. And over here, just here and there, I'm going to really sweep across here. Slow and fast, slow and fast, slow and fast. Slow and fast, slow and fast. Right down to the bottom. And I don't mind leaving these little white pockets showing, or we call sparkle because that's what gives texture. And we're working dry paper. Now another very simple thing to do is intensify, intensify color. Let's take a little bit of this. Cadmium. Deep or middle. It's more of like a mid tone. This is be lighter, but a little cadmium, and it's pretty much full strength. And I put it right in front of the house like that, Right here, right up to the tree and passed it a little on this orange tree. And then I take my brush. So I put a dry paint on dry paper and now I soften the edges. Softening the edges. Great little trick. You can tap the edge like that. But now you have a high concentration of paint in one area and it's diffusing around that high concentration C. Farther away. You don't want really intense pain. Because the further something is away, the less intense things are. This here needs a little bit of burnt sienna, a take a little bit of it, get rid of most of it. And I put it on the dark side. Just like that. Just one little stroke and I leave it just leave it alone. Okay. What else can we do with the burnt sienna? Well, let's pretend you don't have burnt sienna and let's make some. So in order to make it, you're going to need a little bit of cadmium red. And we'll put it right here. And you're going to need a little bit off. Yellow ocher, little more, yellow ocher, pitch, more. Maybe, let's use the cadmium red deep. Now you'll notice it's not as dark as that. So we need to darken it with the smallest pinch of ultramarine. Okay, now I'm going to give that a little swipe there and you can see is very close to here. So let's put a little bit of that on a fence post. Let's just put a little draw it on like that. See them. Paper's dry. So this Arches paper picks up the texture of the fence post. So he laid at 45 degrees and pull, pull. Don't be afraid to give it a little poll because that gives it character, pull, pull, pull back here seems to be some little fence post CDR. Wonderful thing about the country. It's full of old fence posts. Maybe on the back of the tree. Just a little bit. Pull pull, bark texture, pole, pole. On the roof. Just the tip. This is more of a kind of a push AAC. Just the tip of the brush. Comes along. Little warm shadow shirt, little bit in here. Sure. Little bit on this one. Why not Tap, Tap C? So now I've done some details. Here's my rail and this one seems to be broken. I'll leave it broken for now. There's a rail, there is a rep there was a rail. Just pull, pull, pull. You can practice pulling like that. Or you can take a pencil, put it in your paint. And then I'll just do it up here. You see, just draw with the pencil. It's like a watercolor pencil. Taken regular HB pencil, and do your fine lines with your, Their can use it for all kinds of little details. Now we have to add some shadow areas. I like to use violet for the shadow area. So I take a little bit of the I'm sticking with the ultramarine today. I liked the grainy paints and to take a little bit of the Alizarin crimson. And again, a fairly good purple. I like to check and see what are the purple is like. Perfect. And what I'm going to do is I'm going to turn my picture so that you can see what better. And I just put the little purple drop it in. Remember I'm doing this smaller things now, not the big things. All go back to the big things later. Notice how I've used the purple and the tip of this little tiny brush is not That's brushed about a three or a four. There is a shadow, little purple in that shadow. Where's my there it is. And where I put the burnt sienna. You see, it? It kinda blends right in with it very nicely. Okay, Here it comes to shadow on the, on here. No, shadows are typically soft. So what I wanna do is lightly wet the side of the building. So you get your brush wet. Little sienna there. I don't care. I think I'll just go right over that. If it spreads and spreads. Let's see. Just wet it a bit and let it sit for a moment. And while it's sitting, I'll show you how to do a ground shadow. Ground shadow. You don't have to wet the paper. But I do have to get a little more of this crimson. And I'm gonna go a little darker this time. A little bit more. A little more. There we go. Okay. It's a little darker. I'll do the bottom here. You see that's a little dark. But I can lighten that very simply by touching it with a dry brush. See, I touch it. Just tap it lightly. Of course, the pencil underneath dolls the violet nicely. And I'm looking for my little dark spots here and there. Just using the tip of the brush a little bit here. When you do the faraway trees, just put in a few of the key branches like that. Put too many in. Now that is a typical shadow. And we have to run it up into the base like this and soften the edge. Leave that little white spot. Soften a few edges. There we go. And we're going to soften the edge here to shadow is really ground things. They, they, I like to use my left hand instead of turning the paper. Keeps me sharp. There we go. Now that shadow is nice and light. Just tap it out a bit. Pure yellow here. Come right up beside it with kind of rough, rough it up a bit on the rough paper and dry brush. This is called dry brushes. When you take that pure culture, you have rub, rub, rub it. And this is a really good technique. Dry brushing, it will give you texture, especially grass texture. A simple thing to master. Dry brush, come right up to the shadow. Blended into the shadow. Just gently. Dj ever so gently, blend it into the shadow. Sure, we can add a dark right now. Sometimes I wait to the very end of the painting to do it. I'm going to mix my little shake, burnt sienna with my ultramarine and just kinda put a really good little dark spot, drop it in, see, I'm going to drop in a few little dark spots. Are they going to stay this dark? More likely not. They're probably going to lighten up a little bit. There are a few little dark spots, just a little dark dots. Why am I doing this? Well, two reasons. I'm decorating the painting. Or you might say I'm accessorizing. Kinda like shining up your shoes and putting a nice colorful hat on whatever. Put a little bit of that into the Windows here. Oh, I forgot them on my shadow. So there's my violet going to lighten it so I don't want it too dark. Take a little bit of violet and there it is. See, I think that's about right. And here we go. So there's a shadow and it comes up the side here and just kind of you just kinda give a little wiggly tree. There. There we go. That's a good shadow. I want to do a graded wash on dry paper right here with a little bit orangey brown. So there's my violet simply by adding a little bit of the cadmium red. Or you could add a little bit of the crimson and a little bit of the, there we go. Look at that. Now that's almost a bird Sienna. See, I mean, I'm a burnt umber. Burnt sienna, burnt umber to grade browns. Okay, so I want this a little orange. Orange here. Is there a word called orange here? So I'll take a little bit of the handset. Or if you haven't your cadmium yellow light. Now a little more of this. Okay, there we go. Watch this. I'm going to put one swipe in here. It's quite dark can see. But using my dry brush technique and moving it across and getting a little fringe. You see on the top. It's beautiful thing about arches. As you get really nice textures. Now I'm going to go around my little orange tree there and leave that. You can always get it later, come right up to the tree and continue right across. And I'm really the brushes just about gone now there's nothing left in it. See? Now what I've done is I've gone from dark to light or dark to light. Dark to light or dark and opening and let it dry, put another wash on it over here. A little bit of that orange that we just made that little lovely color. You see, it's kind of a brown. Let's put that on the tree here. Now that's a little dark, so I've gotta get rid of it. Empty my brush. Once again, dry brushes, dry brush and Robert, leaving little bits of white here and they're dry brush it. Dry brush. It's almost dry brushing, I would say if you're good with a pencil, you could do an entire watercolor using dry brush because it's almost like pencil shading. But we'll look at that nice purple down in there. So dry brushing. Now over here, we don't want it to be warm. We want it a little cooler. Isn't warm. So we're going to put on a cooler, wash over here. And one way to do it is just take some blue. So here's where I can really come in here and make this tree stand out of that. Especially if I leave these little white spots, probably a little darker there and take a little more blue coming right up to it there. And darkness here. Lumen here. We go. A little bit of violet to it this time. Leaving these little industry indistinct shapes there. For interest. This tree is going to be darker later. There we go. Let's take a look at that now. So this one looks like it's in the shadow. This one looks like it's in full length. I mean, I can do a lot of things with this. Let's just add a little spring green. My favorite spring green uses fallacy and a little Hansa yellow. And in the spring the green is quite warm. So there we go. And it's gotta be very light. And we're going to put a drop on. You, just get rid of most of it. Kind of a dry brush. And we're just going to put a little Hazen. It's into maybe the first 40 days of spring. And that's when the blush of spring turns green. Let that dry. Then we'll go back to some big areas. 14. Finish Big Country Road: Lots of little things layered on top of one another. One of the styles of watercolor. Keep at it and keep some paul, definitely some ultramarine, and some cadmium. You put those together. Just get the right amount in here. There we go. We're getting there. There. So the dominant color is the ultramarine. And then we put it right in here. I'm gonna check and see how Darkness. Yeah, That's good. Now watch this. My brushes, absolutely full of paint. I start with the painting upside down. And I go right across. Add some water. Remember water spreads, watercolors. Add some water. Just go right across, get the, get the dark part in first, then turn the paper this way and tilt it down. It's easier to see what you're doing when you have the painting facing you. And I darken the bottom part of the road. Like keep adding water to my brush so that as I get farther away, the road is lighter. There we go. At this point, you can get a very dark ultramarine. Say low bid of this one. Better that there's dark and give some swipes. Like that. Three will work. Maybe four. There we go. Because it's a country road. If you wanted a puddle, you would have left some some of it there. You can even put a little quick one here for gravel on the side of the road like that. Before that dries, you want to get the grass and it more or less blends into the road. So here I'm taking some strong cadmium that has a little bit of yellow in it. And I'm also following that shape of the road with these little grasslands. Going right over the posts. Skirting over the paper gives you the texture of grass. Taking some fallow green, mix it into the dark road color scene. And now you can drop in a few little dark spots. And they will mix, especially on the side of the road like that. In the shadow here, a little bit of dark green maybe, and maybe like that. And then a little voice just said, that's good Ron. Except for here, because that's in the shadow. So the dark green is good in a little bit of the shadow C, because it would make the grass darker. You know, sometimes I just get tired of blue skies. So what I'm going to do is I'm going to get a very light orange using some, a little cadmium. Just a bet. This is cadmium. And this is cadmium. And now I have an orange. Oh my goodness, that's really quite orange. What am I gonna do with that orange? A. Let me put it at the bottom here. The paper is dry, my brush is totally loaded. I can always key the colors if I need to. Going over that little white spot we had before, I'm sort of going into the tree a little bit there. There's my smoke and I'm dry brushing right over the tree and leaving some of the white showing as little speckled clouds. Your client, your sky does not always have to be orange. And this guy doesn't always have to be blue. There we go, Look at that. Let's take a look at that from the other side. What do you think? We put a little bit of that orange in here? Maybe just to snitch on the house. Not much. Just where the shadows. Now that orange, I like that orange here. Wherever I see it needing warming up. So now I've decided that my picture is going to be warm, not cool. There we go and take a look at that now. And I can lighten anything I wanted. This is still wet so you want to make sure that you let it dry. Very important. The next step we're going to take the tape off and put the final details on. Hardly can wait. By adding a small amount of the ultramarine to that. Over like this, and add some darker greens. Just adding some scattered darks, especially, especially in the shadow here. You want some dark greens. Pop and pop them in and just add a few dark accents on a few of the closer posts here and there. But as you get farther away and keep them light, maybe a little green in the window there, see little shape in the window there. Maybe a touch of green at the bottom of the chimney. Little dark spots in the porch. We'll see someone there where the face and two arms. But the fact that I can almost see them is what do I want? I don't want to get two distinct darkening, darkening, darkening here and there. Let's put some tire marks in the road. Two ways to do it. You can use a flat brush like this if you have one and tire marks, theat interests. So he put some little Rob here, a little rub here, a little rub them and make them closer. Wider. Here. Let them sit for a moment, take a paper towel and rub them. It looks like a tractor tire. And put a few more in sometimes in the summer. And even in the spring of it's dry, you get a washboard effect on the road. All these little ridges everywhere. If you don't have a flat brush like this, you can use a round brush. You put it on because we used ultramarine. It'll come off. His wedding in different areas. Rub it a bit, let it sit in. Take your paper towel, touch it gives texture. You can even turn your paper this way. And you can open up a little groove in the road like that. That's called lifting. Very simple. Not hard to do at all. Lifting. Okay. We're going to need to put some sandy dots in here because on the side of the road, that's what you get. You get a bunch of Sandy marks because the tires throw the gravel up to the side of the road. So I just mix up a dark using all my little colors here. And I can take this and just tap it in like desk with my brush. Tapping in a few rocks or what we call gravel and sand gravel road. Now these will die drei about 50 per cent lighter. You can spatter it too if you want. Most of the rocks are in the middle of the road. Don't overdo it. It's just a little, a few little accents like that. And as you get closer to the bottom of the road, you can actually put in some colorful little stones like using some of the cadmium. And once again, we're decorating. These are the details that you can put in. You don't have to. But I like decorating. Put some on the bottom here is just adding a little color here and there. Especially near the top. There we go. And remember, everything dries lighter. When I do green, I like to use layers of it. I don't like to just put on one big thick bunch of green. Oh look, I tend to little cadmium there. Maybe some bright yellow over here. And a little bit on here, see not too far away. Maybe a little bit in the tree up here. Just, you know, maybe the buds are just starting to come out here. Put a couple of little be the yellow dots up there where the white is. And over on the other side, maybe more of a crimson. Maybe it's a little later. Put a little better. Crews and hey, little little buds. Little bit of red in the grass, brown from the previous year. Little bit of orange on the sky. I'm going to go with a little more orange at the bottom. Go around my tree, maybe through it a little bit, see. And as I come up, I'm going to add some water. So actually the more intense color is at the bottom of the sky. Perhaps it's morning. That's maybe why the chimneys on. It's morning time and it's a little cold out. Now, we have all those little burnt sienna drops in here, I kinda think why don't think I'll just kinda move those in. Nice. I like it. And maybe put a little bit more orange on here. And I could just keep going and probably will when I'm finished the class, look how that standing out now. And the reason being is I think you've got the idea that there's a lot of little simple things I'm doing here. Nothing's really too complicated. Just a lot of little simple things. Lots of little additions of little bits of here, little bits. They're warm it up here, cool it down here. That make a shadow here a little bit darker. Just like that, coming out on the road a bit nice. I think that gives you a really good idea of how to do this. How to take simple things and enjoy mastering. The simple. Added a little bush, added a few more rocks. And darkened here was a little more of the cadmium yellow and the cadmium red left this little stream here it almost looks, does it look like a cloud is sort of a offsets this to the smoke in here. Just add a little more water to it and thin it out. You can really pull the paint out by adding water. I couldn't put us Mitch, a blue over here. In the morning sky, you'll always see a very clean, clear blue somewhere. There's just a little bit of phthalo. Come up in here. Put a little tiny bit on right over the tree. And you can see that beautiful neutral color is still hanging in there. I like, it's kind of nice and cools it down a little bit. That's pretty hot. So there we go, that little bit of blue. This nice per little bit in here. Smoke has a little bit of a blue cast and I think we're done. Keep at it and keep it simple. 15. Mastering Accents and Details Country Road: The look of your painting. It can be just a shape that you're putting in. Like these are sort of, they look like trees maybe over here. But it also gives you a road, some dimension. So the road looks bumpy and movements see that tree could look anywhere you want. You can make your shadow. Any shape you want. See shadows on a road. Give interest. Plus a little shadow right there. There. What simple and what's mastered becomes easy. Once I get it to this level, if I want to bring it to another level. What I'll do is take some of this white and I'll mix it. I'm just going to mix it here so you can see it will take a little pinch or yellow. This is watercolor, but this is gouache opaque paint. We call it opaque. Meaning you can't see through it, but that doesn't mean you should use it really thick. It should only be thick enough to cover. And I'll show you what I mean. The rule is in the shadows, you will get more saturated colors, but in the light, you see that little drop there. That means it's too thick. I'm going to empty some of it. I'm gonna get a little more of the white. That's about right. And I'm gonna put a few little dots and which represent where the light is hitting. The white. Goes right next to the little dark stones, but not in the shadows. You can also pick up little accents. Just in-between the little shadow holes you see. Now these will dry darker. The opposite of watercolors. They dry darker, not lighter. So you can also just pop in a lot of these like that and they will dry a little darker. But they will add some interests to the gravel. What else can you do with them? Well, if you add some yellow to it, little more white, just thick enough to cover C. And I can pick up a little bit, might be a little bit too much. There we go. Just dark.in a few little spots here and there. And remember, they'll dry a little darker, but they'll still be lighter than what you put on. So this is not fixing the painting. You don't do this to fix it. You do it to bring it to a higher level of finish. Finish always means the amount of work brushstrokes that you've put on the surface of the paper. So the more finished that we say, the more finished it is. There we go. So I can just kinda tap those in. It'll give me a little texture. There we go. And that's the actual white of the paper there. Okay, Now comes the fun part. What do you do in the shadow? Well, clean your brush off first. Another brush handy, whatever you like. And let's just, let's put something cool in the shadow will take a little bit of this. The cobalt slash manganese type blue. And now this is a little dirty. So we're going to have to clean that. The easiest way is just put a little water on it, take a paper towel and touch it. And there, it's all clean. Just like you want clean colors in watercolor. You want clean white, gouache or opaque watercolor. And that's what this is. Opaque watercolor. Look at this and take this nice, beautiful blue in the shadows. There's that first one we put on there. So need a little more of this blue. And of course, water, you don't want to be using gouache, especially if you get it in a tube, straight from the tube and onto the paper, it will crack over time. You have to add water. Water sets the glue in the paint. And if you don't add water, you're gonna, you're asking for trouble. So look at the little blue, how it picks up the little cool areas in the shadow. See just a little here and there. You don't want to overdo these little shadow accents just a little bit here and there. Beautiful could even put a little pinch up here and watch this, this little blue in here. 16. Simple Summer Birch/Start-up: This is what we're working from a little sketch I did in the summer. It's a good demonstration of wet and wet dropping colors. It's a good demonstration of putting medium wet colors into wet background. Also taking the end of your brush and scoring the paper. An artist usually doesn't get things. So first time, sometimes we do, sometimes we get something out sketching like this and it's just wonderful. You take it home and you go, there's nothing I can do to it. Then you try to reproduce it or do another version of it, or maybe put more detail into it. And things don't turn out quite right. Well, I can reassure you that if you've done it once, twice, the third time, as they say, is the charm. You need to repeat things in order to master that. Going to work on the trees, I'll show you what I mean by that. If we put a line down like this, just with water and let's say I didn't use a pencil or anything there. So I'm not going to use it here. But what I'm going to do is I'm going to drop. Now, while that's soaking in, you'll see it's paddling down. I have my paper on an angle because water does run downhill and this is watercolor. And now I'll take my medium-sized brush and I'll just come in here. I just take a little bit of the paint heresy. And it's alizarin crimson, permanent. Do not apply Alizarin crimson unless it says permanent. And then I'm just going to touch it there. I want to let it dry run down. You may have seen this before in your watercolor journey. No, maybe I'll put another little stronger one here. See. Now, instead of cleaning my brush, what I'll do is I'll use another brush. Always prime the brush, this is a smaller sized round brush prime it that gets the water inside here. A simple thing to do but master it. Always prime your brush. Then add a little bit of this failover, blue. I'm going to let that Nixon there. Clean it off. Now you'll notice that there's some very beautiful browns I want to call them, or the column tan. Tan color. That's from the yellow. So when you give it three colors mix together, 123, you get a neutral. Sometimes we call them gray. We're going to take the water from the bottom here, take a little more, put it up here, and here, gently mix them in. I'm keeping my colors on the paper. Now I will take this out, put it over here. Now what I can do is lift it and let it mix, let it mix. Brown coming up. How did I get this? Lovely white here? Well, easiest way to explain it as I put the next color on and left what's called a Lacey edge. English watercolor painters who left little edges of white all around their subjects to give the painting some sparkle. Simple thing, make sparkle. Let's take a little bit of green. The watch. I'm going to come close to this, but I'm not going to quite touch it. There we go. Let a fan it out, take a little water. It does help if you turn your paper sometimes. Let's touch it this time. See what happens when you touch it. If this lovely dispersion of the colors. I can take a little more stronger green, just a little blue. Dot money or colors, be gentle with your colors and use pure colors. I consider secondary colors the mixture of two primaries, pure colors. Now this is wet. So what I'm going to do is I'm gonna put it right here. And we're going to bring it right into there. Skip little spot. Leave that little white showing how Mendel take the end of my brush now and score the paper two times. That will create a branch. It will darken. I can make it come out here with maybe 2 ". I'm just playing around now. I can add dry paint to the wet paint. We're working wet and wet. We left a white edge here. So dry. We added a wet paint to the wet paper. Now we're going to add pure page with no water. Right here. And here. Maybe here and there, here and there. And some pure yellow. We're going to key the paint, key the color right on the paper. One of the biggest misunderstandings of watercolor is when you put it on, it's going to be the same. It's not it's going to dry, much lighter. Some dry or color, maybe a little water and the color but not too much. And I come right up beside the tree. It's not going to go into the tree. And now I just kinda dab it out like that itself to a few strokes. Don't, don't get all carried away trying to add too many strokes. And then I'll put a branch in there. Maybe skip it there. By adding a little bit of red to it. And keying the color right on the paper. You don't have to be mixing it all together. Just put it on and then leave it. Let's go down the bottom. Give it a swish. I like swishes. See, here's another Bush. See, just let your brush get kinda ragged. Will bring it right over the bottom. It's just kinda Rigoletto rattling. There we go. Take a little bit of fallow blue, appear a pinching of the alizarin crimson. And what we're going to do is we're going to add, I'm going to think about this because this one is different than this one. I'm going to add a little bit of purple right in here. Now because the paper is still dry, I'm going to skirt around the leaves here and leave some more white edges. C. And if I happen to bump into the leaf or leaves, that's okay. Because it will create a nice, soft, hazy luck. And I'll bring it right down into here. There we go. A little bit of darker purple key, the color right on the paper. So let's give this a little world again and see what happens. Draw the picture with my pencil. And just a little bit, just to add the little birch tree gives me a little bit of a guideline. First tree, and the next one is here. And it bends a little bit which birch tree is due. And then it bends a little bit this way. I'm using a violet Prismacolor. I'm going to leave this section because that's where the leaves are going to go. And I'm going to follow the contour. If it goes in, I go in here a little bit wider at the base. This time I'm going to start by doing a sky so very light yellow. And you can see the pace. Still got a little bit of yellow it can get without getting too green. Then we're going to put the yellow in with my big brush. Let it drip down. If it has two. There we go. So that's a flat wash on dry paper. Now can see a little purple over and they're there for the Cloud, or violet or just crimson. To take a little crimson. We'll get a little bit of a pop in there. That's probably what I did when I did the painting. And then what I most likely did it. Let's go and do the purple behind right here. So I take a little bit of that violet color mixing these two. And now I'm going to come in and let it mix right into that sky. But I'm going to leave that white edge I talked about. I'm not going to touch the edge of that purple. There we go. Bring that over there. And to get the mountain and proper, I'd probably have to take a smaller brush, come up a little higher right through there. Pull it down. I'm going to take some more of the failover and probably dropped a little bit at it. At the top. There we go. I think that's gonna be right. Remember they dry lighter and it won't be exactly the same, but we'll get fairly close to the same effect. There we go. We let that come right down into here. Cleaner brush. Obviously the birch trees are coming now. Maybe pick up a few drafts, soften the edge there. I started to see my birch trees and feeling good about this now. But feeling good about it. Now I'm going to squeeze out a little more yellow. A little excitement in my voice because watercolors can be excited. You know. I mean, I could add one of these. I see here, see, look dark. One of those couple of days. Skip a spot here. I can go over that later, but put a couple at the bottom. I think I can add a little dark over in this corner and the bottom, I like that. It takes some of this blue and yellow. Put a little bit of dark in there. You need to repeat things in order to master them. But you will be very pleased with your efforts in this particular project of the two summer birch trees. 17. Summer Birch/Lay-in: The final version, I'm going to tape it to a piece of mat board using painter's tape. Reason I use painter's tape is because it doesn't stick to the paper and leave a bunch of acid residue on it. Masking tape is not your best choice. So painter's tape lower TAC. And once I get this taped, we'll be starting. Okay, so let's get to work. You can do two things. You can paint directly. You can sketch in the two trees as we did in the second example and go from there. Okay? So I'm going to sketch into two trees. Very quickly. Put it here as a reference. And I'm going to take my light graphite pencil, not a heavy one. I'm going to make some very light marks, which just talking dark enough so that you can see. I have a carpenters pencil. I like them. This is pretty much in the middle, but not quite. So I'm going to mark that in here. Mark the bottom probably about there and make it a little bit bigger. And then it bends at the three-quarters. So here's half. Here's about three-quarters. I'll put a little mark here in a bit. See this one's here and go a little darker. So you can see it. This one's here. There we go. And I'm not too fussy with a line. Going to skip that spot up here. See, leave a little bit of a white mark there, right there. I like these two here. These are cool. And I'm going to skip down here and follow it to the bottom. So you see how the contour of it goes in here. It goes around here. If it goes around there, I sort of rounded here, and then it kind of comes down here flat. So I'll just follow that contour right to the bottom. I will erase this later so that you don't really see much of it. Okay, the next one is over here and it's coming out pretty much like this light. Let me keep this one on the street side, but I'll stop at a little higher C. And I do like this little round mark here. I don't want to lose that. So I'll make it a little skinnier here. Make that contour. Put that little mark. I'm going to put a few of the marks and I like these marks. Birch trees have little dark marks and actually going to draw in a few of these, a little bit of the leaf shape, I like to leave shapes. See a couple of little guys right there. So now I'm composing my picture. And I know that the branches will go out like that. Uh, kinda like the idea of that one going up. There we go. Birch trees are great. They got all kinds of interesting little things hanging from them. This is a great little section here. We've got the dark mark there. So you notice I'm following my little sketch, but not too much. Putting in a few, little, little, keeping these soft. I'm liking the end, put a few of the little birch lines and these things, you know, that she knows birch tree, that's what they're about. A couple of leaves here. But this one shooting over here. And maybe delineate a few of these couple of little lines over here. I don't know, I'm having a fun with this. I might even get some in here. I'm going to put the mountain in here and bring this a little lower. Here comes the Mountain and hop over. Maybe it shows through a little bit here, cuts through the goods good to cut through the branch to see. Don't, don't let your line be afraid of that. Just go right through it. And I like these little leaves up here. And this one, oh, worry about that yet comes over here. There we go. Let's do three here. There. That's a decent little drawing. Now, we just have to use the techniques we've learned and make this into a capital little watercolor. Are you with me? Let's get going. We'll do the birch trees first. Wet them. Oh, there's a little bit of red on my brush. I forgot to check and see but you know what? That's okay. Well now you probably don't have readily your brush, so that's what we call a happy accident. And I would probably normally move with that, but I want to keep all things equal. So really going to clean my brush. And I'll check now, okay, now it's clean C. So I'm going to actually take that off. So I don't have an advantage on you. Remember, we're doing this together. And in order to do it together, we have to do the same thing in that it has to look the same. But we're gonna be using the same technique. Now, I've wet most of the tree. There may be a few little white edge is not touched Jesse. But remember the leasee edge whenever we do the next part will be leaving a little bit of white beside the tree. So we can learn one of the simplest watercolor tricks or hacks, whatever you call it. That is sparkle, leaving some white. Some of us are in Salem. Now, a small amount of the yellow. We can get that lovely neutral tan color. This is the first stage of the painting. This is usually we get all those little voices talking to you and maybe giving you some misinformation about your ability. That's when you stopped listening to that? Because I want this white lace you see? There it is. It's a little bit there, a little bit there, a little bit here. It's all over the place here. Okay, Let's do the sky simple because this guy has that nice yellow color, would take a little bit of the yellow and I'm gonna put it on like this. Now I'm going to just move that around, but I'm not going to touch the edge of this tree. Maybe put a little more here. You don't always have to make your sky blue. Sea. Leave that edge dry. Okay, bring it over here. It's okay to just come right underneath here. And here. See, there's my mountain. I might leave a little, no, I think I'll go over that. Leave a little sparkles, see little bits of white, leaves, little bits away. But I'm going to increase the yellow here and up here. And the reason being is I'm going to bring this right into the little bit into the mountain here as if it was early evening, maybe it looks or early morning, early evening. Now take a little bit of the crimson, add a little water to it. And yeah, that's nice and pure. And I'm gonna put that over here. So one of the things that you can master in watercolors is wetting the paper there with the thin wash. And then putting a little stronger on like this, that's dropping the color into the little wet wash you just made. That doesn't look like much. But when it dries, uh, you know, I'm gonna put another one over here. Going this way, kinda bringing in design element when it dries, it'll be all nice and clean. The paper and the water will do all the work. Okay, now I'm coming down with a stronger crimson seed. And this time we're going to go around my leaves and leave a little bit of white showing there. We're there right beside the tree. You see that white? There we go. Bring it down. There's my leaf shape, bringing this right beside it and leaving some white. And before it dries, I'm going to drop in. Leave a couple of more shapes. Their baby. I'm gonna be dropping in some blue. See the white shape. They're just left it there and I'll be erasing the pencil. So if I'm talking to myself, give me, giving myself all these little this is what I'm going to do. And there we go. Come up a little closer. Don't go too far away from the birch. That's it. Yeah, keep doing it. Right over here. Just let it touch the wet sky, their seats just let a cut touch a bit because it's all greenish down there. I'm going to take some yellow and blend it right and see what I got a little green on my brush, that's okay. Look at that. Let's look at that for a minute. Look at how we haven't paid attention to that. Look what it is. A nice little job there. What happened there is the paint drifting from here, but that's okay. Just leave that. That's great. Oh, it's drying. Hey, well, it is wet. I could wait and put another wash over it. But I'm going to drop a little bit of blue and just to, let's drop a little blue and a little section. All yeah. It's wet enough. See. Oh, it's perfect. Gently. I'm going over and then very gently rubbing it. Very gently. Just touching it. See that? So gentle because underneath it's wet and I don't want to rub hard because that gives you a nasty luck on your wash. So I am dropping the paint in here. The paper is slightly wet. So I'm just gently letting it come over. There we go. And I'm leaving that little white lacy line beside the birch tree. Now, once you've got it on, don't go over it. Okay. Don't don't start rubbing it. If you rub it. Now it's a little bit getting a little dry here. So I'm gonna get a little more of this. A little bit dry. You see if more water, it's easier to spread. Now, this was the last part I did, so it's the wettest. You see? You can you can drop colors in there. But when it starts to dry, keep your brush very gentle. I'm going to leave. Yeah, keep your brush gently moving over. I'm going to leave some of these little spots in a little bit stronger color. Whew, that's definitely strong. Might be too much. I don't want to add too much water, but I'm going to put in a little bit. So I'm liking it. I'm going to leave that, I'd like this variation of dark to light. I can take a look at my picture and I can take some yellow with blue. And I can stumble my brush. Leaving a little bit of literacy. The little spots I've left, little bits of white sparkle. Bring this right into here. No more of it. Just get some rough edges here. I want some grassy strokes. I just take the end of my brush and go like that. That works. Texture. There we go. A couple of little dark swift swiped maybe over here. And we'll let that dry. 18. Summer Birch Washes: I'm going to show you how to take a picture a little farther just by laboring a little bit over the painting but not destroying it. So I've increased my darks here. It's really a matter of tidying things up. I can take a look at this. It's a little too dark. I lift it. Really the, the English style of watercolor. Lifting was a very popular way of painting. You'll see it in paintings like Winslow Homer. So there's a little bleed mark there. I can leave it or I can tap it out. Let's see, stippling creates texture. Texture is always great if you're doing realistic painting. So I've added a little more. Washington here is C, and just by touching it with a slightly damp cloth brush, because the papers just almost dry. It creates a texture behind. It feels more like it's on a hill. Here. The line is a little bit thick. It has a little bit of a bleed mark. That's when the paint has a little bit of water that moves around and finds a little place to settle. There we go. I'm liking that, but I will show you how I add the darks. I take some fellow and a little bit of this yellow and the pages thicker, see just a drop of water, just a little drop. Little thicker. And then I put a couple of little dark strokes here and there. Maybe even tap them like this. And watercolors really do dry a lot later. Here we go. Rendering. So there's some cadmium with very little water. And I'm going to lay it right on top of this little flower. And this one. See, this blue is pretty blue. I don't know, maybe it's a primrose. I'll add a little red and that brings it down. Now I'm going to bring some up. You see? Notice how I've brought this in front of this tree. And the reason being is this tree is in front of that tree. So adding a few little, maybe a little dead branch here. I'll put a little puddle air. Bring it up like that. See a little shadow on the bark here. See it's starting to really move along here. I might spend a couple of more hours on this. Because a painting finished when it's abandoned. Alizarin crimson with some phthalo and a small amount of the ultramarine blue. And I draw a little puddle on here. This is stippling. It's a good way to do a flat wash. My board is tilted, so it's going to come down hill. Leaving a little Lacey edges around the leaves just a little bit. And you gotta keep it moving. When I'm trying to create here is a little darker at the top and a little misty in the valley here you can see in here. So maybe I'll start with this one. Right up against that birch tree. You don't haven't gotten rid of the pencil lines yet. As a matter of fact, I'm starting to not be able to see them, which is a good thing. They're just incorporated it into the painting. So I'm coming right down here and I'm trying to get dark against light. Now. I'm going to pull it down a little more. Just little, little strokes. Actually almost an egg tempera technique we're using tiny little strokes. Egg tempera didn't blend well, so they use these little strokes. So you see that's already set in. So it'd be quick when I do this and just do small areas. So I'm going to add a little water to that, just a little because it's going downhill. I'm going to turn it upside down. Now. There we go. You see, it's okay, but it's modeled if it's not smooth and that creates a little texture, especially here. So watercolors are very, very sensitive to moisture. So if you put something wet besides something dry, leaves a little edge like that. Okay, so now as I get over here, I'm getting into what's called dry brush is really quite dry now and I'm rubbing now the surface of the paper. The top part is getting the paint, the dry paint, but it's leaving little valleys because of the texture of the paper. And this was a technique used by an American artist, Andrew Wyeth and also Albert Durer, who's from way back when both of them use the same technique and there were five or 600 years apart, or get that now, we get that lovely texture on the mountains you see every time we do some, we get a little closer to what we want. Because we're using simple techniques and we're mastering simple techniques. 19. Summer Birch Shapes And Details: Now I'm going to be going to the next level. It's always a little scary to go to the next level because you've got something and you don't want to lose it and you don't want to labor over it. You want to just continue with whatever inspires you to do the painting. And that was this little sketch. I think I'll wet this shape. Being careful to come right up to that white mark. Because when I wet it, I allowing the paper to become more absorbent. I'm going to wet all these little shapes and just see what happens when I drop color into them. Okay, Just wedding little sections. That way I can use a small brush. Why? Because this area is wet. That means that the water on the paper and in the paper will do the spreading. For me. Watercolor is fast and furious. And it's slow and serious. So we're in the slow and serious mode here. And the Fast and Furious, that's not what you do, That's what the paper, the paint, and the water does. There we go. We've got our yellow. I'm just going to pop it in and look at this. Now remember the yellows tend to sit on top. They don't spread really quickly. Fatal scenes very fast to spread. So there I've got a little yellow one member. We're going to key the color on the paper. I'll put a little bit there. See those little white specks come in handy. We're gonna do this side a little differently. Okay, clean my brush, the paper is still wet. I'll take a little bit of phthalo seen here just a little bit on my paper. See, just a little bit on my brush, maybe a little more. And I'm going to add a little bit of water on the tip of my brush. Up here. There we go. Now let's see what happens here. See how it's spreading. Now. It won't look exactly perfect right away. Remember, you're not to be doing any of this work. The paint will do it. So your job is to get the paint on it nice and close there. When you add red to the green. Now you'll see that the green on my brush has made the red a little brownish. So I'm going to mix a little bit of the Alizarin into the green and give it a little tap near the, just at the top. Maybe here. And now I'm going to mix up a fairly strong green. And instead of keeping it on here, I'm going to take some thicker Fellow and some of the azo to make a secondary, which is the green, yellow, and blue. And now I'm gonna give it a little wiggle up here. Just in different places. A couple of little pokes here and there. And put one big, juicy dark, bright in here so that it looks like these are behind the tree on the other side. I'm going to wet the sky here. Carried up beside this and write into it, see, but not touching this right into here because we're going to be doing this part next. I'm going to keep it right here. I'm gonna be doing this part there. So wherever the water is, that's where it's going to disperse. Okay. Let that sit for a moment. I'm going to keep it down to a smaller brush just to start with. But then that will make this a big area. So that'll be a little timid. Let me be a little bolder. And I'm going to trust that the paint and the paper and the water will do the work. And in this case, I'm going to Take a little more yellow. See how I always take the paint from the side and a little bit of water. So we're actually putting wet paint into wet paper here. And I'm going to take a little bit of this yellow and blue. Start with that. Just the secondary, I'm not gonna put the red in yet. I'm taking a look at this as I do it. Mix it here just a little darker, just tapping it. Okay. And I'm not sure, but I'm thinking my paper should be flat to start with because I want a little control. And here we go. I know this is probably kind of a little scary for you, but we've gotta do what we gotta do right there regarding the sale and the Alizarin get quite as dark greeny brown. It's actually a neutral because you have yellow, red, and blue on the brush. And I'll do the bottom leaves first to put a couple little shots in there, underneath. Maybe up here and there. Now what do I do next? Well, the next thing to do is just watch it for a minute. Watch it. So I've cleaned my brush off. You're going to tilt the paper a little. Oh, it's running out. Look, it's running out. It's running along the middle branch there. So I might lift off the edges a bit like that. See, just clean up the edge a little bit there. This is called lifting. I'm looking for an interesting shape. So take my paper towel. Looking for a few holes in here. Has to be a few holes in them. In the leaf structure. Soften the edge there, soften this edge is touching it. See how when I darken it with the head end of the brush. And turning the brush like this on the edge gives you really gives you those little birch branch look. Bring that right into here. Like that. Rush again. And I take a look at my original me. See, I'm going to kind of lift out this part just with the brush like that to get and wet my brush again, dry it. Robert lifted robert. Put the brush in the water, dry it a bit. Just bring in a little more of a leafy shape. Can even take the towel now, precedent in here. Like that. I like that. I'll let it dry for a second before I add any more. To darken it. Take a little bit of this brownie green, going for a little darker, adding a few individual leaves. Even on the end here. Not the beginning. Just little spatters of pain. Okay. I've taken the tape off. I think taking the tape off gives you a little a little boost in what you think you've done. I'm forgetting about this now and I'm concentrating on what I've done bad. And a of Eta is that if you continue. The next level, and you have some simple skills such as dotting. This doesn't look very hard, does it? But putting the dots in the right place. Making this, where should this go? Whoa, going to put this in here. Add a nice little branch in there. Then we'll maybe little branch coming down here, see. Then dropping it in. Say I'll bet you this might disperse know. Yeah, see, let's go on down nicely. It will things look and starting to look very, very murky, Is that a word merchant. The leaves, put them on the edge of the shape. That's a little trick there. See on the edge of the shape. Just lifting off some leaves. So a small brushes handy and a small painting. Now, by lifting this off, lifting very simple technique to master. Have a paper towel, put your brush in the water, dry it off, rub, rub, rub. I'm rubbing down. Get a leaf shape. A color note is like an orange. There's so much green here. You see? If it's summer, we're going to have in summer we have more color in the grass. You know, these little there's some orange there. See these little color notes added to your painting. It's called decorating. Making your painting and decorative is just a wonderful thing to do. Here. There we go. There's a brighter orange and put a few of those in. I mean, this is not difficult. Putting little bits of origin. Shield against bold here. Sure, I'll get a bold. I pat my brush, put it down like this, and give it a little look at that. I'm very effective. What not to do too many. But I want a few. And I'm on my way now to a fairly nice little realistic painting. Pop in a few more of these. 20. Simply Finishing Summer Birch : So all that erasing the gets rid of the pencil marks. I'm going to take my badger hair brush. Now at paintings a little brighter. This painting took about 10 min. This one is probably going to take more than 10 min. And I'm wondering what do I do next? Well now I'm going to take some Thaler, green and a little bit of my blue and violet and making it a quite a dark green. It's fairly thick too. There we are adding dark sections, little dark spots. Now, am I ready to abandon this picture? No. Why am I keeping out? Because it's a different picture than something that's it takes 10 min. This takes a little longer. And I don't mind doing it. It's almost therapeutic these little spots. So I'm just going to go in there. Next, we're going to address the sky with the cadmium yellow light. I'm not going to do the hansa yellow or yellow, but cadmium yellow light with quite a bit of water. And I'm going to start here right in this corner. And this is called a wash. Coming right up to the side of this little cloud form there. And there's where my birch, I'm going to leave a little bit of white showing scene. I'll soften that in a minute. Who got a little cloud shape here? Like I'm going to put it down here in here so it's not so bright and white. Clean the brush off. And it's quite down, but it's not wet, like it's not soaking wet. And then I soften the edge. Soften the edge. Always soften the edges. I think it's time to scrub here so I can get rid of that line there. So I'm gonna take this brush which has a bristle brush, is damp and watch this. Because the Canson paper doesn't have a texture. You're going to pick up a little bit of the paper. The paper has come off a bit there. Just let it dry and don't worry about it. You've cleaned that edge up. You're going to clean this edge up here. You can see the little pieces of paper balling up. Those will come off when it's a little drier. Violet up in this corner here. See, so I wet it first. Why did it take a little bit of the violet? Check it out. It needs more water. Pop it in it. We'll bring that right in here. So it takes some yellow and some water quite a bit. And most of this is say, Lucene, which is great. And I'm gonna put a little glaze over it. But, you know, thinking about that, it's going to be a little too green. It's going to make this the same. So that's probably not quite the thing I wanted. So what I do is add a little more blue to the green. And this is keying the colors. We want more of a neutral color in there. We take a little bit of that. And a little bit of the crimson. There we go. And now we have more of a neutral color. And let's see what that does. Now we're losing these leaves, you see? But if I leave a little edge around them, little blue edge, then they will show up better. And the little pokes in the back of the mountain simulate the leaves too, because it more of a Adecco we call it especially near the top here I want to, I want these to be the darker ones. So you can have close values. Close values are where you've put something in that's not that much dark. It's the same darkness or lightness, but maybe it's cooler. Okay. Because it's cooler. It sets off what it's in front of it. Just like here. I mean, this is kind of green, but I'm leaving a little white spots here and there because I want to get over here and now and this is probably still a little wet. So I'm going to leave that alone for a minute. I'm concentrating on making this tree here stand up. Coming right down beside here. I want that edge to go away. Start with a little violet coming in here. See, it's farther away. So I think that in the kind of echoes that cloud up there, this little volunteer tree, I'm going right over that. I don't think I want another birch tree in here. Just a little bit of a we don't want a straight line. There are tops of trees, so I've taken that's better. A little bit of the crimson, put it there. Touch of the yellow. Not too much. And some water. Not too much water though. If you use too much water, it will disperse too much. There. That's what we want. Now that is taken that big blue section and it broke it up nicely. I think. I can bring the tree in a bit there. Okay. Yeah, that's much better. A little cadmium red, a little stronger, maybe. Read, alleviates some of the green. Do birch trees have a little red things in it? Of course they do. All trees have little accents of red, violet, purple. There's all kinds of colors in trees. Okay, to put a little bit of a thick cadmium in certain places. And, um, but you wouldn't do it in the beginning. But near the end of the painting. As you approach the abandonment, it's okay, put in some strong colors. So cool and warm, cool and warm. And I want to put it right in there. There, see right where that white is. Well, violet is actually a chromosome, but that's good. Put it down in here. Little spots of color. Little spots of color. You get a dark area, put a little bright red and have some fun with your colors. Everything doesn't have to be gray. It's going to leave it there except that that doesn't show up very well. So I think it's time for a little bit of crimson on the Cloud. Just a little bit. See that little tiny little snitch there. And that should make my tree stand out a little better. The paper's fairly dry here. So I don't want all my whites competing anymore. A little bit in here, maybe, maybe a little sweep down here. And I'll probably soften that a little bit. Always soften your edges if you're doing Clouds. Okay, that's enough. I think I am going to abandon this now. Pretty much done what I can do. Except for maybe this is a little needs a little opening up here. Okay. Enough. Said enough. Done. There we go. Last thing to do is sign up. And I'll think I'll sign it. Sign it in this corner down here. Put a little blue. Just do M, L V, E y. Well you abandon your picture. It's done. 21. Free Flowing Abstract: One of our projects is going to be just loose and free, abstract, non-objective. And I'll start with one of our first techniques. In an expanded version. I'm going to put in a nice big three of them. I'm going to place them in strategic places. Different distance here, distance here, and here. Then we take our little brush while they're wet and we started string them along. This is Arches paper. I have no preset idea of what I'm doing here. I'm just following good simple techniques. Oh, did you see that? That's the sparkle technique. This is the dry paper, wet wet paint on dry paper. I started thinking there. Don t think when you do this project, if you think you're going to try and make it into something, It's not supposed to be something. Just play with the paint. See, play with the paint to treat know it's not a tree, it's nothing. So that's the beauty of this project here that we're doing. I'm just starting at here, is we're doing some of the techniques that we're learning in the class. Take a little standard color here and make sure it's clean. And I'm going to come right up to this. By the way, this Princeton Neptune brush. Beautiful and not that expensive. So you see there's a nice blue section I'm gonna come right up to here. Have I used any neutral colors? No, I'm not going to touch it. Yes. I'm going to play a little game here of touching the wet paint to the dry paint, then faded out. You can't make mistakes in art. You can redirect yourself. Do you really can't make a mistake and throw a little that neutral in. Just to set the colors off. And I've got the beginning of my nonobjective, free-flowing, fun. A-ha, I got it feeling. Mastering simple watercolor techniques. Right down to this one. I like that shape. I'm not sure about that. Here. Drop it in. 22. Diving Into Wet: Let's use this picture to last or some simple techniques. And then let's try this picture together as one of our projects today. Paper is very, very, very, very, very dry. I take some clean water now. And I think about the simple things that we've learned or what we're learning. And I wet the paper, this is Arches. Wet the paper around this little shape. And what I'm gonna do is do two things. I'm going to drop in a pure color, yellow. And it's academy and clean up first. And this is pretty wet. So I don't want my paper to be on a 30 degree angle. I want it to be flat, so I put a little eraser underneath and I drop in some cadmium. Let's drop 33.1 in the corner. Let's put a big one in the corner like that. And a little one here. Now we're going to move over to this area. Notice it's just coming up to the dry paint. And we're going to wet that because we're keeping our eye on that. But this time we're going to draw a fellow in. The reason being is I know that sale it has to be really mixed well. So just keep mixing it until it's well-mixed. This time we're gonna do is swipe in the corner to swipes one. And then a bigger 12, maybe three. This one is going to be on half wet paper to dry paper. So the paper is dry here, wet here. I put my brush down. One edge is soft, one edge is hard. And let's do a few polls up here with fellow green, which is the complimentary color for red. And I'm going to pull the color, push the brush down, pull it, push the brush down, pull it. Push the brush down, pull it. A little poll there. I'm going to come right in to the wet, touch, the wet, lift the brush and come right into here and soften this edge. That phthalo green. I think I got it just in time. See Justin time. The other ones I'm going to leave alone. Paper was really dry there, remember? So here I'm just filling in a little bit with a hard edge on the green. Soften this edge. Soften. Gotta get in there and make it a little bleed here, which would be nice to make a little bleed here. That would be nice. Soften, soften. Soft and softens. A funny word, it has a t in it. But many of us say soften instead of softer. There. I want to let it dry because I want to make something out of this. But if I add something now, I might lose it. So knowing when to let your paper drive and when to soften an edge. Very important. Looking at your painting is one of the simplest things that you can do. Keep looking at it and it will tell you sometimes what to do. Okay, here we go. We've added in some neutrals around here. I just mixed up some crimson and some fellow. And poker. Makes sure the fill is really mixed. So I've given that one coat and here's what I did. I just go around it with my brush. Like this. Twisting the brush in my fingers. I can turn the brush just by twisting my fingers. I'm going to keep this dark right around here. I want a nice hard edge here. Look at that beautiful hard edge. Now the paper is on a 30 degree angle, which is making everything's slipped down. So I'll put a little eraser underneath. There we go. Let's break this one into a half-moon. There we go. I think that's so now I've put a little water here. You know what, I'm going to fade this under here. There. And let's create a watermark here simply by taking strong the standard colors make watermarks. And we're just going to pop it in like that. Now that may create a watermark. Let's see what happens in a few minutes. Let's see what that does. Okay, now we've got this little circle here. I've cleaned my brush off. I'm gonna get my little brush. And I'm going to try and look at my painting. I think I need a little green in there to match this. So I'm going to take some more of the sale green. I put this on about 2 min ago and let's see how it disperses. Well, it's going to have a soft edge. That's for sure. Let's make another little green round circle. That's like wet water. But mind you, some of us can draw around the circle yet our circles are a little lopsided and that's okay. So this is going on right away. And we'll see how that disperses about the same. Let's put a little ring around this and leave dry paper. Dry paper, wet paper, wet paper. Let's see what happens here. That'll be a bulls-eye. So what I'm going to enter, well, I don't really want a bulls-eye effect. I'm going to change it into oh, it's looking like an I, but only temporarily. Okay, Let's take the opposite of green. The opposite of green is red. So I'm gonna go around the outside. Notice I'm twisting the brush with my hands up here comes the sun. And where the paper's dry, it makes a nice hard edge. And let's take some a little bit of blue this time. Little fellow makes sure we really mix up. Remember that fellow leaves little marks if you don't mix it. And let's do next. Yeah. Let's go around the circle one more time. I do with my left hand so you can see it better. Twist it in my hand. My fingers are rolling the brush. You see? Let's take the cadmium yellow. You see it need a little more. And let's put it in here too. We should probably end up with a neutral color here we have red, blue, and yellow. So let's make a nice strong neutral again. Remember, neutrals make colors, sing. If you just put pure colors everywhere. Won't be as effective as a neutral. Okay, We're going with a nice strong neutral here in the wet paint. We're going to spread that rate down to this one. I like that shape. Sometimes turning your paper. See these nice, easy washes, plenty of paint, plenty of water, and you'll get a perfect wash every time. And it's getting lighter. We're going all the way around. We're coming up to this one that looks like the original neutral that we started with. I'm going to bring it right in, right around this one to definitely getting the eyeball effect with two eyeballs in the nose. And it's hard to be non objective. It's hard to, not hard, but you have to be willing to get rid of some of the images that show up. Once again, our neutral. I'm going to now, I'm going to now make a very strong neutral using ultramarine. Hello, plenty of water. More ultramarine. Want to get a green effect, and we'll go with our yellow ocher and a little more of the crimson. There it is. Well, that's pretty dark. And I'm going to sweep it in here. I like this brush and sweet, but once the paper's wet, on this ragged edge is kind of nice, you can sweep things. Are the teardrop. Interesting shading. Not sure about that. Let's just see what happens. No, no, It's got a glow to it for sure. Put that on the green there. See, papers really wet. Get rid of the ragged edge. Come along here. I'm playing with edges now. A very good non-objective, objective play with the edge. So you're not trying to paint anything. You're just doing something. I'm going to lift this, clean my brush, rub it on the towel. Lifted. Simple techniques, lifting edges. I'm going for a dark hole here. I'm going to lift this off a bit. The arches is very good for lifting. So I'm going to take a mic, an ultra dark, taking ultramarine. And sayHello, definitely say, well, water. We're going to see how dark we can go. Let's do a little bit of the green. These are all good standard colors except for the ultra marine. Oh, it's getting dark. Now we add a little more, more of that. Crimson. See how dark and scanning, but crimson and fellow and phthalo green are stainless, just a little ultramarine to give it some body. And let's make that paper straight. And let's get a little bold here and see what we can do for this painting. Will look at that. They're here. Drop it in, drop it in, drop it in, drop it in. Drop it in. Drop it in wherever the paper's wet. This is pretty dynamic. Get rid of the eye here. That's better. Let's repeat that shape now we're into shapes. And let's repeat it. Which means like an echo, which has good echoes are repetition. Notice I'm doing the dark paint. After I've established a few shapes. That beautiful look at that chromosome is really a good underpainting there. And the yellow is influencing this. This is hard edge. Let's put another one in here. Repetition. When the tape comes off, it'll look different and a little pure color now. So I add a little bit more water and a little more phthalo. And I'm coming right up to this edge here. Yeah, I think I'm going to go over that thread is underneath. See how that shape just stands right out. Seems like I'm going with these swirly round things. Now. Don't be thinking that's going to stay like that. All you have to take some of the alizarin, the alizarin crimson, drop it in. And I think we'll let this dry for a moment. That purple is nice. I liked that. I'm liking some of the things I'm doing here. So I've seem to be working, working the painting in a direction. It's getting darkened. And I loved that red violet. I liked the crimson underpainting here. The chromosome underpainting. See. Now what would happen if we took some pure alizarin crimson here. And we set it right in two here. And two here. You see the fully saturated color. We'll see what it does. See if we can expand that little area there C and let it dry. Why don't we let it dry it too, just to see what happens when you let it dry. Leaves, some of the white there. There's a pure alizarin crimson. And I think I'm going to throw dark and not talk to. So you take some of the more of this. Well, we got a little speck there. Let's put a few of those in. Really important to know when to go dark or if you'd like to leave your painting and leave it late. So these are, this is more of a pure blue. And I'm just following some lines here. Going down to the fellow here. Great staining color, a little bit of ultramarine with it. Make sure it's well-mixed. And you'll see those standard colors are lovely underneath. And the darker you get here. You can bring it in. Here. I'm using a fairly small brush, which I'm going to change to a bigger brush now. Let me get this all done now. With a three different blues or manganese. Or you could use a cobalt and a sailor scene. 23. A Quiet Simple Finish : Cool. 24. The Simple Thank You: Okay, so here's my little painting. Let's say I was going to post it. I clean it up, I put it on a piece of paper. I take a photograph. I guarantee you your painting will look better in the computer. Then if you're looking at it with your nose. Because when you're looking at it with your nose, It's just two real art is meant to be viewed from a distance. Don't look at it with your nose. Post your picture. Let me see it. Believe me, it looks better than you think. Let me know how you did. That's it for now. I'll see you in the next class.