Watercolor Thumbnails

1. Intro: Hi, I am not so much and I'm back with some more water colors in a new skew share less Today I want to talk to you about synthesize in water powers we have on atmosphere in this pain, synthesize is about telling a story without saying too much. We don't see tiny details and lots off elements. We don't see lots of births strokes. You can see that a big area has just a few bursts troops and it gives sentences. It gives energy and makes your watercolor much fresh for achieving this kind off result. What we do is training in small thumbnails like this one. They are open made with it big vs. If we start doing something like this with a small brush or even smaller than this one, we'll end to go to the tails. If you use a big brush, who had do you give a result for each area with banking with fewer births strokes, you can. And this is great for the watercolor. This glass we've been basic in paintings like this. Once they have 12 centimeters. Why eight centimeters and I chose some different subjects so you can see all the steps and all the thinking about the expectations. I won't speak too much about collars. You won't see the color mixing because I focused the glass in this specific fame. That is synthesise. So be intention on the first ropes, the correct position off your brush and how to save the burst rules. Let's do it. 2. Materials: for this class, we're gonna use watercolor paper and to take advantage off Dexter, I would suggest this rough surface paper a good watercolor paper is 100% cotton, 300 grand. We we use a sad joke. Watercolors with a good range of colors. Water date to fix the paper, a piece of cloth or tissues to balance the amount of water in the brush. And I chose those bushes for the paintings are showing. This is ah Kolinsky sable brush. This is a pity gree brush, and this is a Japanese brush. It is very good for water pulisteam. Try to get something similar. But remember, avoid varies more brushes. If you paint with Barry's more brushes, you think to details and what we want is to synthesise. 3. Painting 1: for this painting I'm gonna use this brush has a very good size for dis training. I have a ready market. The area with fainting here. So let's make profess drawing. I mean, a few marks. This is Ah, a few off the not, you know, gallery London in a cloudy day. Very diffused light. So there are no guested channels. Try to draw on Lee the main elements. They will determine the perspective, the main shapes, this part. We have a cigarette, some tiny details, but it helps to build this Sylbert here. I'm gonna put this element to finish the composition. There is a crane behind the beauty. I like this. This evident right. There is a statue here. Let's right to synthesise, man. Shape of it. No details. All of the main shape. All right, here we have vegetation wars and some people spread Can. I don't want to put people right in NATO off the composition. So for change, then a little bit. This one will believe the crop of the image. There are some that that we will appear here. All right, here. I have here like a fool sports interesting composition. Maybe we can make another one here. It's help us establish perspective on the scene. Okay, so let's start this painting with a weak wash for this guy. One quiet, grayish tone here It seems to be dark, but we have to consider that it's gonna lose a little bit strange when it dries. Can warm it up a little bit here on the ground. All right, so let's dry it. Start with the second wash, establishing some shapes. You know, start to think the elements there are in the back off the composition at first, and I trying to reserve what I think is necessary, the things that will be darker. I don't need to take care right now. Let's try to see brushstrokes remembering this concept. It's the main thing. This painting Dan. Let's start doing the other elements that are quite near to the camera to the viewer can even be a little bit darker right here. We have another plane. Leave some gaps. It helps to create stale. We don't a four. What's let's be obelisk? Okay, so you see that we have a big shape with everything included in it. Dior Mikel in could raise established a kind off back in the image. This moment I'll take advantage off the word surface to put a little bit more off tone in some places here to help us to see different treatments de architecture. Okay, now we're gonna put some greens. Here we have this vegetation layer reserving some small gaps for it. The taken advantage off the that's sure to generate some complexity, but not that much. All right, that's country in your and this bird to then in the base off this vegetation shape can increase a little bit more the tone. Then it will look like something that it's that is in the ground, a little bit more writing the babies. But Ukraine here. A very tiny, worse. True, The teapot off off the brush. But just a few Bruce rules yours of water. I don't want to feel my painting with flat shapes. You can connect this with darker part over the statue. You can notice there are some tone variations here. This part is white darker, and the rest here We have some some details in this pillar. All right, - maybe it is. Two flats have to break it a little bit. Work better Well, we can add some details for people. Heart color from faces. Maybe some strong colors for flotus T shirts. Never crippled. Blue read for this year. I wars. Maybe we can connect then with a little bit of water. This two makers more staying not really shadow, but connection for them not to be floating in the ground. All right. Can do it very softly. Yeah, yeah, at a little bit more of pigment. - And then through from the tube, you can just some tiny highlights blue separate people and they were out. 4. Painting 2: all right, so let's make was more painting with a little bit of vegetation reference. His visit in vegetation lightened from back to front the most off off the picture is made of texture leaves, flowers and I have some trees form tree. There was something in the background. It looks like, Ah, wome made of trees. So let's write your to simulate this mood. Isn't this brush? It's Japanese brush respecting some rules off watercolor painting painting back to front like two dark. So the first thing I want to paint here is the sky. Although we don't see any color or tone in this guy, I want to break a little bit this white and put just, ah hot grade to establish the crop off the image and the temperature of the composition. So, like that leaves here and India per part off those bushes, There are some some other places here. You can believe some white GIPs in the middle of the the bushes. Okay, Then we can start fainting the background where we see a heart. A long agree finding some limits in the background here is Ah, don't yellow tone here in this tree. We can connect no and bring this density to the end here. Okay, so let's try to simulate this leaves here. It's quite interesting to use the correct size on the correct side. Off the brush for that se. There is this form tree. There is another one in front of it, but I won't put it for generating no confusion. Then we can start. We can gold color to feel this darker part off the image que well, this other plane, his rulings quite stronger in terms of tone and color so we can consider food putting darker tone here in the base. All right. And we can do the same here, increasing even more the color Anto. We'll have some red flowers here, so I tried to really to live a little bit. Morals are right area taking advantage off the paper texture again. Here they have a strong light behind the tree. We have a very dark part of the age again. It's a good idea to dark in a little bit, uh, the base of the shape that's book a little bit off tone here, darkening it again in the base, establishing this division here. So we have a dark Braun that draws this tree movie has to be a bit darker. Connect this with this shape. Here. Have to draw branches because stronger shut up. It's wet to defuse. On the surface, there is a part here in the vegetation that it's quite flat, and I have to break this heading some more texture. Well, it's more really you're this way. We can see some layers off off, painting some flings you can at some details, like leaves here for a ground you hear, too. Give us the complete information about this tree, and then I can at some more details here in the back. Maybe some branches here were arrested to connect it with the street. All right, we can, in this moment read a second tone here in the background to draw a little bit more those elements, okay, and then were put the small red dots to create the flowers here in this part off the bush. Maybe some water is here while it's still you need can and a little bit water to create some texture, and it's done 5. Painting 3: - for this one. I'm gonna use this Kalinsky brush. It's not that big, but for the size of the painting, it's never time you brush. The first thing is described and I tried to keep it bright. I reserved only the light moved here Quote a week earlier for vegetation. Right now, no way we're going to increase it in terms of value. We put the pigment bays and it right now bringing the painting to the foreground. You have to hear this. It's rewrote in this past white red. Now we're increase a little first plane for the season. The second layer, The Starks traditions and shapes No. Begin with this beauty Keeping in mind the concept off painting back to front and light to dark. You're a started finding shapes, but we don't details. You can let the tales for the last layer. Well, we can put more strength in this vegetation line. If we make brought area off west mains, you can add some details. Wow, it is still wet. So we have this area then changing the quantity off pigment in the brush can work with some darks, some places to open some homes. This thing Then when it dries a little bit, we can put a little bit more of the tail wars. You can even put a little beetle waters. You were water in some places to open some light. And while it works, can bring a little more of information. Foreground is green. Darkest area. Yeah. De even agrees this science off this foreground, I don I'm gonna add some detail. Just beauty. Just a two lines. Shadows. Not too much to seen away structure. You have some definition that creates my shadow. It's OK. Only is brush like this a little more to you for the station or you emphasizing the line it creates in this scene. I'm gonna use the paint almost straight from the tube. There it fig bent for this first land. I'm gonna mothers here, here. One. I want to kill you. This light. Oops. Very clear. What to put some, you know, here, connecting with the black. I want to emphasize some lines here. Maybe it's good to give more attitude to the foreground. It's right. A bit of white for you over there. Lights a darker mom side of this fight keeps in volume quickness 6. Painting 4: So where I want to put just a little bit off pigment and his guy to break the white I wanted took me do you know, light? But don't take advantage off the stone. And I will put it here because it's gonna be reflected in the lake. And then I'm gonna put a very Luminal green first here. That will be the lighters green off the scene because it's bean illuminated by its son. You can write a little bit for not being to flat, maybe even a little bit off 1/4. When did Bryce I would prepare the green that I'm gonna use in the background. I'm gonna use this. I agree. And warm green to create vegetation. The background. It's interesting to have divert calls simulating trunks and some things fast brushstrokes to create impression off trees can all right, a little bit caller Not to be boring for some bushes here, not only trees. Let's live some some gaps here. I want to reserve a little bit off light for this trunk. Then we can continue the other side. Right? Then we have some vegetation. It is quite nearer to the camera. You can take advantage off this unit area to put this this new layer and they will connect , want to each other? Well, that's let's start drawing this league shape wars. It's like, Yeah, I like it. We have to reflect this tree's in the lake, then to give us the impression off order. Yeah, so the trees on the bushes, the same shape, would be diverted here through it starts looking like order. And we have to make a division between what's reflection and what's really great. A little bit more stone here, informant off the week. I don't care. Let's put some detail. We have a lighter part here and the upper part off the bush. So let's reserve this. And here we can it more. You're more paint more pigment, right? This part we can at right green because we have light in this form tree leaves and we can combine this with some darker first strokes, too connected to the composition. I will create the dark for off this tree wars. All right, now that this Lear is drawing, I'm gonna put the shadow. This bush creates a huge shadow here. You see that it's blue dark butts too transparent. This is very important. Let's create some fixture in this edge, but all the rest he's really dark. Then we use the same caller for the shadow here and maybe the bays off vegetation a little bit more to emphasize sense or flight flickering a little bit of water over while the paint is too wet. Then we create this tiny called floors, and it's good you can do it even with faint. A little bit of painting the brush. Now we're gonna foot just fuel reds to show that it's a garden with flowers. Not only leaves trees this lighted area, it's, um, Redd's car means then I have impression off some flowers. 7. Painting 5: - just case I want a darker sky because the lightest things in scene in fact is the world like to by the sound. So I look quite strong blue for this guy Teens kind with not that live minerals as we did in the reviews. Paintings meet some contrast here we have one of the sites full of shadow. This is not delighted. Side off duty. It has a white were full caller This shade There's a lot of new because of described but a little bit of purple. So this side, the beauty totally fainted with this shadow. One other place we have some light. Leave some gaps here for bet this part I have alighted calling here, but it white Dan here I have this. It's this side off the common. I liked it. Some whites here for first everything else is in the dark way can connect this side. We decide with the shadows that are guested here by a tree. So there are some some leaves that we can Then you can see shadow generates quite beautiful noise in this wall. Then I can It's a shadow this door to where were you reddish re? I didn't hear. So do it right now. You dark for threat, Dan, I'm gonna use this brush to read vegetation. I am the beauty this guy spy dry this moment, we can think over it Heading some texture details. Wars. You here? Some their station. There was a line of shadow. You're in vegetation. It will help us to exercise delight effect. Can have to reserve some whites for people in front of it. Maybe connect vegetation with the ground and more dark here. So more greens. Yeah. Yeah. Okay. You're gonna have some details to the structure. Uh, news wars spark. Have structure inside. Yeah, To keep his eyes. This hole in the structure tails side here too. Needles, It's you can. It's some deals since videos teams in this stricture your front. Okay, The next layer will chief the higher stones from the tails for people. We can add some color on the other. Hey, stone darker tone here Emphasize the holes in destructor wars to make the elements can do debt. My guest in shadows According to the the direction of white steam darkened with booth ground here or yours, it's a picture. And there you it's stones 8. Conclusion: all right. I hope you have enjoyed this lessons and have understood the concept off painting in a small former with a big brush A Put the pictures. I use it as references for download in this class so you can paint to using them or another picture of your life. Share your results here into projects gallery and tell us about your experience. I hope to see you soon in a new water over place.