Transcripts
1. Introduction to Abstract Watercolor Escape part 2: I'm back with the
second installment of Abstract Watercolor Escape, and I'm determined
to make you relax. Hi, my name is Fati, a watercolor artist and online teacher from
Warsaw, Poland. When I'm stressed,
when I need to chill, when I have a free afternoon, I make these beautiful
watercolor paintings with neurographic arts, and it totally works. And later on, they are
super pretty to look at. Win win abstract watercolor
escape is, well, an escape. For half an hour, 40 minutes, you can forget about your
worries and focus on connecting the lines and making these
organic flowing shapes. When you combine this
with watercolor, the results are delicious. You will practice your
line drawing as well as your watercolor mixing skills while unwinding at the
end of a long day. I want to make these classes. This is class number two
because these paintings really help me relax and be mindful while feeling
very productive. So if I can make any
of you stop from doom scrolling and grab a
brush, that's my reward. This class is for anyone who
is looking for a relaxing, meditative art practice to
unwind at the end of the day. But besides these benefits, this class is a great way to enter the world of
abstract painting. We will use watercolors, watercolor paper,
waterproof pen, and brush pens during the class. In this episode,
first, we will save a slightly used paper
with neurographic art, and then we will paint our
creation with watercolors. The painting we are
going to make today. Nothing is sped up, so
you can draw alongside me and end up with a painting of yours at the
end of the class. After that, take a photo and share it in the class
project gallery. Write down what's stressing
you and if you are able to forget about it for a few
minutes. This is it, people. Let's go and create
something beautiful. What? Jack says This is too intense for a class
claiming to be relaxing. So I will try my soothing words. Let me get my microphone. If you are ready,
please come in, and let's be creative
while relaxing. Don't touch anything.
The next video will start automatically.
See you there.
2. Class Project aka. Teacher's Expectations: Video is recording, too. The rain is starting to slow
down so we can continue. It's raining outside and
it makes us up noises. Class project, class project, class project. Let's take a zip. Your class project is to
draw and paint alongside me and then share what you
have. Follow these steps. Make your nographic art
following my instructions. Pick a color palette and
paint your creation. While waiting for
your painting to dry, go and leave me a review. Take a photo of your painting, create a new project
under this class. Upload your photo to
your class project. Be mindful that the
first photo you add to your class project gets cropped horizontally as the cover. Write down your cause
of stress and how you felt during the
class. Press publish. Put your sunglasses
on like a boss. Walk into the sunset
in slow motion while feeling extremely
accomplished and product. This is it. See you in
the materials with you.
3. Materials: Watercolors, A Brush and Some Luck: Like I mentioned before, Jack, did I mentioned
this before? You are saying you're
not sitting in my brain. Okay, fair enough. Yes, this is the second part of the O series, abstract
watercolor escape. Materials are exactly the same. But in case there are
first time students here and for the sake of making
a standalone class, here is the materials video. If you took the first class, you can skip to the next video. Otherwise, here are
the materials I use. So quickly, let's
go through what I'm going to use for this
class materials. I'm going to use watercolor
paper from Tiger. This is not even an art shop. This is like a kind of everything shop is
from Denmark, I think. Yeah, 200 gram No, 300 grams sorry, 300 gram
acid free watercolor paper. It's 18 to 24 centimeters. I don't know what
that makes in inches, but it is smaller than A four, and it is a bit of a texture. And I like that. My
watercolors, KaratakeKs tambi. I'm going to use my set. These are all the colors
from Kartake I have. Other than that I'm going
to use this brush pen. I think this is the brand Pigma. And this is also waterproof. It has to be because
we're going to draw first and then
paint with waters. I'm going to use this
fabric castle 0.5. It's not too thin, not too thick, it's
good for this project. I have other ones that I use, but I find this 0.5 is the idea. I'm going to use this
brush number 12, Renaissance brand, I don't know. I just like the color and
boat of the Internet ones. I have my water jars here, one for clean, one
for dirty water, and a bit of a kitchen towel, paper towel always
useful in case of messes and some
mess and mistakes. What else? Is there anything
else? I think that's it. So, other than that, I use the spray bottle
to spray my paints and this eyedropper to drop some extra water on
them before I use them. This is all. I'm going to see you with the drawing
part of the lesson. See you later? No,
not see later. See you in a moment, like, after this, the other
video will start. See you next there.
Don't go anywhere. We're gonna draw and paint. It will be awesome. See ya.
4. The Idea: Why This Neurographic Art Project?: And this is Hello, and welcome to second episode of Abstract Watercolor Escape. We're going to escape
today some new places. These are some of the examples
that I did over time. And when I first started doodling
with these that I was doing actually
in the meantime, lots of Nior sketch turning. And you know that
already, if you watch my NI for sketching classes. And the same way that working on small piece of
paper really actually helps. It's easy to complete and
you can see what you like, what you don't like
on the small papers. Because they are quickly done, and you can experiment on different shapes and
different thickness, different thickness of pen, and different color combinations and see what actually
suits your fancy. And in similar style, then later on, I made pots
side. I made these ones. And I actually really liked them that part
of me wasn't sure if I should continue with this or like you saw
in the first class, the one I made, I will
show you this one. I wanted to go with this one for the first class because this
was a bit more evolved, let's say, on my Mm
artistic journey. This was a bit more after I found what I like
and what I don't like. And this was a pleasing result. And for the first class, I wanted something that
I am very proud of. I'm proud of these too. This doesn't mean that,
but just this was a bit somehow closer to my heart. So I want to start the first
class with this and grab people's ice with this painting and so that they would come
to class and take part in it. But in the meantime, when I try to categorize
the way I do this no graphic art and
abstract watercolors, that there is also this, this how it separates
from this one, that in here you can see
this is not wet and wet, that I make the shape, the design with pens
and brush pens. The neurographic art. After that, I go
on the dry paper. That's why there are
much more contrast, that this is much more fluid and paint is kind of going
everywhere, flowing. But in here, it's not like that, and I like too. This is something else, something else
pretty to look at. And so I want to make this class with this
different technique. It will we will go on dry paper, and of course, when we
are adding watercolors, for example, as you can see, this is a bit like you
could think like Mondrian, that white canvas and the thick black lines and in every section,
there's a different color. So it has that kind of feeling from abstract
point of view. But in the meantime, when I'm adding the colors
to the sections, I'm not thinking that
this is one circle, so I'm going to do one circle. I'm just taking every section as it is so that it gets even more abstract this way because it's difficult to see that
there is a circle here, for example, but
it's all divided. There's another
circle here and here, so that they kind the
shapes become more fluid in this way because then with the color distribution, using the color
description differently, we reach different results. In this one, you can see
that the color orange, red was radiating
from the circle and that's very obvious and visible. But in here, it's not so much. I like this one as well, and I think it's a good
practice for you guys to do and have it in your portfolio. So today we're going to do this. This is going to
be let's say main. It's not going to be the same, not like in this class, I made almost the same design. It will be similar, I think, but not exactly the same because I'm also going to use paper
I start already using. There are some
lines on it, and I also want to do this to
show that I don't like wasting paper and also
you shouldn't so we will start with something already with a paper that already
has some lines on it. So that way, it will be
a little bit different. But I'm going to use
a similar palette. These blues and greens. And what else? Because of the way you do, your speed kind
of determines how much wet on wet action
is going to happen. That, for example, if you
apply paint here or here, and then you apply
right next to it, this will be wet on
wet, but only in here. So the white sections
will still stay white and it will give
lots of contrast. But every now and
then there will be. So it won't be like the
entire painting is like in this one on wet on wet so everything is
flowing into each other. So it will be less predictable. Like when an observer is
looking at your painting, it would like, Oh, in here, colors are flowing. Oh, but in here,
there's such a cut line and the colors are separated. So it's not always the
same everywhere you look, and I think that's also
interesting in a painting. In here, let's say that
this one and this one will be maybe I will
use purple as well because I like the color
combo on this one, too. And you can see in here, it's wet on wet, it's bleeding into the
indigo leading into the mint color and same you can see here with purple
and here as well. We will see a different way of using and applying paint to a painting and ending up with a different results still
with neurographic arts. Since that out of today,
let's get started. Sorry, I'm sorting my paintings. I'm gonna keep these
ones handy here. Let's put these aside. You're not using the paintings here at all, so
they can be here. Here are my circle making stuff. And this is the paper we
are going to use today, and it's already a little bit used as you can
see, but that's okay. You can see lines
aren't perfect. In some places, it's
repeating twice. But I wanted to use this one
to show you that even if your first lines aren't very confident and not like you
wanted, it will be okay. Just trust the
process. Keep doing, keep connecting the joints
and it will be fine.
5. Drawing: Creating Our Design with Neurographic Art: And so let's start with a few circles that my favorite my favorites
but objects to use or making
circles is my tape. As you can see, I never
put right in the center or like this because
asymmetric shapes, asymmetric compositions are
more interesting to look at. And I guess that also
depends on people, but I find that it is more interesting when
it's asymmetrical. And we already have two circles. Let's see. What else? I'm going to put. I want a nice junction of
lots of lines happening here, so I will put one like this. And then you have
two of the same, if you use the same size
circles next to each other, very close, that you can get very cool
geometrical shapes. Sorry, I hit my microphone. Like a crescent moon
happening there. But again, don't focus on that because there will be more lines going
through in a second. And let's some smaller
ones and see where we are with that and one
like this, maybe. Another one. Here I always like putting smaller circles over
the big ones like this. Mm. We need something here, too, because at the end, we're gonna leave some
white ones, white space. This is a very big white space. I need to break that a bit. Mm Let's get even a
bigger circle maker and slice that through. In here, I purposefully made
it there just touching. Maybe put a quarter
of a circle here. But then it will too similar
to this one, I think, maybe maybe more like this. As you can see, I'm avoiding
to make it symmetrical. And one more here, just barely touching
this one. Okay. And, VPs already
lots of circles. But this time, I also want
to as a difference than the previous class that I want to put more
swirls just by hand. I'm first thinking where
should I go? How should I do? That they don't
have to be perfect. Later on, you're going to add
more weight to these lines, which means you'll
make them thicker and you'll have a chance to make them more circular or make them leaner, you'll have a chance. And I feel like
something around here. Your paper shouldn't move
while you're drawing. That's what happened to me now. And this mistake, we'll
later on hide it. Okay, so now our shape is ready. We can start
connecting the joints and making all the
heart angles disappear. This is the part. As I was
mentioning before, I love. That this is for me
the therapeutic part of this practice. I just lets go of
everything and just focus on the lines and finding all the joints and make the hard corners go away. Also, as you can see,
at the beginning, there were these lines that
they don't even visible now. They are completely mixed in. This line will be probably
thicker later and I will pretend that it already is. Lots of lines are
connecting here. I'm trying to focus on
trying to see all of them. I guess this is the part that
really occupies your brain, so you are able to I'm
able to forget everything else for a little while be here, and this is the escape part that I put it in the
name of my class. From the previous class, you know how these
connections go. I'm not going very much into
that in the previous class. The design, the
composition we used didn't have that many
of these connections. And that was also on purpose. I wanted this class
to be rather quick. And this is the time consuming
part of this kind of art. And also, because of that, it's the good part that's
where supposed to happen that you fill your time with this and you are
able to relax and unwind. And that's why it's time
consuming, in a way, it's good. But also when I'm
making a class, there are the realities
of the length, for example, and the size
of the videos and so on. So I wanted the first
class to be not so heavy. Like, just more
like introduction. And in here, I chose to go back to this one
because chronologically, I was making these ones first, because I think it's
also important for you to practice and here now, since I already hooked you
in to this with first class, that now I can
drag even further. As you can see, it's
growing pretty quickly. We will fill them in no time. Mm hmm. As you can see, I'm using 0.7. It's rather thick thin. And I'm not worrying
too much if old lines are a line that in case
something is out of line, we can always fix it later
when we are filling it and making the lines thicker. That one between the three of them when
there's a shape, like, it's create like a pebble shape, I really like these ones.
I like making these. That this morning, actually, I was in my mind, going to make a totally
different class, totally different
painting because I was planning to move on to the masking tapes because that's also really fun fun practice, a fun way to create these
abstract paintings. And that's still coming. But looking at the paintings I have and the notes
I have taken earlier, it brought me back to
the reality that, Okay, I shouldn't skip this
this also has to happen. And we will get to the
masking tape soon enough. Just keep connecting the
joints and thrust process. Right now, don't worry if the kitchen is
full of dirty dishes. If the laundry basket is full, if the garden needs tidying up, they're not going anywhere. They will still here when you finish the moment,
let all of that go, and let's just enjoy making art. That's what I'm doing. Because I'm in my studio
attic downstairs, the kitchen is waiting for me. And when I finish this, I will go and do that still, but I'll be much happier, knowing that I took
care of myself first. I put myself first. And now I can take care of the kitchen. I even don't call it cleaning the kitchen
or doing the dishes. We were once talking
about with my wife and it came out as that it was, you know, in my jump class, I talk about it that calling work work
is actually not good for your brain because you are putting yourself off
from doing the work. So I start calling them jumps. I'm just going to do one jump, two jumps, and that's
where the idea came from. And I thought I could use the
same for doing the kitchen. And Ws I started calling. I was thinking,
what could I call? What could I call
cleaning, doing? And I called it tickling. So whenever we are talking and, like, planning the day
or something, I said, Oh, I still need to tickle the
kitchen or after I finish, I just tickle the kitchen. It took an hour. So after I finish my painting here, I'm going to go and
tickle the kitchen. But for now, I'm
really enjoying this. U you should experiment
and see if you like the connections smaller
like this one or bigger. In my opinion, bigger ones make the hard corners
go away better, that what leaves as a
shape is much smoother. I'm making bigger ones
rather than small ones. You should experiment and see maybe when you are
working on a small page, they will be smaller, that
it will make more sense. But when you are
But look in here, for example, I mean bigger ones. So in a small page, they take much more space when they are big
connections like this. But on a bigger page, I think bigger ones look better, but you should
decide for yourself. Just keep going. Trust process. You're doing great. Soon, we will move on to the
painting parts. Another one done. And we are almost there's
only this part left. That one pint a bit too
long, as you can see, I kind of couldn't
connect to joints, but we'll fix it later.
Don't worry about that. What's happening to my pen? Oh, here Okay. And now the site. Are you relaxed yet? Of course, for me, it's a little bit different than
yours because I have the responsibility of recording and talking to the
microphone and so on. But I have to admit it's still fun thing to
do and relaxing. I guess it's a bit
like this thing we all have that when
you start a project, it's much easier to
finish that because kind of the project is
already open in your brain and it
wants to have it done. That's why we say they say beginning is the half of the
work after that it happens. I guess in here, there's
a similar thing. Once I start making the joints that I just
can't wait to finish them. I keep going until I finish. Now, I'm curious how this is going to end up
because eventually, what I went with
is different than this or this because
they had much less. There was a comment from one of you saying that it is not
that narrow graphic, so I want to put
more in this class. So it's more narrographic. Now we just need
to fill them in. I'm using a brush band for that. I was explaining in the
first class it is faster to do that you can cover
bigger areas easily. But still get into the time
spaces the point head. Let's make some space
here. Hang this one. You see we already
fixed that part. So this part is a bit complicated. I think in huge there's
tiny white cap. Not too of them. Okay. I think it turned out
great this section. Another joint sum. Going well, we are almost there. I hope you are doing it
the same time as I do. This is the reason
actually why I don't speed up my videos so that it won't be
that you have to stop and catch up
with what I'm doing, that you can just play vo
and do it alongside me. So that at the end
of every video, you actually have one art
at the end of every class. And then you can open it again
for the next session and try different try different one, different composition,
different lines, different color palette,
and do it again. As you can see, it's
quickly taking shape here. I will add some
weight to this one. This This is also done. It feels very satisfying. Kind of after you create
all these connections, it feels like checking the
boxes a bit, fair to the list. And I'm checking
them off one by one. I they're almost there. I'm checking the time, as well. It's been over half
an hour, I think. If it's taking longer for
you, don't worry about it. Oh. Just keep going and
wild video playing, you just go at your own pace, and if I finish faster than
you because you might have a design that has more connections and
it might take longer. Just if I switch
to the painting, just bring it back a bit and
we'll continue together. I think we are halfway there. Let's fix this line here. Mm hmm. Since I'm on it, let's do it here as
well. Suspect this. So as you can see, this original
line wasn't so perfect, and it's now completely hidden. Can you even see
it where it was? I think it was this one. And this one? No, but this one ends
up there. I'm not sure. I thought it was
this in the middle. Yeah, I can't see it now. Yeah, never waste paper. You can always cover it, make it part of your design. No one will notice. Maybe from top to bottom. Everything is recorded, Coach. It's a Monday morning
I'm recording this video. Seventh of April. I don't know when this
video will come out, but I hope it will be when
you're watching this, it will be maybe towards the end of
April, before May still. And here in Warsaw, after a few warm days, the cold air came back, kind of. And it's pretty cold.
Up in my attic. He but it's still better than sweating Hudi while
I'm trying to record. Maybe some of you recall one of my earlier
class, I think, especially, it was an issue. I think on my fourth
class, everyone can paint. I had a pale red hoodie. And it was, I think
middle of June and it was boiling because
the sun was right above me, as I'm in the attic,
right under the roof. Because cold, you
can I don't know, dress up, turn the heating on. You can do something
about it, but heat. And if you are recording,
you can't turn on the fan. You can't turn on the AC, that there is always
this humming noise in the background otherwise. At first, I thought
that maybe this should be an extension of
my everyone can paint classes that I even
thought about naming it. Everyone can abstract. But abstract has
another meaning. So everyone can abstract. It also sounds
like a math class. And I really love these
paintings and making them. So I decided that this
should be their own series. And that's how abstract
watercolor Escape was born. And by the looks of it, there will be like four
to five classes minimum. And in the meantime, I'm still painting and experimenting
with different ways. There might be more that I
want to share with you guys. We are almost there. To be honest with
these many joints, I think we still
did pretty well. Time wise. I think I said that I would
fix this mistake here. So here we go. Four more joints, and then
I will have a look at the lines where I can
add a bit more weight. I'm not going to do all of them. I think in here,
now, looking back, one of my mistakes
was to make all of the lines too thick at the time, I liked it and here as well. But I think it was that now
when I look at it to me, it looks too heavy. I like it more that when
it goes in between, then it gives more depth, getting thicker,
getting thinner. That's something for you to think about and
experiment on. And then this part will be over and we'll move on
to the painting part. The fun part. This is lots of fun. But
I was saying before in some other class I don't
remember now that with drawing, I always feel like I prepare
a painting page for myself. This is all preparation
for the real fun. So now the connections are done, you can see how
beautiful it looks. Actually, I should
take a photo of this. To have it just black
and white later. It comes handy sometimes. So I'm going to now at some weight to some of the lines that, for example, this one, it feels
it turns a bit awkwardly. Can you see? And by adding more weight on this one. I can make the curve a bit
more natural this way. So this adding weight to your lines can be
helpful in this way, too. So that's what I'm
looking for if there is any part that needs
a little help. Where was I think in here, there was a mistake
that my paper moved and there was a uncertainty
on my lines, but I think it's gone now. Here, that this shape
looks a bit like narrow. I think I'm going to add
some weight on this side. And I think this side too. Now, it's like a
more like a circle. Mm I think this one could
use a tough help too. W. Mm hmm. What else? Maybe the side of the. They don't all have to be
very thick, by the way. You can do kind of
in between, as well. And these exit points here that they are
like thin thin thin, I think I want to make them very So it will look more
interesting this way. Again, I keep knocking down
the board I used for Sorry. When I do watercolor wet on
wet backgrounds, it's I, then it gives me a
way to lift it up and tilt the water paint around. So I put it aside.
Where else? Where else? I think let's add some here. Okay. And can you see? Tell me. This is okay maybe two this A bit. Mm hmm. And looking, looking looking. I think here I'm
gonna some weight. I'm gonna fix the joint as all. Okay, I think these
two are a bit part to me that they are
the same and same kind of parallel to each other. So I think I'm gonna add
some weight to this one. And then can continue
thin this way. But we broke the pattern
here repeating pattern. Mm hmm. I think I'm happy with this that we can move on
to the painting part. So this is it, and now I
should take another photo. This is the end. Okay,
now let's put the cap on, and this is it for now. I will see on the next
part where we will paint. I'm thinking we're gonna
use this, we'll see. We'll see. Okay,
Jack, we finished. Let's move on to the next part. See you in the next lesson.
6. Painting: Painting Our Design with Watercolors: Okay, welcome back now. Going to do the painting. I've been looking at
my other paintings. I really like how they are flowing
into each other in this one and this one as well. And these slushes definitely, there will be some splashes. But in the meantime,
I also like this one. So I will try to
find a middle way like some colors flowing
into each other. So not. There will be some flushes
to create this kind of a watercolor washes.
We will see. Let's see where it goes. I will put these two aside for now. And I have my water
containers here, two of them. They are fresh, they are
both clean at the moment. And they are not visible, but they are here and here. And because I don't want to hit my camera with my brush when I'm
trying to keep it in. And let's see. I'm going to use one spray too. I think some took it. I'm going to spray on the especially the
green and blue part because these are the
colors. I want to use. The first painting was warm. With yellow and orange and red. This time we will be on the
cooler part of the spectrum. Okay. I think I'm
going to definitely use some purple that I
see this being purple, this ball for some reason. Let's start with
that. And, of course, I have a very dirty
kitchen towel here from my previous
painting in case I need it. And let's see. And as I have a lot in my brush and I'm going
to use same colors, for example, I can jump and paint another
section as well. This way, you also get different shades of the
same color because I have less and less of the same
pigment in my brush. I took some more water to my
brush so that this wouldn't dry out completely before I'm a wx because these will
definitely dry quickly. Since I moved on there the second and third time and there was less and less
water in my brush. They will dry quickly. But
before this one dries, I want to add
another color here. Maybe another small
section. My could be. Um hm. Let's blue because that's
really goes into other colors. It likes going
into other colors. Do you say it's happening? And that's when interesting things
starts to happen. That in here maybe like this
big section Cv is blue. Bit of purple came out
of there. That's nice. And 'cause we can
also splash why not? With whatever paint
left in the brush. And now which color
that is so far we used? Where is my watch. So far we used, I think, imperial Volet and horizon blue. Let's use some turquoise blue. That is one of my go to colors. I'm gonna paint this section. Maybe here. Mm hmm. And let's start going to
this side as well a bit. That I think because
these blues are here, I want to kind of close
that with this corner here. I like the shade of
this toquese blue. Okay. And I think what it could be that I leave this
section like, Oh. Okay, this is a lesson. Don't drop your brush on your
Now that part is gonna be. What blue. It looks like. Don't drop your brush on top of your wet painting.
That's a good lesson. Didn't think I would
teach this one today, but I was just talking about leaving some sections white. This was one of them. Okay. Um, I was thinking that this section over here coming
like this and opening here, maybe I will just leave it white going across
the page like that. Anymore turquoise
blue, maybe here. Now, next, I want
to bring the green because I want some
green as well in this. Which greensiden number 55. Yeah. That's cod. And this doesn't
mean that I will only leave this section white, so there will be other
smaller whites as well. While I had some fresh paint. I just splashed in
the purple a bit. And now this green, let's from here, let's
make another triangle. Then And this blue starts bleeding into the
green abit here. That's good. I can help it a bit
by splashing on it. And 12 and I will, I think, make another
strangled here. That doesn't mean that
I won't use anymore, but I feel like I'm trying
to pick three big shapes. Okay. And since I have
some paint left, I want to find some
small greens to paint. Like in this area, here could be in here, I will leave some
whites as well, and maybe this one. Okay. It looks very
cheerful so far. I like it and cool. Um, next one. I think I will go back to
not violet, but purple. Purple wasn't in the plant. That's a bit warmer than violet because violet is
on the cool side, but purple is closer to red. But maybe some as an accent, small sections like this one. Just for variety and
a bit of slushing. This section we said it
will be white, maybe here. As you can see, if I go
out of the lines a bit, I don't worry about
it. That's fine. Every now and then I
special a little bit. Now I will go back to
this Horizon Blue, I use it here and here, and I want another big section
kind of across this white. So I think I'm going to do here. And here. Oh And now these two became too close. Maybe I might add another
layer to Tarquasbl. And I will go at some of these Malachite
Malachite Malachite, I will call it malachite. We could be add some here so that they can blend of it. So here. I think I will go
back to the this. And I want this section to
be came out very strong. A few splashes. While I have it maybe
just here as well. I think I'm going
to take my waters. No, I should actually drop
them all over my painting and destroy on the side here so that I won't have to go
across the camera every time. Now I just noticed. I
will bring some blue. I think this is cobalt blue. There's already blue here. This section will be
white, maybe here. I said this cobalt blue
was a bit too pale. I picked some Prussian blue. I'm making some of the
Prussian blue here. I'm trying to make it very
that I trying not to put blue next to blue all the time and with other
colors as well. So this section will be I
will leave it white, I said. So here, Telse. I like how strong
this persion blue, so I decided to put between the horizon blue that I think this creates
enough contrast. Okay? Now, I think we are I
like how this purple looks, so I will definitely add
some more purple somewhere. That as an experiment. I put in small places accent, but now looking at it, I like what it brings
to the palette, so I'm adding more. And I think I will
give this section to purple as well.
So more water. When you are trying to
pull your paint down and it feels like
it's difficult, just add more water to it. Some more purple slush
on the purple here. Purple plushes on
the violet, sorry. And while this is still wet, I think I want to wet
here purple as well. So maybe they will mingle
between each other. Yeah. Yeah, let them mingle. It's starting out very
nice and colorful, and this white space
I'm leaving here is starting to very visible. Very light purple here with
whatever left on my brush. And now I think it's time
to go back to green a bit. For the green, I want to
let's use turquoise green. I think I had too much
time dropping some off. And this turquoise green, I think I'm going to
leave here white. I still want to have
some contrast here. But this one can be taken. And should I leave this white? These ones I want
to leave white. Okay, so this one I
will give to turquoise. And maybe this little section here so that they will
also mix up of it. There's a very nice
color combination that here Turquoise and Prussian blue and the
purple. I like that mix. And so I think I'm going
to do the same here. That I want to kind of close
this section because this is this white barrier I created
in my head that should be white and some here. And that's mixing with
the Prussian blue over there. I like it. Let's flashy bit. Now are white going
across the sky, like the milky way
is more visible. And I don't want to make it like these are
color. These are white. So white I want to leave here because that's for the contrast. But I think this is now
visible enough visible enough. Okay. And I'm now checking if
there's anything else I want to add last additions. Like, find time. There's three empty
next to each other. Maybe in here, I
can add something. There's purple already. There is violet. So I think it is a good
place for Turquoise. Green. So that's that. And here I have lots of This
one I want to leave white. Maybe let's give this one
to Turquoise as well. I'm going to leave this
one white, this one white. And I can splash
every with turquoise. And I think I want to finish
with some purple splashes. Because that became the accent
color of this painting. They bringing a little bit of warmth into the cool
blues and purples, cool blues and violets. And I think with this, I'm done. Yeah. I think I'm happy with how it turned
out. This is it. I hope you are I hope
you like it as well. I'm looking forward to how I'm looking forward to
see how yours turned out. And now I'm gonna
let my paint dry. And while you wait for
your painting to dry, you can go and
leave me a review, and I'm looking forward to
seeing your class projects, and I will see you in
the conclusion. Bye.
7. Conclusion and Bloopers at the End: And this Phew. We made it. You can
start stressing again. Relaxation is over. Thank you for joining
me on this journey, and congratulations on finishing another one of my classes. If you didn't just sit and watch me like
watching white lotus, also, congratulations on
the new painting of yours. Let's remember
what we did today. This class is the second
part of the O series. A stands for abstract
watercolor escape. First, we made a neurographic art design like in
the first class, but this time it was more complex network
of lines to really experience neurographic art and relaxing while rounding
out the corners. After the drawing, we moved
on to the painting part. As a difference from
the first class, we didn't wet our paper. We applied the
paint on dry paper, and every now and then, let
the still wet paint touch. But in general, we focused on painting all
the sections with different colors rather than focusing on the circles
like the last time. Thanks to this, we ended up with a much different
looking painting. If there is one thing I want you to remember after this class, that would be the
fact that art can be just for fun and relaxation. If we can let go of the
idea of how our painting should look only then can
we be truly creative? And I'm looking forward to
seeing those creative sparks. I'm sure while doing
this painting with me, you had plenty of ideas like, what if I use squares or maybe I can use
green and pink instead. You should go for it.
Try out all your ideas, and later come and
share your paintings in the class project gallery so
we can all enjoy your art. While I got you here, don't
forget to follow me here, and whenever there
is a follow button. I don't have to tell
you about the reviews. You already took
care of that while your painting was drying, right? Right? Right. Thanks again for watching and
creating with me. I will see you on next one.
Until then, stay creative. Bye. Audio is recording too. Hello, we are going to
record another class today. Actually, the class is recorded. This is just the pleasantries
me showing my face to. I could make a class
once a week if I didn't have to do this all
setup and my face thing. But anyway, cheers, coconut
water is my favorite thing. I don't know if the
guilty pleasure. There's nothing guilty about it. I don't know how natural
this is in a can like that, but unfortunately,
I live in Poland. We don't have coconuts
falling from trees. So if you watch my jump class, I was saying that
this is my reward for myself and I'm allowed to drink this one because I
scored last night in the game. So first, I did 15 jumps in a row without breaking the
chain in one of my jumps, and I was allowed to buy. And then by scoring in a
game, I'm allowed to drink. Please make it more complicated. Okay, let's leave this here. Today we are starting
with composition. Not composition. What
composition? Conclusion. Conclusion. Okay. Not bad. It took me an hour to
put this together. And my desk is a
mess, as you can see. This is the painting
we are going to paint. So we will get there. Now I'm going to pretend that
we are at the end. Actually, I'm at
the very beginning of this kind of in the middle. But it will be like
we did all this, and I'm giving you
the conclusion and, like, we did so much and Whew. We made it. Okay,
one, two, three, go. Phew. We made it. Few. We made it. You can start stressing again. Stress. Again. Few. We made it. You can
start stressing. You can start stressing again. Too many sss. Again, doll good. Jack, handsome.
Okay. Here we are. Let's take another zip. Actually, maybe I
could use this trick to get to the
recording part faster. But if I tell myself if I start recording me
before 10:00 A.M. I can get a can of coconut
water. That might work. Watching and creating with me. It's nothing complicated. I should be able
to remember this. And later on, they
are super pretty too. Again, jump number six started. You will practice your line drawing as well as
your watercolor mixing skills while unwinding
at the end of a long day. Why did I stop? Again,
while unwinding, unwinding, while unwinding,
at the end of a long day. Again, for a few minutes,
for a few minutes. Write down, write down what your cause of Okay,
maybe make it simpler. Write down, What's
the write down? What is stressing you? What's stressing you?
Again? Here, there will be Bros, I think. But Bros makes it
much longer and no, I should read it to the camera, but I will try to do the Bros. Pick a color palette
and color palette. Color palette. Color palette. I need my sunglasses
for this. Don't time. Come on. Don't be lazy. Walk into the sunset
in slow motion while feeling extremely
accomplished and productive. If you are ready,
please come in. And let's create again,
this is ridiculous, Jack. If you are ready,
please come in. And let's create let's be
creative while relaxed. Next meet you. Next.
Okay, that was
Fatih Mıstaçoğlu, watercolor storyteller
