Transcripts
1. Introduction to Relaxing Watercolor Layers and Patterns: This might look complex, but it's actually one of the most relaxing paintings
I have ever made. Let me show you how we
got here, step by step. Welcome to part five of
Abstract Watercolor Escape. Still abstract,
still watercolor. Still a great excuse to
ignore your laundry and say, this mantel brake is
for everyone's safety. Hi. My name is Fati, but
you can call me Fab. I'm a watercolor
artist, online teacher, and mindfulness enthusiast
here in Warsaw, Poland. Jack is somewhere
around here, too. You better come back with
a hot cup of coffee. In this class, we are
putting it all together, starting with bold
intuitive color. We are using masking tape and creating layered zones
like we did in part three. Paint first, draw later,
like we did in Part four. We are adding neurographic
lines and flowing designs like we did in
Part one and Part two, and we are finishing it off with crisp black patterns that make the whole page sin just like we started
doing in Part four. It's colorful, it's layered
and it's beautifully chaotic. And it's relaxing,
too. Think of it as a visual journal page
for your nervous system. You will explore watercolor flow that feels like meditation, drawing details that
gently pull you in. Creating structure
without stiffness, letting go of outcomes
and enjoying the process. Whether you've
done every part or you're just jumping in,
you're in the right place. Draw with me real
time, make a mess, take your time, find a rhythm, and maybe surprise yourself. And when you are done,
show us what you made, post it in the project
gallery, and let us know. Did this help you relax? Did your page reveal
something unexpected? Alright, tapes ready, paint
sweat, black pen waiting. Let's bring it all together
and see what happens.
2. Class Project: I don't even know what
I'm going to say. I didn't write anything.
What does it say here? It says nothing.
Okay, I'm just going to improvise it. Let's
see how that goes. Your class project is to follow me along and create
your own piece. I will quickly go over
what we are going to do. We're going to start with the
painting in the Part four, and we're going to use the
masking tapes in part three. And once our painting is dry, we going to go
ahead with our pen, and we're going to
draw our design. And after that, we're going to bring it to another
level with the patterns, and at the end, we're going to splash
some black paint over it, and that will be it. So I just want you
to follow me along. Everything is real time. You
can just do it alongside me. There will be a nice relaxing
music in the background, like we have in every part
from P one to P four, and I will be talking
some nonsense along the way or maybe say something useful
every now and then. And you're going to
follow me along, and at the end of
1 hour and a bit, you're going to end up
with your own painting. After that, please take a photo and share it in the
class project gallery. So I can have a look,
make a comment, and everyone can see your art, and we can appreciate it. And the world becomes
a better place because your art didn't exist before this
class. Now it does. It is a better place. So
this is your class project, and anything else,
Jack, I should mention. You can do it like I do, no. That's not gonna work.
They can't watch Seinfeld while doing because
they need to watch me. I am the Seinfeld here. I'm flattering
myself. What else? Just like I was mentioning
in the previous parts, you can go and leave me a review while waiting for
your painting to dry, because if you remember, you're gonna paint
first, draw later, there will be this
little gap I mean, I know it's annoying,
but we have to do it. So while you are painting while you are waiting for
your painting to dry, you can go and give me a review and then come back, and
then we will continue. How does that sound?
Cool. I re cool, Jack, I never got that
coffee, by the way, saying, Okay, let's not fight
in front of the children. I will see you in
the next video, which is the materials,
and after that, we gonna move on to the idea and painting and drawing and so. So see you in the
materials. Bye.
3. Materials: Watercolors, Masking Tape and Waterproof Pens: And this and the so materials, what are we going to
use in this class? It is exactly the same in the previous classes, basically, but I'm just going to
wrap it up quickly, and I'm going to put the video
from the previous class. So if you haven't
seen the other parts, this class by itself, it will be a standalone class. I'm looking at my desk. This is the painting we
are going to create today. And yeah, put the microphone
in your mouth, maybe. Masking tape, water,
watercolors and pen. That's it. 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 shops 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, and I'm going to use
this fiber 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 ideal. I'm going to use this
brush number 12, Renaissance prand I don't know. I just like the color and
of the Internet ones. I have my water jars here, one for clean, one
for dirty water, and a bit of the kitchen towel, paper towel always useful
in case of messes, some mess and mistakes. What else? Is there anything
else? I think that's it. Other than that, I use the spray bottle
to spray my paints and this eye dropper to drop some extra water on
them before I use them. Anything else? If you fancy you can get a cup of coffee
while painting and watching me paint or tea cup
or wine. Not cup of wine. Not a cup of wine.
Glass of wine. I think that's it. Jack, is there anything else
you would like to add? And that's all for
the materials. As you can see, nothing crazy. I'm gonna see you in the next
video, which is the idea. We're gonna talk about what is this project about and why
this project basically, and then we will move
on to the painting. So see you in the idea. Bye.
4. The Idea: Why This Project and How I Choose Colors: Hello, everyone. Welcome to the Part five of abstract
watercolor Escape. So today, we are going
to paint this design. The reason I picked
this, let's talk about the idea behind all this. We can kind of put together everything we've been
doing in this one. You know that from the
beginning in the first class, I explained you where
this came from, the way I do neurographic art and where we are going towards because from
the beginning, I said, I really enjoyed
making the patterns, and I think this is very
relaxing art practice, and I just want to share
all this with you guys. So we are going there slowly. And now, what we're
going to do in here, like what this consists of, I'm going to show you in here, we're going to use the
masking tapes again, from the third class that we use masking tape
to make this design. We're going to do, again, continue from
the fourth class. This will be first paint, then draw kind of a class. That's the continuation of what we were doing
on the part four, and also the patterns will continue in this
one, even more so. As you can see, a lot
is happening here. There is lots of texture,
and we're going to do narographic art like we
did in the first class. And the second class.
One, two, three, four, all of them are involved, that we're going to use the
techniques we've been using in four classes and we will end up with entirely
something different. This is a big page.
I think it's a four. I'm going to again,
do this size. It fits better in the
camera and the space. It's easier to handle and
also it takes less time, which is better
for making a class because I don't want
to make it too long. So we're going to use this size, so it will be a bit smaller, but I will try to keep a similar composition
and patterns. But while we are doing, I might change my mind. We'll see. You can do the same. I'm going to put
this aside for now. I have two little scraps of watercolor paper
here. Why is this here? Because I'm going to keep
the same composition, but maybe I was thinking we
can change the color of it. So we will end up with a bit of a variety and so we can
compare them at the end. To do that, I thought I
would invite you guys to how I do my paintings, a bit of this kind of behind the scenes that
usually I don't show, deciding on the color. How do I decide on the color? What color am I going to paint? I have this Korte ke, Ganze tambi and I love having this color chart to look at all the colors I have and next to them each other
because as you can see, it doesn't look like
that in the pens. Once it's on the paper,
it's something else. So what I want to do, usually, what I do, I look at this chart and I look at them
next to each other. They kind of come in this
order and it makes sense. It's from red to
yellow to green. So it's like a rainbow, as you can see, from red to purple. And then there are
some additional colors here that more pastel, that this is a very
nice color swatch that could be used or
part of it for this part. And then there are the
browns and whites and grays and gold, et cetera. So when I look here, now I mentioned gold. Maybe we can use the
gold as an accent. This one is gold or blush gold. Plush code. Number 91, yeah. This is plush code. Now, I look at my chart and try to look at combinations
of them yellow, orange and green or
greens and blues or turquoise and purple or four of them next to each other like this because
next to each other, they kind of they are
complimenting each other nicely. Or you can go completely jump, if you feel like you want
to do something different, you can see green and
red you're going to use. But there is also
the color charts. Back then, I was in a class, I was showing that on the
color chart opposite colors, it is dangerous to mix them. They might turn brown
or blackish and muddy. You need to be
careful with that. And mixing yellow and
blue always you need to think you will
end up with a bit of a green in between. Do
you want that or not? You need to be
careful with that. I'm thinking the best way to do, I think in this one, I have yellow and orange. For that project, actually, I use from the previous class, these inks, not inks. These are not inks. These
are liquid watercolor. But for this one, I'm going
to use my watercolor set. I have my water cups here. Sorry, sometimes I forget words. And I'm going to try
a few combinations. And from there, we will
decide on what to go for. Where's my spray. Let's spray
all the colors a bit first. If I know going in
what I'm going to use, I only wet those colors, but if I don't know that
they are all a possibility. I just wet them all, so they are ready to be used. So let's think the other
one is yellow and orange, maybe if you went with let's see this turquoise
and turquoise blue here, turquoise blue and cobalt violet and the
accent will be gold. Let's see what we
will end up with. Let's put the water down first. I'm just trying to see where is my eye dropper thing.
That's very useful. A bit of turquoise, like this. C wash me my brush. I'm gonna pick some of this
what was it? Cobalt Tolt. I'm washing this, too, and I'm gonna see how
it's gonna look like with some cold Blush gold. Mm. This is actually, not bad. We could end up with something nice net. Let's try another one. Let's try to do four and see which one will be the
most appealing to me. Now, let's try something
else. What do we have here? But if we want to
eat a bit different, this yellow and green. Cadmium yellow and
hookers green. Interesting choice
for a name, a color. Excuse me. I need this brush. I forgot to put some water here. And toh yellow. Hooker's green. Is. Washing my brush again, and I'm doubling
down on the gold. I think, no matter what, I will use some of this gold. Okay. This actually turned
out better than I thought. It's very cheerful
and, like, springish. But I think this is still
more classy. Let's see. Let's try something
something warm. With this cadmium scarlet, let's put down some water here. I'm putting the water
down because this first painting that from the
example I showed you, that it is very fluid,
and I want to keep that. So that's going to be a ton wet. What did I say? I said, cadmium scarlet,
which is out of red. And I'm thinking indigo. Is this indigo?
Because some of them I placed in my small set. This is number 67 Indigo, yes. So I'm going to try to like this very warm cadmium
red and very cold indigo. Oh, that's nice. Chin. Oh, actually, I like how this trned
out and how ink went into red like that. And some gold. I like it. We can even actually bring
it down a little. Take this. I liked it better when the red
on top was a bit stronger. So I'm going to if
I was doing this, I think I would get some
machen, yeah. Okay. But as you can see,
as I mix them up, they went a bit muddy. That I like these kind
of colors as well, but it's good to test. Now, let's put again,
some water here. And now, what could it
be? What could it be? Use a bit of Blue of purple. What if we used this Turquoise, green deep and
cherry blossom pink. Let's see where we end up. Let's check again there if
this is the right color. Turquoise green deep. Number 57, yes. Of this very nice color. Oh, I might go with this. I'm always drawn towards blue
and turquoise and purple. But I just like
this pink as well. Now, of cold. Maybe this cat, I should just after
doing the washes, I should just flush
it more randomly. Okay, so now you can see the
behind the scenes process, how I decide which
colors to paint with that can be painful
sometimes if you don't know, it might be difficult to choose. Now, first I thought this looked good. I'm
going to go with that. And then this was, and I
like the red and indigo. But this I think got too muddy. I think it's good
that we tested. Like at first, it looked good. Maybe it would look better, even in a case that they
are not mixing so much. But I think this is a winner. This looks very good T c. I didn't think this
would work out. I did it as a wildcard. Turquois is green deep and cherry blossom pink,
and a bit of gold. Not too much. Yes, I think I'm
going to go with this one. Yeah. So this is how I do
the process before starting. And in the next part, we're going to start
with the painting, and we're going to
use masking tapes. We're gonna do the painting, and once it's done, we will wait until
it's completely dry, then it will be drawing. So see you in the next lesson. Bye. I didn't tack this one. M.
5. Painting: Masking Tape and Watercolor Washes: And this and Welcome back. So we're going to do this painting like
we told this design, and we're going to
use a smaller paper. And I'm going to put
these paintings away. And this one for now, let's put it here on the side. The first order of
business is tape. We're going to tape our design
because as you can see, there are three sections. Pretty too much equal, but I think the middle
one is a bit wider, but doesn't really matter. I might make them
equal. Let's see. Also, the tape on
a bigger paper, the tape is going to
stay the same thickness. So these gaps will
appear bigger here. So while I'm placing, I will have a look if I will keep the middle
one wider than the others or if it's
going to be same. I don't think it makes
a big difference. So but the other thing is, I'm going to do
this on a cardboard because I want to be able
to pick it up later. Just a second. My cardboards
expended from the waters. Took before I think. Okay, now it's better. I'm going to do
this on a cardboard so that I'm able to pick it up and let the water no it. And if you remember, we picked I picked this
combination of colors. Pink and Dhakers. Let's leave this here. And let's start with
the masking tape. I hope it will be enough. It's running out.
I'm running out. So I'm just matching the edge of the tape with the paper because I want
this full thickness. And I'm pressing down nicely. You know, we don't want
paint to go under. But if it happens, no worries,
we'll take care of that. There are ways to
take care of them. And the other side now how shall we do this? As you know me, I'm not very pedantic when it comes
to measuring and so on, but I want this to be let's say, I will have three
equal columns here. I want to achieve
that to do that, we're going to use
a bit of math. Look, children were saying that when am I
going to use this? You need to now figure
out this tape is 1.7. Centimeters thick. It
means in the middle, there will be 21.7
centimeters gaps. Actually for the middle, I
could also use a thin one, but I wonder if it will
make it look imbalance. I'm thinking for the
composition here. The middle ones will be thin. I think I will stick
with the thick. I want this to be
three even columns. 1.73 0.4 and what
I have here, 14.4. When I take the 3.4, I'm left with 11 for three gaps. That's not a nice number
to divide by three, but maybe now when
I think about, maybe that's why I made
the middle one thicker. It's easier to let's say, for example, four, four, and three in the middle. That would make an 11. To reach 11, if I
did 3.5, 3.5, seven, 3.5, maybe I will do 3.5, three half, and four in the
middle.This pretty much even. I think it will be
similar to that. So first gap, I
need to mark here, that should the
thickness should be 3.5 and here the same. It means I need to put
my tape down here. So what happened that we have a gap on the left that
3.5 centimeters wide. If I do the same thing
on the other side, I can mark it outside
the paper 3.5? No, I was looking
from the wrong place. From where the tape
finishes, I'm counting 3.5. 3.5. And so this is the gap we
need to leave in the middle. Okay. It looks pretty even to me. So what am I left here? Yes, almost four. I decided a millimeter
error because it's 3.8. And this is 3.5. This is three point
so it's even better. It everyone closer
to each other. I think it looks pretty even. And now the top and the bottom. And then we can get
to the painting part. First, let's make
sure that these are pressed down nicely. That two tapes are on
top of each other, always press down where they meet because
there might be a tiny, tiny gap between the two, and watercolor loves
going under those. So basically, with
your nail, like, put a crease on the tape so that it's pressed
down all the way. Pressing down. Yeah, so we have our columns. Just like that. Putting
the tape aside, maybe I will just
because in here, its tape is all the way on the paper and it's not
holding onto the cardboard. I will maybe a little
bit of a tape here to stop paper from
buckling a little bit. It won't do All the way, but it will help some. Okay. So here we are. Now we are ready to paint. This is what we are going to do, but with different colors, now this is the color
palette we chose. We are ready to go.
What I'm going to do, I want to do them all at once, so I'm going to wet them
and then go straight into dropping paint into the
water in wet and wet style. I'm still looking for
the eye drop we think. It's probably here,
but it's quite a mess, so I can't find it. Just to be prepared, I'm going to wet those colors. So later, once I start painting, I don't want to lose time
because it dries very quickly. Turquoise green,
somewhat from that, pink, some water on
that, and blush goat. Now, putting waters
directly on the paper. That for that a bigger
brush helps with speed. He Okay, we are nice and wet. And now let's start with the TorqoiseTrqos Green. Quickly, I'm moving
into pink. So trying. Because the pigments
push the water away. Picking up pink quickly. And let's drop the pink. That you don't have to do all
that some whites can stay. I think it looks nice. I love how this pink just spreads
into this place like that. Okay, I think what I will do, I'm going to lift it up in
this section in this part, and let it run around
a bit and blend a I'm introducing with more water in some sections
to be more coal more fluid. When it's too much, you
can also let it run out of the paper and pick that with
a paper towel like this. Let's do here, for example. You can see the rays coming
out here. Little bit of help. And now I'm going
to look if I want to intervene with
what's happening here, that in general, it looks good, but I think some parts I want thing to be
more pronounced. To will create nice
blooms here that I add extra water and pigments. And here is a bit weak, but I think it will look okay. Now, I think I want to add some more torquis
there around here. It will frame it better
I think once it's dry. And now, once this is done, I'm going to do the
gold just as splashes, and I'm not gonna
let it run around, so they will stay
more in one place. One, last one. Okay, I think. This is enough. I don't
like to do it too much that now we will let
the color do its thing. They will go into each
other dry and they will have their final
look like in here. Oh, that looks
beautiful. Shiny gold. And once it's dry, we will peel it off. And then we will start drawing. This is it for this
part, the painting, and I will see you
in the next part. In a while. This needs to really dry bone
dry, it has to be. See ya. Bye. Oh, maybe we
will edit this out maybe. Okay, this will be
the ending now, okay? Pretend that I didn't
say the other things. Okay, this is done,
the painting is done. Now we have to wait until it's dry with more energy like this. And then while you are
waiting this because it has to be really fully dry in
order for us to draw on it, you can go and
leave me a review. So I will see you after it's
dry in the next part. Bye. This one was better. Yes, Jack? Okay. Signing out now.
6. Drawing: Neurographic Art with Pen: Welcome back. Now, our
painting is dried completely. Now we need to peel the tape. And if you remember, if you watch the third part, abstract watercolor
escape, I have a little trick for
that and that's heat. You can apply that in any form. You can have access to it. The way I like doing
it is with a mug. This is a metal mug. So it transfers the heat from
the hot water very well, and it has a flat bottom. So it's basically
like old school iron. So I'm just running
it over the tape. I'm going to remove. And hopefully it
won't rip my paper. So far so good. Oh,
heat up here more. Yeah. In the meantime, I will show you after this day. It looks very nice. I hope you can see it. It looks like on the
screen, you can. That the combination
worked out very well. Of course, when the
painting paint dry, it always ends up less
saturated than a it was in wet, so you need to take that
into consideration. You see? Nothing ripped. And also, we press
it down nicely like, very nice sharp lines. No. Spige. So I will
show you the gold. Can you see how the
gold is shining? I think this is
gonna be a beauty. So we can get rid of this first because I'm not afraid of the
cardboard dripping. And let's do this one
first because it's on top. Now, this also can
be like a relaxing, mindful activity that just slowly push your cup
across your tape. We don't need to rush, do
we? I mean, sometimes we do. It's part of life,
but I hope you don't at this point in
this moment in life. And you can just be here
and enjoy the process. Now, let's try to peel this off and always at an
angle, like a low angle. Good. Also good. As you
can see the paint went under between the
two layers of tape. But because I pressed it
down with my nail between the two layers when it's
meeting with the paper, it didn't go anywhere,
so that's good. I think in here, there's
a bit of a spillage. But you will also see that
that's not a big deal, and actually, I hope that it happens
somewhere so I can show you what
to do in that case, because you can
cover anything up. This is just the beginning. There will be as you can
see in this example, there will be a lot
happening later. So we have every chance to make a decision to cover armstakes. Okay, going well. You can even see
the difference from just doing it on cold
or after the heat that you can feel the
adhesive is much looser after the heat and just is not
strong enough anymore to hold onto the
paper and drip it. And there's only one thing
to be careful about. Just don't knock this boiling
water of your painting. That's it. But never
happened so far. A good? Yes, the cup was standing
a little bit longer, just comes off much easier. That you can feel the
change of strength. That's also done. Can you see how beautifully
it's coming out. I have to say, I'm very pleased with I don't know if every artist does that
but when I make something, I get really attached to
it and I was thinking, Oh, for this design,
this is the way to go. This orange and shapes,
it looks really good. And I was thinking, if I should change something, if I should keep the same because this already
worked, why change it. But then I thought actually, it would be good to show
you guys my process. And through that, I
think I'm in love. This might be one of the
best woes I ever made. And it wouldn't
have happened if I just tried something new. So always be open to
try something new. Okay. As you can see, there's
a tiny bit here, but that's not the problem.
You will take care of that. I just thought of something
because it was wet over there and this cup went over it. I thought for a second
that I just smudged took the paint from here and
bet the mac put it down, but luckily, it's okay. Only the last one left. It's looking awesome. Oops. Dripping
dripping is happening. Let's apply some more heat. And the best thing to do, usually, to try from the other angle instead of
continue to rip this way, that we can we might be able
to leave the paper intact, and then we can just glue it down or sometimes just even
with water, it's holding. I think I know what's happening over there, it also ripped. This is the part I
cut the paper because this was a bigger paper
and I cut it to this size. I think where I cut
it with the knife is with the scissors.
It's a bit weaker. So I will try to peel away
from it's not this way, so it pulls the edge of
the paper, but away. But as you can see, the most
important thing is to do it slowly and watch what's happening so that
you can react to it. This goes over there. Yeah, you see this was the part. By doing from the angle, we managed to keep it intact without ripping it completely. Okay, only two incidents
and one paint incident. I think in general,
we're in good form. Cardboard can go away. Hope. Okay. Wow, this is beautiful
just as it is. Like, maybe we
shouldn't do anything. Maybe we should just leave
it here. Don't you think so? Wow. This turned out I have to try this combination
more with other things and see where it gets me
because this Wow, I like it. Turned out much better
than I thought. Okay, our painting is
ready, tapes are gone. Now it's time for drawing. Let's have a look at our
design for a moment. Or design had a big,
big circle here. I will have a look at my I usually use this
for the big things. I think for this one, I use, not even this. But I use this big plate. I use the big plate for this. So this will be too big for
the small paper, for sure. And this is the main point of
attraction for this design. This is way too big, I think. So maybe I will go with this. Yeah, I think we can
achieve a similar. Let's see. This one is L, part of it is outside. And it's almost reaching to top and then reaching to
a third column as well. So if you try to do it like
that, reaching to top. Yeah, I think this is this way, we can keep the same ratio.
So I'm going to use this. What else? We have smaller ones. These rings I really like. And for those rings, you can use the tape. But this tape, since
then, got much leaner. As you can see, it doesn't
cover the whole thing. It's a sticker. Maybe
I can use this one. So it will be a
bit chunkier ring. There's another
ring here, and oh, where is my broken circle circle making machine device, too. And we had the
size circles here. Probably this big size
over here, maybe this one. This one and this one, and some smaller ones, bigger ones over here, and another big one here. I think. Yeah. So I will put these
on the site for now. Let's take our painting. Oh, where is my phone here? The masking tape over
there. This is here. Paints, I can uncover
the paints now because you're not gonna
use the paints. This here. I think the orientation
was this way. Yeah. Is there any difference? Let's have a look. I mean, this is the beauty of abstract. You can choose. You say that this is
the right way up. This is the right way up.
Now, let's start with the BO. You go there. And my pens. Down, do, does e my
hands, hands hands. I need a 90.5, yes. And that's test that if it's. Because when coming to
the end of their life, they tend to a bit not
make a complete line. And sometimes I like that too. But for this, I want a nice
strong, complete line. Here we go. The first circle is in. I think this is the
only perfect circle, we can put the plate aside. And let's do the rings. First. So for this ring will
be a touch bigger, we'll see what to
do with the rest. We will adjust to
it accordingly. And one line from the outside. Okay, here's one Chunky ring and another one here. Okay. As you can see, I don't even think about it, but
it already happened. This left in this part, and it's going to be covered
with some marks or patterns, so it's already gone. Let's make Now we
make the bigger ones. Now we can move on to this. Let's put tapes aside. We're gonna need
some circles this. I think now this very big one is too big or I can make
them overlap here actually. That's also an option. Or I
can make a smaller one here. I think I will make
a smaller one here. Like the middle on this line. And then later,
it will be black. And another bigger one. Here. Normally, how do I decide
these designs when I'm making? Because at the moment, I'm following this yes, so we will be able to compare
later, different colors. Normally, I just look
at it and try to see where it needs doing try
to look at at the moment, for example, this
composition is like all the way to the top because there is
nothing happening here. So I would think, Okay I'm going to
add something here. So there is this big one. I think I want to make this
one the same size circle. I think I use this one. I will make one over here. But this one will be
behind the big circle, so I want to it all
the way like that. And what else? This is in place. There's a small one here, which
Ital like that it is kind of breaking the pattern here. I will make it over here. And this is in place. This is in place.
Another small one. By the way, maybe I
should tell you the story here that the part
of this design, I was saying, how do I
pick where to put what? Like, I look and I kind of try to see where it's
imbalanced and so on. But these big black ones, they came because there was a spillage under the
tape, and to cover them, I thought I just have to make a big black um circle
here to cover it. This is the reason in here, there is a splitch In here, there was splitch
and in here as well. So that's why part of it is what you want to do and
what you think you should do. And other part was
helped by the painting. Now I have another one here. Let's put it this way. Okay. Circles are there she rings. I have this small circles. Let's put them in. This one, and one is over here. And then what's left is the beak. I think these are,
we're done with this. I think I'm going to use this or I'm going to use the
tape again, like this. Is it the same size?
It tiny bit smaller. It makes sense because we are
working on a smaller page. I don't want the shapes
to be too overwhelming. I'm looking in here, it's reaching like covering
the corner of the middle column and the bit of the corner
of the right column. So let's do it like that. Okay. And another one is here like this. Yes. And finally, I think
two more circles left. One of them is here,
catching this corner. Okay. And I think in here, I can only fit a
small one like this. And like this our design
with circles are drawn, we're going to add
some lines now. So oh one line goes like that, another one will go
like this and over it over it and inside the big circle outside
into the ring, outside the ring to here. So let's see if I
can navigate that. Something like this. And there's a touch line that is
coming from here. And exiting from there. Okay. Now we can add some weight
as a start to these lines. Let's use fresh trend for that. How is it going?
Is everyone okay? Is everyone relaxing? This is a srt. And here, I'm not very happy
with how smooth lines, so I will try to smooth it. This part will be black anyway. One like that. And let's make. Where am I going? It's okay. I there, there will
be connection. I check something. I think this saws reaching
the end of its life. Mm, hands goes like this hands Like that. With this one, I made this inside here
that will be black. I'm not making that part tick, but maybe this part can be tick. Like this. And here it can be. And then Andrea
and now here this And if you are wondering how I'm using the brush
pan to do this, as you can see immediately, it brings more depth
to the painting. Just with these lines, it
makes such a big difference. What I do, I lightly
touch on the first line I'm going to start and then start pressing down
more and more. And as I do that, the line
gets thicker and thicker and then start lifting it up
again, but very gradually. To achieve this from thin to thick and
thin again, feeling. And there's this pum. I can see, for example, now, I never tested this before that the ink doesn't cover these
gold paint perfectly, that they react to each other. Not like the other watercolors. And there is this thing here. I like that. So now let's do the connections. Let's start from top left. As I always say, you
can do this the pen or make old connections and
later fill them in with the brush pen to
cover bigger spaces. H Now, you can decide how many of these connections
you want to make. Like, I try to come up with
some rules as I go that, for example, these lines for me are for connecting things. So I make these connections and the neurographic
art style connections. But the other things, for example, circles
touching each other. Sometimes I make a rule not
to use neurographic art, but in this case, I did, and I like how it looks. So I think I will
look in here also. I will connect them with
neurographic art connections. I don't have a name for them. That these connections
that makes the lines makes connections
look very organic and also puts you in a flow state and makes you relax while
taking care of them. I just finished another jump, but I don't remember
which jump I was on. I guess this is what
the flow state is. I'm completely in here now. Everything else melts away. Here and now that I just need to be mindful about the fact
that I'm recording a class. But other than that, I'm
totally enjoying this process. So sweet, there are some birds
singing outside my window. Speaking of sweet,
over the weekend, we caught a coat, we spotted, let's say, baby squirrel in our
garden was wandering around seemed like he
or she lost his mother. So my wife took it to, like, an animal shelter to
take care of wild animals. And we were assured
that the little guy would get milk
because it was still quite young to feed
himself and then start on the solid food and be introduced to another
squirrel family and start a new life. So it was sweet. In the meantime, it was kind of sad because we were thinking, Are there siblings?
Where is the mother? What if the mother
shows up later? But I think the little
guy will be fine. Here's a sweet story
for you from Warsaw. Of course, I considered it. I might have actually
asked, Can we keep it? Because it was so sweet and
we talk about having a dog, having a cat, but it's kind
of a bit responsibility, but I felt like a
little squirrel hanging out with you would be the ultimate pet
experience, I think. And the best would
be, of course, that it's actually
living in your garden. Living its own life,
but every now and then comes and hangs out with you,
that would be very sweet. Okay, I think we put down
all the connections. Let's fill them up quickly. I guess after that, I
will cut this and we will make you last lesson
about the patterns. So let's do it quickly. I mean, I'm gonna do quickly. You take your time
and enjoy and relax. Yeah, there's only one thing. Like I said, this ink is not able to go on
top of this gold paint. So again, like I always say, I'm doing the things and discovering things and making mistakes, so you don't have to. I'm not saying
this is a mistake, something to be mindful about. You can see, when I feel this part and it immediately starts popping
over the painting. I'm very pleased with.
It's going well. Another one another. Another one. Like I said, it's faster with a brush pen. You can cover bigger areas. These are also done. Hmm. I just occurred to me now I could have
taken a photo of the just the colors
before starting drawing. That would have been
good, but too late now. Smoothing things over and I should build this way as well. Okay. So this way, our
initial design is done. Later on, we're
going to fill this with patterns that will be
the last part and black. For that, I'm going to use watercolors again because, yes, you can cover bigger areas, but for something even bigger, brush is way better. This is it for the drawing part and let's say second
part of drawing. We'll do the patterns
in the next lesson. I'll see you soon. Bye.
7. Patterns: Most Relaxing of Them All: Okay, so we are back with the last part of our
class, the patterns. Also, it happens to be
one of my favorite. Parts. Now, I'm going to start with this
big pattern here. This fairly big circle. Normally, for these patterns, I use 0.2 and get close, but as you can see, this is a bit bigger and a bit
more spaced out. I'm going to use
the ofiveF this. This way it will fill up
quicker and it won't be so How can I say? Let me show you an example. Yeah, like in this
one, you can see, I used the tin pen and
made the lines very close. So this gives lots
of texture this way. But you can see, even though it's basically
the same thing, how different this to this, I want the background to be visible here. That's the goal. There's a pattern and
there's a texture going on, so it adds more to
the experience, but it is not as
intense as this. So that's why I'm
going to use all five, not all two, okay?
That's what I meant. You can also see here, look, there's clearly a difference between this kind of a
pattern and this kind of pattern that the fricnc makes a big difference
with your lines. So we're going to try to
do something like that. Okay, pattern. Starting small. And then we'll see
where it goes. This is the thing I kind
of like about patterns because even if I plan
and have an idea for it, it always takes its own
life at some point. Now slowly pattern
starts emerging, and then I will make
them go like zigzag. I was explaining this
on lesson three, I think, with lesson four. No, not lessons
class number four. That when you make
these patterns, that when they get
close to each other, makes a difference that they get closer these
lines on the left. It feels like they are
leaning towards left and then if you are touching
them on the right, they are leaning towards side, so they keep moving like that. Otherwise, this will
just exit the page. So now I will bring
this to the right. This alles. As you can see, it
was going this way, now, I started going this way. Okay, I think now it's time
to go back to the left. I This will be black and why. I'm not worried about it, but this one I will leave
them too because there will be another
pattern in this one. Okay. Now I think again, we'll start going this way. Now I'm getting close
on the right hand side. L here. Instead here? Yeah. It might be difficult to grasp
how these patterns work. And what I'm telling you
might not make sense. Just do a few by yourself. And you don't even have
to do it on a painting. Just take a scrap paper and make a circle inside, fill
it with patterns. And even if you don't think about making
any intentional pattern, you'll realize that it's by
just your hand not able to do everything 100% that at some point you will get close
to one line or another, and it will create
these patterns, and then you will
start understanding how actually it works. Another jump finished. I think this was seven. I think it's going well. This pattern now stay
behind the circle. I guess soon it will be
time to take it this way. Here. Is it something like this. Because you can see I didn't touch all the way that I'm now bringing to the middle and then next one I'll be
touching on the left. My watch is telling me it's
time to move. I can't pay. I'm recording a class. But
we're almost at the end. As you can see the pattern, it starts moving left again. This part will be black. Those blacks, I will do at
the very end and we will call the day there so that we don't have to wait
for it to dry again. And when these dips, they start getting too deep, I try to even them out of it starts with a bigger gap
here and smaller gap here. Like here, how I did. Okay, I think it's
time to reverse the pattern and start
going this way now. First, get close to the middle. You can see now the design
is starting to appear. I feel like this was
more like sun and that kind of a feeling
because this big circle and the yellows and
oranges and this one feels more like a
cool out space, Nebula, galaxies
in the distance, that kind of a cool place. Towards the end, I always start making them a bit
closer to each other. That gives more of this
sphere look that you can see, it's also like to see
that lines are much narrower here than
loser and the narrow. Again, you can do the same. I guess this pattern
kind of plates. Is roll and it's just
exited the circle. This one also. I think this last one, we can just start
reversing it now. Now I will start evening it out. And like that, the
biggest pattern is done, and that took 18
minutes. Oh, wow. In a way, it's good in
your daily life that this could be 18
minutes you were actually in a flow state and not thinking anything
else, just relaxing. So that's good. You
should be doing that. I'm only concerned from class recording
perspective, okay? Now, for this one, because it's a small
circle, very small circle. This pattern repeats here. That's kind of trick I use. I have same pattern somewhere else repeating
in a smaller way. For this, I'm going to use 0.2. This is done quickly, a small pattern going on, and now the other patterns, I'm going to lead
the dots to the end, and I have this one here. These are basically just lines, and I imagine this it has a center here and all the
lines are coming from there. So that is just kind
of parallel lines going along the ring. Well, they can't be parallel since they are starting
from a center. Now when I think about it,
just they appear parallel. You can achieve that by let's
say after every five lines, you just turn your
paper at while keeping your hand in the
same orientation. Okay, this is done. Now I'm going to pick my 0.8. This is the thickest pen I have. I'm going to use that to
let's start with this one. This is one of my
favorite patterns to make by the way,
just with dots. You start depending
on what you're doing. At the moment, I'm feeling
inside the sphere, so inside the circle, sorry. So it's going to start
intense around the edges, and as I go inverse, it will get less
and less crowded. And then this will create the
illusion that it looks like a more like a three
dimensional object. And it is a little
bit time consuming, but I would argue not that much. A hairline pattern like
I showed you earlier with very close lines that
actually takes longer. We are almost there. I'm just looking for some imperfections. And just like that, you
can see like it pops. Another one is here that this is the only
pattern we have left, actually the rest is
going to be blacks. And this one is
not on the inside, but it's radiating outwards. So now we don't go inside
the circle with our dots, but we are doing
it on the outside. I think there was
a similar pattern in the last class and
I was mentioning this. I would recommend not doing
this in the middle of night. In the dead of night, it gets very loud. It's repetitive tapping noise. But it's a great way to draw people's attentions on you if you are driving
at the coffee shop. If you want them to notice you and check you out
what you're doing, this will definitely get them. Do that. Every now and then I just
go outwards like that. So then I can go back down and make it more
intense where it's needed. Because obviously,
you can't go back. You can't make it less
intense somewhere. So usually if you make in one place kind of denser
than the other parts, the only way to fix
it, go and make the other parts more dense, too. To basically even it out. To me, most important thing
is that with these dots, you make the first line
kind of disappear, that it is not so visible that there's a
line there to start with, then it looks more authentic. Then it looks like
these black dots are radiating from
this white sphere. Okay, I think you
guys get the idea. Again, I don't want
to take it too long. We still have this to do. This one, again, I
will do it quickly. It's a big object and
lots of thoughts. But you can see immediately
it starts appearing, especially when you step back at a moment and look
from the distance. It makes this illusion like these three dimensional objects. That is curving away from you. It is important to not
go outside the circle. That kind of breaks the
illusion a bit if you do. I'm saying that because I just I think this was the
eight jump. I don't know. I lost the track. I think so. I'm rushing a bit, and as a result, I went outside to limes. Oh, I left this one not filled. Almost there. I can tell you guys, yesterday, I received a message
from one of my students. Her name is Carolina, and it really made my
day that she was saying, thanks to me, she started
drawing again and painting. She started getting a
small sketchbook with her, and she liked my
no sketch style, and she started doing at
a coffee shop nearby her. And the owner of the coffee shop recognized that she was doing
these drawings, and they I think either they made friends or they became friends through
this exchange. And the owner of the coffee
shop liked the drawings so much he offered to
put them on display. And I saw the photo
that it is just at the till where people are
ordering her drawings, and she was very
proud of herself. And I told her
that I'm also very proud of this her
art is on display, and in her local coffee shop. It's great. And I thought I
would share with you guys. This was really great to hear. And you can always
reach out to me that I really try to answer every
message, every comment. And once again, congratulations. Carolina, and I will I'm
not saying the name wrong. I'm really bad with names. I'm sorry if I do, but I want to go and see this coffee shop and see her artist for
myself as well. And when I do, I can take some photos
and share with you guys. In the meantime, this is halfway done more
than halfway now. Basically, the more you do this, the better it gets, more dots, the more gradient
you can add to this. The better the illusion
gets of this three D ring. That I also have an option
to speed up these parts for you guys because it
is a repetitive project. You guys get the idea. You just need to do it
basically and take the time. But if I do, then either you have to stop
or go back because then if I speed this up while
you are busy with this part of your painting, I will be onto something else and I think it's better if
we are drawing together. That's why I'm keeping
them this way. I'm not speeding it up. And you also always have the option to skip
forward if you want to. That's always within your power. So why do I take it away from you guys if you want to
draw alongside me? You can just do that.
Oh, I left at one here. You can just do that, and that's why I'm not
speeding it up, so you have the option
to do it with me. Or you can always skip
ahead whenever you want. But I would prefer
that you don't. The more minutes you
watch my classes, the better for me. So please watch from
beginning to the end. And then again and again,
while doing dishes, you can open me while doing the ironing. Okay, now this is also done. I think we did all the parts. The only thing left
is some black paint. Oh, I went between
my fingers nails. All we need is, let's
put the pens here. So black paint.
Let's spray on that. And now I'm going to need
my water water back. Now I'm going to use
the black paint to cover these parts black. For that, I want this black to be nice and thick and potent, not very watered down. Circle. Another one here. I'm doing it very slowly because now I came to a point that I'm really fond
of this painting. I just like it. I don't
want to mess it up. Okay, this is also due. And this one, I guess I
have enough grant here. Sections black. And there's this one. And there's four left. And then we're
gonna say goodbye. Okay, sus do. I let's do the big one first. I'm really trying hard to not go out of the lines and mess it up. Q This is like the last 500 meters of a race after running
10 kilometers. Come on. You can do it. Just at the end, I
went out of the line. But anyway, so this will
be the I don't know. We have a saying in Turkish, but it doesn't translate,
so I don't know how to say, but What can I say, so be it. And and in the original, I have some black splashes, and I'm going to do the
same for this one, as well. I don't want to do too much. I'm gonna do around
the black bodies and I think this way, our
painting is done. Give yourselves a round
of applause. Whoo hoo. So we have this one
where we started with, and we have the new one. Let me guys know what you think and which
one you like more. Which one speaks to you more. This was a good exercise
also to see how much of changing the colors affects the overall
outcome of a painting. Even though everything else
is basically the same. When I look at it,
like my opinion, this one really warm my heart. That the pink and the turquoise, gold, it just worked very well. And I like kind of how
cool and calm this is. This one is a bit
like it's powerful. Feel like looks like
something is burning, and this one is much cooler. So I like this because of that. I guess just generally that this color palette
speaks to me more. So I think I prefer this. But I'm curious what you guys think and which
one you like more. So you can let me know in the comments or in your class
projects you can mention. I really like this one.
Wow. The color combine, this worked much better
than I thought it would. I'm really happy. I hope you
guys enjoyed this lesson. Let me know how yours went and don't forget to
share your class project. I especially would
like to see if you use a similar color palette or if you use different
color palettes, I also would like to see them. So this was it for this class. We're gonna wrap it up in the next video in
the conclusion, so I will see you there. Bye. Sure.
8. Conclusion: Relax. It's Just Art: So this is the end, conclusion. I guess you guessed
it from the title. Thank you very much for taking the time for
watching my classes, and thank you for taking the time for yourself
and creating art. I'm very proud of you and you should be proud
of yourself, too. Let's quickly recap
what we learned today. We kind of put
together everything we've been doing in
the first four parts, part one, one, two,
three, and four. And we use the masking tape
again like we did in part three to create three columns
of watercolor washes. This was our starting point. After that, we did it
like in Part four, first painting, then drawing, so painting led the way. Later on, we made our designs with circles and
neurographic lines, and we connected them like
in part one and part two. And at the end, we added patterns to
elevate our painting to another level because
these patterns First of all, they are very relaxing to make, but also they give a
lot to a painting. They give lots of
texture and feeling. And this was the continuation
of what we did in part for. So we brought all together in this project and end up with
this beautiful painting. I'm very happy with
what I came up with, and I'm looking forward
to seeing yours. I really would like to emphasize the flexibility and practicality
comes with paint first, draw later style because you can prepare these
papers ahead of time. You can sit down and
do five of them, for example, different
colors, different designs. Like in part three or
part four or Part five, which is just over there,
those ones or these ones. And then you can
just put them in your bag and just
take pens with you. Even two of them,
05 and 02 will do, and you can do it
wherever you want. So I do this all the time. When I'm going outside
for coffee shops, there is always a
ready paper with me, and this really cuts the amount of thing I
have to carry with me, and I don't have to wait for painting to try before
traveling home. Could you go out, please? This way. Jack, fly. Catch. So I really encourage you to try
this painting first drawing later style and try to embrace it and use
it in your daily life. Every now and then, you
can do it other way, too, but I think this is really practical and I
really use it a lot. I hope you will find
this useful as well. And final reminders,
please follow me wherever you can find my name with a follow button underneath. Just press the button. If
there's a bell, press the bell. Now on Instagram,
I have a channel. It's called Fab Spector. And it is basically
bringing you into my studio and let you see behind the
scenes and how I prepare. If you join my
Instagram channel, you get a direct
connection to me. Anytime I post something that you get a message
in your inbox and I share unfinished works
and works in progress, and you get a bit of
insider look to my world. So you're welcome to
join my channel as well. If this is your
first time with me, there are four more parts. I've been mentioning them a lot. You can go and watch them and continue your
art journey there. And finally, don't forget to
share your class project. Please, please, please. Whatever you do it
is worth seeing. It is worth looking at. Take a photo and share it in
the class project gallery. And after that, if you
haven't done it already, please leave me a review, tell other students how good
of a teacher I am, and so they can make
their decisions faster and join
one of my classes, and they can make art and learn about the
relaxing art process, and they can also
benefit from this. This is for everyone.
So spread the word. Jack, can you get me a hoodie
that says Leave a review? I think that would be like, instead of saying
throughout the class. It says, Leave a review.
What do you think? So this is all from me.
I hope you enjoy it. I'm looking forward to
seeing your paintings, and I will see you
on the next one. Until then, stay creative. Bye. This might look complex, but it's actually one
of the most relaxing. Come on, Let's get in
the zone. Shall we? Again. This might look complex, but it's actually one
of the most Jesus. Go away. Fly. Again, I think
we have it. Still abstract. Still watercolor.
Still a great excuse to ignore your laundry and say, this is therapy, only cheaper. Ignore your laundry
and say, I choose me. It's an excellent. Still an excellent excuse to
ignore your laundry and say, I'm giving a break to my brain. This mental break is
for everyone's safety. Still an excellent This
is difficult to say excellent excuse, great excuse. It's a great excuse to
ignore laundry and say, This mental break is
for everyone's safety. Hi. My name is Fatty, but you can call me Pap.
Mindfulness enthusiast. Hi. My name is Fati, but
you can call me Fab. I'm I'm old. Nicely done. Again? Where is your brain? Where is my brain. Okay, I
became high talker suddenly. You can call me Fab.
Again, deep, deep voice. Deep. Deeper. Hi.
My name is Fati. Again, letting go of outcomes
and enjoying the process. Okay. If you say so. And when you are done,
show us what you made. Post in the pub Ha Baba. O. Boo. Boop. Okay. Is
everything recording? All right. Tapes ready. Pet paints wet. As I said, in the
previous parts, while you are waiting for
your painting to dry, you can go and leave
me not a comment, again, my classes or Jack, I told you to catch this fly. Please. Please go out. No,
I don't want any this way. Are you going? I don't want to see a fly when I'm
editing, Jack. Maybe that fly also joined my broadcast channel
Fab Spector, so it's able to come in and see what I'm up
to in my studio.
Fatih Mıstaçoğlu, watercolor storyteller
