Transcripts
1. Introduction: Hello, everyone. In this course, we're going to go
after grandmasters. They're well known British
watercolor artists, and I believe they have
their personal technique. But this is my interpretation. I've tried to make
it very simple. I've tried to share everything including color mixture,
brushes I'm using. I've tried to keep it simple, the brushes are very limited, the colors are very limited. I also use very
simple techniques like mainly wetting wet
and also wet on dry. They are basic techniques. I have a few videos on YouTube and also you can
search and find them. I believe that as an
intermediate artist, you know those basic techniques, so I'm not going through them. Just by following the video, you can reach how
I do the painting. I try to keep the
process very simple. I share everything with you. I strongly ask you to
watch the video once. Then for the second
time you can analyze it for the third time, I strongly ask you to do
it simultaneously with me, repeat it if needed to
reach the desired outcome. I hope you find
this course useful. It is designed to
be followed with other masters and I hope
you enjoy this course.
2. Beautiful watercolor landscape; After James Fletcher Watson : Hi mat in this tutorial, I'm going to paint one of James for that you
got some landscapes. As usual, my palette
is very simple. I've simplified everything, so I am going to
start with colors. I use yellow ocher, Bonsiena Bn tumba,
lezan crimson, Prussian blue violet, a mixture
of red, brown and blue. I mean, lizaren or cadmium. Orange, prose blue
and burnt amber to do the jar as black. Instead of black, I'm going
to use this mixture and some more pros and and crimson on demand to
make more violet. Also I'm not interested to wash and clean up my
palette because every time the mixture that is produced from the
previous paintings makes my color a bit more gray and it makes a sense of
harmony in all the painting. That's all about my palette. I'll try to pig
somewhere so that you can see every brush stroke that I'm going to use
and every color mixture. I'm going to surf from the sky int in that technique
that there are plenty of tutorials on YouTube and maybe I cover it later
in a spread video. But I'm going to
privet the skull. Just bits and try to
cover all over the sky, but avoid being overbet. The mustn't be desert. I mean, so that everywhere must be damped and also
there mustn't be a lake. I can see some lakes here. So, that's all. Now we can do the painting with the same brush or choose
another large size brush. Like this number ten round brush and a mixture of almost violet. So some violet. Then I'm going to
add more red to it. I'm happy with this color
and maybe a bit of blue. Yes, I'm happy with the result. Very easily I'm going to
paint the dark side of the clouds here and
there and also here. Then it's going to be dry, so I spray a bit of water over my paper to extend the life
of the color on the paper. Then I'm going to use some
more puse blue Always try to avoid pure or what I call it raw color
because it's saturated. I add some more violet. Then again, cruise and then I put my brush
on the paper. There must be more water and the color must be
diluted a bit more. And so, I'm happy
with your result, but to a bit more. I may tilt my paper. And I'm not happy with
this sharp result here. So with almost dry brush, I mix the edge of this cloud
here and also here maybe. Okay. That's all. Don't tweak too much with
your paper and pens. I'm going to let it
be tilted downward. This way. They will mix better. Yeah. I almost eyebsh,
bit of moisture. I'm going to lift extra colors
that are here and there. That's okay. I'm
happy with result. Let's continue. There are some shiny areas that shows that there
are extra water here. They will destroy
painting. They also here. I must pick them up
with my brush. O. That's okay. Okay, I'm taking a bit more
than necessary. Let me puff. So let's continue our
painting towards the hills. So to do that, I'm going to mix my colors. It's a little mixture of, um, blue, pose blue, fit my remains of gray
or brown on my palette, and a bit of Red, I will start to
paint my far heel, distant heel then to
make it more fresh, I just at some
points of pure blue, then I continue it more violet and red to make more
violet this way. That's I see my
colors are very thin. So they are weak to
show the distant il. Now it's time to
start all the hell. So once again, a mixture
of rose, blue violet. And then later, I am going
to add more of brown. This is a bunt umbel. And a touch of red. To bring the color forward. I'll use the same mixture
for the mid distant hell. Once again, I start with puse blue small portion
of lizar and crimson. Then I will warm it
up bit more Alison. I'll continue this mixture, same mixture by
warming it up a bit more and maybe
adding some brown. Just take care of the
edge of this bridge. This is very crucial
and important to keep some edge very tight, but some edges could be hazy and not that sharp. So to make you feel atmosphere, I add more red and more
brown to my color. I'm happy with the result. Then I'm going to paint the near hill that is almost
green but not pure green. There are some points
of color here. I'm going to pick them up with my drivers so to
color this hell, I will make a green color
using my yellow cor, and my previous
mixture and I will add maybe a bit more blue here. To keep the edge neat, but in some areas
it happens that they mix and don't worry.
Don't worry at all. And I'm going to
make a variation of colors using some
strokes of pure cher then some more blue here and there and darken the hail in some areas, and that's all. If all of a sudden you find
hair or you're painting, you can pick it up by
your brush, dry brush. It's not going to be picked up. Now it's time to do the
far side of the river. W the same mixture, but some extra occur. I'll do the job. So it's a mixture of aqua
and the pepper mint of blue. Try to keep the river side
horizontal and avoid tilting. That's true. And now it's time to paint the near side of the river. I will do it with
a larger brush, but the same mixture
a bit stronger. I mean, I am going to
prepare some more of acre Then I will mix my aqua with the color
that we prepared for the hills to make it dull green. Yes, that is all
I'm interested in. Try to use baked color. But what is baked color? It's in front or in
contrary of raw colors. I mean, very vivid, very pure, straight
from the tube colors. So to make your colors to be baked, mix them a bit, but at the same time, keep in your mind that you
must make some variation. So when it is still a bit wet, I'm going to add some more of blue here. The edge of this color
is not making me happy, so I will try to solve the problem with a bit of
wet but not dump brush. This way, you can
eliminate the sharp edges. Then once again, I will
mix up more of slim blue, as blue and it'll add more
interest to my painting. It's some violet
color here and there. So no. Now I'm going to
make a ticker color. So use less water and continue mixing to
richer almost violet color. Then I will add some more
water and also blue colour. And to make a sense of boohsm, I will add some exo
detes using tip of my brush here and there and also maybe here, the near side of the bridge here Then my color here is silver. I'm going to add a
tile layer of color. It's a mixture of violet and cross little
pepper mint of brown. Once again. Mixing my cutters. And to make my
color a bit darker. I add just a small portion of brown tip of my brush, I'll try to make
some bushes here. Is your finger with your neck, you can pick up the colors. I'll do the same job here. And later when my
color is bit fixed, I'll do the same job here. It. To add the distant trees, I will make a mixture of violet and the brown
on my palette. Try not to use pure
color and use cooked, as I said, mentioned before. It's a bit dark
for that distance, so I will dilute
my color and add some extra fresh
red here and there, and finally touch
of pure violet. Lift colors. Is my almost dry brush here to make your
sense of atmosphere. But at the same time, I'm to add some fresh
point of interest. A just small portion of red. Now it's time to do the very important
part of painting spit. Keep it very simple using violet color and a mixture of what you are already
in your palette, do the painting job. Try to keep the upper line still sharp and in pure
white of the paper. Because it's a man made
structure and you must express the feeling of being made
by a smart creature. So try to keep it
industrial, as I say, then continue your color to a mixture of what we had
before for the hell. I also will add some brown
color and some points. As we mixture of
brown and a small portion of red
somewhere maybe here, and then using pure water, I will mix it down with the previous color of the breach I did
something wrong here. It's not fertile at all. Now it's time to color
the river to do that. We need most fresh blue color. I'm using almost pure water, pure blue with a
small portion of violet for the near
distance, my gosh. Try to keep your coloring
with horizontal strokes. Then add more blue
still keep everything horizontal and continue coloring bridge and a bit further. Every brush stroke
must be horizontal. Okay. I've forgotten to paint a portion of the hill that
is behind the bridge. Now, I will do the
job. That's okay. Maybe it's time to add some
pointed interest to this him. With my round number ten brush, I'm going to add
some almost violet. Color. But it must be very diluted and a weak color, not a swing. That's all. Don't
tweak that much. Now it's time to remove the colors to make
sens of butchers. Yes, I'm happy with the results. And you can also with
the same mixture of blue and violet,
add some details. Here and maybe here. I will do the same job. On the far side of the river, I mean by adding a mixture
of violets and glue. It's almost a t. Color, I will separate the far side
of the river from the river. Do it in chunks. I mean, one chunk, two chunks, two chunks, so well. And I'm happy with the result. I'm going to add some bits
and bells and whistles here. Now it's time to colour
the underneath bridge. The mixture of blue, cross blue and red, that makes sense of shadow. Here, you must be tight. So cool to keep the
edges very neat here. That's all about a breach. Now, I'm going to add a trees. It's a dry brush, just pick a small
portion of color. And paint your distant and also mid a tree with the same mixture and
a bit of brown, red, blue, mixture of brown, you
must keep it almost dry. So it's very important
to keep your brush dry. Now I will add more blue color. Some red. And finally, small portion of yellow aka to
make sense of green. And it's very important
to add some fine details. So I will try to make sense of green using the to
this mansll mix. I'll continue my painting with yellow car a small portion of purse blue. Once again, and to
darken it more, I will add Ps is
very strong color. But you mustn't
use it very pure. I will add a small portion
of violet to make it darker with almost dry brush, I will make my tree. O. Prose blue with yellow car then add extra
detail to my tree. Don't twit that much. Now it's time to paint the
other one, the other Niote. I am going to add some more As and creams
to make my color a bit darker so it's dark and let green. WeletGreen. Yeah. And finally, it's time
to use the Pure violet. A mixture of Alexan
Crimson and Prus So I think some more Alisa. Once again, some more, Lou. Yes, I'm happy with the result. And I'm going to paint a trunk of the tree
with the same mixture. Keep it as narrow as possible. You may choose another brush, but I'm using my number two
round brush for this purpose. Okay. I'm emphasizing on
separation of the bridge. Now it's time to add all the needed details such
as texture of the stones, sense of texture of the
stones on the bridge and also separation of the bridge occurs and adding a sense of
stones that make the arc. All the needed details
that you finest brush and Also maybe adding some branches, some branches, and
also maybe some trunks and there in the simplest way. Keep it simple. Keep
it very simple and save your struck as
much as possible. So work smarter, not harder. There are also plenty of tutorials on how to paint
trees on the YouTube. But maybe later we'll have a less specific
lesson on trees. So please subscribe
for next lessons. The upcoming lessons
would be interesting. Yeah, so I'm happy
with the result. I'm totally happy with
your result. That's all. I'm happy with the
result the painting is finished. That's odd. That's all. I'm going
to remove the tapes. And this is the happiest moment in the painting that
you can see the result. And it makes me feel
fresh once again and happy gives me extra
energy for the next painting. Okay. That's all. See you
soon you laid off.
3. Watercolor costal scene; After Edward Seago : Hello, everyone.
Today's painting, I've chosen a beautiful
and simple landscape with a cloudy sky and several boats
and tents from Edward ego. If I have spelled
his name right. And this is really,
really beautiful. My palette is the same as
the previous painting. I start from privetting
the entire paper, but not too much just so
that it is sort of damped, I check that if there is a
lake or a desert, I mean, if there is extra water or there are some areas
not received any water. Then I start from the sky by a mixture of mainly
ocher and tinge of red. And very simple diagonal brush struck to convey a
sense of simplicity. I am using a number
eight round brush. Now I change the color and
pick some bluish grayish, very watery T consistency
with my brush. I strongly suggest you to choose the same brush or even bigger one to
keep it really simple. Because if you overwork, your painting would be lost. Now I tilt my board
and try to mix the colors with a
number 1 " flat, watercolor brush so
that they mix better. Now we have to wait
for some while so that the sky gets almost dry. I don't want it to be completely
dry just to some extent, and continue mixing my
blue color with more of violet and some
peppermint of char. And add extra dark colors
to upper parts of the sky, upper lift and upper right. As my brush is,
losing its color, two layers of paint are mixing and as this is a
wetting wet technique, the edges of the brush strokes
will fade into each other. I try to keep it simple and
loose and don't overtuch the paper because it really
damages the paper's texture. Now with the same brush, but with a very watery mixture of ocher yellow and the
bluish grayish mixture. I paint the sea very fast
as it comes towards me, I add more of dark
blue and tinge of violet to it so that it
becomes slightly darker. What matters is that
you have to keep your brush struck
horizontal as much as it is possible
because it sort of conveys the direction
of the form, and, you know, C is very
leveled and very horizontal. Now, with the same flat brush, while it is almost
dry, it is almost dry. I mean, I have used towel
paper to make it almost dry. I try to mix colors. So it is slightly damp, but not very, let
me say it right. Using a smaller brush
number six run brush, I start from the background. I choose a mixture of
ocher and burnt umber. A car yellow and burnt
umber and then and put a few spots here and there
to make color variations. Using the same brush I
make a mixture of blue, some violet, and a tinge of brown to make a dark grayish
color for the background. To be honest, Sigo's
painting has more contrast. But this is my personal
interpretation, and most probably, there are some
differences between techniques that he has
used and I am using. By the way, I believe
that following my steps, you will teach something
because I am trying to keep it very simple and show
you every brush stroke. Now I make my mixture
slightly darker by adding more violet and
also some number amber. And here, as usual, I try to keep it simple and
use one stroke because it has much more energy
than when you are messing with the forms. And now, I choose I
pick a smaller brush. I'm going to use number four. You can choose a number
for number three or even number two round brush for smaller shapes and details. Smaller brush size provides
you with more control, but you have to work. I mean, it is harder
to fill bigger areas. Now, I try to also merge
shapes in distance, but you have to keep the
edges of the boat sharp, as sharp as possible. You know, it is common, let me say phrase in
watercolor painting called loose and find edges. And you have to have some
loose edges and some edges, sharp edges, let me say. And usually we mix the
edges in shadowy areas, but keep the edges very sharp. It's called also lost and
found lost and found. So I try to keep the
area parts loose or lost and leten areas and lit areas and bright
sharp areas, sharp edges. The other thing is that I try to keep the industrial or
man made things very sharp, except for in shadow
areas, shadow areas, and try to do the organic
shapes like beach or water or trees with round
and somehow lost edges, not very, but somehow. And I try to use darker colors when it
comes to foreground, let me say or near distance. In this painting,
the mid distance that is horizon line or horizon objects is
the darkest part and draws the attention. But as a common rule, we usually add more details and more contrast
in the foreground. Now using the same brush
or number two rock brush, I'm going to add more
details details of boards, and also sharpening the Fay hills, let me say or foreshore land line very
obvious and sharp. Now I'm adding extra
details for the boats. Now I choose a smaller brush
number one round brush to add fine details to the boat. This boat needs extra attention because it is separated
from the rest of the forms and is one of the major points of
interest in this painting. And using the same
number one round brush, I add details here and there. I choose a darker color like more bluish color. And using number
three Run Brush, I add some color
variations here and there. And now it's time to add fine
details and darker colors. That's why I mix some puse blue with cadmium red to make sort
of very dark violet color. And using number two or number three roundb
you can do the same job. So that I have mixed my colors, I start coloring the big boat. This is very crucial
because I believe this is the most important
shape in the painting. You have to pay extra
attention to this spot and then I'm going to lower part of this shape, I'm going to add
more dark colors. And as I said, we have to have some lost and found
edges here and there. And uh you have to pay extra attention to those
areas who receive light. They must be sharp. But areas
that are in shadow could be measured the rest
of the painting or other shapes or
through the background. And I'm doing the same. You know, they're
all shapes for me. I don't say this is a boat, this is a tent or
this is whatever. I try to just have an eye
on shapes and try to, uh, make the shapes clear
based on their nature. I mean, if it's a
natural or organic shape like a shoe or sand, it could be somehow somehow, let me say carry, et cetera. But if it's a man made, I have to pay extra attention to fine sharp lines that is
created by a smart creature. I mean, it's man made. It's not natural. Is industrial. I also prepare more
Buish mixture. And a fine details of
maybe stones or something, maybe boats in the
near the tent. There may may be or most
probably boats and, uh, to to accentuate
the difference of, different parts of the tent, I add extra details
to the lower part of the sloped roof using finer brush number
two or number three, one brush and darker color, I'm going to add
the second layer of dark colors to the big
boat and the other boats that are near to the viewer and Here are all of my brushes. You can see the number
of brushes I'm using. These are my usual brushes. Once again, I'm going to use number four round brush to add
darker colors to the boat. And to make my colors dark, I don't use black. I avoid using black, and this is a mixture of
blue, red, and brown. So you can use the same mixture. Use burnt umber, use
whatever red color you have, I usually use Azaren crimson and blue Prus Blue is really, really strong, so
you will have to use it with extra attention. Now, I add fine details
like reflections. You have to use tip of your
brush for those fine details. I believe that now the
shape of the boat is almost defined by the way to separate the lit parts from
the shadow parts, you have to pay extra attention because if you do
something wrong, it is somehow risky
to correct it. I use my number one
round brush for fine details and use also
the same dark mixture. Consistency of colors
is really important. I usually start from very watery like tea or
coffee or milk. I usually start by
tea like consistency, then move towards a milky
milk consistence colors for strong points and, uh Ti colors, sometimes I use cream like
consistency of colors. Now, I use my number for Ron brrh to add a
mixture of glue and My previous dark mixture to add details like trees or
something in the background. I try to keep it simple. Please do the same because
it's very important. Very, very important to keep it simple and use one
go brushes struck. As you know, when colors go far from us or something
is far from us, let me say, it tends to be more
bluish because of atmosphere during the day, it is the same, but in evening it is
somehow different. Here, the day time
is like midday. Let me say a hazy sky. That's why the color
perspective is towards blue, something in distance
is more bluish. To add fine details, you could use a rigger brush, but to make it simple, I'm using the same
number one round brush to add details of the robes and let me say details
other details of the boat and as you can see, I am using a brownish
color for these details. So the mask and
other details are in a warmer color to
convey it is most probably made of
wood, most probably. I'm using a um, dark color for those
sort of details. Sometimes like now I
use my nail to remove the colors or add fine details that is impossible to do it
using your brush. I believe that, uh, main boat has enough details, so that's time to
add more details to other boats and other parts
of the painting like shore. I have tried to keep
some white areas here and there and to show the reflection of
the main mist in water. I use the same number
one round brush. I try to do it very simple. Try to keep it very simple. I add some fine details to the sands and the
sea and shore meat. This has been a very
calm day because you can see that
there is no wave or foaming wave in water, so it has been a very
calm day and I try to convey the same atmosphere and keep the same atmosphere. I continue adding more
details like maybe figures and also it is very crucial
when you are going to add horizontal lines because it is water and if you do it wrong, you will destroy the painting. Now I add figures
and the reflections using the same number
one round brush and try to keep it very
simple, very simple. You can see that. It is
only a dot for the head, a brush stroke for the body and two brush stroks for the legs. That's all for human body or human figure and try don't mess, don't overwork, but do it
carefully with carefully. Okay, I believe it is
done, in my opinion, now it is time to let it dry and then remove the tapes while
it is going to be dried. I try to add some fine details. These are final touches while my painting is going to dry. Our painting is almost done. But by the way, I add some fine final touches using a mixture of blue and
my previous dark color. Here and there, by the way, it's important to see
the color perspective. You can see that the near
both has more contrast. And it's time to
remove the tapes. And I believe this is
the fantastic part of the painting job because it gives me energy for
the next painting. Sometimes happens that
I think that I have to add some fine details and
final touches here and there. That's why I add some final
touches here and there. Congratulations. We did it, and I hope that you do
the same job as I did. See you in the next lesson.
Painting Yeganegi, Art is joyful!
