Beyond Boundaries | Exploring Double Exposure in Watercolors

1. Introduction: Watercolor is one of those mediums where you can actually try lots of things, so many different methods. But one of those things that you can actually try with watercolor is double exposure methods. Double exposure method using watercolors. So that's what we are doing it in this class. So we use that method and then use watercolors and then try to come up with a composition which is actually going to be beautiful when it's entirely. So if you're interested in double watercolor painting, this class is for you. Hi, I'm Mari Raju, an artist from India. I've been teaching and practicing different mediums for almost two decades. In this class, what I'm going to do is double exposure method is something which comes in photography as well as painting. So you can use any method, any medium, but photography actually has a different way of doing it by using different software. In watercolor, you have to have and not only that need to know a little bit of painting, but mainly adapting this method to watercolor. One of them is the shape and the other one is inside that shape. So I'll explain as we go along with the painting. So I'll take you through the insiel materials. Then we go through the drawing, and then I'm going to give you some tips how you can draw that particular thing. And then we continue with the painting from layer by layer. So by the end of this course, you will have a beautiful painting, and you'll have an understanding of double exposure method with watercolors. In this class, what we're going to do is we'll take outline of a butterfly and inside, we're going to paint landscape, but it's realistic where all colors are very saturated and then very colorful. So you can actually go with silhouettes or you can go with real painting inside. Not only butterfly, you can also take outlines of human face, animals, anything that you can think of. And then as part of a project, what I would like you to do is paint the same thing or otherwise, you take something different outline and then try to paint the same thing. Anyone, combination composition is different, but once you get the idea of double exposure, you will know exactly what. If you're interested in learning double exposure method with watercolor painting, join the class. I'll see you inside. 2. Materials: Let's understand the materials that we're going to use. I've taken 300 GSM. This is watercolor pad. They're all stuck together with the glue so that it doesn't warp. As you can see, I've not applied any masking tape. So if you're using 200 GSM, you might want to stick it onto your board. That is my watercolor palette. Whichever watercolors you have, you can use. This is the artist watercolors. And we'll be using ruler and a pencil. That is just for drawing. In the next lesson, we'll learn exactly how to draw this. Although I've drawn on this, but I'll show you that. One brush is more than enough. Round brush, which comes to a point. These two are both of them are different brands, but number six brush, you can use number six, number eight, anything, whichever comes to a point. And I'm going to use fan brush just to sprinkle some color at the end. You can also splash with this color itself. I'll be demonstrating with that and this and If you don't have any of them, at least one brush you're going to use. You can use toothbrush for sprinkling as well. So two of them will use, and then cotton cloth and a cup of clean water. So if you gather all these materials, in the next lesson, we'll continue with that drawing, and I'll show you how to put it on your paper. 3. Drawing Practice: So for the drawing practice, in a sense, how do we actually draw? In this project, we have taken a outline of a butterfly, and then we are going to put it on our drawing on our watercolor paper. Just take any paper, just the printer paper. I've taken a printer paper. I'm folding it in half. Doesn't matter wherever you fold, just fold it in half or fold it in such a way that depending on your size, which represents half of the left hand side and the right side represents a half of right hand side. That's a mid line. Just for the sake of camera, what I'm going to do is I'm going to draw that line so that you can actually see where the folding was done. So then now what we'll do is we'll try to define the top of the wing span. So if the wings are open, so you can see you have to recognize how big are they, and then I'm going to put them on top and then define the length of the body. So from top, from the head to the tail. I'm just thinking somewhere around that and then maybe half the way actually. I don't want to do it half the way, little bit more than half. So the top wings are actually, bigger than the bottom one. So based on that, you just have to eyeball it and then see exactly how it feels right about it because you don't want to do it exactly in the middle, it's not exactly half and half. So use your wrist to draw that top portion of. Just the wrist top portion, that with that angle the way I've shown. So with that one angle and then define where that big off top of the wing is actually going to go. So if I take the line there and that's where it's going to go. And just one curve line again. So that's a bigger part on top. The line which I've drawn where it touches at the bottom half the way just draw line so that you know exactly where to touch that. So once that is done and then bottom half or bottom one. So depending on that, that's where it's actually going to because body I'm going to draw that body somewhere there and then end it somewhere. So that's more than enough just below that wing in the middle. And then on the right hand side. So these two marks are actually more than enough, and the ones which I'm drawing now is just by wobbly lines. So you can and then the Some of the butterflies actually they have that shape at the bottom of that wing. That's what I've taken in this case. If you don't want, you don't have to take. But you can see the lines are actually just wobbly lines. Those two, that one and on the left hand side should be right. That's a head portion, little bit of and then a small oval is there. But I'm still going to draw only half. The reason that we have folded that is so that it's actually symmetrical. Make sure that you use a good B pencil, HB pencil. Then I can see where the lines are. On that particular line, what I'm trying to do is just rub it along those lines with my nail so that that actually prints on the other half of it. This way, it creates a proper symmetrical structure, both the wings on the left and right side are same, and then bottom ones are also same. Now I'm going to just trace it along exactly. So here, one thing you need to remember is that what I'm going to do is once this is done, you can cut along the edges of the entire thing, whatever we have as flat now, you can cut the entire butterfly. If not, I'm going to do something else because I just feel that maybe we should have not done in a sense, that printing, the folding, and then we rubbed it with our nail to get the other half of that. Instead of that what we could have done is just to cut this I can fold it the other way, not this way, the other way. Then after that, if I actually cut one side, the one which we drew in the beginning, that should actually create the entire butterfly itself. So let's just see how to go about it. So what we'll do is just take a scissor. You can cut straight. Instead of that what I'm planning is just fold it the other way, and forget about the one which we did. So if you had two options here I've given, you can actually open it and cut the entire thing. What I'm doing here is I folded it the other way, and then I'm cutting along the first drawing, first half of the drawing that we did. So by that, I will have the entire the putter fly itself. Once this is done, what we are going to do is we'll take this cutout, put it on watercolor paper and just trace along the edges. So that should be done. If if not, the other option is once you draw this, you have to take the tracing paper, use tracing paper and trace it. I think this is much easier than you'll have some paper lying around. You try it out, and then I'll see you in the next lesson. 4. Painting the Sky: Let's start painting the sky, very colorful sky, so you don't have to follow exactly just blue sky. So like I said in the beginning in the introduction itself, colorful sky. So those are the colors that I'm going to use. Here, magenta, then indigo maybe indigo or blue burn Ciena and burnumber. So other dull colors, I'm not going to go with it. Burn Ciena and burn tumber mixed with indigo or something like that to get the dark, then we'll go along all those four colors. Crimson ermlion hue, light red may or may not be orange for sure, gamboge hue for sure, and I don't think green I'm going to use, but this is one color extra, which is turquoise. So, turquoise blue is the one which I'm going to use as extra because that in this type of sceneries where I want to give a type of if you don't have turquoise, what you can do is mix that blue with dan hue. So our emerald green. Emerald green or dan hue should give you somewhere close to that, but add more water, so you have to balance with those two colors so that you can get that turquoise color which is close to whatever I have. And another thing is after I traced the same thing. Whatever stencil that we got after we cut out that what I've done is my size is a little bit bigger, but that was a little bit smaller. So I just wanted that to be covered for the entire Airforce set, and then you'll be able to see it properly. I've just arrased it later, but let it be very light so that because we're not painting anything outside, and we're not painting anything darker. For that reason, I've raged most of it, and I'm going to wet most of my colors here. I should have done this before. Either you can use spray bottles, spray the water or just put two or three drops of water, and then you can get the bright color out of that itself. So you don't have to pre mix anything because we're going to take these colors straight. So drops on my turquoise, ultramarine blue, and then some on burner and bars. So these burnt umber burn will mix it with blue or maybe we'll see. I might use might not use because I'm going to take this as right side of the painting is a little bit different and then left side is different. I'm thinking, I don't want to put the horizon line exactly where that two wings actually meet. I'm going to put that a little bit above. Just for the sake of composition, I don't want to divide that into half, and then I don't want to divide it where the upper wings meet with the bottom. So that's one thing, according to the composition that what I've chosen is that horizon is actually in the upper wing itself, and then it divides at the bottom of the upper wing. Only till the horizon, I'm going to wet that paper. So the reason behind that is because double exposure and most of it is colorful. And then like I had mentioned, even in the introduction, the water color that place color on its own. So another thing you have to notice is that my board is at an angle of 20 to 30 degrees. So make sure that you are whatever board or watercolor pad you have, just put it under some book or some wooden block so that it's at an angle. Whenever you apply this color, it's a small wash. It's not bigger wash. As you can see, we are just using number six round brush. If not, if you've already watched my other classes, so you would have seen that for bigger washes, I'm using 1 " brush or three four of an inch brush. So the I'm going to wet this only til the horizon. Although I'm not going to paint mountain now. I just I should have actually just left that particular part thinking in terms of the mountains. But remember, one thing, what we didn't do is we have not drawn anything inside. We are going to go exactly step by step with the keeping in mind that we are going to paint mountains. And those mountains are actually you don't. If you draw it, then you will know where to start. So I'm going to make crimson and ultramarine blue. Crimson and ultramarine blue is actually going to give you that kind of violet. That's the only color that I'm going to make I'm planning to put it on the left hand side. All right side. Okay, let's just because this is sky, so I want the sky to be very colorful. One thing that you need to remember here is make sure that you try to get the edges right because that's the shape which is actually going to show through. If that edge is not there or you spoil the edge. If it goes over the edge, then you might actually spoil it. But Like I said, at the end, if you're sprinkling some colors here and if it crosses, if it goes over off the edge, then it still looks good, so you don't have to worry about it. As you can see, that's a color, I've applied only for sky, and then I did not apply everywhere. I've left some spots, so I'm going to go back with my gambo shoe, which is golden yellow color, and then I'm going to drop in some color. So remember when you wet the paper, wet it properly. In a sense, when you apply color, as you can see, once I apply color, again, I go back with my brush with a little bit of water and then spread it along. See now I've applied a little bit of color, and then I'm going to spread it along. So it actually mixes with the color which was already there. It's not only it's somewhere between wet and damp now. It's not totally damp. If it is damp, then I should have seen more hard edges than soft edges. Let's take a little bit of different color again, man, Vermilion hue. You will have vermilion hue, if you don't have, you can actually take red, but make sure the colors that you apply are very juicy color. Again, go with the brush, wash the brush, and mix those colors so that it gets mixed with the colors what you have already. Try not to mix three primary colors which are reddish in nature and bluish in nature and yellowish in nature, and you will end up getting brown color. Try to avoid those colors mainly, especially for sky here or you can use it as a glazing. But as far as you can see, I managed edge to be crisp. If you want those two edges on the top of the wing on top, at the top, if you want, you can actually put more blue to that so that you can get the contrast. I did not put maybe, I might, I might not, but we will see. And you can also notice that at the bottom, we know that I'm going to paint some mountains, range of mountains with different colors, so I've left it white, so I didn't have to worry. And that part near the neck, I just wanted that to be crisp. These are the only three colors that I've used. You can use any other color. Doesn't matter. It doesn't have to resemble exact sky, but when you look at that painting, so you will know exactly what you have painted. So a little bit of head. A I have the same color, so I'm going to make it a little bit darker. Once this is done in the next lesson, we'll concentrate on painting mountains. 5. Painting Mountains: All right. Let's start painting the mountains from top to down. We already know where the horizon line is. Depending on that, what I'm going to do is I'm going to the bottom portion till the horizon, not the water reflection or the water, but I'm going to or otherwise, we'll try to paint the water. But I think I think we should paint the mountain first. Let's paint the mountain first. I've already applied a little bit of water. What we'll do is I will paint the mountain first. Let's take out the water. So that's fine. Let's go with the mountains first because once this is done, then I can actually paint with paint the water later. I'm going to wet a little bit of that. One thing you have to remember is that from the previous lesson to this lesson when we painted the sky, the surface has actually dried. I've left it only for just some three, 4 minutes. This is the surface has dried. It's not even damp, so it is dried, so that's why I applied a little bit of water. I'm going to use turquoise, try to get the turquoise color or greenish bluish color. Doesn't have to match because most of the sets you will not get that turquoise color. That's one thing that I've kept it separate only for special occasions, such as seascapes. That's where I use it. Again, I'm going to wet the right side part because it's dry. What I want is the reason behind why I'm applying a little bit of water is when I apply color on the wet surface, so it just spreads along. I don't have to have a particular edge. Here, what I'll do is first one of the mountain. So follow this for all the mountains. Same technique. First, I've taken orange color, applied the top of the mountain, washed my brush, came back and applied a little bit of water at the bottom. Again, what I'm going to do is this time, I'm going to take gamble hue. I will paint one more mountain. That's a gamboge hue. I'll paint one more small mountain just behind that orange one, the top wash my brush, take out excess water, and just smudge the bottom. The bottom one actually doesn't have any hard edge. The top one has the hard edge. So now I'm going to go with Magenta. If you don't have Magenta, what I would suggest is you can try with crimson and A little bit of altmar in blue, it's more violetish color. You can actually go with darker violetish color. Magenta has its own color. I've tried mixing magenta, but I don't think that pigment is entirely different. If you don't have magenta, what I would say is you can straightway go with armlion which is a common color in any set. If not, you can go with. If not, you can go straight, go with crimson. So one of these you will have or otherwise, if you have your own preference of color, just go along with that. Uh, one thing here to remember is what I'm trying to do is once I paint the top one and then I'm trying to wash take excess water from the brush, and on the right and left hand side, I'm just trying to merge the color. As you can see, it doesn't have an end on both left and right, it just merges with the color, and I'm trying to do it while it is wet. If not wet, at least take some water and then try to make sure that it is left bit wet. But to get the top hard edge, that particular area actually has to be dried. If it is damp or otherwise, if it is wet, the top edge you will get you won't get it as hard edge. So every time when you smudge the bottom with the water, don't go all the way down. If you go all the way down, that particular portion actually has to be dried before you apply the next mountain. So as you can see, for the background one, the one which I did with turquoise, and this one is just with altar in blow. Maybe I think I'll go with one more mountain in between. There, I found that the edge was a little bit harder. Then again, one more turquoise mountain, small one, just like that. The bottom one more bluish with the ultramarine. In between, again, wash my brush, come back, take excess water, take out excess water from the bristle and then smudge the bottom. Bottom one is having, like I said, has soft edge and the hard edge. Again, a little bit of ultramarine blue. Then one more mountain there. That's just ultramarine blue. Try to get. Make sure that every mountain these mountain ranges, whatever we are painting, actually, you are able to see all the mountains. If you have the same value, no matter whether you have different colors, if you have the same value, and I say value, darkness or lightness of the color is the same. From far, you will not be able to differentiate between the mountain ranges, one behind the other. So make sure that you have that gap, you have the bottom one, lighter color, and then the other one. So I'm going to go with again, magenta and then continue the same process. I'll add some maybe blue to magenta at the top because one magenta is already there. So I need to give it a punch with some other dark color. I'm not going to mix any other color rather than just the blue. I'll mix that color. I'll follow the same process and complete this entire mountain range. For this lesson. So follow along with me and complete all the mountains in the next lesson, we'll try to paint water. Not the reflections much, but reflections are again very blurry, but at least we'll try to paint water in the next lesson. Complete the mountains, I will see you in the next lesson. 6. Painting Water: Let's paint the bottom portion of the painting, which is the water. Horizontal strokes, all of them are horizontal strokes. The main thing that you need to keep in mind is that the colors, whatever we have used above the horizon. Similar colors I'm going to use at the bottom. One thing is, you have to keep in mind the shimmering of water or the shininess of water, and the light which is reflecting out of water. Some horizontal lines, you have to keep them white or lighter. For that reason, what I'm going to do is I will paint a little bit lighter and then apply a little bit darker. But as you can see, two things. Manage the edges very well because it has to look like butterfly. And then the second thing is any stroke that I'm going to paint inside for the water is actually going to be horizontal not vertical. So if at any point of time something goes wrong, I know that because it's just water flowing or the ripples on the water, it's just horizontal vertical. Vertical, in a sense, it should be a waterfall. So there is no waterfall here. So as you can see near the horizon, a little bit of white lines, I'm going to some of the whites, I'm going to leave it in between, as you can see, I might paint all of them, but lighter and darker color lines are actually going to be there. I'm going to follow the same thing for the entire bottom portion. The color on the left hand side, I had used turquoise, and then in between, I'm trying to have my armlion hue, a little bit of magenta, a little bit of yellow, the gamboge hue, so that's what we used all horizontal strokes. But as you can see, those strokes, even if you leave some space in between, like a dry brush. If you're actually using dry brush in a sense, less paint in your brush, and if you run your brush along the surface of the paper, Uh, the entire paper is not going to be covered by the color so that it takes whatever it can take in a sense, the water color is going to be applied on the tooth of the paper. So it's not exactly the entire surface of the paper. So as you can see a little bit of white here and there, but everything is horizontal. Try to make sure that when you blend those two colors, again, they are horizontal, one color goes into the other. And another thing you have to keep in mind is that I did not wet the bottom portion, similar to the sky. So I'm applying color, it's wet. I'm going to take the other color this time, it's orange. I'm going to manage the edge. Then again, either I take the same color or wash the brush and remove excess water from the brush, try to mix those or blend those two colors which are already wet, not after it is dried. So in a way, I'm actually mixing colors on the surface. So in a way, again, it is wet on dry surface. What we did for the sky was wet on wet. So we wet the paper first, and then we applied wet pains. But here, what I'm going to do is I'm going to continue exact thing for the entire thing, entire bottom of those two wings, and then we'll continue with more details. A. For the bottom portion, those two. That is the type of wing that I've chosen. I could have gone ahead with the same just the lighter color as of the sky, but I'm going to make it a b. So how am I going to make it on the left hand side, I have my turquoise on the right hand side, I have my Blue. I'm going to actually apply a little bit of ultramarine blue with my armlion hue. Those are the two colors. But try not to make it too dark because the reason is if it is too dark from far, the watercolor dries lighter. But if you make it too dark from a distance of four to six feet, you might not be able to recognize the color or the value itself. If you feel that it is too dark, just lift off a little bit of color so that the color is actually seen. And once this is done, If the composition wise, I have silte trees and silte trees actually have the reflection. But the water that I have thought about it in this painting is that it's just moving water. It's not a perfect reflection. For that reason, we had vermillion hue. I'm going to add some burniena and to get this darker, I will add some blue to this. That way, it gets a little bit darker because I could have taken straight away burn Sienna, but I'm just trying to mix the colors that we have on the paper. Those are the colors that we had a little bit of less burn Sienna, but more vermilion and then I've added ultramarine blue. So it has given me reddish brown. Reddish brown color. It's not voletish color because we have added barn If it is from a color wheel, if I had a if I had mixed more red, less blue, it should be red violet. But in this case, we add a touch of barn Ciena, so it is turned towards more of brownish color. That's a reflection of the silhouette that I'm actually looking for. So in this scenario, what you can do is just draw vertical lines, the trunks of the trees that we are going to paint. I should have painted that earlier, but we'll come back and refine this reflection again in the next lesson. But for now, draw some horizontal lines of those reflections and try to blend them a little bit. You should be able to see the lines, and you should also be able to see the colors that we had applied in the beginning. For the water itself. So just a little bit because we will do some reflections on this because once we paint the trees, we get a clearer idea that what we need to put. Like I said, it's not a mirror reflection. It's just a suggestion of reflection that when you look at it, you know that there is water and there is some reflection. Watch this one more time and try to get the steps that I followed and manage the edges properly and the colors properly. Once this is done in the next lesson, we'll concentrate on reflections. 7. Painting Trees and Reflections: Let's start painting trees first before we start with the reflections. Reflections are not much. It's just the suggestions that we'll do it at the end. So first, let's concentrate on tree. So Tree silhouette, I already have some color which was with Burni vermillion hue. For that, I'm actually adding crimson magenta, and then maybe a little bit of turquoise to Burnciana and a little bit of turquoise too. So what did I do? I mixed all the colors that what we have already used. Remember, This is one thing that most of the time, just when you watch certain videos and then ocasilette it has to be entirely black. As you can see, I did not mix black in it. There is no black. The color darker color I've got is by mixing all the colors that whatever we have used. But I've used the color turquoise more because in value, it's a little bit darker, but it's a mixture of all the colors, whatever we had. It's not there is no black in it. For the entire painting, I've not used black anywhere. Try not to use the black because suddenly when it comes to your mind silhouette, it has to be dark. So it doesn't have to be you can actually mix darker colors even for no matter which medium you're using. You can still mix your darker colors with Marciana mixed with Prussian blue, yellow blue is all going to give you very good dark. So you just have to keep in mind, very, very rare cases that I will use black, if not, it's just I don't use black. That's a color that what we have. All I'm going to do is first with the tip of my brush. I am going to represent or paint far away trees. The faraway trees when I say it is just a suggestion of trees, vertical strokes, like stippling the tip of the brush. You can also turn the entire pad around or your surface around and then do it if you feel that's actually comfortable. Try to make sure that none of those strokes are actually going to go below horizon. So if not then reflection has to be there, but they're too far. If they are far away from the bank, then you won't be able to see that reflection entire reflection. But at least the suggestion is that the top of all of these trees are actually going to be just a sharp, then we will paint the tall trees with certain shapes, simple shapes, but we'll repeat the same thing for the entire thing. Here, what we're going to do is I'm going to continue with the same thing. On the left hand side, what we did is more turquoise, darker color, on the right hand side, I repeated the same thing with more burnt siana and orange. So as you can see, right side one is a little bit more of brownish. Left side one is more of turquoise bluish color. So that's the split colors that I've used. I did not use the same color all the way from left to right. So once these are done, now, what we'll do is we'll start painting the toiletries. Those are the ones we are going to use for some reflection, suggestions of reflection. It's not exactly the mirror reflection, like I said, draw some tree trunks, some tall, some short, but try not to create a pattern. So this is one thing that I would like to say here itself. Try not to create a pattern in the sense when it is when we drew the butterfly, we kept in mind that it's actually symmetry on both left and right. It doesn't mean that we copied the same color on both left and right. And we also didn't copy the colors on left and right. We are not going to copy the tree is also same on left and right. In a sense, three shot four taller. We are not going to do that. And then we are not going to repeat the pattern again, in a sense, three shot next to that one taller, and then another one is shorter and repeat the same thing on the right hand s. Just mix and match and don't try to create any patterns. So all I'm trying to do is it's a triangular shape tree and make sure that you leave gap in between. You don't cover the entire tree as a triangle and then not show what is in the background. So if you don't leave a little bit of space in between those branches, then it doesn't look more natural rather than more of geometical. So that we don't want. And what we'll do is I'm going to complete this, Left hand part and we will copy or we'll repeat the same thing on the right hand side. But one thing is, like I said, the colors from left hand side differ from the colors on the right hand side is more oranges or brownish color towards brownish oranges, more brownish color on the right hand side, left hand side is more bluish. So once try to paint this trace and then we'll continue with the reflections. So for the reflection, I'm using the same dark. If you remember last time as part of reflection last lesson, we had applied a little bit of brownish color. So here with the same brownish color and a little bit of more turquoise, it's a little bit. Now, at least, all I can see is where am I going to put these horizontal lines. In a sense, there is a tall tree. And then the reflection has to be a little bit taller at least at the bottom of that tree, not somewhere else. So it's just a suggestion and nobody is actually going to measure because according to the perspective or the drying part of it, there are lots of things that you can think of whether close to the bank or away from the bank, how tall is the tree, if it is close, how much you need to show. All those things are there. But Here, everything is a suggestion. So I know that there is water. I know that there are some reflections, some vertical lines of the tree trunks and then some reflection lines because the lines of reflections are horizontal broken, and there is gap between them, because the water is flowing. So that is the main composition idea. Once you're done with this particular reflection horizontal lines, try not to make it too dark. It is dark enough to see not too dark enough that your eye actually is grab towards that particular reflection itself. Once these reflections are done, just a suggestion, again, I'm repeating that. Once this is done, in the next lesson, we will splash some colors and then I'll give you some ideas. Maybe you might know, you might not know, you'll get some ideas from that and then we'll make it a little bit more live for the entire painting. 8. Splashing Colors: Let's plush some colors on this different things that I'm going to use. That's a color, whatever. I had crimson and tamarin blue, that's a turquoise, that's a orange color. I think it got mixed with a little bit of blue from the brush. So that's why it turned a little bit of brown. Instead of using toothbrush, you can actually use toothbrush. Any brush which has hard bristles, which you can actually use your finger to sprinkle the color. All I'm trying to do is I'm sprinkling some colors. Take as much as paint in your brush and then try to sprinkle the color. I'm mixing all these colors different colors again from the tip. Again, I'm going to go closer this time, a little bit closer. See if you go closer again, it's all just going to be very abstract, in a sense, you're not creating any pattern here and there. So But if you take more paint and if you try to sprinkle this flick with a flick of your finger on the brush. Sometimes you might get bigger ones, but as you can see, I've got all small ones. Same effect you can get from toothbrush as well, so you don't have to worry about it, but make sure the bristles are hard. Soft bristles, actually, you're not going to get this effect. So bristles are hard. Toothbrush is right. Fan brush is also good, but there are other f brushes which are very soft like makeup brush or the blending fan brush, they won't be helpful again. So one, two, three colors, whichever color the colors that we have used, those are the colors that I've taken. Let me wash this brush, keep it aside. Then let's go back to our normal brush, what we actually painted the entire thing. Here, I'm going to mix that color again, a little bit of the same ultramarine blue with this. So add more water to this because now what I want to do is there are different ways of doing this. So if that flicking with the finger from one hand, if it doesn't work, place your left hand finger and then try to do it. But if it still doesn't work, then what I can see some drops are there, but I want it a little bit more paint. So you can add more water to this and I'm trying to put some paint in the shape of a circle like drops. If you really want to get the drop effect, what I would say is take enough paint from this brush from top, squeeze the brush, and then that drop exactly falls on the paper. So don't go too high because the paint might splash on your painting, and then it might ruin the entire painting. But you can try that, but I'm not going to do that. So I'm trying to get some dots, mainly circles. So let's try because I'm not getting circles. But I'm thinking that this is actually just based on some flicking. The same colors, I'm going to use the same colors. Once this is done, what we can do is we'll try something different, maybe the brush itself. Let's try. Let me put some of these brushes, some of these dots, and then we'll continue with different methods. This is for dripping. So there are two ways of making it drip. I've applied the color and then I've applied one or two drops of water from top in that color itself, it drips down. If not, you can apply the two or three drops of color, and then you can spray you can tap the paper or otherwise your watercolor pad. And this one, I don't want this to go all the way. So it's a mixture of some of them going all the way down and take out the excess, wash the brush and take out excess water and then go back with the same brush and suck the paint out of it. Again, I'll do the same thing with a little bit of red here. Let me just apply a little bit of red and more water. Water drop. You need to take more water from the brush and also paint and then go downwards. That actually, I think that got mixed with some other color as well. I'll stop there itself. Let's just wash the brush, take excess water and keep your brush to the tip of the paint where it is dripping and then it'll suck the excess paint. So that you can control the flow of that paint, if not, if it is left there. That's fine as long as it doesn't go down. So what we'll do is I'm going to paint again a little bit of line there. So let's see the line which I painted right now, I'm just trying to direct the flow of the paint. I could have used just what do you call. I'm going to stop it there itself because I don't want to touch the one which we already painted as part of the wing. So That's the part. So now that we have done on the left, use the same method tap color. Like I said, I'm not using any spray bottle here. That would have given entirely different effect. I'm going to repeat the same thing on the left. Like I had mentioned, I'm going to mix the same color here. While at color crimson and to Marine blue, add more water to this. Let me just so that's the bruh. That's my fan brush. All I'm trying to do is I'm trying to see whether I can try to I get that circle of color. For this to happen, what I would suggest is you mix the color in such a way that you have enough paint, so you dip in it. What's happening now is, I'm just touching it, I'm not dipping it. Maybe I should try the same thing with the red color that what I have. This should actually be, as you can see, once I dip in it, I can apply three four darts. The first one is going to be bigger and then the second third is actually. If you use it for if you've already done mandala painting, so there you will have that particular technique, how to get those bigger to smaller ones. I'm just using the same technique here. But like I said, makes more color so that you can actually get the proper round because the tip of this backside of the brush can take more paint and then you will get exact blob of paint on the paper. Once this is done, follow along this, that's just the idea that I've given. All the types of darts, with the brushes, the back of the brush and then even with the tooth brush and then dripping off the paint without using spray bottle. All of that. Just get this done. Maybe any sprinkle if it goes even some drops. If it gets sprinkled on the sky, it's still fine. So at least now it's more the bottom is more abstract. And then I think it looks beautiful. I hope yours has turned out the same way. Try to paint this very cautiously so that you don't ruin your painting. 9. Final Details: All right. So let's try to paint the final details. Some of the things that you might want to do it to complete the entire painting there I feel that I can get a little bit of edge with the same brownish color, whatever we had. Little bit darker edge. If you don't feel like you don't want to put, don't put it, wash the brush, again, maybe just blend it inside. So it has some kind of shape to this, more of a three dimensional rather than just the two dimensional. Because we are not concentrating on light and shadow, which is actually inside our shape, which is of the butterfly, but not outside outside, you can actually have it, but I'm not going to do that. And for the head, I just wanted that to be a little bit darker. Suggestion again. When I say darker as you can see, I'm leaving a little bit of space in between that just shows that it is more of three dimensional, some highlights, something is there. Because if you look at the double exposure, sometimes if you take an animal maybe ahead of an animal. You can actually have ice in it, you can actually have no ears. Everything is actually there, but the picture inside or the painting inside is entirely different. So all the features are there. In a sense, if you have, maybe you'll have catch light in it. So that you are not actually going to make it look like two dimensional rather than three d. It looks like an animal that whatever you thought of as part of the outline, but then the inside painting what you have drawn is entirely different. Can be landscape, can be anything else. So and antenna. So those are the two things that we missed. I'm using the same color, whatever, we had mixed, no black color again. I'm going to use the swing of my arm and then try to get those antennas. So let's just very thin tip of the brush. If you feel that it's difficult with this brush, I'm actually able to do it. That's the reason I mentioned that make sure that your bristles come to a point. If not, if it is older brush, then maybe it's difficult to handle. So that's one thing. If not, you can actually use two or number one brush. To get these lines. Once these two are done, even on the head, as you can see, I've left a little bit of white here and there from far, at least I should be able to see some kind of shape is there. It's not two dimensional sticker ware, just the black oval shape and then some shape that we have done. So highlights in between lighter color and darker color. So those are the things. And what else? For the upper wing, remember I had actually mentioned about If you look at it, there are things that you can actually think in terms of the upper wing on both sides. You can make it darker so that you can get the contrast, maybe add blue while it was wet. I don't want to do it now, but that's an option. If you want to increase the contrast on top, then as you go up, I could have put blue as well. So I hope your painting also turned out very well. Don't forget to post your project. I will see you in one of my other classes. 10. Thank You: I hope you enjoyed the entire course. The main thing is, it's just a simple understanding of double exposure where you have a subject. In this case, we have taken butterfly. You can as I've shown in the introduction video where I've shown some of my paintings, which is human or maybe a painting of an animal, and then that becomes your outline for the painting on inside. It can be a pure painting or otherwise the silhouettes or the colorful things that what we painted in this class. I hope you got something out of this class and then try to come up with your own outline and then draw something inside and I hope to see you in one of my classes. Thanks.