Transcripts
1. Introduction: What can be more wonderful
than painting water with watercolor using Drawing
with water technique, just water, some pigments
and a bit of magic. But how to create a feeling of transparent water In watercolor. How to express the
sun reflection rippling on the
surface of the water? Would you like to enjoy
magical moments while discovering can mastering
watercolor techniques? Hello, I'm Evgenia Cordie, watercolorist, coffee artist
and art instructor, the owner of Belivart
Magical Watercolor. As the professional
artist I daily use the magic of
watercolor techniques and I'm grateful that
my watercolors and coffee artworks are in private collections
all over the world. I started to paint
when I was a child. And over the years exploring
watercolor techniques, I began to share
watercolor tutorials and process videos on
YouTube and Instagram. I've been painted with
watercolors for over 20 years. And Skillshare gives me a wonderful opportunity to share watercolor
secrets with you. In this watercolor class, we will start with
a color palette, create different color mixes like a beautiful turquoise mix. Then we will exercise to learn a modern watercolor
technique Drawing with water, which is also interesting for watercolor beginners. Step-by-step and in real-time we will start building
up the painting and this time we will use a layering technique
combined with wet-on-wet. The lessons offer a different
point of view that help to see and understand hand and
brush movements clearly. In a bonus lesson, you will learn to mask the edge
of the painting correctly to create a white frame even while
using wet-on-wet technique. Join me in the class and experience the true
magic of watercolor. The explained techniques
are exciting and versatile that you can use in all your subjects
to paint. From hair in
portraits to landscapes, and nature paintings. Let's get started!
2. Making a white frame for using with wet-on-wet technique: When you paint wet on wet, you have to wet your paper
thoroughly on two sides. That makes it impossible to adjust paper on the
painting board. How to make a neat
white frame around your painting and still be able to wet paper on two sides? We need to adjust some
tape on the edges of the painting and
simply cut it off. Let's do it. There are a few types of
tape that are commonly used. Artist masking tape, especially designed for use
in art projects. It's low tack,
easy to remove and leaves minimal
residue on the paper. It is available in
various widths, making it suitable for creating
different sized frames. This type of tape is often preferred for
watercolor painting as it doesn't damage
the paper surface. Painter's tape is commonly used in household painting projects. It is also available
in different widths. These kinds of tape
works well for creating white frames
on watercolor paper, but it is important to choose a low tack or delicate surface version to avoid damaging the
paper when removing it. Drafting tape, also
known as artist's tape, or drafting masking tape, is a low tack tape that is often used in technical
and graphic arts. It is designed to be easily removable and lifts
little to no residue. Before applying any tape
to your watercolor paper, it is recommended to test
a small area first to ensure that the tape can be easily removed without
damaging the paper. Now, let's cut the
remaining tape off. Don't fold the
remaining tape. The backside of the paper
has to remain as it is. Otherwise the wet paper will
not lay flat on the surface. Don't use special
watercolor tape. It will be permanently glued on paper and you won't be
able to tear it off. Also, washi tape isn't
good for masking the edges. The paint may actually
seep underneath the tape and cause
bleeding or smudging. Let's soften the pencil lines with a kneading eraser before
starting to paint.
3. Starfish texture: The next step is to define the objects we have to
mask before painting. Let's look at the
reference photo. Do you notice those tiny
spots on the starfish? The shadows make the
image visually pop out, but there is still the
lighter dots of texture. So let's mark them. Mostly you have to mask the objects that have a lighter
color than the background. You could also mask the shells. But I like personally to
not to mask big objects. Some color bleeding between
the background and an object will create
a diffused edge. I like it better than a
neat outline one. A couple of tiny dots to
indicate the texture. Don't forget to thoroughly clean your brush after using
a masking fluid.
4. Color palette and color mixes used in this class: It is always a good idea to
select your colors before painting. To make mixes
that you are going to use. When you work with the
limited number of colors, you have the opportunity to truly understand and
master color mixing. By experimenting with
different combinations and variations of
your chosen colors you can learn how they interact, create different
hues and values, and develop a deeper
understanding of color theory. A limited color
palette allows you to create a harmonious and
cohesive color scheme in your artwork. By choosing a limited number of colors
that work well together, you can ensure
that your painting has a unified and balanced look. Cerulean blue, Yellow ocher, Burnt sienna, Orange,
Indigo, Violet. Just to drop off Vermilion and Alizarin crimson for
the shell accents. You get a lovely turquoise
shade if you mix Cerulean, blue and Yellow ocher. Just drop the
original base colors under the mix. That way you will remember
the base colors for later. You get a lovely
shade of turquoise. If you mix Cerulean blue and Yellow ocher. To make a darker
turquoise shade you can add a bit of Indigo or a cool black like Payne's gray. The earth shades colors
for the starfish. Therefore, I mix some
Orange and Violet together. Violet and Burnt
sienna together give a lovely color that is nice for shadows on the
starfish or in sand. Sand color you can get
from mixing Burned sienna, Violet and a bit of Orange. Adding water will create
lighter tints of colors that you can use
to paint this shells. Let's see how to
paint the shell point. I start by mixing Orange
and Burnt sienna. Some Violet in Sienna mix and a drop of Alizarin crimson. Now we can start
with an exercise to literally paint
water with water.
5. Excercise - Drawing with water technique: First we need to make sure our piece of paper
thoroughly wet. It is best to wet the paper on two sides till the
paper is flexible. Here I use the basin of water. It works well for small sizes. You can also wet the paper under the tap or brush it with
water on two sides. Now let's flatten the paper with a slightly wet brush. When the paper lays
flat on the surface, we have to remove
the overdue water. Squeeze the brush with a tissue and brush the paper again. The brush will absorb
some water and will make the surface damp
and not too wet, which is ideal to start
painting wet-on-wet. Notice that with warm weather
the paper will dry faster. In this case, don't brush
the paper too much with a dry brush. Just one time may be sufficient
to make the paper ready. Here you see clearly
there's the paper is damp, wet, but not too much. If you'd like to learn
more about painting, on wet paper and creating
beautiful smooth gradients, watch my previous class "A dreamy sunset
landscape in watercolor." We are starting to spread
the watercolor with quick movements using
the belly of the brush. If you see that you haven't
enough color on the palette, you can make some more. If the paper is wet on two sides, it will take paper
longer to dry up, so you can relax and paint. On the reference picture you can see that some parts of the water
background are darker. We will add dark uneven
stains here and there. The paper is ready to begin. In my other class "An atmospheric rainy
landscape in watercolor" I explain in detail about readiness of paper for
wet-on-wet technique. To draw with water, it is best to use fine brushes, those with longer hair than
the common round brushes. It is called arigger brush and it is used for painting
straight lines. To draw with water, you need a wet brush
without any dripping water. If you wet the brush, you can see tiny drops of water. You need to wipe them
away to prevent them from falling and causing cauliflower
rings on the paper. So now with a point of the brush, make a line in one movement. You see that the brush
creates a white line. The darker the background, the lighter the line you draw. If the brush isn't wet enough, the drawn line will not be distinctly visible. Practice and experiment with
different wetness of the brush till you're confident
with "Drawing with water". Try to draw twice on
the same line to make it thicker and lighter. The water between sun reflections is sometimes darker. To achieve that you have to paint
with a round brush between the drawn
lines. The brush must not contain much water. Take the darker color
and tap the brush on the palette to squeeze
the moisture out of it. Important to do it on still wet paper. With light movements color
between the lines. You will see that
the lines stay light. If you'd like to make
some lines lighter, try to draw them
again with water.
6. Layer 1 - Paintig the background: Start by spreading a wet tea
towel on the table surface. Wet your drawings
thoroughly on two sides. For example, under the tap. Flatten the paper with
a broad flat brush. Brush the paper a
couple of times to absorb some water
from the paper. Notice that with a warm weather
the paper will dry faster. In this case, don't brush the paper too much
with a dry brush. Just one time may be sufficient
to make the paper ready. Start by mixing a turquoise
color from Cerulean blue and Yellow ocher. Spread the color with
quick movements. Hold your swatches by the
hand to check the color mixes. Let's make one for a sand color. When I paint, I add some
other colors to the mix, making it warmer or cooler, lighter or darker, which brings a variation in the color
stains that I add on the paper. Do you mix colors intuitively? Mixing colors can be both intuitive and learn
through practice. Well, there are some
basic principles of color theory that
guide color mixing, such as the color wheel
and complimentary colors. There is also an
intuitive aspect to it. Intuition comes into play when artist's experiment with
different color combinations. And observe the results. Intuition and color
mixing also involves understanding the properties of the specific paints being used, such as their transparency, opacity and granulation. These knowledge allows
artists to anticipate how colors will interact and how they will behave
when mixed together. However, it's important to note that while
intuition plays a role, learning and studying the
color theory can greatly enhance your ability to
mix colors effectively. If you'd like to have the
color theory easily explained, please switch my class "Watercolor robin birds, mastering painting skills from
easy to advanced and the color theory". A water color will
meet a sand color. The place where they meet add some color drops of
blue in sand color. The colors will mix by
themselves on the wet paper. Outline the starfish
with a brush. Add some dark blue stains
for more variation. I add a slight shadow
on the edge of the water. It will be diffused and will not stay as I am painting it now. But it will add a
subtitle transition. Dab the shell with a tissue
to dry the surface and to prevent the color spread
farther into the shell. But a slight transition on the edges makes it
just interesting. If you dab with a
crumpled paper tissue in the wet paint, it will make a nice texture. Make sure the shells are dry. I switch my brush to a finer one. It's easier to add
smaller amounts of color. The brownish color will
prevent the blue color from spreading too
much into the starfish. Add a darker shade for shadows. When I paint wet-on-wet I enjoy it so much that I
forget about everything. Painting wet-on-wet can create a magical and
captivating effect. It can produce a soft, ethereal quality In watercolor. The pigments dispersed and diffused on the wet surface create a gentle and
diffused appearance. This softness and
luminosity can give a sense of light and
atmosphere in the painting, evoking a dreamlike or
impressionistic quality. As the pigments
spread and blend, they can create a
beautiful patterns and unexpected
color combinations. This element of surprise at some magic and excitement
to the painting process, as you may discover
unexpected outcomes that enhance the aesthetics
of the artwork. With a dry brush I lift some color to
enhance the 3D effect. Making the shells dry gain. And finally, let's
draw with water. It's fascinating! I'm still surprised to see a clear white line
appearing as if from nothing. Use smooth movements
in one line. Make long or short
lines that look like sun reflections in a
clear transparent water. When you draw lines with a wet brush on wet
colored paper, additional water will push the existing pigment away,
resulting in a line. With this technique,
you can make unique effects like grass, hair, water reflections and so on. Now let's add more darker
paint between the lines. Use very little
water when you mix the colors and brush a darker
color with light strokes. To make some lines lighter I draw one more time over them. I love how contrast
they do look now. Some more adjusting with a dark color to make
some lines thinner. We are almost ready
with the first layer. Adjust some faults by
rubbing a clean wet brush, and lift the color. Then add a right color instead. Some more dark accents. Use a hairdryer till the paper is absolutely dry on two sides. Watch the next lesson to dry your paper correctly
between the layers.
7. How to dry the paper between the layers correctly: In this short lesson, you will learn how to
dry the paper correctly. Take your painting gently and remove a wet tea
towel underneath. Dry the surface with a tissue. Start blowing the paper from above than lower
a hairdryer and blow underneath the
paper holding it so that it makes
waving movements. When the edges of the
paper start to curl up, you can turn it and start blowing the backside
of the painting. The warm air will
flatten the paper. Turn it back and forth till the paper is sturdy
and absolutely dry.
8. Layer 2 - Adding more depth to the background: When your first layer
is absolutely dry, you can start by adding
more details and shadows. When the details have to be
diffused and not outlined, it is best to add
them on wet paper. As with the previous layer let's wet a tea towel then wet the painting under the tap
on two sides till the paper thoroughly wet and flexible. Brush the painting very
gently to flatten it from sand color to blue color because a blue color has a
tendency to bleed. With each stroke,
it is possible that a tiny amount of
pigment will bleed. Dab your brush after each stroke to remove any pigment
from the brush. Add a shadow on the edge of the water with a fine brush. Use a mix from Violet and Burnt sienna to
paint the shadows of the water farther and
then fade them out, for example with a
dry filbert brush. Painting on already colored paper wet-on-wet feels very flexible. By adding strokes and
fading the edges with a dry brush will add more
depth to your artwork. When you apply a stroke
and notice that it has outlined edges instead
of diffused edges, then you paper is too dry, just wet it with a spray. It works well if
you didn't apply much color over the surface yet. With a fine brush add shadows on the water. Brush the pigment
between the lines to make the water there
slightly darker. Proceed till you're satisfied with the color
intensity of the water. Use very little
moisture when you mix colors or take a color
from your palette. Some shadows beneath
and around the shells. Time from time compare your
artwork to the reference. Saving white areas in
watercolor painting is crucial, as watercolor is a transparent
medium and the whites of the paper serves as
the white in the artwork. By preserving areas of
the paper without paint, you can create highlights, bright spots, and a
sense of luminosity in your painting. Let's add a shadow
under the starfish. It will be partially diffused and to make
a nice basis for the next layers where we are going to paint
final dark accents. Fade the edges of the
strokes with a dry brush. The shadow will also define
the shape of this starfish. Let this layer
dry completely or use a hairdryer till the
paper feels sturdy and absolutely dry.
9. Layer 3 - Painting dark accents and shells: We are going to add one more layer with
some dark accents. As always, we begin with wetting the tea
towel and the paper. Make the paper flat and absorb
some water on the surface. More shadows will make the water texture
more realistic. I brush the pigment
with an almost dry brush. By combining layering with
wet-on-wet technique you can take advantage of the soft blending and
seamless transition of wet paint while gradually
building up depth, texture and details through
successive layers. The wet surface allows the pigments to mix
and mingle naturally, resulting in gentle
color shifts and harmonious appearance. This approach allows
for a balance between control and spontaneity, resulting in a
visually captivating watercolor painting
that looks at the same time
realistic and magical. Now, let's paint the shells.
Wet the white surface. Use the colors on the
palette and mix them with water to get to
light color tint. Paint the texture lines
with a very fine brush. Some orange as a base color, then drop a darker
mix in the middle. I also use a drop of
Vermilion to enhance the color. You can remove some color by
dabbing a paper tissue. Then I spread the
orange with a dry brush to make a transition
from orange to white. I think Vermilion makes
it a brighter tint than orange. I take some bluish pigment and brush it in
lines on this shell. I do it almost
without any pressure. If you add a light color, fade it with a wet brush to
make a light texture. For painting details, it is
best to use a fine brush instead of using an all-around
big round brush with a fine point. Fine brushes hold less paint
compared to bigger brushes. This allows for
better management of the amount of paint applied, reducing the risk
of expensive paint pooling or smudging
in the detailed areas. It also facilitates smoother and more controlled
application of paint, preventing unintentional
color bleeding or spreading beyond
the intended boundaries. Using a fine brush for details allows you to
create finer lines, textures, and
intricate patterns. These details can greatly enhance the visual
impact of your artwork, adding depth, interests,
and refinement. The process rendering
of small elements can contribute to quality and professionalism
of your painting. Preserve whites when you
paint a white objects, watercolor relies
on the white of the paper for highlights
and bright areas. Avoid paint applications
and those sports. This will enhance the contrast and luminosity of
the white object. Pay attention to small
details such as highlights, reflections, or subtle patterns
on the object surface. First wet the surface with a wet brush and then
apply very light details. Shadows to be will
make the shells pop-up. Let's wet the starfish
and add some shadows too, some earth's shade
lines, dots and drops. With the same color diluted
with water, I define the shape
of the Starfish. Some drops of color in
the still wet surface. Then let it dry or
use a hairdryer.
10. Layer 4 - Painting the accents: Final touches are so satisfying. Mostly these are
the dark accents. Gentle I add a shadow in the
water beneath the Starfish. I drop some dark
Indigo drops in it. Then I fade out the
edge of the stroke with a wet brush by rubbing it
gently. We proceed with the
shadows of the starfish. After you lay a stroke don't forget to
fade out the edges. The shadows will also define
the outline of the Starfish. Dark accents create contrast against light areas
in the painting enhancing the visual impact. They help to define
shapes, add depth and create focal points
within the composition. The contrast between
light and dark areas creates visual interest and
draw the viewer's attention. Shadows and accents
can contribute to the balance and composition
of the painting. They provide areas of
weight and help to distribute visual elements
evenly across the composition. By strategically
placing dark accents you can create a sense of harmony and unity
in your artwork. They also can be used
to add definition in detail to specific
areas of the painting. They help to refine edges and texture and emphasize
specific elements. By carefully placing
dark accents, you can enhance the
sense of realism and three-dimensionality
in your artwork. The last accents
that you add on your painting are mostly
painted on dry paper. Here I make some
lines for the water. I use a light color and fade out each stroke to create
a more natural look. Some more adjusting till you are satisfied with their results. I add tiny brownish lines beneath
each white masked dot. That will visually make
them more 3D as a texture. Some random brown dots for
the texture in other areas of the starfish. Don't forget to sign your
artwork. In the end I splatter some paint by tapping
one brush on another for some dots in the sand to add
more texture and interests. You can remove unwanted
dots by rubbing with a wet brush and dabbing
the place with a tissue. Revealing a nice white frame. Erasing pencil lines
and masking fluid. Ready! I hope you have enjoyed
this Watercolor Class. Was it difficult to layer using wet-on-wet technique? Did you like the magic
of Drawing with water? Start up a Discussion if you have any questions
or struggles. I would be happy to help. I'm looking forward to
your artworks! See you soon!
Evgenia Cordie, Professional Watercolor Artist, Belgium
