Connecting Things in Watercolor

1. Introduction: Hi, I am not home and I'm back with more watercolor in the new skew shirt. Less. I'm in this traitor and watercolor painter here in Brazil. I've been working with Water Caller for some years, and I became also a teacher making workshops for other teachers and students there want to develop their skills on faint. Today we're going to start a new glass with more techniques and focusing on the connections with our characteristics off the order color paint. It is about taking advantage off the parks with the same tones and and put them together as only one shape and the composition. And it's also about connecting wet parts off the bat. For that, we need to let you work in a very particular way, so let's go. 2. Materials: in this project, we'll need some simple drawing materials as a pencil if you need on the razor and take to firm the paper a watercolor set with a good range off hot and cold callers and some watercolor brushes. You should choose the good pointed ones to round medium size, it ferocious and at least one bigger off course. You need some water spawns or tissues to balance the amount off water in the brush, and we'll make an experience with mask fluid to a shoot off watercolor paper that I recommend to have a little bit of Dexter and good quality, and maybe we'll use a pinch of salt to. 3. References: The idea for the composition in this project is a crab who finds a message in a bottle. So I think it's good to have some good references for death. You can search and choose lots of them and select some for guiding the drawing, trying to find references for shape for callers for lighting. This way, we'll be able to produce a rich image. If you want. You can find some bottle, it means, and maybe in dissent this way we can see some kinds of bottle and elect with one we like the most. A blue one is really, but maybe it must be seen from above. I think this one will be a percent inspiration. 4. Drawing: so let's start drawing to bring the idea to life. At first, let's make a lose fast catch. Establish the composition, the Germany this size and location off the elements. The position off the crab's claws is important because it will be reading something it took out from the bottle. We can already to find a distance off the crab from the ground by adding his shadow with the terms also the angles and density off the sun. If you were happy with the composition now it's time to make a more accurate drawn, adding some details. Rece izing What you do, it's necessary and reshaping lose drawing according to the crabs, anatomy and proportions. Using a ban in this step might be helpful for the next step that is transferring to the painting paper. Even though we are using a thick paper, it's too becomes transparent when we use a window or a light box, just see through it. So let's firm the paper over the drawing and redo decreases. This time we're doing the final trace and have to be attention into pressure used for the drawing to be visible, but at the same time sauced because we don't want to see strong lines behind paint for this kind of work. We can also make remarks for the chef, given it a little bit stronger for it to be clear and organizing during the and then we already pretty watercourse. 5. First Color Layer: I like to firm completely all the sides of the paper in a hard surface. It avoids the paper to distort too much, and if it happens when it gets dry, diet borders force it to return for the original flat form. As we can see in the references, the surface of the grab is quite reflexive. What gives us his white spots in some points off his show. For that, we use the mask through attorney, where we want their highlights according to the light. We define it for the scene. There are several kinds off those masks, particularly I don't like very much to use it. But as the students always asking about it, this is a good way accusing. Ask fluid. You have to be fast and precise because it dries there fast and its density is not like water but like glue, so trying to take advantage of the texture in the paper to make very small marks with it. And it's important to reserve a cheap brush only for using with food. You can notice how it becomes after that, so let's start with First Wash. I noticed that the pain has a lot of water. It has to be very clean and sparse. Using the side of the brush. Give some fast rose to get this small spots off white paper. It makes the background fresh and reach. You don't need to be much accurate drawing in this step. It's more important. Jury is on Virginia's, and this continues. Look in the background. The elements must have a kind off invasion off the background color because one induced the order with their collars. So who rules likely connect them to the background? And here we start seeing what this video is about. Connecting well. It's still wet would put another tone in dissent. It will give us the impression of volume lighting into send surface. In the end of this step, we should have something like this. It's our background with the lightest times 6. Second color layer: Now we have to define some shapes and colors. I can choose the density of the callers analyzing my references. The important thing step is to be more precise shapes. So putting some callers on the paper it works like a selection, and we have to take advantage of the wet surface to add other colors and get soft. Fusion's that water color can provide us the wet into wet is the magic in a water color paint? Don't be afraid of exploring. You will notice that when the paint dries, color loses its trained. It's quite boring, but it's also an opportunity to control the process and work with laters. So will rethink the elements as well as we find the correct density for the colors. As we think this small elements, it's good to let some more white parts the needle off the burst strokes to give more highlights. Let's and again, don't wait it to dry for heading more caller and darker tones Use the magic off this technique. It is small parts wear doing the first layer of car, so let's try to make them as strong as the crab's shell. We should finish the step with all the elements with almost the same Van City. I mean, there's first first strokes with a good amount of pain and some others only with water for defusing the hard edges on make soft transitions. Some artists I like to use to Berges for this technique, one for paint and another for fewer water. The crabs leans has different colors on each part, trying to think the different colors in the same wet, later, connecting them and generating new colors. And in their sections. The part of has to be very clean to keep the glass suspect here. It's good to train one off the advices I always give for my students. That is the last first strokes who have in water color better. So let's make it very easily and fluid with a lot off, wet into wet and paying attention into darks and lights over a reference to put collars in the correct place. Don't forget, it will become weaker when it's rice, so don't be afraid off adding paint to it. If you need to open some light in a wet area, think out the paint and the water of the brush and move it slightly over the area. You want to get you the human brush absorbs that is floating in the wet surface, and we should have this result in the end of the second layer. 7. Third color layer: I think this is a good moment to remove the mask fluid, and we can do it by Ruben the surface with the fingers. You notice that it will leave Astana River balls. As you can see, the paper was totally preserved under the mask, but the holds are quite big because of the fluid density. So in the next layer we can consider Kovar in it a little bit. With some small births strokes once more, we will give more caller power to the crab's body, looking at the references and finding the places with strong color. Transitions will make color connections in another wet in tow. Later, beyond the connections way do over the surface, Way will try to find elements to find. For example, it projected chatters. We can consider them to have the same density off the crab shell so we can paint them starting from the same shape with the same strength. It helps the banking to have an integrated look and brings water caller to its highest potential. No, we can wet a little more to shell, but another paint layer. Do you remember? I said we could use a pinch of salt in this recipe. So that's the time. Pick up some small salt crystals like this and speckle over the West Bank. It will attract Beekman to their direction, producing an organic dexter. We must eat time to do reaction. While it happens, we can add a stronger tone to the lads and smaller parts off the elements. Now it's time to thank the crabs shadow. I elected a violent caller for that, and I want to shadow to be connected with artist areas off the crab's body, so painted with a lot of pigment, trying to be very precise shape and preserving previously Bank it crap. The shadow has almost the same form off the craft, but this place is to decide and that be distorted because of the regular sand surface. It's good to change lightly the colors and tones while painting flood ends. For they not to look boring. It's yeah, no who add a darker tone to the bottom to emphasize its transparency effect as it is buried in sand. There is a very dark area here where there's no light, and it will help to divide the glass and the sand inside this big Bruce Bolt. We can also add a bit more of Dexter to descend by flickering a fairly sparse paint with brush, trying to preserve areas with no sand in composition, ending some natural dirt to descend. We can project some small shadows for helping us to interpret all violent shapes as shadows , too. 8. Details: Now that assaulted area is dry, way can brush it with a dry brush to remove the crystals and revealed extra. This last layer will add the strongest storm and the shell and defined some important details. For that. We will put some paint in the correct Paris to give some volume to shape, and after that we use the brush on Lee with water to connect all the small births, strokes and only one big spot. Looking at the references, you can find details in the legs and claws that may be interesting. To bring for your bank. At this stage, you have to look for the errors that are asking for more than two and definition. Maybe it can be a good idea to a tiny highlights with white paint, but don't be tempted to spread a lot of white dots. You should only bring back small things that were impossible to keep white while making that be your strokes. To make a lighting effect here in the shadow, we will put a little bit of pure water and rub it. We didn't write issue to open the cane area inside the shuttle. I think this small paper in the crab's claw as important enough to have something written on it. So we're gonna put on S Cove s message that as a final touch, you can use a small brush only with water to run some parts of the shell and make a deal. The fact off volume bringing some light areas in a flat surface. Taking a glance over the finished work. I think the sand can have a little more off his file. It don't. In its darkest areas, it will harmonize the soft shadows on the sand with the hard shadows off the elements over it. 9. Conclusion: Okay, this is the result of all project. It's a simple illustration. Fast painting created cube you some more tips from nations about watercolor painting. I'll put the drawing in this lesson for Don't lose so you can use it for your own training project. Or, if you want, you can make another object or animal, but it's important to make your own painting to assimilate concepts and techniques that were shown. Show your results here in the project space in this class. Peter doubts and tell me about your experience. I'm sure the older students will enjoy to see I hope this class to be very useful to your learning, and we'll meet again. You know next. Que shirtless It's a love.