Transcripts
1. Welcome: Well, hey, everyone.
Welcome on into my studio. My name is Carrie Sanders,
and I'm an artist, a teacher, and a creative here in Beautiful Farmington, Utah. And is that time of
year where we're starting to look at
the holidays and get excited to put some decor in our homes and send out
some Christmas cards. And I have designed a fun piece for us to
work on together today. This is I'm calling it
doodle ornaments because there's some beautiful doodling that we do on these ornaments. And if there's versatility. If you like to ink, we'll do some pen and ink
with our watercolor. Or if you're a watercolor
purist, that's great. You can stop before we do the inking and just do
some beautiful watercolor. There are three
different projects available to you to choose from. You can mix and match and
do what's fun for you. We will be doing some
great techniques here, such as wet on wet,
we'll be shading, highlighting, we'll
be dry brushing, we'll be doing some glazing. And of course, we'll be doing some inking and some
splattering, my favorite thing. And so there's something
here for everyone. If you're trying to learn some new skills or
sharpen your skills, there will be something in
here for you to utilize. If you have never
painted before, I recommend you take one of my other classes first and
come back to this one. If you've had some painting, if you're still a
beginner, that's great. You'll be just fine. I'm with you every step of
the way in these videos. Just stick with me, and
you'll be just fine. You know, I have been
painting for many, many years and had
many students, and I have such a joy when I can instill the love
of art in others. In my art journey, I've been fortunate to have been picked up by a big box store, and I had a book published
in San across the nation, along with Pattern packets. I've also been fortunate to have won awards for my
artwork over the years, and I've been able to travel to other countries and learn
from fabulous teachers. I only share this with you so that you understand that art has been a huge part
of my entire life. And now I have so much joy and love being here on
skill share with you. I'm thrilled that
you've stopped here, and if this project is
of interest to you, I would love to
have you join me. Also, if you would like to take a look at some of my
other classes here, all you need to do is go
to the top of this page, type in my name, Cary Sanders, and all the classes
that I have will populate you to see if something
is of interest to you. And lastly, if you would like to click the Follow button,
it looks like this, then you'll just receive a
little pin whenever I pop out a new class and you can take a peek and see if that's
of interest to you. I would love to
have you join me, so let's go into the next video where we take a look
at our project, and then we'll look at supplies
and get started painting.
2. Class Project: All right, my fellow
friends and artists. Your class project is
to complete one or two or even three of these darling little
doodle ornaments. And after you have
completed your project, if you could take
a moment to snap a pick and upload that
into our class gallery, all you need to do is look for this button on this
page of Skillshare. And that will allow me to get an instant notification
from Skillshare, and I can go in and make
comments on your art. Nothing but love, guys,
nothing but love. I would be so excited
to see what you have accomplished and be
able to talk to you there. It's a great forum for us
to talk back and forth. You can ask me questions, we can have discussions. It's really a wonderful
place. But you know what? It's so fun to see
what each other has accomplished as students. It It's kind of
like baking a cake, and you give everybody in
the group the same recipe, and they all turn out just
a little bit different. It's because you're unique. It's because you have a
special set of talents. And so I'm super excited that
you have joined me today, and I'm excited to see what
your project looks like. So thank you for sharing and be really proud
of your work. I'm very proud of
you. All right. Let's see you in the next
video when we're going to talk about supplies
and our palette, and we'll get started painting.
3. Supplies & Pattern: Let's go ahead and do a quick
review of our supplies. We can gather
everything together and get started painting. So the first thing that
you're going to want to do is go to the main
page of skill share for this class and print out the PDF or pattern for whichever
project you plan to do today. Once you have that, we
are going to need a piece of graphite paper as well
as some tracing paper, and I will review how to apply the pattern in
just a moment with you. The paper that I'm going
to be painting on today, my watercolor paper is
a very smooth surface. This is hot press paper. You can use a cold press paper which has a little
rougher texture. I just chose this because we're going to be doing some inking. I'm using a seven by ten size which fits this
pattern perfectly. But you can use whatever size you would like to do, of course. This is 140 pound. I always always
recommend that you use 140 pound or better paper because it will hold up well
to the water and the paint, it expands and attracts and does just what
it's supposed to do, and will give you
the best result. And as for brushes today, I will be using a
variety of flats. So I would say a couple of
medium to smaller flats. This is a six and a ten, and I also have a cute
little number two, and we'll be using those. And then for your rounds, I would say your favorites. I have a four, a six and eight. And of course, you know,
number four is my favorite. It's kind of a do all. And then for your
line work today, I would say have a longer
and a shorter one, but make sure they're both fine. So this is a one ought, and this is a 20 ought. So just have a couple of good brushes that you can
do some line work with. I'll be using a stylist
to apply my pattern, and I'll use a pencil to tighten things
up here and there. I share this with you because
it's my favorite tool. I always recommend the
black wing palomino. It is my favorite pencil ever if you haven't
treated yourself to a really good pencil.
Yourself to one of these. It's great. For our ink work. Those of you that are
going to be inking, and you don't have
to for this class. But if you choose to, today, I'm going to be
using a Muji pin, and I love that it has a nice fine tip. It's
a ballpoint pin. It is 100% waterproof, and that's going to
be very important, whatever you choose to ink with, make sure it's waterproof. And I will be using our handy
dandy tissue as always, is a very valuable tool. And you'll need some clean
water and a shop towel, and of course, your
palette to work on. So go ahead and gather
those supplies. I'll review the paint and
apply the pattern with you, and then we'll get
started painting. Let's talk about our palette
and what we'll be using. And before I move this aside, let's talk about our
white and our gold. So I prefer to use
Blee proof white, and that's what I would
recommend for this piece. Of course, you can
use white gouache, but I like bleed proof white
because it's quite opaque. And as you can see,
we're going to be using white on top
of red and blue, which are quite dark
and pigmented colors. And so white Gach is going to be more see through
where this is more opaque, and you'll have a better result. Of course, you can
use a Posca marker, but I also tested that
out on this piece and found that I have
the best result with the bleed proof white. But you can test it out, see what you like best and use whatever you
would like to do. I just like to provide you
with different options. Also, let's talk a little bit about gold before we move on. Most people have a variety of golds because they come
in a pack like this. I would say, if
you have options, then use your darkest
gold for this piece because we will be putting
it on top of our yellows. I I tested it out with all these different golds and in order for it to
really show up well, I found I had the best
result with my darkest gold. That's what I would
recommend And again, use what you have tested out and see what you like
best for your piece. And then as far
as our paints go. Today, I'm going to be
using Cad Yellow medium, gamboge, Cad red light,
Alizarin crimson, Cobalt, blue, Indigo, Tera Verte, Hookers green, burnt umber, and then we've
already talked about the metallic gold and
the blue proof white. All right, let's go ahead and
apply our pattern together. I'm going to have you print out your PDF for the pattern
that you'll be using today. And then you'll take that and trace it onto a piece
of tracing paper. We'll use that tracing paper to apply it to our
watercolor paper. And so I would just caution you to make sure that you have a the right distance
from each slide if you're doing it for
Christmas card or something. Just make sure that you have
these ornaments centered. And also, and probably
more importantly, there's basically a
center line that runs through for this tree for
the tree branch here. Just make sure that it's level. Take it from one who did
it wrong a couple of times as I was preparing and
designing this class. You don't want a tilted branch. So go ahead and measure
that and make sure that you are about the
same on both sides. And once you have those,
you are good to go. All right, I am
going to be using a stylist to put
this pattern on. I just slid some graphite paper underneath my tracing paper. Make sure that you have
the correct side down, test it out, make
sure it makes a mark. And then I use a styles. Instead of a pencil, you can use a pencil or a pen obviously. But I prefer using a styles
so that it preserves the integrity of my pattern and I can use it
over and over again, and I don't have to
trace it out again. Let's go ahead and
apply the pattern. I will be applying
everything top, down, including the
cap on the ornaments. I will not be tracing
the ornament itself. We'll do that in just
a moment together, so take it to that point. I'm going to fast
forward because it's really boring to
watch someone trace. Once you have applied
your pattern, then we can go ahead and do
a circle for our ornaments. And the reason I don't like
to follow the PDF for this is because we want a really
nice perfect circle to work with as we paint. And so I'm using a stencil. I also frequently use
a tool called a helix, which does a variety
of circle sizes, but this one was handy, so I just grabbed the stencil. And this will work for two of the three patterns
I provided for you today. If you're doing the
single ornament, it has a larger one, but I
provide that pattern for you. So go ahead and draw
in your circles, and we are good to paint.
4. Holly & Pine: If your lines are
dark like mine, then just take a needed
eraser and lightly lift off a little bit because we won't actually
cover up all of that. We don't want it to show through
too much. That's better. I'm going to start out
with my number six flat. I'm going to pick up some
of this terra verte. This is going to be
about a 9010 mixture. You're going to
hear me use ratios throughout the class today. I think it helps you understand how much paint and
water I'm using. Eventually, you'll get it and you won't need to
hear what I'm saying, but I will put it on screen and you'll hear
me talk about it. We're just going to go ahead
and fill in our holy leaves. This is going to be a wash, and I like using a flat because I can get a nice sharp edge. These holly leaves
have sharp points, and you can achieve it with a flat excuse
me with a round. It's going to add a
little extra water there. But it's really easier
to do it with a flat. Come up on the chiseled edge. Now, a wash is when you're
using all the same value. We're going to fill it in all one value of
this terra verte. And it's okay that this
one's lighter than that one. In fact, that's a good
thing. You don't want every leaf to look
exactly the same. Okay, moving on. Sorry, guys, I had to stop and get my
glasses and clean those up. Oh, boy, the choice, you know? When you have to wear glasses, and I couldn't find
them for a minute. Okay. Okay, a couple more to go. When you see me touch
my tissue like that, I'm just taking
off excess water. I always paint with
tissue in my hand. It comes in handy
for so many things, as you'll see. My favorite tool. Oh. Beautiful. How did you
do? How did you do? We're going to let those
dry and while they are, we are going to pick
up our long liner. This is my number one, and we're going to stick
with this beautiful rate, and I'm thinning it down. This is more of a 955. Now, guys, look at I'm twisting this between my fingers
on the palette, and I lift and that brings
it to a nice fine tip. Now, this is where all
of these little marks, these little triangle
marks come in handy. This will tell us how far out to make let me show you on this. I will show us how
far out to come and how long to come
with our needles. What I found as I was
creating this and drawing, painting it multiple times is sometimes I would
get too carried away or it was too
short one or the other. To have this little indicator
was really helpful. I like to just put a
couple in right at first, ending where I put those little markers
and come right out, same thing, and
then just fill in, just be loose and
free with them. And leave lots of white
space in between them because we're going to come
in with a couple more colors. We need to have space for him. I'll start with your three
main ones out center, and then just fill in. Isn't that fun? Then
we're going to come in again with darker green
and with burnt umber. I'm going to come over here. We don't want to come
onto that ornament. We want to keep that
nice and clean. Oh. Okay. I'm going to go
ahead and turn my paper. Now we can do the top
row. How are you doing? Make sure you're keeping it
at a 55 Sure, nice and thin. You don't want it to
go on too strong. These are instead of
regular pine boughs, these are more of
a little sprig. He's go quite fast. M Great. What you do, guys? Look at that.
Awesome. All right. Now, let's go ahead and
sticking with this green. We're just going to add
a little bit of a twig. I'm trying not to go
through the berries. Just kind of going around them. That's why we went
ahead and drew a pattern where the berries
go cause it will help us. I'm going to add a line here at the base of
our little sprig. Notice I'm keeping a
lot of white space. We're gonna come in with brown. It's going to be a brown branch. Good. Okay. Let's let that dry and we'll get
out our burnt umber. Sticking with the same brush
and burnt umber at a 9010. We're going to go
ahead and just add a few more branches
really lightly. See what a fine tip I got by rolling that between my
fingers on my palette. I'm going to add just a
few more branches here. Again, I'm avoiding my berries. Notice how I have
some branching out? Yeah, let's come back and
add where it attaches. Mm. Right. Now, let's
take it to a 955. And we're going to add just a few pine
needles. Not too many. It's not like we want
to turn this brown, but it just looks like
a few dead needles. That sounded bad. Let's just say it adds depth and dimension. I'm also adding that just look like needles that
are attached to the branch. Have them go every which way. And Here where we
added a branch. Let's just have it come out. Giving it some depth, some
dimension, filling in. I turn. All right. Add some more
needles on this end. Notice how I don't bring them
all the way out to the end. We just want them
down here where they attach. Little strong. If it go sound a little strong, just touch it with your tissue. No big deal. I'm
gonna turn my board. Sometimes it feels
like the paper just reaches out and
grabs your breast. Last two, just a a few
needles around these berries. So pretty already.
Ooh, little strong. Beautiful. How did to do.
5. Pine & Twigs: Sticking with my number one, I have pulled out some
of our hookers green, and this is going to
be a 955 mixture. And you guessed it. We're going to add
more pine needles. If you need to take a break and walk around for a
minute, do that, I know it can be a little
bit tedious for this part, but we're almost finished. And you'll be glad that you
did it because it really does enhance the depth and the
beauty of these pine needles, look at that, see
how that changes the character and how full
and beautiful they look. Now, I hope that as
we are doing these, you are remaining within
the boundaries that we set with our
little triangles, and unless you want to
make it more bushy, that would be fine because it's personal taste, do what
you would like to do. I'm just saying for me, as I create these patterns, I paint these, four,
five, six times, and I really wanted
these to look like too much to look
like little sprigs. And so if you're trying to
be true to the pattern, then try to stay within the boundaries of our little
marks, which can be hard. They tend to grow
as we add layer, upon layer, upon layer. But if you want it to grow,
then grow, that's fine. Totally fine. It's your piece, and I want you to enjoy
it and do what you like. I'm just talking a little
bit here and there behind these berries because I didn't want them to look
like they're floating. And Hooker's green can
really get away from you, meaning it has a lot of pigment. It can be quite dark. So be careful. Keep it at that 55 You can always go
and add more in. After it dries, remember that watercolor dries
one value lighter. Notice I'm adding a little
bit to the little stem area. I have not been going
over my holy leaves. You can add a few needles
over it. It won't hurt it. O Oh, did that one. All right. Let's see if there's anywhere that you need to add to a touch here and there
behind your berries. And you can do this
afterwards, too. I just I have found that once
you've put your berries in, we kind of want to
leave them alone. That red is a little
bit touchy sometimes. Now, while we have our green, I'm going to come to my
trustee number four round, and we're going to stick
with this darker green. I'm using Coker's green. You could also use an olive
green or undersea green, whatever you use to
darken your greens. And we're just going
to go here and there. It sounds kind of Willy Nilly, but we want our shading
on our holly leaves to look kind of uh, here and there. It just adds some contrast, it adds some movement
to our leaves. So I don't want to do
a one stroke shading, in other words, I want it to look just kind of
here and there. And it might it might feel
funny in all honesty, in all honesty, it might feel a little bit funny and awkward. I'm kind of leaving room
for a stem down the middle. But I promise it will make sense in the end if you'll
trust the process. You'll be okay. What this does is makes each of
them individual leaves. It makes them all different. They're not exactly the
same, no two are the same. If you have an edge to clean up, clean it up, add
the darkness to it. If you have something
really light, leave it light because
that's a great highlight. That's great. I have a light. I have a dark, really
great contrast there. And this is still that 955. If you need to come in
and make it darker, let's say that
your, your initial wash with the terra verte
was darker than mine. Go ahead and use a 9010 with
this to add that. All right. Let's go ahead and that Okay. Sticking with my number four, I'm coming to my bird umber, and this is probably at 955. It's very light, very thin. But what I want to do is just
add a little more depth, a little more strength to
starting with the center twig. Again, I'm avoiding the berries. Can you see how that
gives it some strength? Just that alone gave it some. It's got to hold a lot. I needed to have a little
bit of strength, right? But now I want to
add here and there, just a little strength
to these twigs that come out and maybe even, it's okay to have a twig
that comes out further. Sorry if my hands in the way. I just didn't want to
turn my paper again. It's okay to just add a
few twigs here and there. You don't need a lot. They
don't have to be strong. This just gives it a more
earthy and organic feel. If you don't want to, don't. If you don't like
it, leap that off, but I've done multiple versions, and I just like that
that feel. All right. Great. Now, our holly
leaves should be dry if they're not
weight for them to dry because I don't want you
to take this step with them, but I'm picking up some
of this bookers green, and this is more of a ten. It's a little bit st. We're
just going to add the vein down the middle and a
little touch of an outline. Now, for those of you that
plan to do the inking, we'll be inking over that. But if you're not going to ink, then this will be a fun stage for you to have that definition. So let's go ahead and add
that to all of our Holly. Also, this is a great
time to attach them. Even though they don't
grow from the pine, we still don't really want
them to just be floating. So we don't do a straight. We don't want a straight
line that goes down. So you're going to
pull out some veins and make it kind of crickety. Kind of free and loose. Good time to make those
needles, those tips sharp. Up more, sorry, I have to
turn my board up again. It's easier for me to
pull these towards myself. I'm gonna attach that. Last one, this one's
pretty dark on mine, so I'm gonna make it dark. Awesome? How'd you do with that?
Let's let those dry.
6. Berries & Red Ornament: All right. It's time for us to put our berries onto the twig, and so I pulled out
some cad red light, and this is 9010 mixture. There's two ways that
I like to do these, so I'll just do it real quick. One is with my handy dandy number four,
my favorite brush, and I just start doing
a circular motion with my hand and bring it down
and gently touch my paper, and then I just make
it bigger bigger bigger to whatever
size I want it to be. Another method would be
to use a small flat. This is my number two, which
I love for making berries, and just load that up, and it will also
make a great circle. Just go one way. Go
another direction, and then it'll be
flat on one side, you'll just have to perk
it up a little bit. So I would say test
out those methods. Do whatever you're
comfortable with. And let's go ahead and
put our berries in. And we're just trying to
work from top to bottom. So be really careful, in fact, I would recommend just kind of covering your
ornaments just to make sure that we don't
do a little drip by accident at this point. That would be kind of sad. I'm going to go ahead and
just use my number four. That's my comfort zone. But if you I used a flat
for many years for this, if that's what you
would prefer, do that. That'd be great too. Again, I'm using a 9010 of
the Cat red light. My number four, and we're just going to go ahead and
drop those berries in. I along the way, you've
lost your pattern mark. That's okay. Honestly, I would prefer that you
free hand these in. Just look at the pattern that I provided for you, and of course, I have the picture on
screen for you right now and you can see
where they were long. Obviously, if you're
left handed start on this side and work your way
over so you don't smear them, right handed, start on this
side and work your way over. Red is full of pigment,
which is wonderful, but if it smears, it's a little bit
tough to clean up. I'm not going to sugarcoat that. Just be really careful,
take your time. Now, for those of you that
plan to do the inking with me, we can clean these up
quite a bit with ink. In makes it very forgiving. For those of you that plan
to leave it as water, I say this to all my students. Do not try to make
a perfect circle. We are not perfect people. So please don't
stress over that. Please just enjoy putting
berries in that are beautiful, bright red and two,
three, four, five, six. Sorry. I got to make
sure I have seven. I've lost my pattern. Don't try to make an absolutely
perfect circle every time. Mother Nature isn't perfect, either, so we don't need
to try and do that. Just enjoy the process. Have fun putting them in, enjoy the Christmas music, and it's okay. Don't worry. At this point, if they go on top of pine needles, totally fine. If they go on top of your holly, totally fine. It's okay. That looks good. This one I went Kitty wampus on the
shape, and I don't care. It's totally fine. I need a sign that says
that. Totally fine. No stress. All right. Let's let those so that
we don't smear them. I'm coming into C. I'm
sticking with my number four. And this is a 9010 mixture. And my red is completely dry. I actually used a heat tool to go ahead and make
sure those are dry. And now, again, I'm going to
work from whichever side, if you're right or left handed, just a little added
precaution to make sure that we don't smear them. I'm just putting a dab. I'm not being real meticulous about this on the
bottom half of each berry. So this is going
to be our shading, and we're going to come in and soften that edge, don't worry, but they're so small
that there's no need to be Uber careful
at this point. Okay. Let's just use
a water brush here, this clean water brush, and we're just going to soften
that edge a little bit. When it dries, honestly, guys, that edge is not
going to matter too much. These berries are so small, especially if you plan
to ink and come in with. Going to show a, but it'll show enough to
make a difference. Great. All right, I'm coming
in with my larger flat, my number ten, and it's
a clean water brush. We're going to do some wet wet. So make sure your
brush is clean. And we're going to
come in and fill this ornament with just water. When I say feel, I just mean we're going to
touch it with water. It's not that we
want a huge puddle, but we want it wet enough
that we can work with. Now, remember as we do wet
on wet that paint flows, where the water goes. Everywhere that you're putting water right now is where we want our paint to flow.
Be very careful. This is not a
haphazard point here. We're being very
careful to stay within the lines of our
ornament and the cap. This is why I love using
a flat for this and get a nice smooth edge on the
outside of your ornament. Yes, I'm going really slow
and being super careful. This is where we're
shaping our ornament. Now, if you're inking, you don't have to be
quite so careful. Again, inking is very forgiving. But for those of
you that aren't, let's be really careful. This is nice and wet. This is why we use
140 pound paper or better because it absorbs that water and does just
what we need it to do. Now, let's pick up
this 9010 mixture. Boom. Oh, isn't that fun? I love it so much. All right. Start in the middle. When I'm doing something around, I like to start in the
middle and let it float out. It's not going to go
beyond the boundaries if you are careful with your water. But I am going to start to push it now. I'm
going to push it out. Just to help it along because
we don't want it to dry, we want it to stay wet 'cause we're going
to come in with our lizard crimson on top of it. So we want to keep moving. Don't be afraid to turn. When you're working
with something around, you really want
to turn it a lot. Beautiful. All right. Who. If you were
holding your breath like me, take a deep breath. Okay. Now, same with
these scalloped edge. We don't want to
come up there 'cause our yellow will not cover it. So, let's be careful. Oh. Now, while
this is still wet, we are going to give
a quick rinse here. Pick up our lizard crimson. We're going to be a 9010
with our lizard crimson, sticking with my
number ten flat. I'm going to turn my board. And I'm going to start
on my chiseled edge, meaning straight up and down. Now, we're doing wet wet,
just like the red did, this is going to spread, and that's what
we want it to do, but we don't want it
to cover all of it. This is the shading
on our ornament, so we're going to stick
to this lower edge. Notice, I'm not stroking
it, I'm touching it. And I'm just going
to keep turning. L get about three
quarters of the way up. Great. Now I'm going to go ahead and just
tilt my board up, and I'm going to let
that bleed down. It's going to take a second. You can see how it's just
working its way down. I'm going to tap a little bit higher
wherever it needs it. If it's a little bit
dry and it's not moving in a certain
spot, just touch it. Nice. You see how we're still leaving a
highlighted area here, meaning just the straight red, but it's now got that nice beautiful
shading on the outer edge. I'm just going to dry off
my brush a little bit, take some of that lizard
crimson off a little bit. Now I'm just going to really lightly smooth that because I don't want it to look
like it's all ven. I want it to look a
little more smooth. So, I'm just so gently
touching the surface. Because it's still wet,
it will keep smoothing, but I'm going to
leave it right there. All right. That's
it for our red one. I'm going to ask you to go
to the sink and clean out your water and clean
out your brush before we tackle
yellow and blue. That way, we won't have
any transfer of color.
7. Blue & Yellow Ornaments: We're going to leave the
center one to be gold, but I don't want to pull
out the yellow just yet. We're going to skip over here. You red should be completely dry before we take this step. If it's not, go use a
heat tool or weight, and you should have clean water and have washed your brush out with soap to make sure that
it's completely clean. We are going to follow the
same steps for our wet one. We're going to fill this with
water. Being very careful. Great. Okay. Now, you can see I have two
little dots of green, and it doesn't matter. It's okay. All right. We're going to pick up
some of this cobalt. Oh, mine's a little bit dry. I'm going to add a
little more water. I've been working
under these hot lights for a while now and
everything warms up. Okay, let that bleed
out towards the edge. Turn your board. Great. All right. One more spot. Beautiful. Okay. Sticking
with my number ten, I'm picking up indigo
at a ten ratio. And just like we did
over here with a, we're going to just in minus on the dry side
because of my hot lights. If yours is dry as well, we're going to just add a
little bit of water to it. But first, let's
tap it into place. Sorry, I keep turning my board. But I'm hoping that you're
turning your board too. When you're working
with a circle, you really need
to be turning it. Now, I'm going to
add a touch of water just to help it get
some movement going. Oh, that's so pretty.
Oh, my goodness. I love it. Great. Tilt that up. I'm going to add
a touch of water. This is just a water brush. Here it goes. Whenever
I'm touching my board, it's an up and down movement. It's no brushing, no
strokes, or marks. Just letting it do its thing. Oh, it's beautiful.
Now, I'm going to this is just a little
bit of water on my brush. Just to soften, if you
need to soften anywhere. Again, I'm not stroking. I'm touching. Water's going
to soften that edge for us. Beautiful. I'm going
to let that dry. One more time, guys, we're going to wash
out our water and our brush because our
next step is yellow, and yellow is not forgiving if you get blue or red in
it. So let's wash out. Before I start with
my yellow ornament, I'm just going to lighten
up my pencil mark a little bit because yellow
doesn't hide much. So if you need to
lighten up yours too, just take a needed eraser or a nice soft rubber eraser and lightly go over those lines. If you're going to ink
with me at the end, it won't be such a big deal, but Just in case, for those of you
that don't plan on inking, let's go ahead and
lighten those up. Just a touch. All right. Now let's just pick up
some water and go ahead and fill that in. Just like we've done
with the others, we'll continue on with
our wet on wet technique. Go ahead and turn. Great. All right. Let's go ahead and
add our cad yellow. And this will be a 9010 mix. Cad Yellow actually has
quite a bit of pigment. However, it's still see. So we wanted to get
rid of those lines. Go ahead and turn. You can see it's floating out to
the edge, which is great. I'm going to help it
along a little bit. Now, we're going to pick
up some of our gamboge. And this will be a
9010 mixture as well. And I just tap that in just like we've done
with our other ornaments. Go ahead and in. Great. Okay? And
you can see that starting to bleed up,
which is perfect. Go ahead and tilt my paper. H Great. It's worked its way
down over here. I'm going to help it
out just a tad here. I've rinsed out my brush, so this is just a water brush, and I'm going to soften the
edge just a little bit. Ever so gently. I don't want this
gamboge to come too far up because I don't want it to take over
and become really dark. As I said before, I've painted
this a number of times, and I really felt
the best result was when I left a nice,
beautiful golden center. I'm just adding a
touch of gambos right up underneath the cap, only because this one's yellow. We didn't need to really
do it on the others. That's looking pretty
good. All right. While that is drying, let's go ahead and I'm going
to switch to a smaller flat. This is my number six, and I'm just going
to pick up some of this ium Keeping with a 9010. Now, if you're afraid of smearing that,
don't do this yet. Wait till that's completely
dry. But I'm okay. So I'll just keep going.
We're just going to fill in. We're doing a wash, so all one
color value on these caps. Great. And let's do the
same thing on the blue. I do I come up on a
chiseled edge with my brush when I do
these little scallops. And I'm being careful to not
go into my wet ornament. But if you do, and it starts to bleed
together, that's okay. It's not the end of the world.
I don't worry about it. All right, so let's go ahead
and pick up our round brush. I'm going to use my number four. And again, coming into
our medium with Mint ten. Let's do our hook. Again,
this will be a one value This one's kind of tucked under. So just kind of however you
need to do that, do it. L, have some of the needles
on top of it, some behind it. Okay, good. Let's let
that dry really well. O
8. Highlight Ornaments: Everything now should
be completely dry. 100% dry. If it's not, wait for it to get to that point or
use your heat tool, and then we can continue on. We're going to do what's
called dry brushing now, and I just wanted to go
over that real quickly in case it's been a
minute since you did that or maybe you
haven't done it before. And I'm going to be using
this bleed proof white. You can see it's quite thin. If yours thickens up over time, then just add a
little bit of water, mix it in there and stir it up real well and it'll be fine. So I like to use my bleed proof
white on a spare piece of watercolor paper rather than my palette because you come
to it quite frequently. So I just like to have it handy. It's going to be really
close to what I'm doing. And when we dry brush, you notice I did not dip
my brush into water. We literally use a dry brush. So that makes sense, right? So we are going to dip
it into the white, and then we're literally
going to wipe it off, so we have a very dry
brush with the white. And then as you go
over, our berries. We're going to start
with the berries. What we want is that dried look. It's almost like the side of a barn door or
a weathered fence, and you just get that
rustic dried look. And that's what we're
going for on our berries, and that's what we're
going to do now. So if you want to practice that a bit, go
ahead and practice. Don't be afraid to take
the time you need. But the trick, guys,
is really just to dip straight into your white. And then I like to keep my handy dandy tissue there
and I just wipe it off. And I just go gingerly. Now, we're just going to
you can see I'm using my tiny little number two and look at the
angle of my brush. I don't have it flat like that. That would take
over half my berry. I have it up on the corner. So I'm just going to use that cornered edge
and gently come in, and I'm not going to
do it the same on each berry because we want them to look a
little bit differently. We're just going to add
a touch of a highlight, and it'll add some nice
roundness and dimension. Great, how do you do, guys? Looks like I got it I
touched it right there. That's okay. We're going to come in with
a little highlight there, so I'm not worried about it. Okay, so I have switched to
my number six. You know what? I think I'll just cover those. Trust me to touch
it the way I did. Oh. But I just let you know, it can happen to anybody, and it doesn't matter, guys. We can fix just about anything
in watercolor. All right. So we're going to use the
same dry brush method, picking up some white, wiping most of it off. Now, I'm just going to pick out some highlighted
areas in my holly, and it's going to
look a little bit strong until we piece it all together and
then it'll be like, Oh, Okay, that makes sense. Trust the process.
It's going to be okay. We will come back in. Up with another bruh. I'm just putting a tiny bit on the light side of our vein. And then a down
here where it's er, just adding a touch there. It doesn't take much.
I have not even reloaded my brush and I've already done
four of the holly. I might even be able to
do all of them in fact. I'm going to wipe
a little more off. These that are darker, I
have a few that are darker. I'm going to go really light because it's
going to stand out. I know that feels obnoxious when you when you're painting it, but when you step
back and look at it, it's fine. It looks just fine. So we're going to leave that for a minute and take a deep breath. We're going to come in and we're going to do it
on our ornaments. Now, don't panic
because we're going to come in afterwards with all
this beautiful design work. Look beyond the
design work here. And you can see the highlight underneath it. And that's
what we're going to do. We're going to come
in and dry brush a little bit of highlight there. So take a deep breath. It's going to be okay. Oh, no worries. I know it's kind of scary. So if you want,
just go in slowly, go in, meaning have very
little paint on your brush. Make sure you're using
a curved stroke. Always follow the
contour of your peas. So over here, over there, and a little more
straight in the middle. And I'm just slowly
adding a, a little more. You decide how much
you want to add. You decide how far down
you want it to go or not. Maybe you only want a tiny
bit, and that's okay. There. I think I'm going
to leave it there. I'm going to pick up and I'm going to put just
a touch this way. Right do the middle, just straight down. Great. Alright. Were you
holding your breath? Take a breath, take a breath. Okay. Now, my brush was
getting pretty gummy, so I did rinse it out, but I am drying it
off really well. I'm padding that really
nicely in my tissue, so it's pretty dry and we
can go ahead and move on. Let's start with our red
one. We're going to pick up. We're going to wipe
off most of it, and we'll start in the red. I'm going to start
in the middle. Let's go really light. Curve. And I'm curve. Beautiful. Now, if you're like,
whoops, Carrie, I put it on too
strong. That's okay. You can add a little
water to your brush and just slightly go over it
and it will soften it down. That's very pretty. I think
I'm going to leave this. I think that's just h. Nice. Now, I am going to
rinse out because it might have picked up
some of the red beneath it. Before we go to blue, let's rinse out and dry
off really well again. Let's hold that on there tight. Good. All right. Ready for
our last one. Here we go. I'm going to pick up
a little extra paint. Load up. Dry off. Here we go. E's start super light down
the middle. That's gorgeous. Curve. You're going
to bring it down. Remember, this is
going to be underneath all our beautiful design work that we're going to add on top. Beautiful. All right.
Let's let that dry.
9. Pine & Holly Highlights: Make sure that everything is completely dry before
we move forward. We don't want to make any
messes at this point. It's all so beautiful
and just right. Now, I have picked up more
of our bleed proof white, but I have switched
to my liner brush. This is my number one
liner has that long tip and I have added a little
bit of water to the paint. So this is a 9010 mixture, but it's 90% bleed proof
white and 10% water. So it's just the opposite. It's mostly bleed proof white, thin down with about 10% water. So it's like an ink
like consistency. And as I drag my brush through, watch my fingers,
I'm rolling it, and I'm pulling to a
nice fine tip because we're going to add some
just a few pine needles. This will be a nice touch as if the sun were just you know highlighting a
few of these needles, and so it won't take very many. We don't want it to look
like it's been snowing. So twist that, pull it
up to a nice fine tip, and just go ahead and add
in a few of those needles. I'm going to go ahead and turn my board to do
this top row here. And now you can see why I like to just keep this close by. When you're working with
this thicker paint, you have to load your
brush more frequently. And I didn't want to be reaching back and forth to my palette. Is that lazy? No. Let's go
with the word efficient. That's more efficient, right? Oh, I love it. I love just a little
touch that white gives, just a little bit of
highlight dimension. And we're going to
add just a touch of highlight now on our
holly and our berries, and then we're
going to be pretty much finished with them guys. So let me turn this back around just so we're
not Topsy turvy. Sorry. So I'm going to add just a tiny bit where we've attached our
pine needles to the branch. And I'm going to add a few, just a little stronger highlight
on some of the berries. Maybe not even all of them, but just and some
are kind of dots, some might be Wendell Mark. We don't want them
all the same, right? Great. Doesn't that make your
berries sparkle? All right. And last, we're going to put some highlights
on our holly. And these are going to
be just a little here, a little bar, and kind of playing along with
the shape of our veins. I like that, and then kind of strengthen
where we made our bruh. So I'm just using a
really light tach using the tip of my liner brush, it's really fine lines. Now, the last thing
I'm going to do is I'm going to be
rather intentional, and I'm going to make some dots. Now, we are going to splatter later with a different color. But I do want to add
just a few white dots using the tip of my brush
and this thin down mixture. I don't want white
dots everywhere, and that's why I'm
being intentional. Just adding a few, maybe along towards the bottom
of our polly leaves, a little bit on the pine. Not a ton. But
believe it or not, it will be seen. It will matter. It makes a difference in what your eye picks up
and what it catches. It's a little more sparkle. And staying really down low
where that pine attaches. Step back six feet,
take a good look, see if there's anywhere else on this portion that you want to add any white highlights to, and if not, we're ready to
move on to our ornaments. Before we start our doodles
on our bubbles here, we're going to need to just make a little mark to keep us on track for these two here that have a center
line that goes around. Obviously, you don't
want a straight line across because these
are round, right? And so they need
to be around line. And what I like to do,
a super easy trick is, I just go, Well, I kind of
like it to be about here. And so to make it even
on the other side, I just use a piece of paper and make it the same
height on the other side. And I'm not marking on my paint so that I can
come back and erase that. And then the same
thing for the blue, I want it to be about here
a little higher than half. And so I mark it there. And bring it up
and mark it there. Now, the secret to getting a nice round edge is to
use a nice round edge. So you can use what you used before and just
move it up or you know, find whatever shape that you would like to
use, however deep. Now, this is going to go on top. So I'm not going to go op
and make this big line. I'm just going to ever so
gently and lightly make a little bit of a dashle
teeny, tiny guide. I don't know if you can
see that on camera, but just teeny tiny
dotted line here. That's going to
keep us on track. Now, the blue is darker. It's going to be much more
forgiving, of course, but I'm still just going to make a dash because the
pencil will have a little bit of a
shine to it that graphite on top of your paint. And so you should be
able to locate it. And so I've still got that guide right there.
That's going to help. We won't meet it on our red one. So go ahead and mark
your guidelines, and then we'll go
ahead and get started painting. Oh, this is exciting. It's our final step to
finish these ornaments, for those of you that are
going to end after painting. For those of you that are
going to continue on inking, then we'll do that
afterwards. All right. For those of you that
want to test out using a white pen. You're
welcome to do that. This is the one that I prefer to use when I'm doing a white pen. It's a signal, and it's made by Unabl I want to just
show you how it goes on. To me, it doesn't go on very strong over these dark colors. And the tip tends to pick up the color
that you're going over. You would have to make
several passes and you can see how it picks
up that red residue. You could use it as a guide, like draw it on and
then paint over it if that's more your comfort
zone. But that's that. Also, you could use a posca
marker or Posca posca. It comes in different size tips. You can see there's quite a difference here
between these two, and I'll just show
you Same thing. So that's the thicker one.
And here's the thinner one. And you might think, Oh, gosh, that's a lot darker.
It might be just fine. You know what? It
might. When it dries, it dries just a tad
more transparent. And so personally, I'm
not thrilled with it. I like I just like the
bleed proof white. I like the opaqueness so that
you can't see through it. And so that's what I'm
going to be using. It's perfectly fine, though, to go ahead and draw your
lines with one or the other, and then paint on top if
you're not happy with it. That would be totally fine, or you can just wing
it and paint it. I've done all of the above, and so find your comfort zone. I encourage you to test it out and see what
you're comfortable with. And let's go ahead
and get started.
10. Red Ornament Doodles: All right. I have picked up my white, and this is a 9010 90% paint, 10% water this time. I'm using my number four, my handy dandy number
four favorite brush. I'm just going to go
ahead and load that up, and I'm going to start
with my main center point. I'm just going to do a basic is called a pedal stroke
or a common stroke. I don't know where I can put this where you can
actually see it. I'll do it on top of this. It's just a touch
press and lift. We're just going to touch press, and as we pull, we lift. It'll be the same when
we do our curved ones. If you need to
practice that a bit, go ahead and practice that. It's just a touch
press and lift. But we'll start with
the center one. There's no curve to it,
pull it straight down, just make sure you lift it
up and make a nice point. Actually, the first thing we're going to do is
make a little dot. Right down in the middle. Okay, now. So we're going
to touch and press. And lift, and we're going
to stop short of that dot. So the trick, guys,
is, when to start? Don't stop. Keep on
going. All right. That went just fine. Now I'm going to do
the two outer ones. We'll do these two outer ones, and then we'll do
one in between. So these obviously
will be quite curved, but now we have this guide. It's like right
between, and we're going to follow the
curve of our object. Touch, press, lift. There we go. I'm going to have
to turn my board. And same thing. Great. Okay? How did you do? And let's do the one in between. And it's going to be, we want it to look triangular,
so to speak. So kind of right in the
middle, heightwie, width wise. And let's rinse out and grab our line of rush while
that's drying a little bit. All right. Let's load that up. Just using that
same mixture 9010. And we're just going to
bring a straight line down. We straight. I'll be curved,
but I just mean the same. Just bring it down. And sing on the
side. There we go. I'm just going to make
a little guide here. A even with our line, but about a quarter inch over. We're going
to want to circle. We will fill this in,
but not right now, don't worry about
it. About there. Okay. That's going to help us. So let's go ahead
and bring this line. Sorry, I don't be afraid to be turning your board
around to make it the most
comfortable possible. So we're just going
to bring it around and scoop it over, like that. Same here. Wonderful. All right. Then now, you can see, they aren't exact.
And guess what, guys? It doesn't matter.
Now, we're just going to add a couple more
lines to it just for fun. Scoop that over.
Scoop that over. Great. Now I want to
take my number four. Where did you go? There we
are and fill in that circle. All right. Now, I'm coming back to I'm going to stick
with my number four. I'm going to turn my
board upside down. I'm going to load up
and we're going to make some really small little tear
drop strokes or strokes, just like those, only
think miniature. Let's do those three. Let's see how many fit. Oh. Let's do a couple
big strokes here. I help tie it together. These are gonna curve. Let's
do it on the other side. Oh. Touch and press. Great. Sticking with my
number four and 90% paint, 10% water, 9010 mix here. So I'm just going to start on a fine tip and then
press and then stop. And we'll finish it. We have to turn our board upside down, the other way to do finish it. Same here. Press. Stop. I know it looks funny for a
minute. That's okay. A little bit fatter. Fatter. Okay. Turning. Okay. What I want to do is
same thing as before. We're just going to do
a little indication of a circle. Just small. Keep it small. Two
circles. Okay. And then I'm going to Touch
and press, and then lift. Touch and press and lift. Awesome. Now we're going to
connect it to our circle. I promise it's going
to make sense. Just going up on the
tip of my brush, just like that. Beautiful. All right. I'm just
going to even this out. We want it to be all one value. And making sure I'm trying
to match the shape. Awesome. That looks so great. How did you guys do with that? Okay. Now, we have a
couple of blank spots. I'm going to use a smaller rush. This is my 20 t. Same
mixture of paint. Now, you could stop right here. If you're like, Whoa. I'm
done. This looks great. Let me finish right here and
right now. That's great. Do it. But I just want
to add a teeny bit more. So I'm going to do just
like a little crescent. This touch for us. And I'm going to do
a little triangle. I like that. I've got
some red showing through, so I'm just going to touch
that up as we go along. If you have some red
showing through, you might want to
make it more opaque. It's up to you. Great. All right. And I'm going to add
this right here. Right. All right. Now, I'm feeling like
the top is a sparse, and we've got this
cute little brush in our hands and some
leftover paint. You know what that means? We're going to do
something with it. We've made all these
cute little marks here. Why not? I think I'm
going to have to. Let's see. The center one, I'm going to go straight down. Touch press. I'm just doing it where my
scallops are guys. This one I'm going
to curve just a bit. This one I'll curve the
other one direction. Yeah. Nice. I like that. All
right. How do you do? I think I'm finished with this piece with this
part of the ornament. I'm just filling in where
it's a little bit red still. Just because I like it
to be really opaque. That's just my
personal preference. I can't wait to see yours. Please tell me you're going
to post your pictures because I'm ying to see how
you decorated your ornaments. Everyone's will be unique
and special and different, and I can't wait to see them. O
11. Blue Ornament Doodles: All right, Let's do the blue one since we have our white out, and then we'll come back and do the yellow one with the gold. I'm going to stick with my 20 ought and this
thinner paint here, which is the 9010 mixture. And I kind of like
to just start with that mid section line because it keeps me grounded on where I'm supposed
to be going. And I'm just going to do a very tight dotted
line, very small. Notice I rolled it
between my fingers, came up to a nice pointed edge. I want this to be delicate. So that's why I'm doing teeny, tiny little dash lines. But if you want bigger
ones, do bigger ones. That's okay. We used to
call these stitching lines. If any of you are old time
toll painters, like I am. We did toll painting
back in the day. We call these stitching lines. Obviously, you can see why. Oh, I love that. That is
so delicate and beautiful. Now, I'm gonna go ahead
and my center dot. Okay. Now, we're gonna kind of mimic a little bit of
a snowflake down here. So first, we're gonna do
just a straight line, but leave room at the top. And at the bottom. Then
we're going to just put a little bead
at the top end, just a little
rounded, like that. And you can connect it or not connect it
either way, spine. There's no right or wrong.
And same over here. Again, once you
start, don't stop. That's the best
advice I can give you on those type of lines. The long, skinny lines. Okay, let's do our center line. Basically straight up. Et go. And I'm going to do these kind
of like snow flakes, but you can do whatever
design you want, of course. So I'm going to put
some little dashes. This will just kind of tie in our center line
that we just did. I'm going to go
three, two, and one. All right. Using my number
four, start in the center. And this time, instead of
instead of doing a thin tail, I'm going to do more of a I don't know what
the shape is called. Sorry, more like
that. And fill it in. So it's more equal, I guess. All right. I don't even have a fake
technical term for that. Dear. Okay? All right. So I've done the center one. Obviously, now I'm going
to move to the side. Obviously, this one
will be curved more. And now the other side. All right. Now my center one. Yours are probably just right. My center one's a little bit skinny compared to
its counterparts. I go to Right there.
That feels better. Oh, k. Now, I think I
need my smaller brush. And I'm gonna do a zigzag. Hey. Thanks too much. Good. Hey. And then I think I'm gonna
just add a little bit of. And then I'm gonna add
some little dots up here. Great. All right.
Step back six feet, see if you need to fill in. I'm going to have to
add a second coat of white on these big guys here, but I'm going to make sure it's totally dry first and see if there's anything else
that you want to add before we move
on to our gold. We need to do just a
little bit of shading on the cap with our gamboge. I'm just going to stay
on this outer edge. I'm just using my number
four and a 9010 mix. And just softly putting a
little bit of shadow there. I don't want to cover
up our highlight. I'm actually going to put just a tiny bit up here on the hook. Name down here. Just
a little shadow. We're going to come
back to our 20 ought or your fine liner,
whatever you're using. Remember to use probably one of the darker
golds that you have. Maybe tested out and make sure that you're happy with
it before you start, test it out on the
yellow medium. And this is similar
to our white in that we're using 90% pat and 10%. We're going to start in the
middle by just making a line. It doesn't touch the top, it
doesn't touch the bottom. But I like to start
in the middle. Then as we go out, make them a little bit shorter. But they stay the
same at the top. Make sure that
you're. I don't want your goal to spread everywhere. Down the middle, and then, s. Great. And then we're going
to come in and put some dots. So kind of load up the tip. And I'm going to put a.in
each of those scallops. Great. All right. Now we're basically
going to outline. Now, if you need to wait for
those dots to dry, do that. You don't want to
smear them, but I'm going to just
be really careful. But we're basically going
to outline our hook. So you just want to
be aware down here where it hangs on
what's on top of what? What goes behind
what? If you need to look closely at
the pattern, do that. There we go. I'm not going to
outline the cap just yet because I've got
those dots that are wet. I'm going to leave them alone. Now up at this top here, I'm going to let
those pine needles cover it up because
that makes sense. All right. One more
to go. Now, you could actually do this part with a gold gel pen if you wanted to. Just make sure it's
waterproof. I use the sign. Hop on, and I'm just going
to outline this. So pretty. It's really coming
together, guys. And this gold helps cover up any pencil lines that you might
have showing on your cap. Beautiful. Great. Now, I'm also going to just bring down a line that attaches these two. That one's up on the, but we don't want
floating ornaments. It doesn't have
to be a big deal. Just bring down a straight line. No. Okay. Great.
12. Gold Ornament Doodles & Bonus Pattern: I'm starting out
with my 20 ought. Me hit the bottom of
this ornament first, and to try to find
the center dot, and then I'm going to put a dot. I'm just going to put make a little small
square right there, and I'm going to make
a rectangle here. Ts are going to anchor us. It's going to give us
where we're going. Keep us going where we're
supposed to go. All right. Now, I'm going to go ahead and do our little petal strokes
here, our common strokes. I'm going to go. Maybe
start up here, press. And Sorry, I'm just going to
have to turn it so I can see it better
in the light. Beautiful. All right. I'm going to switch over to
my number four. All right. I'm going to go ahead and
start with the main one. You're sensing a
pattern here, right? I start at the bottom, and
then I put the main stroke in. Keeps us grounded. I'm going to keep it straight
with this bottom one. Touch press, lift. Okay. And I'm going to do I think
two on each side here. I'm going to keep them
a little bit higher. Here and here. Yep, I like that. I got to turn it
so I can see it in the light. That is gold. Oh, my gosh. Great. All right. I'm going to follow the
dotted line out a bit. I'm going to lightly
touch for a second. Just I'm visualizing
a little bit. I think I'm going to put a dot, a circle a circle. Good. This is probably
feeling a little familiar. It going to go ahead and turn my paper. I'm going
to attach it. Swing it around. Then I'm
going to press and lift. I like that. Let's do the other side. And we're going to attach it. We're going to swing
it around. And then we press and lift. Great. How'd you do? I'd like to put
some coming down. Sorry, I'm going to have
to turn it one more time. I hope you're turning
yours as well, though, because it's much
easier to pull towards yourself with the as you lift. I'm going to do a couple more
just little babies here. Maybe the match it over here. Okay. Tail in there. Okay, well
I'm going to come down. Let's keep it there, and
I'm going to pull down. Well, I guess it's
actually pulling up. Let's start on the outside. I'm actually going
to pull quite far. I'm going to start
down pretty low. I'm going to keep it p th. I like that. I wanted to take up space there
but leave space up here. That's what I'm doing. Such. Good. And I'm
going to add a few more, they're pretty, small, I think. I'm going to keep those
about the same length. Yeah. All right. I'm going
to switch brushes. Coming back to my smaller
one, my 20 ought. And maybe I'll just do dot just below that line where we made our marker line,
keep it on track. And one down here. Gosh, well, I'm doing
dots, I'm liking those. Let's do some more. I'm
going to bring some down. Okay, what I was thinking
is I would just bring down a line. Just a simple line. Yeah, I like that. Okay. I feel the
need for more debts. So I might do some here. Great. Okay. While we're doing dots, we're going
to be intentional. We're not going to
go crazy with this. But we're going to put a
few dots on our pine now, and we are going to splatter. But these are going to
be intentional dots. There's definitely a difference
and I'm going to keep them fairly close to
berries and the branch. Can you see what a
little difference that makes, it's beautiful. It's subtle, but it just
adds that little glam. Great. All right, I'm just
going to add a few of these common strokes and don't touch your dots
or wait for them to dry one or the other,
but I'll be careful. So I'm just going
to touch and press. Isn't that a nice touch. We're going to come in with some green ones
in just a moment, too, so don't go
crazy with these. Oh I don't want to overload the gold down
at the bottom there. But maybe one over here. Great. All right. Let's go ahead and pick up
some of our rate. And these we're going
to do like a 955. I want them to be really subtle, super light, just a few. You see how you just
barely see those. But they are going to ad.
They do make a difference. Don't be afraid to put them
right next to some of your. There's a good spot. You
knows how I'm curving them. I'm going to do a couple
together right there. He knows how they're
all springing out Okay. I think I'm going to
stop right there. Great. Now, let's let
everything dry completely, and then we're going to
come back and splatter. Okay, I'm taking my number
four round and the gold. And we're going to go
ahead and splatter. I have covered up the
ornaments with some tissue, and I have some handy so I can dab it off
quickly if I need to. And I'm just going to add a
few cute gold splatters here. We are going to come
in with some green, so don't get too crazy, it's okay to do it
on your branch, but I'm not doing
a whole lot there. All right. I am going to
do a little bit below. I just don't want a bunch of
splatter on my ornaments. I'm trying to be super careful. I cover those two up while
I work around this one. There we go. Now, I'll
cover that one up. This is why I love
tissue so much. It's just so versatile. There we go. Great. Let's let that dry and we'll come
in with our green. I'm coming in with
my number four, and I'm picking up
some hookers green. It's a 955, 95% water, 5% paint. I'm going to tap on my
palette once or twice first. Going to do a little bit. Now with this, I have my tissue handy because
I'm going to touch it. I'm not swiping, I
don't want to smear, but I'm lightly touching
it to make it lighter. I am going to leave
some of it darker, but I don't want it really dark. I'm going to take it in stages. And if you like that really
dark splatter, then leave it. That's totally fine.
It's a personal taste. I just don't want it to
overpower that soft gold. Okay. Now, we're
going to be cautious. We go. A bit right there. Mm hmm. Good. Wonderful. Alright,
step back six feet, guys and see if there's anything else that
you want to do. I can already see something
that I need to do. I'm coming in with my 20. I'm just going to
pick up a little bit of white straight
from the jar. And I'm going to put a little
highlight. On the hook. And then I'm going to put a
little highlight on the cap. Great. Right. Well, my friends and artists, I think we are finished with this if you do not
plan to ink it. Now, a side note here, if you're doing the
single ornament, you follow these
exact same steps. The pine, is the same, the holly leaves, the berries. Everything is exactly the same. Just use the other pattern that I have provided
for you here on this page of skill share,
and you'll be just fine. Obviously, you're
just going to have a little bit different
shape and one ornament. Also, you could
use this pattern. And use one ornament, just hang one ornament from
it if you would like that. I think I have provided that
pattern for you as well. T different patterns, but
you pink them all the same. Follow the same
steps for all three. Now, those of you that are
going to continue on with me, go ahead and grab your pens, and let's go ahead
and ink this in. For those of you
who are not inking, then please move on to the final video and we'll catch up with you
there in just a moment.
13. Ink & sign: In order to in,
guys, first of all, make sure that you have a
completely waterproof pen. Please take a moment
to test it out. The reason I ask
you to do this is because so often we
think we're finished, and then we're like,
Oh, my goodness, I missed a spot or I want
to change this one thing. And if you don't
have waterproof ink on top and you put
a drop of paint, it's going to go, Pooh. And you'll be so sad if you're
beautiful painting smears. So please make sure you're
using waterproof ink. I'm going to be using
my Muji, MU JI pen. It's a great ballpoint pen. It's a fine tip. I also frequently use Unabl
which is great. Micron is fabulous. There's a lot of great ones
out there for you to use. So just find what's
comfortable for you. All right. I am going to just go ahead and start
with my holly leaves. And when I ink, I purposely do not
follow my paint lines because I think it looks too
stiff, a little too stilted. It's not free and loose. U and I'm not going to put
a whole bunch of veins. I'll just put kind of the
middle and maybe a couple more. That's my personal preference. You do you, be happy and love what you do and
your finished products. So, you know, kind of test it out if you haven't done a lot of inking and see what you like. If you like it tight
to your paint lines, then great, do
that. That's fine. There's no right and wrong here. It's just whatever
you like. And I want you to be happy
with your painting. Okay, so let's finish
out our holly and then we'll start on our pine and I'll talk about that
in just a moment. Oh Perfect. Now, for our pine, I'm just going to do like
one side of that pine, a little right there
where it connects. And then a kind of
an indication of, Hey, we've got
these pine needles coming out, and that's about it. Great. Now let's
talk about berries, since we're down on this end. When I do berries. Here's I don't have
my sample here. When I do berries, I don't try to make this
perfect circle because again, nature isn't perfect,
we're not perfect. I prefer to go loose, and I usually I do like this. Loop. Go around it a couple
of times or even just once. But don't try to make
a perfect circle. You'll have a better outcome. You'll feel better about it. That doesn't mean you
have to go crazy with it, but being careful. I do about a 1.5
turn. All right. And I am not going to go
around my outer petals. Let me see if I did it
on one of my samples. Yes. So on this
sample, I did outline, and for me, I just
don't like it as well, so I'm choosing not
to. It's up to you. Whatever you want to do. I'm leaving the ornament and the hooks alone for a minute. Now, we'll come back to those
hooks on the ornaments. Let's just focus on the
top portion for now. O Okay. Isn't it awesome? What a difference that
little bit of ink makes? I just love inking. It's so fun. All right. I'm going to actually I'm going to start
on this side and move over because
I'm right handed, and I want to make sure I don't smear anything at this point. And I am going to do
the full circles and. This is one place that I'm
being a bit careful there. Oh, I'll probably do two or three lines
around each ornament. This is where you can be quite forgiving of yourself if
you made a little mistake. Now, the first line will
be kind to my painting, and I'll probably go three
quarters of the way. The second line will be close. Definitely not tight. I
want it to look loose and by And that's that's good. But I do like that first line to be kind of tight right
on my paint line. Just to maintain the shape. I mean, we took such care to have a beautiful
circle, right? Great. F one down. I am not going to outline those because I did that once in
one of my practice ones, and outlining the white design, just took it down a notch. We lost that beautiful, bright white on the red. If you want to try it, I would
suggest testing it first. I have another layer right here. Great. Hey, last one, guys. How you doing? This is so fun. The inking part is so fun to me. I hope you're enjoying it. Make sure you're
turning your board. Did you know your
wrist has an automatic circle bill right hand. You have a perfect
arch in there and let it work for you by
turning your board. It's just easy for you. It doesn't matter
if you're right or left handed. Turn it. Use it. Awesome. All right. Let's
step back six feet. Take a look and see
if there's anything else that we want to
in before we move on. Well, guys, I think
we are finished here. I am so happy that you spent this time with
me. Thank you so much. I know that your
time is valuable, and I really appreciate
you taking my class. And I hope that you enjoyed it and learned
something new or sharpen some skills
that you already had and just had a
blast along the way. Let's go ahead and
sign our name, always, always, sign your
name and claim your artwork. And please know how
proud I am of you and understand that you
have a real talent, and you are unique and special, and most people do not
know how to do this. And so pat yourself on the back and claim your
art by signing your name. All right. I will
see you guys in the next video where
we will wrap up.
14. Congratulations & Bloopers: Well, you did it. Congratulations. You
finished your project. I am so proud of you for finishing your ornaments
and doodling away. I hope it was
really fun for you. But mostly, I hope that
you learned something new, or you shop and some skills
that you already had. You know, if you felt like
this class was a benefit to you and you know
someone else that might gain something from it, if you could look
for this link that's on this page of Skillshare
and send that to them, then both you and
your friend will benefit from Skillshare,
which is a pretty cool thing. Also, if you could remember to just click that
little follow button, then you'll receive
a little ping anytime that I pop
out a new class. And then you can take a peek and see if it's of
interest to you, and I would love to
have you join me again. In fact, you can just
go up to the top of this page and go into the
search bar and type in my name, Cary Sanders, and
all the classes that I already have
here on Skillshare. Some of these behind
me here will populate, and you can take
a quick skin and see if anything's of
interest to you there. I would really love to have you spend some more time with me. And I love hearing
from you because it helps me stay on course
with what you'd like to do. If you're interested
in taking a peek into the world of
Carrie Sanders, then you can go to my web page, which is are Sanders art.com. And there I've host
some of the work that I'm doing on the side, such as pet portraits
and house portraits, along with my gallery of some of the artwork that I do when
I have some free time, and I use other
mediums like oils and acrylics and graphite and some other things
that I'm doing. So you're welcome
to join me there as well. All right, guys. Thank you so much
again for joining me. I hope you have
wonderful holidays, and I guess that means
it's time for Lopers. Wait. Who me? I never make mistakes. No. Never. Take care
of everyone. Bye bye. Well, hi, everyone. Welcome
on to my art studio. My name is Carrie Sanders, and I'm an artist.
And I'm an art. I am a work of art. Boom boom, boom. Here we go. Here we go. You can do it. Talking to you. Hey, you. Did I get your attention? Proud of you. I really am. And I'm so appreciative. You took the time
to take my class. I know that you could
have taken another Abo. Can I talk? Alright, if you wouldn't
mind just taking if you would like to Wow. Spirit fingers, help me. Oh,
Kerrie Sanders, Artist, Teacher, Creator.
