Transcripts
1. Introduction: Hello, everyone. As an
intermediate artist, willing to go to the next level, definitely, this
course is yours. In this course, you are going to go after brand
watercolor masters, how simple they do the things, how they benefit from contrast and brushes
strucks and techniques. During the course, I will
describe every single detail, including my brushes, my
technique, colors, and timing. Also we'll talk
about composition, atmosphere and mood,
perspective, and so on. This course is designed to be followed with other masters. Each time you learn
something new from each grand master and we'll
be ready for the next step. Without any hesitation,
let's get started. Do
2. How to paint soft skies and a costal scene. After E. Wesson ; The beach of low tide: For today's painting,
I've chosen a really simple and beautiful
watercolor painting from Edward Bison. The composition is very simple. I've tried to keep everything very simple
so that you can go after my painting and also
try different techniques. My brushes include number two round brush
for fine details, a flat and slightly
angled flat brush that has a sharp edge
for the details, a number five round brush, and a 1 " flat brush. That's it for the brush. Full colors also I have I've chosen a very
simple combination as usual. For the cool side, I've chosen a mixture of
Prus and ultramarine color. And for the warm side, I've chosen sarin crimson red, burnt umber, and yellow
acrom that's it. Very simple and
very to the point. I used to mugs of water. You can use the same or have
at least two pots of water. I start from mixing colors. I prepare my color
mixtures before painting, so I start from adding
some water to the puse ultramarine mixture
and I add a tinge of zain crimson to make
it slightly warmer. And must be very mixed so that there is no darker or brighter color
on your palette. I prepare my mixture
before painting, and then I test it on
a smaller piece of the same paper that I'm
going to paint on to see if that's the
color I want or no. I needed, I change the mixture to reach
the desired color. I usually avoid pure colors. That's why I mix colors
with each other. And for this course, I try to keep the
colors very simple. My palette is very limited,
very, very limited. And I strongly ask you to keep
your palette very limited, at least for the
sake of learning, and then you can
add extra colors. I believe this way your
colors will remain more harmonious and the result
is more harmonious. Also, I prepare my warm colors, so I start from mixing and adding some water
to the lister and crimson and add a
tinge of brown to it and also a tinge of ocher
yellow to the mixture. So that it is sort of basically
mainly red violet has also a tinge of brown
and yellow ocher in it. The basic mixture
is very watery. I test my colors on a piece of paper to ensure that
it is what I want. And then I start from my big flat slightly
angled flat brush and add some more water to it for the Sky as far as your mixture
is pale enough, it works. I strongly ask you to avoid pure colors and keep it
for just a few spots. Otherwise, it's like a group of instrument players
that all of them are playing their instrument in a loud voice so nobody cares
about the composition. So I keep the colors very limited and mainly
grayish, mainly very pale, for the sky for the sake of keeping the focal
attentions very limited and having a
better composition. So I start from a very
pale and watery mixture and very quickly paint the sky and I slightly
start adding some more of bluish mixture to the
upper left side of the sky. Also, you can let
it dry then add this combination or as I do, you may benefit the
wet in wet technique. That's up to you.
As I already said, until the moment that your
colors are pale enough, it conveys a sense of
sky and that's it. Now, I add more of
bluish color to this mixture and keep it very
simple, very, very simple. I add some extra water to my brush and using just a
few horizontal touches, I separate the big cloud shape
from the rest of the sky. I will try to keep
the sky very simple, very simple because it
is basically background, as we call it a negative shape, shapes that are not that active, usually considered
as background. With the same mixture, I very quickly paint
the mass of water. I try to keep the horizon
slightly brighter and I try to avoid sharp edges in the sky especially in the shadow
part of the clouds. Now I add more of water
and more of sorry, more of bullo and
slightly more of red and brown to the previous mixture so that it is less watery
and slightly darker, but yet it's bluish and
darker for the horizon. I use my smallest brush
for these fine details. It's very crucial to keep
the horizon line horizontal. It's very important otherwise
you will spoil the horizon. The hill or mount shaves
could be over the horizon, but the horizon
line must be very, very neat and horizontal
as much as possible. I keep the distance
shape very simple. Now it's time to add more of
warm colors to the mixture. That's why I add some more of brown color to
the previous mixture. And start shaping the fur show, let me say, or sands. And while I'm
approaching the water, I try to use tip very
tip of my brush. And as usual, I
keep my brush very horizontal for the water it's plays a dance
between warm and cool, big shape and small
shapes and small details. And also pale colors
and very dark colors. It is a dance the
overall rule is a conveying a sense of atmosphere and mood
and in this case, atmospheric perspective
force us or let me say encourages us to use
cooler and more watery, less contrasted colors for f shapes and warmer
more of yellowish, more orangish or brownish
colors for the near distance, and simple shapes for the stance and more details
for the near shapes. And to make the flat shapes, somehow turning them to volumes. I add some shadows
here and there, especially where the
water meets the land. Because basically
it is darker as the water makes the
sand slightly darker. That's very important.
Now it's time to change my brush using a number
two round brush. I add fine details like maybe rocks or fine
details to the painting. Let me say to the show
when show meets the water, so I put small dots here and there and it's important
to have different rhythms. It's really, really crucial
and important to have different rhythms and
avoid repetitive rhythms. It's very important,
very crucial. And I add more of warm colors to the near
side of the beach or sands. This is basically a mixture
of lazarin crimson, tinge of brown, a
tinge of agua yellow. And also personas or people are those points of interest that we have the
chance to add more of color, more of life to the landscape. So basically, I use this so called gems
or pure colors for just a specific points and
avoid distributing all over the painting because that will spoil your composition,
in my opinion. Keep those very vivid
colors very limited, just a few points here
and there and pallet with cool enviarm and
details and big shapes. Now I add a few
bluish brush strokes to convey a sense of reflection. Who said, hey, this is water
and it has reflections, but it has also
slight waves on it, so the reflections
are not perfect, but there are some
reflections here and there. That's why I play with my brush here and there and
also I test my colors. Now it's time to use
the darkest color. It is a cool mixture of blue and red and brown. Using the very tip of my brush, I add those and let
me say fine details, and final details also. So you can see that there are a few people
here and there, maybe a man with his family a father and a child Yes, just a few people
would be enough. Basically, I love this
composition because it's very simple and
very to the point. Edward Greson has chosen
it very carefully. I believe it is really, really amazing to see how there is economy
of brushes strokes, economy of colors, economy
of cool en warm and shapes, big shapes, small
details everywhere. And that's why it is really, really informative and also it has too many stories
to convey, I believe. Oh, oh. And now I'm adding final touches like maybe
some tbriss here and there, maybe some stones or whatever
that makes a shadow. Who knows? Maybe where
sands meet the water, and that's why they're darker. This way, we can convey a sense
of volume, and that's it. Congratulations. We did it. I hope you have enjoyed this wonderful
beautiful painting.
3. How to paint a costal scene with trees. After E.Wesson; The Solent from Shalfleet, Isle of Wight: Mm. Hello. Hello, everyone. Today's painting is dedicated to enjoying from one of the most beautiful Edward
Wessons watercolor paintings. I hope that you enjoy as much as I enjoy doing this really beautiful
and simple painting. And, let's get started. I start from
describing my palette. My palette is simple as
usual for the warm side. I use car yellow, burnt amber and
alzar crimson red, and for the cool side, I benefit Bruce blue and
ultrariin blue and nothing more for the black or
dark color mixtures. I usually mix burnt amber
with lzarne crimson and Bruce blue to make
my almost black color. I enjoyed my palette, because while it is very simple, it provides me with
different spaces for mixing colors and also
for preparing colors, I usually add slightly or
spray slightly some water to the color that is
coming out of the tube. And I prepare my colors
before painting. So I prepare a very watery, bluish color and also
very watery yellow. Then using my flat 1 " brush, I privet the sky area. You can do it with a very watery colour
or with pure water. Then at the second
layer of water colors, and it is called wet
in wet or wet wet. Two. It's important avoiding
extra touching the paper because it
erys the texture. So just touch it a few times and if it's
possible, even one time. Then I try to realize if
there is any lake or desert. I mean, very wet areas
or very dry areas while I'm checking
my board in light. And now it's time to
start painting the sky with another flat brush that is two thirds
inch flat brush. I start adding some very
pale T consistency mixture of chair and bent
seen bent umber. To the sky and continue
painting to the horizon line. Then while the same
color is on my brush, I add some cooler colors
like pros and ultramarine. It's important to
keep them very pale. Even if they're grays
doesn't matter. While they are pale enough and water enough,
they work for you. So I start shaping
the distant clouds. I add the same mixture and
slightly brighter version of the same mixture to the darker areas or darker
parts of the clouds. I believe that clouds
are now defined enough. Important to make enough color because if don't
have enough color, it's almost impossible
to mix the color with the same consistency and
with the same color value. So it's really important to prepare your colors
before painting. I made a slight mistake because there was a
shortage of peruse color, but I am experienced painter, so I can almost resemble
the same mixture. And I strongly ask
you to avoid this. As you can see, now I have two different versions
of pale bluish color. I try to distribute these colors all over the sky and using
the tip of my brush, try to mix those colors and try avoiding having sharp edges. It's very crucial. So it's almost wetting wet. In some areas, I keep
the bright side of the clouds very sharp
while in dark sides, they are mixed to each other. Using the same mixture, I start painting the water. I start from horizon line
and a mixture of ocher. Very pale ochery yellow. I start painting the horizon. Then while the water mass
is coming near to us, I add more of blue. I use a mixture of
ultramarine and Prus blue. Prus is very strong. When you're going to use it, you must be very careful. It's very powerful. And I realized that there is an edge remaining in the sky. So while there is almost
no color on my brush, I try to mix the edge
and remove that edge. And while moving
towards the viewer, and near side of the painting, I add more of blue
color to the mixture. As you can see,
till this moment, all the colors were very
pale and very watery. Now it's time to paint the seashore for this purpose, I use a mixture of Bruce blue and a tinge of burnt umber or pensena
doesn't matter, must be grayish
and cool mixture. That's it. As you can see, now, the color is less watery. And I'm using number
four round brush. But for the details, I use number two round brush and with the tip of that brush, I add fine details that could be maybe distant ship or
distant building, whatever. That's it for the
show, far shore. For the near shore, I start
from a warmer mixture and I dance between different
colors and different brushes. I use number two round brush, number four round brush
for the different details. So basically it's
a dance between warm and cool and also
different brush sizes. The overall rule is that bright areas and
light areas must be warmer and shadows
must be cooler. The other important rule is this fact that while the colors
are far from the viewer, they must be grayish, less defined, and
less contrasted. While they're near
to the viewer, they must have
more contrast with the background and usually
warmer and darker. And as you can see, I add some brownish mixture, and then I add some
cooler mixture to shape the sands and shoe. Oh. With the same number
four Run brush, I add extra details to the show. I think it's enough. It's important to
keep it simple. I think our shapes
are simple enough. I really admire the
composition that Edward Wesson has chosen
and also has painted. Now it's time to add some extra fine details to
the near horizon, let me say. I use side of my
number for Run Brush, and a warm mixture of a brownish color like Bensena
to shape those forms. For the shadow parts, I use the same mixture
but add darker blue like ultra ring into the mixture so that it is
now darker and cooler. While the previous
layer is still wet, I add the shadow parts
to those shapes, maybe there are
trees or buildings, or maybe who knows some rocks. By the way, there are
some organic shapes, so it's important to convey it. They are not man made. If they are man made, I strongly ask you to keep
the geometric shapes. But if there are
organic shapes such as theories or rocks, et cetera, try to convey a
sense of freedom in forms. Well there are slightly
slight difference between the rock and the tree, but all in all, there are more
three form shapes. Using the same mixture
and more rose blue, I shaped the dark
let me say dry parts on the water and
try to distribute this color on both left and
right side of the painting. I use the tip of my brush
to add fine details. You can use the same or you
can choose the smaller brush. It's up to you and I ask
you to use the same brush. As you can see, while the colors are coming towards the viewer, I add a tinge of alizarin crimson to make
the color slightly warmer, while the overall color is
still grayish and cool. I slightly make it
somehow warmer. By adding those darker shapes, I define the shore and define the shadows and benefit the contrast between the
water and the sands. And as the shapes are reflected in water, in some areas, I try to eliminate the border
between the reflection and the shapes while
in some areas keep this border by adding a
few horizontal touches, I canv sense of wavy
surface or water. And that's it for the details, I avoid over touching and be
obsessive about the details. Try to keep it simple
one of the reasons that I enjoy Edward Wesson's painting his interest in big shapes and keeping the details very
simple, very simple. Now, after some while the
previous layer is almost did, I add fine details to the
near side of the painting. Maybe there's a few rocks
there, maybe some boots. Maybe some debris
here and there. And till now, I've tried
to keep all the shapes, almost all the
shapes horizontal. Now I add a few vertical shapes which the tip of my brush. And also try to
draw, let me say, draw the reflections, sort of conveying that what you
are looking at is water. And try to keep it very simple. Just a few touches and that sets few touches, few touches. So avoid overtuching your paper and avoid being too much
obsessive about the details. And as you can see, I add only details to the
near side. Of the painting. Because I think if you
add details everywhere, you wouldn't make anything
interesting in your painting. The near side have
usually must have, the the most amount of details, and I think that it is finished. Now it's time to look at all
the details of my painting. I hope you will enjoy this
process and the result. I strangly ask you to do
the painting several times, several times and experience and experience and experience. It's all about discovery
and experiencing. So I hope you enjoyed
this beautiful painting, enjoy your time, and I'm
waiting for your results, please share your results. With others, with your friends, time to frame it and hang it
on the wall or present it to yours as an invaluable gift from your heart, from your soul. Okay, see you on the next video.
4. Landscape with a church and treeline; After E.Wesson: Hello, everyone. For
today's painting, we're going to paint one of the other Edward Wessons
landscape paintings. It has a very beautiful
and simple composition and benefits from the simplicity of the shapes and
also the contrast. There is a very beautiful
church, maybe or castle. Most probably a church in
distance and a tree line. And, a very simple land. That's it, but really
really it is beautiful. My palette is as usual, so it's a combination of Acker, yellow,
Bern tumberPezena, and Alizar crimson
for the warm side, and Bruce blue and ultramarine blue for the
cool side of the palette. As usual, I prepare my washes
and colors before painting. So I make a sort of violet, very pale violet color
for the shadow side of clouds and a mixture
of the ocher and tinge of zone crimson for the arm side of the clouds. It's up to you. The original
painting has more of a col. But in my interpretation, I try to change
the mood slightly, so I'm going to use sort of
much more warmer and reddish, grayish color for the clouds. So the fast with my flat brush, and this mixture, I
privet main blocks of the clouds and try to leave
some parts untouched. And while this
layer is still wet, I add the shadowy parts
of the clouds and maybe the distance between the clouds that
sort of pure sky. While I approach the horizon, I add more of a very watery
blue color to this mixture. And try to keep it very watery, very watery, very pale
as much as possible. And you can see that I'm not very loyal to the
original painting, but try to keep just a
few clouds in the sky. So some parts will remain untouched to convey the
bright side of the clouds. This painting has
a very simple sky, so I try to keep it very simple. And as you can see, for the
shadowy part of the clouds, I add more of bluish color. And try to connect the shapes and the
colors with each other. This is dance with your brush, but try to avoiding over
touching your painting, or touching your
paper because it spoils and destroys
the paper's texture. As far as your colors
are pale enough, they work for the sky. Please keep in mind to keep
your colors very pale. Usually, while the beneath layer is still wet and you put
a second layer on it, they will turn slightly brighter during the drying process. And with my brush and
the same mixture, I also add some color
to the horizon. And while I remove the color from my brush
and it is slightly wet, slightly wet, but somehow dry, I remove the extra colors
from the paper in horizon. Now it's time to
prepare the color for the horizon, and also the land. I make a mixture of cha, yellow, burn tumber and
tinge of Azar and crimson to make a brownish
color for the land. Usually I test my colors on a piece of the same paper
that I'm painting on it. And while the land colors
are going to approach me, I mean, the near side
of the painting, I usually add more of contrast, more of color, and
more of yellow, especially in red to make it
more vivid and more warm. In this case, to
darken the near side, I also add a tinge
of bluish mixture. Try to keep your touches
almost horizontal and while you untouch some areas and leave it as it
is in pure white, I add some darker mixture and slightly less watery to the previous layer
or previous mixture. As you can see now, I
am going to add more of dark and bluish color for the church or for the
building shadow parts. You can use the same
brush I'm using. I'm using a flat brush and
benefit it's sharp edges, you can use the same brush, or you can use number
four or number five, round brush for the
sake of these details. I keep the color
mixture very simple. The original painting has
more of a violet color, but in my painting, I try to keep it very simple. So it's a mixture of mainly
blue and some brown color. That's it. It's very important to keep
the man made shapes neat, especially when they
are hit by light. In shadow areas, you can mix colors and I strongly
ask you to mix colors and mix shapes because it's natural to balance the
shapes in shadowy areas, we usually are not able
to detect the edges in shadowy parts it's important to convey the same
feeling in your painting. So I mix the forms in shadow parts using the
same dark shadow mixture. Now it's time to
make a warmer color. Basically, I mix more
of my brown color. In this case, it's built under with some Alizarin crimson and add more of darker areas to the horizon shapes
and horizon forms. To convey a sense or feeling of distance trees or distance d, let me say, as you can see, it's a play between cool and warm defined
and loose shapes and fine details
and big details, big forms, let me say. I play with the colors,
mixtures and form. While I'm painting, and it's important to have
different rhythms. My brush rhythm changes each time between simple shapes,
complicated shapes, slightly very fine
details or changes in colors or darkness or
being cool or being warm. But the mixture, basic
mixture is very simple. So I use the same
mixture but a a tinge of warm colors such
as brown or red, Croson crimson, or
cool mixtures such as Bruce blue or
sometimes in some cases, just a mixture of ocher yellow and Bruce blue
to sort of greenish color. It seems that the scene has
been painted in late summer or starts of the fall
because the colors are dark and almost they are changing from cool
colors to warm colors. So maybe the season
is autumn or fall. Who knows? And now it's time to
add fine details. For the sake, I use a round brush and
with tip of my brush, I add fine details. As you can see, I have left some areas untouched
to convey a sense of sharp edges or man made forms or let me say
artificial forms. And in some areas I try to mix
those forms with the land. That's why I had some water to force the horizon forms
to mix with the land. As I add slightly dark
and cool watery color to the near side
of the painting. Uh it's time to add
fine details to the focal point of this painting and focal
point of this painting, in my opinion, is
mainly the church. But you can see that on the right side of the
painting also there are fine details in nature
that drew our attention. Now it's time to
add fine details to the church the building. I use my smallest brush, that is a number
two round brush. You can use a number one or number two round brush
for this purpose. It's time to add the details. Yes, it is a church. So I add those fine
details to the building. And emphasize on the edge where the light and shadow meet. This way, you add more of a
visual interest to painting. By the way, I try to
keep it very simple. I add details to the edges only and fill the
inner parts very quickly. But the edges benefit from more of attention
and more of detail. To make darker colors
and thicker colors. I use less water and
mix my Bruce blue and my burns umber color so that it is brownish mixture, but it is darker and thicker. You can also add a tinge of red in case you are interested to have more
of color variation. I think it is almost done. Now it's time to add slightly fine details
to the near side of the painting or the land to
have more visual interest. You can see that I
have made a mess in horizon and you
can see that there is a sharp edge between the leg that
remained in the sky. To eliminate this, I use almost dry but still damp brush and rub the border between
shapes to eliminate. And this way, I can remove those extra colors from the
paper to save my painting. Now I can say that our painting is finished and
this is the happy moment when I remove the tapes and usually I add final
touches in this stage. And that's it. This is really,
really beautiful. I strongly ask you to repeat
the painting several times. Keep the colors and
shapes very simple and only add details
where it is needed. That's it. That's it. Please repeat it
several times and when you are satisfied with
the result, it's okay. It's okay. Now you can frame it, hang it or as I do, put it on your
table or give it as a gift to your loved
ones or your friends. I hope you have enjoyed this wonderful
beautiful painting and see you on the next video.
5. How to paint a village scene with canal view; After Edward Seago: The Mill at Alphen: Hello, everyone. For
today's painting, you are going to turn one of the Edward Seguoil
paintings into watercolor. This is basically
an interpretation. And to be honest,
his oil painting has much more color and his very colorful while
the palette is very limited and what you
witness is my taste. I usually tend to limit the colors and make
everything very simple. As our painting would
be very simple. I usually use a very
simple palette, including cher yellow,
burnt umber, burnt sienna, and also a azarin crimson red, for the warm side of
the palette and usually use Prusse blue and ultramarine blue for the
cool side of the palette. Instead of black, I
usually use a mixture of burnt under Alizarin
crimson and Prouse. That makes my dark color
somehow still colorful. I start from the sky
and for the sky, you can use a very
watery mixture of a warm grayish color. Sig painting is mainly occur, but I'm going to use a mixture of brownish grayish
color for the sky. So that's up to you. Whenever it is pale enough
and warm enough, it works. I start from the sky with
a 1 " flat brush and very quickly feel the sky
part of the painting. I try to avoid over touching the paper because it will
destroy its texture. Keep it very simple
and the energy that is conveyed using one
stroke brush is very, very high and you cannot
replace it with anything else. While the previous
layer is still wet, I use a grayish cool color to shape the overall
shape of the clouds. That is a mixture of previous brownish color and
tinge of ultramarine blue. To mix those colors
with each other, I tilt my painting. This way, the colors will mix. It is important to
do it very rapidly. Your previous layer
must be still wet. This is called wetting
technique, as you know. To avoid dark areas, I use my brush to take the colors of the paper when
they are shaping a leg. Now it's time to paint the
water and for this purpose, I start once again with my previous warm watery mixture and when I'm going forward. Instantly I mix the colors
with the cooler colors. I dip the tip of my brush into the grayish cool mixture that I already used
for the clouds. This way, it would be somehow
cooler and also darker. I start from a very pale warm and end with a
darker and cooler color. Also to make the furthest part of the water slightly brighter. I use pure water now it's
time to color the shapes. You can paint all
the warm colors, then add a second layer, then add a second layer to paint the cool and dark layers. But I personally
prefer to mix shapes and try to connect the
shapes using the bead. I basically start from a mixture of cool colors such
as ultramarine and my previous grayish
cool color while I add tinge of Alizarin crimson or ocher yellow here and there. For the tree, I add some aqua yellow to the mixture and play
with different colours. I add a tinge of Alizarin
crimson sometimes. It is important to know what exact color
you are going to use. I usually use a piece of the same paper at
the time painting on to test my colors before
putting them on the painting. Basically, it is a dance between warm and cool and very
thin and very light colors and dark colors. Remember that the little
parts of its shape must be somehow yellowish and warm and the shadowy side must be
somehow darker and cooler. Now it's time to paint
the windmills body. I start from ocher yellow. While the whole body
is still there, I add some burnt umber to the mixture and paint the darker side
or shadowy side of it. Now I mix some more
of Azar and crimson. And burnt umber and add extra darkness and detail to the shadowy side of the meal. As I already mentioned, I never ever used pure black. It's my personal taste. For the darker colors, I use my mixture of burnt umber, Alizarin crimson and
also Bruce blue. The brush that I'm using is a dance between
number two, number four, number seven round brushes, and it's up to you, you can usually use
this selection for almost any painting limited
to a four paper size. This is my choice,
but it's up to you. As you can see, I try to keep some edges very sharp
while in some areas, especially when shadows are
neighbor to each other. I try to mix them
and mix the shapes. Later on, you can
define the shapes by adding another darker
layer if needed. Otherwise, you can mix the
shapes in their dark area. Oh h. Now it is time to paint
the riverside side walls. I use a mixture of
warm colors such as burnt umber and ocher yellow and a
tinge of Azn crimson. While it is still wet, I add some darker
and cooler colors. I am going to paint
today near waves. And while the colors
are still wet, I use my nail to crush the
paper and remove the colors. And while still
the verbal is wet, I start painting the boat
using a warm mixture. Then for the reflection, that is the reflection of
the boat and also the meal, I use a cooler mixture
and to emphasize the hard edge of the boat, I use a dark cool mixture
of as I said, um, bear tumber ls and crimson then Prus just using a tip
of my smallest brush. As you can see, it is a
dance between far and near. For the distant
buildings and shapes, I usually use more pale colors
while for the near shapes, I usually use higher
contrast and benefit the contrast to emphasize the shapes and also try to
keep the edges very sharp. And as the previous
layer is almost dried, I can add the second
layer of darker and also cooler colors to
shape the buildings. It's not that much important
to pay extra attention to all the details
to convey that is a window or it is
door over there, or building blocks
or over there, just convey a sense of being a manmade and
artificial is enough. While for the organic materials and shapes such as
water or trees, it's essential to
keep their shape very loose and
very free somehow. Now it's time to paint the
near side of the river. I use a very pale and watery
mixture of ocher, yellow, and gradually add some very pale and
water cooler mixtures such as tinge of blue. Till now, I've tried to
avoid using pure colors. But for the near side, I use near shades
very whatever colors. As you see color of the spot. I use a very watery
bluish color. While it is still wet, I try to add the warm shadows using a
warm and dark mixture of burnt umber and burnt
sienna with a tinge of ultramarine blue for the
upper part and upper edge, use a te add a tinge
of sign crimson. With my smallest brush, I rapidly I paint and let me
say draw because watercolor, in my opinion, is somehow
between drawing and painting. I draw the shape overall
shape of the boats, smaller boats and instantly
using the same mixture, I paint the shadows
or reflections. It is really, really
important to keep your brush strucks horizontal
almost horizontal. Using the same dark mixture
and with my smallest brush, I add details to the
windmill windmill blades and it is also called oligraphy
many believe that what makes difference between artists is their colligraphy. Personal taste. I also use my smallest brush to draw out the main mast
and masts of the boats. And you can also
use a rear brush, as I already mentioned, personal taste and with the same almost dark mixture
that is sort of warm. I rarely use pure colors, so it's always a mixture,
a grayish mixture. I add extra fine details to
the near side of the river. And I try to keep my
brush strokes horizontal. And with the same amount of
attention to the details, I rapidly draw two people. Let me say and now it is time to add all the details as
you can see I use a very pale color with the dance between
warm and cool colors, I add fine details. And as you can
see, all the time, I start from very pale
and watery colors towards very creamy colors that could be very light or
could be very dark. For example, for
details of the boats, I use pure white
from my gouache or from your watercolor with
a tinge of Bruce blue. Prus is very, very strong color, so you have to be very careful while you're
going to use it. Alternatively, you can use ultramarine that is
more controllable. I believe that pent
is almost finished. I add some fine
details to convey the atmosphere and
also flying pairs. I used a splash technique. For this splash technique, you need a very
watery colour and a a medium size brush or small size brush by
hitting the brush on your finger or other
hand or other brush also, you can force your brush to splash a few droplets
here and there, and then you can shape
some of them to make them convey a feeling
of birth finally, you can add a few
birds here and there, just like very simple V
shaped colors and using my very creamy mixture of white and tinge of
blue that I said already, it could be ultramarine
blue preferably, or if you have
enough experience, it could be also rose blue. I add fine details to the bright side
of the windmill, now we are going to reach the happiest moment
of our painting. I remove the tapes and I
feel that it's better to add extra fine details to the
working man and that's it. I believe that it's finished. I hope you enjoy the result. As you can see, I
benefit the cool and worm and also the
grayish mixtures playing with the greyish colors. In some cases, I leave the shapes to mix with each
other while in some areas. I emphasize on the edges. It is also called last and fund edges and it's important to
know where to use them and let the shapes to mix to each other and
merge into each other. I usually let the shapes
merge into each other in shadow areas while in
bright and light areas. I use all my attention
to keep the edges sharp. I think our painting is finished now it's
time to frame it. I ask you, please repeat the
process several times so that you feel confident enough
and do the final painting. Congratulations. See
you in the next video.
Painting Yeganegi, Art is joyful!
