Improve Your Watercolour Skills!: Six Easy Projects For Beginners

1. Introduction: Hello, I'm Emily and welcome to my improve your water Keller skills through practice course. I'm Emily Armstrong and I live in New Zealand or I teach painting and drawing classes. In this course, I've created a range of watercolor projects designed to introduce you to watercolour techniques and to help you improve your watercolor skills through practice. And it's a key word here, it's practice. I've been teaching classes in person for a long time. In my online classes are based on what I've learned about, how students learn best and what they need to improve. And I found a lot can be learned through doing in each of the projects. In this course, we'll start with testing our paint colors, ending get straight into painting. You'll produce a final artwork every time and learn as you go, as we pan into practice, watercolor skills such as color blending, waking, waiting, Wait, looking at tone, mixing black, and learning all about the watercolor painting process. As you work through the series of projects, you see an improvement in your water color painting skills and in your understanding of how wars callow works, as you learn from experience, each project is filmed and pretty much real time and designed for you to paint along with me. So it's really important that you put aside about an hour or so for each painting, a few new towards the color the United suggest starting with Project One and working your way through to prototype six. However, you can also take any project independently, particularly if you have some basic watercolor skills and are just looking for some inspiration or guidance. Use a series of projects to practice your water telescopes and improve your painting so you can produce something that you're really proud of. And I hope you'll share your finished paintings with me at the end. So let's get 19. 2. Project: The project for the scotia course is to produce at least one painting from the series of watercolor projects. I've included a downloadable resource voted for you to use with each class under the projects and resources section, please be aware that at the time of recording downloadable resources at early accessible from the school Xia website and not through the EP. So if you're using a phone or a tablet, get on a computer first and download all the photos you need before you start, you may choose the patron. The same photo used in the class or user is inspiration to find your own photo and paint along. The aim is to produce your own painting with your own unique style. So don't worry if it doesn't turn out exactly the same as mine. That's actually a good thing. You can see a one or all of your paintings in the project section and I'll give feedback on all of the projects sheet. I look forward to seeing what you come up with. 3. Materials: Let me take you through the materials I'll be using for this class. I'll show you what I will be using and I'll give you a few other options as well. For brushes. I'm just using synthetic brushes, nylon brushes. And I have a flat brush and then I've got three different sized pointed brushes. Brushes come according to a numbered system. So this one is a 12th to latch one. This really small one hears a 0, but the sizes vary between brands. So I'd really just think about having a large flat brush and then a couple of sized pointed brushes. I've got a 0 for a teen. Even if you just have one pointed brush, that's ok. Maybe a medium-sized one. These are the ones just give us a little bit more variation. If we wanting to do some really fine details, we can use this very small pointed one will covering larger areas. We use the larger one. When it comes to paints, I'll be using true paints. These are maybe five, $18, but they last a lifetime. Eat have to do a lot of painting to use those up. And I just squeeze them into this plastic pellet here. Watercolour paint dries in the end, it can be reactivated again. So this like a cape for as long as I want and just keep adding water when I need to. I don't need to clean it up afterwards. If you're using two pints, if you try to keep them organized so that you can keep the pure paint claim in a separate area and then you can mix it somewhere else. It doesn't have to be a paint pellet. It could just be a plastic container pest that contain a lid. You may have something like this, which is caked paint and it's dry and you add water to it. And then again mixer on a plastic surface that would be fine to use. This is another pine pellets that I have. And I use this with the paint, but it's just a good way to keep it organized in when I need to use them again, I just retweet them and the maximum here. And then I'll clean up that area and just leave these dry in. Then I can close it up and stored somewhere. For your paint colors. That's a good idea to have two reds, two yellows into blows. Those are the primary colors. They come in warm and cool variations. So the read, I've gotta cadmium read and Alizarin crimson. I've got cadmium yellow, lemon yellow. I've got ultramarine blue in Prussian blue. Aside from the primary colors, I also have a few others that we'll be using throughout the watercolor tutorials. If you don't have these, you can mix a variation using just your primary colors. I have a burnt sienna that's a really useful one to have for mixing blacks and different kinds of Brown. A yellow ochre and a raw number. So if you can get those three Brown's, they really help because it saves you having to try and make something that's a natural kind of a color. And also have an indigo, which is like a dark grey blue. And then I have a permanent rose, which is a type of fuchsia pink, and it's quite a difficult one to mix, so it's nice to have it. Lovely, vibrant pink as well. You also need some water. I just use a small container, but I usually have a jar of clean water sitting by in case I need to put clean water directly on the paper. In my water here is full of paint colors. And also really important is having some kind of absorbent surface nearby so that you can just dab off Xist water or paint from your brush as we go along. That's just an old kitchen cloth. And of course you're going to need pipa and the type of paper you use will make a big difference in the quality of your final outwards. Got a few different kinds here that come in. Packs of paper. You can get sheets of paper. Or probably the most convenient is these water color pits. So this has a Reeves One. It's 300 GCM. That GCM is the white of the paper. 300 GCM is a good one if you don't want to have to type it down is quite thick. Psychic CAD and this one's got a texture on it. There's another very similar one here, 300 GCM in texted. This is the one that I like to use. It's a large period of watercolor paper, but I just cut it down to size. And it's 200 GSM, so it's a little bit lighter. It's got a slight tick chateaux, not too much, but I just find that this one holds the paint really well. It doesn't spread out to match its easy to control. And the pint stays nice and vibrant. So I've done a couple of tests. He's just to show you two different kinds. This is the paper that I'll be using. And this is a different one. And you can see that it's kind of spread out a lot more. In some areas it's a little bit more. Pio is not, is even. So you could try out some different kinds of PIPA. Do make sure you're using width strength paper. So a water color paper, not just a paper from sketchbook because it will get all wrinkly and it just won't hold the water, right? It's not made for being wit, having gone through these materials if you only have one brush and perhaps a, something like this, but a cheaper children's version. You can still do these watercolor tutorials and learn a lot. And then once you've learned about watercolor, you can upgrade to higher-quality Pines, high quality Piper. And you'll just find it really, really enjoyable because everything works a lot more cleanly and it's a lot more controllable. But don't let that stop you if you don't have the same materials that I have, I'd still give it a go. 4. Leaf Motif Painting - Color Prep: Welcome to the Leif motif watercolor project. As you paint along with me in this class, you'll practice how to paint fled, vibrant shapes of color. How to control color mixing on the paper, and how to lay a fine details on top of your dry painting. So get you Paint 3D and let's get started. So to start with, we're going to t-star colors. So we'll create a swatch shaped here if the different colors that we're using for this project. So I have lemon yellow, which is a cool yellow. Cadmium yellow, which is a warmer yellow. Prussian blue, which is a cool blue, and ultramarine blue, which is a warm blue. And if mixed a bit of water into each one. So practicing mixing a nice vibrant color. If you think about how light or how dark the color could go, we want something in the middle. So if you're making a swatches and you find that it's Y2 latch. You need to add a little bit more of the paint to the pigment into the mix water. And each time I stopped painting Nutella and going to wash off my brush and then just absorb some of the water from the brush and my cloth here. And this is the cadmium yellow, the warmer yellow. You can see the difference between the two yellows there. And Prussian blue, cool blue, and the ultramarine. So this one's a little bit light. Need to mix a little bit more color in there. So the swatch is to two-step the different colors that we can create. But it's also to test out the mix of the pint making up. So now that I've got an idea of the fall colors that I'm gonna be using, gonna start mixing them and seeing what kind of grains that we can get. You always want to add your dark color to your light to color, not the other way around. So I'm starting with the yellow. Every time cleaning my brush and adding a little bit of blue. So that was the Lehman yellow and the Prussian blue. So nice grassy kind of grain. This time I'm going to try the lemon yellow, but the ultramarine blue, and you'll get a different type of grain. Again, we're aiming for a mid-scale, SO midbrain, This one's got a little bit too much blue in it, so I'm going to add a little bit more yellow. And I'm gonna do the same thing with the cadmium yellow. So I'm going to mix it with the Prussian blue, and then I'm going to mix it with ultramarine blue. These fancy names. But really you are, we're talking about is a cool blue in a warm blue, yellow, and a warm yellow. You can arrange the swatch shade however you want to. In a moment, I'll go through and label what we've done. And want to keep each one of these colors pure and it's one washing my brush off each time. So these two grains and not too different, and this one here you can see is quite different, is quite a duty color. It was the two warm colors, the warm yellow in the womb, blue. You don't remember the names of them that psi k. What we're trying to do is test out the different blues and yellows that you've got in how they mix into different kinds of greens. If you want to take this a step further, being, if you remember which ones you mix, you could also play around with how light or how dark they can go. So by adding more water to this mix here, I can get a much payload grain. When you putting down these Keller's, try not to have too much water on your brush. So even though I'm adding water to the mix here, kind of squishing my brush down a little bit to get rid of some of that excess water. In a moment, we're going to use these different colors to create a painting. I'm just gonna go through and write down the different colors that we used. Like I said, you can arrange this how we be like whatever makes sense to you doesn't have to be squeezes, could be circles. 5. Leaf Motif - Painting & Blending Colors Part 1: So in this project we're going to be practicing Callum mixing are going to be, I mean, for knives, even mid tones. And we're also going to be practicing mixing on the paper and seeing what happens when those colors blend. So I'm going to mix up a little bit more of the colors that I want to use. Now the trick here is remembering what you've mixed with walks. You could start again fresh if you want to. What I'm doing is just putting a little bit more pigment into the mix here, so I get a nice vibrant green. You're gonna be using a Leif motif and repeating, and you can choose how you repeat it. You can choose the orientation. So your page could be this way or it could be this way. You'll see I've typed my page down, typed it directly to the table, but sometimes I'll use a board like this. And the typed just means the, it'll keep the paper a little bit flatter so that we get sweet and the five is expand and the dry again, this type keeps up flat, it doesn't get so wrinkly. It also means that when I take the typeof, I'm going to have a nice white border around the outside. We're gonna get quite quickly and we can mix as we go. But it's a good idea to have some color already prepared. And it's going to be a bit of an experiment. So you can play around with these colors will be using the grains, but we can also throw in some yellow and some blue as well. Pure yellow and pure blue using a pointed brush. And I'm just gonna start by outlining the shape that I want to paint and then filling it in. So, but I mean, for a nice smooth layer of color, if you need to adjust it, then you can. And we're also aiming for an even amount of water across the whole shape. So if you have too much water, it's going to paddle and pull into little swimming pools in the, it's when you have problems with it drying evenly in all, so you'll find that it will dry a lot lighter. So put down a green and then I'm gonna get a darker color. So same as we were mixing. We mix dock into large. We can do the same here, dock into light. So I'm just getting a darker blue. And I'm just gonna put that down near in there and put it wherever you want just to see what happens. So the moment I am allowing the paint to do its own thing. But I can start to move that around and control it. So if clean my brush, I've gotten most of the water out of it and then I can just very gently move that around, soften off. They each were started to bleed from one color into another. If you want to either put a little stalk on the leaf, it's up to you how you design it, leave it doesn't have to be this shape. Then I'm going to try again with a different grain. And again, I'm going to mix up some more paint. Maybe try a little bit dark. And this time, I'm taking my time to mix up the right color. Can be handy to have a little piece of paper here so we can try out and see what it looks like. Painting in the outline. And in filling it in, I mean, for a nice smooth layer. So while it's still which you do have a bit of time to move the paint around. And like before, I'm taking a darker color and editing it. And I've used one of the Kellogg's, it was mixed into that green. Just see what it does. And then you can control it. You can move it around. You want to add more Kelly, you can think about waking feely quickly though. So soon as it stops a drive, we put other colors and you can get we'd bleeding patterns because the pipe will be drawing different rights. If you end up mixing up the different blues or yellow is it doesn't matter too much. This exercise, now that we've mixed the countless more, is more about seeing how the paint 3x when we put it on the paper. So this time I've gone with a green, it's got more yellow and the mix a lighter grain. But it's lighter because it's got more yellow. It's not lighter because there's more water in it. I still wanted to be nice and vibrant. Think I'll use this blue and this leaf I can see it's got a lot more water on there. Probably going to react a little bit differently. A little bit hard to control because the order is just moving around whatever direction I push it in, it's just gonna keep moving in that direction. And you can see everything becomes a little bit as well because there's more water to dilute the Keller. This one's quite a Dell grain. Let's get a little bit more water in the mix. So right now we're just experimenting with the color mixing. We're experimenting with putting weight paint into wheat paint. Once this is dry, we will practice layering over top. So it will be layering with paint onto what's already dry. Hit this a couple of different techniques we soon, which all wage on dry that we can use. And it gives these lovely soft blends of color. Doesn't matter how you order. These could be moving all around the page. You could have some big ones and some small ones. So you can change the size of them. You can change the direction of them. But each time aiming for a nice even layer of color, even amount of water, no swimming pools. And then once you've dropped on new darker color, using a clean damp brush to move and blend those colors the way you want them to. Keep filling up your page. If you want to, you can go off the page. And I'll continue to do these ones. Once it's dry, we will look at what we're gonna do. A tall. Remember this is an experiment. There's no right or wrong way to do it with figuring out what these colors do. How these colors mix together, and what happens when we have more or less water on the page. I mean, to get a nice even layer of vibrant color. If you finding that all of your leaves are coming out really pile, you just need to mix a bit more pint into mix. One thing with watercolour paint, as they do dry, teen to 20% larger. So I can account for that by going little bit doc of any normally would. Think about variations. So look at the colors you've got. Can you create something that's different to these colors you've already got existing here. Do you find you've got way too much water on here. You see you when I just have a a damp brush not await brush can actually use the brush is a type of sponge into suck up some of that water and then get rid of it. I found my cloth. But you see that when you do that, everything becomes very dealt. So you may need to put some more pigment and near but with not much water. And the more you play around with it and the less smooth and natural that blend is gonna base. So that's not quite what you want at some point and you still just gotta leave it and leave it don't sign thing. Rather than end up with something that's, let me see, loses that freshness. As you go along, you might find that these colors become more and more diluted because you're dipping your brushing your water or this water Lyft driver on your brush. And it's when it's important to add some more color into the mix. Pigment. 6. Leaf Motif - Painting & Blending Colors Part 2: We're just going to add in a couple of smaller ones. And for that I'm going to change brushes. So it's using this brush, which is number ten. And now I'm changing to a smaller brush, which is a number four. You might just do a couple of plain yellow ones. The two different kinds of yellow. So this one cheek my color first. So this one is a lemon yellow. Little bit to pile in a bit more paint just makes it more vibrant. Yellow in the coal blow you get some really nice turquoise color is. But what tends to happen with this blue as it dries quite pale. Maybe see in these other ones. Can look a little bit washed out. So it's up to you how much you want to blend these two colors. You can let them do their own thing or you can use your brush to control the blending in. Just take off the each. As long as you're working quickly while it's still wet, you can move that color around. Smooth things out. I'm just using a really light touch with the brush. And I'm not touching these darker ins because it's going to drag the pint away. I'm just adjusting with the dark meets the light. So this isn't about how perfect your shapes are. Even your edges are just about experimenting with different colors. And so feel free to play around with different shapes on here if you want to. Hopefully by this point when you've got quite a few of these down, you're understanding how the amount of water that you put on changes the color and the way it blends. So every time I smooth out these colours will move the paint around on the paper and making sure I've got just a damp brush would have gotten all the water out of the brush. Because if I add more water to this, it's just going to move the paint around. The paint's gonna do its own thing and it's going to dilute the color. So do a couple more and again, just watching how much water or how little water goes on there might do this flu. Actually, I haven't done any of it by itself. When you mix them, it should be like the consistency of crane. So it's not super watery, but it can still move around if you're getting any any brush strokes like this. Like kind of let me do that right. Or just using pretty much striped pants, you get these edges that are jagged and rough. And it's not what we want, it's how you might use acrylic paint. For watercolor. If you've got a good mix of water in paint, you should be adequate. Nice, even smooth layer of paint on the surface. And putting some pretty pure paint into this. And I put the darker painting by pure. I mean, it doesn't have much water mixed in with it. Who's it depends on what kind of pipes you're using. If you're using the dry cake pints thing, you'd definitely going to have to add some water to it. These ones out of the chamber already. Like a liquid or a paste. And I'll do one more over here. So again, we're talking about water control, which are fixed, the vibrancy of the color, and how it mixes with other colors. When I'm using a smaller brush as well, this is just least water there this brush can hold. Which means it's easier to get these darker colors, some of these big ones here, because using a bigger brush is a lot more water in it in the, can, dilute the calorie little bit as well. So I'm going to stop there. We'll let that dry. You can let your strive. You want to use a hairdryer over top, you can. And then we'll come back and we'll do a couple of things, but we'll look at layering over top of the dried shapes. And then we'll also look at putting in something in the background if you want to, because it's gonna make that nice white border standout. 7. Leaf Motif - Painting The Details: So this is completely dry now, which means that we can do some detail work over top and it's not gonna blend. You'll see that we have some really nice, crispy images when we're painting over top, since this bottom layer is dry. So I'm going to use this really small brush. And you see that's the first brush I use when I moved to that one. This one's quite a bit smaller. I think it's a number 0. And the way watercolor works is the colors are transparent. So if I was to put yellow over top of some of these dark colors, it's not going to show up. Might change the Blue slightly so it looks a little bit more grainy. So if you think about the two colors blending with each other, you can't put yellow over top of blue and expect it to come out yellow. It's just the nature of watercolour paint. It's transparent. So any of the colours underneath are going to affect the color that you put on top. Which means I'm going to use darker colors. So everything I put on top of these is going to be a darker color than what's already there. Most of it will be blue. Could do some greens over top of these lighter colored ones. You'll see you haven't changed my water yet. If I was going to do some work in yellow, then I probably wouldn't need to change it because this water is going to affect my yellow paint. But I'm just using Docker colors right now, so it doesn't matter too much. He's Matisse cheat. One of you had to get a nice smooth line. And we could also add some marks that have a bit of a flick on the end. So I'm gonna create some ribs and the leaves. It's up to you what kind of patterns you want to add. You could go but more abstract and it lines or dots. Just something like that. This one, he is very DAG is couple of things I could do. I could try to use the same colored paints and just make it even darker. I could use a slightly different blue in it might show up Beta. Mr could use a grain in, it would change the blur into like a really dark green. Let's try them anyway and say what, what happens? Mix up a grain. It has to be quite thick. Because remember the more water there is editing, their larger it's going to be and it's just not going to show up on here. You find that when you push down with the brush, you get a thicker line. And then we lift the brush up right towards point. You'll get that center line at the end of verse is not a lot of danger of putting too much water onto the painting. Just because it can't hold very much water. This one here, I'm going to mix up a blue that's a little bit lighter. Just because this leaf is lighter in to, I don't want it to be to Hebei over top. So I'm gonna keep going through some of them I might put green over the top, especially these lighter ones. And these other ones are blue over the top. And you keep working on yours in, in. We have a look at what we can add to the background if you want to. You might be finding it. This does require a steady hand and if you need to do, is go back to your interests, practice doing some flicks. They come out a little bit wonky then. I'd just treat that is character three had to correct watercolour paint. And we'll show you one thing now. You see here I've smudge that by accident, so I'm just gonna get some water on my brush too much though, just a damped brush and just gonna rub it Kala And if it's not, being only for too long, should be at least somewhat some of it off until the matter too much because I'm going to do a background. But I don't want it to be too obvious. You have to be a little bit careful that you don't overdo this uveitis. Keep rubbing, rubbing, rubbing on the paper when it's wheat country Delicate. And it'll start to peel up that blurry here, the Prussian blue stains quite a bit. And green mix series got some of the Prussian blue and near. So it's going to be quite hard to get that out. But I have dealt it down just a little bit. And when I put my background done, it won't show up to match. Or what I could do is just add a few little dots around the place. So it looks like it was supposed to be the remainder. If you find that you're getting those jagged kind of lines, you need to add just a little bit more water into your mix and practicing getting the right mix of water to get a nice smooth line. 8. Leaf Motif - Adding The Background: So the last thing we're gonna do for this one is to hedge a bet ground. Don't want it to be too dark because it would take away from the pattern. You don't have to add a background if you don't want to. But because I've typed this one down, I want to have a white border, just going to add a really light bet ground. And I'm just going to use this blue here. So the ultramarine, the warm blue, gonna mix up and mix it has quite a bit of water in it. Because I want a really nice light color. It's maybe a bit too light. And it's really just to bring out this white border. It doesn't need to meet the each of the leaves. In actual fact, I quite like to leave a white border around the leaves. So when we wanting white in watercolor painting, we need to think about how we can layer our work so that we leave the white of the paper. We don't very often use white paint over top and you've made a mistake. That's usually THE anytime you use white paint. So if I want a white border around these leaves, I just need to think about it. When I'm thinking about my process of painting, I'm going to start with my lightened mix in working really quickly. I'm just going to move from this side to this side. And as I get close to a leaf, I'm just going to outline it. So need to work quickly because if I outline those leaves, leaving that whitespace and leave it too long without blending in, blocking and the rest of these areas, it's gonna show up as a line and I don't want that, so I'll show you what I mean. I made sure I got the right mix here. So my brush, but I'm going to spray it at right out so I don't want any potatoes. And then when I get around to these just putting in that outline, It's really important to spray it out that page. Don't leave any swimming posts. I'm not too worried about the whiteboard or being perfect. Some places might not even come in between the leaves. To say whether this space, the missing area, there's a few little y pitches needs would be better to just leave those. Feel like I'm running out of paint already. So I'm very quickly going to mix up some more. So it's something to think about making sure you get enough, kind of put the outline down and quickly go to work into it so that it doesn't dry. If you end up going over the leaves, it doesn't really matter. That could actually be something that you play around with because the paint is transparent. All it's gonna do is it's going to add like a blue glaze over top of everything. But if you wanted to, I mean, you could do a wash over the whole thing. Just lie a blue paint over all of your lives. If you rubbing to match the in the leaf may start to mix in with the paint. But if you just waking quickly like this, you can actually glaze over top. So practice it on here, see what happens. So light it hardly changes the color at all. So it could be a bit challenging to whip quickly like that. So it is a good idea to mix up a lot of pain to the start and just make sure that you are putting lots of paint on, but you're spreading it out as you go. And now it's still wheat. So if I wanted to, I could go through and refine some of these images just with a really small amount of paint on my brush. But actually kind of like a little bit wonky is better to just leave it that way. This one, he is quite, quite wonky computer the others, but if I tried to change that, now you'd see because the paints transparent need save this line here, this ij underneath. I can't really blend into that now. Not very well. If I really had to, then I could soften it off with some water in blended in, but I'm just going to leave it the way it is. So if you've typed, you'll work down. You need to lead that dry completely before you take the typeof. Otherwise, the paint's gonna bleed into the border. You can see I've still got those little maxi from where so much that if you have any little accidents, like they'd turn them into hippie accidents, it could be that you get a little bit of grain and me dry over here. You could just did a few kinda splotches or something just to unite with it so it doesn't look a bit, doesn't look out of place. If I did this while it was wheat, they just blend in, probably disappear. And that's the fun part. Taking off the type in this is long-lasting type, which means shouldn't run the pipe uno, take it off. And it also means that I can use it again for the next one. So seven day type, just Pinto's tight from the hardware store. And it does help to prevent ripping if you make sure you keep it really low down to the table when you pull it and pull it away from the painting rather than ripping it up. And along. C for this project, you should finish up with your swatch just showing how you can mix different kinds of greens in the different types of paints that we started with. And then your final painting in which we practice controlling the amount of water we added, getting a nice flat, vibrant color and then adjusting the Blaine's once we drop the color and how can you soften off the edges and control the way those paints mix? And then once it was dry, we also practice layering Caleb over top. So remember when you layer the calorie but top whatever's underneath is going to affected, particularly if you're trying to lay a light color over top of a dark colored just won't work very well. So that's why we've gone with a dark color over top of the light base caliphs. 9. Skies & Seas Painting - Color Prep: Welcome to the skies in C's watercolor project. As you paint along with me in this class, you practice blending paint into water using the wheat and wheat technique, creating white areas in the painting. And building a watercolor painting out from light to dark, in from large areas to details. So get your paints out and let's get started. You're going to need a flat brush. For this one, this is a number 12 flat brush. And also appointed brush, if you've got two different sizes, would be great gelato and in a smaller one will be using low use ultramarine blue in Prussian blue, also at least one of the yellows. So I've got lemon yellow and cadmium yellow. And then we're also going to use this indigo color, which is a beautiful blue gray. If you don't have Indigo, you can make something similar using ultramarine blue and doing Sienna. So if we mix up a little bit of burnt sienna here, see it's very orangey color. And then add some ultramarine blue. It should get black if you can mix them perfectly, you get some really nice grace from these two Kellogg's. And then we can either tend to it a little bit more with the betsy enter and get a warmer color. Or we can edge ultramarine and get below a Calla, so that's almost a blue gray. There may be a little bit more. So for a swatch Ts, we just want to try out our colors before we start putting them on your painting. So show you what this indigo looks like. So you're really dark, grayish blue. And it's gonna be good for if we wanna do stormy skies. Since the indigo that I mixed up might need a little bit more blue in there. So it's not exactly the same of S1, has slightly more greenish blue tinge to it. Then this one, which is a little bit more purpley blue, but it's still a nice color for stormy sky. So that was the ultramarine blue with the burnt sienna mixed together. And just mixing editing and little bit of h until you get the blower turned gray. So these are going to be for the sky. We've got three paintings to do. And I'm going to do each one a different kind of sky. So different weather conditions. And you can copy along with mine. We might come up with your own kind of sky. Maybe it's different. We live to where I live. Mostly can be practicing our application techniques, our mix of water to paint. And you see here, I've put little bit too much water, a little bit too much paint on. So I'm just going to psych up a bit of it. Might look like it's really dark, but it's actually just a whole lot of water on there. And once that water evaporates, it's going to be a lot, Lisa. So just soak it up and just make sure you've got most of the moisture out of you brushed by Daphne on your cloth and then just using it as a sponge. So these are gonna be the colors I use for the sky or be using them pretty a lot lighter than these swatches that I've got here. And they want to mix up some colors that will be good for using in the ocean. And if it's going to be a stormy sky, they may be the ocean colors are going to be Della. And if it's going to be a bright sunny sky, they end. The ocean colors might be brought up so to mix a bright turquoise green. Ok, I start with a lighter color. I'm gonna use a lemon yellow with some Prussian blue. And you get a lovely emote grain in the more that Prussian blue edge, more too cozy color it will be. So I'm gonna put that one under here because it's probably going to be most suitable for sunny day. Keene, just sucking up a little bit of x instead of put down. And it's try out cadmium yellow with a little bit of Prussian blue. Or if a forest green, don't want to mix up a couple of colors that are either or. They could be del because of the different blues and yellows that I mixed together. Or we can make them appear della by just having less paint in the mix in more water. But I know that if I mix a warm yellow with a warm blue, I get more of a kind of a grain or maybe it more of a natural kind of a grain. And we can adjust the type of grain. It's by adding more blue, more yellow. So that's the same mix of ultramarine blue and cadmium yellow, but understanding a little bit more of the ultramarine to it to get a different mix of grain. So these are the colors I am going to be using. And I may be using them in lighter or darker variations. So you could go through and add a little bit more water to the mix for each one of these and see what it looks like when it's lighter. This one here I need to mix up again. So that was the warm yellow. Color matching is a really good way to learn how to mix your Keller's. So just trying to mix up the same color by adding the right amount of blue, right amount of yellow and just adjusting it has some really useful practice. So this is our swatch T-S for this project. If you want to, you could go through and write down the different mixes. That's good if you really like a color and you want to remember how you mixed it before, I'm just going to write down these ones at the top here. 10. Skies & Seas - Painting Sunny Conditions: So I've gone ahead and typed my three pieces of paper down. You don't need to type them down if you don't want to or if you don't have type. So I'm just using the type because it'll help keep the pieces of paper flat once they eat weight and then they dry, sometimes they can get a little bit wrinkly. And I've also made a thicker border on the top and the bottom. Just for, just as a stylistic choice really. If you don't have type and you still want to border, will, may go ahead and start reading the paper. You're any wheat, the area that you want to paint it. And you leave the outside areas dry and you might get it perfectly straight, but sometimes it's kind of nice as well to have a bit of a wobbly each. Or you can just go straight out to the edge of the page and may kill up a little bit, but it's okay. So we're gonna create three different paintings. Each one is going to have a sky in a C in it. So we can think about the different whether a fix one. I'll do a nice blue, like a sunny sky. So the C will be quite bright, clean colors and bean or do a stormy sky in the same IB ID but Della, and then we'll see what happens with this one. You can do what you like. You can follow me exactly, or you could come up with your own disguise in C effects. You're going to need a flat brush in this is to work on our skies were going away it really quickly with the page only up to where we want the sky to be. So this one, I might have mostly sky and just a little bit of C. So it's nice to have your horizon line either higher or lower than halfway. Halfway. It's, it seems like it's balanced, but it's visually not very interesting. So it's better to have a larger shape or larger area to a smaller area, two thirds to 1 third. Well, the other way round 1 third is your horizon line here to two thirds of c. Before we read that page, will get sky area. We need to make sure we're ready to go without paints. So this one is going to be a sunny blue skies. It's going to have some clouds and I've got my swatch here. If I want to just look at the different colors. Actually, I might use ultramarine blue for this one. And then I've also got a little piece of paper here, or I can even use this on the side of this one if I wanted to show you how I might do a super faced by the last tip, that one nice and clean. Just to test out the colors we need, taste them. Just be aware that we are going to be spreading that out and there's also going to be water already on here. So even though this looks quite dark, if I get the water out of my brush and really pushed down and spread that across. You can see it's actually quite light. Not wanted just a little bit dark. I think that'll be good. And then if I want to, I can add some darker paints straight into it. I think it's a really good idea when you're painting with watercolor to think about how you can use more than one color or more than one tone in each area that you paint, some suitable to 70 really flat blue. I could do my first layer of blowing in it and some darker blue. Important thing here is to think about what areas we want to be white. So one clouds to be wide. Any area that we want to be, what we need to leave the white of the page. So types a little bit of planning. You could draw, I'm very, very lightly where you want the clouds today, but that can sometimes make your paintings a little bit heavy. So I'm just gonna go for it, but you'll see me going around areas when I paint in the water on and it's because I want to keep some areas dry. And those are going to be the white areas of the clouds. Even if you paint the whole thing which you can still leave some parts white. But if the whole page will, WHO areas which any point you put on there is going to start to bleed into those white areas. So if you want a really clean, crisp white area, you need to make sure you don't put any water down. Okay, so moving to flat brush, my horizon lines going to be here. You're not gonna be able to see much right now because just painting water in leaving few areas where I think I might want to have clouds might change as I go along, but a few areas dry. And if you look down to the side, you should be able to see where we're at and where it's not wheat. And you wanna ought to be evenly weight. So if you have a look on the side and you can see some of it is already starting to dry just a little bit more water, trying to dampen the paper. And then I'm going to take my blue. And I'm just going to start putting that in and just let it do its own thing. I'm avoiding those white areas again. Little bit two balanced here. I've got two on that side until net side, somebody should get rid of this one and most of it. While the painters weight two, you can move it around a little bit. Being careful not to brush too much, can edit some darker blue. Particularly at the top of maybe going a little bit too dark down the bottom here. Maybe underneath the clouds. And once you've dropped in a doc, a tone, you can just slightly, you can just soften off the edges where it starting to blend. But you don't want to do too much and what especially once it starts drawing, you just want to leave it. We can't go into this later on into it a little bit more if we want to add some graze into the clouds and that you really like what's happened with the clouds here. So we're, I lift the pipe and dry. You can see this quite a hard edge is a very hard. But we're I need a Paint up to an area where the white area was still which you can see it's starting to bleed and it would only bleed and until it reach that dry area, if that makes sense. So if you want crispy edges, you can leave white areas dry. If you're not worried about having crisp edges and you really liked these soft I'm bleeding areas thing. Just wait the whole page. And when you come to paint, just leave some areas white. So that's my sky full. My c, If I start painting in, this isn't dry. The indices gonna stop bleeding up into the sky if it touches that you're blue. Which can actually be really interesting. Sometimes I might just stop very lightly and mostly from down the bottom outputs in tightly by that time it'll be dry here. But if you don't want it to be bleeding in and you want it really claiming, just give it a quick dry with a heater drive. Need to think about layering up l colors or owl brushstrokes for this one. So we're gonna do a light layer, one color in, and we're gonna start adding in some other colors for just ripples on the water. If you want to include any waves, you can leave an area white the same way that we did not pay for the Cloud. So I might do that. And we're going to use a really light color, this one here, similar to that to start with. So that was at turquoise color that I mixed with a Prussian blue and the lemon yellow. And this is where we can use our brush on that side as well if we want to. So a flat brush and then we can leave a few white areas that could be reflections on the water or they could actually become wives. And while it's still wait, I'm gonna get some of the documents. And when things are closer to us, they appear more detailed in IP Dhaka, when things are in the distance, they appear lighter and less detailed or flatter. So going to leave the BEC pat, light might even come in with some pure Prussian blue here. So you can play around with what colors you use. You could look up here if I wanted some bright grain in there, maybe in the foreground with a, some waves breaking. Sometimes you get some green in the underneath of the wave. Then I could add some of that and pace to HIV you mixes or ready to go. You're not terribly for period. So that's I'm just mixing on the xi. We going to do this one here. I'm pretty happy with it as it is. It's pretty simple. But I kinda like that. Makes it a little bit of green for the breaking wave. You can play around with this. You could let it dry and then go over again with some more repos, maybe some even small ones up closer. If there were any colors you didn't lie. He could do a glaze over top, which is we just get really thin mix of paint. And Mike at the back here just to show you still a bit weird. So we'll see what happens when you just glaze over top. So that's just push the back ground of say back a little bit because there's doubt everything down. It's taking away the bright whites. I think we're going to leave that one and I'm going to move on to the next one. So the next one, I'll do a really stormy one. So it's gonna be quite different. And for that we're gonna use this Indigo. 11. Skies & Seas - Painting Stormy Conditions: So remember, inhibin Indigo, you can mix one with ultramarine and burnt sienna, where any kind of brown, orangey can have a go and CP and gate like a grayish blue. So here it is. Here you'll see that I'm mixing with my pointed brush. It's just a lot easier with your pointer brush thing with your flat brush. But every time I did this guy is going to move back to my flat brush. So here we go. This one's gonna be stormy. It's about the right color. It's going to be a little bit lighter because when I put the water on, the pint will dilute into that. And you can choose where you horizon line is. You could do a different one for each one. It say you much, I really like the stormy sky, so I'm gonna keep this one big again, but maybe I'll just change it slightly. So all of them. So I'm going to paint with water. Just looking at it from the side and seeing where it might still be dry in getting those areas in trying to get a nice even coating of water. So none of it's going to dry. Fasta. Slowest going to drive the same speed is what I want. And I'm going to create my indigo. Put lesson darker at the top. And you don't want to have these kind of light rain clouds coming down. So you're going to grab some of that pain and just drag drag it down and across. And like this one, you can move the pint around a little bit while it still, which is be careful not to over mix. Smooth just for FTC needs the hide images that look a little bit unnatural. Or if it's not dark enough. So it a little bit more paint on there. Maybe a little bit more into gorgeous, don't eat. So that's pretty much pure paint that I'm just dropping in. If I've done it. Say if you plenty around too much, probably like I'm doing right now, you run the risk if it will, just becoming a little bit forced. An unnatural looking quite like that. Just this white part here isn't quite fitting with the wrist. In the sea because it's stormy. Is going to be different colors to this one. So I'm going to be sort of right, I'm gonna make it some kind of all of the green colour. Kinda like these in this one here, maybe this one here as well. So to get that duty a grain need to mix ultramarine with cadmium yellow. So that's quite a light green. Which could be a good base for this one and the genomics of another one. So I'm really a dock. All the v grain can go back to my flip brush. You can play around with texture here. So you could use a pointed brush if you want to. Make this one maybe a little bit more Petchey than that one. And it was more kind of like nice smooth lines. This one, see if you can make it feel a bit stormy. It's the lighter green. I'm going to go into this darker green. I need a much darker mix net because it's gonna dry even larger than what it looks like. She's running at a pint skew a little bit more. These colors. While I'm doing this, it's starting to dry. Which will mean that once I put pint Beck and near, it could do some weird things. It could create some funny kind of bleed patterns where part of the Pinto's dry powder, the oldest dry part of its weight. So so to start and stop. So I've got two options. The I can just go with it, which I'm going to do. Or I could leave it dry and then wait the whole thing again into another layer of the same prices that I've already done. My pointed brush now. Indigo and nato. So why isn't this one? It is a nice idea to leave watch if you can. But I do want this to feel dark and stormy. What I can do is just make sure I leave some of these lighter areas, even if I hit an more color, more texture, I leave some of it lighter layer from underneath showing through. I'm pretty happy with it. It's quite soft in here compared with this one. This one's got some really sharp images or sharp lines. If you feel like this needs more detail, then you're going to let it dry in income bacon with brush max over top. So if you're doing brush max on dry paper or dry paint, you're gonna get the shop each. There's no point trying to do it now because it's all just kinda keep on glazing and. 12. Skies & Seas - Painting A Wave : So just when it changed my water because things were getting a bit messy. And this one I wanted to have a gradient Skype. I want to go from DOC down to light and down the bottom here I want to have somewhat long clouds. If I was using duty water or be very had to keep those white. If I want to weight the whole area, which I do. So this horizon line, I might have to slightly above this one. So it's like it goes up in steps. I'm going to use the Prussian blue. Things are getting a little bit messy here, not just mix up and another one. It's good practice to keep things nice and clean on your palette. You can just use your cloth to wipe this out. And the mix my paint first. Aiming for a little bit lighter than this year. He's my taste cheat. So it's quite nice in my head, a little bit darker at the top. And it's gonna go to lighter down the bottom. Here we go smack in my horizon line. And I'm going to read this whole thing like we did for this one. Looking slightly to the side. And then making sure it's all a nice satin. Shane. Making sure it's evenly wit might need to move water around the Shortly puddles of water on there. Getting a blue start from the top down with the back-and-forth motion motion. Back up again. So you could leave it like that, but I'd like it to be a little bit darker and the top mixing up the dark blue are doing the same thing. I don't want this bow to come all the way down. So I've just got a clean brush now. It's waking back up. A little bit of blue. Light blue tip indicate underneath where there would be some long clouds along the horizon. And I'm going to work on the sea. So I've got some turquoise and grains here. Very dul ses here. What I did do before, just before we didn't change my water, Was it a little bit more data over top of this one because it had dried. So you can do that if you like, if you feel like it's too soft and it was just with a slightly dark and mix of these grains and blows. And mostly in the foreground. Let's go with could have vibrant green. I think it's really vibrant picks try that. And I think in this one I will create a wave, sorry, a more defined single wave. Then these little ones here stop by wasting it, leaving a white area for which the wave is going to be. If your sky is to wait and you get too close to it, we touch it with even just water. You're gonna get things happening bleeding up unto this guy. So he's still wave, this is going to be underneath the wave. Made this really bright grain. So it's very green right now. It's quite grass green. So I'm gonna add some blue in there. And we'll stick with the same blue with the Prussian blue. Using the flat brush on its side. Maybe adding a little bit darker in here. And so max, it might feel like it barrel of the wave. So a lot of this is just responding to what's there. So this is something that you feel like needs to be changed. You can do there while it's weight or you can let it dry and do another layer over top and change it that way. Just gonna add in different, slightly different ij to the top of that wave, even it out a little bit. A couple of things we could do here. One is to create some reflection of the whitewater on the water beneath it. So to do that, I'm just going to keep most of the water out of my brush. It's a clean brush and dampen that area. Named just kind of rub away some of the paint. Clean the brush again. Keep the paint onto the brush. And that way you can just lift up some of the paint. You can do this if you make a mistake somewhere as well. Although it's usually better to just go with what you've got rather than try to correct it. But it's this is a way just to take a bit of paint off the surface. And here we're using it to create a reflection of the whitewater. The other thing we can do with that wave is with a pointed brush. We can add some shadows in it so the moment is very flat and it's just plain white, same as these clouds here. And we can add some more shadows. And those two, If we want to inquire heavy with him. If you want something to look like it's three dimensional, it's three days, it's going to have at least two or three times, ideally three times. This one's only got one, just got flat white. We hit another tone in the air, almost like a gray, but we're going to use a color instead. Going to use a soldier or Marine. We just said that in a little bit too dark, but I can split it out. Just gives it a little bit of depth. Coloring in the whole thing. I want to leave some wise, but I want to add another turn as well. Or just at the bottom of the wave. If you have a look at a photograph of a wave, you'll see that a lot of that white water from the wave is not actually wipe the recent really bright highlights. But then there'll be a lot of other very subtle colors. And the last thing I'm gonna do with this one is just a little bit more detail in the background. Pretty much the same mix of grain that I've got VIA. But when I go over top, it compounds and it's a slightly darker color. Set kind of multiplies because you are adding the same color on top of it. So I'm pretty happy with that. If there's anything you want to change or maybe not changed because it's kinda hard to do once you've got this far. But if there's anything you want to edge, you can go ahead and do that. Now. It might just be a matter of adding a little bit more detail in the foreground, feels a bit flat. You want the background to be least detailed and lighter. And della, you want a foreground to be brighter and to have more details in it. And be sharper. If you want the max to be sharper, godly, everything dry. And then you can come back and with weight paint on a dry surface and you'll get the sharp Emax like in here. So I am pretty happy with the way it is. I don't know if I want to add any more later on. Maybe I could add some mocks. And here to get more ethnic who've defeat to the wave. But it might be a bit too much, especially for water. You want it to look just free and flowing. Just show you what I did here before. That's just a little bit more detail in the foreground. So just going through and just edit slightly darker layer at the top. Being careful to make sure I leave some of the light areas showing through. So if I go over those, it's just going to end up looking fled. You want to have at least two tones and every area just to give it some depth. So if you've got tape on them, you need to leave them to dry before you take the tape off. Otherwise, the water will just blade into that white border. So do that. Those dry in the num will take the tape off and see what they look like. 13. Skies & Seas - Summary : Using the seven-day type, it should come off pretty easily but just go slowly. If you rip it off, sometimes rips up some of the paper as well. And it helps to keep it really low down to the table and pull away from the picture. Rather than just yanking outputs. It's a little bit like unboxing some stage. When you have their white border really makes all your colors stand up. It's a bit of contrast. And we can reuse that type again for another project. So these tryptic of sea and sky paintings. The main things we were looking at in this project with how to blend those skies, wishing the whole section first and then editing the colorant. And if we needed to adjusting it, moving it around a little bit, how to layer up l sees with texture. So starting with a light colour and in layering up to more detailed in darker colors. And then also how to leave white areas in a painting. So anything you want to be white and a watercolor painting, ideally, you think about it beforehand and you leave at the white of the page. So we painted water on the bed. We lift these areas, some of them dry. You see with the sharp pages is weird, it's dry. And you can always go back over and add more in these white areas. So like I did here, you can do another layer over top. Layer more Keller's over talk. But just remember that the transparent in the anything underneath is going to show through. 14. Headlands Painting - Color Prep : Welcome to the headlands watercolor project. As you paint along with me in this class, you'll practice paintings, smooth gradations of color, creating texture to fix, and building a painting from bet ground to foreground. So get your paints and brushes 3D and let's get started. In this project, we're going to work from a reference photograph. So we're going to have a goat painting this landscape colors for this project that I'm going to be using, the Prussian blue for the C And then for the sky, I'll be using ultramarine blue. I've got some lemon yellow if I want to use it in these green areas. And I've also got some cadmium yellow. So even though we're working from a resource photograph, this is our inspiration and it doesn't have to be exempt. So if you decide you want all of the greens and the sand colors to be really warm and vibrant than you might use. Brighter colors. If you want all of the grains to be more of a Turquoise in, you might use slightly darker colors are a different mix of blue and green. So that's up to you how you want to approach this resource image in watch creativity or what mode you want to bring to it yourself. Put my yellows, my blows are also got burnt sienna here, and I've got a couple of Brown's as well. If you don't have these, it doesn't matter, but they are useful to have. So rule number is quite a dull brown and it's good for natural surfaces like trees and sand anyway, we don't want something to Bryce, you wanted to look really natural. And then also this yellow ochre, which is a ten kind of color. And again, it's useful for things like sand or leaves. If you don't have those, it's ok. You will need the burnt sienna though, because with the burnt Sienna and the ultramarine blue, we can mix some grades in some Browns that will be useful for those natural areas. And then I've got some cadmium read. Money, going to be using this in very, very light mics. So just looking at the sand here, it's a little bit pinky to me and it might be a color that I want to bring in or do some testing first so I could water this cadmium read and write down and get a nice soft pink to mixin with some of the yellows or the yellow ochre sand. It's to a swatch sheet here. We're just going to test out the different colors and see what options we have for the different parts of the image. And this is a good way just to make sure you have the right colors. But you might also find when you're mixing that you come up with something a color that you wouldn't have thought of using. And it works really well with the other callus. So I'd always recommend doing this first. I've got pointed end flat brushes here. I'm going to mix with pointed brush. We'll need the flat brush later on for the sky and say, but you don't need to have full brushes. If you've just got one flat and one-pointed, you'll be okay. Really small ones good for if we do some detail later on on the sand. So think about the sand first and what kind of colors I can use in. I mentioned that read the about how I might be able to get a pale pink stained keller. So it's really pile the air. Remember when you're mixing, the amount of pigment is kind to control how doctors. So we need to have some water in the mix. In the end, if you need to add more, you can, it will paint to the mix. So that would be much too bright in pink. This one here would be a really nice soft, rosy tone underneath the sand. We'll say got my yellows I could be using for sand again, they just going to be really lived and they should wanting to do something super vibrant and maybe contemporary or stylized way abstract, yellow. Each time on washing off my brush and I'm getting rid of the water because I don't want to be putting a whole lot of water into my paints here. I can lean back and here, control the amount of water on the brush and mix up a Calla. This one's a bit Sienna. It's an orangey brown. Again, that would be a nice option for the sand. And here, I'll show you the rule here as well. Because it's good to have contrast in your painting. And if all your colors are really, really bright, they can be fighting with each other through unvisited, nice, subtle brown. Quite Dell, that's it when it's really lot bits for b that how large I would use it for this painting. That's what it looks like when it's a bit Dhaka. If you don't have rule MBA or yellow ochre, which I'll show you. You can mix close to these Kellogg's. So that's a yellow archi and see the difference from yellow, spent more brown a little bit della, If you wanting to mix something like a rule MBA, I'd always go to the benzene in the ultra marine, these other ways of doing it, but this is just an easy way to mix a grey or black and then also control that end might variations of different browns. So if I mixed the Gray and I wanted to create a brown, I could just add a little bit more of the CNS, so it's about balance. So I've got my good scenery. Just edit a little bit of algebra ring. You see that it's going brown. No. The more ultramarine IA, the Deller, it's going to get closer to gradual black, it's gonna get. So that's a very del, brown. And then once you've mixed that up, you could add some of that to a yellow and get a yellow ochre color. Just takes a yellow down a little bit. That one had a bit too much blue and then it went a bit grainy, so it a little bit more. Oops, benzene. You can get a yellow, I could type color. So you can mix these Brown's. I just like having them in a true Because then you know what you're going to get. So I always have the three primary colors and warming coal visions. And I have those and those extra Brown's burnt sienna role amber or yellow ochre. You can't get a burnt umber as well, and you can't get a raw sienna. So that's the same colors I'm thinking about using for the sky. I'm definitely going to use ultramarine blue. I want it to be a nice, bright sunny sky. I think it'd be nice to have a gradient towards darker at the top in the initial come down, it gets a little bit lighter. So see what looks like with more water in the mix. When you putting your paint onto the paper, he don't want to have too much in your brush. You want to be able to spread it around across the paper so it doesn't pattern a nice even coating of water will paint. And then thinking about the C, the C, I'm going to use this Prussian blue. It's already got a little bit of greenie tinge to it is just the color of the paint. And in the photograph, the sea is quite blows, not very grain. If you wanted to, you could decide to do much grain of C. So this is the Prussian blue with just a little bit of lemon yellow in it for something more of a turquoise color. And then if you wanted to do something much more green than net, maybe a bit of this. Cadmium yellow with L, Prussian blue. So I'm staying with the sign blew the whole time because so I just mistyped my partner because I know it's all going to work well together is a grain. When I look at the grass here, I'm looking for the different types of grain that I can see. And thinking about what the lightest color is, what I want to be the base layer or of that green area. And then I can build up different types of greens and blues are the top. So I'm going to choose a yellow and use the cadmium yellow. So that's going to be my base layer. In between, I can think about the different types of green. I want to put it over the top and I want this to be quite a vibrant grain. And look at some of the lighter color, some of them almost like a lime green. So I'm going to mix it up with the cadmium yellow again, I'm gonna stick with the same yellow. For all of the grains and just a tiny bit of Prussian blue. And it's already too much is quite a nice lime green there. Clr down here. So I've got my sand, my sky, I see in this one down the bottom will be the grassy areas. So I've got two tones. They're probably want to aim for maybe four tones for different types of grain. Or yellow, blue within here. And it depends on how vibrant you want it to be. Do you want it to be more of a stylistic painting where you have a lot of those colors showing through or do you want to have subtle mixes of blue and yellow and natural-looking grains. Pool I need to do to create an, another tone is just add a little bit more blue to this one here. Blue is really strong, so you only need a tiny bit of gone too far again. And that might be another grain that I use and midbrain. And then I could go even darker with this blue when you're using it. On its own, it tends to become quite dull in the painting. It's, it's like it drives a lot lighter than what it is when you first put it on. So I want these shadows to be quite dark. This one might not be appropriate if it's not going to dry his doc is I wanted to. So this is where I could bring in a bit of the ultramarine blue in, just mix them to what HIPAA grains I've got. I might just mix up a green and then drop a bit of theta1. And so you'll be able to see what it looks like as a shedder. And for it's a BI adoption or we want to use quite thick paint, still watery, but I was quite a bit of pigment in it so that it could be the way I create some of these shadows in here. So I've got some sand, sand cliffs. I've got Sky, got C and Hilts. And it doesn't mean I have to use all of these colors, but this has shown me the options in the United stop to think about what, how many colors do I want to use in the sand? It might just be three colors. It might be the pile reach, a pale pink. The rule MBA, a maybe a yellow ochre or some kind of yellow color. So three colors going in the same for the C, I might decide, I just want to use the one colour. This one inhibit guard from dark to light. So to make it lies it, I'm going to need to add more water into the mix. 15. Headlands - Starting A Painting: And fix my pipe it down to the table where you can take it to a board. If you don't have type, that's ok. Just be aware that because we're gonna be waiting quite a lot of the paper, it might start to cool up, even if you just sit a little bit of type at each corner, might be good. If you are going to type it down like this, make sure you get long lasting type. This is from just from the hardware store, but it's even day type. If you use regular masking tape, it may rip the paper. The caliph papers really delicate. And that regular masking types just like a glue on the back and teens to pick up the paper with it. Before I start painting, I'm going to sketch and the basic elements of the image in really just blocking in the shape of that heat land and deciding where it's going to sit on the page. So I'm not going to be drawing any small details. I want to use the paint to create the image. But this is just going to give me a little bit of structure in some way to start and make sure I get the shape that I want. And the shape doesn't have to be exactly like this. Like I said, this is just inspiration, this image. You can change it if you want to be a different kind of headland. So I'm just going to start from one end and work my eye along, following the edges. And thinking about where you want it to be on the page. If I hit it really low down here, then I'm going to have a level sky. If I have the heat lined up higher, I'm going to have a lot more C. I might do it fairly similar to this picture I think started out here. Come down as far as I wanted to go. I just do the grainy grasp and adding in the sand kidneys pinto match fairly light. You need to be able to save him, but you want them to disappear. Once you've got your painting down. For the most part anyway. So it's not exactly the same as a photograph and I'm okay with it. What do you don't want to be doing now is rubbing this out and redoing it because it's going to change the surface of the paper and it will show up when you put the pint on. So I just go with whatever you end up with a few not competent with the drawing, maybe do a few practice runs on a scrap piece of pipe of first. Nice clean water. The sky in this photograph isn't much at all. It's mostly white cloud. But this is where I'm going to use a little bit of creative liberty and create my own sky. If you've done one of the other projects with the sea in the sky, then you might want to use inspiration from one of those skies. So I've got just a little taste piece of paper here. Make sure I've got the right colors, the right tones in when you taste your pint, Make sure you springing it right out. You see how light that goes when I spread it out. Because it's how it's going to dry once you've spread around on the paper. So when a much darker mix, we're also going to have water already on the paper, which means that whatever we put into it is going to become diluted. So I'm thinking about something like this. It's going to become much lighter when I put it into the water. And I need to think about what I want to leave white. So somewhere in here I'll just have a long white cloud. And I won't be painting over that urea will just be leaving the watch of the pipe is showing three, but I will be wasting it because I want this guy to be really soft. So here we go. We can quickly flat brush back and forth covering the whole sky area. I'm just going down to we're, that heat lens starts reaching around that outline. There is even a nice even coating of water. If you're in a warm climate, it might be drawing quite quickly and you may need to add more water. We don't know, agitate the paper too much, but we do want to HIV water evenly across it. So if you have a look from a side angle, you should be able to say that it's shiny. You went like a set and shine, not really reflective shine then you've probably got too much water. Okay. And I'm going to get my blue. Drag it along near c. How much lighter that wan't started to blend some, even Dhaka. And if you hit this on a board, you could actually took the board up and it would start to move down on its own. But I'm going to bring it down. And sometimes you just have to go with what's happening. So might keep this as a cloud here. You see I've lifted Wyche and also along the horizon line and leave it light. And now that it's n, we can just start to control the paint a little bit as long as it's still weird if it's starts to drive in, you had problems but my put just a little bit more pigment in there, a little bit more at the top. And anywhere I want to move the paint around, control it. I'm gonna make sure I have a clean brush and no water on my brush. So I've got my cloth via getting all the water off my brush. Anyway with an area are not quite heavy with this's just kinda stops abrupt plays and you're going to soften it off. Quite like the way those clouds have started to form. And then I'm just going to leave it. So the more you work and the more you I'm agitate the paper, you run the risk of the pipe appealing up and also just the painting looking forced in, overworked. If there was something I wanted to change later on, I could add another wash over top or add more detail to the clouds later. Once it's dry, soften it off. And now I have to stop. Okay, so that's the sky. Thinking about what I want to do next. I could go ahead and do the C because I don't have any risk of running into the sky, doesn't touch the sky because the sky is weight. Anything I put alongside those gonna bleed into it. But I think I'll do the sand because I want to make sure that it's nice and light should be one of the first things I do because it's lightest color in the airport from Wyatt. Remember, you can't go over dark color with a light color. So if I did the sea and misstep Some of the sand area, there's nothing I can do. Let me go ahead and do the same first. Cleaner water if you need to. And looking at my swatch sheet here, got this pale pink, I might use pinkie over here. And there's also some yellows. Yellow arc is coming through, some thinking. And the PIO pink dropping in a butter yellow ochre, I'm gonna leave the darker colors to last. So I'm again, I'm working recently it so I'm going to wit the area, put these in wit and then after that it's dry. I can come back with Docker details over top. Anytime you want to hide each or crispy each, you have to be working on a dry painting. Otherwise, it's just going to blend with what he has already. They switched much smaller brush here. So I'm working on a small area. So this the pink and the yellow ochre. So I'll mix up a yellow ochre just in case you don't have one. He is the cadmium yellow. And I'm gonna get some burnt sienna. Some marine Michael Brown, hoped marine blue. It's to gray, that one. A little bit more Betsy and balance it out. And then just getting a tiny bit of it and adding it to the yellow. Now I just need to mix up much more than that. That wasn't enough. It's up to you how you arrange your pellet. I can I tend to be fairly messy, but I do try to keep the different areas from blending into each other in wash my brush each time I touch a different color of paint or a different mix of pint. Ok, so these three colours won't gonna use. Start with, uh, the lightest pale pink. I'm gonna wake region, which so I'm just going to wait those areas just the cliff areas as time. Because the cliffs a textured if I don't get every part of it wit, or if I have a few brushstrokes and there doesn't matter so much. It's not like the sky where I want it to be. Just really, really clean and smooth. So putting in some read, some pile pink. And I'm just dabbing it around the place. It's gonna do its own thing. It's gonna blend it a little bit in here. Anything in the distance is going to be less detailed. And anything in the foreground is going to be more detailed. Who's putting inverter that yellow ochre that's a little bit to match. So if that happens, just clean your brush, dry it off and then you can use your brush like a sponge to slowly wiping over that area because he's picked it up and then I could use it somewhere else. I think about having at least two colors in Erie area that you paint. Two colors or two times? V can have more than it's usually going to be better. It depends on what you're painting, of course, but anything that is three-dimensional, If you have a look around, you has at least three times it has a highlight and midtone and a shadow. And so if we want something to appear three-dimensional or to appear like it has depth, it needs at the very least a highlight in a shedder. And ideally three different turns lies a middle one, a dock. It might be all I do with it. I'm going to come back over later and do some darker areas. And the only thing I am going to add is a little bit of that rule on the key and you can mix it with your sienna, ultramarine blue. And I'm just going to use this around the edges there while it's still weird. So I get a bit of a blend happening. Just looking at the point here with this quite a bit dark and there's some rocks or something there. So I'm avoiding putting any darker colors at the top of the clothes because usually shadows and lower down in it comes back to this idea of trying to get a sense of dates and 3D four. And if I put something dark at the top, it's probably going to look old and it'll flatten things out. So I wanna keep the docs lower down if I can see that it's just started to kind of blend around and don't sign thing. If you want a really clean and controlled painting, then you could go and now with your damp brush, smooth off some of those areas where it started to bleed into the and to the PIO yellows underneath. So usually put the pine tree and see what it does. You might get some really interesting facts that you want to live, especially if you want a better life and energy in your painting. And then after that, you can adjust it if you want to. This is just bleed a little bit here. And what's going to be the C area, so it is clean it up a little bit. Few they get paint, we don't want it. You need a damped brush, not too much water on it and just gently rubbing that area, dabbing it so you get in between the type of fibers and then really damp brush dragging along that area, sorry, backup. The problem might have now is that when I do this, see, because the area is quite deep, it's going to start to blend up into the sand. So I'm going to actually give us a quick dry with the hairdryer and start working on the sea. 16. Headlands - Building The Sea & Land: Okay, we're gonna move on to the C. The C in the photograph is pretty plain. It's got a blue, a grain that goes from a darker color in a gradient up until very, very pale color. And I quite like that looks very calm. So I'm going to wit the Jose area, and then I'm going to add in my Prussian blue. I can also think a little bit about these areas here with the green is reflecting in the safe. They really soft, so be nice to do that while it's still wheat. It's Prussian blue mixed up. Using a T shaped like vs is really important. I think it just helps you predict what might happen and actually see how much water you need is just a scrap piece of paper. It is the same type of paper. If you using different types of paper, you're going to get different effects depending on how much water it holds, what sort of texture it's called. It's kinda quite getting it as dark as I want. I don't want it too dark but Anobit Dhaka or bleeding. So going back to my flat brush, we've seen how era same, why is the sky back and forth looking from the side to try and get an even layer of water. This is being very careful when you go along the edge here, making sure you don't go over the sand area because any pint we put in this water is going to move into wherever it's wheat, which might mean over top of your sand if you've weight that area by accident. This looking at it from the side, there's a few beds getting dry very quickly. So I'm putting more water in, soaking the paper stooping gene to with it and trying to get an even seen over the whole lot. Okay, here we go, guys put some of this and so you get paint on your brush. Start from the darkest area. Again, if you hit a board, you can tip this up and it would just helped move the paint into the lighter area. So as I move this up, it's going to get lighter because least paint on my brush in also. It's becoming diluted in water that's already on the paper. Quickly. Try not to obsess about any area. It doesn't show up, it doesn't work out quite the way you want. Spinoza suggests go with it, go with what happens. Really limited time to work with this paint. Pretty heavy with that. Remember if you want to adjust, get a clean brush and then you can just soften off any edges. It will more pop color though, because you brush, brush waves like a sponge. So if I put it down here, I'm going to lose some of that color. I spoke a little bit of dark Aqaba down here. And then before it dries, I also want to just get a hint of the green reflections. And here I might actually have to, again, not mature at, I didn't make that migraine fist. I have a green here from we noticed during the testing. If you don't get this done now, it's not a big deal. You can always wait the area again once the C is drive, just wait this area and then drop a bit of lesson. Changing to my small brush. Just putting a little bit more grain near, closer to the heat land. So again, thinking about two tones. Everything he put the one blue into the sea, but I've got two times because I created that gradient from light to dark. And once you put the coloring, just adjusting anything heavy with well, it's maybe going a little bit too far. So damp, clean brush. The next thing I'm going to work on is the grassy hills here. The sky is already dry, sandy areas dry. The water is weight, but I've got the sand between the water in the area I'm working on, so I don't have any risk of what I'm doing here on the hills blending into the sea. And we're going to start with just a really light yellow to block in everything. This is the cadmium yellow. I'm using my pointed brush again so I can get into a little corners. Might seem strange to paint all this yellow, but this is just a base layer and they're out very light areas in here as well. So when I put the doc Elias over top, the darker greens, I'm going to let some of this yellow underneath show through. I'm going to mix up that lime green that I hit a bit of this. And when I say drop it in, what I'm meaning is while it's still Whit, just put a bit of color in there. So this was a cadmium yellow with just a touch of Prussian blue. Remember that Prussian blue is really strong. Make sure you paint is vibrant enough. Enough, is enough pigment in it. So it's just start putting these in. And I can use this as a time to think about the different shapes or curves in the hills. Any really light highlights, I might wanna leave the yellow underneath. You'll see him going over everything, even the areas where it's going to be dark at much dock. Here, it's quite hard to each to And I'm just kidding, but, uh, water on my brush, any but a water near to soften off the edges. We could have done this the same way. We did the same weight, the whole thing first. It kinda depends on how big an area it is, how concerned you are about it being very controlled and smooth. You could do this whole area, Wilson, which if you wanted to just simply keep it, keep it wait. So keep getting paint, keep dampening the surface. So the next thing I'm gonna do is mix up my midbrain, this one here, and also my docs. You see how this one is dried. Very PIO, This was saying about the Prussian blue. Teens to wash out. You'd see the ultramarine is still quite dark. So I'm going to mix up a couple of different grains. And now I'm going to have my ultramarine ready to drop in. Some of this may have dried by the time I get to it. Some may still be, which I'm happy to just see what happens. So if there's a few areas where it starts to blend and blade, that could be kind of cool because it's just the, the nature of this kind of surface. We have trees and hills and grass. And it's also the nature of watercolor. And I think if you can use that and you're painting it, it makes it quite lively and Frisch. I'm just gonna go ahead and mix straight into here now claim that I tip it just because I'm getting to the end of my paint. So making green, I'm trying to make it quite deans, which means a lot of pigment in it. Doesn't mean it's, it's, it needs a lot of blue in it and might need more yellow to keep it light. But just so when I put it on the surface, it's not going to just wash it out and and be the same tardiness. This I'm trying to create different turns. Dhaka paint. So like a blue paint doesn't necessarily mean it's going to be a doc, a tone when you put it all in. So mean, but it's controlled by how much water's edge you could ever really, really dark colour or black. But if you add too much water to it, it's going to be live. So there's a few technical things to think about it. It's quite nice. And Nina Dhaka grain as well, mixing a little bit of ultramarine and delete one. In the note also have some just pure ultramarine. You can always do a little practice on here too. So I'll show you if I put a bit of a screen and put a bit of the darker green over top. And in the ultramarine blue. Just gonna be dabbing it in like this because I want to keep, I want to create a texture. Just give you an idea of what it's gonna look like. But it's also going to have these LacI yellows underneath. Stop talking in working. Thinking about what size brush you need. Square root, I'm going to run out, run out a pints of created a whole lot more here. It's nice and thick. It's always better to have more paint. Too much paint in to lesser, because if you run out a pint, you lose their option to wait and wait. You don't have to follow the greens and blues that I'm using. You can come up with your own mix of greens and blues depending on what you like. Just do some tasteful so you know what's going to happen? Ok, now I'm looking at the shadow areas anyway that is lighter and we're going to leave most of it what's already there. Maybe just bring a little bit of the darker greens into it so that it doesn't look abrupt. I'm starting with this doc eerie music, quite a different technique than before. I'm just dabbing. Thinking about creating texture. Looking at way the shapes of Dakar in the photograph, and using those as a guide. So right now it looks pretty flat in divided and this is where I'm saying, am I bringing this up? I don't want to have it to hash, so damp brush, I'm just gonna drag it up. Really just no paint on my brush, just grabbing a bit of Pine from the top of my lies a layer. So just being careful that you don't lose your lights, don't lose all of us here. You can go over some of it. But that's what's going to help create depth. Form. Having lots in Dax. Pretty happy with it. And I'm gonna get my Dhaka even darker color. And now you can see it's starting to take on some form. It's starting to have some depth because of the light in the dark. So we want to think about building the painting out. Who had done a layer of the sky? We've done a layer of the same. We're going to put more into the C later on. We've done a layer of the cliffs, a layer of the grass, and now we can start to work on one of those little areas, one of those smaller details. So we go from broad areas to detail. We go from lighter colors to Dhaka kalos. Change the water. Let's go back to the sand and the cliffs. I'm just looking to see what details I can add an if I want to add in anymore color, I want to keep the background cliffs listed out and not as bright as the foreground here, the sand. Because this, I want to appear to come forward and I want that to appear to recede. It's broadening it up a little bit, adding some, some of the yellow ochre. So now I'm working with paint on a dry surface. And that means any Max I put down any shapes. They're gonna have sharp edges. To find Egypt's, they're not gonna blend. And the row number here, some of where I'm putting this down is wheat. Some of it is dry. I guess as long as you're waking light enough, then you can afford to just say what the paint does a little bit. You can always open up a little bit if you need to. Well, still wait. You can always go over top of it with some darker colors. So just be cautious and stop light if you're feeling apprehensive about any of this, just adding in some of the max that I can see, creating some texture on the send some guidelines. And then I'm going to use a similar, similar colors in the background here, but with less detail. So row, looking for new little textures or max I can add to give a sense of the cliff face. Anyway, you've got Macs are bit hash with each orbit strong damped brush, and just soften them off so they bleed into the layer underneath. I don't think I'll add much more to these cliffs in the background. All I feel that's missing here in the foreground is somebody even darker. If you look here, there's some areas at a pretty close to black, but also something cooler turned. So the sand here is quite warm. So I'm going to mix up a bit CNN ultramarine mix and come up with a type of grey. And then you can decide whether you want it to be a bluish-gray or a brownish grey. So I could add more ultramarine to it in a kind of an indigo color and use it as my darkest shadows. Or I could use a little bit more bins. Vienna, which I think I'm gonna do is this very dark brown. And I'm just putting a few little dots and you think about the shore of the sand. It looks like the seaweed look something. And again, this just adds a little bit more depth. Using a very small brush. If it's too hard, Egypt books 25k. Just using a damp brush, soft enough some of the Hs and feel a little bit to say wait, things on the same W2. So this is where we just refining to give a bit more detail but more depth. You'll be able to see the difference when you do this. As soon as you put in the darker tone, the whole thing lifts. Because you need those light and dark tones to create full. Does depend a little bit on mood again, of you wanting to keep it all very soft and floaty in life, then you might not go quite so dark. Just blending in some of these smacks a little bit. Not so harsh. I don't want detail in the background to draw the IBEC Theia. 17. Headlands - Adding Details: Good, a few more little things to do. We need to take shit in the ocean here. Just a little bit, not so flat. We need to finish off these green areas in a similar way to the front. And mean are probably also add few more details over top of what's already here. So working on dry PIPA, sorry that I have some more defined details. So I'm just going to be using the same colors as I used here for these areas, but they could be a little bit lysate even because it's in the distance. Remembering to leave some of your light layer. You've already done showing through this 9 just going over top of the whole lob. We want to have a range of times. Put my mid grain in there, bring a little bit down onto the cliffs, kinda grassy bits that come down and getting my Dhaka green, dropping it in. Creating the illusion of texture of 2x of grass, maybe small shrubs. Adding those dark areas lower down rather than on the top of the cliff is wherever the licensed hedging and the light is coming from the sky, obviously, you want it to be your lightest. Each can add a little bit of brown into these grassy areas that are coming down into the cliff. And that's just what I can see in the image. And a touch of ultramarine. And these grassy areas at the back, not too much. It's, it's texture into the sea. And I'm just looking at my photograph and these are some very faint ripples. I don't want to two anything extreme there. I really like the blame that I've got. So I'm just going to whip this era again just a little bit. And then get a little bit of Prussian blue or using it, using the flat brush on that side. And trying to get a patent that it looks kind of natural. So don't line them all up. So I width the surface beforehand because I wanted this to be really soft. I don't want them to be ly hard lines in the water. Little bit two dot c. That's probably enough. One other thing I could do is bring these reflections up just a little bit. They look quite PIO now, now that I've put more detail into the hose, and I'm gonna do just the same thing. Use a flat brush again, just so I can use on its side. Make sure I've got my grain 3D doesn't really matter too much which, which grain is only related to some of these ones here. We'd area, when you wit these areas, again, one separating painted on beekeeping, you're not rubbing because it will eventually take up the pint underneath. And watercolors, no permanent. But it's just so that we get nice soft planes. And their mean is I come out of the pit area where it's not wait. Okay. H is just kinda nice as well because it makes it look a little bit like his reflections on the water. Don't want too much in the background here. A few strange things happening here. And it might have been where I went into the white area with the sand and I cleaned it up a little bit. And the texture of the pipe or a little bit but it's in the water so it doesn't matter too much. Final things. Have a look at your painting, hippo, resource photograph or just go by intuition. Think about if there's anything that doesn't feel quite right, if there's anything that needs a bit more contrast. And it could be contrast in terms of lighten dark, or it could be contrast in terms of texture and lack of texture, or having more detail in the foreground. So here it does feel a bit just kinda MD and flat. So I'm gonna add some more texture in here. I like these bleeds. And so I'm going to leave those. The background doesn't matter. That is not so much texture, but in this foreground here, which is kind of the focal area of the painting. It needs to be a bit more take shy, I feel sorry, I'm just going to mix up same, same kinda grains, maybe a little bit darker because I want them to show up. And if ultramarine blue in the mix. And I'm not necessarily trying to make it a lot darker the IT because I like that it's a midtone, but I'm trying to give it more surface texture. The areas dry. So anything I any Max I put down the Now again to have a defined each, they going to be Chaka and even do a little practice here. Maybe just think about creating some shapes. They could be trees hitting a look and see what kind of shapes you could see. Just putting it down first. And then if it looks a bit on net true, I can soften off some of the edges. Remember to keep your shadow tones we adopt turns lower down to and putting me up here really DAP times because it's just going to flatten everything out. It's going to turn things upside down. So you could be using any variety of green or any colors really. I mean, you could do the whole thing monochrome. The most important thing is the tones, so that you have some lights, you have some docs. That's how you're gonna get depth in volume. And we're going to finish here. And I think it's a really good idea at the end of your painting to just do a little bit of an overview in thinking about what you might have done differently. So I definitely feel like I've done too much in here now. Now I see before that it needed something now I feel like it's a little bit too forced. So I probably approach that slightly differently next time and maybe play around with the contrast more when it's weight and which I've got these quite shop you just up here, which I do kind of like I think it's a little bit more stylized. It's not realistic. It does create some shapes that necessarily they are nitrogen. If I wasn't happy with those, I could go through and just soften off the edges or even do a glaze over top. So good, I really liked grain. The lime green that I had before. And just with a bigger brush, actually, BBDO. And quite a bit of water in the mix just do a glaze over top and it could just push those back a bit. So the not quite, so you see now it's not quite so different. There's not so much contrast. So I hope you enjoyed it. You may have something completely different to me, but remember, tones, what's really important? And this one we focused on building it up from the background to the foreground, in from simple areas to more detailed areas, which we do last. We also try to wait and wait for the sky and the sea. And these other areas that are more detailed and undefined, we used, we paint on a dry surface, so leading the paint dry in adding detail over top. 18. Green Pear Painting - Preparation & Sketching: Welcome to the Green peer watercolor project. As you paint along with me in this class, you practise painting still-life object. How to control mixing with colors in seeing shadow tones in mixing shedder colors. So get you paints out and let's get started. For this project, we're going to have a go at painting an object. Be painting this peer. We don't need very many colors at all for this one, lemon yellow, ultramarine blue, and then burnt sienna. And also whatever color you want to use for the background. I'm just going to use a very PIO wash of the ultramarine blue. I've got flat brushes and pointed brushes. The flat brush is just for the background. And then I'll be using the pointer brushes when to start working on the pier itself. But we're going to focus on in this one is mixing Wheaton, which in controlling where the paint goes. On the amount of water on the page. We're also going to look at how to mix shadow colors. So you might immediately think I can use black for that. Just make it very light. So wash it to make it a gray but black out of a tube is very dull and can just take some of the life away from your painting. So we're actually going to mix some grays out of ultramarine blue and see in a, and use those. So we use it, mix ultramarine blue. In Siena. We can control how warm or how cool we want the shadow to be. So if you wanted the overall painting to feel quiet, warm, you could create a shadow that's a lot browner, gray. Or if you want to everything to feel cool and calm, then maybe you create a shadow that has more blue in it. It's a blue gray. I've typed my paper down to the table. You don't need to type it down. I'm just using old type from another project that's long-lasting type from the hardware store last seven days, which means that you can reuse it. You can leave the sitting here for a few days in it should still be okay to take it off without ripping the paper. Masking tape. Regular masking type probably will rip the paper. So net case, I wouldn't type it down. If that's all you've got, you could just put a little bit over each corner just to keep it flat. So that's one of the purposes of the type is to keep the pipe of flat when it gets wet and fibers expand and the Niger, are you good at wrinkly effect in the paper? Sometimes this just helps it stay flat when it flat and tight when it dries. The other reason for using the type is it creates a nice white border, which is only relevant if you're gonna do a background for this one here I am going to do a very light background. First thing we're going to do is very lightly sketch out the PEA shape. This is something you're not so competent where there might be a good idea on the script piece of paper just to do a loose sketch. Giving the general shape of the Pier and I've chosen appear because they can't be kinda wonky shapes. It doesn't matter if it's a little bit off-kilter. No one's really going to know. And then once you better practice just sketching that out, you could also have a look at where the shedder shapes. So it is a shadow here and a shadow that comes around like this. So that's going to help us identify where we are going to put the darker colors, darker tones of paint. And then of course, there's also the shadow on the bottom here. So you could also draw that in. Let's just helps to get you heat around it before you start. And of course, this is all going to be quite dark as well. We could even be shadowed areas on the air like shapes that are a little bit darker on the steam that you could mark and for your own reference. So now Piper, all we need is the outline. And just very lightly, you don't even need to draw the outline of you feel competent, starting without any pencil drawing in its ok, we are going to do the background first. So what you'd be doing if you didn't draw out the pencil. Outline is just painting around the PEA shape. So it's a very simple drawing. We don't want to be rubbing this apps, don't want to be doing too much sketching on here. It's a little bit of structure for L painting. And also so we know we're to paint. 19. Green Pear - Starting With A Background : Starting with the background and Nain blocking in the peer in building up to the detail on the surface of the Pier in the shadows. So we want to think about working from light to dark, but also from background to foreground. If we can do pins on the painting, of course. Got my taste sheet here. Let's quite dark. But once a wage, all of this area that's going to wash and to the background quite nicely, I think so. Going to wit the Hobbit ground, it can be loose, it doesn't have to be all smooth. The background for this P dot might have anybody in the background, but you do need to be careful when you come around here around the outline of the pier that your only going up to the each so that the pair stays dry. So I've just gone all the way around and now I'm just wasting the whole thing. An amendment will do a swatch tests just to tease data colors, but through a be a good idea to do this first and then it can dry while we're looking at out colors. So it's quite warm today, it's very sunny. Midday. There's a lot of sun coming through the windows here in this drawing like crazy. So I'm going over all again. I don't want be rubbing or agitating the paper too much because it's going to start to peel up. Keeping my making sure I've got enough mixed up in. Putting this in. And what I'm gonna do is I'm gonna do lots pad at the top here in Dhaka down the bottom, like a gradient. Or you could even have like a horizon line is if it's on the table. And that case, we would need to let this dry and then go through the process all over again. We sing the page. And if I start down the bottom here, it might be dry by the time I give via I'm gonna make it darker down the bottom. How you treat the bet ground depends on whether you want it to look like the peer is sitting in a particular space. It could be on the table, or if you're happy for it to just be a PS study and maybe it's just kind of floating. And it's come up a little bit. If you go over the pH a little bit, doesn't matter too much. Because we're going to be using blues and greens and yellows for the peer anyway. And it's not going to affect it too much. So while it's drying, going to do my swatch test over here. 20. Green Pear - Color Prep: So if we watch Ts, I always use the same type of PIPA is what I'm painting on. There is a big difference and different types of typos. Some will be very absorbent and suck the water up. Some will let you move the water around for more time. Some of them that colors dry really pile. So what I want for the peer is to start with, I want to do a PIO yellow, that's gonna be my blocked and base color. This has got a tiny bit of grain and it just from my water, but I'm not too worried about that. Because the next layer I'm gonna do is a lime green. Let's do this this way. So it's going to be my base color. And then I'm going to do a lime green. So when you mix up the screen, it's important to have a lot of yellow in the mix because we're gonna put a darker color into it and the darker colors are really strong. They'll take over the yellow quite quickly. And what we don't want to have is a grain that is lightened with water because they were not going to get a vibrant lime green. We're just gonna get a very light PIO insipid grain. So I definitely need to add more yellow. I could lies in this up by adding water to it. So I could add a bunch of water to their might do it over here and get a light color, but it's just very wake and pi. Ok, so for this particular painting, I wanted to have quite a bit of yellow and keep it light that way. So rather than having lots of water and lots of yellow paint, just a touch of ultramarine blue. So that's a nice color. You see your vibrant to this compared to this one here. We've got a base color and in the lime green that we're going to put an ending for the shadows on the Pier and we're going to use ultramarine. You could even taste it if you want to by dropping it into the color that you've just edit. When we edit and we're going to move it around a little bit like this. So we can control with a shadow starts and finishes. And then we also need our shadow on the surface that it's sitting on. It doesn't matter if you haven't divided this up into two sections. I could type, we'll talk, we'll still created a shadow because it's really good practice. So putting a bit of water in here. Good Sina. First. In ultramarine. If you find you're getting way too much water and you mix like I kind of am here. Smaller brush, smaller brush will hold less water. So you might be able to see that I've got bluey grey. I'm going to go for an actual grey. So as middle gray is, I can get it pretty close. So if I wanted to mix black or gray, I'd have those proportions, whatever I mixed in. If I want to warm up that shadow color, I want to create a mood that is maybe happier, more energetic woman, I'm going to add more. Make it a brown, a warm gray. If I keep adding blue, it's gonna go back to middle gray. And if I keep hitting blue, I'm going to get a blue-gray. Before you start on your practice mixing up these different types of grey thing about what one you want to use for your peer. I'm gonna use a blue-gray because at the top here there's some bids, henna and blue and orange, complimentary colors. So they work really well together. They make each other stand out. So if I have this orangey Pin Te interrupt here, I've got the blue background, but I can also have a col colored blue shadow and near as well. And it's going to match the background. 21. Green Pear - Blending The Base Layer: We're going to whip ways in which we want to have yellow 3D, lime green 3D, some blue. And also some good see you and I will put it into the top. So we're focusing on this area. Then we can focus on the shadow and we can focus on the stalk. Just cheap as dry, if you will, doesn't dry the get the hairdryer ouch or I have a little break. This first layer is really just to get something down, I'm going to wish it stupid. A pint on my brush doesn't matter. Sometimes you might have reflections on the fruit and you might want to leave in urea white. So why should the page show through putting the paint on and spreading it out? So we need to be put coloring. You don't wanna just drop it for the spice calorie anyway, we're aiming for something flat even. And now I'm going to start putting my lime green and I could have just started straight away with lime green. I think just having that yellow underneath gives a little bit more vibrancy. It means if you want to leave some, some area lighter, like, like a highlight area showing through, the yellow layer underneath showing through. So when all of us to be which before I add in my shadow shapes on the Pier, I'm going to leave this area at the top here. I'm going to put the Bent Senior India. But first or put in shadow area because it's more important, I don't want it to dry for me put pin. So I'm putting blue straight in the eye, but you'll see that it's blending with the lime and turning into a dark green. I'm just looking with a shadow shapes are here spreading that out so I can control it is little bit of blue lifted. Pure blue, I really like that. And this one down here. So you can drop the calories in and then you can move it where you want it to go. What if hit just a little bit too much water? Too much paint on my brush theme because it dilutes it, everything underneath it lift a bit of a white space. So I don't need to keep putting more blue. And once I've got enough in there, I can move it around. And as I move it out away from where I put it in, it's going to become more and more diluted as it mixes with the peg, which is what I want because I want a gradual gleaned does need to be darker up here. You see this, this quite had each, which I don't want. I want it to be smooth. So if you end up with a clean brush and get all the water out of it. So it's just a damp brush and just go along the ij and soften it off to put just a little bit more blue in there so the colors are gonna dry. About 10-20 percent lighter. In a few minutes, a bit too light. He keep adding paint. You do you have a bit of time to work with this? Because each time you do that, you're you're keeping the pipe a damp. But you need to also be aware of the delicate nature of the paper. And the more water. So except the more delicate it becomes, the more you're rubbing on it with your paintbrush, the more likely it is to start to peel up, clean up this each think I'm just going to leave it like that. The shadows are maybe a little bit more extreme now and I wanted to, but I could see it though dry, a little bit lighter. I'd rather have them a little bit more vibrant than to light. Some of it, it's just going to do its own thing. I can see already it's moving in to the lime area. Now this area up here where I'm gonna put some burnt sienna wasted again, just at the top there with a yellow base code is still showing through the lime green up here as stole it. And I wanted to run a little bit into the lime grain. We'll see what happens in testdata. And we got a pretty good just looking at the pier here, drop it in. I'm just gonna let it do its own thing. I'll take a little bit out here. If it's too. If you're not happy with the color, it is quite orange. And you can get a little bit of that grey that we very mixed up, maybe a brown, brownie gray or even just a tiny bit of ultramarine blue. And two you'll see in a mix. And you'll get something more like a bin tambour or row MBA. And you could put that in there as well. Just delta it down a little bit. It's not quite so orange. Looks a little bit more natural. What I'm doing now is the same thing I did down here. I've got the Pyne told me I'm moving around a little bit softening off any hard edges that I don't want. Just leaving it. 22. Green Pear - Adding Shadows & Texture: Next thing I'm gonna do is the shadow. This is still a little bit wit, and there's a risk when I do the shadow that is going to o blade up and to the pier and dial it down a little bit. I'm willing to take that risk because it could be kind of interesting. And I'm using similar kinds of colors. So I'm using a grey that is ultramarine blue by so if it comes up in here, it might make this area Docker. And it's like I am not too concerned. I think I'd rather just take the risk and see what happens because I like that aspect of watercolor. I'm going to mix up a bluey grey and in, just to make it a little bit more vibrant, I'm gonna drop some blow straight into the shadow as well. And put an Australian, I'm not wasting it fifths because I'd like to keep some of the ages had. Maybe you need to spread this out rather than have big paddles of pint sprayed with a pint at once. You could almost see for us. That's quite a nice shadow. Could be Dhaka. Oops. Keeping it a blue shadow. Where am I? Blue gray. And you go back to my smaller brush. That happens quite a bit with that, holds a lot more water than I think in the find it hard to get denser colors, more concentrated colors because it's always just adding water. And here we go. So it's good though. So right underneath the piano there's really dark. Didn't clean the brush. I can move around these blades, these areas where it's bleeding, you might like that and it's fine. I'm going to keep the shit I quite softer. You can see it starting to bleed up into the peer. Thought it might do. If that happens and you don't like it. You can soak it up. So clean, damp brush is gonna take out some of the layer underneath as well, some of that pigment underneath. And if you look at the shadow to save quite a soft each. So again, a clean damp brush if you want to create that soft edge and you have a hat age, just rubbing over it very gently. If you want to make them more interesting, you've got your ultramarine blue in the European scene or in the mix, you could try just dropping some of the ANC inner nato and getting a shadow that is warming. So there are some areas over here than over here. As long as you're using the mix that's in the gray and put a little bit of brown out towards each year and see you. And I'm just looking at the shape of the shadow. Wanted it to be just a little bit rounded down here. Softening of the age. So I need to work on the stalk. In the last thing I will do is add a little bit of texture in here and also put an, a darker line, a sharp edge to define the base of the pier. So for this talk, I'm going to use, but Sienna in ultramarine blue create a dark brown. Create a darker brown. I should be testing these out. So there is some variation in the steam. It's got a lot to each. In a dark age. It's bringing it down a little bit into the top of the pier which is still damp. You see there's a bit of a shadow that racists that the stoke comes out off. And I'm going to put some ultramarine blue straight into the stalk does with the shadow areas are darker side. That gives it a little bit more depth, a little bit more. 3d. Shape. Maybe even take a little bit out of the side to dark. So damp, clean brush you can slowly drag along near and more pop anything you don't want to lose a bit of burnt sienna tinge over the side and I haven't put bed and I could do with just a very light wash. So washes just or glaze is just going over top of dry paint. But it's really light so that the layers underneath stole show through. Because almost like it just slightly changing the tentative it by putting it transparent glaze over top. So that's just given it. Side there, a little bit of brown, little bit ripeness. I'm going to drive us properly, put on it dark age, gender. And I'm going to add some texture this couple ways you can do that if you want to, if you want to, I'm being a bit for you and creative. You can add some splattered over top of the burnt sienna, or you could just do that by hand. So I've got a really small brush for this next one as a number 0 brush. And I'm just going to define that each. And then I'm going to use dark mix of burnt sienna and ultramarine blue means very plain black. I always like to either give it a warm or cool turn. So to say a little bit more blue in there. I get a cool term. Starting from the middle area. Look outwards an incumbent near the way. So if you look at that shadow gets thinner on each side and that's why I started in the middle. That's way too dark right now with a bit more paint, pouring it down a little bit, and integrate it into the rest of the shader. And then maybe even just with a little bit of water, not too much water softening of the each last thing is the patterns on the Pier. I think I'm gonna go a bit crazy and I think I'm going to take a risk and Dixon's places, if you do this, make sure you test it first. I'm just mixing with it bigger brush. I'm gonna go back to my small brush. So good cnf, cheese to a VA, hold your brush and just tap. Those are very small, those ones. So if I add a little bit more water to the mix, that will be a little bit bigger. But you might be able to see it also goes everywhere. So that's the risk as you may have some background as well. And you don't want to be trying to tidy those up. So if that's not something you want, don't do it. So I'm gonna do this and then I'm going to add in some manually as well. Just by doing little dots, individual dots. But I wanted to do this first because I just wanted to have a kind of a natural feel to it. And it's quite hard to do this with little dots by hand. You see there's some going in the background, it doesn't work. So now where's my small brush? And I'm just going to paint some little dots and then everything's dry. Trying to get them natural-looking, some a little bit bigger, some a little bit smaller. In the united also bring in little bit of amber or little bit of blue and my bid Sienna mix just so that they not also bright, kinda like freckles. Not happy with their own near smoke. They are not longer. Softening off. Some of them don't appear to uniform ultramarine blue into some good CNN to get some dark ones, especially over here where the shedder areas. You gotta use your brush and lets point. Otherwise you get a line instead of a dot. Definitely needs a little bit of Doc Brown and some areas just to push the orange BEC. So when you're at this stage, take look in, think about anything you want to change or adjust to a little bit of a review. Some things you might be able to adjust now, other things, It's just listen for what you do next time. If I have a look at this, I feel like I've lost some of the shadow in here. In the shedder probably comes up a little bit more up to the top. If I wanted to, I could do a wash over top and bring in some darker blows. That's an option. I do like the colors, I like the blue and the orange. Up here needs a little bit more detail. So I'm gonna go through and just make those adjustments. Have a look at yours. Thank you. About if there's anything you want to change the areas you want to sharpen up once it's dry by adding a bit more detail. So I just did that little test data to see what the blue would look like if I glazed over top of the grain to add some more shadow. And I've done that now. I'm going to do a little bit more down here as well. Doesn't need to be much paint in the mix at all. So it looks really dark when I put it down like that, but the moon I spread it across, drag it out. Low, lighter, got some hard edges to the spit when I quite like actually feels I is a bit of a beam than the peer down here. I don't want to add IJ, so just softening that off, making sure you're not putting a whole lot more water on there if you are just going to dry PET g. So ideally, I would have wanted the shadows in here when I did the reason we it but it's a correction I can make now. Not sure. Come to these points, we have to make a decision. And that decision could be the Michael break. So I do like that, but nothing else in the shop ij, so I'm going to open it it off a little bit and hopefully not ruin the layers underneath. Might be too light. It might have been the wrong decision. So you say you were my mistakes. I'm going to give you a bit by putting a little bit my lime green. And I'm just working, sorry, say third gently on the paper. Very lightly, very gently. So as not to rather the paper up because I am working on it quite a bit. Is there's two ways you can reason which you can work week on dry. In both ways, you, you get similar tonal values. So if you're working with on dry, you'd be layering up the shadow turns. On top. You'd be layering the Sienna over top of it by c yellow color. So you do still need to think in layers of going from light to dark. But you can definitely let each layer dry in built up over top of that if they're so why you want to work? I think I'm finished with us. I may do a couple of other little things and hopefully enhances rather than do the opposite. So just type the type off so we can see what looks like with the border. Well, one thing I didn't mention is if you want to create a highlighter or Lottie area after you've finished the painting. So say I decided in the siri Here, I wanted to lighten it up a little bit and have it look like there's a reflection there. I can't get a soft reflection of figs. Oops, I think I've used this type too many times and say, by the way is bleeding but also just starting to rip the paper here. So anyway, if you wanted to create like a little highlights in here, just getting some ideally clean water and putting it in the area that you want to create the highlighting. And in just dried off my brush. And I'm just going to rub little circles around me. You see it's telling to lighten up since it could be a little bit of a highlight the do you have to be really careful about how we eat the layer underneath is if it's partially with impartially dry, then you're gonna get all sorts of things outside of that highlighted area starting to happen because there'll be which on where some weight on dry in just 3x in different ways. But if you do start getting Macs around it and you can't just very gently smooth those out. Now there's just a slight highlight. The air skids it that little bit more. 3d form. Even though there's not a direct highlight in the photographs. And remember the photographs always just inspiration. If you want to turn completely different colors, you could, main thing to pay attention to is the light in the docks. And what we looked at here was working ways in which bringing in those darker shadows while the paint was which we looked at mixing shadow tones, so warm and cool shadow tones. And then we also had the texture IT technique of splashing. If you want something that looks really random, looking and creating that highlight, also glazing over. If you wanted to add more layers of time, either top or slightly different tenths of color like the Brown that I added on this side, just to warm it up a little bit like it is in the photograph. 23. Sunset Skies Painting - Color Prep & Blending: Welcome to the sunset skies watercolor project. As you paint along with me in this class, you'll practice blending multiple colors, wheat and wheat, mixing different types of Black. And building a landscape painting from bet ground to foreground. So get you Paint 3D, and let's get started. For this project, we'll be using the sunset image as our inspiration. And we will be practicing mixing these lovely blends in the sky working reason which and we'll also practice how to mix up black for this foreground area. So the colors I will be using are first and foremost, this permanent rose color in the sky here, this vibrant fuchsia color. If you don't have this, you could use in Alizarin crimson, which is like a coup reach. And you could water that down and use it as a pink. That's not as vibrant as this one here is the permanent rose. I'm also going to be using some cadmium read, some cadmium yellow and some ultramarine blue. All of that is going to go into the sky. It's up to you what colors you want to use. If you wanted to create a different colored sunset, you could, you can still apply the same techniques that we are going to be using when we come to mixing the dark area down here, we'll be practicing mixing black using burnt sienna in ultramarine blue rather than black out of the tube. So go mix up your colors and we'll get started by doing a color taste sheet here first. And we'll also do some experimentation of blending in how we might be able to get these different sorts of effects happening in the sky. It's t is some of the colors that we'll be using in the sky will start with the lightest color, which is this yellow. I'm using a cadmium yellow. You could use a different yellow if you wanted to. When we mix our colors, we want consistency of milk or cream. And we want to get a nice vibrant color, so not too much water edited into the mix. Even though I'm going to be using this, perhaps in a lighter tone, then what I've put down here, I want to get a good idea of the type of color that I have. And you may have different colors to what I have. This is a permanent rose. It's really beautiful color, very vibrant. It's quite hard to get a similar color by mixing. So that's a nice one to have if you wanting to add the vibrancy to your painting. This is a cadmium red. Quite a strong color when you have a good mix of paint to water. But you could make this a very light color as well by adding more water. You can see the color of my water here is going. Reddish pink and the ultramarine blue, which I'll bring in to mix with the permanent rose and get these purple colors. So go heat and mix those two colors now and see what I get. This is just to T stat whatever colors you have. To put an experiment. See what potential there is a new colors in step to predict what might happen when we blend them. And I'm going to mix up a black. So the important thing when we mix up this color is we wanting quite a strong black. And mean, if we want to, later on, we can water it down a little bit if we want some grace. So I'm using troop pint in, it's already like a paste. If you're using KC paint, then you need to try and keep it quite concentrated. So that's quite a Brown, turned black. And see if I spread it out, it's got an orangey or brownish tone to it. So add a little bit more blue. And I can take it the other way so that it has a bluish tint to it. Which might work well with these colors here. In a moment, we'll do some blending before we start. I just wanted to show you this other copy I have here, which is a black and white copy, and this is quite a good thing to do if you're not quite sure about the tone. So in an image like this, it can be quite hard to see with the lightest area is, and we need to pay attention to that. We were painting. We need to think about the lightest series before we start working because we can't go light once we've already gone dark. So when I first looked at this, I thought of it, the tops of the mountains and snow. It's going to be really light and I could always keep some of that white. But when you look at the black and white copy, you can see that the sky behind the mountains is actually lighter. This is the lightest area here. And then maybe these other areas of sky in these clouds and the snowy mountain tops are about the same and didn't obviously this is the darkest. Which just means when we go into painting, we need to think about how to get the contrast between the sky and the snowy mountains. If you want to, you could be a bit creative in hit the mountains much lighter than the sky. The danger we have is that we might end up with them looking to similar and turn and there not being enough definition between them. So when I paint this, I'm going to make the mountains darker than the sky, while the sky lighter than the mountains that will paint over the top. We're gonna move onto another small piece of paper and to put a practice of this blending in the sky. So we'll be working with JSON width, which means we'll use our flat brush to cover the area with water. And they will be dropping in these colors. And I always like to see what they do and then we can move it around a little bit if we want to. I don't think it needs to be super controlled. Depends on what you want. What kind of afib 21x. My oldest quite duty there. I'm gonna go clean it because I want to start with yellow. Got some nice clean water because I want to start with the lightest color, which is the yellow. And I don't want my water tight that color. Let's go ahead and have a practice. This is Purely experimentation, so I'm just gonna go straight into it. Some covering the whole area. They don't want to be the sky. And looking at it from an angle and just saying where the water is in making sure it's a nice even coat should be like a satin SHA1 on the paper. Don't want it too shiny because it means you've got big puddles of water. That's really reflective, making sure it's evenly wit. And then I'm gonna take my small pointed brush. And I'm just going to start putting these collision. Is the yellow in this some reads. And here I'm going to put the reader, Nick's cadmium read, and put that in around the yellow thing. I'm going to go in with a permanent rose. I might use a bigger brush for this because it's quite a lot of it. Starting from lightest light, the yellow means that you can put colors over top. If I started with the dark blue and then tried to put the yellow and it will be difficult. I end up with some greens. And I'm just going to start putting this into the permanent rose. Bring some of these colors down the bottom here. So look at the photograph and use it as inspiration. We need to think about tone as much as keller. So where is it lies us? Where's the darkest is lightest. Here in the middle. Is kind of dark down here. I could put maybe some of my bluish black down here if I wanted to just make things a little bit darker in dollar and now while it's still wet, we can eat anything that we want to. So this is very strong in here. We're going to get rid of theta, have a clean, damp, fresh, so I washed it off and then got most of the water out of it on my cloth. And just blending these colors the way L1 them to blend in to get the water out of you brush you just putting a whole lot more water on here and everything's going to dilute, fight. And you get strange things happening, strange patents from the way it dries. And maybe using this permanent rows just to put in some of these lines here. You could do that afterwards too. So once it's dried, if we put bays and afterwards they'll be a lot more defined. I'm gonna keep mine quite bright when I go into the final painting. But if you are trying to be accurate here, this is where you could put in it lowish mix of black that you created. You see up here it's very dark. And we'll be doing that mostly you in one go. And like I said, if you want to come back over and do a few lines in here, you could do it better, I think, to get that really fresh, effective watercolour, it's best when you're working with don't wait, if is do it, make a few, eat it. So if you need to while it's still weird and then just leave it. And you've just gotta go with what you end up with really some pretty happy with that. From this, I can see how the different colors are going to be blending. I can see maybe I needed a little bit more intensity and the color, the reach his gone quite orange here the cadmium Reid and I might want to bring some of the brighter reads and underneath these permanent rose areas just by analyzing the photograph. But again, this is just inspiration. Uses as a practice to see how you can blame your colors, what fix you can get, and what colors you want to use. 24. Sunset Skies - Painting The Sky: I put down my piece of watercolor paper to my table. You could type it down to a board. Just make sure you're using long-lasting type. This is Pinto's tight from the hardware store, but it's seven-day type and you get seven-day type and teen day type. If you don't have any type in, that's fine. Just be aware that the painting much start to curl up a little bit once we soak the whole area and it could dry a little bit wrinkly. You can even just put a little bit of type at each corner. I wouldn't recommend using regular masking type to type the whole piece of pipe it down because it's likely to rip the P-I-C-O we knew. Take it up. The first thing I'll do is draw an outline of these mountains. Doesn't have to be exact. This is just inspiration. You could come up with some other shape if you like. I'm gonna stick fairly closely to the different dips and peaks. And think about we want this line of mountains to go. So the lower down you have it, the more sky you're going to have. There's not much happening down here and this lower urea. And so it makes sense to have more space for the sky. If you have a really good print out, there are actually some cities or some houses and lights and things down here, but I'm just going to treat it is all in shadow. So all black. Now that I've got my peaks drawn out, it's just a single line, it's just an indication of where they're going to go in and try to keep it quiet light. I'm going to start working on the sky. So we need to be really prepared for that we did before to figure out how the colors we're going to work. So have a look at that. If you did the test and just think about whether you, colors need to be more intense or in different places. And these are the main colors it I'm going to be using that we prepared earlier on our color shade. And I think I'm okay if mixed up all my colors. So I'm just gonna go for it. Having this typed down means it's going to stay nice and flat when I release it and the water will be on a flat surface. I am just bringing the water up to the outline of the hills. Right to the each is I want the whole sky area to be Whit and I want it to be evenly, which I'm using my flat brush and making sure there's a nice even coating of water. Look at it from an angle cheek that you have that lovely even Shane across the paper. No big puddles of water. If these paddles try and spread them out, you might start to see the paper drying or reading if you are in a warmer climate and you need to put a little bit more on so that we can soak the paper. But not too much. Don't want to be rubbing this. Pei Huan Shi, We said over and over and over again because it comes very, becomes very delicate when its weight. Okay, here we go. Starting with my yellow. Put it in the middle of the year. Whatever you put down is going to become a little bit diluted because of the water that's already on near. Might just leave the amount of read for now. And I'm gonna put a lot of this permanent rose. And here I'm using my bigger pointed brush. My paint is quite concentrated. Maybe we want to leave this area down here. Light. Going right to the H's are even going to clean my brush off. I will just go straight in with the ultramarine blue here because I'm blending with this same colored it I've just been using looking for the dark areas and I'll use my ultramarine near as well. If you don't want to follow the tones and the imagery, don't have to, but do you think about having a range of tones? So it doesn't matter to match with a after something like this. It's just being careful that you do have times. Otherwise it's even though you're using different colors. And so we're going to look quite flat, proving some very light ultramarine blue down the bottom there are planes with this cadmium red. I know that it's gonna go a funny kind of tuple. It could match this dark dolor calor quite well. Or I could just kind of put a barrier in the year of this permanent rose. And now once we've done that, we can go in and control it a little bit in a muddy mix-up it at more peachy, orangey color to put in there from cadmium read, permanent rose. I mean, the clean damp brush most of the water out of it to start to move some of that paint around, making sure that you keep the areas that are really interesting. So this here is not what I see in the painting, but I do really like the way that yellow is splitting up into the future, but it's still quite divided. So it looks for things that you like. And we'll just leave those. Don't wanna take too much. Can put a little bit more color. And if you want to make sure you're not adding too much water onto the page. And these areas here, I'm going to put those in a little bit or read first. And in a little bit of pink on the top should be using a smaller brush for that. So thinking about how much you're wanting to paint, if it's just a small area, uses small brush. Brush. I'm just having a little bit of a play now to see what happens to you have to be weary of time that things are gonna dry. And I see that I really liked that area, but it is quite big. So I'm just going to bring in little lines like burst, break it up a little bit. Time to stop, probably a little bit darker up here. Stop many feel that uses done. Make sure you've got turned dark and light. Is my dock, the ultramarine, my light as this yellow in the middle. Very clean brush. I'm just going to clean up some of these areas down here with getting quite visible blade. I want them to blend but I don't want to have those Max sprayed out. See how you could get carried away and just keep going and going. And eventually you have to stop. To stop the now this needs to dry before we do the mountains because anything we put down here is going to bleed into this wheat area. So I'm going to give that quick dry with my hair dryer. Or you can go have a cup of tea, come back and we'll start working on the mountains. 25. Sunset Skies - Painting The Mountains: Hey, Beck, sky is dry, really, to add in the mountains, in the snowy mountain tops. Do we make sure what your Skype is actually dry if it still a bit damp, the in the paint that we put down on these mountains is gonna start to creep up. And in a strange way, in an uncontrollable way. For the mountains we need to think about I'll prices. So we need to build up from light to dark. Obviously, the snowy areas are the lightest areas. But like we saw on the black and white, the not as light as you might think, we know that snow is white. So there's a tendency to think, yes, the snowy mountains here are going to be very, very large. But it's a sunset saying it's quite dark, either the landscape. And so we need to keep that in mind when we do these and make sure that the mountain tops or darker in our background. And then obviously this foreground area is going to be much darker than that. So the way we're going to do it is put in these snowy mountain tops fist using some ultramarine blue and maybe just a hint of the permanent rose or some kind of pink or purple. You can see it reflecting of the snow there from the sky. And then when it's dry, We're going to come in with their black. And the reason we're going to let it dry before we bring the black is because we want to create these defined shapes going up into the snow, those kinda craggy areas. And if we do the painting while it's still wit, the orbits, just gonna blame lightness sky. We want some definition in the landscape. So here's my ultramarine blue is a permanent rose. I'm going to be using those together so it doesn't matter if they mix. And I'm just going to paint some water over top of the mountain tops. You seizing my small brush. It's not so important to have as much water on because it doesn't matter if there's a little bit of texture that shows up here. If there's a fee but Sita still dry. It's okay. Don't need to come right down because all of it's going to be black later on. Maybe we want it to be darker than the bet ground. So much darker over here, but I'm just going to go over that later on with the black and really just thinking about snowy areas but also making sure that there is continuation. So don't have this pint to stopping and in another Calvin starting and that's why we're going to layer the paint. So I'm gonna do all of these mountaintops, even if they're much darker, even if they've got black areas. While that is still going to get a little bit of the permanent rise, making sure it's not too doc. And just put a few little bits. Seems to be a little bit more to one side than the other side. So I can just line that each that left-hand edge of the mountains. And if I need to, if I wanted to blame these a little bit more, i k and you can say that the kind of splotchy getting the water out of my brush and just figuring off those ages. Missed this little bit of the mountain IV here. You see when I edit it on because it was already dry here I get this hot ij. So I need to soften it off. And I might actually bring it down just a little bit more. I'm just going to add just water here just to smooth it out a little bit. You can do that if you paint that you put on those about to dive into some water straighten. Do you have a few edges starting two a p here and that's because the blue paint, it already started to dry. When I put in these permanent reviews colors, these pink colors. And it's not ideal, but it doesn't matter too much because I'm going to bring up these craggy lines and black over top. What's happened is I've put we paint on and it's spread out and then it stops when it gets too dry PIPA. And you get an edge, you can outline. So I'm going to stop the dry it off. And then we're gonna bring the black Ovid mix up a black and bring the black over top. And if we need to, we could add in some more color on those mountaintops later on. When I head some, maybe some more peachy kind of colors for afflicting these reds and oranges in the sky. 26. Sunset Skies - Adding Black: So I'm really just start painting in the dark as Pat here in the foreground, moving up into the hills, we want to have these quite defined shapes in sharp edges. So it's really important that this is completely dry, otherwise you're not gonna get those sharp defined details. First thing to do is to mix up a good amount of Black and quite concentrated, like we did in our t-shirts, a sheet. So this is the burnt sienna, ultramarine blue. Lots of paint in not very much water. You might have noticed I haven't bothered to clean my water. And it's because it doesn't really matter what color betters because I'm using a much darker color. So I want this to have a slightly blue tinge just because it'll look nice with the blues going on in the sky. And a grey black is quite flat. It doesn't have as much mood to it. So when you see, when I split that out that it has a blue tinge to an adequate light BED. I think I'm going to need much more paint. So I'm just going to put all of this and hear all this, making it thicker than I want. Because when I put it on here, if these extra water on my brush or extra water, that keeps onto the page, it's going to dilute. And if I have it as dark as possible within, I can always make it lighter. I don't want to be stopping in trying to make it darker. So it doesn't need to be a little bit more water. You can see when I brush it on, I'm getting these jacket max here and that's because it's just too dry. And you're not gonna get the watercolor effects that we want when we use watercolor. So I'm going to use my flat brush and I'm going to reach down this area just to the bottom. I don't want to wait up here because I want to find the edges if we're working with on dry areas, will get sharp detail if we're working with and we theories, we get soft, smooth blended data. But I'm going to have a bit of water down here. And then I'm going to use this flat brush to spread out the water. But also I'm going to use it on its side to create some linear crevices that go up those mountains. Rather than try to use a pointed brush in a really steady hand and keep it really thin. I'm gonna use the ij of the split brush. So let's put a little water down here that I want to keep some of this pure. So I'm gonna stop just with a half of it over here. Start painting and you see how much larger it is. Now you run out of paint tossing. This, it's much lighter because I've already put water down to mix up some more very quickly. This is just to listen and being prepared of how not to be prepared. You could have warm and cool blacks. And here if you want to say you could have warmer at the foreground and colder as it goes towards a bit. Do we need a little bit of water? Okay. So let's start putting. I've put a little bit down here. Now I'm going to start putting in this line up here. It's all dark. And to spread it out, I don't want it to be completely opaque because watercolor is transparent, is just the nitrogen in. I don't want to lose you say quality, speed. And as I want and need to be careful, this doesn't drive like that because, you know, end up with some different max in lines and edges. And I want it to be smooth down there. So I'm gonna get to hear. I'm just going to start doing some minds, mindless. Not really even looking at the image to match them, kind of just making them up. And I can fill in the rest. And see how using this flat brush, it's going to give you those jagged kind of Marx was trying to get something that feels kind of natural. Maybe a little bit random, little bit of variety. So you don't want them all to be uniform in a line. Sitting in a bit more water down there so it doesn't dry. And coming into this hill here. If you're getting dry, brush each is on, umax. Definitely need a little bit more water. Just a little bit enough to make it flow. Smooth, all a really nice date black up there and I might add a bit more of it in the foreground, but let's just finish off these mountain tops. If you prefer, you could use a pointed brush for those is nothing wrong with it? I disliked the effect that I get with this flat brush. Could be that I do this and then just bring in a little bit more detail with the pointed brush. So I've created some shapes and try to keep them fairly random, unnatural looking in. Then I can just go through here and see if there's any other interesting shapes that I can see that I think need to be edited. I don't wanna take too much when you bring a little bit more of this blackened. So just wanted to be all completely one tone because it might go very flat, even though in this copy it does look quite flat. I just want to bring a little bit more interest to it by having a couple of different dark tones, maybe a couple of different levels. And it can have a very dark mountain range in the foreground. Or you can think about the fact that this could be a flat plane. Put that flat area in. The one thing that I haven't put any, it is just some slightly darker tones on top of the mountain, like painting some very shallow crevasses. I'm, I guess they're not as dark. So the last thing I'm going to do is just mix up a blur, darkish blue. Important some of these slightly darker tones. Only each of the mountain seems to be more money than the other. Just a little bit more depth. And those mountain tops. And if you feel like they need anymore reflections in them, you could do that too. So you can see the sky reflecting on the SNR. So really bright 1here, which I'd quite like to create this code a little bit of yellow in it. It's quite hard to mix it really playing orange. Anything you want to soften off just plain didn't brush these any hard edges in the that you don't like, you can soften those off. So anything that you do like this and you're not quite sure about it, you can take that out a little bit of water. I think I'm going to leave it. The only thing that I could add as maybe a couple of glazers are just very light washes of purples and blues at the base of the snowy areas. That one near just looks a little bit flat and needs a few more colors in there, but I need to wait for this bled dry properly. Otherwise, I'm going to lose sharpness of those crevasses. So here's the final painting. You can see how the white border can be quite effective at brings out the lighter colors and the painting and it provides some contrasts for this dark area here. In this project, we looked at a couple of things. First one was how to blend these lovely vibrant colors together, using colors at work well together. And then we also looked at how to build a painting. So I started with the background and then came towards the foreground, but also started with lighter areas like these mountain tops and enlighten the black over top. When I've done the mountains, started with little bit of ways in which let that dry completely and with the Black came over the top with the flat edge brush to get these really defined areas. We also looked at how to mix and nice deep black using burnt sienna, ultramarine blue, and how to control whether it is a woman black or a cola black. So adding more burnt sienna, wanting warm blacks and grays and browns, or adding more ultramarine blue. If you wanting something that fuels a lot cooler. Like this one here, cold gray, a bluish gray, or a cool black. I hope you enjoyed this one. 27. Lily Painting - Color Prep: Welcome to the lily watercolor project. As you paint along with me in this class, you'll practice blocking in a bit ground. Leaving what areas of watercolor paper and combining wait and wait and wait and Dr. painting techniques. So get your paints and brushes ready and let's get started. In this project, we'll be painting this Lilly for paid my colors here. We will be working with a lemon yellow, ultramarine blue. The lovely permanent rows. If you don't have permanent rows, you could use Alizarin crimson, one of your reeds. You don't have to stick to the same colors that I'm using here. If you wanted to try painting allele using different colors, that will be ok. What you will need to think about is turn. So leaving the white area is white. Your color will be darker in some areas and lighter in other areas. I've also got some burnt sienna here that we'll use for some areas of pollen. You might like to have a couple of different yellows coupled different blows, and see what kind of grains that you want to mix up. And the aim is to find the colors that you want to use for each different paths of the photograph. For the pieces of using yellow in the permanent rows. So let's test out the yellow set we've got, Remember when you mix up your paint, you want to have consistency of milk or cream. You don't want too much water. You don't want too much paint. You want a nice even mix. And then from there we can make that mix either lighter or darker if we want to. Silliman yellow. And it's a cadmium yellow. So perhaps a cadmium yellow might be more suitable for this one here. It's a slightly warmer. Yellow is a little bit more orangey. And then if you want to, you could also test out what those colors would look like when you make them is light is and the reference photograph. Since he's a very light, cadmium yellow has more water in the mix. Cleaning your brush off each time. And these are very light lemon yellow. Main paths at the PHOs, the main coloring, the potatoes. I will be using permanent rose. It's very vibrant color. Here's another one called writes meter, which you could use as well. It's quite similar. If you don't have this color, you could use any of your reads and water them down a little bit. S1, S0 Alizarin crimson, the coup colored red. And you'll get a pink. But it doesn't have the same vibrancy. Is the rose colors are the colors. We're going to need, our green for the steam. So I can think about making some creative choices about whether I want it to be hydrogen, in which case I might use them. Lemon yellow. So the lemon yellow teams to keep things bright. Whereas a cadmium yellow, especially if you put it without terrain blow, you get Adult grain. Try that with a dark a time as well, but more blue in it to make it darker. If I wanted to be more of a natural kind of grain, they might use a cadmium yellow. Notice these out so we can see what it's gonna look like in, in thinking about how with different colors go together. And again, adding in a bit more blue. I'm reluctant to use the Prussian blue in this one because it does tend to come out duller than you think, more washed out than you think. And this is very vibrant. So I want to make sure that my colors down here are not going to be to Dell. What you could do here as well as just do a little test to see how those are going to look when you put them together. You darker color in your lighter colors. So we want to prepare ourselves as much as we can for what's going to happen when we mix the paints on our actual painting? Yeah, the colors I'm gonna need for the steam, that's going to be the same rose color and then also some beauty in here just for those pollen areas. It's very bright. If you want to dial it down a little bit, you can use print Sienna with just a touch of ultramarine blue in there. And you get a more natural brown. So I could use a combination of these two browns for these bits on the end of the stamen. And the last thing that we need to think about is what cholera background is going to be. It's much, much lighter then the subject. But we can decide whether we want it to be a cool color, light blue, or whether we want it to be a warmer color, like yellow. Or you could choose any color really. But a bit of a tests now. Oh, I've already got my yellows the air. Let's have a look at maybe blue, very light for the background. So that could be nice. Yellow. I actually quite like the yellow. I may do a yellow for the background and thank keep everything quite warm in lifted rather than using a blower, which makes it a lot cooler. And karma feeling. 28. Lily - Starting With A Sketch & Background: I teach my piece of paper to the table was long lasting. Masking tape from the hardware store. You don't need to do that. Just be aware that the edges of the paper might cool up a little bit. So even putting just a little bit of regular type at each corner can help to keep the paper flat. I'm going to draw in the basic outline of the allele. If curing is not a strength of yours or think it's completely okay to take your piece of paper in your photograph and trace them against a window. Because this is about watercolour. It's not about drawing. So that's an option. Otherwise, if you are going to draw straight onto your piece of paper, having a look at where these different points start when I match the each of the paper. It may be just giving yourself an idea of where you want the other petals to come around to. And I'm just very lightly drawing in the shapes that I can see following my eye along the edge of the allele is I draw. And I know it's not going to be exactly the same. But it's okay because in nature things are quite often irregular. And this you show the photograph to someone, they'd probably not going to know. If it comes out a little bit different. Might be a bit hard to see what I'm doing because I am keeping it really light and it's important. Because this is just the structure for our painting. We don't want it to take over the painting, remembering that watercolor is transparent. So any Pinto marks are going to show through. Want to avoid having to rub anything out, because erasing on this watercolor paper can damage it. And that will show up when you put the watercolor on. So you have a slightly different texture to the paper in it. It will show up as kind of a Mac. So take your time and you can look at the negative spaces as well. So the shapes around these kinds of triangle shapes. And sometimes they can help you see little more clearly what the shapes are. When I come down here, the side of the page or I'm looking at Egypt peaceful, but I'm also taking a look at that triangle shape of light space behind it. And I can already see that my lines or not. And exactly the right place. But I'm not too worried because like a seed can be little bit different than the photograph in. No one's going to know. I'm going to put the stamen in here, but I'm not going to do too much detail, just putting in the main ones in these little pods at the top. So I might do one and in this one in the middle, because it's quite an important one. And then maybe this big pod coming up a bit here. So up to you how detailed you want to get in here when we do the actual painting, you can just give an idea that this diamond near with some lines or you could individually paint each single one that you can Sage the strand coming out of the center of the flower. I'm not putting in any detail, so I'm not putting in any of these spots on the back. Maybe just one or two lines like this one here. And this one here. Just for a little bit of structure. That's about it. Now that I've got a basic line and we can stop painting, we're going to start with the background first in, go around outline filled all of that. And before we start working on the foreground on our subject, I was thinking of using this light yellow for the background. But as I've been drawing this, I've noticed that in my printout from my printer, the top area here is a very light, very light purple color and purple and yellow complimentary colors. So I think that could be quite nice to have a lot of color in the background. So I'm going to mix it up. Just clean off. Maybe this area here. This is a quick way that you can clean out your pellet to stay at a bit of water in the mop it out, make sure it's clean. There's nothing worse than having muddy colors, especially women going into an area that we want to be really large and I may have to change my water. Do sometimes have this jar full of water as well. And it's just full when I need some really clean water to put directly on the paper. It's not clean. Using ultramarine blue. And try a little bit of this rows in here. Yeah, I think that it's going to be good. And I wanted it to be really lived for B, the color that my water is now. I don't want it to be too close to the permanent rows. That's going to be in the potatoes. Put little bubble blow in there. Yeah, I think that's good color. Okay, here we go with our background. I'm going to use a pointed brush. Usually I use a flat brush for the background, but I want to be able to get into these areas around the potatoes here in the quiet snare. Doesn't matter there. My water is little bit pupil cuz it's a coloring going to be putting in there anyway, listen carefully going around the L line and then filling in the dry areas. That's quite warmness, moaning. Sun's coming through the windows. You can see that this is going to be drawing quite quickly, so keep an eye on it. And as you go, you might have to go back to some of the areas that you've already covered and keep them damp. And we're putting the background on, we want the whole paper to be covered with a nice even chain of water. Taiwan, any paddles anywhere do need to spread it out, try and keep it. Even. The aim is to get all of this background evenly damp. When we put the color and it reacts the same way over the whole background. Setting ourselves up to him a little bit of control over what happens. Keep working on yours HIPAA little look from the side again to find any of those areas where it's starting to dry, It's a little bit more. And then when you really put your coloring, if you go over the features of your potatoes, the color's going to run into the area. And some of these patients are quite light, so I am trying to be careful when I carry around the outline, the drawing. So I quickly wanted to be like, I don't want to shadow Lily itself. And I wanted to be soft. So if there's lots of brush marks and details happening in the background, Let's kinda District from the detail and the allele. But dark and then what I wanted, but it will dry, lighter. And it may be that I make this side a little bit lighter as well. Everything out. This one dry for a little bit. I think that there's a slightly darker purple here, a large one over here. And this one's got a little bit more blue in it just from, there's a little bit of ultramarine not completely mixed inhibit that just gives it a little bit more interest in the background, but not too much. And I can see things starting to react. So it may be a little bit drier, vacationing and tracing things happening and where it's a bit wrinkly. They might be colors, it kind of coal in the area and appear but Docker. When they try. If everything's still damp, you can go through and move the point around a little bit, but I can see months drying and just going to make it pitch if I keep doing it, so I'm going to leave it. I'll drive us and then we'll get started on the potatoes. 29. Lily - Painting The Base Layer: So I've tried this off and I've also flattened it down a little bit because it was quite wrinkly. So to flatten it down, once it was just about dry, just pushing it down with a clean hand all over. That seems to help take some of the wrinkles out. The other thing to do with the once it's dry is to put it in between two box. There is a more extreme option too, where you get the whole Beck of the painting, dampen it and then put it between some link between two surfaces to dry. But you always run the risk of getting water on your painting surface. So I try to avoid that one. Looks like it's going to dry flat enough. I'm moving to a smaller brush. I'm gonna be working on smaller areas, areas that are more detailed in if corners and things. So this is a good size brush, I think it's a number four. This is the one I was using before, so it's about half the size. We need to think about how we're going to build up this painting from light to dark. So yet the yellow is going to be really important to get in first because if we put in this permanent rose color and scroll over any areas that we want to be yellow. We're not going to be able to put the yellow over top because all of the watercolor paints are transparent, so would come out like an orangey color instead. You also need to think about leaving these white areas, just white. But when we do that, we also want to get these nice soft blends. So it's going to be wide for an area like this, but it's gonna be painted with water first, it's going to be dampened. The mommy put the permanent rose and it's going to start to just very gently spread into the white area that we will measure. We don't have too much water on, so it doesn't spread all over it. We're going to control how much it spreads. Let's start with the yellow. Wouldn't matter too much if you did yellow all across here because these stamen in the front are a lot darker. And the yellow is, can be quite light. But I am going to just work, try and work in-between the stamen and to the sides of the stamen. So I'm going to mix up my paint first. I'm using the cadmium yellow. I noticed a piece of paper here. It's probably that right. Maybe slightly darker because I'm going to put a bit of water on there first and it will dilute when I put it in. Yeah. So we're seeing the area first. So with a smaller brush, you're not putting as much paint a mortar on at once. Which means you have to do a little bit more actual painting. And you say I'm spreading the paint out where I want it to go. If I go over these pods here, that's not going to matter too much either because they white Dhaka. I could actually put a bit of yellow on those pots now because there is a bit of yellow ochre color in there in that brown. So that's one this one here is a lot of yellow to same thing I'm working weight and weight, putting a little bit of water down, not too much. Just to get some soft inches. If you could wake really quickly, then you could get the whole picture will have your permanent rise. Really. Put the yellow one and input the permanent Rosen in linen blend, which I'm going to take a little bit more of a K-fold approach with this one and control the water color a bit more than I normally do. I really like the effects of watercolor alike, leading it to its own thing and seeing what you get. And then you can control it. Move it around just a little bit while it still wait. This one, I'm going to be a little bit more careful with just a hint of yellow over here to this one, I've put me yellow straight on without wheezing first, but I can get a clean, damp brush and just wait around the edges of the area that are just plain to them. I'm gonna go here to input and yellow over the stalk as well. And just to have the underlying base color that's kinda show through a little bit. When I mix up my green. I really liked the lemon yellow with the ultramarine blue. So I'm gonna use lemon yellow is a base. And see some of these areas here quite wide though the underside of the people. So I'm going to avoid painting those areas. Maybe just spit of water in there. This yellow isn't really going to show through when I put the green on, but it's almost like it gets underneath. You see how nice that the purple and the yellow are together because the complimentary colors, they compliment each other and make each other standups. They don't override each other. Almost like one of the terms uses it, they vibrate against each other. Anymore yellow, you can see, put that in is a tiny bit here. Just use my yellow water for that. Okay, so the next step is to start bringing in our permanent rose color. She before I do that, I'm just gonna put a touch of yellow, the tips here. So there's a bit of grain at the tip of each one and you could leave it out if you want to, but you can put a bit of yellow the now because it's quite a light green and so do, I'll do some green over top of it. But just so the grains not to dwell in the NCAA, yellow underneath. 31. Lily - Painting The Stem : Going to start on the steam. And this was the lemony yellow with the ultramarine blue, is probably a good time to change your water now. Especially if you will, as very red or orange cuz when it mixes with grain is going to create a brown. So I need to get really this color. And also a DAC, a vision of that, which is majors by adding a little bit more ultramarine blue. So I'm leaving the lighter color and then I'm adding a little blue to create attack a tone. Now I always like adding blue straight into the mix as well on the paper. So we may do that for these dark areas. It's a nice smooth transition from the grain up into these lighter areas of white. So I'm going to get all of that area because I wanted to try and achieve the same smooth blend. Starting at this dark area, even though I'm using a lighter color, then what I want that to eventually be building us up in layers. So I've got the yellow layer from underneath. Now I'm working with the nixed darkest layer, which is a midbrain, and work with the darkest green. If it's starting to dry, putting them just a little bit more water and not too much but enough to dampen it again. You see we edit more water. It became a lot lighter. So it just means I have to add a bit more pain. It's not ideal to be releasing it in any more water. Sometimes you just can't keep up with them. Fastest-growing. Definitely needs to be bit darker in here before I put my dockets toner. Because it's going to dry lighter, it's gonna dry 10%. Sometimes more, depending on the column next. Lighter than what you say. Keeping away from these lighter areas, these very, very large areas. So my wife so I don't want to flatten this whole thing out. So we're going to have at least three times in the steam will go lightest. Highlight the areas. We've got this mid grain in the wave, Dhaka grain, and we'd go with the darker green now. And I can tell already that there is not going to be dark enough. It's not going to give me the contrasts that I want. So I need to mix up some more and it's not so much a matter of having more blue in the mix at submitter, of having more paint in the mix. So more of the yellow paint, more of the blue paint, more concentrated. And I've got quite a bit of water in here, which is the problem, because every time I'm exploring and it's just diluted, you need to keep adding and editing. Still wait, I can see it's a bit shining and we can quickly yes. Docker. A little bit of the yellow paint, bleed into the background. Maybe I've painted a little bit. And I think I'll just leave that later on. I'll try and pull it up a little bit by rubbing a week paintbrush divert and mean filing it, I can put a little bit of a darker color and the bit grounds to cover over it. So much three different times z, I'm going to put an RNA that's blue. For I do that. We can see it's quite wait. If you even have anything, it looks kind of like a swimming pool. Might need to get a little bit of water. And you see him doing this dabbing motion rather than painting because there's a fair bit of paint in water on there. If I'm pulling it, I'm going to be pulling it away from that area. And I don't want to take it away from that area and I wanted to sit in that area. And again, it's good to do an assessment just to pull back a little bit, have a look at it and see what you think. And right now I can say that this is definitely two divided between here and here. So that's something I need to address. And you can also think about how darkness as compared to the pitfalls. We'll compare it to your photograph. Running the risk now if I have a waking the paper a little bit. So at some point I'm just going to have to stop and I could add a glaze over top if I wanted it to be darker again. Now that the stamen here a dry, I can go in and doing this final one in front in it's a bit dark. I am going to hedge a little bit of ultramarine blue to it. And these are quite, and here the again, they've got that peachy color down the bottom. So a little bit of cadmium reach. This is getting picky, I guess about the colors. Don't have to do it. Paints a bit on what you can see, which might be different to what I can say. Getting a little bit more to these ones that I've added a little bit of line where it can, to get that sense of them being linear. It's a bit different to when I look at this diagonal will bunch together in terms of color in line. There shouldn't be any Wyche. And here, if there is, it's probably going to look a bit weird because this is an area where it's a bit Dhaka should be Dhaka because it's coming into the inside of the steam pad here. So if you have a bright highlight in there, it just throws everything off because highlights a, we're the lightest hedging. 32. Lily - Building Up The Details: It's time now to start building up in detail. So I'm going to start working on pollen and these little pods. I'm just going to use these two colors. From looking at your guide to how you can get an idea of how dark or how light you want it. So these are probably both a little bit too light, definitely the stock brown here as two light, meaning I had too much water. And then mix. Gonna treat these feely simply I'm just going to put in Poland is going to be. So if you have a look at the photograph, you can see some parts we are pollen is some showing at the top. And didn't prepare very well for this one. Except my brown. Adding ultramarine blue. Dropping. This one down here has got a really light leah first, very light tone on the top. And then a jacket tone is the bottom surface. This one. I'm not making the super detailed and it's up to you how much detail you want to put in them. But what I can do is once this is dry, it can come back in more detail ever top. Just making this, the top of this one a little bit larger as well, rather than just being one flat color. So even in these visual areas, in even when I'm working quite loosely and thinking about having more than one color, more than one tone. Mixing up some pine nuts a little bit more concentrated just to go there one naval dagger. Speed. I think it's useful to think about anything you'd painting is having a highlight and midtone into shedder. And identifying those and new subject matter in making sure you've gotten covered in your painting as well. I have a few white areas around here which a standing out a little bit because I forgot to fill in a few areas in our hadn't quite defined these parts, so I will wait for it to dry in the North going with just a little bit of yellow and the back and get rid of those white areas. Not much more to do now just adding details, a little bit of grain to the tips here. And then this detail over the top. So this passion that goes over the top, it's got a couple of different colors in it will look at. Let's put a little bit of grain on each one and the united just softening of the each. So I can integrate it with the rest of the people. And if you need to, you can put a drop of darker green. And just like we did with these pods, putting the darker color and still we when it comes to the detail here, I'm going to use the permanent routes, but I'm also going to use the benzene because I want it to be dollar darker than the permanent rose. So use the beauty and the first, and then I'll put a bit of this in it as well. And also have some of my darker brown really here, just in case it's too bright. Do a little test here. That's all I'm going to do for mine. And Peter was dry, so I know that I can get some quite sharp H max is going to go for it, not paying too much attention to the image. I'm looking at the fact that I get smaller down the bottom here. You can totally leave out the steep turf. You just feel like you're really happy with what you've already got. The name. Don't worry about adding the Sun. I don't wanna go too dark either because the P2 itself is very delicate. And if you do find that they are, but to defined or like this one here, it just got a bit carried away and I'm going to take the whole thing right back just by rubbing over, it might just become a bit of a tonal area. Slightly darker tone. Plato, in the same on this one. So I'll go, he didn't do that. And then the very last thing I'm going to add some shadows top of the spatial areas, very, very live subtle shadows. So you do need a steady end for this, and we find that they're a bit wobbly like a seed. You can try to take them off like I didn't there or you can even just by soften off the end of some of them. It's very hard to get a pet passion from nature, looking as natural as it does in nature. So even just dampening the end of each one of those and letting it run a little bit, makes it a little bit, at least find a little bit less obvious. Now for the shadow areas, it's very tricky to know what kind of color to use, but going to mix up an ultramarine blue, but just turn it down a little bit so it becomes slightly gray. So using the bid Tina, really important not to overdo that sits way, way too much. It's way too Dax and putting more water to it. And I'm gonna see what looks like when I drag it out. And the problem with this as its Dow and I think it's going to drag everything down. Slightly bluer one. Or we could also try and burnt sienna base, cleaner fuels a bit del C B can come up with something that's kinda work. I think the best thing for me is going to be this bluish gray. So wherever there's a shadow like here, put it in and out. And it's really important that it's at subtle, subtle change. You see how that's given a little bit more depth now it feels like the Pieta was going back into the distance this parts and shadow by this pixel. I could maybe even bring a little bit in here where I imagined there would be a bit more shedder. So Plato's going down into the steam. So the last thing to do is a review of your painting. Have a look at it. Think about whether it needs more contrast. Doesn't need some more shadows, doesn't need more detail. And I think my needs a little bit more detail. Things I could add is this Peter is coming close to the Euro. It's maybe a few lines and near. A very thin paint brush. Some more data on the tops of the pollen pods. And maybe just indication of lines or textures in the steam here in the stamen need more definition. So I'm gonna go through and do all those little details. If you don't want to add anything else you don't have to, it's probably better to stick with something you happy with or reasonably happy with now the integral heat and overwork it. I'm also gonna try and tidy up this part here, so you'll see me do a little bit of work on that. So it suggests you just sit and watch and see the details that I add. Speed up the video a little bit and then you could add some more to finish us up if you want to. So okay. Right. Okay. 33. Lily - Tidying Up: So I'm going to stop if you do decide to it in details, be careful that they subtle and light and they don't have to be everywhere. So it's more about giving an indication of detail and in the mind makes up the wrist. You could think about it a little bit as if you're sharpening up some areas, but not changing the tone. Just adding a little bit of pattern somewhere. I had a little and cleaning up the Syria didn't really work. So last thing I will do is if I can find some white watercolour paint, his oldest mix up a little bit of white with some of the move and try to touch that up and it may or may not work. Like I think I said before, it's sometimes better to just leave things as they are. These type of tape off. This white board is going to bring out the white areas in the patriarchs. And also makes the background a lot more obvious. Little bit of whitewater Caliphate, which really well, the white is not a really bright white to it's actually almost a motif color. Anyway. Italy shows up here, which is really good. I'm happy with it. This is my finished, lovely watercolor painting. The things we looked at in this one, we're starting from the background and working on the background before filling in the foreground. So you remember that I drew out the lowly first and then put the background in, in, in new free to build up the rest of the painting. I also lived areas of white in here, and that's really important in a watercolor painting. You need to think about it before you start painting. What needs to be white. And in thinking about how you're going to build it up from light to dark and from large areas to smaller, more detailed areas. And there was also a mix of techniques and ear. So I use wait and wait for the potatoes and for the steam. But then afterwards I came over with Wie schon drive for the details anywhere I wanted some more defined lines and a really small brush. Wish on dry for these final details. Thanks for joining me and I hope you enjoyed this one.