Intro to Watercolor Painting on YUPO Paper / Beginner Level

1. Class Overview / Intro: high school share students. Are you ready to learn about you put paper with me? Welcome to my home studio here in South Carolina. This is where I worked to create custom pieces for customers all over the world. In this intro class, you're gonna learn all about painting on U boat paper. This is a lot of fun to paint on. Very different from traditional watercolor paper, which is extremely unforgiving. So I think you both paper is fabulous for beginners. One of my favorite things about it is a virtually wipes clean, so you don't have to stress about mistakes as much join this class, learn ah, bunch of tips and tricks and just have a great time experimenting with this fun paper. I know you're gonna love it. I actually have an undergrad studio art degree, and I guess, like most artists, they concentrate on creating things and they don't really concentrate on the business aspect and the marketing aspect. So once I finished that degree, I really didn't know where to go from there. I didn't know how to make a career. So I went back to school and got my master's and got a real job, as as some people would say, I got my masters and started teaching. And I taught elementary school for eight years. And then I had my daughter and we moved and I decided that I really want to get back into creating things and just just being around people that enjoyed r o. I reached out to friends and family and painted their Children and things like that. And then I reached out to animal rescues that I'm very passionate about. And I started donating my custom portrait's to auctions to raise money for animal rescues. And my kinds just kind of started building up on. I just love working at home and being there for my daughter. So I get kind of the best of both worlds, and I'm actually getting into live event painting. So that's my next adventure with art. I'm gonna go over all the materials that you need for this class. We're gonna talk about the differences between traditional paper and you both paper. As we do a little bit of experimenting, you're gonna work with different water and pigment ratios. You're also gonna learn, have a lift pigment from the page. We're gonna use those basic skills to create a grouping of monochromatic trees. Then we get into color, mixing lots of fun. We're gonna use our color mixing skills to create a beautiful fall tree. Now, in this class, we're only gonna be using four colors. I've really limited the palate so that you have more success for our final project. We're going to be painting a little group of pumpkins just in time for the fall. This will be a fun, loose, impressionistic painting, and I'm gonna walk you through every step. I hope I've convinced you to give you both paper and watercolor A try and know you're gonna have a blast with this paper. It's something new. Is something different. I can't wait to see your progress through the class and all of the things that you're gonna create. So I'll see you at the first lesson 2. Supply List: high school share students. We are just gonna quickly go over some of the supplies that you're gonna need for my class introduction to watercolor painting on you both paper. And the first thing you're gonna need obviously is you put paper, they come in pads like this, you're gonna need the white. There are 10 sheets in each pad that just pulled right out. And yes, it's gonna be very strange if you've never worked with this. It's very slick. Um, not like watercolor paper at all. So you're gonna need a pad. I don't really care what size this is. A nine by 12. This is kind of my standard size because I can cut it to an eight by 10. Easily. I can get a five by seven out of it for the projects and some of the things leading up to the project that we're going to do there mostly four by six or five by seven. So the size of the pad you can get five by 79 by 12 or 11 by 14. Just depends on how much extra paper you want to play around on your own with. So you just choose what's best for you. Like I said, you can cut down any of these to the size that you're gonna need or the size that you want for the project. Um, the next thing you're gonna need our paints. I am recommending tubes because we are only gonna use four colors with this class. I'm keeping it very simple. This is the basics. So I don't want to overwhelm you. If you happen to have watercolor paints at home like a pan of a bunch of colors, that's fine as long as you confined colors very similar or exactly the same as these, because I've chosen these because of how they mix together and they blend. So I'd really like you to get these colors. The first color is SARU William Blue. This is a very bright, I guess, in the turquoise family, except it's more blue. Cerulean is just one of my go to colors. I love how Chrisman clean it is. These are eight millimeter tube, so they're the small tubes. Also, this is a student grade. I don't want you to spend a fortune. I use Windsor and Newton professional grade paints, but you don't have to spend that money If you don't want Teoh, Cartman's makes Windsor and Newton actually makes Commons. So this is the student grade version of Windsor and Newton, and these are this one was for 50 and this is actually one of the most expensive colors. They're usually to 75 to about $5. Um, so these air really well priced as compared to the professional tubes. So cerulean blue is the first color. The next cover want you to get is Payne's Gray and Commons does make a Payne's gray pains. Cry is one of my go to colors. It is a very, very dark blue grey. It almost looks black when you see it in the palate like that, but it mixes beautifully with most colors, and I really love it just to darken up things. The next color I want you to get is burnt Sienna and, yes, Commons does make a burnt sienna. Burnt Sienna is a deep, um, almost like a red brown orange color just to it's just one of these wonderful colors that you see a nature a lot, and it also blends very well with lots of shades. The next color I want you to get is an orange. This one happens to be Windsor orange. It is a nice medium, crisp orange. You're gonna find lots of oranges out there. So just farm one that is nice and crisp. You can see the shade when it comes out. Nice. Crisp, medium orange. So those were the only four colors you're gonna need. The other thing I want to talk about our brush is very important. I don't want you to spend a fortune again on brushes. However, all brushes are not created equal. Whereas I don't want you to go out and spend $15 on a small brush. I also would prefer that you do not spend $5 on a pack of 12 brushes because they're just very low quality. Um, medium quality is best for the money. These are not expensive brushes. This is a mix between synthetic, and I actually have this brush. Here is the bristles are actually a mix between synthetic and natural. Thes two. I'm pretty sure synthetic, so it doesn't really matter just whatever feels the best to you. Ah, better brush is gonna hold paint better. And you're just you're just gonna is just gonna be so much better. Um, some of these cheap ones, you know, the bristles, fallout. While you're painting just lots of horrible things, they don't hold the water, they leave puddles. So you want a decent brush? I am recommending that you get two different styles. The first style. I would like you to have our round brushes. You can see that these air tapered at the end. The's air. Great. Just basic brushes for just about everything. And I'm using smaller ones for the project that we're gonna dio and for the work we're going to do. This is a size eight, and the smaller one is a four for more detail work. The other brush would love you to get is a Dilbert style. I love these brushes. Um, they are straight at the side. You can see rounded, and they're very thin. These soak up pigment and water just wonderfully. I can get crisp edges. Um, just I love these brushes. They also put down paint. Very well. I mostly used them for carving out things. Um, and lifting. So I really want you to have a good filbert style brush. This is a size four, and that's a bigas you need so not huge. The next thing I need you to have is somewhere to put your paint and inexpensive palette like this would be wonderful. These air like to 50. I just have my four color spread out. I have labeled them. I label all of my palette, even my large ones. I make sure that I take a very small permanent marker and I label my colors so it would be great if you would do that. This gives you spots to mix and also a place to mix right here. Um, let's see things around the house that you can find pretty easily and you need first thing would be masking tape because I take down the U boat papers. I work. So it's not sliding around on my board, and I do have a watercolor board. I have lots of them. Actually, you don't need a watercolor board. You can just put this on a flat table to paint on. That's absolutely fine. The other thing I use constantly are wash clothes, and I keep them laying on my table because when I'm painting and I want to change colors or do anything and rinse my brush or just get water off my brush. I'm constantly wiping them on a, um, on a washcloth because I found that it works better. Dan, a paper towel, which is what you also need because sometimes sometimes the brushes will pick up the cloth and little pieces off the paper town and get it in your painting. And and I don't like that. So, um, paper towels are also something you need because we're gonna be using them just toe wipe things up, things like that. So, paper towels, you're also gonna need Q tips. So, honestly, I found that the cheaper ones work the best. For some reason, they have less again cloth and lenti stuff that comes off of them into my paintings. So these, I think, are honestly from the dollar store. They're super cheap. Um, so those are things around the house. You also are gonna need some kind of reservoir for your water. I use glass just recycled glass jars because I like to be able to see through Teoh. See how yucky my water is getting because I change it out often. Um, okay, that is pretty much it. That's the supplies you need for this class. I can't wait for you to get started with me. And the first lesson. So as soon as you have all this, you're ready together when I'll see you back for the first lesson. 3. Lesson 1 - YUPO vs Traditional Watercolor Paper: welcome. Still share students to the first lesson in my class introduction to watercolor painting on you both paper and in today's lesson, we're basically just going to play. We're gonna experiment. You're going to get the feel for you, Bo paper. I'm gonna show you some differences between traditional paper and you bow paper as we kind of mess around. It's kind of like a science lesson today. Like I said, a lot of experimenting observing you can take some notes on your paper as you do different things and just have fun and be loose with it. I have my three brushes. I have my four colors that we're gonna use ready to G o. I also have a sheet of traditional paper you do not need. I would love you to have out your you buy paper so you can play around. I have a paper towel. It's already damp on one side. I have fresh water and I have a washcloth. Ready. Teoh, wipe my brushes off. That's what I prefer to use. So the first thing I'm gonna do is I'm just gonna take my larger round brush and I'm going to label label these paper. So this is traditional and this is you, Bo. You can probably already see some differences. One is the vibrancy of the pigment. Should probably jump out at you on the U boat paper. Traditional paper is already kind of fading. The color is fading, it's not so vibrant. This brings me to the main difference between these two papers which pretty much affects everything else. Traditional paper is a cloth paper. It absorbs the water and the pigment, which is why this is going to fade. As it soaks in to the paper. You put paper completely different. It is a synthetic paper slick. Finish flat. It's not gonna buckle when you put moisture on it. It's not gonna tear, so it also does not absorb the pigment and the water. What has to happen is all the water moisture have to evaporate from you put paper and then you are left with the pigment on the paper. You get lots of neat textures going on. So the first thing I'm gonna do is I am going to paint just a square on my traditional paper of burnt sienna. So immediately you can see that I pretty much almost have, like a puddle here. This has already absorbed in. I'm gonna let that dry for just a second. My traditional paper. I'm gonna take my brush. Ignorance it. It's all waters very saturated. I just want you to do a line touching that pigment of water. Just do a line of water and just see what happens with that pigment. I'm gonna do the same thing up here. I'm getting a little bit of fuzzy funkiness up there. This is actually pulling the pigment straight out. All right, I'm gonna go ahead and take my Sir William Blue, because this is the main. This is the main problem. I guess that people have who are scared to try watercolor on traditional paper or I'm gonna make a mistake. I can't get it up. It's not forgiving because it's not again. The pigment soaks into the paper once it's there, is there? Um, that's why I just think you put paper can just be a lot of fun for beginners. Help you feel a little bit more comfortable. It is completely different, however, Like I said, it's fun. Okay. Traditional paper. I just painted a square. Uhm, layering a square over a square, and that's that's the point I'm making. Is that this laters? I can still see the orange underneath where the two are together. It's making my I see a greener shade. It is mixing a little bit. Not over here, of course, but I can still see that line very clearly. Once that paints down its day on, it's hard to change if you did. If you wanted to change the shape or change anything about that, it's gonna be difficult. I'm gonna do the same thing down here on my uber paper. Take that civilian blue and you can do this. And I'm just gonna paint a square on a square overlapping and immediately you should see, huh Very, very different. I went in with a wet brush and some more paint, and I just lifted everything that was there and mix the two together almost like this was on a pallet. Like I just took those colors in the palette and mix them together because essentially, this is basically like a plastic paper. It's not soaking in, so you you are mixing now. This can be awesome and a lot of fun. You can get a lot of interesting things happening When two colors get close to each other, you can pull up that pigment and water. So I want you to get your filbert brush. Just rinse it, dry it really well. So you have a pretty dry brush and I'm just gonna go in and carve out a circle. You could make whatever shape you want, flower, do whatever. And I'm gonna keep going. Wipe your brush and keep going over until I get a completely crisp circle down to the paper . Why does Cumbie I have just taken off all of that pigment and all of that moisture, and I'm left right back with the white of the paper. Now, this can be wonderful. I'm gonna try the same thing up here with the traditional paper. Now, the more wet this paper is, the better it works. I'm actually gonna wet my brush a little bit because I want to re wet the pigment on traditional paper to pull it up. So I'm gonna try to pull this up And the more rob though the worst this paper is getting, I'm getting the cloth is just getting fuzzy. It's It's not doing so great. And I'm gonna have trouble putting anything back over that because it's just not gonna absorb the same way. So it's gonna leave some some weird marks, so you can immediately see the difference. Um, erasing is is really fabulous when you have, um, any any small things that just you just don't like how it turned out. I'm just gonna make some grassy marks, some of them into that wet, just so we can observe what happens. So let's say I just don't like it. Could be anything you're doing a portrait, part of a portrait, a landscape, whatever. I don't like apart. I usually take a Q tip. I'm gonna have a whole lesson on lifting ways to lift the pigment. You can just erase it. You can read a word of advice that although you can't erase not all colors a race, um, as clean as that just did your tour Kreuz like your cerulean blue that I'm using right now . Purples. There's a few shades that will stay in the paper. If they sit there and the water completely evaporates and the paint sit there for a minute , it will actually stain and I have a trick for that. And also the same trick works with fingerprints. Sometimes the oil from your fingers can get on the paper. I always prep my paper before I paint so that I can get rid of that. But sometimes the oil from your finger well, get on the paper and then you go to paint and look. It's like repelling because obviously, oil and water do not have a whole fingerprint there. So I'm getting It's awful, like the paint won't even go there. I can't make it go there, so I will take paper towel and this a great trick to just keep in your bag of tricks. And I will take good old dawn soap dishwashing liquid. Make sure that the paper towels pretty wet and I'll just get just the residue. You don't need a whole dot you just need a few suds and I will go right in and you can see as soon as you touch that soap. It starts repelling all that pigment. It will wipe your fingerprints up. It will also wipe any pigments that stain up so that comes right up. Look at that. It's all clean now, keep rotating your paper towel with clean water because you want all of that soap residue up. You saw what? What happened when the paint touched it. It'll still do that. If you leave it on your page and then you won't be able once again to get the paint where you want it. So you want to make sure all that residue is up. You're using a clean part of your town wiping it off. And c I've gotten some water right there. It's made some neat little little shapes. So now look, that's all clean. Love it so I can go in and just paint something else. I'm just gonna do an evergreen tree. We're actually gonna paint a group of these as some practice in an upcoming lesson. So just paint the shape of a tree. Um, my next tip, as you are playing around with this, is because all of these colors mix on the page. Um, you can get mud really, really quickly. I'm just renting my brush. I have all water, and I'm just gonna bring that down and watch the paint flow. Look at all these neat little movement I'm getting and I like that. Some of the white was left. I'm gonna want to get Phil, Phil my brush with water and just drop water and see what happens. See what happens. Look at those needs shapes. It's great. I love it. Um, word of advice. Backwards. Sick waas. They can get muddy colors can get muddy really quick. Now, I have chosen four colors that work together beautifully, and you're really not gonna get ugly mud. Um, so let's just take a second to throw these colors down. We're gonna use all four. Just roll quit. So that was the burnt Sienna. And then I'm gonna dip into my sir William Blue, just dot it in We're not We're not trying to really make anything. We're just kind of putting the paint down and watching what it does when it mixes when it touches. Um, just absorb. Have some heavy pigment right there. So I'm just gonna drop some water in. All right? I'm cleaning my brush in between every time and I'm gonna go into this orange. I'm gonna get a lot of pigment on my brush and drop this orange in. Look at that certain colors. And I'm not sure I need to research this now that I'm sitting here thinking about certain colors, just, um, really push the water and the other pigments on the page out of the way. They go right down to that paper and they just leave the most beautiful movements. Um, I'm not sure if it's because maybe he the pigments heavier, but I mean, look at that. It's like I'm almost getting just a spots of pure orange right there in the middle of all that water is just pushing, pushing that water out of the way so you can move that around. I just love how that's working. Some of that orange is going up into that tree, and that's okay. Let's say you don't like all that water. Just get a dry brush, dry it off a little bit, come back in here, take some of this water and pigment out and just see what happens. Maybe you want to add a little bit more dark. That's fine, too. Get some back down in there. I just look it. Look it. Just watch. Watch what happens. We're just playing around. I'm gonna clean my brush completely. I just have water on it. I'm just gonna put some water down here and again. I'm just going to stretch this out with plain water. Dip into that, see what happens. See, that's pulling it. I can also tilt my board. That's another trick just to get that water to go where you want it to go or just have something surprising happened. You can tell your board any way you want to know immediately that orange is going up in here. I can talked it the other way and it will run back out. Do you see? Now the dark of the tree is going down looking all those fascinating rivers of color that I'm getting. I just love it, So just play with this. Now, this is kind of drawing. I'm gonna go back in with these grassy shapes and try to get that back. And the more it dries, the better look you're gonna have painting if you want a shape to stay. So wait until it draws a little bit of the other thing with you but paper that I'm actually gonna be teaching in a different class. But I just want you guys to see some of this cool stuff is that you can use, like, spray alcohol, rubbing alcohol. And I just put it in a spray or and you can cover some of this. I don't want all over the place. You could just spritz that and get Look at that. Just the dots and the things. And you know what? If you don't like it again, great thing with you, but paper guess what? Just go in and get rid of that big one that didn't blend. OK? And look at those neat textures. You can take a paper towel and just crumple it up and just blocked things completely out. Look at all those shapes. You get all kinds of things that you can do. I've used the weirdest things to make some texture remarks with this. I'm gonna go up here and just kind of sketch some of this out on the regular paper so you can see the difference how quickly it soaks in. But how? I can just move. I can just move this this pigment around down here and see, I love that. I think that that's wonderful. Now, if I mixed all these colors up here, they're not going to separate like that. I'm not gonna get streams. Look at all these watering marks. So play around. Have fun. This is a fun paper. Be back for the next lesson. We're gonna talk about water and paint ratios and how to kind of control this a little bit more. So I can't wait to see you back for the next lesson. Have a great time experimenting, and I'll see you back soon. Thanks for watching. 4. Lesson 2 - How Much Water?: All right. Welcome to lessen to in my class introduction to watercolor painting on you both paper and I have all of my supplies ready. Um, we're gonna be talking about how much water So water to pigment ratio in this lesson. Because water and pigment, as you know now act very differently on you. Po paper. I also have a permanent marker just so I could make some notes because we're basically making a little cheat sheet and you can do the same. So I'm gonna start with my number eight round, and I'm just gonna make a little square up the top, a water square, and I'm gonna add a little bit of pigment. We're just going to start with some transparencies working from light to dark, basically with the pigment that I'm gonna rents. Good and make another square of water, add a little bit more pigment and you're just kind of observing. Trying to move darker, more vibrant on a rent again. Another square at a little bit More pigments get a little bit darker. Just kind of see how that moves that were mixing it really well. So I'm trying to get a uniform color everywhere in this square in the last one, I'm gonna use lots of pigment And you can you can do steps in between this and just play around. I'm just doing for basic. So there's a pretty good amount of pigment in this last square. Nice, rich color. All right. In the next little set of experiments, we are going to be seeing how this pigment moves based on where the water is. And I have had a kind of, um, learn things about how to teach this because sometimes it's hard for artists. We just paint, and then we have to go back and think about how we do things and what we've observed to to , um, teach other. So I've kind of had to do that with this, um, figuring out how exactly to teach this because after you use you buy paper for a while, you just kind of learn, like riding a bike. So I'm gonna make a square of color. I'm sorry. A square of water. And then I'm gonna take my brush, and I'm a dry it off just a little bit because I want lots of pigment, and I'm just going to add pigment to the water just around the edges. Pretty heavy pigment. You can see more pigment over here. And then I started running out. So it does different things. So that's in a square of water. See how nicely? It's not really moving. And that's kind of the point. Um, I'm gonna go clean my brush. Really good. Put another square of water, and I'm gonna grab some pigment and just added to that one side. I'm starting to get a little bit more movement over here, where it's the water is kind of gravitating away to the one side, away from all the pigment. So I just want you to kind of watch what it's doing. All right, The next square, I'm gonna do just water again. Plenty of water on. Then I'm gonna take pigment and just drop it in. Now you can put two of these squares close to each other to just observe. I mean, two of these dots, goodness mixing all my words up today. All right, so we're just gonna just keep watching all of these. All right? The last one, I'm gonna do a square of mostly heavy pigment, and we're going to reverse. This rents my brush. Really good. Just get water and saturate your brush and just just drop some water in. And we're just again. We're gonna watch to see what happens. The pigment either will go follow the water. If you drop water in its you're seeing. It's kind of going on the outskirts of that heavy water, which is interesting. Okay, for this last little part, I'm just gonna do some rectangles and put a little bit of pigment in. Not too much. And this is gonna be a wet on wet little demo. So let's get that pretty uniform color all the way around. And then I want you to take your small round and wen it decent, decent amount of water and then add some pigments. So we want to, you know, cut up equal pigment of water. And I want you to go in here and just try to make some squiggle marks. Not working so good. All right, try again. A little bit more pigment. Okay? We're just gonna watch to see what happens, and that's wet on wet. I'm gonna take some notes on this in just a second. I would do another square. Same amount of pigment. Just get uniform. Oh, the way throughout that rectangle. And this time, since a kind of learned a little bit from up here, I'm going to get really heavy pigment on this brush. More dry the brush a little bit, and I'm gonna get a lot of pigment on this brush. Just straight pigment. Very little water. I'm gonna go in. I'm gonna do the same thing. Just make those squiggly marks, okay? And then work warning toe watch to see what happens. I'm gonna make one more square, and then I'm gonna let it dry because the last little example of this I want to do on a dry square so you can see the difference. And you can do it as many of these as you want, Teoh. And just play around. Like I said, we're experimenting. We're learning. My board is a little bit toted, so let me get it a little flat more flat there, okay? And I can already see this just moving all over the place and almost disappearing. This is staying more where I put it just like this. This is gonna leave me some watery marks. The heavier water is gonna dry last. So I'm gonna leave just like these, so it's gonna leave kind of a mark around it. So we're just observing. I'm gonna be right back when this one dries to show you the last little thing. Okay, this has completely dried and look at all these different marks. This one, remember, was the wet on wet and we didn't use a lot of pigment, and it's almost faded out in some places. The second line had a little bit more pigment and this one we use heavy pigment, and I can clearly see those lines. Now, um, some water has kind of come into them, and I have all these really neat marks. Now, I'm gonna work on this dry square of pigment, and we're gonna work wet on dry, so I'm just going to get my small brush, a little bit of pigment, so basically a nice even mix and I'm going to do the same thing. And look how clear that is in the beginning. Now, of course it's going to dry. I'm gonna get more pigment, and I'm just going to do that again. So that's that's kind of interesting so you can kind of layer things. In a way, I'm still pulling up the paint underwear. Just put that down. But you can clearly see those marks on top of what is already textured, which makes it really interesting. So I want you guys to just play around with water and pigment ratios and do some different things. Do some different colors, maybe, and just see what happens if you put down just heavy pigment. Then you take just water like we did playing around in the beginning and just see what happens. Do the opposite and just play around its experimenting. Take yourself some notes. What you like. What you don't like trying to do it an original little picture and just experiment. That's how you're gonna learn the most. Not really from me talking it's from you doing, which is kind of what I was saying in the first part of this. It's hard for painters to sometimes explain how they paint, so you really just have to experience it for yourself and experiment and play around. So happy painting. Have a great time. Um, just testing some things out, and I will see you back for the next lesson. Thanks so much for watching 5. Lesson 3 - Lifting Color: welcome school Share students to lesson number three in my class introduction to watercolor painting on you po paper. And today we're going to be lifting pigment, color and water from our you put paper, which makes you put paper very unique. I've already painted some circles because I want us to work with some paint that has already dried where the water is evaporated and also with wet paint, because you're gonna be doing both with paintings onda also in the final project. So some other things I have on top of my regular supplies, I have Q tips and I also have a pin so that we can jot down, which I've already done what were actually going to be using to lift that pigment and water . All right, so let's go ahead and get started. You can go ahead and paint your circles and have them drying. We're gonna come down here and we're going to start work with our wet circles. So I'm just gonna get plenty of pigment. I'm using my number eight brush and I'm dipping into that dark Payne's gray just because it's easier to see on camera. You can use whatever color you want, and the first thing we're gonna do is we're going to use our damp number eight brush. So I've cleaned it off completely, and I just kind of blotted it on my washcloth and we're gonna take this and I'm going to cut this circle in half, picking up that pigment. I'm basically just kind of moving things around. I'm gonna blot it off. I'm gonna go back in. I'm not trying to lift completely. I'm just going to see what happens when you go back in with a damp brush, maybe to rework a section of your painting. So it's kind of lift out a little bit, Gonna rearrange that 1/2 and then let it let it sit. We want to see what happens. That was the damp eight. Number eight round. So we're just gonna do another circle. Pretty decent amount of pigment and water. This time we're gonna use our Filbert, which really pulls up pigment and water much more than the round brushes. I'm just gonna damn have it damp. Just dab it off a little bit. We're gonna do the same thing. I'm gonna cut that circle in half, rinse dab and just try to pull some of that pigment up. We're just kind of rearranging that 1/2 of our circle. Make sure you keep your brush decently wet, all right? And then I'm just gonna leave it. Just let it do what it's gonna do. And again, I've labeled it. So I want you to label yours because we're making a nice little key that you can refer to, So I want you to take a nice clean Q tip dry. We're gonna cut this in half and just wipe off that pigment once it gets saturated. That q tip just flipped to the other side and just wipe this out. Now, as you can see, I'm not getting all that pigment up. And I want you to see that because in the next circle, we're going to wet that Q tip and you're gonna see the difference. So make another circle, get up. Fresh fresh Q tips. I'm gonna dampen this. You're just gonna dip it really fast in some water, and then we're gonna cut this in half again. And look how crisp and clean that IHS once it's saturated, flip it over depite, Just keep wiping. So there we go. Comes up nicely for our last circle. We're going to use a damp paper towel, Get our circle down, and I've got my paper towel just going to use it on one finger. Fall the rest up into your the palm of your hand. I'm gonna probably say this more than once, but please make sure that that is not hanging down because I can't tell you how many times I've gone toe wipe up a little section of a painting and this has run across something wet , drug it into the rest of my painting and messed up. Ah, part of my painting that I did not want to touch. So we're just gonna go right and rotate when you need to, Okay. And just pull that up nice and neat. Okay? That really comes off nicely. You can completely get rid of that using the paper towel. All right, these are basically dry, so we're gonna go right up here, and we are going to see the difference between working with wet paint, which is usually the case. You have about 15 minutes for the water to evaporate off of you put paper. So you can work with areas depending on how much water you have. Um, for about 15 minutes. Of course. If you're putting more water into it, you're extending. That time I'm gonna rents my brush. Really? Well, I'm just using my number eight round, and I'm gonna go up here using my wet brush. Maybe dab it so you're not dripping water, and we're just gonna cut a crescent moon into this shape. I am not pulling this up. I'm rearranging it. This is what will happen if you go back into rework any part of a painting when it's completely dry. So you're gonna have the dry section and and you're going to see very quickly that the part do you go back into rework, it's gonna leave an edge. Okay. You might love it. You might hate it. It just depends. I just want you to know what happens. We're gonna take our fill burr, which remember, soaks up a lot more. We're gonna dampen it. We're gonna go in and do the same thing with our next circle. So just rework it. We're not really getting rid of pigment were just reworking. So there you go. Make another crescent moon and leave it alone. Okay, The next one, we're gonna use a damp Q tip. It's like we did down here, but it's completely dry. So I'm gonna do my crescent moon and rotate and dip again when you need to, and you can see that's been sitting there for a little bit too dry. And this is one of the pigments that will leave a little bit of a stain. So I'm gonna add so a little bit of that wonderful dawn soap residue to a Q tip, and I'm gonna go right back in and just scrub that. And it's nice, because the rest of this is actually not wet so that soap isn't gonna seep into it, make the paint move and do all kinds of crazy things. It's just going to stay where I wanted to. However, you're probably gonna want to go back over and paint sections of your painting when you do things like this, so you need to get a clean side or a new Q tip, wet it with water and get all of that residue up. I would advise going over it more than once, so I'm just wedding that Q tip. And I'm gonna go over right up to the edge to try to get all that residue. Or, like I said, it's gonna make your pain do really weird things. Okay, The last one, we're just gonna use our damp paper towel again. So wrap it up one finger, get it wet, and just wipe rotate when you need to, and that comes off pretty clean. It has. Like I said, it's been sitting there so certain colors will stain. I'm not gonna worry about it. I want you to kind of see that on this one and see how we can remove it if we want to with the other one. So that's a nice little key for you to use. Um, while you're painting, we're gonna let this drive and I'll be right back. We're gonna do one more activity. All right. These have basically dried, and you can just observe some of these really interesting watering marks that we've gotten depending on how we've gone in tow, lift up and rework some of the colors. And as you can see, I have quickly painted some really basic pumpkins, not super in depth. Um, realistic pumpkins. Just some impressions down here because I basically just want us to keep practicing the lifting, referring back to our little chart. And since we're doing pumpkins for our final project, I thought, let's go ahead and do some monochromatic ones just to get the feel of things so you can dip in whatever color you want. And I would advise you do maybe one in each color like I'm doing. I haven't done orange yet, so I'm gonna go ahead and do that. So I'm just gonna paint a pumpkin shape with pretty much equal amounts of water and pigment . Get a shape down there, blend it, pull it down, maybe get a shadow. And remember, nothing is permanent. You can just keep reworking it. So you get the shape you want, and then I'm gonna rinse my brush. I'm just using my small round. You can use your larger round if you have more space. You want to do a bigger pumpkin? That's fine. I'm gonna blot it so that it's just damp and I'm gonna block as I go and pull some of this pigment up that the light source is coming from this direction. I'm just gonna pull up pigment where I think that light would hit the pumpkin. I really like how I'm getting that dark mark right there. So I'm gonna work around that because that looks like where the stem would attach and leave that little shadow indentation right there. All right, so I'm just gonna pull leaving some of these stripes just a basic basic kind of pattern. If you want to pull up more paint, you can dampen your filbert, which is really gives you a crisp, cleans you look how much mawr it's pulling up, and it's OK, remember, nothing's firm in it. If you pull up too much, you could just go back as some water and kind of fill in, pull that pigment back into an area. That's what we're practicing. It's going to go back to my round brush, and I'm gonna do just that. I'm just gonna add some water and kind of pull that pain around back in some areas. All right, let's say I want a darkened things up. I'm gonna get more pigment than water on my brush, and it's going to stay where I want it to more because there is more pigment, less water and I'm gonna go back And I'm just gonna kind of hit to these indentations in the pumpkin where it might catch the shadow More gonna do the shadow with the bottom Heavier maybe right underneath, just to add some some depth and ground this pumpkin maybe get the back of the stem right there. It's gonna I don't want to mess up what it's done on its own. I'm just gonna dab that in no rents my brush kind of dry it and pull up some more paint just on this one side of this stem, so it kind of matches more. I don't like what that's doing, so I'm just gonna take that damn brush and kind of reworked re work a little bit. The word of advice I have is pleased. Walk away sooner rather than later and just let it dry and see if you like it once it draws because you bought paper is kind of famous for surprising you when it dries so you could end up. If you try to control everything on this paper, you're just gonna get frustrated. So just let it be, Let it dry, right It's kind of move that around. Get it to where you basically want it. Pull a little bit up right here using damp, damp brush. Maybe soften that and then I'm just gonna kind of let it let it do with what? It's gonna dio a little bit more right there. All right, so I want you to go and just play with this. You can go back in once these others dry and maybe get another layer of dark in there. Remember, you are gonna pull up what's there. But you're basically going to just rework. Maybe I want a starker contrast with some of these shadows to just go in and see, see what that does and then let it drop. Remember, you just need to let it dry before you're really going to see what it looks like. Maybe I want to tighten up some of these over here the same way. I'm just gonna go in and make those lines a little bit more prevalent. Get that shaped the way I want it. There we go. OK, so go in and just play. This is experimenting. You're just practicing with lifting in different ways and going back in and re working with something pretty a pretty simple shape. So you don't have to fuss over it and just see what happens. This is a lot of fun. I will see you back for the next lesson where we're going to paint a grouping of evergreen trees. Monochromatic. Kind of like we just did the pumpkins. It's gonna be a lot of fun using all the skills we've learned thus far. So thank you so much for joining me for this lesson. I can't wait to see you back for the next one. 6. Lesson 4 - Monochromatic Painting: welcome to less than four, and we're gonna try some of the skills that we've learned with our water pigment ratio and lifting pigment and water and things like that just to try a really, really simple, monochromatic painting. So the first thing I want you to do is just get a piece of you put paper and you could just cut it to a decent five by seven. Something like that. Or you could just open your pad up and pick a piece of paper to paint on. The next thing I want you to do, which is something that I do when I'm actually painting. Not just for fun is I will prep the paper because I've handled it. I've touched it. They want to go ahead and teach you guys just how to prep the paper, and the first thing I do is I usually take a paper towel and dip it in water, or I just have a spray bottle of water and I'll spray the paper and then I take my paper towel damp and I'll get that dawn soap out. A little trick I talk to you about. I'll get a little red. The Duke. They don't need a whole lot of soap. And I'm just gonna scrub this paper to a clean side of your paper towel without the soap, because we want to get that residue off, because that will also do make your paint move in weird ways. Okay, once that is clean and you can take just the dress out of your paper towel or you can take your washcloth and just draw that paper off it. The water evaporates pretty quick, but go ahead and give it a white. If you feel better sketching, then you can just take your pencil and sketch out. We're just doing some some pine trees, just a group of three with basically one in the foreground and the others in the background . And I'm just I mean, simple, simple. Just get your shapes down. We're not We're not gonna bus over this, okay? The next thing I want to do is get your medium round brush, and I want you to dip it, um, pretty liberally in the water, and then go ahead and get yourself some pigment, and we're just going to start with this first tree. Now we're trying to get the paint to kind of go where we wanted to go. And I just wiggle the brush around. I'm leaving some of these white areas, and that's what you want to try to do. Just adds interest. So it's not so tight, Okay? And I'm going to go back in, get some more pigment come back up here. I just I didn't think that was dark and off, okay. Really Pretty easy. And I'm using the Paynes Grey. If I didn't mention that, I'm sorry. Okay? But the point on that tree, OK, and that's it. I'm just gonna leave that for a second and see if I like it and we're gonna go right in and go ahead and do the ones in the back. Get the cat hair off. My brush has always I'm gonna do the same thing. Just kind of swish that brush around, go back up, go over things. Just add some more pigment where you want and there's are gonna touch, and that's absolutely fun. I'm gonna just rents my brush a little bit And just pull this down and you'll see how it pulls the pigment down under those trees and say I want that darker. Just gonna drop in some dark pain. You're just kind of watching, watching how it moves here. My board is a little bit tilted too far in this direction. I don't like the way that's pulling, so I'm gonna lift my board a little bit and took my towel under it just a little so I can get that paint to start moving back up in that direction. All right. Wet your brush again. Just go back in and do this back tree. Remember, you just just wiggle and get Get the shape. Let's get the shape of, ah country in there. Hey, pretty simple. Something like that. I'm getting a weird little mark right here. I'm gonna add just a touch of water and see if I can just move the way that pain is drawing a little time to go back in, get some more pigment and we're darken up. The bottom of this tree can kind of go in. Just look for spots of interest. Things you want a dark and things you want to move. Okay, this is pretty watery right now. I like my white spots that have been saved, so I'm digging that, um I don't like how dark this got over on that side, so I'm actually going to go back in. This is where you can practice some lifting. Take your filbert in. You just want a wedding a little bit dry it, wipe it off, and I'm gonna go back in here. And you know what? I'm not going to do like a bone dry brush. So, um, and I'm just gonna have find those little branches, find those shapes again. I kind of lost a few, drive my brush a little bit more where I want whiter. And I'm not I'm not trying to be perfect, because this is gonna dry and and leave me some neat shapes in here, so all right, now I'm seeing some brush marks that I don't love. So I'm actually gonna wet this filbert, and I'm just gonna add some water to see if I like that better. Okay? And then I'm gonna kind of break this up, but like, how? How That blended together, separate that part right there. That got a little dark. So let's just move that around. Maybe get get some more white up in here. No, wet it, get a little more water, Just play around. I'm gonna go back to my round brush because I like, I like the shape that it makes with these trees, And I'm actually gonna add some more dark in here and see if I can get get that looking the way I want it. I'm I'm actually messing with this more than I would normally, because I just want you guys to kind of play around most the time. I just leave it kind of put it down and leave it, because sometimes you're pleasantly surprised what you end up with. Okay? I'm gonna go back in with the filbert, dry it, rinse it and dry it. And I've lost lost some shape over here, so I'm just gonna do that. And then I'm actually gonna fill that brush with water, and then I'm a dry it. See, I'm just kind of kind of going back and forth until I get what I want. Puts more water. It just just kind of kind of play around. Join these a little bit more. So I added water with that. Now I'm a dry it off and pull some of the pain up right there and see if that that leaves me with the shape I want. Okay, So just mess around. I think I'm pretty good. I'm gonna go back to my round brush and of lightened, But then I've lost a little bit. So, me, dad, I'm just gonna dab it in, and then I want to go really dark, a lot of pigment on my brush, and I'm really gonna try to darken up right under these trees. Just drop it in. Just drop it in and let it go. Kind of where it wants to go. I just want that hint of, um, of some shadows under there. Not perfect. I am gonna let this dry. And I hope that you have made something you like to like. I said, always. Um, I tried not to overwork it. I worked on this more than I would just I just wanted you guys to practice and moving some things around. This right here is a little dark for me, so I'm just gonna wet my brush and go back in and soften it up. Must soften up these edges to just a damp brush and just I'm blogging It's a little bit dramas. Soften up those edges, and then I'm gonna go back in with some dark right here so I could find that shape again. Maybe a little water. Here we go. All right. I've got some really neat, neat things going on here. And if you want to, this is kind of how I finish off. My my pain is go back into that dark and I just tapped the brush and get some splatters going on. And remember anything you don't like. Let's say that it got got too heavy right here for me. Take a wet Q tip. Write it off. You can redo it. Not a problem. Turn that Q tip around. Wipe it off some more. I just didn't like the way that looked. And if you touch your painting, it's not a big deal. Go right again. Just stamping your brush and go right back. Get him fix that little part. Going to get a new shape. But you might like it more. Never know so easy. All right. I trust more splatters in here. Just happen. If you tap, you get the little splatters. So that's it. There we go. I'm gonna let this drop you let yours drop, remember? Stop messing with it. It's better to leave it unfinished looking than overwork it and end up with just you keep looking at it and going back in and messing with it, because you just you need to let it draw and see what it looks like. Um, and just let those watery marks or what you want. You're gonna want some of those to show up. That's what makes this paper so unique. Okay, so, letters, drama, Let Mom draw, and then we'll take a snapshot. We're gonna come back and just kind of talked about it, and I'm gonna decide if I want to go back and do anything else. OK, I'm back, and this is almost dry. You can see that there was a few little pools of water, and this platter is bothering me, so I'm gonna wipe that off with the wet Q tip. I just don't I didn't like the movement of that. And this This shape right here, I'm actually debating. I don't want to lose my white, but I think I might reworked this just a little bit. And I've lost some shape right there and you see that that's not enough pigment. And I'm out of pigment. So I'm gonna go over to my regular same color Payne's gray, to go over to my other pallet over there, my backup palette. And I am going to drop in a little bit here. I'm gonna get rid of this shape that I feel like it's kind of cutting the tree in half. I'm just not like that at all. Maybe another needs a little splatter over here, though. And right on top of those trees is just fine. Okay, I'm gonna let this drop completely, and then I'll take a snapshot and put it at the end of the video. And I hope yours turned out good. Meet me back here for the next lesson. We are getting into color mixing, so we're gonna be using our four colors, and we're gonna paint a different kind of tree using our four cover colors. We're really gonna, um, learn how to do some blending. It's gonna be a lot of fun, So I'll see you back for the next lesson. Thanks for joining me 7. Lesson 5 - Color Mixing: Welcome back, SCO share students. This is a lesson five in my class introduction to watercolor painting on you both paper and we're going to do a little color mixing today. So if you want to get out a larger sheet of paper, I'm gonna use about half of this in the second half. I'm gonna use with the next part of this lesson where we're gonna use the skills that we just learned with color mixing on you bow and do a fall tree so you can get this ready. I also have, of course, my three brushes. I have my paints, Freshwater. I also have a pin again because we're gonna do some labeling and we're gonna paint. We're gonna paint some squares and do our color mixing that way. And just to let you guys see, this is pretty much how I do my color mixing when I'm getting ready to start a painting. This is how I work my colors out. Um, I actually just take scrap pieces of paper, usually cut non by 10 to 8 by, um, sorry. Not by 12 to 8 by 10. And I'll have a piece left. Things like that and I just put the colors on the paper just to see how they run together and blend. So this is usually how I do it. Great way to do it. Um, we're gonna do a little bit of this as well, but I want to do the squares just so it's nice and neat, concise and labeled. So the first thing I'm gonna do is I'm gonna take my pin and the first color we're gonna work with mixing is Payne's gray. So I'm just gonna write a PG down there and I'm gonna go in here and get a little bit of my Payne's gray and dab it so you can see So the next thing you need to dio is I'm using my number eight round brush. Get your brush clean and saturated with water, and we're just gonna do squares. We're gonna actually do four rows of three squares and label all of those. I'm just doing a square of water. Be conscious of your water to pigment ratio. You can play around a little bit and just see what happens if you put more pigment on the brush versus more water and pigment as you're mixing these two. So I'm gonna go ahead and get a little bit of the Payne's gray, and I'm just gonna drop it in the square. Go ahead and paint the whole square, and it's very it's very watery, and the first color we're gonna mix with Payne's gray is are burnt Sienna. Make sure that brushes really clean. Wipe it off a time, maybe in between each color and then grab some of that burnt sienna and you can mix it all the way if you want to. Or you can just mix a little section and leave the rest toe where it does some interesting things because that's most likely what it's going to do on your paper. I'm gonna go ahead and label this. This was the Paynes Grey with the burnt Sienna just initialing everything. I'm gonna rents my brush white bit, clean it really good. Let's make another square come over a little bit or you're gonna pull that water and pigment that you just put down into this next square. So give it a little bit of room and I'm gonna go get touched. That Payne's gray. And of course, if you want to play around more After this, you can do this again and just use heavier pigment and see the difference. Okay, so the next color I'm gonna mix is my orange. Make sure that that's nice and clean and come in and let's drop some of this orange in here . And the orange, remember, is that color that just pushes, pushes the water and the other pigment out of the way. I'm gonna go ahead and try to mix it more in this little spot, and then I'm just gonna kind of let it do its thing over there, and I need to raise my board a little bit. You see that? My my water is pooling so much, my board must be tilted a little bit. So I'm gonna get that board. So it's a little bit better. I don't want to go in there the direction too much, okay. And then I just want you to go ahead and we're gonna do another square. Make sure you spread it out a little. All right, go back in with that Payne's gray. Nice, clean brush. And you're finding already that those that the orange in the burnt Sienna are very similar when they mix with that Payne's gray With this, I'm gonna clean my brush again, and I'm gonna dip into this cerulean blue. Make sure you have plenty of pigment or you're just not going to see it from a mix those two together. And you're gonna find that as these dry they're gonna do some different things. You're actually going to see them separate a little bit, which again gives you po paper that unique look. Okay, I did not label this. This was orange, and this was surreal Yin. So the next one I'm gonna dio is my burnt sienna. Clear my brush. Get some of that. Just so we have a reference to what it looks like pure. And I'm gonna do the same thing. Just do my squares. I still have a little burnt sienna one there, and that's okay. Add a little more. Get some more water in here. All right? Make this one a little bit darker. Richer. Okay, so we have burnt sienna, and I'm gonna add orange to this and again. You see that Just pushes it right out of the way. Get some mixing going on here and then just I'm just gonna leave it. Leave it as is right there. So that's what the orange, clear your brush white. Then make another square. Get that burnt Sienna down and rinse your brush really good. And we're gonna come in with the cerulean blue and you could mix it like I said as much as you want, and then maybe leave a little Bring this down to get it out of the glare. Here we go. Okay. And our third square in this row, we're gonna be mixing that Payne's gray again, which, yes, you're gonna be repeating some of these mixtures and that's OK, because you're actually gonna get some different looks depending on which color you put down first. And I know that if I'm working with whatever color I'm working with its pure form, that's the color on putting down first that I'm adding the other two it. So then I'm gonna add some Payne's gray, mix it pretty good on this one side and then just kind of scooted over and just kind of see what it does. Do you see, Do you see how different that IHS much more pigment, But put it in second didn't water it down as much. I'm getting a very different look. I'm gonna go ahead and speed this part up. For time purposes. You can take your time labeling your chart and finishing your squares. Now, I'm gonna come right down here in this space, and I'm actually gonna just mix all four colors together in a square. And I am gonna use this whole page. It looks like I did not think I waas. I mean, my squares bigger than I was thinking. All right, so I'm just gonna get lots of war, and I'm just gonna go color by color right down, and I'm just going to start adding it to this square. So I've got my Payne's gray rents my brush. Really good. Grab a little of that burnt sienna. Mix it in. Don't mix a lot. Maybe just kind of at it and see what happens. I'm gonna add some orange over here and look how that pushes everything out of the way, which is just interesting. And then azure, sir Julian. So I have all four colors, and I almost did it in quadrant, so they kind of blend in the middle. But I can see. I can see the individual colors, That's all for I'm gonna do the same thing, but I'm gonna do it in the strips like I like to do. So I am going to take a very wet brush. I'm gonna get a little bit of Payne's gray, and I'm just gonna paint, add some water, get it, get it, um, nice and wet. And then I'm gonna rents my brush. I'm gonna go into this sore Iulian. Maybe that is where the two I want touching and I'm gonna rinse my brush, and then I'm gonna hit this burnt sienna. I had some water, get it flowing residents, and then touch some of this orange, And now it's pushing it back the other way. All right, now I can observe what that's doing. They're staying decently separate. I see some blending going on just where they're kind of touching, which I love this look, you could do this again and then maybe add some more water after you have it down. So I'm just gonna do the same thing. Try to get color pretty clear in certain areas, you know, blend and others. And now I'm gonna clean my brush Really good. But I'm just gonna drop water in and then clean it. Drop some more water in, maybe pull it down a little over, add some water and pull it out. Remember, wherever you put the water, the pigments gonna follow. Now, I am getting some really interesting things going on here, so just see the difference. Just watch and observe. Like I said, that's all we're doing. And you can tell your board I'm until our board and get some of these colors moving. And they're all moving. Whatever's what's gonna move so you have to kind of keep that amount. You'll learn to paint in sections. So this is a great chart. You can hang this up while we're doing our final project. Um, like I said, if you want to keep going and experiment, please do with this lesson, you can add more pigment, less water, vice versa. And then when we come back for the next lesson, we're gonna use all of this and we're gonna paint a really pretty fault tree, almost using the idea that we did just hear from dark to light. It's gonna be a lot of fun. I'll see you back in the next lesson. Thanks for joining me 8. Lesson 6 - Color Mixing Practice / Fall Tree Painting: welcome back, SCO share students. This is part two of our lesson on color mixing. So this is less than six, and we're gonna use some of these things that we did when we mix color to paint a nice, pretty fault tree. Now, I am just gonna flip my paper right over. That's one of the great things about you put paper is that nothing bleeds through shows through. So if you're just using, you know, paper to play on, You've got to Assad's to use. I have already prepped this paper. I have wiped it with a touch of dawn soap. I have scrubbed my fingerprints off. I have gotten it already. It's clean and dry, no more residue left. And if you would like to go ahead and just kind of sketch a tree, you can do that. Just do a little outline, have already kind of dumb one of a tree, and you definitely want to do this a few times. You're gonna get something different every time. It's gonna be a lot of fun. The first thing I'm gonna do is I'm taking my large round brush and I'm gonna dip it in this Payne's gray. I have lots of pigment and lots of water. And I'm just gonna dio a hint of this tree trunk and come down a little bit of the shadow Young once that a little bit darker. Okay? And I'm just gonna get started doing pretty much just squiggly marks. Um, you want to try to just leave some white? Those white spaces are important. It definitely add some interest. It breaks apart these colors so they don't blend everywhere. Um, and And you don't end up with a tree that looks like this. Okay, so we want to leave those white spaces for sure. All right. I've done my Payne's gray. I'm gonna rinse my brush. Really good. Um, pretty saturated with water and a lot of pigment. I'm dipping in into this, Sir William Blue. I'm just going to start with the blue. So we're just gonna work our way through the four colors blues into our oranges. Basically dark delight. I'm just gonna drop this in. Remember, Wiggle leave some white. The more water, the more mixing. Maybe I want the hint of ah branch a branch or two down this way. That works too. All right, clean my brush. I'm gonna go into this burnt sienna, lots of pigment. And I'm gonna actually touch into this surreal yen, and you'll see where it touches. I get a really neat green color, so rents your brush. Go back in when you want more. You want a crisper color? Definitely. Want to rent your brush? Maybe I want to touch some of these edges over here again. You're leaving some of that white and then I'm gonna wrench my brush again dry, add some clean water and I'm gonna go into this orange, Add some water to that orange and there we go touch some more in there. Maybe I want someone. The edges touch some down here. Try to get every every color touching. Just remember, this is color blending exercise. So you want to see what happens as you move around? Maybe it touched down here. I like what that's doing. I like it. Have a really wet section in the middle, and that's fine. It's gonna draw, and it's actually gonna I can already see the little line. It's gonna leave. Maybe I want to soften some of that. Just go back up. Try not to get rid of your whites. I don't have a lot of white in here, so I'm gonna go in and take some out. You can use your filbert and clean and dry and just kind of may be removed. Just wiggle again. Maybe remove some of that water and pigment and it's going to draw. It's going to draw and not really look like that. So that's why I have said and I'll say again, it's better to walk away sooner than later because you put paper is fun like that. That's what makes it interesting is that it will dry and do some some neat things. Okay, so I'm gonna add just water clean water in some of these places to get actually some of my white edges back and get that toe look more naturally blended. I'm liking that a lot, actually. Gonna leave it alone. I love how this orange has come down into the trunk. I'm gonna take my clean number eight just full of water. And I'm just gonna touch touch this bottom and see what I can get going on down here with some of this wet paint. I'm liking that and that orange is actually coming all the way down, so that's kind of fine. And then if you add water right here, remember, wherever you put the water, the pigment is gonna go now redirected like a river have redirected that orange instead of going down. It's now going this way and staying on top of what we've made is the ground. I love what this is doing. I want you to leave yours alone. Do not fuss with it. I finished off my paintings, usually with a little bit of splatter. Just, um, gives a little bit of texture. So I've saturated my brush, and I've dipped it in the Sir William Blue. Ah, very wet brush. And I'll just kind of splatter. You could shake your brush like this, or you can tap it like this to get smaller splatters. Just know wherever it goes on the tree, it will get absorbed, and you're gonna get a different look. There. That's that's fun, too. Okay, so just give it a splatter. Um, do a few of these. Don't. Don't keep going back into this one, okay? If you don't like the way it's running, just remember, you can tip your board, tip your board and maybe get the color running back up the other way. If you need to put something under one side to get it to stay, Teoh tipped in a certain position. That's fun. I'm gonna let mine draw, and then we're gonna come right back and kind of talk about what it looks like. Finished. My tree is completely dry, and I just love what has happened. I have lots of neat, watery marks. I definitely have some pretty vibrant, crisp colors still in here. I've saved enough of the white. My I kind of moves around. I love how this was that little river of orange going down into the trunk, and it's deposited that orange down in the shadow under the tree. And that is just wonderful how that has turned out. I couldn't probably do that on purpose if I wanted to. So lots of little things have just happened. And that's what I love about you Put paper is, you really can't predict sometimes how the paint is going to move and how it's gonna dry and look when it's done. So that's why my my word of advice is walk away sooner rather than later because you might be happily surprised at how something turns out that maybe you didn't like how it was, how it was moving when it was wet. Just leave it alone. So I there's things that I could go back in and change. I could darken things up, all kinds of things that I could fix. But I know if I do that if I go back in and re work, it's going to contrast too much with the rest of the tree. It's not gonna blend is not gonna flow. I was working with this when it was all wet, and that's why I have the flow that I have. So I like the way it looks and I'll take all of those little mistakes. If you want to call on places that are not perfect, that's what makes art art. That's what makes it unique. That's what makes it fun and interesting. So leave it alone. I want you to do a few more of these, though, and just practice may be used to shades maybe go from the light orange color all the way up to the dark Payne's gray and just see the difference or work from top to bottom and see how that turns out lots of different ways. You can do this just to get used to the way the paint and the water flow, how they mix all kinds of little things that you're going to discover as you practice. So I definitely want you to play around some more before our final project, which is my next to and last two lessons. So play around, have a great time doing it. I can't wait to see you back for the last two lessons, and I can't wait to see your final projects when they're done to see what you've created. I would love for you guys to post all of these little things that you've done, if you would your trees, both sets of trees and maybe even the little pumpkins that we worked on the monochromatic pumpkins. That would be great. I would love to see some of your experimentation, So thank you so much for joining me for this lesson. Keep experimenting and I'll see you back for the final two lessons. 9. Final Project - Part 1: welcome to part one of our final project. I'm excited to get started with this. We're going to do Ah, really sweet grouping of pumpkins. And the 1st 1 I did was on a four by six. I've got a five by seven for this one. I have all my supplies here that I need. And I've also prepped my paper with wet paper towel a little bit of dawn, so just wiped it off all my fingerprints. And then I'm going back over it with water and a paper towel dried it pretty good. Um, so the next thing I did is I just sketched out my pumpkins. It's kind of where I want where I want them lightly. And word of advice. With pencil on, you put paper. If you have a mark you don't like, just take a Q tip, wet it and just scrub the pencil right off. It's really easy. I would not take an eraser to you put paper. It makes your paint do weird things. And then you have to kind of re prep your paper. So the first thing I'm gonna do is dip in my clean water with my number eight round brush, lots of water. You can see it dripping. And I'm gonna dip into this Sir William Blue. Then I'm just gonna calm and kind of wiggle my brush around like I did with the trees and, um, leaving some white not going to go all the way to the edge. And I'm definitely not like, perfectly outlining these pumpkins. I'm getting kind of close in places, Just kind of moving around. Lots of water. We're working very wet in this part. We're just gonna put the first application of color on our pumpkins, and then we're gonna let that dry and come back and work on some details. I'm gonna keep him where my light source is. If it's coming from that top corner, maybe it's kind of darker on this side. Just drop color in, add more water, let it kind of move around. Just It'll make all kinds of fun, fun marks. All right. Like where that placement is? I joined that together, but some more pigment, and then I am going to go right down here and start my pumpkin, so I'm gonna rents my brush. Really Good. I'm gonna dip into this orange and I come down here keeping in mind again The light source . I want to leave some white, and I'm just gonna come down here and start these pumpkins My touch into this, Sir William Blue in places. So it starts to kind of mingle. We're not really worried about major details here. Just dropping in. Hence, of those lines on the pumpkin Just getting that color down. If you overdo in a place, remember, you just get out your filbert or a Q tip and just carve it back out with a damp brush. Really easy to deal with. Just gonna get the basic one of these and be with those marks on the inside there just kind of get him going where you want and again keeping among that light source not worried about major details, it's getting that color down stronger the pigment, the heavier the pigment, that more it's going to stay where you put it kind of bleed out, which is gives it some different looks. Just gonna catch the edge of that. Get the stem, worry about the stem color. Gonna go in and work on that. Make sure that this is I got plenty of color down here because we're gonna go down and work on the bottom while it's still wet. I am going to tilt this a little bit and get this orange and civilian kind of flowing where I want it. Just toting that board and see how nice that just run is together. It's gonna kind of mix and create create that really nice green color. So that's gonna blend together. Good. I'm just gonna add some more water right here. So it's not such a stark contrast Orange kind of blends. You can even drop in drop in orange, maybe where you want it. It wasn't wasn't prevalent enough and just kind of let it flow and work and do what it's gonna dio. And that will be fun to kind of watch that watch that happen. All right, I'm gonna clean my brush really well. And then I'm a dip pretty heavy into this Payne's gray, and I'm gonna come down here in touch where this shadow would be, and I actually want that to happen. So we're gonna pull pull some of this orange down into our shadow because, remember, shadows we're not flat, not a solid color. So that's just gonna deposit Deposit that color into the shadow, which is exactly what I want. And then I'm just gonna wet my brush more. And I'm gonna leave a little bit of white now as I come on down and wherever you put the water, the pigment is gonna flow. That's what you want to happen. So don't worry about we're going to go back in and stage two and worry about the top. I'm sorry, the bottom of these pumpkins. So right now we just were pulling color kind of blend that in if you want. That's really nice. How that's doing. Perfect. I've left some white. I'm liking this. If it gets too dark, you can just pull some color up with, um with your brush or soften edges anything like that that you want to dio good A darker in places if you want, but just kind of blood flow. Okay, Liking this, it is moving the way I want it to. It looks great for beginning stages. The last thing I'm gonna do is take my small number four round. I'm a dip pretty heavy into this burnt sienna. More pigment on the brush than water, and I'm gonna go in and just accent these lines and maybe some edges. Now it's going to blend, and that's that's what I wanted to dio. But it will still leave hints of those lines in there. So that's good. Just gonna get these stems a little dark in those up in the next stage. That's doing nice things there. Get it or not worried about major details here and you're gonna get some movement that is really interesting and just leave it alone, even if it doesn't really go exactly the direction that you think it should. It's It's interesting. That's what makes you go paper. Interesting. All right, you end up with it too dark, just kind of blocked your brush and get a little wet and take it right back up. Not a big deal. Get this last one again. I'm using just more pigment, more pigment than water. In most places, it's gonna carve out the shape where you I want it. Tell that back of that stem there with EJ and some of these were not gonna stay put because it is so wet and I like how that's kind of bleeding out and doing doing its own thing over there. That's gonna probably leave 78 marks. Okay, that got a little dark. Just go back in with a wet brush. Um, I do like how I got that color. I'm just gonna kind of move this around a little bit, and if you ever if you ever need to stop color from moving like what this is doing, but I need this as an example. Um, just kind of wet your Q tip, and you can just car hard that pumped him right back out. Okay, that's it's not a big deal. Take my smaller brush. That's clean. And I'm just gonna just literally drop in some water here to kind of reworked that. Maybe you want some more civilian closer to that pumpkin just for contrast. See, that's still leaking right here. Wherever the water is, remember the pigments gonna go? Do you have to kind of cut off that water source and just let that go? If you want more, white can do that too. Soften the edges and just once again, you can just tilt it to get it to kind of blend better and move where you want it. Todo But you're Filbert works the same way. Get a dry filbert and just kind of cut off that flow. All right, Have more water to get it to come blend together better. All right, there we go. This is looking good. I, um, thinking I'm done. I've left enough white. I love how that's depositing. Basically got, um I've got my shapes over here pretty much the way I want them. Wow, this is Ah, a little wet. You can also just go back in, dry off your smaller round brush and just kind of car about these vines where they might be because it's gonna leave some neat, some neat, watery marks. We're gonna go back in, of course, and work on those bonds. But it's just kind of need to see what the water around where you carve that out. Does it'll do some interesting things? I'm just taking kind of dry brush, wiping and going in there and carving that out. So I like the way this looks. Everything's glowing the way I wanted to. I have most of my edges of my color where I want it. You can just kind of tilt as you watch this dry, it shouldn't take about 10 15 minutes. I have some pretty strong puddles down here. Those will take longer, so I'm gonna let mine dry. I want you to let yours dry. All I ask is that you work through this entire painting one time. Even if you don't like or love it in the beginning, just let it sit. Come back for part two. Let's put in our details and then you can look at it on DSI if you still don't like it. And that's okay, cause it's all of learning process. I've done this more than once. You can do this more than once, so just don't stress about it. And definitely don't overwork your painting. Just let it be. It's gonna do some fun things, and it might surprise you meet me back here for part two and we'll finish up our details in our pumpkin 10. Final Project - Part 2: All right. Welcome back to our painting. This is part two, and we're just gonna get back into our painting and tighten something's up and add a few details and some depth in some of these areas. Um, I'm gonna go ahead and start on the's a vine that I've just mixed up a nice green using my blues and oranges in the album. Will do. Honestly, if you want it brighter, use this civilian and the orange. And if you want it darker, use the Paynes Grey and the Burnt Sienna. All right, so I'm just gonna hop in here and just a lot of water on my brush. I don't want these vines really dark. Just kind of want a little hint hint of them in the background there. Pretty simple. And then you can just keep that color going, And I'm just gonna drop it in some of these little areas on the pumpkin. Maybe I wanted to darken a little bit. Don't overdo. Just do a little bit and step back. Usually the best way to do it. Just touch up some of these edges. Now is the time to kind of correct any shapes. If you need to. And I'm just gonna add a little bit more water to that. Maybe get this shadow. It's a little All right, come over here. Get this edge. Maybe a little bit on the base of this pumpkin. And don't overdo. Right? Make some more call over here. All right? Touch that's back of that pumpkin. And come down to the same thing. Less is more. Is that a hint of some of those lawns? Let that blend a little bit. Remember, we're gonna deep enough the shadow under these. So if you want your pumpkins to stay, um, pretty bright orange that I wouldn't get too much of this in there because it's gonna They're gonna get muddy on you. So I'm just I'm really just touching kind of the base of these, and I'm gonna let that draw a little bit. Um What? See, I'm actually going to go back into some more burnt Sienna on and just touch up that back in in a few places. Maybe the tops just that top edge of the stem might come all the way around on this, this little guy and I'm actually gonna do a little bit of a lot of water and a little bit of orange and just kind of at a little bit more right there. That's gonna dry. I'm not worried about that too much. All right. All right. Looks Looks good. I lost my stem a little bit up here, so I'm just gonna kind of touch in a little bit more in a few places. Okay? Lets grab this, um, larger eight and some of your Payne's gray. And let's head in here and get this shadow a little bit more realistic. It's gonna bleed a little bit into that. That's okay. So I'm kind of just dropping this in. Then we might let it draw some more and drop it in again. Just kind of blend the blend that a little bit come up on the edge of what may be where that shadow would be a little bit right when I blended over here, the more pigment that more it's going to stay. That is. That was wet again. Well, let that dry one more time. Okay? I have been working with this while it's wet again. Just kind of pulling up some of the Paynes grey to create some shadows and darkening up some spots here and there. I'm gonna let this dry and then I may I may go in and just, um, kind of define a few of those lines in the burnt Sienna again. But I like the way this is looking the shadow underneath, and this is all drying the way I wanted to. So I hope that you have had some success, just kind of working and learning. And if there was something you didn't like like, I had a spot that just got away from me. So I just took a Q tip and cleaned it out and just basically started from that first color again on the pumpkin and let it dry and work my way up. So I didn't get rid of the whole painting. Um, spot treatment. That's what I call it. Sometimes you have to do those spot treatments. So I'm just gonna keep making sure that this pains great kind of stays, stays where I want it in those shadows and let it dry, and then we're gonna come back, and I'm gonna add a finishing touch to the final painting. Okay, This has mostly drive and I'm good with the way it's dried. I have one or two little spots that I just want to kind of, um maybe catch an edge on, and then it'll draw just fine. I'm gonna get the edge of that pumpkin just a little. I hope yours has gone smoothly and you have not overworked anything. That's usually what gets you in trouble. The soften this. Remember, if you want to soften something just and a little bit of water, I'm just looking for edges that I can kind of tighten up a little. I want to, um, other than that, I'm gonna going on Leave it because I like I like some things that at interest and they don't make perfect sense everywhere. But I'm liking how the paints moving and flowing. The last thing I do is at a little texture by adding some splatter marks. And I'm actually gonna be teaching a class very soon in the future on different ways to add texture to you're paintings on you put paper. So I'm just mixing up some civilian and I'm gonna add a touch very like touch of Payne's gray just to darken it up. And I've got plenty of water on my brush also, and you conflict the brush, or you can just tap it and get some funds splatters. And just make sure you kind of move around the page. Um, kind of leads your eye around. This is great for covering up little areas that you don't like. Or maybe you have a kind of boring area that doesn't have enough going on. And this will do that. If you want to remove something you can use actually the dry, dry side of the Q. Tip. If you want to just kind of block block things up a little little dry lighter. Um, if you want to remove definitely on the white of the page, you can just use a wet, A wet Q tip. If you dab on what is already there, especially dark, you're gonna lift the paint. Then you can just kind of go back in every work. It's all gonna dry. Um, it's usually not a big deal. Okay, I am happy with this. It's a nice, simple little pumpkin. Painting did not take me long to do a lot longer because I was talking through it, um, paintings like this. If I just go with the flow and do them, they usually take me anywhere from 15 20 minutes, Probably tops. So don't overwork. Don't think too much. Just kind of let it do what it's going to dio. I hope that yours turned out fabulous. And if not, I hope you learn something and you try it again. I've done this a few times. I would love for you to post your paintings even the ones that you're not totally in love with. Because again, I'm sure that there is something that you did that you liked even in the in the paintings that you're gonna Chuck and you've learned something you've grown. You've developed a one of the skills that we've worked on. So you have things that you want to change the next time you do it. I would love for you to start that discussion. I'm sure many students will be able to chime in. So if everyone can kind of post, they're throwaways along with their finals and we can see the progress because that's what it's all about. Just learning and progress. Thank you so much for joining me for this class. I hope you had a wonderful time learning about you bow paper and just experimenting and playing with it. Um, and I really hope that you'll join. My next class is we're going to do lots of fun things. Like I said, texture class, we're going to do mixed media on you both paper, all kinds of different classes. So please join me for those. I have one short lesson after this, we're gonna talk about how to seal your painting and framing tip, so you'll want to join me for that. And other than that, I hope you love your painting and happy painting. I'll see you. Hopefully in my next classes. Thanks for joining me. 11. Sealing and Framing: Welcome back. I'm gonna give you a few quick tips for sealing your painting and also framing you both. Paper definitely needs to be sealed with some kind of fixative. The one I use is the crile unclear fixative spray. And this will help protect your painting from moisture damage from scratches from UV light if you buy the UV resistant. So they make these in Matt and also gloss, I just use clear because it doesn't have a finish, and that's what I like. So once you're painting is the way you want it and completely drive 48 to 72 hours for sure , I would let it dry. Then you can take your fixative spray, take it outside somewhere somewhere nice and airy and give it three good coatings. That's what I dio of the fixative spray about 20 seconds in between, each very even coating of this spray that's gonna protect your painting. Then you need to let that dry for at least 48 hours before you do any kind of framing. The wonderful thing about you bow again is that you can frame it just like a photo so you don't have to spend a lot of money. I just took a basic $5 picture frame, maybe less to frame this piece. It doesn't have to be mattered. So again it can frame just like a photo, so that would be one way to frame your piece. The other way is that you can buy standard matting and frames and frame it yourself. If you have an odd size painting, you may need to get custom matting and framing, which, um, this is the most expensive. But I also think it's the best looking, and it definitely finishes off the piece. So custom matting. And then you would end up doing a custom frame if it's not a standard size. I have had things matted that are not standard matted to a standard size, so that I can go find a frame that I like for a little bit less. That works out sometimes, so there are some tips and tricks for sealing and framing your piece. I hope you love your piece and definitely get it sealed, framed and put it up in your house. That would be wonderful to see. Keep playing around with your you put paper in your paint, and I hope to see you back for my future lessons. Thank you so much for watching