Learn How To Use Picasso's Color Secrets

1. Learn Picasso's Color Secrets: One of Picasso's favorite sayings was, "While others talk, I paint." We can talk about color theory and technique, but I'm going to show you exactly how to take colors and intensities of the picture up to this level. We're not copying, we're expressing and we're emulating somebody who knew what they were doing. Blue to orange. Remember in our picture, blue to orange was one of Picasso's tricks. The other trick was blue to green to orange. Next thing you notice is that it's quite an orange dominance down here, and here we got the blue and the orange again. This red, this red, this red, three reds and we'll try this one. Now we're going into the greener side of gray. Now remember, don't be afraid putting the coloring overly and strongly. The best way to learn is from people who know what they're doing, and by going to Picasso, we'll definitely be learning some great techniques. Good for beginners, good for advance, good for in-between. You can really learn just by watching someone paint, and then go back, get to materials and ease your way into it. Don't be afraid of difficult. Difficult is just a lot of little things put together, done well. 2. Understanding True Grey: First thing you're going to need to know is how to make a gray, a true gray; not black and white, but a true gray. One red, put it in here. I'll take an ultramarine, that will give me violet. Two primaries always give you a secondary. Primary meaning first, secondary meaning second. Simple as that. You can get lost in color theory, we don't want to do that. Then I'll take a little yellow and I'm going to add it and now I have our tertiary color, I guess you might call it. We've got three going on. When you take the three primaries and mix them together, you get a third color. You will not get a more pleasing brown than that brown. So brown is really a gray. Next, if we want to make it more cooler, we add more ultramarine, and it's good to play around with this. After adding the ultramarine, you see the difference. We're getting more into a true what we consider gray. If I add a little water to that, you'll see. Now let's say I want to get now a warmer gray. Then I'll add a drop of yellow to the gray, and we'll try this one. Now we're going into the greener side of gray. I've added a little red to that initial gray and back to the brown, add little more red. Notice I'm cleaning my brush each time, and there, now we're getting more red. Now let me try a little drop of pale you seeing in here, which is a powerful color, and let's see what the pale or rather than the ultramarine makes. Now I'm getting different grays. Let's take a look at the picture of just those three colors in the gray scheme of it; such as in here, in here, in here, in here, in here, in here, in here, a little bit of pure colors, but not much. So the grays are easily managed simply by mixing the three primaries in varying degrees and varying warmths and coolnesses. So some grays are warm, some grays are cool, depending on the mixture of the three primaries. Black and white are not a true gray. 3. Draw and Lay In With True Greys : [MUSIC].Let's go put it right there and drawing our little picture so we have a rock. Don't get too fussy, you see rocks have one, two, three, four sides. I've drawn the rock maybe add a little water under there to soften that edge. That's it. [NOISE]. This is a forced scene. You can take anything you want as long as we have this division. Something, if you're doing a street scene or flowers with a table, just make sure you have a straight line that comes near the rock but not quite through it and hop over like that. The original picture is here, so that we can learn Picasso's technique and learn something from him. Obviously, he knows something. We will be emulating what he does after the gray painting's done. Next is an interesting angle with an incident in it. An incident is when along line is broken like this has an incident. It just happened here and now I'm going to put a slightly rounded division here to echo the rock, but I'm coming past the middle. See, past the middle, past the middle. Try not to do the middle, which is right here. I can even leave this here is a little bit of a reminder. You could use a string at home. Our brush, we have a dominance now of this line straight or angle to angle, two straights. Then we have conflict with this rock. The rock is giving us conflict, which is important to have some conflict. We're staying away from the middle, and what I'm going to do is going to put one tree down here to the side of the brush and push up, push up. Don't even worry if it doesn't look straight. Trees don't grow straight. One thing you need to know about a tree [NOISE] is that it's in the ground, so soft on the edge even if using acrylic, just bring a little bit into the ground. So it looks like it's planted. Next, I'll get a little more gray, staying away from the middle. That tree. The next tree is going to be even fatter so I can push the brush down. Now if it's not fatter, I can do it twice. So you get a little more girth, a little different than that one. It's up here that one's down there. Next one, oh, let's put the next one; we don't want to do like fence posts right? You can even use this marker to help you so that you get varying distances. See, okay, here's my next one, and it's a little skinnier. Notice, I'm getting vertical thrusts. Okay, I'm doing my big ones next, next one's going to be a little close to it. I'm going to vary the thickness to their little thicker. I'm going to put a skinny one in here. And I can put this back in the middle. A little one through here, maybe a little one in the distance here. Now I'm just throwing in some more verticals. Okay. Maybe two there. None on an angle yet. Got to put one on an angle going through the middle. Maybe one over here, see that echoes the rock, see the little sweep on the rock there. Okay. That's it. That's my layer, checking the middle. Let's check the original now and put it right on top here. You'll see that I had nothing in the middle here either. My next step is more of a violet, gray, so I add some red. Remember clean your brush, you want to keep these colors clean. Here it's getting to be a blue gray and one more red. Notice I haven't put yellow in it. Let me check that out. See if we've got a more of a violet gray, yes. A little water to it. Now what I'm going to do is, block in some of the sections big space, big tool. Let's get rid of the little guy. You can go this way. Why not get a little texture in there? Water is better if it's down. It's reflected, we want the rock to stand out.So I'm going to put a little bit darker beside the rock and the trees look. Now I'm going for more of a green gray. I'm going to take some yellow, a little bit of water enough to brush. I think I'll use a smaller brush to put the actual paint in. A little red, just a drop of red, remember gray needs three. I don't want green, green, I just want a gray green. Okay, here we go. Let's check it on here. A gray green. Yes. Some people might call it army green because the army takes all the paints and mixes them together and they get a greeny gray. That's where we get army green from, so there are lots of green on here. I'm going to put it on here, not everywhere, just little spots in here. Then I clean my brush off [NOISE] and give a couple through here. One in the water, whatever is up here, goes into the water, not the tree in between. Maybe a little there, may be a little there, perfect and you can soften the edges here. Whenever I do water cause I can't help it. I have to leave some white showing here in there. So actually with watercolors, I'll use these stiff brushes. They give great textures. Okay, look at that. Have I been fussy so far. No, always using the same gray. We're just changing it. You will get a perfect harmony in your picture. Color harmony, if you do this gray method and then add the pure colors later. So this is a very dark. This is light I want to darken this up. What do I do? Push it in and then up to straight up. Now you see how it's sitting in here. It looks like it's stuck. Soften it. [MUSIC] Okay. The one left next is this one, so let's vary it. Different trees have varying colors, so I add a little red to my brown, the light is coming from, which angle is it coming from here? It seems to be coming right through here so I'm going to darken this side. There we go, put that in next I'm going to mix up a dark, quite a dark. I'm going to use Selo. Lots of it, see. Red or Alizarin crimson, pure yellow. Now I should have a dark gray green, which I'm going to put in along here. Now remember, don't be afraid of putting the color in boldly and strongly but keeping your original shape. Let's bring that right up over the tree. There put a little bit in the tree, a little bit in the reflection. Take that again over here, pop it in. Take a look at the original picture. I'm filling in some areas over my warm gray, putting in this other gray, there we go. Now I'm going to put in some more here to darken it up. First time, now put in some surface movement on the water. Green, cool, warm, warm, little cool in here, cool, warm, excellent. I'm taking some of this green now. Green, gray and putting in remember our far away trees there and don't want them too dark. This is coming, this looks like it's belongs to this tree, which is okay. I'm going to darken up my gray with a little more blue and a little gray, little more red. I'm going to downsize my brush to what's called a little rigger brush, great for forest scenes. We're going to add in a little more red, see adjust your color on the paper. That's better. We're going to add in some little dark nodes on the trees. You can even put a puddle with these.It's great and take the it wooden end. Call it that you'll actually get a great fine detail. See these are lightening up, I'm going to leave them. I'm going to put one in here. They're too far, just rub it with your finger,well that's a good one. Another one, put little angle one there. These will dry, they're giving a little texture. Pop a few in here, see these are verticals. Now see, I'm getting back to dominance. What's dominating the picture? Verticals, even as brushing, you just tap it like this. In the forest branches either grow down or up, on a pine tree they tend to grow straight out like that. This looks like a pine tree. Now we've got some horizontals, but still a dominance of vertical. Pop a little dark's in here, go dark and the bottom of the rock, maybe rough up the side of the rock here with a little texture, see. [MUSIC] Dark's in the water. There we stop and give it a little break, walk away from it, let it totally dry. 4. How Did Picasso Use Color: This is Picasso, and we're going to be learning a lesson from Picasso, on the value of gray and pure colors. Picasso was coming out of a time when brown was the color for painters. You can even see, still got a little bit left here, little bit of realism left. Can't help it but the chair was brown, although the brown works with the hair. The boy here or girl, he's gone a little redder, but not as red as the ball. This was a bold stroke in his day. Now the beautiful thing about Picasso is he's deliberate in showing you how he's working the color. He's taking, this red, this red, this red, three reds and a little bit in the hands. He's pulling this red into green through in the opposite and into a pure blue and then a gray blue with a pure tan, pure red. It's a gray around here to make these colors. He didn't do this by accident. The gray makes the red standout, gray colors make real pure color sync. Then he's back over here to this tone. So from just that is all purposely done. Neutral gray gown, why? Makes the red standout. Green. How do I know this is an opposite? As a student, how do you know? They say, "Green is the opposite of red." How do you figure it out? Very simply, what color is not in green? When you make green, there's no red in it. So red has to be the opposite of green. This is our water color here and you'll see that it lacks any pure colors. So now we're going to get to work. We're going to grade up a little more and then we're going to bring in the pure colors. Whether you're working in watercolor or acrylic or oils, or Photoshop, this will work. 5. Painting With Picasso: Now, in a forest, there's usually beams of light, so I'm going to leave that wet. Did you see what I did? I put some water there and then I'm going to take my orange on either side. I don't want to destroy all the white because I can't get it back. First I start with a few beams of light. I'm going to cover this section here, keep a few little white, maybe padded a bit just to break it up, leave a little bit of white showing. Bring it along here, skipping a few areas where there's white. I'm going right over the rock here. But to leave a little white in the reflection, can always change it later. So there we go. All the water is going to get a pinch of the orange. Now, what this creates is what's called a tonality. Tonality in painting is not the dark and light. It's really the overall feeling or the overall hue. Now, see that nice white spot there, see the whites really pickup. I think I'm going to do that one or to look like a big tree, is a white, white, white a little white they're, a little bit darker here. Look, it's collecting here. See that. I was going to tilt it, tilted up. Let it run where it may. There we go. Gets the job done quicker. Dry paper is very important when you're putting layers on a water color, even on an acrylic. Now, because I'm using acrylic watercolors, the paint is totally in the paper. It's not moving anywhere when it's dry. If you're using watercolors, depending on the pigments you using, especially the granulate at once, like ultramarine, the pigment can get picked up by subsequent layers, even when it is dry. I find with acrylics, it you can start your pitch and watercolor and finished with acrylics. Acrylics do dry exactly the way you put them on, whereas watercolors dry lighter. I'm using acrylic watercolors, which is just acrylic paint that's been thin down. But you could use watercolors just as well. Let me show you here is a Hansa Yellow. What I'm going to do is take some fairly it's a little thicker because it's dried out overnight. I'm going to show you how intense I can make this orange. If I put a little bit there, I'm going to pick three spots to put this yellow and then develop it into another intense orange. I'm going to put a little bit up here, here the paper's dry. Then I clean off my brush and I disperse that yellow little bit into the blue there. I'm going to put some down in here. See how I'm rubbing it out like that. Great little technique. I'm not sure if you're familiar with Andrew Wyeth. His technique was a lot like this. Lot of dry brushing and then pour little coloring, spread it out. There we have three nice yellows, and because we have I can put a little more water on it, see, and I can bring it down in here. There we go. A little bit through there too. So if it gets a little thick, you could get up from one area. Look at that nice orange through there, see. That's the white of the paper. Remember with a watercolor, leave a little white. We're spreading that yellow around, see. If it doesn't want to spread, just to add a little water to it. That's how we disperse the yellow. Let's try it with blue. So now I'm going to take some ultramarine. I'll put a little bit on here just to show you. It's not too thin. I've put a little bit in there, see that's a pure blue sitting on top. Then I'm going to disperse it around with water. Notice that paint does go a little darker when you put water on it, see. But when the water dries, it will go back to the matte finish. That confuses people with acrylics, they look darker when you put water on them. But you'll see how I'm spread that out just like Picasso. He put a little bit in pure blue. Then we're going to let that dry so blue and of course we're going to bring some touted here. Simply because what's there must be here. So they're tapping it, see tapping it around the yellow. I'm sure Picasso took a little care when he painted. It looks like it just happened and he just bashed around with his brush. That's not quite true. I see a little dark there, putting it in, and I'm using a little rigor brush called this decorating. Decorating is very important when you paint. I'm looking for blue areas. Putting a little blue in. It doesn't have to be a lot. Just a little. Decorating my painting with little spots. I've done some bold things. Now I have to do a few controlled things. Everything goes towards making an interesting picture. There we go, couple of strokes of blue in there, right into the tree. Here's where we have a little fun. Fun is always when you can really bring a color out. So this definitely red. This is going to be our red section. So I'm going to bring over my red. It's just a simple alizarin crimson, which doesn't make a good orange. You can use a cadmium, but let me put some red on there. See how I put a little bit on. See it's cool here. From the edges, spread it out into my tree form. YOU know what? I'm going to go with a fairly intense red there and leave it. We have what's called a ponderosa pine here. The Ponderosa pine is full of oranges, and greens, and reds. Now, whatever's there is going to be here, so I will put a little red into the water here. I will do what's called losing it. I'll lose the red into the blue section here. Now I'm putting the red in the bottom of the tree. Pure red here to a more subdued red here in the shadow. I'll put a little red in here, and lose it. I'm really following my nose here, meaning I'm just looking at my painting. It's more or less telling me, there's yellow, here's a green. I'm going to heighten the green here by adding a little yellow to it. So now I'm looking for greens, and I'm putting some of the pure thin yellow and spreading it out. Yellow can look a little nasty, looks like I spilled mustard on it if you don't do it right. I'm going to intensify this yellow even more, being that this is going to be one of my highlights spots. Notice I haven't done anything to the rock yet. I'm going to use the thalo blue this time. Thalo blue is a little darker and more transparent. I'm going to put it up in here, right up to the tree. Just a little bit. I'm thinking that little Picasso and he would put little spots and spread them out. Now, if it's good on that side of the tree, probably is going to be good on this side of the tree. I'm going to pull that in here. I've now mixed up a little thalo thin, a little ultramarine, and a small amount of alizarin. We're going for now some darks. So you can see that it might need just a drop more red, or adjusting this dark gray because we need some darks. Nice. Now I do have a little orange here left over. I'm going to drop a little pinch of that in to neutralize the blue. Not too much but three or four drops. Let's see if that changes it. That's fairly dark. Little more. Remember, you can't go back, but you can always go forward in painting. That's better. Now what am I going to do here? I'm really going to get this tree back into the ground. So I don't mind taking one side of the tree. Putting this in here, adding a little dark here, saying what this darkening up the section, is called dry brushing because the paper is very dry, and just pushing it up to give some grassy textures. A couple good dark sections especially on this one here,can pull this in, pulling that up, that was fairly bold wasn't it?How about another one, three is good.We can try one more. Very well. It looks like my light is coming from here now just because of what I did there so I can darken this up and that's a little farther away. Little darker there and now I can get this little section in here. I can really play up this dark area here. Now I've established that the dark side is on this side. I thought it might be from here but be willing to make changes in your life and change directions at anytime. Nice we're done, little more dark here. Now I've got my reflection. See, this is going this way, so I'm going to put a little reflection this way. There's my tree here. Think I should darken this up a little and a little bit here. I don't think this tree will be dark but my rock, I drew it with paint now I can get that back and establish the rock as the white part here. Soften a few edges here in the water. Just with a little water, soften the water with water, there we go. Bring this down, let it fall down. Watercolors soften the edges. Acrylics soften the edges, paintings are hard-edged and soft edged. There's that quick brush stroke. Going to take a big brush now and I have my gray green and use a flat brush because you probably have one at home and I've put my gray green in there, but I'm going to add a drop of this darker gray. Now I'm going to put some dark swipes through here. I don't spatter too much but it does help once in a while, to give that feeling of a forest. Now that I have darkened here, I can probably put another swipe in here. What I'm trying to do is play this area here up. See I want to darken this area up here. I need to darken right up in here.I'm not afraid to make some changes in my picture,here is where the rag comes in. Good. That's better there, and now with a smaller brush, get some dark in the water here and I'm delineating my rock. My rock's starting to look like it's actually in the water. This is going to dry here. Put a little one more in there, little darker there. Remember those little lines we put it in a long time ago? There we go. I think I can let that dry. Remember things look different when they're dry. Put one more little dark in here. I mean, who knows? It could be a bush, whatever. Going to bring it right down to the ground and probably there. Let that dry. Put one more little red in there. That's it,now the side of this is a little bit too sharp and I think that we've done what we need to do here for a minute. That's great, that green there. Let's take a little bit of there, that's going to disperse that green. See, I'm just dropping it in, so it's a little bit of pure color in there. That'll probably be very good when it's dry. Just one more little dark, there. Take a break from it and let it dry. Sometimes, you really have to keep at things. I'm taking my rigor brush again and I'm re-establishing or strengthening some of the vertical dominance in the picture with just some little taps, you see? I can bring some of these forms down closer. Like there, breaking a few things up. This is probably still a little bit wet. Look at that, there's a bit of red on the end of this brush so it's making some great little orangey red marks. That's okay. You can also come from this angle. Pop a few in. You remember those little marks we were making before? I'm re-establishing, I may even bring this over a little more.See? Gives a little more presence by extending the length. Notice I'm just pulling the brush, I'm not patting it or trying to control it. I'm just working the brush like a tool. Two marks are great in a painting. Two marks gives you a consistent unity in line. Look how that tree is been hidden now, I like that. I add my last little dark in here and once again, time to let it dry, fan it out and drop a little red in here and there. Later that not dries, I'll go over it with a little bit of yellow to make it oranger, adding a few little red spots up here in the forest. Lots of red in the forest even in the summer. Neutralize this a little with some orange. Perfect. I see a little area there that needs cooling, right in here going to cool it up with some pure blue.I'm going to pop in a few little pure blue section,see? Remember the blue can be changed to green or whatever, whenever, however. Let us set little blue up here near the tops of the trees. There we go. 6. Picasso's Color Choices: With a watercolor, you can't get the whites back once you've painted over them, especially with thylacine. But you can make a small operation to bring some of it back. This got straight edge tier rate with the tree. So what I'm going to do is I'm taking a razor blade, because it's 140 pound paper, I'm going to just outline, and I noticed it's clogging up, so change it over. I'm just going to bring an edge over like this. Just to get rid of that straight line. I don't have to do much, just have to bring it over above like that. That should be picking up a little bit of that paper to get rid of that straight edge right here. Then I could just take the full blade, pull off the stuff on top, take a small piece of sandpaper, very small, just soften it up. There we go. Soft brush and now we've gotten rid of the straight line that was in line with that tree. We can fill that in later and even if we need to put a little more razor blade work into the rock, we can. I have a lot of blues in my picture. So I'm going to mix up a decent orange now. Not just a thin orange, I'm going to mix up a strong orange. So there's my red. I'm going to use this brush to put some yellow. I'm just going to pour some yellow in. I like these little mixing cups. They wash up well. Now that's a red orange and I want more of a yellow orange. So I'm put a little more yellow in it. I'm going to leave that there, see what happens there. Now I have my orange. Now, usually if you have a big brush like this full of paint, you'll want to dump some of it out of course, because it's too much for what we're doing. We're basically going to use this big brush as a tool rather than strokes. So I'm taking a look at my picture. I'm going to use the brush as a tool. A couple of strokes. I'll think I'll just use my finger for this. Putting some strong oranges on my picture. Not everywhere, just in certain places. Waiting for something to show up. That's going to direct me. The rock looks a little better. See how it's moving now. I'm starting to feel little more confident. The orange over the blue makes a good brown color. Leaving a little white. Pull little bit in the bottom of my rock. Put it in the reflection. Now I'm going to put away the big brush, take a smaller brush and where I want to soften the edges and blend up in places. I'm going to leave this like that. I take a smaller brush. I'm thinking right down in here, I'm going to get a strong orange. Don't be afraid orange, as I said before, just use it. That's a great strong orange. Got a little bit into my rock, which is okay. Remember, the white is important. Let's see what happens there. I don't want to lose that white edge on the rock. Now I'm thinking of the castle gray area, the oranges meet a very lovely gray and lifting off in certain areas, looking much better. I'm going to just take some straight blue, come right down inside here. That section up there and there. Darkening certain parts of the forest. Now, that's quite dark. So I clean off my brush. Coming right up to the tree there leaving those little white spots there. Coming right down on the top here to get some darks in the forest. So top part of the forest is usually a little darker because all the leaves are up there, branches. The best darks are transparent darks for watercolor. So I'm going to take a little fallo with a little bit of ultramarine and I'm going to take the alizarin. Of course darker paints in watercolor mean less water. Then a drop of the yellow. So there we have the three colors, the basic colors that we've been using and I'm going to now check and see how dark they are. A little bit too yellow. I mean, blue and a little more red. I'm just about out of the original red that I mixed. I'm going to check it. Not too bad. I'm going with that. I can move over here now and deceptive brush, it actually holds quite a bit of water, and I'm not darkening anything that isn't already or hasn't already been darkened. Remember, I can change the way something looks with a glaze. Now I can see a few of these little guys. They can be like broken little trees in the forest, the vertical. Now the thing about these brushes is they work well, just laying them down like that. Remember our branches. Sometimes you can just take, the brush is very flexible, and flick it like that. Gives you another look. So there we are. There's our pine tree. Don't make all the branch has come from the side, makes some of them come from the middle of the tree, such as right there. That's the middle. Some do come from the very edges. Some come from the middle, some are short, some are small. So establishing some darks in your picture will get it out of that mediocre value of just light and medium. See, I'm starting to like my picture again. It's really, as they used to say, a love-hate relationship. One minute you love it, the next minutes you hate it. One minute should feel secure, next minute you feel insecure. I feel that I've done something worthwhile to this picture here by establishing a few darks. I'm not going to get too carried away. But I am happy that I've established some darks and I'm going to let them just sit for a minute and take another little break. 7. Why Picasso Loved Cadmium Red: Now, remember the intention of this entire class is not to lose sight of who's teaching us here. The painting that Picasso did and putting this next to it will restore your confidence that you're going in the right direction. Sometimes those little inner voices direct us in the wrong direction. So putting this back to where it was intended, I'm looking that this blue or this is stronger and this is last blue and darker. So gradation, keep that word in your mind, grading or scaling. There is the ultramarine blue. The brown shirt did come out nicely. Let's go after a little bit more of the brighter orange right here, see. We're going to scale up that orange right here and maybe even here. Now, that one is almost identical to somewhere in between these two. We're back on track. Now, with acrylics, of course, you can mix white with your paints with watercolors we don't. But we still can use thicker paint with watercolors as long as the paint is thinned with some water, you're okay. I'll even use the top of my little yogurt container, see here's pretty thick. So I will add some water, or you can dry brush it, like I said, Andrew Wyeth would put it on a little thicker and then dry brush it out. But to make an orange strong, and we're going to select one section which is going to be right here. We're going to try and match this orange to here. So what I'll do is I'll put a little bit of the yellow on like that, and then I'll take my little brush that will thin it over it. Then another application. When that's dry, we'll put some red over it. Now, we'll see how that works there. Let's look for a place where it's a little lighter. Oh, how about right in here? Look at this. Now, that's brought that out nicely. Look at that. Let's go looking for some thinner oranges there. See. Brighten that up nicely. Let's put this yellow on here to up the yellow. Look at that. Let's put a little bit on it. There's one, I'm going to put a little bit in here. I'm having a good time here now. Now, I want you to repeat this word, is very important. The word is embellish, decorate. Decorating is important in your picture. Decorating consists of adding touches. Little nuances going from warm to cool. See, here's cool here and warm here. I'll put a little bit on here now. This is my last video I'm going to use, will be right here and I'm going to make this my benchmark, orange right there. I'm bringing out the cadmium red. Our azo red is great. Quinacridone red is another great red. But cadmium red is cadmium red. Now a tube of cadmium red for watercolors will last your book 27 years. You just don't use it too much. It's typically the most untransparent paints that you can find, but it really is a wonderful red. So now what I'm going to do is going to show you how to use a thicker watercolor paint or if you're doing acrylic watercolors, a thicker acrylic watercolor paint. So I've gone to a little bit of cadmium and I'm going to put it in one spot and let's see what it does. Then I do thin the edges just because it is a watercolor, and I'll put one more little spot on it. Now I'm starting to see other reds that can be picked up. Meaning highlighted, or brought into dominance. There's a little one there. Have you ever been in the forest, there's all kinds of colors. They're just not all in the same place. So I like to put three there. That didn't that's too strident, so we just tap it out with a rag. There we go. Now, what I'm doing here is I'm really thinning it out, fanning it out. This is going to represent a tree that maybe has the bark off it, the cadmium. There we go. There's a little more. I'm going to put it in the shadow area here. That's really going to stand out here. So you can use watercolors a little thicker as long as they're thinned. Gouache would work on this too. Or like I say, acrylics would work. I got a nice little pattern going here and especially on the side of my pine tree. Remember, we were going to make that. Now, this is dry brushing on nicely. See the brush speeds up. Here listen. There we go. That's enough random little spot rate in here with the edge of the brush, there. I'm leaving that, that's enough of that red for now. It's okay if watercolors have opaque sections, they don't have to be 100 percent transparent. There is a charm to a 100 percent transparent, but there's also a solidity to a little bit of opaqueness. So what I'm going to do is mix a little bit of this blue into my red because I've had enough of that cadmium red. I don't want to overuse it, but it will make a great color. See cadmium and ultramarine or thelo. The cadmiums do make wonderful brown's even block because they're so thick, they produce a wonderful dark. So let me now take a little of this dark and drop it in with my rigor brush in sections of the painting. Remember the paint is flowable. So it's still considered watercolor. I'm going to make the top of this tree dark and a couple more branches coming out. Branches usually in the forest are broken, but I'm going to make this one long. Some of them are quite long. That's coming arrayed over. What I'm going to do is I'm going to dark on one side of the tree, and then I'm going to take my little brush and feather the edge. See over towards that red, look at that red mark. Remember, coloring doesn't have to be something, it can just be there. I'm really going for my darkest darks now. This is my pine tree. I could get some texture in the pine tree by going like this. Give it some bark texture. We haven't really gone into much on texture. I like that. Now we're moving back down to a few areas in here. My darkest dark is going to be this color, the cadmium red and the thelo blue or ultramarine blue. I like this almost L shape here. I don't know why, but I do. Rub it with your fingers. Right in here. A couple of little cracks in the rock or the water. Darks are really exciting if you can get them. There we go. I think that's quite enough for now. These are a little bit too nice. You bang them up a little bit. See. Make them go right into there. Maybe make them move just a little bit bigger there so it looks like it's coming forward. Put that tree back in the ground. Remember, we haven't even really glazed on this picture. You just can't do this in a 15-minute class. I'm sorry, I can show you how to make a tree branch in 15 minutes, but to actually learn something that is going to stay with you, the class has got to be a little longer. That's just the way it's going to be. Hard edge line break it up. Don't leave it, get a little texture in there. Good. Here is a very handy brushes. What I'm going to do is take a little bit of the dark that we put in there. I'm going to pull it right through here and this one. Let it sit for a second. Spread it out here because that's part of the reflection. Then soften the edges here, which is very easy with watercolors. Reflections are always a little softer than the top. Now I have some more verticals here. 8. Final Touches : Cleaning up few edges. The sharp blade is what you want, not a dull one. What you're doing is just picking out some white areas with your blade to capture. A little clean look. I'm just pulling it in, a couple scratches here and there. Not too much. Put angle here. We put one around here. Just a little white accents. There we go. You can even pull it down the side of a tree like that, to get a little relief. This is a 140 pound paper. Can pick up a little on the edge of a branch like that, and pick up a little light. A couple little light there. Pulls it forward through the trees here. If you go too much, it gets overdone. Clean up an edge like there, this paper's fairly thick. So it looks great. Put a little reflection in their, perfect. Still think this needs just a little darkening before we take the tape off. Right, you're there. It's very obvious what we need to do there. We're going to take some of our blue and not too thick. But we're going to take our blue right in there, just like Picasso did. Put all that down. Now the Rock stands out a little more. We might want to put a little more that blue over here. This is obviously faded blue. See how that's picking it up. Got this blue too. Bottom of the rock there. That is good. One more here. Don't be afraid to put in a few little things. There we go. Thick deep off, the moment of truth, it's going to find the edge. This one is the last part of the tape and I signed it. The tape is a bit of a ceremony and we always pull the tape away from the picture. There we go. We did it.