Loose Watercolors: Painting Vintage Glasses

1. Vintage Glasses in Watercolor: Are these just divine? Being an artist means we're inspired all the time. And I love me some Vintage Glasses. But a lot of the time when we're inspired by things are also pretty overwhelmed by the fact that we can't quite do it. I want to make that easier for you. I'm amarilys Henderson and I am a watercolor artists, so I love representing things that I see an am inspired by and doing it vibrantly with Watercolor. My ARQ has to be on surface designs like this fabric or like this glass. Now I obviously didn't paint this glass, but I did in another class right here called cocktails. And then they became little ornaments. How found is that? Now, these weren't painted, but I am going to show you how to paint Glasses in four easy steps. It's really not hard to do glass with watercolor. If you just get these four steps. And I'll show you how to do simple shapes like this, such pretty Forms. And we'll also dip our toe into some Depression Glass. The kind that has these cool little facets on it, that can be pretty tricky to represent visually. If you're into that, let's do it. Let's do some Vintage Glasses together. 2. Key Provisions: Alright, let's get going. This is not going to take very long because I know we want to get painting, but you want to make sure that we have all the right supplies. I am showing you a shot of just what you're gonna see for the class so we don't miss anything and you know exactly what I'm talking about. Here's a little overview of all the things that we'll need. It's not a lot and I'll walk you through it right now, starting with the easiest part, our Watercolor paper. So as a standard, I don't go anywhere under 140 pound, 330 gram watercolor paper. And this is just my sketchbook Art Journal. It's not a huge sheet of paper. I really want to encourage painting more often. Not necessarily painting with all the great stuff. I have a reference photo that I really just took on the fly and used a lot in this class and I have included it in the resources as well. Now onto the paints. If you haven't used fluid watercolors before, that's totally understandable. I however, am a huge fan. These are the Dr. Ph. Martin's radiant concentrated watercolors. They are fluid, so we use an ink dropper to take them out and put them in a palette. The colors are really vibrant. And the reason why I like to use them for something like this is because something that's fluid and light is going to work well to interpret that kind of a feel. If I wanted something that was more textured or a flat color, I'm going to use something else. But these paints being fluid flow through water, which is that magical mechanism that we use in watercolor. And they do so in such a way that it feels a lot smoother and also mingles with other colors beautifully. I listed the colors that I used here. Of course, these glasses can be any color you want, so don't feel like you need to be tied to these color schemes. Our final touches are going to include white. I mentioned Chinese white. I basically mean the white Watercolor that usually comes with whatever paint palette you're using or whatever paint set you're using. So that white is going to be a little chalk here. It's still not going to be an opaque white. It's going to be translucent just like watercolor paint is. So you're gonna be able to see what's underneath it. To really upped the ante. I will use opaque white when I really want it to be just white and oftentimes straight from the bottle, this tiny bottle is about the size of a nail polish bottle. They come in larger sizes, but I like to keep it small because sometimes they do get dried out and crystallize, get a little funky. So might as well by small and replace it. Now for the key part, brushes, I am in love with flat brushes. That seems so strange, but the more you get to know me, it'll just be not surprising at all. You'll watch me use two of these brushes. I'll often start with a large flat brush. I don't really like to give out sizes as much because they vary from brand to brand. And so a size 12 might look really small in another brand and really large here with the Mozart supplies, I like to give you more of a benchmark is a little more than 1 " wide. And then I use another one that's about half an inch wide or a centimeter. And these are going to be really pivotal in creating the shape of these glasses without really having to work too hard. Now, most of us are used to using the round brush. It's very versatile and we use it for everything. So you will have the opportunity to use a round brush. You can use it from beginning to end. But what I like about the round brush is actually maybe a bit of a strike against it. The reason I like the round brushes because you have so much flexibility, you can basically draw with it. But that can also create some really curvy lines that you might not want as the edges of your Glass, which is why I like the square or flat brush. It's kind of interchangeable term square, flat. And yet the round brush, like I said, it feels like a pencil or marker in your hand. And so it's really on you to draw that glass, to draw those dimensions. And if you're going to fill that color in, you'll need to add a lot of water and be dipping back-and-forth like you're using a dip pen. I don't want that for you. I think that square flat brush is going to do the trick a lot faster and a lot easier. Now you'll probably hear me refer to tip Tuesdays. And in our tip Tuesdays, I did a series on these glasses and I didn't want you to miss out on that. So I brought it here to go through them a little quickly. They are to be read quickly. Anyway. We went through four elements of creating fantastic Art, which I call core. Here we're talking about composition. Here is a look at a different type of feel that you can create with different compositions, depending on what kind of A piece you want to portray. So if you want to go dynamic, if you want something that's calm, or if you want something that is narrative and just tells a story just a little bit with the same subject matter. Finally, I talked a bit about how to create a decorative rhythm. And I know that a lot of us are really interested in surface design or want to see our artwork on products rather than on prints. And I alluded a little bit or gave you guys some tips on how to create that. Look, if we want to have them overlap, if we want to create something that's aesthetically pleasing, that weren't going to create something that has a rhythm to it. That is got some calmness at the base of it, but some dynamic element through that repetition, through that rhythm. So that was one-week talking about composition. Oftentimes in these emails also share color scheme. So color is another core aspect. And here I went through how I got to the colors that I used for these different sets of Glasses. I initially started painting these just for myself and recorded them shared on Instagram Reels. And then I decided that so many of you were interested in knowing more than I wanted to share how I got there beginning with the color schemes that I used. Something that I really like about sending emails is sending gifts. I don't care how many of you telling me that they're called Jeff's. I still call them gifts. But at any rate, these these tiny video snippets just kinda give you enough to see here I'm building up values. So that is something that we will do after creating the basic form of start really diving into creating some value and some contrast. Here I show you two ways that we can do it. A softer way of going about creating values, and a stronger sharp way of cutting into your values, which is actually the Watercolor term used for when you use that square flat brush on its edge that way. Finally, let's talk about highlights. And in the same vein we're going to show, I'm showing you how to create soft highlights by creating a little bit of a well of wetness for that white paint to fall into and not have any hard edges, as well as some crisp white edges that are full on white and just stark lines. Now all of this we'll touch on in the class so you're not missing out on anything. But if you'd like to have these in your pocket and emailed right to you. I'm gonna put a link in our downloadable PDF so that you can do that. You'll also find a link to purchase fluid watercolor paints if you so choose to, you batteries at 20% off discount because, why not? It can be applied to your entire cart and Dr. Ph. Martin's dot com. Are we ready to paint? I am. I'm done talking. Let's get to painting these beautiful glasses. 3. Step 1: Three Easy Forms: I'm going to quickly run over the tutorial for how to paint these glasses. I have a lovely reference photo that I'm happy to share. I saw these glasses at a winery in Naples, Florida. I'm sure there are other places, but I just love these shapes and the colors. It's just was like so pretty. Let's keep that here. What we're going to use is a flat brush shocker. I personally, if I can get more length with my brush hairs, I'm gonna go for that. Sadly, these are skew because they were in my purse. I'm going to go with more narrow but long and try that out. And if not, I've got this one as a backup. The reason why I want to use a square flat brush is because whenever I want to have a flat edge, that's what I'm going to pull four. I could go bigger. I really could use any of these. I'm going to try this one. This one offers going larger. What it will do for me is that one, of course it will cover more ground, but also the line will deviate less when you have a smaller brush than it's easier for you to shake and not to have one flicks whoop. And as much as possible, I want to have one slick swoop, but I'm going to use this one because then for the stem, I can use the same brush. When I painted these previously, I used two brushes, a big one and a smaller one. I think that's definitely the best mode of action. But I'm going to use just the one medium can fall in the middle so that this is easier to just try out. And do you just need one brush, right? Okay, So I'm going to create my colors with a lot of different strokes. Create a box and then swooped down in the bottom to scoop that base, line up the top to create the ellipse. I was, I have been starting with that M0, but I'm going to try this two different ways. First, putting down just one line. This is the side of the glass. Maybe add a little water and just create stripes across to make a box. These are obviously not perfect and it might even dip into a different color because I can. I like using different colors whenever possible. It doesn't have to be perfect because at the bottom here I will connect them. Start out with a small soup, nothing really dramatic. And then I always have the freedom of adding more of that curvature. But if I start with the curvature is gonna be hard to go skinnier according to this shape. Let me go ahead and define it a little more. You see that oval, I'm going to try to mimic that same oval shape here up top. I only have water on my brush. I want this to stay light. And I'm going to add a little more water because this opening, I want it to feel different from the sides of the glass. And so if I add in more water, hopefully with a little more time to sit there, it will repel the color that's there, at least in part. And that'll come out looking a lot lighter. Now for this stem, again, this is why I used this kind of medium-sized brush. I find my center. It's okay if I go a little further up into the glass than just the bottom, because this does connect to it here, right? And this is glass and we can see right through it. You can do that. Or you can decide. I just want to start from here and go down. That's fine. If you did the little nub in and you don't like it, but guess what? You can add your water, let it sit there and it'll push to the edges of that puddle and not stay in the center. Then let's make the base of the cup, of the base of the glass as much as possible. I'm trying to mimic these shapes. I'm not starting out at this width, I'm starting more narrow because I can always make it larger. So what I do is I create the arch with the top of my brush still using that flat brush, whip around and make the circle by angling it in kind of direction that you would a pencil. So sometimes you'll notice I pick up my brush and I work this way. Sometimes I work this way because I want it to be flat. And this time I have it at a 45-degree angle from my page. To create this ellipse. Ellipse is just a fancy word for oval of any sort. So it could be a circle or it could be an oval. But when I call it an ellipse, then it can be either adding in a little dark here to differentiate the edge. And that is my first layer. If I want to add more color, I can, this is still damp, but I can add more color. It is a little damp. By creating a stripe and then adding more color. You decide if you want to add the stripes of dimensions of color. Once it's dry or once it's wet or both. I like to do both. Because if I add these little bits of color, once it's, while it's still wet, then I'm not going to have hard edges on those lines. But sometimes it is fun to have those hard edges and so I like to have both. It adds to the iridescent feel of the glass. So that's layer one. I'm going to try this in a different step-by-step method, starting with the ellipses. I think this is going to be more difficult because ellipses are something that are hard to master. Something that we talked a lot about inert school. Because if you can get these right so that you don't have anything that's too pointy on the ends and to round at the top. So it's more like a circle or something that's asymmetrical. If you can manage to hang that and creating great ellipses and you can really draw really well, trying to make these line up nicely. But I'm going to take my advice again of making it a little small. Whenever I make a circle, I do start small and then I can always build up and expand around really faint lines here. I hope you can see that the stem, while we're down here. And now I can add these dimensional kinda lines. I'm gonna go ahead and get that larger brush so you can see a little bit of a difference of how to handle this approach with a larger brush that is also a dirty so we'll see what color comes out. Since I already have these painted, I'm going to start from the center. Because that way I can angle a little more in this approach. It's a lot more freer to create these parts. But the advantage of working in this way where you're creating the ellipsis first is that you know what size you're going to end up with. Sometimes it's hard to predict what size you're going to end up with when you don't plan ahead. And if you're like me, the size of your paper does matter quite a bit because I end up just working to that size that I have, that proportion that I have is quite an interesting looking glass, especially since I my brushes dirty. So it ended up being blue and orange. I'm going to cover up all the orange parts of the little bit of blue. Because otherwise, we're going to wonder, does this glass have a different color on the inside? And if it's glass, they shouldn't be able to see right through it what is going on here. But yeah, I just wanted to try out what it would be like to begin with the ellipses rather than with the downward strokes. And I think I still am in camp downward strokes. This edge isn't very clean, so I'm going to tip my brush to be a bit more perpendicular. Whenever I'm creating a line with the flat brush, that's what I do. Just use the tip of the brush. Instead of using the body of the brush. Right now I'm using the body of the brush. And right now I'm using the tip of the brush. So it was kinda nice that this was a light peachy color, like a base color. And now I have this darker blue to help bring it together. And that's what the color that it's gonna be. It's darker than the first one. So that worked out pretty well. Now to get that fun dynamic color play we have going on. I got to bring in another blue while it's still wet. And you really can't go wrong. You can just do half way down. You could use a larger brush, smaller brush, and brush of a different size. But the one thing that you don't want to do is do so many of them where you end up having all the same color again anyway. So pick up your brush, maybe blot when you get a little carried away. Because if you lay down the same color everywhere, Guess what? It's going to be one color. And we're going for a nice, really colorful play. This point, I'm just pushing color around and make sure that it's lining up with the lines that I want to create. The edge of the rim of the glass and maybe even blot or pick up some paint here at the bottom. That is our first layer. Not too hard, right? For the more wine glass shape, one that is curved and not flat. It's going to be very similar to this process, except that we're not going straight down, right? We need to be able to swoop. In. The harder part of doing this kind of a glass, even though it's the same process of creating lines all the way across. B it with that color or with a different color. I don't care. It would look more realistic if I let it be watery in the center and just added color to the edges. But I like to bounce back and forth there. But the hardest part will be making this symmetrical, making this contour. And this contour. Contours just a big word for outline or silhouette. Be symmetrical. That's not too bad. We don't have a base to worry about as much because we created it. We were painting this bottom. But it is kinda nice to, to create that ellipse and add some water as we did before so that it's a little more transparent here on the bottom. You have a sense for the depth of the glass. Create my stem. I tend to create stems where I think is the center, but it's a little bit to the left probably because that's where I am. Here I go making my base of the ellipse at the bottom, the bottom of the glass. When you are doing this one, the width of this circle is not as wide as the voluptuous body of the glass. So do start small because we don't often have wine glasses with a wider bottom. I got a little light, so I'm going to add a little paint. Let that sit. Resists 4. Step 2: Adding Dimension: Alright, now that my first glasses dry, I'm going to start with the second layer. Now we're going to be defining this shapes. So I want to come back to my photo, take a good look at it and think, where do I see some dark areas? When I start to get tighter and my process, I often like to switch to my two paints. I've been using my fluid paints. Obviously. They work well too. I just want to have more control and this is a shortcut to that. Glass is not red, it's kind of a pink, which makes me want to use the read. These areas that we can define, they can be defined with darker color or they can be defined with lighter color. It all depends on how the light hits. And they don't need to be outlines that go all the way down. We can stop right there. We can create another line over here to define the base of this goblet. And we are working with the same brush, kind of a medium-size. You can go to a smaller size. We're just trying to add little bits of dark. There's a little bit of dark to show the light on this rod, so to speak. It's a nice crisp edge. There's a little dark on the base here, not at the edge, but around here where there's a rim of a pool of glass. Maybe a little dark over here, not going all the way to the edge like this one did, but going to the edge of the inside. So we're considering that this glass has a thickness. And so we want to allow a little bit of space for that. I like how this line right here doesn't go all the way up to the edge. This line. I'll just further accentuated pressing down so my paint runs out, goes to the inside edge. So we're constantly playing with that inside edge and outer edge. When we're looking at a glass, we've got the glass on the back, half, the glass on the front half, and then the glass on the inside, back and front. As I run out of paint on my brush, I'm going to start to get a little looser so I could go back to saturated color, but I want to dry my brush a bit so it doesn't have very much paint on it. I'm taking off the excess so that I can start from the top and just kinda flick downward. This is going to create a little bit more of a dry brush look. So right in this area, we have wet gradient. You can see that it looks like tie-dye and we have a little bit of dry. Let's try that again so you can see it better. Let's flick from the bottom up. This does take quite a bit of hand control. You'll want to use your elbow instead of your wrist. Your wrist will curve into a smaller curvature. But your elbow will create a bigger curvature. So you can't even tell that this line is bending as much as you would this way. Like I said, I'm feeling adventurous, so I'm going to add little bits of a completely unrelated color here and there. Let's refer back to the photo. When we start to lose steam, I noticed that there are these little patches that aren't really following any lines. They're just little patches of darkness or color being reflected by other objects. Those kinds of things you just don't think about when you're not the artist. So then you would admire when you do see and artists do it. Look how much prettier this. Then the first-class we had that didn't have the little bits of color that first layer. Now this isn't dark enough just yet. It does need to go a little darker to really finalize this dark layer face. So I'm gonna go to a smaller brush. I feel more confident with a smaller brush because I'm not going to do as much damage. This is a size six, but really, I mean, if I were to compare it to a measurement, it's a little wider than a quarter of an inch, maybe a third of an inch. I'm going to bring in some very dark areas. My very dark lines and bits of line are going to come in within the medium dark areas. These are times you hold your breath because you're doing just a little something. You're getting tighter with your grip and getting more selective about where you put your paint down. Sometimes you might just want a duck and it doesn't need to be aligned. We can just do a little, a little rectangle. Maybe you want a nice crisp. That's okay. Kinda like it. Make yourself like the things that you do. A very crisp line. Because now we've got some dark paint. Little brush. This is your chance to shine. You can even go horizontal. And I'm going to add just a tiny board, morbidity, dark right within here, because I thought this was going to be the darkest area. This is done with the second layer of shadows 5. Step 3: Two Levels of Twinkle: I'm going to go ahead and jump ahead and just do the light highlights. I am digging into my Chinese white. It is not that strong, so I absolutely have to dig into it. Now as we're talking about the Twinkle, please. We're going to use this even less. But we're going to just create these tiny bits of light here, in there. These can write up to the dark areas. Remember that the highlights we see are gonna be mostly on the front side of this glass. I'm not going to say create a highlight of that back half of the glass. I'm going to create a highlight on the front half of the glass. And when I feel confident, I might even just create a straight line all the way down. But while I'm not, I can create little flicks, little, little tiny glimmers of light. Because these, these light glimmers are actually reflecting the light and not the glass Shape necessarily itself. So the lights are the ones that we see reflected. They just conform to the shape of the glass. I'm not really creating the form of the glass anymore. I am talking about how it shows its environment. It's reflecting, what it sees. What do you see? Little Glass. My paint is drying. It's kinda FUN. Makes it look kind of Frosted. Really easy to get too much white on there. But this white is not that bright in terms of value. It's kind of a bluish or grayish. So I tried to push my Chinese white as far as it could go. That's as bright as it can. I'm going to reach for my copic white, which is my brightest white medium. It's opaque, whereas the Chinese white watercolor is not. So of course it's going to be darker. I'm going to use a round brush just so I could get very little bits on here. This is pretty wet, so it's going to put it in there, but it's just going to mix in with what's already there and not show up as very white. So much, so much FUN that I know I have to kinda keep myself on a leash. Get what's left of that white and gold. It's a little touch that I'm not sure the beat viewers are going to appreciate as much as I do. That's okay. We create for ourselves first. So those are the steps we lay down the color with our large flat brushes being big one, or middle-range. Middle-range will also be able to create the stem. So we can either start going this way and create a box with a curved bottom, oblique top. Or we can create the ellipsis first and essentially connect the dots. You might want to try both and see which works better for you. When you're creating with the wine glass. Then create that bottom as you go. Then at the end, a little puddle on the bottom. Dark values with either the same brush or a smaller one. Little punch of color. Just to add some variety. Dark values punch of color. And then the highlights. We did the full glass here. Even my white actually went back a little bit. You don't want to knock it back? I want some nice bright oh, there they are. Yes, they are. Sometimes I just go straight to the page because I don't mind if it gets a little globs sometimes, like I can deal with some faux PAS. I actually think that's what makes our Watercolor work look really good. That handmade touch can't replace it, right? 6. Depression Glass 1 of 2: Trying to make these line up nicely. But I'm going to take my advice again. Making it a little small. Whenever I make a circle, I do start small and then I can always build up and expand around the stem. While we're down here. Since I already have these painted, I'm going to start from the center. Because that way I can angle a little more in this approach. It's a lot more freer to create these parts. Now to get the fun dynamic color play we have going on, I got to bring in another blue while it's still wet. Okay? Now, what I wanna do is add a challenge for those of you who are waiting around for this class. Yes, I will do it as well. It'll be a nice kind of wind down. You get it. It's a wind-down. First yet while our momentum is up, let's transform these flat edges into something a little more like this. Now you can tell that my painting is dry. I am just going to add a little bit more dimension to the sides. Maybe a little roundness here, and we will be there. I don't even need to have the exact same color on my palate. That's how confident I am that this is going to be just fine. But for those of us who need a little more encouragement, I'm going to begin with just kinda these smaller touches around these edges. I like to have a variety of blues, in this case blues, but a variety of the same color at hand. So that I can bring in just some different amounts of fun. You saw that I added a little bit to the roundness. There may be a little bevel emboss there. At least that's how I have learned to talk about it using Photoshop extensively. But really what I'm doing is I'm building up the dimension of this with the same step as the value step. So step two. So we're gonna just kinda presume that we already have this here. Since that was dark, I'll bring in a little squished together shapes. So we have these round teardrop shapes here. Instead of filling everything in, I'm going to let it be white and outline a little bit. So it's almost like it was always supposed to be there adding a little bit of that cutting and rim that we have before. But this time being a little more intentional with how we are bringing in more shape to our glass. Switch it up. But like I said, I have various blues here. This blue is ultra blue. With this blue, I will bring in that roundness that's supposed to be there. I've lost my place a little bit on my palette. While it's still wet, I can drop in more paint here. Adding in a little bit of darkness right on that line is going to help soften the edge that was already previously. They're bringing it a little bit of darkness there too. Let's do the same on the other side. But this time with more concentration of paint. So on either side of these, I am taking turns between bringing more paint or bringing more water to the mix, or even just letting it show white paper. What's cool about this design is that we're going to have so much going on that I don't think we're going to miss the edges that were already there. We're not going to notice that as much because there will be so much that our viewers are going to be looking at between what was showing with the dimensions of this depression glass and then getting the shape of the glass down. I'm already bringing in some of the round shapes that are within the design of the glass. I don't ever feel a need. Don't ever feel a need to copy your reference. It is a reference. It's there for you. It's there to serve you. So if you feel like, Oh no, I don't have enough space in my painting to represent what I see here. That's okay. Just altered the design a little bit. Maybe you don't have space to do these tiny little bubbles that are kind of a border there. That's okay. You just skipped that. Maybe you want to add a line instead or skip it completely. You are the artist where there is a depression, where there is an imprint into the glass. There's also going to be an area around it that bubbles up. And so where I see this as a bubble down, I'm adding water to soften the edges. Sometimes you want softened edges, sometimes you want harsh ones. But you'll see that what I'm doing is I'm actually lifting some of the paint. I'm saying, oh no, now I can see that edge again. So let's bring in more paint. Let's bring in more pockets of paint around the ovals, not completely around. We want to just have hints of these, of these colors and let the viewer really kinda put it together. I'm even using the tip of my brush, which is creating a little stippling effect of, I don't know I don't know what texture It's okay. You're saying that Amarillo is how am I supposed to have the confidence to just ad lib like that? The difference is that I have let go of needing to represent this glass exactly the way it looks. I'm thinking about the dark areas. I'm thinking about how to bring in a little more water to lighten things up, a little more darkness to darken things up. I am thinking about when the light hits something, it never hits it from both sides. Unless you're doing a video like this, then you have lights on either side of you. But typically you have lighting coming from one angle and it affects the other one, then the other angle is not going to show in the same way. If I have a lot of darkness here, I'm gonna, you think, you know what? There's gonna be a lot of light up here and maybe there could be a little pocket of darkness, almost like a twinkle. But that's all I'm gonna do with this class. I have a PDF that has some heightened values so that you can really simplify your subject matter and just see it as shadows and lights, darks, shapes. Not as pretty glass that you're really trying hard to represent. 7. Depression Glass 2 of 2: Alright, I think I've gotten a little out of control with those values and those bright touches of color. I'm gonna go straight to highlight now with my white. I was using at first Chinese white, but I think that I have so much going on here by way of the other dimensions that I'm gonna be really sparse with this Chinese white Step and go straight to the bright white Twinkle. I put some in there just for those of you who like to follow a step-by-step and feel like you're being cheated. If we don't have every separate presented each time. Changing my brush to a small brush. This is a small four round. Here's where it gets a lot more FUN. What we're really enamored by in this Depression Glass is ahold of Twinkle. There's so many Twinkle. If your paint is wet in areas, your white will bleed. That can be beautiful thing. Or it could be really frustrating if that's not what you're going for. So if you look at your painting from the side, give it a good look. See where there might be puddles. But the best advice I can give you about adding these highlights is to keep them small. You can always make them longer. You saw me do a swoosh with the white here. I felt more confident to do that because that was Chinese white and it's not as opaque with this much more opaque white. I'm really just making smaller, smaller strokes. And if I want to, I can extend them. I can say, You know what, I do want that all the way across. When I do a smaller stroke, I have the option to do so. And smaller strokes make it look a lot more quickly, like there's a lot of small lights bouncing off of this Glass and really, really making it look beautiful. The time to use some of those sweeping strokes is when you're needing to represent a wide longer form. So these lines, if you're trying to create a straight line, little by little, it's actually going to be harder for you than to do so with a longer brushstroke. It's just going to be smooth or kind of like brushing your hair. You wanna do it in one long swoop. But if you're taking out a tangle, you just do a little bit at a time. As this dries. I admit, I might come back to it. I might say, You know what, I want to give this a little more, whatever. But I do need to let it dry and give it a rest. Let's move on to this wine glass and add a little Vintage touch 8. The Wine Down: The harder part of doing this kind of a glass, even though it's the same process of creating lines all the way across with that color or with a different color. I don't care. We don't have a base to worry about as much because we created it as we were painting this bottom. But it is nice to, to create that ellipse. Create my stem. And here I go, making my base of the ellipse at the bottom. All right. Our wind down is going to require a round brush, maybe two, depending on what size your glass is. You always want to work proportionately to the size of your subject. I'm going to start, I always start bigger. We in watercolor go from light to dark, from big to small with our brushes, light to dark with our values, and punching up color as well. So we want to work in this way with a larger brush. I'm gonna do is something a little different than I've done before with the shading on this. I want to just paint with water. I'm doing one side of the glass. An ellipse where the bottle, the bottom puddles a little bit. One third, one-half to the side of the stem. And the line around the edge, we can always add more, but I want to show you a technique of actually dropping in. You're shading color, which is a darker variation of whatever color you made your wine glass. This is going to be a softer effect. So this doesn't have a hard edge like these lines do. Kinda gives it a little bit of a different fields, a lot more delicate. And if you are wanting to just really punch up color, It's fun to just let it sit and bleed. If all else fails, we can just pretend that we wanted to fill this wine glass and just fill it with some fluid. But you have to work fast when you're working with within little puddles of wetness than they have to stay wet before you start adding. Remain wet while you're adding color. Bring in little punchy color. That does not change. I just love me. Some punch. So my shadows stopped at dissipated. Now you can see some of these crisp lines. So it's fun to have both. Some reflections are very subtle and muted. Some are very crisp. It just depends on two factors. The light that's hitting it in the form of the subject. I'm getting smaller with my brushstrokes. Kinda change the form on that side better do it on that side too. Sometimes it's fun to show the curvature of the roundness of this glass. And for that, I created a washy, Well, for this paint to fall into. It's looking too jagged. I can add more water to again, soften that edge. So wherever there is water, the paint is gonna go, the paint is going to follow. I like that better because it's kinda rhymes and it sounds cool, I think sounded cool in my head. So you're going to see right now, this is going to bleed a little bit here downward. And I'm totally okay with that. It's not natural, but it's beautiful. Sometimes you need to embrace that. I'm creating a lot of my shadows within the rim of the glass, within the edge of the glass. And I could also, if I hold my breath, create the line of the class. Really hard to talk and have a very controlled line. But when you do that, then really you're using the paper to represent the highlight that might be going on there on the glass. It's a tiny little touch, but it's noticeable to the viewer. So pretty. I hardly need any highlights. This is so pretty. But I'm going to hold off on the highlights for that fun little touch and when to do with you. Now, I don't know, this might not be a great idea, but I was thinking we could add a little flower to the design. And it's only going to go to the inner edge. It's kind of a four pedal, really simple. Looking flower. This is wet, so it's kind of killing my vibe. Or maybe that's just part of the design. You know. I don't know. Actually, I get to say I like it, but I'm going to need to let it dry. While I let that dry, I'll do the white. I'm gonna go straight out of the bottle. Drink straight out of the bottle. Gosh, there's just so many good puns with this subject matter. I have really been holding back. So if you feel like it's overboard, just say thank you because I could have done a lot more. Mom jokes. I really think it's fun to add a highlight right in the middle of a shadow. That's how I have fun. Beautiful. Beautiful. I think our flower got a little lost because it's wet. Tell you what? I'm going to add an outline later. You're not going to miss out on much. It's a very simple outline. I have it in my head, but I definitely need it to be dry 9. The Final Shot: You have the three glasses. Now I know I went through that fast, but they build on top of each other. Actually. That second one is the doozy. But the first one is really going to be foundational for you. Something that I want you to know is that I painted a couple of dozen of these glasses before this moment. And that's just within the last month. And so they're one very addicting. We're addictive. I get those mixed up in there. They're just really FUN to play with by creating a lot at a time. So that way your layers can, can dry that way you can select slightly different color variations. And you can add differences in darkness and light and play with how much value you want to add. You don't always have to add the same amount of value. You might say, You know what, this one, all it has is the dark cuts and we're out of here. So you can play with those things as you create more and more Aziz. And you can keep watching this video over and over again or that vary segment. If that's what you need, always feel free to ask me questions. I am available. Let me know if there's any way that I can clarify things and make this a little easier for you. The best advice I can give you is to do several. My personal favorite use fluid paints. They will bleed into each other in a nice natural way. And it really just goes with the look of Glass. I hope you've enjoyed this class because I enjoy creating them. Follow along, sign-up for tip Tuesdays where I share valuable information every single week. It is the highlight of the week. And I'm really excited to then from that create this class. Knowing that that's something that you would enjoy and that you want to learn to. I can see these on a lot of beautiful surface designs, card designs, big Art showing up on a wall. I can see so many uses and purposes for these glasses. I hope you can two. And so as you get better and better at them, you might create a whole series your collection with these beautiful Vintage Glasses. Now you're empowered to do any beautiful glasses you like in watercolor. And think of what you can do with that within your paintings. Your surface designs, illustrations, your Art Prints. They go beautifully with flowers and food. Also really FUN things to do in watercolor and also other classes that you'll find available here to write in my profile. It's been a joy to paint with you because honestly it's always FUN and it's even better when you do it together. Show me what you've made and loved to see it until our next class together, I'm amarilys Henderson checked me out on all the social means or sign up for my e-mail newsletter. Love to keep in touch and keep painting