Transcripts
1. Introduction: Hi everybody, Thanks
for joining me today. I thought I'd do another
really, really simple, super easy listen for
just having a play, having some fun with
some small landscape. So we're going to do some
of these little logos. These are not meant to be
beautiful finished paintings. These are just meant to be about seeing how
the paint moves, making different marks
with different brushes. Getting full tonal
contrast, I suppose, is probably the most
important thing in showing you that
you don't really mean. You don't really
need to think a lot. You don't need to
do a lot to give a little landscape painting,
these little thumbnails. I don't do a lot of
landscapes, but when I do, I find that quite difficult
and I'd like to do these little thumbnails
until I hit one that I like, and then I would make
that a bigger painting. So that's what this is about. So I want you to
not overthink this. Have some fun, pick some
colors that you like. It's as simple as that. So we'll just get straight to the materials and get painting.
2. Materials: Materials that you're
going to need for this, obviously you'll
need some paper. I'm using 300 gram Arches,
cold pressed paper. Scraps actually
all of these have got paintings on the back. So just whatever I've
got lying around. In terms of brushes, I'm just using two. I've got a medium
flat synthetic brush. This is happens to be
an eighth, 987 on it, so three-quarter
inch and then I've also got just a little
round synthetic. This is a size two brush,
doesn't really matter. I quite like the flat brushes. I haven't used them very often, but I've started to
use some more paint. You can use whatever you like. Whatever makes you happy. Pick one color for
the first one. In this one I'm using
Daniel Smith indigo. This one here, I've got Winsor
and Newton, French ultra. And Winsor Newton burnt sienna. This one here, I've got Winsor
and Newton French ultra, Winsor and Newton yellow ocher. I've got Daniel Smith,
I'm quinacridone, violet, and Winsor
Newton, burnt sienna. So keeping the palette
really limited, still, the eraser, I'm
only using tilt my paper. I need a palette
which needs a clean and just a couple
of pots of water. And really that's all we need, so we'll get painting. There's no sketching
involved in this one.
3. Single Colour Mini Landscape: Okay, so the first one we're going to start with is vague. As soon as one
color, I'm going to use Daniel Smith indigo. I don't want you to do
any drawing for this. I don't want you to
think about this at all. We're just using
some brushstrokes to suggest a landscape. I want to use a mixture of
wet in wet and wet on dry. So I want to leave some patches
of dry paper on the page. So we're going to
paint a little wash, put a few lines through
where we leave some paper, white paper, and then another
washing the foreground. Then we're going to come in
with some really solid paint and get some blades
and things happen. Alright, so I'm going to
start with my medium brush. I'm gonna get a milky
wash of indigo. So a fair bit of water in there. Perhaps more water
That's a bit too dark. It's come across, grab
a bit more paint. Now I'm going to come and just paint a couple of lines through. And then in the foreground, the same thing we
did in the sky. Just maximum painful
wash through. So I've got these gaps. Now going to switch
to my smaller brush, go into really Vegemite paint. And now I want to take advantage of the water in the page. So I'm just dragging that along where I've got the
join between the dry and the wet paper and
letting that blade coming to the mid area
do the same thing. Just putting some shapes
and when I'm doing this, I'm holding my brush flat. So I want some marks. Again, I'm not overthinking it. I just wanted to
these dry brush marks make is what I'm after. And then I'm just going to draw a couple
lines through there. Now, I'm going to
imagine maybe I've got some bonds or something growing the background
he is an intake. My same small synthetic
take off the excess. I don't want too
much paint on there. And I'm just going to paint
see lines through the back. They're going to get more. And what I want you to do is
I don't want you to lose. I don't want it to be
all midtone or want some really strong dots in here. So you need to make sure that you come back and
get enough pigment if it starts to dry, to light, pick up some more pigment, take the excess
water off the brush, just paint a tissue and
just put some more in. Now I'm gonna put a few
verticals in the front here. So again into my Vegemite
toothpaste you paint. And then I'm just going to
paint a few verticals as well. So I can imagine perhaps this is the edge of some water here. So my paper's still quiet. Still got a reasonable
amount of water in here. Okay. I don't that lump there
is a bit much so I'm just going to back that off a bit. Maybe a few on this side. And again, all I'm doing is
keeping an eye on the time, making sure I've got some
really nice strong ducks. And this one has ended up
really dark in the background. I don't mind that this to me looks a little
bit like water. That's fine. That's probably where I'm going to
come out of that.
4. Two Colours: Okay, so the next one
we're going to do, we're going to use some burnt sienna and some French ultra, just because those tend
to work together well and most people will
have those in there. So I'm going to pick
up milky wash of French ultra, not enough paint. Then I'm going to pick
up my burnt sienna. And I'm going to do the
couple of lines through that. I think I might stick with the idea of maybe there's
some water in the front. So I'm going to go
back to the French ultra and put that in the front. Okay, now I'm going to switch
to my small synthetic. And here I want to get those dots that
we had through here. I want to make some of my
blue with some of my brown. So I'm picking up a bit of burnt sienna and a bit of
French ultra together. And using that as my dark. Again, I'm not overthinking it, putting my brush down, making some marks on the page. Maybe just walking some stuff around. March, where am I going to put? Maybe I'll put the vine sort of things on
this side this time. I got there in the end. Okay. Might have a bit more really toothpaste
and paint through here. Just keeping an eye
on making sure that my little trees up
and background there I'm trying to live suggests whacking a
bit more pigment on. I'm going to think
of this maybe as a bit of a short edge
of the water there, strengthen that my dad's there. Then I'm going to do
some of those verticals. So a bit of blue, bit of brown. And put too much paint,
just paint my tissue. This this brush is probably
a little bit thick. So it's been hard to
get the thin strokes, but I'm just coming
from the dry paper into the wet paper to give myself a suggestion
of a reflection. That market that was too solid. I had too much on my brush then. So that's why I'm
painting the tissue. Just Ruby, it's catching my eye. I'm just going to let you in my mind beer, not that *****. Okay. So I'm just again, sitting back seeing
how it's drying, saying if I need to close any of the whites at anymore
ducks as I go. Just more stuff. Again, remembering this
is not meant to be a friend with painting. This is meant to be
giving you an idea of your layout if we
got to be a painting. Okay. So I think again,
really, really simple. Probably about
where I'm leaving. I'm Jess. I think up
probably need a bit more dark through here just
as it's drying off. Just to give myself
a bit of definition. Getting a bit more of a suggestion that that's
actually an edge bear in the front end if they start
to disappear too much, you could just sit for a minute. And again with his judging what happens with how much
water you've got on your page and how much
you've gotten your brush. So I want to really dry brush, picked up some paint pen and my tissue and restate
a couple of those. Okay. Again, I've probably
That's all I'm gonna do. It's as simple as that. Getting an idea of how those colors sit together that will dry lighter than that. But I'm, I'm kinda
happy with the idea. I'm getting the idea
that I really want this sort of suggestion of
reads in the front there. But I was getting really, if I was painting,
it's a bit bigger. I'll be doing the I
tried to make sure that the raids had a
slightly thicker bit, maybe someone's in
different directions. But again, for this because it's just giving me an
idea of what I want. I don't have to worry too much, but I don't mind that buyout. Alright, so that's
the second one down.
5. More Colour and Final Comments: Okay, last one that
we're going to do, I'm going to add a few
more colors to this one. I'm going to just pop a
little razor up the top there just to keep my paint
running the right direction. So I'm going to start
with some realistic with the French ultra for the sky. Right now, I'm going to use some putting a stripe
of yellow ocher. You could use raw sienna. And that's why I want to tilt the page because
I don't want that yellow to run all
the way up there. I want it to come this way. I'm going to stay
with my burnt sienna, so thick burnt sienna. Now for my stripes, I might come in and do one
that is going to be yellow. I could, but I bought too much
burnt sienna on my brush. So yellow ocher burnt sienna. Then I'm gonna go back
to my French ultra. Okay, and then just
because I like it, I'm going to actually
put in some Queen. I've got some Daniel
Smith queen, violet, which is a really nice
color to work with. I'm just going to drag
a bit of that through. Alright, then I'm going to
stick with the queen bullet. And I'm going to
take my small brush. And I'm going to use that to
do my tree line in the back. So the border of my
wet and dry paper, they're just letting those Lee. Again, really not
thinking too hard. I might use the violet
to these stripes. Okay, That was terrible there. That might put some mm, just cover that up.
Some shrubbery. They're getting my brush
a little bit flat. Okay, so my shoreline
grabbed most Europe, some purples and being
along here somewhere. Okay. So I'm going to start out no money to reflect
a little bit. Get some stuff happening
through some of those. Maybe all. I'm just
wondering whether I do another would be
too much let's see. Too much faster. Okay? That's right. So I'm gonna put, I want a little bit
darker, look back on. I'm picking a little bit of blue and a little bit of brown. I'm just going to walk a
little bit of that dark spots. Wash my brush. I'm just going to soften
that one off a bit. I'm just trying to give
myself a little bit of definition where the edge of the hill kind of thing
is a little bit dark. We'll get through. Yeah. Missy, keep it messy. I'm just putting in strokes. All right, then I'm
gonna put some reds in that I am going to use a bit of the blue and
a bit of the brown. Just test it out first
on a piece of paper. See what color you've got a
French ultra burnt sienna. Probably paint on
a tissue because this brush is too thick. Then I'm going to paint, reads, reflections, just walking some
stuff through either. So I know that's
a bit wet there, so I might have to wait and
drag a few lines three. Now that's going to draw two. I can already see that
those rates are going to dry too light, so I'll have to restate those. I'm going to pop on some of them just a little bit
of a fatter top. So I've just got some into
the dry areas because I want the paint to stick. Okay. Then I'm sort of want
to strengthen the dark. I've got some blue
and some brown. My burnt sienna, and
I want to strengthen the dark on this side
a little bit as well. And just might have to wait
for that to dry a little bit. Just don't want it to, but
that's going to bleed a lot because I've got no dry
bits of paper there for those to stick on, but I really want
the focus to be more around this side
anyway, so that's okay. I can see that it's starting to dry and
it's getting louder. And what again, I want to
watch that getting insipid. So I'm just grabbing
a bit of my violet. While that's drying,
just dragging that through so that I can keep
that shorelines stuck. You can see that these are disappearing
as something else. I wanted to show you that I
didn't do any other ones, but I'm I'll show you on this. Something you can do if, if you, if it gets a little bit
uninteresting up here, you can force some blooms
before the paper is dry. I've still got some
moisture in this page. So what I can do is I can
take some clean water and I can just drop some clean
water onto this page. And for some, some blades so the pigment will move a bit, push, push out. And you can get
some, I guess, yeah, a little bit more happening without having to
paint it as such. Now, if the page is too dry, you put it on and
nothing will happen. If it's too wet. You will just form
a really flat wash, which isn't really
what you're after. If that happens, you can just add add some you could
take some paint and as it's drying thicker paint and
just add it back at it back in my sort of somewhere in between my probably it was probably a
little bit dry. It's moving a little bit. And so I could do
a similar thing. This is still really
wet down here. That's kind of all
blending together. I could. But it's not particularly interesting down
there at the moment. Just dropped some water in there and mess up a little bit. And what I do need
to do now that that's moved around a bit, I want to restate again that dark underneath
the train line. So I'm just going to grab some
purple, some of my violet. Pop that back up again. Okay, and here maybe
I'll wax and pickling. I can on that. I'm just
I'm just sitting back and looking again where I want
the dots to come through. Okay. Starting to feel now
I'm just going to pop maybe a couple
of more raids in and then I'll stop tissue. Just a few more lines. You can wait until
it's fully dry before you don't
have to do that. Now, particularly if
you're starting to think, Oh, where do I need
to put something? Just step away for a bit
and come back later. And I think I probably need I probably need a little
bit dark along there, but so I'm definitely
starting to feel now. So I'm going to stop again. This is just, just to give you an idea that you
don't have to do very much to generate a
landscape and to get a good feel for what
composition you want to do, um, and what colors
you want to use. So that's where we're
gonna stop posts and peaks for me so that I
can see on your projects, if you post them on Instagram
tag me so that I can have a look and
have fun with this. Just, just keep, keep having a player
try again, try again. My floor here is just
littered with 15, 20 little thumbnail paintings. They should be fun. This should be not, not overthinking
and just seeing, seeing what interesting
things the paint does. Alright, thank you.
Nadine Dudek, Professional Watercolour Artist
