Master Wet-on-Wet Technique in Watercolors – Easy Guided Lessons

1. Introduction: Hi. I'm twai a watercolor artist and educator. I'm so glad to welcome you to this class. I've been painting for over six years now and while most of my work revolves around wildlife and realism. This class is something I deeply love. Mastering the wet and wet technique through simple expressive landscape. Whether you are a bigner or a hobbyist, looking up to level your skill, this class will help you understand how to control water, blend colors beautifully, and bring that softness into your work. All this using the wet on wet approach. We will start with essential building exercises like blending practices. Then we'll move on to common mistakes that bigner do in the watergar journey and how to avoid them. After that, we'll explore a series of small landscape painting like sunset, seascapes, misty forests and scary skies to help you practice and grow with confidence. Grab your brushes, get comfortable, and let's dive into the world of soft edges, glowing skies and atmospheric beauty. One watch at a time. 2. Materials and Supplies: Hey, guys. So in this lesson, we're going to talk about what materials we want to use for watercolors. So starting with this MDF bone, or you can have any surface. Actually, your table will also work. Anything where you can actually tape your paper, right? Throughout the class, you will see me. I have taped my paper either on this board or on the foam board, and we are painting because when we work with watercolors, the paper buckles up and we want to protect it while we are finishing our artwork. So this is something. You can have anything. If you don't have foam board or MDF board, it can be your table. You can have a writing pad also, or you can have it stick on the back of any book, old book or register, notebook also, and it works perfectly fine. Apart from that, we are needing two jars of water. I always and always have these two jars of water. One I will use for washing all my dirty brushes. Whenever we are painting and I want to wash my brush, I'll use one jar of water and I'll keep one jar of water always clean. So two jars of water. Then either you can use tissue paper or I use this kind of cloth, basically, right? So I work with cloths. They come in handy to me. So cotton cloth or something like this, that works perfectly fine. This is to wipe your brushes. Okay. Then let's talk about the brushes that you are going to use. I have lots of brushes, so don't worry. We're not going to use all of them. What you need really for this class is a couple of round brushes, right? So a couple of round brushes. And if you prefer to use a flat brush for washing your put a wash on paper, then you can go buy flat brush, right? So any size of flat brush works fine. So we need a round brush and a flat brush, and even if you don't have a flat brush, that's completely okay. We can do the entire painting with the help of the round brush because the paper size that we're choosing is smaller, so it doesn't matter if you're using, uh, a bigger brush or smaller. I would say stick between four sides, six to eight, somewhere 6-8, and it's going to work perfectly fine. Okay. And if you have flat brushes, good. If you don't have, don't worry about it. Okay. The next thing that we need is a masking tape. So what we need is a masking tape. So I have this 1 " tape. You can get half inch tape also. Or you can work with washi tapes. I have worked with Washi tapes in the past, and the experience with masking tape is far better than the washi tape. So I do prefer using this. Okay? Okay, so the next thing that we need is paints. So I preferably have used these Bt Night watercolors, but you can use any brands that you have, not necessarily that we want to go with bite nights. Even if you have a nearby shade of any of these shades will work fine. And we also need a pencil and eraser just in case you want to draw the outline of the artwork that we are doing. Okay? So I'm going to show you, for example, one artwork, and I'll just make you understand. We will also need watercolor paper. So this is bohong watercolo paper, and it has cut seven by seven inch. It's up to you. You can go with this size or you can have a smaller size also. Anything that works out for you is perfectly fine. So other than Bohong, this is another paper that I actually love. So this is Saunders Waterford paper. This is 300 SMs, and it is cold press. It works perfectly fine. I've also used arches in the past that is also good. The one thing that you have to remember, either you choose Boham, Saunders, Arches, or any other paper for that matter, remember that when you're using the paper, you need to buy 300 GSM, 100% cotton paper because there are a lot of papers in the market which are 300 GSM, but they are not necessarily 100% cotton paper. For watercolors, the preferred choice is actually 100% cotton paper. That will give you the result that you're looking for. Otherwise, when you paint and you'll be like, why it is not working on my paper, why it is working on her paper? And the bottom reason would always be your watercolor paper. So when it comes to watercolor, the preference is paper, paint, and brushes, right? That's how the sequence is. The paper is of utmost importance when we are working with watercolor papers. And like me, if you're practicing something, right, you can make use of paper on both the side, so you are saving some backs while you're practicing. So yeah, that's one small tip from my side. But I think we are good from the material point of view. For the colors of the artwork, I'm going to tell you all in the respective sections. There would be a class before the project section, which we'll talk about the colors. You'll get colors with the artwork photo and the colors that you're using for the artwork. I'm so excited to just jump right in this journey with you and let's master wet on wet technique in watercolor. See you guys in the next lesson. Bye. 3. Watercolor Technique: Hey, hi, A. Welcome to this lesson. So in this lesson, we are going to talk about what color techniques that we want to use. So while we are actually working towards learning wet on wet, mastering that technique, I think it is very important to try out a few things, understand how it works and what kind of color and water ratio we should be using in order to get it done perfectly, okay? So before we go into this, I have my color palette here. So this is the color palette that I use for blue shirts. This is warm colors, my early tones, green, paints gray, and the red. So that's how we're using two jars of water and our paper. So I've dig my paper and divided it into four small sections. You can either use your sketchbook or you can cut out very big paper and make some divisions like this. Anything is fine. Then I have some of my brushes and a cloth that I'll be using to wipe my brushes. I have a spray bottle in case you're using the colors from the palette. What I do is I just spray some of it so that the color gets activated and it is easier for us to work. Okay. Now, I'm taking my big brush, and we are going to just wet this section. So we'll be working on the wet on wet technique, so we are usually going to wet everything. Okay. But then we're going to go one by one. So we are just wetting this paper nicely going back and forth. And I'm going to take out extra water that is there. Okay. Okay. So now I'm taking my half inch plug Brush, and I'm picking my color. This is the azure blue that I have, and I'm going to paint this color from top to bottom. Now the surface is already wet and I'm just doing a flat wash of the same color. When we do flat wash, the color consistency across the paper has to be same. Meaning the tonal value of the color has to be same, clean your brush. Now onto the second side. Because if they are separated by tape, I can go and do it directly. I don't have to Same process. Again, clearing out all the extra water that we have here, going back and forth. Okay. Now I will take again the same color, but this time, we are going to do a gradient wash for that. What is the gradient wash? I keep diluting the color as we go down, it's not the same quantity of the color, but a diluted quantity of the color. I wash my brush and I'm going to go from bottom to top again where the top being the darkest. Okay. Now in this case, when you're walking like this, if you hold your paper like this, what will happen? The colors will start flowing down and you can see the water coming here, right? You can just lift this water from here. Okay. Now, this gives us a very natural and nice blend. Okay. Now we have learned about the single color. Let's do an experiment here on this sheet of papers and see how we can do this two colors. I'm going to be using my goombas yellow and crimson for this one. Bet your paper nicely. Okay. Okay. Now I'm going to take my yellow. Okay, start from top. Wash your brush. Take your second color that you have to do. I'm taking caramine here. Okay, starting from the bottom. Coming up and blending these two colors together. I'm going to wash my brush again, go across this color in one direction, wipe off anything extra water that you might see. Taking some of my gumbo again, coming from top, and then just blending. Okay. Again, wash and then just blend. You see a nice blend that has happened in the middle. So we got orange, yellow, crimson, we got orange in middle. Okay. So that's how basically you will be able to blend two colors together very nicely. So now I have done this in a flat manner. Now, let's not do in a flat manner. Let's try a couple of times in a very ziggy zag manner, like, not very sorted. Okay? And also be aware about this, what I did, I just picked up water and my water actually all fell over here, and it created that bloom. I'm going to correct it in real time so that you can see how you can correct it. I'm going to just put some paint over there. And I did was. I just went over one round of wash throughout the color, like in one go. There's a lot of water here. I'm going to just wipe this water. And maybe I'll just change the water jar addition so I'm not dropping any more water while I'm picking up the clean colors. Okay. Okay. So now here what we are doing is let's lay out our color. Let's say I'm taking sarilum blue now. I'm going to paint serleum blue from the top. Mm hm washing my brush, dabbing on paper towel or cloth, and then just bring it all the way down. Okay. The same kind of gradient we have formed. Now what I have to do is, I want to mix a cecade of hard color toes, right? How do I do that? I'm going to take my crimson. I'm using my silver small brush now. I think it's a size four. So I'm going to put some of my caramine crimson here. It's going to form a purple color, right? Because as per color theory, you already know if you mix blue and crimson together, it forms a purple color. Okay. See. Okay. Or I want to put a darker blue here, darker blue on top. So this is us working ton wet again, right? This is us doing ton wet again. But now we are doing this toned on top of any color which is already on the paper. Now I change the shade of the blue. I picked up aqua blue here, right? I just change the shade. Yeah. Okay. So it's the same technique that we use here, but not in this manner, but we are doing some random strokes. But we are now still working wet on wet. Wet on wood is nothing but when you're putting wet colour on a wet surface. Now that wet surface can be water or that wet surface can be actual color. Yeah. Okay. So now once this is dried up, we are actually good to remove our masking tapes. Yeah, one more important thing, right? You see, there was a water drop here that water drop traveled and again, spoiled bad color. So yeah, this is also something we should remember. I'm not going to work towards correcting that now because we know how we can correct it. I'm going to just leave it like that, and we're going to move onto our next. So this is what we have done. This is all using wet on wet technique. We'll move on to the next lesson where we'll learn about some common mistakes that big inners do while using wet and wet in watercolors. 4. CommonWatercolorMistakes: Everyone, welcome to the next lesson. So in the earlier lesson, we talked about blending two colors, flat wash of warm color graded wash of the same color using all wet on wet technique. Now in this chapter, I want to focus on some common mistakes that you might end up doing when working with wet on wet. And we're going to see how we can avoid those mistakes. Okay? So I'm going to tape this again from the center. So basically, we are doing it like four parts. Okay. Okay. So now let's say that I want to work wet on wet. And the first common mistake that people do is they'll not put enough water or they put more water, this is the example of where you'll be putting more water on the paper. There's more water on the paper and when they pick up the colors, right? So if you're picking up the colors, your brush also has lots of water already. So what happens when you're going to paint it, it's going to feel like this. Like, it's all watery and you'll not get the version of the color, the pigmentation, the ratio that you're going for. You're not going to get an even tone, right? That's one of the common mistake that I have seen. My students, my offline students also may do, and anyone who's very new, I did myself when I was learning watercolors. Okay. The next mistake that I see bigness doing it or anyone who is not thorough with the technique of wet on wet. Let's say I have put enough water on my paper. Okay. So I have enough water on my paper. Now, I just want to paint something. Let's say we'll just do a quick. Sorry. Okay, clean water. I'm picking yellow. So we want to do a quick sky Liquid bending, I'm just showing you. Okay. And let's say orange here darker orange at the bottom. Keeping this spray in the summer actually makes job a lot easier because then paint actually dries up and it gets reactivated at a click of something. Okay. So let's say we have this. Okay? We have painted something. Now I want to actually lift some color. So that's another technique that we're going to learn. Let's say that I have lifted some color from here. Okay, I want this to look like sun, right? And I'm lifting my paint. So this is another technique that all of you should know about lifting technique. Okay. Once we do this, I'm going to show you the mistake that we're talking about. You can learn this technique also we just lifting. What we do is dip in water, swipe across your paper, then cloth. Again, water. Now, it has to be very thin in order to appear like a sunrise. Let's say I spoiled this section, which I've intentionally done to show you. I spoiled this section. Now I want to fix it. But then what I'll do, I'll just try to move colors here and there. I'm doing this. What I'm doing here is what will happen. So I don't know I'm doing it very unintentionally. But I'll take some water and I'll try to pray around, right? But in the end, what is happening? I'm just moving the pigment which is already on the paper. So I moved the pigment. I've already touched it. I spoiled it already, right? Instead of that, I should have actually waited for this one to completely dry up, then do a wash of water and then redo whatever I want to do. Instead of playing with the paint here and there, if you're using complimentary colors, it's going to just make your artwork look more dirty instead of making it look more vibrant. Right? So this is something that we have to avoid the other overworking on your paper. Okay? The next mistake that everyone does, and I think a lot of people also don't notice that, and it happens unintentionally also. So it's water blooms. So first, for example, I have this painting, like I've done this wash. Okay. And I did that in the last lesson. So if you have noticed, we'll just repeat it again. Okay. Let's say I was doing something and I came and I dropped a lot of water here. Okay. So these are blooms. So these are blooms because it creates a flower kind of effect. They are bloom. They are water blooms. But then this is this is a very unintentional mistake a person can do. Okay? I'm just removing it. So what I did was I just took out extra water that was there. Okay, every extra water I removed. Now let's try again. Okay. So even in this paper, it's gonna impact. See? Every time I do this, every time my water falls on the paper, it's going to create an unwanted bloom. Now bloom, we can also use it to our advantage to form some flower field or something or to create night stars that we can discuss later. But that's, again, one thing which is very common that people do. Okay. And the last one. The last mistake that I have seen a lot of people doing when working with wear red. So they have, they have put water, but they did not go over the paper for longer time. And when they pick up the color also, when they pick up the color, they are also picking up very minimal color, very minimal color on their brush. Okay? Very minimal color only. So there's no color on their brush. So it should not happen. So while you are trying to do something, it will not happen. So that results into more of a dry brushing rather than wet on wet that you were trying to do. Okay. So these are some common mistakes that I have seen everyone doing it and we have to avoid doing all these mistakes when working with watercolor. What you have to do is you should have a good amount of water on the paper. Take color in a thick quantity, not a watery quantity because paper already has water. Paint that you're picking has to be thick, like thick stroke of paint, right? So that I can do anything I want because my paint is thick. You see the kind of blooms. It's good for around abstract background if you're trying to create around object. But if it is unnecessarily unwanted bloom, it doesn't look good. Okay. So these are ss. We overwork this and the result is not nice. Okay? So these are some mistakes that a common person would do when doing watercolors, and we have to be very cautious and learn techniques, okay, to avoid this kind of thing. See, this has resulted, like so light, okay because the paper has too much water, and then we picked up a watery color. This area has become white, and there was a blob of water here, which has made it like dark, right? The whole thing has not turned out how we wanted it to be torn out. Okay? So I'm going to remove the tape now. So these are some of the common mistakes that we want to avoid when working with wet on wet technique. Thanks for joining me in this lesson. Can we two gets started with the actual subjects, and I'll see you guys in the next lesson. Bye. 5. Colors for Multicoloured Sunset by the lake: Colors we need for project one are ultramarine blue, gamboge yellow, crimson, golden or orange paint green. 6. Multicoloured Sunset by the lake: We'll come to this lesson. In this lesson, we're going to paint some skies beautiful skies with some foreground. We know as in how to work wet on wet and all will be done wet on wet. After this exercise, we're going to try different subjects. This is the lesson on the skies. We'll do two mini landscapes like this, which will be on the sky. Then we'll move on to two landscapes about misty, feelings. So misty forests, misty landscapes. So we those do two of them, and then we're going to also do seascapes, two of the seascapes. The total six exercises we're doing, these are all your tras projects. So there would be a total of six projects, which actually will give you a lot of understanding on how to work wet on wet. Okay. So let's get started. Why wait? For this lesson, we are again, wetting our paper from top to bottom. Just keep going back and forth because we want to make it blend. So we don't want our paper to dry halfway while we are painting a landscape. We just want it to be wet for a longer time. So we'll just go back and forth, make sure the paper is wet nicely. So the paper size that I'm using is 17 by 17 centimeter. Okay. So I'm again using my silver brush because this is a smaller size brush and I don't want to go too big. This is all warm kind of a landscape that we are painting. So we'll just follow the color V, starting with yellow. And so let's say that I want to pick them up, put my yellows here and some strokes like let's say this. So this is my horizon line that I've drawn. This is my horizontal line. Okay. And the other would be foreground. We'll see how what to do as of November is concentrating on the sky. And remember my paper is still wet. Okay? It's all wet. Whatever we are doing, we are doing all wet on wet. You can always look from the far or you can just tilt your head and then see. So just to ensure that paper is wet, I'm going to just go again once. You don't have to do it. Okay. Mine was actually getting dry, so I've done. Okay. So while we're putting the yellows, okay, I will pick up my orange. This is gold actually from white knights. Okay. Take a deeper tone of the orange. Some deeper tone of orange. I can come down a little to make that stroke also if I want. Okay. I'm going to just go up like this, doing a small flat wash. I want to remove some paint here from the center. It's too orange now, and I want to put some yellows in between. Okay, this is nice. Okay. Okay. Now I'm going to take my crimson, some water quantity of crimson and start painting my crimsons This is the easiest landscape that anyone easiest sky anyone can do. All you have to do is just follow your color wheel. I'm just taking a bit of scarlet and adding some darker strokes here. Yeah, that's it. Don't want to overdo that. Now I'm going to take my Azure blue and start from the top. Okay. So it's my azure blue. And then just want to mix with crimson, it's going to form some purple shades. Make it look nice. Okay. Okay. So some drama I added, and I'm going to just do the color again here. I don't know how to make it too dark, but at least something a bit darkish as I would like it to be. Okay. So once this is done, we have to do the same thing at the bottom. So we have yellows at the bottom. We are going to add the gold or orange, right? Along with crimson that we had and then some scarlet here. It's just too much, I think. So we'll put crimson first. Yeah. And just lifting some pain. I think this is too much. I want a lighter version of the crimson here. So we'll just put crimson. Okay. And now just duplicate the color of the sky. So we have blue. Okay, that's it. And just take your shades. Okay, so just replicating what we had on the sky to the bottom. Wash your brush, and I'm going to just lift some colors from here. I want to show that segregation of, like, glowing something at the horizon line. Okay. Because I'm making that blow, I think the bottom area here has to be glowing as well. So we can lift some paint here. Every time you lift, I will recommend you to go back to water, wipe your brush because otherwise, then you're putting the same color back to the paper again. Okay, so that glow, right? And just let's make this color a bit. I just made a bloom so it can happen. So don't worry. We have already learned how to avoid that bloom. Okay. So this is done and my paper is still wet because we are learning all about wet and wet tt, even the horizon if I want to make, right? So I can do this with my paints gray. I and I will come and then drop this color like pains gray on the horizon line. Okay. So this is me dropping paints gray on the horizon line. Can just give it some shape if you like. If not, don't worry. And this I want to make it very thin. Okay. Here, we can just let it go. Yeah. If you want, you can just give it a shape of a tree, right? So something like this. Even if you don't want to do anything, it's perfectly fine. Okay. See this. Okay? So that is a perfect first landscape that we created using everything wet on wet. Everything wet on wet. Here, we did not try to control any colors. We let the colors naturally blend with each other, naturally do all their job on its own. So this is all wet on wet as in how you play with colors, how you try to control them slight bit, not lot, or how you basically let them expand and do their job of what they do the best. This our first landscape. I'll see you guys in the next lesson where we are actually doing another sky. And yeah, that would be very interesting to see the sky that we're creating in the next class. Oh, my God. This is so pretty. See you guys in the next lesson. Bye. 7. Colors for the Night Sky: Colors for this project we need are cobal blue, purple, ultramarine blue, paints gray. If you don't have purple, try to mix ultramarine blue with crimson. 8. Night Sky: In the earlier lesson, we did this landscape like the sky and the reflection. This is going to be only two, three colors. Okay, we're going to use the shades of all blue for this one, and we'll see how it turns out. I'm sorry, I don't have any reference for this because it's all I'm just doing as I'm getting the ideas, so I don't I don't have a reference for this. Okay. So again, we are doing the same thing, right? So in the entire class, which is all about painting wet on wet watercolors, we are using the wet on wet method for doing everything, right? In this lesson, we're going to learn more about controlling as in when we did the layer, when we have to wait, when we can go ahead and add the details, right? So those things we're going to learn in this one. Okay. Just go back and forth a couple of times just to make sure the water goes inside. Okay, now I'm taking my flat brush, smaller one. I'm going to start with my ultramarine booth this time. Okay. So start by putting some of my purple and mauve colors here in the sky before I actually start doing ultramarine. Now I'm going to do ultramarine, right? So for the sky, we are doing ultramarine blue this time. I rarely use ultramarine blue for the sky because it's the granulating shade, but I wanted to try this. I thought, why not? Okay. So yeah. I'm putting some purple and mauve in between. Okay. Yeah. And I'm making it more dark now from the top. Okay. I'm going to lift my paper again, rest it here and then paint the rest. What I can do is actually take a light color now. I will take my and just put some colors here and we're not going to blend it. Okay? So the color I just did is this one. This is mint green mint mint color. Okay. So we just used a mintishade and then the aqua blue I have just put it down all the way. Okay. Now the sky is looking too light in color. I still want to add a little bit of colors here. So what I'm going to do is I'm taking a watery version of the color, and we'll start putting this color randomly in the sky. So I'm not looking for any particular shape or size. I'll just put the color and I'll let watercolor do its job. Blend however it wants to blend. Okay. Yeah. Okay, so that sky is actually becoming dark now, which is good. So we had a purple kind of sky is what we created, okay? And I want to make it dark here as well, but not too much. Okay. And so there are two thing we can do this outcome. Okay. One is that you start treating it like a winter landscape and you just draw a tree and snow, put snow or you just ignore this part and create a mountain on top of it. Like it's up to you. There's just couple of ways. What I'm going to do is I'm going to leave this area, but then the rest, I'm going to make mountain and maybe we'll call it a night sky. Okay. So because this is all wet and if I do anything here, it's gonna just spoil the whole entire artwork. So we don't want to do this. What we want, we want. We want to wait for this one to dry and then go ahead and do our mountains. Now for mountains, I'm going to be using my indigo here, and then the next one would be our paint spray. These are the two mountain ranges we are creating, which are overlapping each other. Okay. I've taken my Indigo Persian blue mix, and I'm going to create a mountain here, right? I ends like here. Okay. Wash my brush, and I'll let it all come down. So I'm just softening it. Like I've just took water on my brush and then just swipe through the whole thing. Now we again have to wait for this one to dry until we can do the final detailing. So this is very important to know when you're walking with wet on wet when you should be mixing, putting the wet colors on top of the colors, when you should have to wait. So while we are doing this, we did not wait because we don't want we never wanted any hard edges or any definitive definition. We just wanted colors to blend with each other very nicely. But in this case, I want a segregation. I want a segregation between the sky, the mountain, and foremost mountain that I'm going to create. Because I want that segregation, I will also have to wait for my paper to dry. If I don't wait for my paper to dry, it's going to just spread over and it will not give me that separation that I'm looking for. I'm just touch and see, so it is still wet, you can see. We'll wait. Okay. Now I'm going to take my paints gray. Okay. Like a slide water down version not too water down. And I'm gonna create my mountain, which is actually ranging here. Okay. Yeah, that's a mountain range I want to create. Okay. So those are the two mountain inges we have created. I'm going to make this side a bit darker and give some strokes here. Wash my brush, take a round brush if there's some detailing. This portion, which is below this mountain has to be a bit dark this side. Okay. But if we can we can have some definition here. Not needed, but yeah. Okay, see. So two mountain ranges. Okay. Now if we want, we can add trees also for the detailing, but I really don't want to overdo this. So I'm just touching my paper to see if we can do stars on top of it, and we'll use white Gash for creating the stars. So this is the night landscape. So we did a day scene. Now this is the night scene. Okay. Take your white gauche and just sprinkle it like this. Just hide this part. Okay, so we're just doing splatter. So what I did, I just hold it my brush like this, this and then taped up here. Taped up. Okay. So some are big, some are small. That's okay. You don't have to worry much about. You can add an extra few here and there if you want. And maybe one shooting star like this. Okay. So this is done. Sorry I had to redo the sky because I got a white here and then we had white paint. So you may have a different sky. I will have a different sky. Even if I want to create this one again, I'll not be able to create same again because it depends upon how my water is reacting with the paper, right? So every artwork that I'll create is going to turn out very differently with each other. Okay, to see how pretty it has turned out, it's looking gorgeous. So we have two different skies done using the same technique that we have learned all about wet on wet, right? I hope you guys enjoyed this lesson. Thank you for joining me in this lesson. Let's move on ALCO in the next one. At 9. Colors for Golden Forest: Colors for this project are Bombas yellow, orange, burn sienna, pains gray, burn timber. If you don't have burn timber, try mixing born sienna with pain's gray a bit of amount, and it should 10. Golden Forest: Guys, welcome to this lesson. This is also again, wet and white, obviously, because we are doing the class on mastering wet and white t. Let's start by wetting our paper. Okay. And this time we're not going to do the regular one that we were doing. We are now moving towards painting something misty. Okay. So we're gonna do two landscape, two of these small landscapes on doing misty landscapes. So it can be misty lake. It can be misty forest, anything, okay? Okay. You can go this couple of times. You already know now. Now, this time you are making the sky in a circular pattern, spiral thing. I'm going to leave out the white here and then we're going to spread our yellow Take some of the orange, again, do the same thing. Okay, so I just started with a small brush to show you. You can always shift to your bigger brush if you're comfortable. I'm going to just lift some paint from here because I want to center that bright white. Okay. So we cannot go again. And the orange. Okay, going across in a circular manner now. And I'm going to increase the intensity of the colors. So we're going to do deeper orange now. So we're gonna do deeper orange now, right? And if you want, you can take your scarlet also and paint at the end. So we're going that warm colored tonal shades, right? All across. So we started with orange, yellow, then orange, then darker orange. So we just went like that, okay? So don't meddle with a lot. Let it blend naturally. And if you want to blend with the previous color that we have put in, right? Go with the water slightly watered down version of that paint. It will help you blend smoothly, right? We don't want to kill essence of color any layer. I don't want a layer to vanish. All the layer should be there, including that white. Take a very clean water, dampen your brush, and anything, any color that's coming in this vicinity, you can actually lift it. Lifting is possible till this is all wet and it's going to work out. Okay. Now, we are doing mystery, something is in the background that we are trying to create without giving it a feeling that it actually exists. Okay? In order to do that, for me to be able to do that, I still want my paper to be wet. Okay? So I'm going to take the shades of my browns here. We are going to quickly put some water here. Okay. And I'll take these colors and start putting it as the background. Okay? So like this. Okay. So these will not so they'll not do anything, but they'll create like a background tree for me, and I'm going to just mix and match the shades. Sometime I'm picking this color, sometimes I'm picking the another color, and that should be okay. This is all in the background. Okay. If it helps you, you can just lift your paper and turn it around like this, like, upside down, so you paint upside down. Let gravity do the job, so you don't have to do anything. But Yeah. It's just that we have to remember this is only going to work if your paper is wet. Like, it works. Wonderful. Wonderful if your paper is wet. Okay. I'm going to take a deeper shade of orange and would be putting it here around the sun like near to it. This is more oranges. I can do one a little mix with orange, somewhat red, right? Darker tones. Okay. Okay. See how beautiful it has turned out. So everything is in the back end, okay? Now, what you can do, you take more darker colors, like a thick quantity of colors, and you fill your front end like this. So the trees that are near, right? So gonna feel it like this. So basically, it's like what do you say? So we are making it bushy. Okay? So we are making it dense. Yeah, that's the correct word. Sometimes it's just top of my mouth and I just don't know what to say. Okay. So yeah. Okay. See? How nice, okay? And we can go actually We can go more dark if we want now, and I'm going to take my paint gray for that. But my paint gray also has to be a water down version. Not too thick. Otherwise, it's going to create a problem in the brand. I just want these colors to flow freely. Even when painting paints gray, if you prefer, just turn down your painting and do it. So I don't want to hide anything that I've done in the background, then it doesn't matter. If I hide it, then what was the point of doing it? The paints that we are doing, we're not doing everywhere, we're doing some places. See. Okay. Now I'm going to turn around so that you can see. This is the final look. This is how it's going to look like once it is dried up, so we have the background mountains. Then we have another layer, and this is the final layer. I'm not looking for any detailed work. I don't want to make a tree actual, which is a bit detail. If you want, you can go and do that. I don't want it. I wanted to keep this exerclse more concentrated on this growing sun part. Okay. If you want, like, you can have one tree actually, which is this dark coming here. Right? Yeah. Yeah, don't touch it, I don't want to spoil it. Okay, so that's it. Now you know how to make a glowing sun and how to do this background trees in a misty kind of way. Okay. The next is actually a mixty forest. So we'll see how to create that. In the next lesson, we're going to learn about creating a misty forest. So this was I hope with these all lessons that we are doing, it is becoming very clear to you how you want to use wet on wet technique and then what not to do. It is very important to learn what not to do. There are some learnings and early learnings that we have to do as a port of the learning process. And I think we should be open to all these things when learning from someone, right? If you like that method, it's helping you in your day to day work, I think, continue. If not, then just let it go. Just have it at the back of your mind that it was taught, I learn. But yeah, I'm good with what I do. Yeah. So thank you for joining me in this lesson. I hope you enjoyed the techniques that I have explain to you. The entire class, my focus is to make you guys understand how to leverage wet on wet technique to your profit, as in what you can do so that your artwork stands out when you're working on. It should not look muddy, I should look very natural in its own. Yeah. Yeah, I'll see you guys in the next lesson and thanks for joining here. Bye. 11. Colors for the Foggy Forest: The only color you need for this exercise is pink gray. You can also opt to do this exercise with a blue shade, a green tint, or a yellow tint. It's up to you what you want to follow. 12. Foggy Forest: Hey, guys. Welcome to this lesson. So we're going to make misty forest or Misty lake. I'll see what we can do. We can do actually either of them. I just want to make you understand a few things. Okay? One very important thing when working with watercolors is that we work from light to dark as you have seen in all the other lessons that we are doing. Very important to work light to dark and then very important to work in layers. That gives us the transparency that we are actually looking for. We're just wetting a paper nicely so that the water goes inside and my paper doesn't dry when I'm actually painting all wet on wet. That's the first thing to happen, right? So I'm painting wet on wet and by the time I come at the foreground, my paper is already dry. So yeah, it sucks. Okay. So for painting this forest, like misty forest, what we want to do is I'm going to take my ultramarine blue and paints gray, like a diluted quantity, and I'm going to just do it here. Okay. And as we said, we already discussed this. I'm going to just take hell and then just rest my paper on top of that and I let it come at the bottom, right? I'm just washing my brush. I want to work faster because I don't want my paper to dry up, so I'm switching on to the bigger brush and I'm just covering it on the strokes just very nicely. Okay. Okay. Now wipe my brush. I'm going to go horizontally this time by lifting any additional water that I have, wiping it on the cloth, and I'll continue going up Okay. So that's it. So we have created that soft glow, a very soft gradient or a watch, right? So from the bottom, I'm going to just lift a little bit. It has to be a bit of a gradient. Okay, for me. Yeah. Okay. Okay. Now, it looks good. And I'm going to go and do a layer of trees. But if I do it now, it's going to be just became too blurry, right? And that's what we are going for because we want to do a backend layer. I'm mixing more of my ultramarine with the blue because that's ultramarine with the gray, pink gray, that's stuff shade I'm going for. And we're going to just do lots of background trees tree trunks, right? Okay. So you're gonna paint them. So thick, something, some overlapping. Okay. Slanting branches. It's all in the back. Like the background. Okay. As of now, you may think what is happening is looking a bit chaotic. Let it let it look chaotic. But then believe me and trust the process. You should always trust the process and every artwork has that ugly ugly little face. Yeah. Now I want to wait for this one to dry so that I can go ahead and do other details. That So this is dried for me. Now I want to do another layer. In order to do another layer, I'm going to again lay out some water, but very less quantity of water this time. So I'll just water in one direction. Slowly. Every time I wipe it, I come to cloth, take new water, then cloth again, right? I'm not going over and over again. It's just one swipe, okay? That's what we're doing. One swipe. Only one swipe and then you can just tilt your paper and see where the swipe is left. You can go ahead and then do that again. So while we are doing this, we still have to work. The layer also that I have to work has to be wet, but I also don't want to touch and disrupt the layer that I've done. Now for the background, we did a lot of, lot of frees. This time we're going to go with some different amount of color. And we do some trees, like few of them, not a lot of them. And if they overlap with this, that's completely okay. Don't worry. Okay, so let's say that. I will do a tree here, and I want to take out some branches of this one. This has some branches for me, okay? Yeah. Okay. So these are still wet on wet. This is still all gonna sit in the background. Okay, as of now, we have not even started doing so we're not doing the fronties yet. So these are still the trees in the back. Okay? I'm going to do one more thin one here, it has some bunches like this. That's it. I'm not going to touch anything and I will wait for this layer also to dry. Okay. What we can do is we can have something, some distant kind of freeze or branches, it has something if you want to show. We can show. This is completely optional. You don't have to do it if you don't like doing it, right? I'm going to just do some splatter also to create some textures in the background. Okay. And this is still This is not wet. Okay, so I'm going to just see here. I want to wet this idea. Okay. And we'll just do a little of fol just like this here. I want to make it dense, from the bottom, at least. So that's what we are doing, making it dense from the bottom. Okay? So we're really not disrupting anything that we have done already, okay? We still want to maintain this and we're going to do one final tree in the front, one final tree in the front. Okay? Okay. So this is again dry now. Okay? Now I want to do one final tree, and that one is going to be detailed for us. Okay. So I'm going to make that tree here. This is the tree. Okay? This is the final tree that we are DAT. And one mistake, either people will create trees like straight straight standing lines that you actually teach kids. But in nature, in reality, if you look at the tree, they are never straight. Okay? They would be curvy, they would be in a different angles. And yeah, they are not very geometrically designed. And one thing when you're working with landscapes and trees and stuff, actually, I think you have to remember they are not perfectly geometrical shapes, avoid making them rigid. Okay, give them some feel, give them some life. And when you start giving them, your paintings actually start looking very natural. Okay. So we have this and every branch that you're creating, right? So let's say this is my tree, and every branch that you create starts from the tree. It doesn't happen this direction. It happens this direction. It starts from the tree. Anything you are doing, you are doing from the tree. So let's say this is my tree. Okay, this is my tree. I will start branch here. I will not do here. No. Nada. This is wrong. Like, it doesn't go this direction. It always goes this direction, and this is right. Why when you do this movement, you have this brush, right? You will just lift it and it goes thin. It keeps going thin, thin, thin. It goes thinner, thinner, more thin, right? And that is why it is important that you're doing from the tree. From the tree. This is the branch that's coming out. Now you can make this tree as elaborated as you want. You can keep taking the branches out of it. Okay. So I'm still doing the detailings. You can stop when you feel like it's time to stop, else, it's a never ending process. You will keep creating branches, lot of branches. Yeah. Yeah. So I'll just give them a little of carve, actually. If you want to make anything also like one more tree here, it's your choice. I feel like this is it. Okay. So now it looks like a dense forest with things in the background. Then we had another layer and then the last one. It looks a bit spooky because we use that kind of color. But you can actually follow this method and do a green forest, a yellow forest, a blue forest, a magical forest, anything. Anything that you feel like, and it will still turn out beautiful. Okay. So that's it. Now if we want to give some distant trees of foliage if we want to make, something like this, right? So we can do something like this. So it's in the distance. Like, it's not visible to me. So it's from another tree. I like a dark monochromatic look. This is also optional. You don't have to do it if you don't feel like it. I'm just telling you guys multiple ways of how it's going to work. We have not added anything here, but we added those here on the sides. This bit that I'm doing now is optional. If you feel called to do this key, you want to add this foliage on the side, then go ahead and do it. If you don't feel like doing it, please don't do it. Okay. So now I'm going to just remove the masking tape. These are two types of misty landscape that we did. So we have done four exercises. Now. The last two exercises are basically seascapes. I also wanted to show you how to make Seascape wet on wet and we're going to move to those exercises after this lesson. I hope you have enjoyed this class. Thank you for joining me in this lesson, and I will see you guys in the next one. Bye bye, thanks for joining me here. We'll see you in the next one. 13. Colors for Sunset Lake: Colors you need for this projector, gamboge yellow, orange deep, burn sienna, scarlet, paints gray, white gauche. If you don't have burn sienna, try to mix scarlet with paints gray. 14. Sunset Lake: Everyone. Now we are moving ahead towards the Seascape that we wanted to do for this exercise side. We have already done sky scenes, then we have done misty forest. Now for the final s, we are moving towards seascapes. I'm going to go with one as the reflection. That would be nice to do and learn also. The other one will do the aerial one. It looks fantastic. It's just mind blowing and then wed or wed is actually the perfect way to do that. I'm going to just sprinkle some water on my dried paint because when I pick them up, it's easy for me. We will start again by wetting the paper. And we're going to bet everything. Okay. So we are wetting the entire paper, and I'm using my flat brush for this one. It makes my life very, very easy. Okay. So we go just back and forth a couple of times. Now I'm going to use my flat brush again. Okay. And we'll start by some yellow colors. So we'll have yellow in the sky. So sky is more basically, sky. That's our horizon line. Or maybe we'll just do this. So we'll start the sky, maybe here and this begins the bottom. Okay. That's our sky. I'm going to take my orange going up. Then darker ones. Okay. What we have to do, we just have to replicate down same set of colors. We do light orange here. We're doing back and forth, back and forth, back and forth. Okay? And then the dark orange. I made it more dark because the reflection. And the bottom extremely dark. Okay. So this is our horizon line, I'm going to just put this color on the top also. Lighter orange. Okay, wash my brush thoroughly. Take some yellow color that we had and just go over it once. Okay. So that's what we have. That's what we are creating. Okay, perfect. Now, what I'm going to do is I want to also create a boundary between the two, right? I can have that division between the two. So, I want to make that segregation very prominent. That's the sky, and then this is the land. Okay. I want to show this sun also here. So we can just lift the color as of now from here. And we'll decide later that if we want to make it like white, bright or we want to make it orange or we want to make it red. Okay. So as of now, I have lifted, but I think my brush was very dirty. So the color that we lifted came out very dirty. I'm going to just correct it now. Yeah, this is much better. Okay. Okay, so that's the reflection. Now that reflection will also be here in the water, right? So here directly. So I'm going to just swirl my brush and then pick something from here. Okay. Now I want to make that boundary. Okay. So let's say that we have, we can do anything as part of division. So let's say that we have like a mountain or something here goes and then it's something here. So it's either mountain or foliage, whatever you are. T. And then this has a reflection also. This will have a reflection of its own, in the water. This will have its own reflection in the water. So they have its own reflection in the water. So we created that reflection by pulling the paint down. Okay. Now I want to make the waves here. Okay? I make a lot of waves here, in order to get that feeling of reflection. So the reflection is already there, and we want to make it more prominent. We can mix, like some browns with the shade that we have. And while it is wet, yes, we go ahead and then paint these strokes. So just to explain you guys, what we are doing is, we are painting these strokes like these curves. Some curves will paint, and then we'll just join them like this. Just take a reference image, any reference image, and then look at the waves. You'll see that they have certain amount of shaves into them. And that's what we are doing, but we're doing it on a slightly wet surface. Okay. I want to mix some red to this shade that we are doing it doesn't completely look out of the box. Yeah. Then we're going to just reduce the thickness of these as we go up. We're going to reduce the size of these also as we go up. So we just reduce it, okay? And of course we paint over that reflection. That's a reflection. Okay, so we'll just make it more dark here at the bottom. Dilute it. I'll make this only like dark. Yeah. So now we're just blending the corners. So the reflection is visible actually on the center of the artwork. And it doesn't look odd. And we can actually make it bit dark if we want. Yeah, this is looking good, right? Yeah, see. It changes how your artwork will look. Now this is looking good, right? So this is like the sky, the segregation, the reflection of that, the reflection of the sun, and then the water, right? So maybe like a lake rather than ocean, I would say, or a still ocean. Okay? Now, if you see this, the colors are blending too much, what I'll do is I'll just come here and I'll start lifting some paints. Okay. So what you can do basically wait for some time till this is getting dried. One, this is on the verge of drying, it is not wet, not dry, but it is about to dry. Then we go and lift the colors, colors lift very nicely. So what I said was, we'll just wait for this to dry and then we'll just go ahead and lift some colors. Every time I lift, I go back to the jar and the cloth for wiping my brush and I come back again, and I repeat the same thing. Okay. So there's a lot of lifting that I did to form that vibrant glowing thing, okay? So Yeah, see how good it is looking and how much difference it can make. One small tiny thing we did and it is looking so good. Okay. Now what I want to do is I want to put some white color, white gauze in here so that the details are very nice and the sun actually looks quite blowing. Okay? So I'll do this good White gauze in here. Okay. Now I'll take my brush, dampen it, and I'm going to go on the sides. That's it. See. Okay. Now, I'll take some small amount of white gauze. And what we are going to do is just make some highlights over here on the water. It's a reflection, reflection will be also in the form of ripples, somewhat. Yeah, that's it. See how the tiny details that we do actually makes a huge plus point, right? Now this is looking so, so amazing. I hope you guys enjoyed and then learned something new in this class. I am super excited. So for you, like, I want to see all of your class projects, everything. And yeah, it's wonderful. By the end of this class, I want all of you to be super confident about your watercolor journey and then working wet on wet and watercolors. I hope to see you guys in the next lesson. 15. Colors for Seascape: Colors you need are indigo blue, portion blue, aqua blue, mint blue, sap green, white gauche, yellow ochre. Now, if you don't have aqua blue, don't worry. You can mix a bit of green in your bar blue or permanent blue or as your blue even, and I will give you that tint. And if you don't have mint green, then you can actually try to mix your white gauche with your Persian blue or indigo blue and test out that shade and that should work fine for your mint tea shade. 16. Seascape: Is every. So we are doing a Aerial landscape for this one, right? ARL C scape actually. So that is actually very good when it comes to wet on wet technique, and I'll be able to guide you as in how to do that. So let's do that quickly. So for Aerial landscape, we're going to need I'm taking indigo, so we'll start with the base colourless indigo on this side, I'm going to put indigo and paint this Persian blue combination. Okay. So that's what I'm starting with. I'll make it darker because watercolor you know once it is dried, is going to become extra light, right? And so I'm taking more quantity already. So after that, I'm going to take aqua blue. If you don't have aqua blue, just try to make a bit of green in your I think serleim blue, and it will give you this shade. Okay, so I got to tone down the color. So from Persian to aqua blue now. Okay. And then I'm going to use a bit of mint with aqua blue will tone down. We're changing the shade of the colors. We went from Persian blue, aqua and then mint green. On the side, we're going to do foliage and then for foliage, we are going to use our green color. I'll just keep it here on the side and the remaining portion will be basically our seascape. We'll do this. Here in middle, we have our sand. Here we'll just do our sand. We'll do a sand here in the middle. We want to make this more light. I think as of now, this is dark. I'm going to just lift some color, lift some colors from here as well. Okay. So we're going to make it more dark. So for the foliages you're going to make it dark, like put more color here. I'm going to take use of my indigo or Persian blue to make it more darker, I'm going to take it here as well, right? This whole area is basically filled with foliages. Okay. Okay. So this is done. Okay. And somewhere I feel like these colors here, this can be more dark. So we can just leave the watery quantity of Persian glue here and there. So I will look like there some places in the ocean has depth, some places doesn't have that kind of depth, right? It looks wonderful that way. Okay. So once you're drawing this if you feel that certain areas are not looking as expected, just get up from your seed, get up from your seed, and then have a look from top you because you are actually painting a top you. Okay. Then we're going to do this platter. This will create some texture on the s which we actually want. It's going to look very pretty when this is all completed. Okay. And we can give this kind of texture on the grass as well, like here. Okay. So texture on the grass. Now, I don't want to convert this into, like, trees or something, so I'm not doing that. I want to keep it very simple for you guys. Like, we can give this trees only the feeling of something. But I don't want to overdo that. So I will just not do that. If you want, you can have this aqua blue and mint also dropped somewhere in the middle. Okay? But I think this is good. So splatter the mint green. Now what we have to do we have to make this ocean prominent. Making that ocean, I'm going to take my white gauge color and we're going to go around this now. I'll take my white gauge and what we have to do is we have to create a wave. Now, this is done, the aerial view is done, the sea is done, the shore is done, we have done, the foliage is also. Now we want to define it. What we are seeing is we are seeing this image from top. Someone shoot a this whole thing from the top. I'm going to just create this boundary that has come out for us, right? So anyone who is seen from the top will also see the waves crashing on the shore, right? And that's what we are showing. So now I'll make use of driver's technique. So diver's technique is nothing, but I will have to have my dried color and then go over. So I'm going to show you that with a dark color that will make it visible for you. So let's say that I have my equa blue paper doesn't have any water, and I do this. This is called a dry brush. We are going to make use of dry brushing technique here. But before you do die brushing, please make sure this is dry. Now I've picked it up. This is not dry. If I do dry brushing here, it's not going to work out because this is not dry. In the meantime, I'm going to do a shadow shadow for the wave that we have created. I've taken my burn sienna and I'll go over here, like a broken for see this, right? So once I look from the top, I see this waves crashing and then creating that sorry, that shadow, right? And I'm going to just lighten this up. A bit. Okay. Now, what I want to do is we're going to do dry brushing right here. So we'll just make this more prominent like this, the waves. And we do dry brrushing like this. Okay. So that's how the waves are basically looking now. So what we are doing is we're taking very thick quantity of white gauge and we're doing this movement. So we are flicking basically. So we're just flicking like this. Okay. So basically what we are doing is we are flicking like this. Okay? From a flick movement, we are able to create this textures, beautiful, wavy kind of textures. Okay. So that's how we were able to form our waves and some we can just extend a little further, not too much. And we also don't want to overdo it. So not everywhere at some places, Some places, it just extends and goes inside. That's it. That's how it's going to look from the top when I'm doing. Okay. So this is our last landscape, which we are practicing for mastering wet on wet and watercolors. I hope you guys enjoyed this lesson. We're going to do a recap of everything that we have learned in the next lesson. We'll go over each painting and what technique we use and what we did to summarize the class. So I hope you enjoyed this, and I'm going to see you guys in the final and last lesson. Thanks. Bye. 17. ThankYou: Thank you so much for taking the class with me. I hope you feel more confident using the wet on wet technique in your watercolor journey. Whether it's soft skies, glowing sunsets or dreamy landscape, I would love to see what you create. So do not forget to upload your class projects in the project and resources section. I will personally go through your artworks and leave constructive feedback. If you enjoyed this class, please consider leaving a review. It really helps more learners discover it and support my work as a teacher. You can also follow me here on Scitua class to stay updated on my future classes. And if you really like to see more of my work behind the scenes or get daily inspiration, come say hi on my Instagram, at the date QuivaiUnderscore art. I would love to connect with you there, too. Until next time, keep painting and stay curious by