Mastering Contemporary Art: Composition and Perspective

1. Mastering Contemporary Art: Composition and Perspective: Do you want to learn how to make fresh and exciting contemporary artworks like this? This, or this. This course will walk you through the do's and don'ts of using different materials and how you can apply what you've learned to any medium to create realistic compositions and perspectives. Throughout this course, you'll have access to comprehensive lessons, additional resources, and course assignments which will guide you through the entire process of creating exciting artworks using a range of different materials. We'll begin with gaining a firm grasp over the basics of focusing on the fundamentals of contemporary art, such as how to properly use your tools. Creating perspective, drawing in three-dimensions, and using different color values to represent light and shadow. Will then move on to practicing and ingraining these principles by applying what you've learned through creating a variety of artworks that focus on different painting and drawing methods, such as creating realism, using multiple layers, accurately replicating reflections, and using ink to add intricate details to your paintings. During these lessons will cover common mistakes that are made when using different mediums together and how you can use a variety of tips, tricks and techniques to avoid them. By the end of this course, you will not only have the confidence to create artworks that utilize a range of different mediums. But you also have the knowledge and understanding to use these mediums in a way which complement one another and enhance your final artwork. 2. Get to know your tools: Hello everyone and welcome to a new tutorial. Today, we're gonna be learning about ink and how we can use ink and water for drawing. To work with ink and water, we also need a brush, round brushes that have a pointed tip like this. These brushes have different types handmade or with natural hair. They also come in different sizes. Take your time to make the selection more comfortable for you. Natural hair brushes have higher-quality, but they're also more expensive. Now, to start working, we need a round tip brush like this, where the hairs do not fall so that we can easily apply the touches on our paper. Take your time to hold your brushes. See how you feel. Now we need to use medium to large brushes when it comes to size. As the small brushes are typically used for adding details, we do not need them that much also, because we can use the pointed tip of these medium or large brushes to achieve the details desired. We use a typical ink with a water bases. And we can use any color that we want for the ink, black, brown, or any other color of your choice. The point is to start practicing and using this medium. We also need to have some clean water nearest like this and also some dry tissue. These are the materials we're gonna be using to start working. First, we're going to learn about the different techniques and methods of using ink. And later on we'll be applying all those techniques and practice together on different samples. Try to get a feel for the brush and its pressure and see you in the next tutorial. 3. Object Drawing Practise: Hi there. Welcome to a new tutorial. Today we're gonna be using different pictures as our models. And together they're going to be a combination of a still-life. First, we're going to draw them in a 2D view, and then later explore how to draw them in more 3D. Here we have pictures of a kettle and a few lemons and a knife beside it. And the knife is in perspective, we're not able to see it, so we don't draw the knife actually. We want to make this 3D picture into a 2D image and draw it. We're going to start off by creating a combination form. We're going to draw a polygon. I'm using a pen here, but feel free to use a pencil. Now I've used the triangle and a rectangle for the handle. And the teapot lid. Next to the kettle, I'm going to draw a circle, a few ovals. Just to create the shapes for the lemons. Two ovals and some triangles, as you can see. Now, we've drawn these shapes, determined geometric shapes and lines in order to create our primary flat images. We'll add a semicircle as a cap at the end of the kettle here. So here too as well. We're drawing a still life here with simple lines. Now to add more perception or depth of perception to it, we're going to draw shadows with dark and light triangles. All the lines we're creating are pretty regular. Even shading is in simple straight lines. It is simply to bring in some difference and show the differences in the lines. And how much you can achieve by applying your lines in the right perspective. Exactly where they need to be in the shadows. And to leave the highlights white. Let's simplify another object. Let's draw a bottle. Place your object in front of you so you can see it comfortably. Draw a rectangle and a rectangle cap. Here's a circle of as a fruit. Then an oval. We have a mug here with a handle. Now we draw simple shapes on the bottom surface just to show reflection. Just using these triangles and thin, long rectangles, we're implying a sense of light or reflection onto these objects. Try to simplify objects around you and make them into D view, analyze them. That's the point of this tutorial, is that we want to create imagery in 2D form. Next, we're going to draw a milk pot handle. This is a cone shape. We want to draw it in 3D view. Simplify and objects and make combinations of shapes. Don't be overwhelmed by creating. If you're straight lines, they're going to be very long. You don't have to create them in one stroke. You can do it in little dashes. Now choose a complicated object to learn how it would be simplified. Maybe a picture which has some reflection and maybe a cap, which is curved or is of unusual shape. You can create a sketch of the object and then begin drawing it with the pen. If that helps. But notice how my first-line is a curved line. Curved up and then it curves down. Now although I have a circular shape for my jug and the handle. But they are more curved than they are uniform like the others. Again, this is our attempt to simplify what we're seeing are a complicated object. Sometimes beginning with a pencil drawing and then going over it with pen might help. It might be a good practice as well. Now I'm drawing two apples. It doesn't matter that they're not symmetric. It's just about practicing and getting a better sense of what 2D images in drawing look like or how to achieve them. How to look at objects right in front of us and make these 2D drawings of them. You could also do the exercise of drawing them within 30 s or 1 min. That way it kind of puts pressure for you to make those quick lines and rely more on your observation. Now we're creating a lamp. We draw our rectangle triangle again and another triangle. Circular, oval shapes. Then a small rectangle. And all these shapes are stacked on top of each other. Simplifying this complex shape in front of mirror complex-looking object. We continue stacking those shapes, circles, rectangles, ovals. And just like that, we've created the lamp. Let's use another complicated picture. Let's start with a triangle. A vertical oval, a horizontal oval. Another triangular shape or rectangular shape when circle one handle. This is how we simplified this object. The idea is that these shapes, the geometrical shapes, are very helpful and the way to create simple, simple drawings, simple 2D drawings of any object. It doesn't have to be complex. It can be simple, straightforward, or even more complex. If it's more complex, it's simply taking more shapes and combining them or stacking them on top of each other like we did with the lamp here. I'm just setting up a flower pot here. Just for me to be able to look at it comfortably. You can use anything around you really. Remember that practice will help a lot. It's not about making perfect, perfect drawings, but it's about approaching your medium and your technique with ease, with confidence. Where you are not worried about. Using your pen, making those extra lines and really not considering them as mistakes. We learn from everything that we draw. But we need to practice bringing those shapes are referencing those shapes in order to create complex objects. I've created a reflection on the pot here with a little bit more details. But now let's try to add some shading with the rectangles. These rectangles are the lighting. They are the highlight where the light is hitting. And that's what I mean by shading. It ends up leaving the rest of the object known as the darker part. Just because we've highlighted a rectangle right there. We should keep practicing. Again, remember, symmetric, symmetricity is not important here. It's the simplification that we're trying to focus on. Keep drawing different objects, a kettle, a tea pot, a basket. Any object around you that's appropriate to be, to be observed and simplified. Feel free to send me any questions you might have. You can even share with me your drawings if you'd like, and I'm more than happy to share some pointers, some feedback, and address any, any questions, any concerns you might have. Now, we want to draw a 3D model. I've placed the fork in front of me. But we want to draw it in a 2D view. Ideas to look at 3D things and to draw them in a 2D view. Observe your object and create your lines accordingly. Next is a perfume bottle. We're drawing it with some rectangles and a triangle. And the more, the more we, the more we do this, the better our practices get, the more defined our lines are, the quicker we are. Now a cup and perspective. We can draw it shading just by creating one line like this. That there's a shadow inside the cup, but also on the left side. Keep practicing any object around you just place it in a comfortable spot and dried in a 2D view. Drawing is a great art form and it's also a great exercise, something that I find a bit meditative. It's primary. You pick up a pencil or a pen and you simply start to draw your lines down. And even if it's not perfect, but the idea is to practice because the more you practice, the more you're really looking at the objects and making the lines that you need to make to show their shape. Maybe show some highlights. Work on these kinds of objects and simplify them by drawing them in a 2D view. Keep practicing. Hope you've enjoyed today's tutorial and see you again next time. 4. 2D and 3D shape practise: Hi there. Welcome back to another tutorial. Today we're gonna be working with the general basic shapes. As you know, they are a circle, triangle, square, and rectangle. As we are in the beginning of our course. Let's practice simply creating our base sketches here with any pencil available to you, create these shapes on your page. There are simple geometric shapes and we're going to illustrate characters. In order to do so, we need to learn how to observe the work and simplify it. Observation and simplification are two of the initial steps in illustrating characters and designing them. These are also some of the most important ones that help us easily draw different things. Take your time to create your sketch. You can use a hard eraser to erase your lines. What we're doing now is creating characters out of these simple forms. U-shapes don't have to be perfect, but do mark them as I have here on the page. Remember to make use of your downloadable resources. Every tutorial has a downloadable resource which has all the information necessary with all the materials we're gonna be using. So do take a look at them. It'll include all the information necessary. The idea is to start getting comfortable with drawing your base. Now using a pen or a fine liner, go over your base sketch you created with your pencil. Forms we are all familiar with here, the circle, the triangle, the square, and the rectangle. In fact, we're using these familiar simple geometric shapes to illustrate different characters, animals, and objects. We need to be able to analyze things. And to do so, we need to be completely familiar with a different forums. Know how to observe the curvature. Maybe it has some lights on the right side or the left side. And after analyzing and we exaggerate the sizes and we color them and give it texture and make it a unique character illustration. First, we need to eliminate the details and see the object as a general form to simplify it to its simplest form. And after that, we add the element of exaggeration to draw that unique character or object we're working on. By adding color to it as well as texture and other visual elements. We get closer to completing it. Now, let's start by looking at these shapes and taking each one and breaking them down into different, different perspectives. We have a circle here. And we want to create the most common forms we use while sketching circles. You have an oval here that's elongated horizontally, vertically. We're going to do the same for the next form, which is the triangle. And we can show the different angles and change it vertically and horizontally. This is also to be able to visually study the different perspectives of these shapes. By knowing these different forums, we can simplify a complicated object or figure. We mostly use the combination of these forms to create figures which we'll go through together and we'll continue working on. As you know, each of these forms can be in 3D forms too. Simply by shading and giving a shadow to a circle, we can turn it into a sphere just like this. So we've indicated the curvature of it and giving it a shadow makes it more to d. So this is simply to visually have our eyes practice looking at these different shapes and how they can create different perspectives. This will help us draw our subjects and sketching in general by adding some lines and we can give some dimension to a triangle and make a cone also a square can change to a cube like this rectangle into rectangular cube. We're going to use these 3D shapes a lot as we move forward. We use these forms a lot in creating space are working on the form of the figures. In fact, we create a figure out of these forums are a combination of them. And by knowing these forms and elements, we can simplify a complicated thing and learn the process of simplification by practicing it over and over again. We know all these forums. If we combine them, like what we're doing right now, we can create different things and even draw them in perspective by drawing the lines, drawing the shapes in accordance with those lines. It's basically creation of shadows and highlights. The highlights are leaving the white of the page there and not adding any lines. But it's to visually locate where it is. Observe how I'm combining two different shapes together here. These are some compound forms which we can draw and practice before starting to draw figures, spaces, objects, and so forth. We can use these forums and draw familiar simple shapes like a house in a way that we did when we were kids. We can also create a lot of different forms and characters by combining them and finalize them by coloring and giving them texture. What matters is practicing and getting used to the techniques. So make sure that you go through the assignments. I would also suggest practicing and playing around with those shapes and the lines we've created. Do them again, have your own playful approach to it and discover more about your tool. Hope you've enjoyed today's tutorial. See you next time. 5. Turning your 2D drawings into 3D: Hi there. Welcome to another tutorial. After introducing some general shapes like rectangles, square, triangle, and a circle in different 3D shapes. In our last tutorial. Now we're going to use them and draw simple objects by combining them or building from one shape. E.g. look at my ink bottle. We're going to just put it here so we clearly see it. Now we will use the geometric forms to draw it. Plays your model in front of you, so it's easy to look at. And to simplify it, we see that we can use the form of our rectangle to draw it. We first draw the cube like this. The upper and lower surface are drawn based on our point of view and how we see them. We draw it in this way and then we're going to Use the oval shape to determine the right place for the cross section of it. Continued to observe your model. The bottle will be drawn by drawing half cone sketches like this. Keep observing your model, keep observing the bottle and look at the lines. We have an oval here as well. We go across the shape from top to bottom. We draw these ovals in this way joined by a cylinder. This is combination of a cone cylinder and square rectangle that we're going to use together. And easily like this, we can draw a bottle of ink. This is it for the bottle that we drew easily by using geometric shapes. The idea is to observe your model and generally put together these different forums. The point to be taken into consideration at this point is to know to what extent we're going to add details to it. We did not consider the details. What we draw is the general form here by using the cylinder and the cube with different sizes. For the bottle cap, we use the shape of a small cylinder like this to draw it. This is, we just have to add the sticker on the front. So this is the ink bottle. Some parts of it may have different sizes. But what matters at this point is being able to simplify this form by drawing it in these shapes which we just did. E.g. if we want to draw this brush, we should put it here right in front of us. Observe it. Draw a rectangular prism shape like this, which is quite long. And then we add an oval like this on this part. Observe your brush. Look at the different shapes within it. Now we have to draw the brush out of this shape. So when simplifying the form of a brush, we use the shape of a cube to draw it. And we combine it with an, with an oval at the top. And it's long. It's as if you're looking at the object inside the box. And what shape does it need to take? That way we're able to simplify it. So we're trying to turn this cube into the object we want to draw. We're drawing a rectangle and then an oval. Then we add the shading if we need to. And this is a brush. We can draw objects around us just by simplifying them into shapes. To draw a glass of water. This would be like cylinder, which becomes smaller at the lower part. And that's it really simply like this. We can turn a complicated shape to a simple one. If I added some shading, then I'll indicate the curvature of it. And you can apply this to different objects. E.g. drawing scissors from the front view, we need to consider a cube in perspective like this. Now we're going to draw it from the top view. We can eliminate perspective as we do not need to apply it here. To simplify and draw scissors will draw a simple surface like a circle, one oval, one triangle, and one rectangle which leads to a triangle at the end of the scissors. In this way, we simplify different objects we're going to draw. We can practice more and more by drawing the different objects that we can see around us using this method of simplification. Now, to draw a fire extinguisher will draw one simple cylinder and a cone on top of it. And a hanger just like this. And just like that, we were able to draw a fire extinguisher. And these very simple lines, it's a matter of observation. And this technique we analyze and simplify different objects and we start drawing them in these simple geometric shapes. For instance, and analyzing and drawing them in 3D, we should put them in a cone like this. If you want to draw 2D shapes, which is not in perspective, we'll draw them by using forms such as a circle, square, triangle, and rectangle. But if you want to draw objects by combination of these shapes, this drawing won't be in perspective view like the scissors. Now, to draw a glass, we should draw it like this. In 2D shape. To draw an ink bottle, we draw half of a cylinder. And we do not add any dimensions to it. We use the simplest shapes and forms like this to simplify different objects. We can draw scissors and different sizes by simply changing the sizes of these forms. We draw a triangle like this, joined by a bigger triangle, and then we add the outlines. This is another kind of scissor. If we want to draw open scissors, we'll draw two triangles with a bit of distance between them. Practice and practice is my advice as much as you can and draw objects around you. By simplifying them. Do this exercise how to simplify a complicated objects. So look at something around you and start this process of simplifying and using geometric shapes. If you want to make an example, use a bag, e.g. to draw a bag and a rectangular shape. Again, we'll draw it in a cube like this. This is a bag with no straps and a hanger and the front like a handle. Unlike this, we've drawn a bag in perspective by simplifying it. To draw this in 2D again, we need to draw a rectangle joined by a circle on top. We add these two circles to show the buttons on it and to give it characteristic to know what it is, is an object. So we've drawn them simply by four main shapes, square, circle, triangle, and rectangles. Also a sphere or a cone, a cube, or a rectangular prism in 2D shapes and 3D shapes. When we draw something in 3D, it means that the object is in perspective. Keep practicing. Start with this shape over here. Play around with the medium and see you again next time. 6. Applying light and shadow to your work: Hi there. Welcome back to another drawing tutorial. After drawing and practicing 2D shape drawing and learning how to make objects with simple lines. Today we're going to draw them in a 3D shape using a pen liner or a pencil if you prefer. First of all, we're going to draw 2D shapes of a teapot, a cup, and a sugar bowl. Using those regular simple lines, look at your objects or your model image and make your drawing. Draw the lines that you see. A 2D drawing of an object is quite flat. We're going to differentiate today between the 2D drawing and a 3D drawing. As we complete this sketch, this 2D sketch, I just want to remind you to make use of your downloadable resources. They have all the information for every tutorial that you follow. Don't worry too much about symmetric reality. You're simply trying to create a sketch with regular lines, simple one lines to create an image of these objects. And this is a simple sketch of them or a base drawing if you'd like. Now, if we observe our drawing here, we've created them using a circle, a rectangle, a triangle, and an oval. Now we're going to draw the 3D shapes of these objects like cones. So we start off with a form of cylinder right at the top here. And then we move on to create a circle which we're shading will become a sphere. Created a Spout and the handle. Now we have another semi sphere. We created an oval for the saucer. But even the nature of the drawing that I'm creating in this sketching manner. It's not just one sharp line, it's light lines that are coming together to form a final image. And the Sugar Bowl holder. Now there's a shadow over here on this sphere, this curvature of the cylinder and the sphere. I'm adding the shadows as if the light is coming from the left. The shadows here indicating the curvature. They're giving a more 3D field to the objects. The way the light hits objects that are standing together needs to look logical. If it's coming from the left than they should all be hit with a highlight from the left and the shadowing is on the other side. Now that we've created the objects on the left with these simple lines as a simple picture. It's still a simple picture on the right here. But simply with more hashes, it doesn't need more analysis. In complicated objects two, we simplify them by combining more geometrical shapes. Now, let's draw these shapes here. It's more about the shadowing, the highlights and the shadows here. The sun is hitting from the left side. And to draw this cone. If the sun is hitting from the left side as indicated, we'll draw hatching on the side. On the right. Just for you to notice a difference where the light is hitting the highlights, which is where the white is, the middle and then the right edge. Again here with the cylinder. This applies for all shapes. The right part is darker. The middle is a little darker. A little like it's in the middle tonality. Then you have the highlight on the left. We should make sure that the shadow is actually dark, a few, a few shades darker than our middle ground. The top part of our cylinder, the light is hitting the inside on the right. Now. Now we're drawing a sphere. If the sun is shining from the, from the left here. We're going to start from the dark part to the light part. Just to indicate that curvature here. And shading the kinds of lines you decide on to use to create the shading and to show the highlight that's that depends on the texture you want to achieve or the material that you are that you are shading the object. For now I'm going with these curved lines next to each other. But generally speaking, we're considering these objects, the cone, the cylinder and the sphere in a mat and a matte texture or MapView. Just remember that the more you practice, the easier it will come to practice looking at the objects. Because then you'll observe the texture that you need to create. The different lines that are necessary where the shadows are, where's the darkest tonality? And even within the dark is tonalities, maybe there's a lightest gradation. And the same thing with the highlights. What's the darkest highlight? What's the lightest highlight? In general, we're considering these objects in them math, color, but also we can make the shapes simple with these main forms of the shape that triangle, the rectangle and the cylinder and the sphere. And as we combine them, we can create different objects. This is an exercise to simplify complicated objects and make 2D drawings or 3D drawings of them. That's the whole point. We practiced a lot and made complicated and simple objects into line drawings to show them in 2D and in 3D, 3D shapes. It's time to work on the heart stages like drawing animals and humans. Drawing still-life of nature is simpler than drawing human or animal anatomy. But these are all things that are going to be practicing As they have a lot more detail to cover, a lot more decisions in terms of texture and perspective, and lighting and highlights and shadows. But we can definitely achieve a realistic image with practice. I hope you've enjoyed today's tutorial. Keep practicing and see you again next time. 7. Learn different brush techniques: Hello everyone and welcome back to another tutorial. One of the most commonly used techniques while working with ink and water is the wet on wet technique. For this, we need to apply water to the surface we want to work on. We apply the water on the paper, just like this. I'm marking a square here. Then we apply the ink with a water-based, which is watery itself in this way on the wet area on our paper. You almost infused the color lightly and let it spread. I'm using a brown ink here, a water-based brown ink. There is water on my brush and color. This is what a wet on wet technique looks like. You want to be careful not to flick your brush. It might splatter on the sides. This is the kind of texture we get when we work with a wet on wet technique. The color ink or even watercolors mixed with the water as if they are running on the surface, are seeping through. This kind of texture has lots of usage as well, working on different samples. Another technique we can use to work with ink is applying a dry on the surface. In this technique as it is visible here, we're applying the ink on the dry cardboard or paper. You can take your time to practice the field for the brush. Both while using a wet on wet technique or wet on dry. In this technique, the colors we add on the surface dry quicker and also it is more manageable and we can control what we are doing. We can see clear lines and edges in this technique, something that we did not see in the wet on wet technique as the water made the colors blend with one another. Here we were still using the wet brush. This is why we can still see water droplets on the touches we have applied on the surface, a dry surface. Take your time to practice and get a feel for the medium and observe the different kinds of effects. The following technique is dry on dry. Using this technique, we can take advantage of the texture of the paper or the cardboard that we are applying the color to. This might affect our choice of paper or cardboard in the future. Take your time to practice applying dry color to dry paper or water-based color. Take your time to apply your brush in different directions. Maybe use only the tip, maybe tilt the brush as well. This practice helps you get familiar with the medium. We can say that the touches we apply on the surface with this technique are all a bit harsh. However, the different textures can be used for different purposes to achieve different details depending on the sample we're working on. We can even continue applying the color with this technique so that we reach a very dry color and surface with a minimum amount of ink on our brush and create yet another new texture. For instance, this technique and this kind of texture can be suitable for drawing trees and dry branches, even meadows, to draw the C or a street on a rainy day or a distant foggy horizon. The wet on wet technique here can be a good choice in normal situation and also for mixing colors. We can use wet on dry technique. While working with ink or watercolor. We're supposed to work on lights and shadows. It is important to keep in mind that we go from light to dark. Playing around with the medium helps a lot with being able to manipulate it. We start the work by adding the very light colors first, using lots of water and a small amount of color, either ink or watercolor. And little by little, we can add more and more ink on our surface while we are creating a light surface of color. The darker colors on the other hand, are created by adding more concentrated of the color and less water. The idea is to have a higher percentage of color in a water mixture in order to create darker colors. Whilst lighter surfaces need less concentrated of color. Mixed with water. Using the tip of the brush, we can keep more ink on the wet area in this way. As the cardboard, the surface is dry, the ink would not go on the dry parts and will remain on the part we have added water to. And also this part, as it is obvious here, will become darker. On this part here as we have a wider wet surface and our brush holds more water, we can achieve lighter colors. Whilst on this part we have added water to a small surface, and therefore it will keep the ink inside that parameter and it will become darker. This is how we create different tonalities of color and using ink and water by wedding a particular part on the surface we are going to work on and also adding certain amounts of color and water on our brush. So it's a question of controlling how much ink you're adding to your water. This is how lights and shadows are created and we can easily add them onto our work. Remember, it's always better to start lighter and then build up those color layers. Now, the reason we need to practice this, because we can move and use our brush in different ways. We can create wide marks on the paper like this. Or we can work on more details and thinner lines using the tip of the brush. We can also apply it like this and the result would be a wide colorbar. This kind of hand movement gives us this texture. With the help of the tip of the brush, we can draw very thin lines. Here as we have applied wet color on a wet surface, we're actually doing the wet on wet technique and it is obvious that the colors are going to blend like this. If we pay close attention, we can see that if we know our materials well, the water, the ink, the brushes, and the papers, we can create different textures easily and add details in different ways. We just have to play around with the medium and practice. Take your time to explore the medium. And the more you practice, the more you're closer to developing your own style. The most important thing is to know and master the usage of the brush, the ink, and the water mixtures. And then we can easily create beautiful scenery and diverse textures. The next important point is to pay attention while working with ink and water is time. We have to consider the fact that we cannot spend too much time on each part and we need to be quick. It's not wrong if we say that the element of surprise plays such an important role here when we are drawing with this technique. As you can see on this part we worked on together. We can see that the simple line we drew looks like a forest and the distance at sunset. And this is created in less than a minute. It shows us the importance of the element of speed while using these materials and techniques. With more and more practice, we can master the techniques step-by-step and then use them to the full extent. These are the initial techniques that are typically used. I look forward to creating samples together and using these techniques. Remember, the more you practice, the more confidence you have. See you in the next tutorial. 8. Beginner Tree Practise: Hello everyone and welcome to another tutorial. Today we're going to apply all the techniques and methods we started practicing in the first tutorial using watercolor and also ink and water drawings. Today we're going to create a sample of a tree and we start by using a sword brush. Take your time to make sure all your materials are handy. You have clean water and clean tissues. And let's get started. The first technique we're going to use is the wet on wet technique. This is a challenging technique, but we need to practice. I'm placing down a water-based ink ocher. We apply water on the area we want to draw the brand Sean. Make use of your downloadable resources that have all the information necessary for every tutorial that we do. You're downloadable resources will also list the colors we're gonna be using, the brushes, all the materials necessary. Now, we add color on the parts we have just added water to. We must be quick so that the services don't dry. We need to be quick while working on this sample. However, it takes practice to be a little bit quicker as we are working with ink and water. If you need to pause the video, take your time and reapply water onto your paper. Please do so. Remember the more we practice, the more easily a medium comes to us. All these decisions about how much water and ink to apply will become instinctual. But at this stage, I would recommend simply practicing and not being disappointed by the result and simply learning from the process as much as possible. Now I'm using a brown ink and it's water-based as we are applying a wet on wet technique, we're adding more and more ink, but I'm being more decisive as to where I'm placing my ink. We're looking at our sample and we're, we're seeing that there is more shadows on the right side of the branch. So this is where I'm applying more color. Are more concentrated color to be correct. As we have a wet surface, the more we move the brush across these parts, the more blending of the colors will happen on the surface. Whenever we're using this technique, we need to be careful about the light parts of the work and not touch them so much. If they need to be much lighter, we just need to leave it be and not, not divert the color towards these parts. We want to leave them undamaged. We must not move our brush a lot on different surfaces, as in watercolor painting. We do not work on the samples repeatedly and we need to be able to draw what we are supposed to with a limited amount of number of brushstrokes. So take your time to observe your sample. Look at where the shadows are, where the darkest parts are, and where the highlights are to also make sure that you don't touch these parts. For instance, on this branch who were working on, we can use these small lines that are created here in some way as we keep working on different parts of our work. In some places we might need to remove texture like these small lines that are created. Again, we dip our brush in water and we start fading these parts and removing the lines that were created initially. So water is used in a way to alleviate or change or edit our primary placement of the water or colors. What matters is to keep these lighter parts, the highlights, not touch them. We can add the dark parts in the process of the work, but not the lighter parts. We can even direct the dark parts from one place to another in our work, like move the ink around with the tip of the brush to be exactly where we need it to be. So it pulls, it creates a kind of stain there. On some of the edges of the work. We can add more water with our brush while it's still wet. And remove the paint that was previously applied in this way by lifting it. Finally, using a brush with more ink, we're going to add these dark parts to our work. One of the points to be considered is that we do not bring the dark parts on the edges as we tried to have a lighter line like this. And our works. No matter what we're working on, be it a branch or anything else, we do not add a dark line on the edges. We need to practice on the way we apply the ink and work with it so that we can control the ink on our surface better. Sometimes when there is more water or ink on the surface that we're working on and we do not want it. We can easily remove the extra water or ink with a dry tissue as I'm doing right now. You can also use a cotton if that's more comfortable. That way we can erase some parts of the work or lift some color off of the page. However, we need to be careful not to press the tissue too much or repeat this too often as it may remove the textures, the different textures that we have created at the bottom. From the start, we are only using the wet on wet technique so far. And this is why all the colors spots we add become faded like this. We tried to keep the ink on some parts by applying the brush like this on the surface, using the tapping of it on the surface. The wet on wet technique allows us to become more familiar with this technique and understand better how it dries, how the ink sets, and what's the aesthetic. So tap your page just like this. When you want to add a very dark part, you're creating basically a concentrate of the color in that specific spot. Notice the background layers, how they are drying, how the color is seeping. Now, notice how the work would look like if we use this technique, the more you add color or you're being very decisive unintentional, where you're placing your color. You get to look at your drawing and see it come together. Now we're going to work on this branch again and this time on a dry surface. So we're not going to add water to the surface. Instead, we will use the ink and water that we have on the brush and start working with only these two. Sketching the branch. We need to wash our brush first, then dip it in the ink and again in the water so that it does not give us a very dark color tone to start with. And that way, we're starting with a lighter color, the lighter base. And now we're going to paint the branch again. But remember the surface is dry. I'm using the tip of my brush. We are applying our color very lightly. We want to be careful with the pressure or where we're placing our color. We're observing our sample and making our sketch accordingly. Make sure you have clean tissues ready to use. Just in case. And clean water. We're going to use the width of the brush like this. We also make sure to keep the highlighted part or the white parts on the surface untouched. Follow my lead. Just like this other branch on which we use the wet on wet technique and kept the white parts over here. We're going to keep it here as well. Observing my sample and continuing my sketch. Now, we're going to apply slightly darker layers right now. We need to have more ink on our brush. And just like this, we start working on the branch again, adding shading layers in this way. While adding the different touches on the paper, we should always leave some parts untouched. Firstly, because the texture of the tree has these holes in it. And also we need to save the lighter parts from the beginning. We can always work on them and fill them later on or as we go on with our drawing. But keep them in mind. It's always the best choice to show the highlights and the rough texture. They are dressed as powerful as the outlines. So take your time, observe your image. If we don't mark the areas of the highlights or the white parts in our drawing right from the beginning. And instead we add color to all the surfaces. Our work would not look like a watercolor work anymore, and it loses that unique texture. That ink and water or watercolor has. That blending of two liquids or a color seeping through a liquid and then drawing on the surface, we want to pay attention to that. It's good to know and important to keep in mind that a work of watercolor is playing with the lights. The highlights are just as powerful as the contrasts. Feel free to send me your questions anytime or share with me your drawings at different stages or completed. And I'm more than happy to share some pointers with you. Maybe give you some feedback. Maybe some guiding pointers. Just make sure to practice. Use your brushes and the ink and the water to practice what kind of effect you could achieve with this material with this medium. The more we practice, the closer we get to recognizing our own style. Practicing also achieves a higher confidence and approach to the medium. So the way you use it, the way you apply your color, the confidence with it increases. Now, these lighter parts that we have kept from the beginning look like the small branches coming out of the tree. That is why they look brighter than the other parts. Now we need to add more ink to our brush, creating a darker color tone so that we can start adding another layer on our work. In this way. Again, we make sure that the darker color tones are added while considering the lighter lines that are right next to them, we don't want to add the darker tones on the edges. We move on to the next step. However, we do not apply the ink solely on the paper. We mix it with water. This is a wet on dry technique. So if your brush gets dry, you need to add water to it. We need to wait for these parts too dry. So that's something like what happened when we were working with a wet on wet technique would not happen. If we add the additional layers right away without waiting for the previous layers to dry, something like this would have happened where we have a seeping of color that's bleeding onto the page. We want the different layers to translate into each other and not fully blend. We are using the tip of the brush to add these kinds of details and the thin lines. If you need to pause the video at any point in time, do it. Just to maybe practice, maybe clean your brush, maybe get a clean tissue. But be as quick as you can. Then play again and we continue together. Now, we keep on adding the hatching lines in this way. This isn't using the dry technique that we can move the brush in this way and add hatching lines to create these textures up there. If there are any parts on which we wish to remove or reduce the dark parts, we can use the dry tissue and apply it in this way on the paints while they are still wet and remove them, lift them off of the page. It takes a little bit of practice. You don't want to press your tissue too hard onto your page. You're simply lifting some of the color and not all of it. We continue to add our details of this. Shadowed areas are darker areas. Just like this. We use the tip of the brush to add the details and more concentrated parts of color. Take your time to observe your sample. That's the model from which we are drawing or creating this watercolor. As we keep adding details step-by-step, the level of contrast in our work increases because we have brought a balance across the highlights and also the, the shaded parts of the darkest parts of our picture. If we keep on adding these hatching lines to build up the necessary layers on the tree trunk and show its texture. The more and more image will look realistic, more natural looking. Rich as well because we've added more details and we're being intentional as to where we're adding our details. So make sure that your highlights are untouched. Where we add the dark and light parts and how we shape them as something that we learn by practicing a lot, mainly by training our eyes to look for it. When we're looking at the highlights, noticing what's the lightest of my highlights? What's the darkest of my shadows or the lightest? Right now we're just applying and practicing different watercolor and ink and water techniques on a sample to see how they should be applied and how they work. Watercolor has its own aesthetic. And the more we practice, the more we understand how to create these different textures. How to bring out the best from this watercolor technique. That's why I say, Take your time observing your image and have fun while you are practicing. Figuring out this medium. Because the more we practice and the more we play around with our medium, it's the only way to have happy accidents. Things that are unexpected in a way that we didn't know that our brush can create this kind of mark or with this kind of pressure, we achieve a certain aesthetic. It's just by playing around with the medium that we can learn more. I'm taking my time to add more details here. I'm applying my gestures and the direction with which the branch or the green of the branch is. We can easily see how different a work would look when different techniques are applied to it. The difference between our branch on the right and on the left is clear. While we were working on it, we realized that these two parts can be symmetrical and create some kind of a balance in our work. However, as we move down, it looked better to remove the lower one and make it darker to show the shadows. This is how we do it. Notice how I move the color upwards. Now I'm using my tissue to bring back a bit more of the highlight that I'm shading. We must apply the brush on the surface like this to add ink, but also removing sometimes with just water on our brush. And the tissue helps as well. Follow my lead. Observed my application of the color. It is important to know that while working with watercolors, we do not only use one technique for work, actually, a combination of several techniques is used to complete the whole drawing. This is how we've increased the richness of our drawing here by using all these techniques together. Working on adding the shadows and the lights in the right place and building that richness of layers. All of that increases the depth of perception and the richness of the image, making it look more natural. But also making the work look harmonious. We continue to observe our work to add some more final shadows here. We want to complete our drawing. Add any final details. I hope you've enjoyed today's tutorial. Thank you so much for joining me and see you next time. 9. Complete Tree Branch Painting: Hello everyone and welcome to another tutorial. In this lesson, we're gonna be working on drawing a tree and applying different watercolor techniques we have learned and practice together so far. We start off with our mechanical pencil. First, we're gonna do a general sketch of the tree. You want to make use of your downloadable resources. They have all the information necessary for every tutorial we work on. They will even have the sketch and the grids available for you to practice your base sketches of any drawing that we're working on. This tree has a rough surface and entangled branches. We're going to start the work with a lighter color spots. I'm using a sword brush and water-based ink, brown. We try to add the colors quickly and be fast. Make sure you keep in mind where the highlights are or the white parts are. So you keep them the white of the page. Take your time to look at your sample, determine where the light parts are, and begin your work. You want to be intentional and decisive as to where we're applying our color. If you feel a little bit worried, you can make your color a little bit more runny or watery, making it lighter. With the tip of your brush, you're able to add your color to specific parts of your drawing without touching any of the highlights or the white parts are lines that need to remain white. Now we're trying to determine the right places for the dark parts. We're building up layers which need to dry before we work on the next layers. Here we're adding this background color. We're going to use our dry brush now and add dry touches of ink on our work. Just to create the texture of the tree trunk. This is a natural bristle. It's a large sword brush. Apply your color as I am doing now. This is called a dry brush technique. Follow my lead. We're actually using the texture that the brush itself is giving us and not the water. We want to keep observing our sample image. Take a look at where the highlights are, where the outlines are. When you look at the darker parts, the shadows, trying to, try to notice what's the darkest of the shadows? What's the lightest tonality of the shadows? Just so we are more aware as we work on our drawing. I'm applying these little details with the absolute tip. Using a dry brushes to add more texture. That texture makes our tree look more rich and more realistic as well. These are all the tree trunk textures we're working on. If you need to practice using the dry brush or working with it on a dry surface. Because as you notice, our primary layer, the watery layer, is drying or dried up. Now I'm going over it with a dry brush and ink. Even on the light parts, you can add some dry patches of color just to have an intersection between the darkest and the lightest parts. This would help us better show the rough texture of the tree trunk. As we start to mediate and put this texture in-between our lightest background and the darker parts that we applied. This dry brush technique is usually used to show textures and rough textures. Specifically, the more water we add to the brush, the softer the texture we would be on paper. And on the contrary, the dry or the brush, the harsher the surface we're working on would be also more expressive where you have the gestures of the brush are very, very, very detailed and textured. It is better not to outline different parts of our works when we are using watercolors. And the best choice is to deal with surfaces, not just the lines. Because as you know, we are building different layers here. We want each layer to dry so we can create the next layer on top of it and have them translate into each other. Because with watercolor, we're building more transparent layers with a dry on dry technique that we can have more lines. And actually this is the technique that enables us to add, to add hatching lines. We're using the combination of several techniques to work on this piece. Remember to practice. Practice. It's not only that it will make a perfect final drawing if you're repeating the same drawing. But it brings a lot more confidence in the way we apply our colors, our use of this medium, our confidence with adding color and water and mixing them and knowing how much to do of it. But generally, the more we practice and play around with our medium, the more confident we are, and the more beautiful the results become. Because how freely we apply color comes across in our final drawing. I'm taking my time to observe my sample. Now we add some water to the brush we're using. Then take out the water with a dry tissue, add ink to it and once more, take out the extra water and start working again. You can use this technique just to clean out your brush and go back into apply more color. We are working in this way so that the whole surface we're working on does not become too dark. Now we start adding more contrast to our work. As you can see, we keep working on the tree trunk in this way as it was mentioned earlier, it is important not to add the dark parts on the edges. If we leave a small link between the dark parts and the edges, it will help us better show that dimension of the curvature in the tree and also the circular shapes. I'm trying to add as many details as I see. I want to accentuate and make my tree look more realistic. We're using curved lines, long brush strokes, dry ones, some dotted technique. Moving on to the next step, we add ink to the brush and not water at all, so that we can start applying darker spots on our work. We can see this whole on this part of the tree. We determined the place for it. Please remember that you can send me your questions anytime or maybe share with me your final drawings. And I can share with you some feedback, give you some pointers, and address any of your questions. I'd like to take pictures of my artwork at different stages as I'm completing it. It gives you a sense of what I've focused more on, how the image got built up. And it helps with visualizing, looking at your image and seeing, is it harmonious, is it balanced or the dark parts? Similar, consistent. And my, uh, my applying my technique consistently. That visual aspect is something we practice looking at our artwork. We try to keep the light parts, the white spots clear and untouched as we work. If we fill all these parts and spots, the right side of the work, which is already dark, would become darker and we won't have the dimensional feeling in our work. We lose that sense of depth of perception. Our highlights are just as important as our shadows. The dimension and shape which is created by all these concave and convex points on the tree trunk. The usage of the lights and shadows would be all gone if we fill in the highlights. And we would have more of a monotone all across our drawing. Also, the harmony we have created so far with the lights and shadows would be gone. If we fill these parts, then we would have one dark and one light part next to each other. This is why we must be careful about the light parts of our work and try not to lose them or have them get lost with the rest of the tonalities. As mentioned earlier, we need to take our time to look at our sample, look at what it is that we are drawing. We do it constantly. Of course, the image, our sample image or the physical object in front of us is not gonna be like our drawing is not going to look exactly like it. But we want a reference that's very strong and we want to keep looking because sometimes we can make an assumption in our mind as to, oh, this is how, this is how it looks, because we have information, we know what a tree looks like, but then we can forget where the highlights are, where the shadows are. That's why it's important to keep looking at your model. It allows you to add details that you didn't know. Maybe are there. The practice of looking and seeing the work is the best practice you can do. Now, we can also use the kind of texture that the cardboard we're using is giving us the paper that we're drawing on or the cardboard has its own grain and fibers. Then we can take advantage of that and bring out that texture as well. And we'll see how our colors sits on this kind of texture and consider it as part of our drawing. And especially if we're using a dry brush. Just something to keep in mind. I'm adding details as I see them and I keep working on one part and then continue and move all across. We need to add the dark spots on our work in there right places and scatter them in order to harmonize, make sure that they're consistent in different parts of the work. Also practicing to keep our application with our brush to be consistent. It will be evident in the final, final drawing that there is harmony because although we've used different techniques, our application is harmonious across each technique. We're going to add more texture and detail on this part as we have not worked on it as much as we have worked on the other parts. We make the branch bolder by adding more details and textures to it. Now, using the width of the brush, we add these textures to the work. So yeah, just like that. If you need a moment to test a certain mark that you want to create with your brush. Just pause the video and try it on a separate sheet, and then play again. And we continue together. We are adding the leaves and also the bushes with the same dry brush that enables us to better show the texture of the paper or cardboard that we're working on. This way we're adding more details. Look at the way that I'm applying these gestures. They're really light there with the tip of my brush. They are more sporadic or irregular. We can still add the contrast of the work, even darker parts. We're now adding dark spots like small dots on the lower parts of the branches. And also where the texture of the tree trunk becomes rough or exactly where we see it in our sample. Like here. Also practice one more thing. As you're working on a drawing. Take a split moment just to pull your head back. Take a look at your drawing, look at what you've created so far. This visual aspect, like you have to look at the work and look whether it looks visually logical. That maybe you have some parts that are standing out more than other parts and you want to balance that out. So take a moment every few minutes just to take a look at what you've created, the drawing you've created because it has its own aesthetic. And Mike mentioned earlier it's not gonna be exactly like your sample, but it might be even more beautiful and it has its own life. And we're working on this. We're working on the drawing. The sample is there just for our reference. Now, as we want to use all the techniques we have learned on this work, we're going to use water and apply it with a brush on our surface. Just like this. Follow my lead. We're going to use the water just as a way for fading different parts. Some parts of the paint added to achieve a texture that's closer to our primary layer that we created. We're bringing the work together. Fading of these parts alongside the dry texture that we have on these other parts. So wet and dry techniques, they help us create harmony in the work. And it adds beauty and a depth of perception. Now practicing is key here, it's really key. That's how we get to be better in this technique and this medium with all these techniques, in order to create that kind of harmony, we need to be able to control our brush, both when it's dry and when it's wet. On wet paper or dry paper. This only comes with practice. Watercolor or water and ink drawings are among those techniques in which we must be fast and paint. Against time. We have a limitation as to how much we can work on a watercolor drawing. You can keep working on it because the layers are drying. We keep adding touches of color on top of one another. What we can do is increase the contrast in one or two steps and work with water and ink on the surface and lift color with a tissue. There would not be another step after these and we need to finish our work in these limited number of steps if we insist on adding more to it, the feel of the work as a watercolor or water and ink art work. It would be gone or disrupted. You're adding something that's not supposed to be there in a way. So that's why we need to work on it now. And it would look like a gouache or acrylic work if we add too many touches and layers. Here we've added a soft layer of shadow. We can speed up the drying process by using a hairdryer as well. We're finishing the work by adding small lines. Thank you so much for joining me and see you in the next tutorial. 10. Do’s and Don'ts of Still Life: Hello there and welcome back to another tutorial in this lesson as a continuation of the previous lessons on watercolor and ink drawing, we're going to focus on the common mistakes that might happen while working with these materials and see how they can be avoided. We're going to work on a still life sample of fruits. So we're going to start by sketching the model very lightly. Make use of your downloadable resources. They will have all the information necessary for your tutorial. The sketch that you need, the grids to create the sketch. All the materials we'll be using. We need to do the initial sketch very lightly here. Because when the layers of watercolor added to the work, these light lines shouldn't be visible. Take your time to create your sketch. Go over the details that you need there as your guideline. Even though they are light, they will still be indicators of where to apply our ink and water mixtures. If you've already created your sketch, you can skip two minute 5.45 s, where we will begin applying our colors and water. Now we're gonna be adding colors. The same techniques and methods that we have practiced in the previous lessons are going to be used with different colors on this sample. We need to be careful and have control over our brushes. The amount of water we add to the surface. And actually the balanced created between the water and ink enables us to portray what we're going to do in the simplest and best way possible. In this way, all the complexities of the form can be simplified into shape that show the composition perfectly. This actually is not something to spend so much time on. Instead, it's something that is learned by practicing and we can transfer what we're going to portray on our piece of paper very quickly. Just some touches of ink and water. We're going to work on the sample into good and bad ways showing the do's and don'ts of watercolor and how they are applied. Our subject can be anything that we see in front of ourselves. And we can also use different techniques such as wet on wet or dry on dry. These do not matter that much. What matters is to know what are the most common mistakes that may happen while we're using watercolors. Now that we've applied water to our paper or cardboard, this is the don'ts version of the work and we're going to talk about the correct ways of doing it. It's wrong to start working with the watercolors by applying the dark colors first. It is wrong to start adding the dark colors we see on the work. First, we're gonna start with a brown here. It's an Indian red. That's a don't. At this stage it had added to the beauty of the work. However, the wrong thing to do now is to keep working on it and add more dark spots on it, which we are going to do. We observe the work to see where the darker parts are and start applying the darker tones on them. I'm using a Van **** brown. As we move on. We keep working on it more than it requires. This is also a don't. By adding too many layers of mostly dark colors on the work, we cover all the spaces that let different parts of the work showed themselves. We want to avoid doing this in the future because we end up turning this shadowed part to become even more dark unnecessarily. As it is visible on this part, we have removed the watercolor feeling from the work. That aesthetic that you get from watercolor paintings is disappearing. The next mistake is to add a very light color, like a light yellow color to work on this pair. The first mistake was starting with the darkest color tones of the work. The next mistake is to apply the light yellow color tone right next to the dark part. What we're trying to do is to work on the texture of the pair as our brushes actually making the colors dirty. No matter how much we clean the brush, the color is still gonna be dirty and not pure and this is going to damage the work, the quality of the colors that are appearing in the work. As mentioned before. We are going to do all that, the don'ts that can be done on a watercolor work here they are like mistakes that often happen. Now the next thing we're gonna do, which is a don't, is to add a dark outline for the works. Now we're trying to add a shadow for the work. Trying to work on the shadows, we applied dark colors on the brush again and then on the paper without giving the work that needed time to dry. Working on it while it's still wet. Placing another layer on it while it's still wet is a don't. This is the contrast between this brown color tone and this yellow one here that we are working on right now. This is why we add this spot here just to try and differentiate between them. But it's still problematic. Working in this way is problematic. It doesn't achieve you the best results. Now we continue working on the pepper. Again, we're going to start the work by adding the darker color tones, which is strong. When we start the process of adding the colors with a darker color tones, especially with something like brown. The whole work and the surface we work on would be stained and looking dirty as we move on. Now we're doing another one of the common mistakes of watercolor, which is directing the paints from here to there, moving the color on your surface. Immediately after that, we're going to start applying the red color to the surface. This is a cadmium DPU read. There are also some light parts, shiny parts on the edges of the pepper as we are showing the common mistakes of watercolor. We're going to cover them, not leaving the right spots for them untouched. You know how usually we leave the highlights, the white spots. They are the light the light parts, they are the white of the page. We are not doing that. Are pepper will lack some highlights. We've actually covered the lights here, which is wrong. Now we continue doing this. We're actually adding more and more to the shadows of the work in order to create the dimensional feeling in it. However, watercolor is not the tool with which you can add more and more layers to create the dimension you are looking for. Instead, the dimension needs to be created with just one brush stroke. But here we are trying to create the dimension of the work by several back-and-forth movements of our brush, which is actually wrong. You should direct your brush and be intentional as to where you're applying your color. The colors are mixing with one another as we have added water on the whole surface before adding the colors. If we tried to remove the colors with a dry tissue like this, all of the colors that we have added on the surface would be gone. There would be lifted off. The next mistake is to add a dark layer of color, a dark outline all around the object we are working on. By adding more darker layers and the shadow of the pepper on the pair and moving from dark to light, which is again wrong. You have added dark spots on our work that alongside these other dark spots are going to damage the whole work and how it looks. It's almost difficult to differentiate or even know what it is that we are drawing. Now the surface has dried. We can see the spots that are created on the work which are not placed in the right places. And also by using the right color tones. To fix this, we're going to add even more dark spots, which is again another mistake to try and give some definition here. And they're using a darker tonality because that's what's necessary to create a little bit of an outline. As a mistake. The way that I'm applying the color now, these back-and-forth movements of the brush is going to add excessive layers on the work as we're trying to work on the yellow dimension over here. We keep working on it with a wrong techniques and apply the lightest color tone here, which is not going to work. It will not, will not look the way we want it to look because the color has been stained. The highlight is not there. Even if I add that bright color on top. We cannot apply the lighter color tone on the darker one and watercolor painting. And the right way of applying colors using watercolor is to go from light to dark as an applying the light colors on the surface where we are also using the texture of the paper. And we cannot work with watercolors in the same way that we work with acrylics, for instance. There is a layering aspect here where you work from lightest to darkest, leaving each layer to dry and then start on every next layer as they dry. No matter how we work on it and add more layers to create dimension. Now, we are unable to achieve it. We keep adding these darker parts to the work. And what is happening right now is that the more we add the dark layers that dirtier the whole surface looks. We have also added more water that we actually need to the surface, which is disabling us from controlling the colors and how where they are applied. Take a moment to look at to look at your drawing, your current drawing right now where it's the don'ts. In watercolor. We apply the yellow color tone here. And as it is visible, the existence of yellow and brown next to one another with excessive water on the surface will only make the whole surface more dirty. Working in this way also makes the previous color layers we have added disappear. Another mistake is to have so much color concentrate on your brush. You want to do it slowly and layer by layer. But also dragging the color as such is not going to help. As we've added more water than it is actually needed on the surface. And in order to be able to keep on working, we have to wait for the layers of color and water to dry or remove the extra water with a dry tissue that removes the colors with it as well. Then we need to work on the color spots once more on the whole watercolor work feeling. The aesthetic that watercolor gives you this limited set of brushstrokes is kind of taken away, it's ruined, were unable to achieve that process. We're actually trying to make it work by repeating the mistakes, which is something that is not going to happen. Watercolor is a technique which the work is shaped by just one or two brushstrokes. And how we control the water and colors and the brush. It's a calculated amount of water, calculated amount of ink, calculated amount of brushstrokes. The sample we're working on right now as we have applied the wrong techniques, the don'ts, we are pushing ourselves too far to make it happen. And this is not how we should work with watercolors. We're adding even more darker layers of color on these parts and actually add the new shading layers on top of the previous shadows. We're going to add the green color right away from the pen on the surface. Adding colors in this way will not result in a beautiful work as we've established already. I'm using a hookers green dark color here. As it can be seen, the colors are starting to mix with one another on their surface, and it is because of the water we have applied onto the surface. We have actually covered all the parts of the work with color and left no white parts like no highlights, no empty spaces. To differentiate between the different parts here. We're going to work on the background. Also show one of the other commonly repeated mistakes of watercolor, which is working on the background with a black color. I'm using an ivory black. Using the black color here is wrong as it adds more dirty spots on the work. And also the color black does not go well with the other colors that have been used in this work up until now, we actually must have tried to create these darker parts by adding different gray tonalities and not black. One of the very important points is keeping the light parts on our work. And it comes from the good observation we make of the work. Here. There is a very important light part on the back of the sphere of the pair. We're going to cover it. This detaches the watercolor feeling from the work. Here. We have too many dark spots that have taken the usual brightness of a watercolor work away from it. And the work has become dirty by all the brown tonalities we have used. You want to look at your image and look how there's a lack of separation or highlights in it. E.g. on this part, we cannot see the beauty of the red color. We have added. Only the small spot that we have over here remains on the side that is bright where we can enjoy the color, the green, even all the yellow is seeping into the red. They've all been mixed and they have removed the dimensional feeling of the work and has become flat. The brown outlines all over the world have completely damaged the sketching of the work. As it was mentioned before, it is important not to add this dark outline around the objects as the light strain from all parts of the object. And adding this dark outline and not considering the light parts makes the object looks flat. The pepper we have here has become completely flat by all the dark outlines we've added. We actually were not able to control the color spots and the light that we originally had at the back of the pair is now gone with all the dark parts we have added. The next mistake is to add colors all around the object and actually cover the space around the objects. For instance. We can use a brighter color like this around the objects like the blue that we are applying right now. Adding alkynes in any form is wrong and we should not use a brush and the color and cover all the spaces around the objects in our works. We are covering it all of the empty spaces by adding colors on them. We're filling all the fibers of our paper or cardboard. We are now going to apply the complimentary color for this one, for instance, orange on these parts. As it is visible, the colors are going to look dirty. The complimentary colors must not be used alongside one another like this, as the colors were, will mix and look as if they've tainted each other. At the end. We are covering all the parts and not leaving a space for lights or unnecessary gaps. We're exaggerating on this sample, but this can easily happen while we were working on a landscape with lots of different colors. If we cannot control the colors, the brush and the water we're using, we're not going to achieve a beautiful final effect. It's very important to have some empty and untouched spaces in between the colors so that our watercolor piece of work can breathe. Take your time to observe your image and look at the problematic aspects of it. The white parts can also show the lights and let the work breathe, but also look more realistic, more natural. And different parts of the work will better show themselves because it's a balance. Remember how we talked. It's a balance between the highlights and the outlines and the shadows. The highlights are just as powerful as shadows and the dark parts. And we mustn't apply the dark outlines all the way to the edge it takes away from showing the curvature of the object that we are drawing. We're now going to continue our work on the same sample, but this time with control over the colors, the brush, and the water we're using. The first step is to wash our brush completely so that it is clean. We're going to use the tip of the brush. One important point for the beginners is not starting their practices with a wet on wet technique as it is a difficult method to control. We're going to apply water and color with our brush. Remember how in our sample on the left, we applied the darkest tone first. Our colors bled into each other. We didn't allow enough time for the layers to dry. It also made the whole work look dirty and the colors lost their brightness after getting mixed up. So we're going to start from the lighter colors and then we will add the dark parts. We're starting with a yellow color tone of the pair. And for that we will use a warm yellow like cadmium. And we also add water to our color. We have on the brush, so we have water on our brush, watercolor on our brush. Later on we will add more water to it and add the color in the same direction of the form of the pair. But this is how we're supposed to start with a lighter tone. As we reach the lighter parts, we need to add more water to the work. So add more water to your brush if you're getting to an even lighter part. We add the color in this way on the different parts of the work. The color we have now is very bright. We need to keep this brightness in the process of the work as we're building the image. So keeping an eye out on the highlights is very important. If there are any parts that need to remain the white of the page. You also want to keep an eye out on that. We leave these parts untouched and white like the edges of the object. Keep observing your subject, your, your sample. As you are drawing. We wash the brush once more and start working on the pepper with a red. We're going to mix the red color we have with a bit of orange. To have a better color combination, to have a little bit of a brighter red. The next step is to add some water to the combination, this color combination that we've just created. So becomes lighter and more watery. And therefore we can spread it a little bit more. We start adding the color in this way on the pepper using the tip of my brush. We also add a bit more water. We're careful to leave some parts untouched. For instance, on the convex point appear. Do not cover it with any color. We keep looking at our sample. Although drawings don't turn out to be exactly the same as our samples, but that's not the idea. The idea is to create a watercolor drawing in the aesthetic of watercolor, we practice and we achieve a drawing that does have the highlights and does have the contrast and shows the image well. We need to practice looking at our work. And visualizing the harmony. As we're applying, look at my speed. My speed has lowered. I'm allowing more time for this layer to dry and observe my application. I'm applying with a tip of my brush. As I work on the body of the pepper, I'm using, the length of my brush, the side of my brush. Wherever I see there's a concentrate of color I create. I leave a little pool of color in that place. We add colors in this way, step-by-step from light to dark. Although my speed has slowed down in this sample, which we are doing it correctly. I'm not going to slow Either. We let the colors move freely on some parts that we have added water on before and let the work happen for itself as a watercolor piece of work can be similar to it has like a happy incident where we should let it happen, let the colors dry and seep into the paper and take that effect. The drying process reveals that aesthetic. Next we're going to use an ocher color. And after adding more water to it, we apply it on our surface in this way. Feel free to send me any questions you might have or drawings you might have completed. I'm more than happy to share with you some feedback, maybe some guiding pointers. But do make use of our downloadable resources that has all the information necessary for every tutorial we work on. Now, we need to start working towards the darker shades. We want to make our drawing slightly darker. So as I'm applying this secondary layer, the ocher is a darker shade than the primary yellow that, that we've applied. With the yellow ocher. I've added a color spot like this. Then we wait and see what happens to it. We direct it to where we want by our brush. In this way. We need to prevent this creating different spots like stains on the work. We want to apply them exactly where we see them. Take your time to observe your sample. Look at where the highlights and the shadows are. You don't want to cover the entire yellow parts, especially not the highlights. We can use the dry tissue in this way and extract extra, extra water on the surface carefully. You don't want to press too hard. Now we have to wait for the different parts of the work to dry. At this point. We go towards working on the pepper. We have this red spot over here. Now we're going to add the shading layers step-by-step. We add the color to the brush. We are using a brown at the moment. You want to be careful where you're applying your color. To make it a bit more watery, we add some water to it with our brush. In this way. You can also dab your brush onto a tissue if you feel like there's too much water on it or too much color. A color spot like this is created in the process of the work. We can keep it. The aesthetic of the medium allows for this kind of little extension of color. It's okay. Now we're going to add more of the brown color tone here to make it slightly darker. Remember, the best practice you can do is looking at your model. Look at what it is that you are drawing, observe the lightest parts and try to give them a gradient. What's the lightest part is white and what's the darkest part of the lights? And then also take a look at your darker parts, the shadows. What's the darkest of the shadows? Is it a brown? Is it closer to black? Isn't more blue. So that's the best practice you could do is to actually observe and really see what it is that you're working on in your drawing to make node either visually or on a paper next to you that these are the tonalities you're gonna be using. The, this is your palette. And, and practicing because the more we practice, the more we're able to blend and mix our colors with the right amount of water and also work on our speed. Although we need those layers to dry, we also want to be able to work and have them translate into each other without bleeding into each other. So we keep adding the colors like this, adding only adult on the surface. But as the surface is wet, the colors are going to move and blend on the area that we added water on. We need to keep practicing the way we add our colors so that we learn how we should do it and how we can actually control the ink or the watercolors on the surface. As it is visible at this point, the colors are moving on the wet part, so we wait for them to settle before we continue our work. In the meantime, we're going to add the green color on this part, which is the top of our pepper. We're going to add a little bit of orange tone to the green we want to use just so that we have an olive green color. It will make our green a bit warmer. If you need to clean your brush or get fresh tissues or clean water. Go ahead and do that. You also take a moment to just mix our green with our orange. We start applying it. With the tip of my brush. I apply the green, we remove some of the color with the help of a dry tissue. Again, you don't want to apply a lot of pressure on your tissue. You're simply lifting color of if you feel your brush has too much water, you can dab it onto your tissue. If not, then just go ahead. Now we have to wait for it to dry. We have kept this white part over here. What do you see it right underneath the green stem. We may not have it on our sample necessarily, but it is very important to actually use these white parts. Even if the highlight on your sample is just a little darker, It's okay to leave it white on your drawing. It gives you a chance to maybe add a very light tonality later or maybe even leave it as white. The surface has dried to some extent. And now using the brown color tone, we start adding the darker parts. After we take the extra water from our brush. I've added a tiny detail on the top of the stem. Also here on the top rim of the pepper. We're adding the dark parts step-by-step. And very carefully. You want to allow for the watercolors to dry as they naturally do they have at their own aesthetic. You see how our red turned into this light pink. And it has an orange tonality also our browns are softer. So try to visually take in this aesthetic and work with it. We wash the brush and start adding more of the red color tone to these parts. You want to be careful here. Add them just like this. We have another red layer to the work, just to make it a bit bolder. But notice how we didn't do that right from the start. We added a layer by layer because we still want that lighter shade, that aesthetic of watercolor to still appear through our layers and dress like that. We've added another layer. Making our work a little bit bolder. We continue to observe our model. We want to make sure that we're not covering up the highlights as we're adding these layers because it can very easily happen. That's why it's all a matter of controlling how much water, how much color we're adding. Now we wait till the other parts dry so we do not work on it anymore. For now. We leave the pepper dry. We go back to work on the pair. We're going to use an ocher color and we start applying it on these parts. As you can see here, when the red color of the pepper is getting mixed up with these parts. We try to direct it to different parts that we wanted in this way. In order to take control of the color, you can lift it with a tissue like that. And it fits a little bit less than you directed to the shadowed parts. But we take more controlled by removing the color from the surface and tapping the dry tissue. We continue to work on the pair. On the third layer with our ocher. Or adding the top stem detail. With the Van **** brown. We add the darker parts in this way. Follow my lead. Now it's time to start working on the shadow of the pair. I start off with a really light, light layer here for the shadow. We are careful we're not applying it everywhere. You also have a slight shadow underneath the pepper. We're going to add this dark part over here. We're using the same brown tone. We add the Van **** brown on the shadow here we let though, we let the color move on the wet part. We want to focus and be patient and spread our color correctly. As we were working on the pair here, Let's talk about that part that bled from the pepper to the pair. We could have done better control of the water. You might have achieved it better than I have where that bleeding didn't happen, where the red did not access the yellow. So it is, it is amazing how every time you practice, you learn, you learn, you learn. And watercolor though, has its own aesthetic. Even now as we build the image, it might not even be as visible as we think it is. But we need to work with the colors and the medium and keep practicing. As we're working here on the shadow, we let the colors move on the wet part we've created. We're going to use the same brown tone on this part of the pair. The colors are moving on this wet part and this is something we're not going to prevent as it is the nature of watercolor work. We just direct them in the ways that we want. We wait a little bit so that the surface we have just worked on dries. This drawing process can be sped up by using a hairdryer or we can wait for it to dry as the hairdryer might move the colors in different parts because of the pressure of the air if it's too close. So sometimes it's just a better idea to leave the colors dry on their own. When we're using the hairdryer, we need to make sure that we hold it vertically so that the colors move into the texture of the paper and not anywhere else like left or right. We don't want to be bending our hairdryer directionally to the right or left. As it is obvious, we have this light part here. And actually added to the beauty of the watercolor work altogether. We directed the color in this part, in this direction. We want to keep observing our image. We continue mixing our colors in using a clean brush. As we're adding more shadows here with a Van **** brown. We'll have more contrast in our work. These are the final color spots we're adding to the work. We have water on our brush, we have a concentrated color on it. We don't want this dark color to bleed into anything else more than it needs to. We tried to show the light parts on the pepper on the surface with watercolor. Take a moment to pull your head back and look at your image. Using red. We are carefully adding these colors spots while being careful about the lighter parts of the work here. It's just an attempt to clean up our image a little bit. We are almost done with a pepper as we have created the texture and the look of it. I'm simply harmonizing between the different colors that we've placed and their textures. We're still waiting for this part to dry on the pair so that we can work more on it. In the meantime, we're going to start working on the background of the work. We're going to use brown, which has some small touches of blue. And we start adding the colors lightly. And we start adding the spots for the darker parts. Look how light my color is. Adding my spots, allowing the color to pool or sit in certain spaces. I'm looking at the shadow as I see it. I'm looking at the background. I want to give a final field to our image. If you need a moment to practice the application of the light color on a separate sheet. Pause the video, work on a separate sheet and then play again, and we complete the drawing together. We are adding these darker parts on the areas outside the objects we have worked on and adding these random shapes with them. This way we can show the texture of the fabric. There's a convex point here on the fabric that we show with these brushstrokes. We just need to keep observing our model. Now we need to start adding a slightly darker color tone on these parts. We've marked the primary layer. Then we go back in with a Payne's gray. To add more detail. I'm using my tissue to lift some excess color or water. We can make sure that the surface we're working on as dry by tapping a dry tissue on it before adding the color. Just like this, we add the darker parts. Observe your image. And add the details accordingly. At this point, we need to make sure that the colors are not going to be mixed up with one another so that we can better show the texture of the fabric. We show the texture of the fabric and it's convex and concave points by simple touches like these. Follow my lead. Although we're using a darker color, we have to be intentional with where we're placing our gestures. Because at the same time we need to make sure that the surface is not dirty or looking dirty or messy. We keep adding these simple touches and whenever we feel like they are affecting the contrast of the work, we can easily remove them with our dry tissue like this. We need to remove them before, like before it completely dries. When I look at the shapes and the composition of what we're drawing, keep your tissue handy. This part is almost dry. And a beautiful texture has been created with a mixture of the dark and light parts. We need to make sure we do not damage it by working too much on it. What happened on this part was that the colors on the pepper and the pair mixed up as the surface on them was wet. So we remove the color where they got mixed. Make sure that this part was dry and now we're going to work more on this part of the pair. The good thing is that we lifted some color off of that mixture very quickly. Just so it stops it from going further. But we also redirected the color to other parts. Now with a Van **** brown here, I'm just adding this spot again. We add this color spot here and we keep working on it. We want to make a little bit of a differentiation here between our pair and the shadow. We're being very careful. Although this is a tricky medium and a tricky technique to work. Wet on wet or wet on dry. Don't let it hold you back. Play around with the medium. It's the only way to practice and to learn and to get more confident. We keep working on these parts here with a slightly wetter brush because we want a light layer. We add this dark part here while, while we make sure that we have this lighter part right beside it, that line, we just need to keep an eye out on that. And now we're going to add a darker layer on this part to create a better contrast for the work. We want to differentiate, like accentuate the pair itself. We worked very delicately so that we better show that the lights and shadows and the shape of the pair. Remember to take moments to pull your head back. Look at your drawing, observe your sample and look at where your highlights are and how and whether you're achieving this curvature that we're trying to work on. Just by adding a darker shadow. We've, we've accentuated the roundness of the pair here. We've differentiated between that shadow which is a little bit in the background, is behind the pair. The pair itself. We do not add the dark layer on the shadows completely and tried to create different tonalities of the dark color. We also make sure that we're not using the color black, we use brown. Black, complicated it, it kind of just dirty is the surface a little bit, it becomes difficult to control. Black is not a color that is made by combining different colors, so it's not gonna go well with the other colors we have on our surface. We're using the dry on dry technique at this point. And we start adding more details. We make sure that we get the extra water off the brush. Dab your brush into your tissue. Remove any excess water. Now that our surfaces are dry or dry, That's how our technique now is dry on dry. We continue to add the final touches to our work. Comparing these two samples, we can see that the second one looks better just with a control we had over our brush, water and colors and also not working too much on some parts. And also using the right techniques and methods by applying our colors in the right places. We don't need to work too much on, on our image or on our drawing. For instance, we kept the brightness on these yellow parts even if they were not on the sample picture, as it is the nature of the watercolor aesthetic or medium. And what helps us better show the objects are the lights and the shadows of them. We also kept the light parts here and we just have some green pigments on this part. It's also okay because it shows the texture and the nature of the object which we're working on. We should not add too many dark colors beside one another as we need to be able to show the delicacy of a watercolor piece of work and also the delicate nature of light colors in watercolor. The way they dry. They're a little bit hazy and a little bit bleeding into the paper, which is quite beautiful. We did not use very sharp green on the stem of the pepper. Beside the red color tone we had on the pepper As we need to be extra careful while adding these sharp colors next to one another. And you'll notice that there are layers separating the green and the red. It is in the nature of a watercolor work to happen by a limited set of brushstrokes and actually letting the incident happen. So we do not add too many layers and take the space for the work to breathe the way we want to let it breathe, let it have reflections and light. So by keeping the highlights and marking the, marking the shadows, we're bringing a little bit of dimensionality to our, to our work. Now we can also direct the colors and the ways that we want by our fingertips. Depending on whether you have good control over your fingertips. If you need to clean your brush, take a moment. Look at your sample and look at the drawing that you've created. Also look at the two different drawings that we have created, whether it's the don'ts and the dues, and what can be, what can be improved even on the do's, the image that we have on the right. If we tried to do it again, we'll do it better and better every time. Now we add this layer down here very lightly. We're just trying to accentuate a little bit of this background here. We are almost done here, and we can see how much more delicate the sample looks compared to the previous one, the one on the left. We need to make sure that we add the colors in a clean way and we do not lose the highlights of our work. And we direct the colors to go in the right places. It's very important not to work too much on the sketch and actually start adding the layers of color by 11. Contemporary Vase & Fruit Painting: Hi there. Hope you're all well. Today we want to choose a simple painting. This painting has limited with white and green color. It means that we don't use a lot of color in this painting, so it can be good for working with watercolor. There's a shade of this apple and flower that we will create with wet technique. First, we're going to start by drawing our main sketch. Using a mechanical pencil. We want to keep our marks as light as possible as we don't want these lines to show through our watercolor painting. Remember to make use of your downloadable resources. They have all the information necessary for every tutorial, including the grids in order to draw your sketch. Take your time to create your sketch. If you've already created your sketch. Fast-forward to minute five, where we start our watercolor painting. Feel free to use any pencil that you are more comfortable using. As mentioned earlier, I used a mechanical pencil here. One note to make about drawing your base sketch. You want to add as much information as you can. Right now I'm just monitoring the periphery of my base sketch. Almost like an outline or where all the parts need to be drawn in. Creating the general space here. Take your time. It's completely normal to erase several times, go back and forth. Make sure that your wrist is nice and light. Your pressure on your pencil is really light. Working on our base sketches, one of the most important parts. It helps you remember where the highlights need to be or the shadows need to be. That's why I was saying that it's the main sketch really needs to have as much information as possible. As we are working on our sketch. There are few points we need to consider. The first one is good observation. We need to see the different forms thoroughly and specify their shapes. We can either use simpler lines or geometric shapes for this process. This is the second point. Also. Another important point is to work on the initial sketch with the minimum hand pressure. We have a very light sketch on which we can apply the layers of watercolor. Build them up. When we are going to apply watercolors, we need to make sure that we have all our materials ready by our side. Like the glass of water, the color pens, and the tissues. It makes the whole process easier and we can move forward much faster. Remember, watercolor is a fast medium. We need to analyze and know what we're going to do. And make sure that we are leaving the layers dry before we move on to the next thing and then start the work. Now that we have our general sketch, next step is painting with watercolor. The pot and the flower have the same color. That's white. We don't have a lot of colors here. It's not quite a sharp white, It's a warm white. If we have atmosphere on light, this white will be warm and vice versa. In watercolor, we should combine colors with water, then use it. We use a light color with water. It can be ocher or light brown. But for cool tonality, we use a light blue color. Now we use a light brown color mixed with a good amount of water. It becomes a very light stain when it dries. Observe the way that I'm using my brush. The pot is not clear, but it is shiny. So we have to keep some parts white, the white of the paper. You want to apply this color all over or most areas of the vase here. Although our primary bottom sketch is really light and not visible through the watercolor layers that we're gonna be creating. But for us it is a guideline. It will take practice to be able to tell how much water to add to these really light colors. If you feel like it's too watery, you can remove some with a tissue or let it dry. It's also a matter of instinct. After some time, once you've practiced it enough, all these decisions will come more instinctually. But for now, even applying a really light color, we might have less color in our brush than we think, or more water than we think. Now that we've drawn the part, we're going to use a more dark color. We add a little purple to our mixture. We create these stains which are really we can faded. We want to maintain that are vases white and it has some shine on it, but it does have some shadows. I'm going over the handle of the vase here, leaving a little bit of the color sit and some areas just to indicate a little bit more of a shadow. Now we darken our color a little bit. I'm using an indigo color here. Just to mark the spots. Again, keep your tissue handy just in case you need to lift color off of the page. Make sure you don't use a lot of pressure, neither with your brush nor with your tissue. These details right here look how subtle they are, but they're just about enough. My drawing or my boss does not need more dark, dark tonality because the vases white. We can make the tonality a little bit more purplish by adding a bit more of that hue. But see how we need to be careful with the white. And we apply our purple very lightly and very delicately. We don't want to apply it everywhere. Notice how my speed is not too quick but also not slow. I don't want my surface is to completely dry, but I also don't want them so wet that my colors are bleeding into other areas. I'm allowing a little bit of time for drying. And still I'm applying my tonality is the purple tonalities, the indigo tonalities in the places that are necessary only and not everywhere. Look at the handle of this of this jar or a vase. I'm not, it's not completely covered with, with color. Now we're going to work on the apple. We wash our brush and completely dry it. We mix our color. We add water. We're going to use a neutral green color. We make this phosphorus green neutral with a little bit of orange. We need to keep a highlight right here. So I'm not going to touch that part. Take your time to observe your model. Look at the highlight. Look at the darker parts where the shadows are sitting. We just want to be careful not to touch the parts that are light and remove any excess water or paint from your page. We want to do it lightly and not with a lot of pressure. I go in with a sap green color. If there's excess water in your color, you can lift it with your tissue. Otherwise direct your darker layer in this way with a tip of your brush. I'm also keeping an eye out on that very slight line between the apple and the vase. We can use one tone of green, but the more tonality is you use either for the shadow or even the brightest parts. The richer your image looks, tonalities that match each other or serve the purpose of where you're placing them. After we've added several green layers, we need to wait and let them dry. We wash our brush, dry it, and go back in to add more details. This is a very good technique and a very good habit to have while working on watercolor, to wash your brush, dry it, and then go back in with a clean brush so your application is not mixed with it with any other color. It's also not been sitting there for some time on your brush. Maybe some fibers are on it. Right now we're just adding a darker tonality of the green. Our speed is still median, where we've waited a little bit for the layer underneath to dry. We're going to use this color as well for the flower here. Before unable to achieve the detail that we want, we could use a smaller brush. Make use of what's available to you if you don't have the exact same colors or brushes, don't let it hold you back. Use what's available to you, What's more comfortable to you. I go in with a brush pen and I start adding my details for my flower. We use a little dry white color for this part because the leaves are thin and small. But I've also added some sepia here. As we work on different parts of our drawing, we allow other parts to dry. Make it a habit to always, every few minutes, pull your head back. Look at your drawing, look at what you've created so far are the highlights matching where you see the highlights in your model. Have you tackled or marked where the shadows are in different parts? Now I'm drawing the stem of the apple here. I want to be careful. I'm still using the same pen brush to achieve that detail. Remember when stains become dry, they get more beautiful. It's that effect that they have when they sit or staying into the paper and the fibers of the paper, that's the aesthetic of watercolor. Achieving an entire image or objects in a more natural looking way, more realistic using this medium that's, that needs a lot of control. Here I'm using a burnt umber and I'm using a wide brush. Again. I'm adding a viridian blue on the bottom left here. When stains dry, when our colors dry, they become lighter. Dress, keep that in mind. There's something very beautiful and leaving the colors dry, the more you practice watercolor. The war you understand better how these colors dry on a certain paper. Then you're able to make decisions as to how much color to have on your brush, how much water to add. All these decisions will come much easily to you and much more instinctively, the more you practice. Look at how many tonalities I have on my Was. It just makes it a lot more rich. And this is me still building the layers. Being very decisive and intentional with the way are where we're placing our colors. Making sure not to pull colors through different parts, replacing them exactly where you need them. Keep looking at your model, keep referencing the image there. Of course, our drawings are not going to be exactly the same. But the idea is to keep an eye out on where the highlights are and where the shadows do not rely on the information we have about what a vase looks like. And to just keep working, we want to be informed by the model that we're using to create this drawing. Pay attention to that highlights. That is right across from the from the vas handle. There's one line of highlight that I kept there because I see it in my model. Whatever shade we're creating, we want to fade it. You can use your tissue for that without a lot of pressure. Not, not simply press a little bit, but just pull a little bit to create a fade in the direction needed, not any direction. After it dries. That's when we strengthen the shadow. Now with a viridian hue, I'm going in again onto the apple. I'm adding the shadow that I need, directing the color to where I need it to be. Now we add a little warm green here. You notice the different tonalities that this green that's next to the stem is different than the one after it. And the green that's highlighting the curvature of the apple. All of these decisions come from looking at your model a lot. You look and you observe and you study where the highlights are. And the more you practice, the more you see what you're drawing very well. That's the biggest practice that we need to do is looking and actually noticing where the highlights are, where the shadows are. They are what will make our works powerful and beautiful. I'm going in with a sap green here. Yet another tonality. I'm doing it lightly and I'm controlling where my color is going. I want I want my colors to be watery and I want to allow each layer to dry. That as I'm applying thin layers, the drawing process is not very long. We just need to allow them to translate into each other. That's why we create all these tones. We control our design by removing and placing stains in order to put more stains in the correct places. We add them and we fade them. Just like this. I want to be careful not to take away from the stem. We've created a very tiny shadow underneath the stem. If you see it. We have a highlight and we have a shadow. The longer you leave a color dry, the less you can pick it up with a tissue or remove it off of your page with a tissue. Please remember that you can send me your questions if you have any at anytime. I'm more than happy to share with you some pointers, some feedback. You're also welcome to share with me your final drawings. I can share with you some guidelines. Now I go back to working on the vase. I placed some more water here because we can control stains with water and faded more and more. Fade or stains more and more. Because it has this effect. The stain aesthetic is what's going to show the watercolor effect much better in here. I'm also working on the curvature of the vase. We're just trying to allow for the layers to dry and observe our model, observe our drawing. And I'm looking at the curvature and how I can show it a little bit more on the vase. This part is the shade of lights. We wet this part in order to show the reflection with a wet technique. This is the wet on wet technique. So I'm placing some water onto my page and I'm placing it exactly where I need it to be. You have the reflection of the vase underneath it and you have a reflection of the apple. Because I'm working wet on wet and I have some color underneath the apple. Don't worry too much. You can lift that color with a tissue or simply marking the area where we have a reflection of the apple. I'm observing a shadow here that's within the reflection. We create that stain just like that. If you're hesitant, just follow my lead. Otherwise, just have fun with a medium. Make the mistakes, and draw your work lightly. Start from the lightest tonalities to the darkest. Because it's only by playing with our medium and testing those techniques do we find out more about the medium, its strengths, how to manipulate it, how to use it. And after so many practices, we get closer and closer to achieving our own style. And as you can see here, we're forming the stain according to the form of the apple. We want to make this part a little bit lighter. So I'm lifting the color off. We want to work across the entire reflection here. Washing my brush, mixing a bit of color. I'm using a viridian hue here. It's combined with a little bit of the ivory black. Not too much. Be careful with the blacks. You don't want. To have too much dark tonality, especially the dark tone, the black tones specifically they can be too harsh. I'm applying my shadows in the reflection exactly where they need to be. If you need to pause for a minute, pull your head back, look at your drawing logo which you've created. Look at your model and see where else, how, where you are at this stage and how we can build it up further. We let these parts dry now. And now we're going to add the final, the final dark, dark tonality to the apple. We let these parts dry now. We continue adding more of that final dark shadow of the apple. If you're unsure at any point in time what to do on a certain part, just follow my lead. Makes sure you use your tissue to dab off or remove any excess water or color. Take a moment to look at your watercolor drawing at this point and just to see what might be missing or what can be added. If you need to leave certain parts to dry. Just go ahead and do that. We've added a brownish tonality here. I'm using my tissue to lift it off. I want to work a little bit more on the apple here. Remember that it's okay to redo certain parts. Here we need to wet the surface. Again. Wetting the surface can be used to add more color and it can also be used to lighten a certain part. Here I'm using a sap green. Feel free to use different green tonalities that you find more suitable or you are more attracted to. As you know, we can repeat the stain several times. However, try to do it carefully. And don't use this technique a lot. Because if we don't do it carefully, it can make the work a little bit messy. So make sure that your surface is dry before you apply more water onto it. You want to take your time. Also make use of your tissue to lift-off color. Here I'm using a hookers green dark just to work more on that shadow over there. Also working on the reflection here. Take your time. Use the tip of your brush for details, small details and delicate details. Now we give it a bit of time to dry. Let's wet this part here. The form of our Apple is almost complete, but we're leaving it dry. And now we're working on the reflection of the vase. I'm using an indigo color, darken these parts and we also wet the handle of the pot. We're use a purple color or a purple tone in order to create stains in this part here, keep observing your model image. You need to leave one part dry and then move on to the next one. Next we're going to work on the flower and the leaves. Make sure you only want the part that you need to paint. Take your time. Now, we wash our brush. We have a white flower up here and the atmosphere around it is warm. So we use a very medium brown color mixed with water. Of course, we start by shading. We don't have to copy the exact model of the flower, but we want to get the general gesture of it. Follow, follow the movement of my hand. I'm using the tip of my brush. Use the length of it in the beginning just a little bit. Now we add darkness with a purple tonality. I'm observing my flower and adding some shadows where I see them. We're going to add a lot of stains here so we can use water and tissue in order to edit them. There's a line around the stain that can be good or not, according to our model. But we don't want that line to be very obvious in any way. We just want to add the tonalities necessary. Just adding a little touch on the handle of the vase. I'm completing the shadow over here right next to that line of highlights. That's why we have to be very precise. Take your time to observe your image. My wrist is very light. My application is very light. I'm barely using the tip of my brush. We darken this part a little bit just to create a shade. Just to imply that curvature. But look how light my color is. In order to create these tonalities for the very light shades, they are considered to be hazy colors like dirty colors. Using a purple tonality, remove this, this feeling that it's more brown or blackish. It prevents it from looking messy. So purple is the trick. We try to use clear colors in watercolor painting. Especially with these light tonalities, you want your color to be as clear as possible. So it's very little, very little, very little hue in it. Whatever lines we're creating. If we put color in a more concentrated place, we want to fade it. Remember to take a moment to pull your head back. Take a look at your drawing and what you've created so far. Visually you'll be able to see where maybe you've missed on some of the highlights. Maybe you need some more shading here and there. It's that moment of looking away and looking again at your image and noticing that maybe you focus too much on the reflections and not the objects. Maybe some shadows are missing from the flower. We're looking to make sure that there is balance and harmony all around our watercolor drawing. I'm adding a sap green here onto my flower. I want a little bit of detail, but without taking away the highlight. If you need to use the brush pen at this point for more details, go ahead and do that. You need to use the tools that are more comfortable for you. If you feel a different to achieve a close result are the same result, but you are more comfortable with it. Then go ahead and use it. Make use of what's available to you. As you can see, we have brown, green, and purple in our palette. If we use thick colors are painting will not be attractive because the elements that we're painting there quite a light and they have this beautiful reflection as well that we want to keep their sense of transparency within them. We're going to add some orange stains and this part with another brush and almost dry brush. I'm applying it in these little stains, very little stain dots. I'm just looking at all the details around the flower, maybe the leaves. Just taking my time. I want to add a little orange tonality here. Now, when we've added some lines. And you remember how we talked about when we add a concentrate of color and align that we should fade it. But that doesn't mean that if sometimes you've created a line that's quite beautifully delicate and it's there, you don't need to feed it. That's something completely up to you. Because every artist is different. Every person applying and using this medium uses it differently. And we have preferences and we have comfort zones as well. In terms of what brushes to use, what tonalities we might be more attracted to. I'm just going over the details here very lightly with my brush pen because I want to achieve those lines had such a beautiful contrast to how the watercolor aesthetic, which is the staining, staining effect of different tonalities on top of each other that are creating the app on creating the vase. These defined points like the stem and the stem of the flower and the stem of the apple and the little leaves, they somehow anchor the image. They create this balance from the top to the bottom. Just wanted to add a little detail here on the reflection of the apple stem. Now we're going to add some color in order to show the horizontal line. There's a horizontal line which we kind of took a look at in order to draw our sketch. And have our vase and Apple balanced on the surface. We make a warm colors such as a lilac color. Wash your brush, dry it. If you feel like it might be stained, your color mixture may be stained are affected by the current colors. We go in. We're adding with a very light in deco, very light watered down indigo. We're going around to create this shape. It doesn't fill the whole paper. We just want to show a halo of it. Like a halo that's around these two objects which we have watercolor painted. Be careful work very lightly. You can even go a shade lighter than the one I'm using here. Just remember that having such light colors they dry even lighter. Our watercolor drawing is nearly done. You can take even longer time to add more details as you like. But as you know, with a watercolor painting, we don't want to work too much on the layers. Hope you've enjoyed all the techniques we've used today. Thank you so much for joining me and see you again next time. 12. Mixed Media Forest Artwork: Hi there. Welcome back to another tutorial. Today we'll be painting with ink and water and have a more expressive, personal approach towards the painting. We're going to start with any pencil, any generic pencil you have. And we're going to start by sketching out the image and placing down as grid. Make sure you make use of your downloadable resources, which have all the information necessary for every tutorial. It also has the model or the reference image from which you can draw your base sketch and the grid for it. You will also find the color palette and any material we're going to be using. As you're creating your sketch now makes sure that your lines are light. Your pressure on your pencil is very light. We are trying to create a sketch that does give us an indication of the whole image. The highlights, the way maybe where the shadows go or the outlines go. Now, this is a tree trunk that we're going to work on. Later. We'll fade these areas around the work to create a kind of like Beyonce or mood of the work. We can use watercolor pens for our work as well. Here we're using a paintbrush. We're using a light black color, so that's a really watered down black color. First, we're gonna be working on the lighter parts of the work. So although we chose a watered down black color, but we're applying it very lightly. We create the different tonalities much easier and also more expressive in this way. As we've learned earlier, we need to work from the lighter tonalities to the darker tonalities. Follow, follow my hand motion. I switch between using the tip of the brush to also the side of it in terms of adding detail, but also maybe spreading the color and dragging it across to the areas that I need to. Keep in mind that as you're using your brush, There's a mixture of ink and water in it. But the more you use it without renewing or adding more water and ink mixture, the lighter your application is going to be, the lighter the ratio of color and water is on sometimes that can work to our advantage. Now, keep in mind that we use the whiteness of the paper to show the light that's shining from the, from the image itself, like the paper, the white of the paper is going to play a role in the highlights. If we're drawing without using a model, we must imagine the source of the light at some point, like is it coming from the right or the left. And we add the shading layers accordingly as they make our work more attractive. Notice how I'm using the lightness of the mixture on my, on my brush here. And I'm continuing to apply the background base color. So it's almost like my watercolor base sketch. I'm adding details where I need it to be. I'm also avoiding the highlights, the whitespaces. Take a moment to observe your work. Here we're making this part slightly darker. Because as I'm looking at my model, I'm just adding a couple of shades darker tonality to some areas. Let's keep observing our model. It's the best reference to let us know where the highlights are and where the shadows are. Notice how lightly I'm applying my color. My wrist is free. I'm not leaning too hard on my paper. I'm holding my brush comfortably lightly. And my fingers are lifted off of the page because you don't want to drag that color around as it is still wet. Now these are our tonalities here. We've created a gray tonality for our image. We've indicated apart. Our tree trunk. And what's looking like a ladder. Now as we've created our base, base colors, it's time to work towards the darker tonality. With every layer. We're going to go a little bit darker and darker. It doesn't only mean black or the darkest colors. It can also mean a yellow or red, but the ratio of color is higher than water. The concentration of color is higher. So therefore it gives you more defined lines full of color. And as I'm going darker, notice it's just a few shades darker. It's not ultimately very dark and I'm creating a high contrast. We slowly build up towards that. And we continue in this way and we keep adding details. Take your time to observe your model, but also observe your own drawing. If you feel you've added too much ink to your brush, wash your brush. And we apply the mixture in a lighter tonality. You can also use a tissue paper to lift the color. Now as there's a ladder here, we're just adding some more detail to bring it into more focus. We use a much darker tonality around it to show its shadow as well. Now we want to add a little bit more color, more darkness. So I'm adding a little bit more of the black color here. And I start working around the tree trunk and the leaves. We keep switching between using the absolute tip of our brush and maybe the side of it. That's the wider side, That's the side that drags color down. Because we're using a few shades darker tonality here we want to be careful. We want to be intentional with where we are placing our color. Hello, my lead. Look at those really tiny small gestures that I'm making. We can easily start applying our color everywhere. But we should refrain from doing that. And trust that it will dry exactly where we have placed it. Just because we have water in the mixture. It doesn't mean that it will go everywhere. That's the balance. With watercolor painting. We need to continuously balance the amount of color in the month of water and the amount of application we create on our page. As you can see that even at this level of the work, we have created more expressive gestures. So we're not trying to draw realistic version of the tree trunk, but we want to create something that looks natural and it looks great. So make sure you follow my hand movements. Also pay attention to the kind of brushstrokes being used. And try to work in the same way. Keep in mind to always practice. After the tutorial is done or before you start the tutorial, if you want to practice, That's the best way to get better at the medium. That's the only way we get to test the different techniques we've learned and also grow our confidence and our own approach to watercolor painting. Our confidence affects our application, how freely we're applying our colors are instincts towards our color choices and mixtures. So practice does help a lot, a lot. Not just for repeating the same image, but in general, our techniques. Take your time to observe the details and add them accordingly. Going over the steps here, I want to make the ladder a little bit more prominent. I'm observing the shadows and making the darkest marks where they need to be. The darkest part is this section right under the ladder. So we add additional layers to it. Here. We add more details on the right. Because we have the tree and its shadow. We use different brush strokes to show different tonalities and textures all around the work. We want it to look balanced everywhere. We distribute different tonalities on different parts of the work. Creating these tonalities helps us bring the work into life and let the eyes move all around the work. Keep your tissue handy in case you want to reduce or remove color either from your page or your brush. Always take a moment to observe your drawing. Pull your head back, look at what you've created so far. Look at how the primary layers have dried. Now we've created our first layer, the initial layer of our work. Now we're going to use our Pen, our dip pen, to add more details to the work and make it a lot more expressive because the dip pen achieves us those very exacted lines and outlines. Adding details is another important step in our work and we need to do it gradually and delicately and make our marks exactly where we want them to be. Continued. Keep observing your model. Follow my lead. Observe how I'm applying the ink here. My lines are irregular, they're direction changes depending on what it is that I am pending in our drawing. If you want to take a moment, observe how I'm applying in using this tool. And just watch. And then rewind back. And then we can do it together. That's also an option. But it's just this tool allows you to create more exact lines. And now it's a balance between the background, which is the watercolors, and those tonalities that are nice and beautiful and cloudy. This pen lines which are more exact and then we will need to harmonize between them by adding the lines in accordance with our brushstrokes, we create an even more expressive piece of work. We increase the depth of perception of our work. I'm simply adding details where I see them. Make sure to apply your details in the direction that they need to be. So if you're doing the steps of the ladder, then your lines are more horizontal across that space. If it's within the shadows underneath each step, then it's more irregular and a mimics the shadows. We add more details on the trunk of the tree by adding lines. In this way. It may look like we're doing these lines randomly, but all the time we're aware of the brushstrokes and thus the right angles and directions of our lines. I'm reflecting off of the direction of the tree trunk grains. The steps here of the ladder, even the leaves. Just using their shape as the guide to how to apply my lines here. Again, we use our brush to add more layers of color to the work. Notice my application. I've added a yellow color mixture here. As my brushstrokes are about to dry of the ink and pen. I'm adding my yellow tonality here. Our initial drawing, we use black ink and now we're combining black and brown to add more colored layers. My brown is really light, It's almost yellowish. For this part, we're mostly using the brown ink. When we apply the color with our brush on the black ink lines we previously drew with our dip pen, they combine and create an attractive texture with our watercolor painting. That's why we have to have a base watercolor drawing. And that is light and allows for these next layers to harmonize with each other. To also give us more detail with the pen and ink. We continue working in this way where we're balancing between these two, these two styles, these two aesthetics. And just like that, we continue to add details by adding these lines. If you feel like your page is a bit wet, give it a moment to dry, and then go in with your pen and ink and continue adding your details. Now remember as you're applying your lines to different parts of the image, you're also adding hatching lines, which are the lines that are close to one another. They can also cross each other at certain sections. We add more hatching lines on the edges of the ladder here. Take a moment to look at the drawing you're creating and look at your model. Our drawings are definitely not going to turn out to be exactly like the model we are referencing. They might be even more beautiful. They also have their own sense of aesthetic and style. We're just trying to use our model to make our drawing look as realistic as possible and as natural as possible. I'm adding some hatching lines on these parts here. Just to show the leaves. We add dry leaves in this way. Taking a moment to pull your head back, look at your drawing, maybe step away, even look away. Look back again at it, is to observe what kind of effects are lines are creating. What do we need more of or less of? And of course, always keep an eye out on the highlights being the white parts to be white in order to work on them as the last step if they need it. Now we're going to use the wet brush here once more. We want to add some color just like this. Notice how I'm applying my color with the absolute tip of my brush. We add more leaves on these areas around the work. As mentioned earlier, we use different parts of our brush and we also apply it in different angles for drawing different forms and shapes. We're adding a darker layer on this part here. Remember how we said it's the darkest part that shadow underneath the ladder, going over any other shadow that I see as well. But very delicately. Take your time. Now, I'm going to use the white part of our paper at the lower parts of the work here to show the grass. So I'm leaving some of the light of the paper to play a role in how the grass is showing. I continue to observe my model. Just to continue referencing where the shadows go, where the highlights are. In this way, the more layers we add, the more tonalities of gray recreating, the more tonalities of our brown we're creating. As mentioned earlier, we're dressed now balancing between these 22 techniques that we've brought together, we want to make sure that the highlights are just as strong as the shadows and the outlines. I'm taking a moment to just look at my work to make sure I'm applying my lines in the right place. This work is a combination of different tonalities. And what we want to show is the tonalities from the darkest to lightest ones, which is how we worked. We started from the lightest layers and move it up step-by-step to the darkest layers. We want to also look at the edges of our image. We want it to look like it's fading out on the edges but nothing too abrupt. So I'm making sure that the edges are looking nice and natural. My tree trunk here needs a little bit of color. Now remember we dry our brush tissue. It has to be slightly wet so that it absorbs color and let's us apply it on the surface. You can point your tip as you wish. Then you can see how different touches of the brush are creating different gestures. When we use a dry or wet or very wet technique like of the brush, you can see these different textures. And I would advise playing around with your medium. Try creating these different tonalities and textures and lines on a different practice drawing. And the more you play around, the more you get to learn how you can manipulate your tool. What kind of textures that can give you. Look at the texture created on this part over here with those leaves. And then the top part, delicate, it's beautiful. The layers underneath have dried so they're not moving or sinking in there, simply translating into the new layers. At the end, we only use a dry brush as the work is not wet anymore and we can apply the dry brush and add final touches completely dry. And finally, it's finished and expressive work full of tonality is full of contrasts here. Hope you've enjoyed this tutorial using different techniques. Please make sure you go through the assignments as well. Feel free to send me any questions you might have and see you in the next tutorial. Thank you. 13. Figure Painting: Hi there. Welcome back to another tutorial. Today we're going to draw some figures and paint them with watercolor. Starting with a mechanical pencil, we're going to draw our base sketch. Make use of your downloadable resources. They have all the information necessary for every tutorial, including the sketch, the grids in order to draw it, the color palette, and all the materials we're gonna be using. Let's start by drawing the figures, basic forms. Take your time to decide where they're gonna go on your page. With this mechanical pencil, we're not applying a lot of pressure. The idea is not to have this outline show at all through our watercolor painting. We just want to have a guideline as to where we're going to be applying our watercolors. If there are any shadows you need to indicate, do so in your sketch, as well as the highlights. The highlights are very important to make note of either visually or within your sketch. They will accentuate just as much as the contrasting shadowy parts. If you can see how easy we can create the figures with some simple forms, you'll be encouraged to do them more often. They can look intimidating and beginning. Now we can make the figures. We drew a little wet with a wet brush. We mix a little bit of sepia color into our brush. We begin applying it to our page. We're just trying to create a general form here. Make note of my application. Follow my lead. We want to leave some of the color pooling in some areas just to indicate a higher shadow, like at the knee or the bottom of the leg. And we want to leave some areas white completely. Because they are the highlights such as the color a little bit on the body. Take your time to observe your sample, make sure you can view it easily so you can look up as often as necessary. Getting the proportions right is the difficult part. We've marked the head here. We need to complete this part of the body. The more you practice. Not only do you get better at creating figures, but your confidence with the medium increases. And therefore your application becomes more free, more confident, and it will show in your final drawing. Drawing figures with watercolors requires very simple gestures, but they need to be intentional. And we need to know exactly where we're applying them. The more you practice, the more you understand how this medium dries, which parts will remain as dark as we've applied them. And what's the general aesthetic of watercolor painting. We will also be able to study visually the size of the head in comparison to the body. And therefore, it's a practice of proportion. We left some parts white, as you can see, or lighter because it's a watercolor technique. And we don't want to apply the color everywhere. We do want the highlights to bring forward some details in the figure. I'm adding a very light red here. And we apply it in the exact same technique. We're simply going over some parts showing that the jacket is a little bit browner. Use your tissue paper in order to lift color off of your page. We didn't press too hard onto our tissue paper, but just enough to lift the color without damaging the other areas which might not be 100% dry. If you've lifted a little bit too much color, don't worry, you can go back and dressed like this and add more details or more color. But the idea is we want to feel a sense of ease with the medium and with the techniques. And that's the only way to understand the medium and the techniques better is by applying them and practicing and making mistakes. No matter if we use a wet brush on wet cardboard or paper, or dry brush on dry paper, the form will create out of, out of it is very important. That's what we meant by proportions. We need to study visually our model. Take a look at how far the distance is from the knees to the bottom of the foot, the torso, the head. There's dimension here. We want to increase the sense of perception, but we want the proportions of the body to look correct or balanced. We're showing different techniques of watercolor on one single work to show that you shouldn't be afraid of it, and that it's not that difficult to make a little bit of corrections here and there. Again, we can remove color just like we did with the tissue. Notice how I'm using the tip of my brush here to apply some details on the skirt. To leave the highlights, we need to leave some parts untouched to indicate that the skirt has a reflection of a light, that there's a shirt underneath that jacket as well. In the primary figure. We're free to play with the color and the paper. As you saw, we worked with wet on wet here and now we work dry on dry, which is easier to control the brush and the color. Our characters have a beard as well and a hat. The second character is wearing a traditional dress, which is a skirt and a short one by both men and women. Called Celinda to man. Again, we're using a dry on dry technique here. Look how much more controlled my detail is. It's just that the aesthetic is a little bit difference. The shoulders of the third finger bit wider. So I had to indicate that because his perspective is facing the viewer as opposed to the middle figure whose perspective is sideways and therefore the shoulders are less wide. We add some stains to our figure here just to beautify an add more texture. We want to show these loose trousers versus tighter trousers. We want to look at our figures and maybe go in and add any extra details that we might have missed. There's also a stick here in this figure is hand. So we drew it in very lightly. Look how beautiful the highlights are. And observe your drawing as it's drying. Now we're going to work on the next figure. We need to learn to look at things in simple forms or shapes and draw them as simply as we see them exactly as we see them we draw and you'd be surprised, you'd be making a mark on the paper thinking off That's not going to show. It's not going to show as you see it. But then you look back, you pull your head back, you look at what you've created a new realize, okay, that looks logical, that looks harmonious. It's actually looking like a knee and the shoulder and the head. It's simply practicing the proportions. We continue adding the details as we see them. Feel free to send me questions at anytime. You can even share with me your final drawings. And I'm more than happy to give you some pointers, maybe some feedback, and some guidelines. Keep observing your sample. Our drawings are not meant to look exactly like the sample we're drawing from. However, our sample is there to reference where the shadows need to be, where the highlights need to be an all the elements of our drawing. But our drawing in itself has its own aesthetic. But we continue to attempt to bring it as realistic as possible, as, as natural looking as possible. As you can see here, we can vary the amount of saturation of color we have on our brush in different parts of the drawing. Just to accentuate some clothing, maybe the beard, maybe a hat. You can add more pigment to your brush. You can concentrate the color by reducing the amount of water. We want to work a little bit lightly just to have a chance to make changes later, because we can always make something darker easily, but to make it lighter is a little bit more of a challenge. This figure has a dark hat. Using the same technique here, I'm applying some dots on his coat. Now we want to work with our brush while it's full of color. We want it to be pointed just like that. It has a higher percentage of color than water. Now we go into add details like this. Look how precisely I can apply my details. I achieved the eye, a little bit of the beard and the hat. Here we're using a dry on dry technique. We keep the brush like this and with the tip of our brush, we draw smaller details like the eyes and the nose, and the mouth and the mustache and beard. We are in control. If you feel like your brush has too much water, dab it onto your tissue. We're sketching quickly, but we were also using the dots and lines technique. My wrist is very light, the pressure on my brush is very light. I'm working downwards and then I go back up like this, which has allowed this part to dry a little bit more. I continue to add the details. Take a moment to look at your drawing. Look at the different figures, their movement, their distances from each other, also distances in terms of background. Our middle finger is the furthest. The figure we're working on right now is the nearest. We want to just make sure that they all look visually harmonious. These different techniques achieve you different details. At the bottom, we draw a woman who's walking along the street. We use the same technique. And we apply the color in the direction that it needs to be. Look at the curvature on the jacket of the woman. We applied it in a circular motion. We need to be intentional with where we place our colors. Here. We're going to draw a father and a child. We've created his trousers with only two lines. Make note of the simplicity of the gestures to create these different elements of the body. And now the child, as you can see, we drew these figures in a far distance. What if we want to draw other things like cars or bicycles or trees or buildings, we can draw them by some strokes of the brush. Just like what we've done so far with the figures. We draw a man from behind. He has something in his hand and going away. This figure is walking away from us, looking the other way, carrying something in his hand. And now we're going to draw two men wearing over codes. One of them is wearing a hat. Pay attention to how we move the brush and how we stroke it to create forms. We can make them darker if we want, by simply adding more color to our brush. We can even add their shadows. We do it in the simplest of strokes. Just like that. Notice how our watercolor is drying across all figures that we have created so far. The most important thing here is drawing the right proportions of the figures. The different parts of the bodies, or even clothes or accessories, need to be very specific gestures and applied as we see them. Because if they're out of proportion, they wouldn't seem as the things that they are. They would look more like a mistake or out of proportion as opposed to a package looking like a package that a man is holding it, or a stick looking like a stick that the man is leaning on. We want to practice this proportion drawing. We need to look at our fingers really well. Be able to make either visual measurements or with a pencil measurement and apply, apply the perspective that we see on paper. With watercolor. We must use the whiteness of our page as well and leave some blank spaces. And that brings very strong highlights. It brings the elements to life, gives them a bit more to D field. With some simple vertical and horizontal lines like this, we draw some pylons and far distance. The idea with this tutorial is to understand the simplicity of some gestures. And making the same stroke dark on one end and maybe light on the other end. Now we're drawing another figure with a hat on his head. This figure is sitting down. The face of the figure is in profile view. I'm adding a little bit more color to the body here. This figure is created with a wet on wet technique. Now remember the wet on wet technique is when we apply Clearwater to the area where exactly we're going to add color. But on our brush we would have both water and color. That's a wet on wet technique. I'm simply accentuating the seat this figure is sitting on. We need to leave it dry as well. Now we're going to draw more figures. This is a figure from behind. This figure is wearing hat as well. When we draw the hat, the figure becomes more like a human being and less of a random shape that we see. Just because this figure drawing is trying to indicate a figure that's sitting on the ground. They can very easily be lost. And that, and that stroke of watercolor, the hat kind of balances or gives us an indication that this is a person. Now we want to draw a statue of a horse or an image of a real horse, really. Like we said, watercolor technique. And this medium has its own aesthetic. Sculpture of a horse would look like a sculpture if it's on a pedestal or on some kind of structure that is lifting it. But a horse is going to look very similar. Without the pedestal. We're doing the wet on wet technique here, so we're applying some water to our paper. I'm being very detailed. I have the legs of the horse. There's a figure on the horse. And I'm adding the tail. Now I'm adding more color. I'm going in and placing my color exactly where I need it to be. So look at the way that I mark the head of the figure. The head of the horse, the body. You need to practice a lot. And then it becomes more enjoyable. And you see how easy it is to work with watercolor. The idea is to build your confidence and your approach with this medium. It has its own aesthetic and we need to be able to understand this medium, how it dries, how to apply it simply by practicing more or applying the shadows where they need to be. If we create a platform for this horse like this, then it's become a sculpture. It's in the background behind our fingers. Our concentration of color is different, even though we're using the same color, but the concentration is different across different parts of our drawing. If we darken the main parts of this statue, becomes more attractive and eye-catching. Where we've added some darkness on the figure here. Just like this and this dotted technique. We use it to darken the main parts to make our work a little bit more outstanding and noticeable. We create a higher contrast between the shadows and the highlights of our work. We wash and dry your brush, and this time we work dry on dry. Now we want to draw a post lamp. We want to be very precise and place our color exactly where we want it to be. A dry on dry technique means that the surface of the paper holds onto the color very strongly. This technique is to achieve very high amount of detail. I'm holding my brush very closely to the bristles. I'm keeping my wrist loose. Now we're adding a little bit more details to the statue, but we needed it to dry. So we gave it a little bit of time making sure that it's dry. Then you go into add more details. Continue to add details as you see them, or as many as you want. I'm going over the beard of this figure here. This figure doesn't have a lot of detail in Him. We can add a stick here. Accentuating the hat, the ideas that it dry on dry technique allows for a higher concentration of color to sit exactly where you've applied it and not seep into the page. Anyways, as you accentuate these details are worked gains a lot of richness because we've increased the contrast. We've made it a little bit more two-dimensional. By adding lines like this, we create a ground. So all our figures are grounded. We can even draw a much smaller figures without any details, some simple gestures. These are very small, very small figures and very far away. Practicing those minimal gestures takes time. The main idea is to observe your fingers very well and to include the absolutely necessary details, even if it's only two gestures, but they will indicate that there's a figure there. I hope you've enjoyed this tutorial and we're able to practice more than one technique. Thank you so much for joining me today and see you again next time. 14. Beginner Building Painting: Hi there. Welcome back to another tutorial. Hope you're well. Today we selected a painting for two reasons. First, we want to use watercolor in a different technique. The stains that we used in previous videos was small, but they are different. This work is somewhat easier and we get to explore a very new aesthetic. We start off by drawing our sketch using a mechanical pencil. This is a dome of a church. We have to pay attention to the symmetry here. Remember to make use of your downloadable resources. We make them available for you with all the information necessary on every tutorial. With the color palette, the sketch, the model we're going to be drawing from the grid. You need to create your sketch as a, as a little tip, you can print out this sketch. Practice by creating it directly on top of this printout. Or you can draw the sketch separately on another page while observing this sketch. Of course. Let's take our time creating this sketch. You want to put down the markings as a guideline for you so you can add shadows, you can add points where you feel This is the highlight and you don't want to touch it. So do take your time to make all the marks you need and of course make them as lightly as possible. We do not want this outline to be showing through our watercolor painting. If you've already created your sketch. Fast-forward and join me at minute 6.5. Okay, Now that we have our general sketch, Let's talk a little bit about today's painting. In order to achieve a simple color technique, we're going to use cold colors to show distant parts in our image. And warm colors for things that are in the foreground and nearer to us. Actually, we use cold colors for the shade of our building. There are lots of techniques, but now we're going to use this simple technique of colder colors indicating subjects and elements that are further into the perspective. And warmer colors for anything that's closer and in the foreground, we want to work on these different tonalities and creating them in order to give our image a sense of richness and enjoy creating this depth of perception. Now, let's start by making our brush wet. And then we apply the water to the areas that we're going to paint. Be careful to keep the white parts which are the highlights of your image untouched because you don't want the color when added to this wet surface to seep into the highlights or the white parts which are meant to be the white of your page. We are using a sword brush here. And notice the application. I'm using the tip of my brush. I'm holding my brush quite closely to the bristles. And I'm going over the parts where the surface needs to be wet. Keep in mind that practicing the medium, not only will it allow you to apply this technique in a more skilled way, but it builds our confidence and our approach to this medium. How we hold our brush, how we mix our colors, the way we apply the water to our surface, we pay attention to our highlights more. We're able to really practice mainly looking at our model. That's the biggest practice you can do is to look at, look at what you're drawing on, what you're painting. And really make, make note of where the highlights are. What's the darkest of the highlights? What's the lightest tone of the highlights? And the same thing for the shadows, the darker parts. What's the darkest of the highlights? Is it a brown? Is it a bluish tonality? And what's the lightest of my shadows? Making note of all these points is something that we practiced by looking. So we need to practice looking, looking, looking. Because sometimes we get taken as we're creating drawings and we continue working on them based on what we understand the building looks like e.g. or what a tree looks like. But you really need to keep looking at your model, even though it's not going to look exactly the same as, as our drawing. And that's completely fine because it has its own beauty. Now, we're going to start by using a neutral green, blue on our drawing. That's our first color. Take your time to mix your color. Make sure you have clean tissues handy, clean water handy. I'm using a viridian hue here. I'm going over not only with the tip of my brush, but also the side to spread the color downwards. Note how light my color is, how watery it is. I'm spreading it all over the building. We can Bolden the outline later if needed, or keep it faded. It depends on really each, each artists aesthetic or preference. But if it is faded, it gives this nice aesthetic as well, especially that it's further back in the background. The more we fade, the more it seems farther because it is more of a general feel. And we accentuate the point of entry into our drawing, which is this foreground to the right. Follow my lead. We use the tip of our brush when we're trying to be specific and avoid some highlights. Notice that even though I've added my green to my dome and the building, I've also left highlights on the left where we have a simple column here. You can also leave a little bit of the color pooling in certain parts if you want. All of these details which come with the nature of doing a wet on wet technique. Because our brushes wet and it has color on it. But our page is also wet. You can make lines and little, little details on the top of the dome. That line in the middle, that is diagonal where I accentuated that that direction of the ground. I'm leaving a highlight in the middle. I continue to work on the details. Keep your eyes focused on those guidelines. You've created this sketch, the base sketch you've created for yourself. I'm making sure my wrist is light. My fingers are a bit further away from the bristles. And we do have to maintain a certain speed, but don't let it stress you out. We don't have to be very quick or even as quick as I'm as I'm applying my color. If you need a moment, pause the video, apply your base color, and then play again and we continue to gather. We do, we can't be very slow either just because of the nature of this, of this medium, of the watercolor medium. But I'm applying and adding as many details as I can. And I'm also giving moments, four different parts too dry. So when I work on something, I leave it and I move on to the next thing, giving it a chance to dry. You want to fade this part here. Keep looking at your model. The more you practice, the easier it'll come to you. And it builds our confidence, build our confidence with this medium and this sense of freedom with application. It will show through your drawings. But don't let the final result, if it's not up to what your expectations were, Don't let it hold you back. Keep practicing. Because there is some fluidity to this aesthetic, to the watercolor aesthetic that allows for the result and be different to be faded, to be light. We need to wait for our image to dry. Because we do have similar tonalities, but we want each layer to translate into the layer underneath it and not really blend into it. You do need to give time for your layer to dry. We're going to use more warm colors on this part here in the front. And the color should not be too contrasting. It's a very soft image. And we continue to use a wet technique. Notice, notice how your colors are drawing all your application. Notice how this technique dries. It dries a little bit lighter. It has this faded effect, almost cloudy. So be patient with the drying process. Give it the time it deserves. If you notice something is dry, then then maybe you can add more details. I'm using a sap green here. That's a warmer color than the viridian. Them carefully adding my details, I'm observing my model and I'm adding my details here. I'm adding horizontal lines of the building. They're not complete. Lines are one gesture lines. We instead shade slowly across from dark to light. We want to be careful because we're using limited amount of colors here. As if we're given only two colors to create an entire set of tonality. So the tonalities are where the power lies of the final drawing. So this sap green, notice how it stands out. It's definitely different than the other green. And by making sure I'm applying it in the right places, it just brings more richness to my image, more definition. Using a warm color for this part, we show the perspective better as well. We're only coloring the parts that are shaded are darker and we keep the white parts as white. That's why we need to be careful and we needed to spend more time on our sketch. Because we have to be very intentional with where we're placing our color. Feel free to send me your questions anytime. You can also send me your final drawings and I'm more than happy to share with you some feedbacks and maybe some guiding pointers. I'm giving my image here a little bit of time to dry, but I'm also mainly just focusing on the highlights and making sure I'm applying my color in the right places. The aesthetic of this watercolor painting is delicate. It's also very nice and cloudy as well. And we want to maintain that aesthetic. There are some empty spaces here. You want to bring out that detailed by very small gestures. If you feel your brush has too much water on it, just dab it onto a piece of tissue. We're creating this building in a very simple, simple way with very little color. Observing our model really well and applying the lines were necessary. So as I'm applying my details, I'm using the tip of my brush. I'm holding my brush with a little bit closer to the tip. And I'm applying my colors in the direction that they need to be. We can use a dry brush for this part here. Just to add some more texture to the ground in the front and the absolute bottom of the page. But my brush has very little, very little liquid in it, very little water. I'm okay to continue with it. When we're using limited colors, the techniques vary and we could use a dryer brush or a brush that's completely dry with only very little color. Or we can use it with very little water. That's a decision that's up to you. But now we're working on these columns here. We create the columns of the building. And we complete it with just a few gestures with a brush. Dry brush will help a lot in these little details here. And we complete this figure with very minimal additions. I'm adding more water here and color. I simply want to add more shadow and this part while still keeping the highlights where they are. So notice how I went around, but there's still two lines of highlights and whites right there. I want to show the shadow that's underneath, underneath that top of the building. And reflecting off of the top of the columns. Remember, we need to be intentional with where we're placing our color. We're not putting it everywhere. We're observing our model. We're looking at where the shadows are. And we're adding, we're adding our shadows and outlines. This continuous change of pressure because we changed the application of our color by changing the pressure with which we're pressing on our, on our brush. We change what we're using. Are we using the side of the brush or we may be using the tip of the brush. All of these decisions will start coming very instinctively for you. The more you practice, of course, the more delicate, the more detailed you have less pressure. Because we want to be careful. We'd rather work lighter than use a very dark color or dry brush as well. With a dry brush and just color, we want to be very, very decisive. You know exactly where you're putting your lines because it becomes very difficult to change. We're going to add some stains. I'm using a hookers green dark here. We're going to add some stains in order to show the the large perspective of the building, this sense of verticality that's upwards. The Grand toys, the toys feeling of the perspective. We're adding some figures here at the bottom. And figures need practice for sure. So, do practice creating figures in this very simple, simple way. Just practicing how far to create the detail of the shoulders and the head. It's things like that that adds so much, so much so much detail. This very simple, simple gestures. As you've noticed that I've used a darker shade of green to add the final details here. They are more like stains, they are not long lines. There are simple stains. The figures are simple stains. These little shadows on the columns are stains. We make the perspective better with a warm lines. Notice how the columns and the building in the front here on the right bottom, as a lot more present and accentuated than the building in the back, although the one in the back has a lot more color. But the one in the front has detailed the highlights, the white of the page are dressed as powerful as the outlines that we've created in the dark. The dark shading and outlines that we've made for the columns and the shadows and the bottom of the column. Also the figures give a sense of perspective of how high these columns are. As mentioned earlier, it's a practice of looking. Need to train our eyes to see, Oh, there's more shadowing between those columns. There's a, there's a little dark part underneath the top of the roof of the columns. We want to show this powerful gradation of perspective. The building in the back, it's high, it has a highlight in the middle, which is like a pond or or a space to walk. We've also left the highlights of the back of the building. But it's the one in the front that has a lot more detail. We're going over all the details, especially if you see any of your sketch, your pencil sketch. You either erase those if you don't need them, or you go over them and complete your image. Our work is nearly complete. Were simply working on the the elements, that environment of it. Making sure that we take a moment to pull our head back. Look at the drawing we've created and make note visually. Does it look balanced in terms of tonalities, in terms of the elements in the page is the perspective as we intended. And just by using cold and warm tonalities of one color, the green, we were able to achieve great perspective in this image. Thank you so much for joining me. Hope you've enjoyed that. See you next time. 15. Boat on Water Landscape: Hi there. Welcome to another tutorial. We're going to draw a wharf with watercolor and ink today. First, we're gonna do a fast sketch of the scene using our mechanical pencil. We're gonna do this very lightly. We want to put down our sketch as a guide line, which will help us place our colors and paint in our image. Whilst keeping in mind where the highlights and the shadows are. Here, we're going to draw a horizontal line like this. And we're going to work on the initial sketch of the boat. Try to follow my hand movements as precisely as possible. Remember, you can make use of your downloadable resources, which have all the information on every tutorial that you work on. It'll have the sample image from which you can practice the sketch which we're creating right now. The grids for it are available. Also the color palette and all the materials we're gonna be using. If your color palette or available brushes are slightly different than the ones we are using. Don't let that discourage you. Make use of anything that's available to you and that you prefer. The idea is to practice, learn more about the medium, and have fun along the way. Take your time to create your sketch. Observe your model, and sketch the lines and any extra detail. The most important part is to visually keep in mind where the highlights are. If necessary. You can also mark where the shadows are. That way when we begin, water coloring will have a better guide. Very well. Now that we're done with the initial sketch, we should apply water to our surface, exactly where we want to add color. This is how we're going to start our wet on wet technique. We're using a soft brush and we're applying water with very little color in it to the area which we are going to be painting. We should pay attention to the white color of the paper. That's the highlights, the parts we're not going to be touching. We're going to pick a brown color here and mix it with green as you can see. And then we start applying it on the surface with our brush. Follow my lead on the application of the color. We've created a raw umber here. I'm using the tip of my brush to go over the more detailed corners. And I would apply a little bit more pressure to add more color to the paper and less pressure as I get to the edges and the thinner points. Try to consider the shapes and forms of the boat which were made clear in our initial sketch. Remember your initial sketches, your guide. It's there to help us make the decisions as to where we're applying our colors. If you have too much color, color and water combination on your brush, make use of your clean napkin and dab your brush onto your napkin and continue. But I would encourage you to practice with your brush with the amount of liquid and color in it and practice applying your color very lightly. People on the boat are drawn easily just like this. By letting the color pool in a certain shape that indicates the figure. Very simple brushstrokes can help us draw these different shapes and forms. They have a more concentrated color than the rest of the boat and their shapes, of course, but the color is definitely pooling in these figures, these human figures that are sitting down. I continue to observe my image really well. If you've applied excess water, you want to use either the edge of your tissue just to remove some color or lift some color off of the page. What we're doing right now is basically fast sketch of an old wharf with a boat and also some people on board. I've added more color, so the ratio of color to water is higher now, because remember, you always start with the lighter, the lighter layers, and then you work upwards to the darker layers. That's why we keep observing our image. Noticing what's, what's the next two shades darker? What's the next two shades darker? And where do I apply my color? It gives a chance as well for your primary layers to dry. Notice my application here, you take more of the same color combination we used earlier. We've added it lightly onto the reflection of the boat on the water, but then we've added more color to create, to create these very dark lines here. We're adding darker details to the work we're working up towards giving a definition. Observation is the key observation of your model. Take a good look at both the model and your own work and add the details accordingly. Your model is there for reference of where the shadows are, where the highlights are. But that does not mean that your drawing is going to look exactly the same. It needs to have its own aesthetic and we need to work on it and continue adding our shadows and making sure our highlights are beautiful and accentuated. Working towards making our drawing more realistic, balanced in terms of tonalities and beautiful. Of course. I'm simply adding my base details anywhere I need them to be. I want a more complete image. Before I move on to the next step, we draw straight lines like this to add different parts of the boat. It's not one long stroke, it's smaller. Dashed strokes. Try to use your brush wisely. Four lines like this. We only use some parts of the brush, That's the tip, but also very lightly. And then slightly from the side when you're trying to spread color. Just remember to practice, use your tool on a separate, separate practice drawing. I'm applying some water to my paper here. I want to work on that background with a blue-green color. We're going to start working like this on this part and add these layers of color. Look how light the ratio of color is here. I mixed a viridian hue and a turquoise. But look how lightly, how little it is, the ratio of color to water. I want my background to be very light. And the lighter it is, the more in the background it is. I'm simply accentuating my boat here. I'm giving you a context where it is on water. Remember to be careful not to go over the highlights. We need the highlights just as much as we need the outlines and the darker shadows. They are just as powerful. Here we're adding these layers at the top to show that land far back in our painting. If you need a moment to wash your brush and dry it and reapply a mixture of color. Go ahead and do that. Just pause the video. You want to be a little bit speedy, not too slow. Because here we, although our colors are light, they will, they are on a wet surface and we want them to translate into each other. So we want these tonalities, how the green comes on top of that, the other background, the primary background. We want them to translate into each other. We're working on how the whole work looks in general. This scene is painted without considering the details. I mean the water and the land in the far back or simply keeping in mind where the highlights are and avoiding them. But we want to apply that color. Now we're going to use a brown this time, as it does not have that much water in it. We mix it with olive green and we start applying it to these parts here. Observed my application and how I'm letting the color pool in some places to give it shape. Observe your model, and observe my application. If you feel like your brush is too wet, just dab it on a clean tissue. Now we let these parts dry so we can continue the work. That top part is wet so we leave it dry. It is better to let them dry and continue working on them later. In the meantime, we add more details to the boats. A few shades darker here. I'm applying my color again on the boat. I'm observing my model, observing my own drawing and adding the shadows where they need to be. E.g. only, only the right side of the boat is much darker. If you feel that your painting is too wet, give it a moment to dry. That's okay. If you like the effective created and you don't want to lift any color, just give it a moment to dry. We determined the outlines of our work by adding wet on wet touches to the work on these parts here. We've also determined the project's frame and its area for working on. Notice how the different parts have dried as well. We should keep these touches on these parts of the work as they will. Let us show the water in our painting. We're going to use just one color as we don't want to make this painting too colorful. We want to maintain that aesthetic That's, that has a little bit of a mono tone where all the tonalities are a little bit close to each other. Now we start working on the tree again, adding another layer. Pay attention to the brushstrokes used for the tree and the markings it's leaving behind. We use the wider, the wider tip of our brush and we add some touches in this way to show the general form of the tree. This is how we painted. And we keep some white parts, the white parts that are around some of the, some of the branches. In-between. With the tip of the brush, we add the leaves. We let the color pool in the places where we want to add some leaves. We're going to work on this part now. We previously worked on it with a wet on wet technique. Now we're going to apply the next layer is dry. Our color is mixed with a little bit of water, not too much, but our pages dry. Be very intentional as to where you're placing your color now as there isn't much liquid, it's difficult to move the color around. It's also going to be exactly showing the lines that you have applied. We try to be delicate and draw a boat on this part like this. And we continue to add more details. Were using simple lines and forums to show that these objects are there. These far-away details are drawn by adding simple lines and dots. The important is to add them in the perspective that they are. Just with a gesture enough to show what they are. We take off the excess water from our brush so that we can add more delicate details with a pointed tip of our brush. We also try to use the texture of the paper to our advantage. Because there is a grain to your paper. And if there's something textured or we want to make use of or have a reflection of a building over here which will add just like this. We also add more details in the form of trees and humans. We keep our brush closer to being dry because it allows us to apply these details in a very fine, fine way, very fine lines. Which is a beautiful contrast to the aesthetic of the background. And the wet on wet technique, which is a bit cloudy, still has detailing but it is a cloudy aesthetic. This technique of dry on dry or wet, dry but very, very little moisture achieved. So as those fine, fine details which are a great contrast and we'll end up creating such a beautiful image for you. We're adding a few more lines and dots far away here. We diffuse harsher lines by adding more water to the mix. If you've created a line that's a bit too harsh, just add a bit of water to fade it out. Otherwise, continue to add those details so we want to show that far away. Escape the landscape. We paint these details with a dry brush. Perhaps later on we can blend them. As we do not see the far-away details very clearly in our work, but for now we've added them beautifully. Just keep in mind that we can fade them. But it's very good practice to keep your brush dry. Apply your colors to specific places, and to use your brush in that technique. It's very good practice. Again, just as a reminder, we are, we do have very little water in our brush. Here. I've added a bit more water just to fade some details. It really depends on your tastes are your aesthetic. So we are to fade the colors into one another. On these parts it would be like this. And we will have this kind of texture and color where we see the boats, but the landscape behind it, It's a little bit more haze doubt. Anyway, the layer on this part is a combination of warm colors faded into one another. Now, let's dry the brush and take off the water from it to continue the work. We are sharpening the brush with our hand like this. We take some color. We create our mixtures on the pallet and then we can add water to them as we move along and we need them. Now we're going to work on the fabric texture on this part here. We do this exactly like when we are working with color pencils or charcoal. It's almost like hat tours are little lines. We create the texture of this fabric with our brush. Dress like this. If you need to practice on a separate page on the side, go ahead and do that, pause the video and then play again and we continue together. We add a little water on our palate so that we can work on our colors better. So you have access to your little bit of liquid on your palate if you need it. Now we continue working on the texture of the fabric of the sale. We add some touches of color with our brush. Just like this, creating the texture. But notice how the lights and the shadows appear as we're creating them and placing our texture is exactly where we want them. Notice the folding, how now it looks like it's folding up and down or in movement. I'm continuously observing my model and I continue applying my details. Take a moment to pull your head back. Look at the drawing you've created. Look at all the highlights, the shadows, the lines you've created as outlines. Or maybe look away for a little bit and look back at your drawing. And visually, you will be able to see if there's an imbalance of something maybe is too light and needs more detail or too dark and maybe we can add water and fade it. But make it a very, make it a habit to stop and look just for a second or two. Sharpen your brush again to continue adding those details. It's enough for that part now and we can go to draw the lines. We added a little bit of water to our brush, but not too much. We've sharpened did it with our hands. We're marking the beginning and the end of the lines here. We just need to be detailed. Take our time. Don't be intimidated by the line you are creating it in this little, little strokes as if they're dashes to complete one long line. Just follow my hand movement to create that one line. We did the same on each side. We've drawn a few dots as well, just to show the knotted rope and the whole boat and how it's rising and there's that shape with the lines around it. Take your time to add any necessary details. Now there are more details to add to the work. And these are just to accentuate the beauty of it as a whole. You can always use details like this to create the shape and form of what we're working on. You want to give the details. The fair amount of the fair amount of visibility with your, with the brush that you're using. There are some figures on this part which we draw with a dry brush like this. We did a background color for them earlier, but now we just want to give them more definitive color. We work on the texture of the boat here. The same dry technique as well. We're drawing the head and the body. Just to show that they are a human figure sitting there. We simply make a little gesture for the head and then the body with dots. Just like that. Follow my lead. I continue to work on the figures, but also the texture of the boat as they are on the same, on the same line. In a way, this faded part of the boat is adding to the beauty of the work. So we're not going to work more on it by adding more layers and details. It's the right side of the boat that has darker, it has more shadows. And the left side is more faded and lighter. And there's something really beautiful about that faded aesthetics. So I'm going to leave it. Simply to give that balance, There's that beautiful balance. Just want to add this part here. This part needs just a little bit of accentuation with a few simple lines and shapes. Then we're going to leave it. It's that kind of aesthetic in this painting doesn't need to be colored completely. Drawing the boat is complete. Now we've given it the details that it requires in order to show the figures, the shadow, all the outlines and it looks complete. There's one more line here. Now we show the water reflection by drawing a few lines like this. These horizontal lines added on the water are always useful to show the reflections on the water. We also need to make sure to leave some parts in-between untouched so it's not a space to completely filled with color. And these untouched parts are the lights between the lines. They are, they will show the rippling or the texture of the water and the reflection of anything around it. So closer to the boat, It's a bit darker, a bit further, it's a bit lighter. The main picture, this part is covered by stones and sand, but we've deleted them and added a water reflection to make it more attractive. I'm just working on this part right here. Just to make it look more complete. We add some dry touches. We want that texture to come through. Remember to practice, practicing your, your technique or using a specific medium. Not only does it help you recreate the same image again and again and better. It's getting comfortable with this medium. That's the idea is to practice enough to understand your, your brushes, the colors, the mixing, the techniques of wet on wet or wet on dry or dry, dry on dry. So all these techniques require practice. And the more you practice, the better you are at using these techniques and manipulating your brush in a sense of like playing around with the medium to realize what textures can it achieve you? And what brushstrokes are better for different objects like brushstrokes for a tree or the tree leaves is different than the ones you would create for the water or for buildings. So all of that needs practice. Notice how I'm adding the leaves here, but I'm leaving white places so it accentuates that light that comes through. Feel free to send me your questions or maybe your final paintings. I'm more than happy to share with you some feedback, maybe some pointers. Here we're adding more leaves on this part with our dry brush. It helps us create the texture we need a up at that point of the tree. There's sunlight in on some leaves, which is shown like this, which also makes the highlights even more bright. By creating that contrast. We add the initial layer like this, and then we will add more details for the leaves. Small and big touches of the brush together can bring more beauty like heighten that sense of detail. We do it on this part because there isn't anything in the sky in this part and we can add more. Just like that. It helps us to work better on the composition of the work. Now using a lighter brown, we are going to be painting leaves that are farther back. They are smaller and gesture therefore further back in terms of perspective. So all of these different tonalities, that darker ones and the lighter ones plus the different brushstroke gestures. They bring such richness to our image. They add so much to the depth of detail and how much we can enjoy it. As a viewer, I starts to travel all over the image to these details. We're adding a darker layer here to this part of the tree. But obviously we don't fill the entire space. We're still always being specific as to where we're placing our colors. Adding different touches with different qualities helps us work more on details easily. And of course it adds to the beauty of the work. We keep observing our models and adding our details here. Essentially, we're working on distributing the darker parts equally on the work and maintaining the balance of the work. And what I mean by balanced visually. Notice as we have this darker part here, we tried to add smaller dark parts around that so that the balance of the work is maintained. So it's clear that the shadow of the tree or on the leaves are on this parts. And the rest are more illuminated or lighter because of the light. So by doing these different dark parts, we are creating the sense of curvature or a body that is curving for the tree that it's not flat. We continue working in this way. We add a darker layer on this part as well. But we do it delicately. If we try to look at the work with half-open eyes, we can see the layers we've just added better. Remember that visual balance we talked about. This is how to kind of check and take a look at it and see maybe you need to add a bit more somewhere. We need to work on different parts just to allow them to dry as well. So if you're working on one part and you move on to the next one, you're allowing the first part to dry. We can observe our tree in the way or different marks are drying by now. That allows us to build on that and add more details. I'm keeping my wrist light. Here. As you can see, the source of the light is at the top left corner of the tree. So we add the shading layers accordingly and more to the right. I'm just observing my model and observing my image. We need to add some more touches of color on this part. Dressed like this. They're very quick, quick gestures. I've added some water and color to my brush and I'm applying those details here. Don't leave the corners of your work untouched. Add the necessary details to complete your image, at least to visually create that sense of togetherness. And not that it was forgotten. Just trying to make sure all the lines are connecting well. I want to fill in a little bit of this foreground. Now by adding these simple touches of our brush like this, we can finish the work. At least on this part. We need to add another dark layer on this part here. And we do it carefully. Because we can see that accentuation just a little bit in the model. We want to add that detail. We must keep in mind that the dark shading layers are not typically added at the end of the objects like this. The end of an object is lighter. So you lift your brush off of the page. We add unnecessary layers here under the rope. By a simple line, we add more detail on this part. We repeat the same process. We want to create a balance and a distance as well. There's always distance between the dark parts like the ones we added on these parts. We keep some parts lighter in between, of course, the darker layers. In order to give each part it's justice. We add a continuous dark layer on these parts here. If we don't create this kind of visual balance, we lose a sense of bringing the image closer to looking realistic. Just adding some darker details here and there. I'm taking my time just observing my image. We need to add just a little bit of a darker layer here. We want to just look at our image and covering the edges just to see what it looks like. We observe the work and add the necessary details on different parts, not just one single part. So all of them just to if you need to look away and then come back and look at your image, that's also an option. Usually the process of completing an image can take a long time from one artist to the next. Because sometimes it's difficult to decide that an image is done, it's finished. Know more details needed. And it depends on your best static that you prefer, how much darker you prefer to go. So these are all questions to each artist. However, our work is essentially complete here. There are parts that we leave untouched. We are done with them and it adds to the beauty of the work. If there are any details that are missing or you feel like they really would complete your image, I would go ahead and add them. The key is to observe our work, to observe our drawing and practice, of course, keep practicing. Enjoy the process, play around with your medium. Happy accidents happen and they teach us that this, this creates this brush stroke, e.g. but the idea is to simply stop and look at our image often. And what we've created. Here, we have this completed background as well that creates the, the base for our image and it's complete. Thank you for joining me today. I hope you've enjoyed today's tutorial and see you again next time. 16. Complete Doorway Artwork: Hi there. Welcome back to another tutorial of watercolor. We're gonna be creating a watercolor painting of a set of stairs. Let's start by drawing our base sketch using a mechanical pencil. Make use of your downloadable resources. They will have all the information necessary for every tutorial. With all the details on the color palette we're gonna be using, the materials and any information necessary, including creating the sketch for our model and the grids necessary. Take your time to create the sketch. We want to create the sketch with very light pressure. If your lines tend to be a little bit darker than necessary, just erase them and do it again. We want to indicate in our sketch all the details necessary to know where the highlights need to be, so we can make sure we don't add any color there. And all the details for where the shadows are gonna go. Remember, this sketch is just a guide, but it needs to have all the details necessary so that when we're applying our color, we don't miss out on any of the details that make our drawing so much more beautiful and add to its depth of perception. If you already have your sketch done, you can fast forward two minute eight, where we begin working with our watercolors. Take your time. Keep observing your model image. Your modal image has the most information when it comes to the shadows, the highlights, and the lines that you're sketching down. If at any point in time you're unsure what to do on a certain part. Just follow my lead. Mimic my sketching. Make sure you're sketching as lightly as possible. Our base sketch is our guideline for when we start coloring in our drawing. I keep looking at my model image just to make sure that I'm capturing the details as I see them and that I don't miss any details. As mentioned earlier, use your base sketch as an opportunity to add as much detail as you want, indicating where the shadows are, what the highlights are, which are to avoid and keep the white of the page. To add all the elements of our drawing. Don't worry if you have to erase several times, make corrections multiple times. That's completely normal. Take your time to create your base sketch. You can pause the video, rewind several times. An exercise you could do in order to practice and improve your sketching is to sketch on a, with a timer on, gives you a chance to be speedy and select the most important lines in order to show your drawing. And it helps us improve our sketching or our viewing of proportions. I'm just making sure I'm adding the details across my drawing. Take a moment to look at your sketch so far and see all the elements that you've added and compare it to your model image. Just to take a moment to look at it with fresh eyes and maybe check what might be missing. Take your time. Okay, Now that we have our general sketch done, Let's start with our watercolor techniques. We're going to start using a dry technique. We are mixing our color combinations here on our palate. And again, remember, all the colors that we're gonna be using are listed in your downloadable resources for this tutorial. If you need some time to mix your colors, pause the video, create your color combinations, and then play again, and we continue together. We're going to start by using a little blue and a little brown. We can paint dark parts when we are working with dry technique because it will not make light parts dirty. It'll hold onto the texture of the page. This is a wet on dry technique because our colors are a little bit damp with water and our page is dry. Using my sword brush. I begin applying my colors. Make sure your model can be seen comfortably. Keep looking at your sample. Using your sketch as a guide line. And looking at your sample, you start applying the shadows accordingly. Notice how closely I'm holding my sword brush. We want to be intentional with where we're placing our colors here. If you need a little bit of water. Add some to your brush, but only a very small amount. We are drawing a Bannister right now. We're in a way sketching with watercolor. Because our pages dry our colors. We're really hold onto the page right away. It's not a wet surface. That's why we need to be careful where we're applying our colors. We will be adding water, but later on in the process to the page, we use the texture of the surface or the paper that we're drawing on. To our advantage. If there's a texture there, we want to know the application of our brush on it, what kind of effect it has. If you need to practice on a separate page just to get a feel for it, go ahead. But as we are adding the details in the shadows to our drawing, the main important thing is to not add any color to the highlights. You want the white parts to remain the white of the paper. You don't want to take away from the brightness of these highlights. They are just as powerful as the outlines and the shadows that we're gonna be creating. We keep those white parts in order to have form. We give a sense of a more realistic image. In the end, we are trying to give some detail to these stairs, the diagonal lines here. Take your time to observe your image. Our drawings, we're not going to look like the image we are referencing. But the idea is to be able to pick up where the shadows are, where the highlights are. Our own image has its own beauty. Make it a habit to every few minutes, stop. Pull your head back, look at the drawing that you're creating. Let's not get taken with just filling in, filling in the sketch that we have created. We want to keep an eye out on the shadows and the highlights. Apply your lines in the direction of the object that you are painting. If we want to show the perspective of the stairs very well, we want to draw them properly. And it's not about accurate measurement, it's about perspective and proportion. To visually be able to look at you're looking at your model, look at your drawing, e.g. make sure that the distances between each step is logical, visually logical, that it looks balanced, that none of them look too close to each other in that perspective. Or maybe too far. If you need a lighter tone at any point, you just need to add a little bit of water. We just have to continuously pay attention and considerable shadows and highlights. Notice how on the outside of the stairs my lines are vertical. They are not horizontal as I drew them on the stairs, the steps. Notice how my speed is medium. I'm not working too quickly. I am more relaxed as this is a wet on dry technique. If it was a wet on wet technique, I would be I would have to be quick and also precise and choose the right moment to stop and let the layers dry. But here my colors, what I need to be careful with is to have my colors light. Apply them in the right places. Make sure they're dry before I move my wrist onto it. As we can see here, the color of our brush becomes less and lighter. It can be a good feature in order to show the shades and wetness. So don't wet the brush just yet. We have to create a general view or sketch. And then we will use water to make our brush wet again are more wet in order to show more contrast and add more details. And work on keeping the perspective balanced on all sides. We want to keep building those layers and working on the realistic aspect of it. As mentioned earlier, don't add water to your brush dress Yet. Make use of this very minimal dampness of it to add those very light details. Because at this point, our brush has little color and little water. We want to apply the lightest lines here. So creating that very little tonality between the columns, e.g. at the top of the stairs, those lines on the side. Now I've added a little bit of water just to darken it. The outer, outer wall of the stairs. I'm mixing a little bit more color, of course, wet color. And I'm applying my shadow over here. I mixed a viridian hue and I hookers green light. Again, it is a watery mix in order to keep my colors light. And to maintain this aesthetic, this light aesthetic. But I'm still achieving shadows that I need. And notice the change in the color tone. We want to use our brush in all directions necessary. So I use the side of my brush here to drag the color horizontally. That indicates the ground. I added my shadow and this little entrance down here. I'm adding a bit more color into it. Just to give it a little bit more detail. Mixing a bit more color. I'm going in to add that shadow. Placing our shadows in the right places. And making sure that the highlights are still there and accentuated heightens the depth of perception of our image. It becomes richer and looking more natural and more realistic. We have a shadow up here as well. I want to maintain the aesthetics, the aesthetics of the stairs here. With a tissue paper. I've lifted some of the color as it was a little bit too much. Notice how the inside of that that darker opening, the curved opening, it remain darker because it was able to dry a little bit. We continue observing our model and we continue adding our details. Feel free to send me any questions you might have. You can also send me your final drawings if you want. I'm more than happy to share some feedback, maybe some guiding pointers. Another way I get to see how I've built up an image is that I take a picture of it at different stages of completing my drawing. I'm able to see visually whether there is an imbalance, whether there are parts that I worked on more than others. What to focus on maybe the next time that I practice ideas, the more we practice, the more familiar we are with the medium and our confidence grows. And therefore our application grows. Notice how the parts are drying in different places, be the stairs or under the stairs. Now we're creating the door at the top of the stairs. We've created the outline here. We want to fill that wall. We want to show the perspective that there is a wall there. Now to create the door itself, we need to mix orange with brown. The way we're going to apply our color here is we add it with a staining technique. The idea is to use this technique to bring out the texture of the door or to accentuate a texture of the door. Now you can achieve texture by primarily taking advantage of the green of your paper or cardboard. Make your color wet and apply your color. You can achieve this texture that we see here on the wall. I'm making sure that I'm applying my color in the right places. We must give it time. Now, the paper needs to dry, it needs to absorb the color. As our application of the door and the wall, although they are different colors, the application of them is a little bit different. The door mixture of water to color was lower. Whilst the wall with the orange and the Brown it was, it had a higher amount of water in it. But they're both vertical and upward so they can easily maybe mix. So we need to just leave it dry and go on and work on a different part. We've added some more water and color to our brush here. And we're working on the steps of the stairs. We want to add more contrast. Let's continue working with all the techniques we've used so far. We need to pay attention to where we're applying our shadows. We need to avoid the highlights and leave them white so we can add a very light tonality to them in later on. And we want to continue adding these darker outlines very carefully in the right places. I'm going over this shadow here under the stairs. Now I'm applying more shadowed lines where they're needed. Add some water to your darker lines if you want to lighten them or maybe extend their shadow. If you're unsure at any point in time what to do next, just follow my lead. We show the light edge of the roof like this. We darken it in order to create such an arch shape. The most important rule is to keep observing your model. Your model image has the most information. When it comes to shadows, highlights, what needs to be darker, what needs to be left as the white of the page. Adding these vertical lines here. Use the tip of your brush for delicate details or more accurate or a specific details. I'm using my tissue here to lift off some of the color. Remember, you can redo any part several times that's completely normal and okay. Just make sure your page dries before you work on it again. You want to add some shading in these parts here. Feel free to share with me or drawings. I'm more than happy to give you some feedback. Now we let it dry. The next thing is, we're going to, we're going to use our dry brush for these parts. We, we use our dry brush in order to get more detail. We have to be careful where we're applying our color because it's dry, so it really hangs onto the paper. The becomes difficult to make changes. Feel free to send me any questions you might have along the way. I'm here to help adding those details here, which are the contrasting lines. They bring a depth of perception to our work. They also bring clarity to the different elements in the artwork. When we shade these parts, it makes the work more beautiful because we can see more. Make sure your wrist is light. You're not applying a lot of pressure onto your page. Keep observing your model image. I've applied some water here just to add this shadowed area. Are shaded area. Keep focused as you're working on more detailed parts and take your time. Drawing lines and surface are dependent on ourselves and our experience. We should consider the model, our model image. And we should also consider our own style. We should try different techniques, like dry technique. Or wet on wet technique. Just to find out which one suits us best. Which technique is the one that lends itself to you to be more creative or enjoy the process. And don't worry if you make mistakes and maybe miss your drawing. It's completely normal for that to happen. And these mistakes can help us learn better and give us a better experience. Now I'm going to wet this part. So it's a second layer on top of the details which I've applied with a dry brush. That's why it's important to make sure your layers are dry before you go over them with another wet layer so they stay in place. If you need a break from your art work, just take a moment and look away. And then look back at your work with a bit of fresh eyes. Just to notice what might be missing. We continue to add some shading on our door here. And we can fade this part in order to have better depth. You need to continue adding these contrasting lines and shading different elements. We need to look at the whole drawing and assess it and analyze it. We need to darken this next part. We combine brown and blue in order to have a dark green, bluish tonality color. You need to practice controlling the moisture in your brush. The more you practice controlling the your watercolors, drying them wedding surfaces, applying color, the more confident you become, the better your results will be. Working on the darkest parts here. This space underneath the stairs also is one of the darkest parts. We always use another tonality in the shaded part or a dark parts in order not to be an absolute black or very dark. So it's good to give it to. Different shades are two different tonalities. At least. Dry our brush here and we use it for the surface of the banisters in order to show it's flake texture. The texture of this part is different from the wet parts, so we use a dry brush. It's important to look at the general art work altogether. Make note of the highlights. And just to know whether something is missing, R can be added. I'm adding the details, as I said, see them. We need to go over all parts of our artwork. Take your time and give different parts a chance to dry. Also use your tissue in order to control your watercolors. We use a more wet brush in order to create some shading or some shaded areas which are bit lighter. We also apply more color and a little bit of a dryer brush. When we want to create bold lines. We want to work on these parts carefully in order not to mess the white parts. There are some light parts like white lines that you don't want to get rid of. You want to make sure that they remain. So do not remove this light and white parts on this step, so it's not all colored in. You want to make sure that the steps are distinguished. And that only happens with a combination of both the contrasting lines, but also the highlights. Now we're going to add warm colors here with another brush. We're going to use a brown and orange color. We create the color combination. And then we start applying it. Here I'm using a brush pen. A brush pen allows you to release water as you need it. And it's up to you to add more color. Take your time. Now remember, we do want some white parts which are in the right places. But if we leave all the white parts really wide, our work is not going to look really harmonious. They need to have a tinge or a very light tonality in some parts. This is something you practice or work on improving the more you practice and use watercolors. Keep observing your model image. Feel free to share with me your drawings or watercolor artworks at any stage, I'm more than happy to give you some feedback, maybe chat about them. I'm here to help. Now, watercolor has its own aesthetic. It's a little bit of a cloudy aesthetic. It also has these water stain aesthetic and it's just something that we need to accept. And obviously if we're using this medium, we need to find the beauty of it and work within, within its, its aesthetic. Keep observing your model image and also your own artwork. Go over as many details as you need. Adding details to different parts of your artwork is really up to you. If you prefer that the second window on the left remains really faded without any details, That's okay. Now we shade this part here. Okay. I hope you've been enjoying water coloring this image. Also. I hope that the use of the pen brush was super-helpful because it helps us add all these details and smaller and smaller contact with our page. Now we're using our sword brush again. We need to shade this part here just a little bit in very lightly. Notice how the colors we've had on our palate. It's okay for them to dry and for us to add water to them and reactivate them or add more color to them and reactivate them as we proceed. In our watercolor drawing. Now we're going to start using the wet on wet technique. So we've applied water to our page. We also have water on our brush with color as well. And this technique is not easy. But it doesn't mean that we're unable to achieve it. The mixture here is viridian blue and Hooker's green. And we need to simply keep practicing with the wet on wet technique. The idea is to control, control the water and control where the color is going. Adding water to our brush or to our page gives us more shadows. It allows for the color to pool in certain places. So you can achieve that darkness in a different way. So here we've achieved this whole block. We gathered this entire space, but we've given it several surfaces by applying more than one layer. Remember, just like I worked on the part on the right bottom. Then I left it to dry and went to work on the left on the left side of the bottom part of our drawing. Now I'm leaving them both dry and with a higher amount of color on my brush here. I'm going in to add the darkest details. The dark is details. They are the outlines. They're going to bring the real richness, but we can't have a lot of water on our brush. We need to be very exact and intentional as to where we're placing them. So notice e.g. on this handrail here, notice the highlight in the middle of those two lines that I've created. At the top of the columns, there's a highlight there which I've left. The highlights are dressed as powerful as my dark lines. Take your time. Observe your image, observe your model. I'm using my pen brush here because I want to, I want to achieve those details. The pen brush is water-filled, that has water inside it so you can directly take some color and it'll automatically be mixed with a bit of water for you. But the idea of this brush is more control and therefore more detail. Or a more precise detail. Makes sure the placement of your wrist is not affecting your drawing. Observe your model and add those details. As mentioned earlier. Every few minutes, take a moment to pull your head back. Look at the drawing you've created so far. And visually study the balance. Does, does the, does my watercolor drawing look, look harmonious? Do some parts look inconsistent with others in terms of application? Where else do I need to add my, my outlines, my darkest shapes. We keep referencing our model because they give us the clues as to where all these highlights and the details that we might miss. It's not to have our watercolor drawing to look exactly like our model. That's not the idea. It's the fact that our drawing might actually be even more beautiful than the model. But we need to work on it and look at it separately on its own. But our model is there too. Guide and reference as that, that is our reference. It tells us where the shadows need to be. We want our image to still look realistic and beautiful. We remain focused on every part we're working on. We add all the details one step at a time. There's a little outline here that I need to bring forward. These detailed lines like that first column on the bottom step. They, they create such a presence, especially against this faded background of the steps, the steps, the style of it, the technique we've used for the steps is different than this very precise, small brush detail creates a very beautiful contrast. Notice the texture we have on the handrail. We want to work on all parts. We have more shaded darkness at the top of the columns on this part just because there's a shadow that's being cast. Also our color mixtures, if you notice, the mixtures that we've created take away from from any unnecessary sharpness of using a black color because I'm black color, not only does it, not only does it contaminate the other lighter colors, but it's too harsh, especially in watercolor drawings where you have this cloudy style aesthetic. So you want your shadows are the darkest parts are the darkest details to be dark, but not black. They look more olive, more brownish, more bluish, cooler, warmer. So all of these details, we have some scattered lines here. We're just adding these as we see them. Remember to share with me any questions you might have along the way. Even share with me your drawings. And also, if you have, if you practice a medium quite a lot, you keep playing around and you're approaching it in this relaxed way and you're being playful as well. We end up discovering so much more about the medium, but also about our own sense of style. What's more comfortable for us? What's more comfortable? It's more aesthetically pleasing as well. But the more you practice, the more you'll discover these details. I'm trying to go over all the details in between the columns here just to complete the steps and give them the definition they need. I always worry about missing out on some details because I'm too focused on one part. I find the water coloring or being taken by shading or fading the tonalities that I've created. It becomes meditative for me and I kind of get taken and I forgot to look at my model. And I forget to look at the details. And I'm working based on the information I have in my mind that I have an assumption of what stairs look like, but we need to avoid that and we need to keep looking at our model. Adding some more details to my door here. These delicate lines, if you've created lines for one-step, makes sure to apply it to all the stairs. Check for where else you can see those lines. Just like we've created the bottom lines of the door. We went up and we added those details. I go back to work on the door here. I'm just grabbing some more color. And I'm going over this second door. We want to show and specify the windows. I really enjoy the pen brush. It allows for such details. Even though at a, at a distance you might not tell those little lines, but the whole texture changes entirely. We're giving more and more detail to the windows up here. Just to get the whole field. I'm working on the door frame. We need to make sure we're applying the lines exactly where they need to be and not thicker than what we then, what we see they need to be as we see them as delicate because they imply the perspective. If some lines or horizontal or vertical or diagonal, that perspective is very important. So this line that's crossing horizontally between the doors and on the wall and now vertical lines, these are very important. They imply the verticality of the building. They're also not a horizontal all the way they are diagonal. That direction is very important. With the pen brush. The technique is drier than the other techniques that we've used. So we need to be more careful, especially that our page is dry so it'll catch the color right away. Or adding another element here. Notice the texture that's being created with these lines. I've left the bottom part of my drawing to dry completely. Now I'm adding my details here. I have worked on the doors from the left to the right just to avoid having my wrist go over a door on the right had I started from there. You want to make sure that that line that's going across that wall horizontally, slightly diagonally. You want to make sure that that perspective is maintained. With this pen brush. I'm able to create these little lines right next to each other. They are hatcheries. I'm simply observing my model and applying my lines as I see them. And keeping in mind the highlights and the parts that shouldn't have any color on them. Remember to stop every few minutes and look at your drawing. Pull your head back. Maybe take a few minutes to look away. Have a snack, come back and take a look at the drawing that you've created so far. We're visually looking for harmony between all the techniques that we have created. We want to, we want every element of our drawing to look like they all belong in this drawing together. If there's something that's standing out too much, either really dark or the shadowing of it as a bit too harsh, or maybe the highlight is to white. We want to go over that. But to be able to see it, we need to take a moment to look away and look back at our drawing and see where the imbalance is. If there is any. We're going to use a little orange and brown color for, for the shade of this part here. Notice how applying a shade on top of these tiny vertical lines or even a dark line on top of this cloudy part of the wall. It's still remains very visible because we've let it fry. Now we're working on the flooring, the terrazzo. The whole image together needs to be complete. We want to work on the entire environment. Altogether. We shouldn't be afraid when we're working with watercolor. You want to just be comfortable and relaxed. The style of it is very free. And yes, we've applied a lot of very detailed lines. But in the end, because we're looking so closely at it, we tend to miss that this style has, has this very beautiful, relaxed aesthetic. It's cloudy, it's loose, it's delicate. And the more we practice, the better we achieve all these qualities. But if it's not as we anticipated or not as good as we wanted it to be. Don't let it discourage you or hold you back from practicing and trying and making mistakes. Because the reality is the more you play around with a medium and you find out more about the medium itself, your own style. But you also create happy mistakes. E.g. you might be using a certain tool and then applied it with a certain amount of pressure or a certain direction. And then you realize, oh, I didn't know that this can create this effect. These happy accidents are good. We tend to learn a lot from them. I'm just taking a split second to dry my brush, pick up some more color and just fade this dark part here. On the handrail. That black was it wasn't a black but that dark part was too dark. I wanted to tone it down. I want to go over all the details. Now we're going to paint behind the banisters. Pay attention to the highlights. You don't want to cover any white parts that need to remain white. Because on a single on a single column of the railing, e.g. up the stairs. It has highlights on it and we don't want to cover that part. Keep note of the color combinations you've created and what effect they've had on other colors as you've applied them on top. Again, we combine brown and blue. Just to darken this part here. Having a variety of tonalities that go together. Just bring richness to your artwork. Add as many details as you can. It's a very good challenge. We don't paint the rest of the bannister here. As we know, we just draw these parts in watercolor. We want to imply the shading here, but without too much detail. Now we use a larger brush and we darken the roof. Take your time. Here. We're going to use our sword brush. And it's the large part of the brush to darken the roof. So our color is watery. We've added two layers so we can see how they're drawing on top of each other. Must be in the perspective and direction of the building. Here. I'm adding some more tonality around the doors and the window. We want to complete the entire field, entire environment of the drawing. Just like we've done the ground. Now we've done the roof. We're adding this very light shade. We don't want it to take away from the details we've created. It's a much lighter tone. Now we're going to add some more, some more shadowing on this part here. So I'm adding a bit more color to my brush. And I'm adding the shadow over there that is caused by the roof. We want to be precise where we're applying our shadow. We want to create the edge here. There's a shadow on this door. Now we can draw a tree or a bush in order to make our final watercolor painting more beautiful. One of the important things is that we want to know which technique is good for different elements. So we should learn to use the wet on dry technique correctly. We should practice more. And simply. Just don't worry, don't be afraid of the medium or make it hold you back. Created. Do all the mistakes, discover more, and that's the best way to practice and to achieve those techniques more beautifully, better. And it builds your own confidence. I've added some water to my brush. I'm adding these details here. We are simply accentuating every part. We want to look at our perspective and make sure that it's balanced. We can wash this part here and faded a little bit more right there. Just by adding a bit of water, we're able to lift some of the really shadowed parts. You don't want to apply a lot of pressure when you apply this little bit of water because you don't want to take away from the details you've already achieved. You're simply adding more, more, more contrast here. You're achieving a more delicate contrast and bringing together the entire image. We use the dry technique at first and then to create harmony with wet technique and dry lines. So pay attention to these details and also to your highlights. Are drawing is now done. Thank you for joining me. Hope you enjoyed that and see you next time. 17. Cityscape with Watercolor & Ink: Hi there. Welcome to another tutorial. I hope you're well. Today we're going to use watercolor in order to draw a picture of a canal in Venice. I'm using a pencil here to draw my sketch. This sketch is a base sketch that will be guiding where we're gonna be applying our watercolors. Let's start off by drawing a general sketch. Remember to make use of your downloadable resources. They will have all the information necessary and what you need in order to create your base sketch. Our initial sketch can indicate the periphery of our artwork, the spacing, maybe the general form of it. And later on we get into the details. Drawing buildings in general is very good practice. There's a bridge here. Take your time to create your base sketch. It's going to be your guideline for when we start adding watercolors. Add as many details as possible on your base sketch. You can even add really light hatcher lines to indicate shadows. There's some wooden parts in the water here and the reflection. Make sure you add your details very lightly. They're there to guide you and help you. We just don't want very dark lines that might disrupt your watercolor painting. If you're unsure at any point in time what to do in a certain part or how to draw something. Just follow my lead. Mimic my drawing. Keep observing your model image. It has the most information for you. Feel free to send me any questions you might have along the way. I'm here to help. The buildings of Italy and Venice are a very good practice for working with watercolor because of the various textures and the various watercolor techniques that we can apply. Make use of your downloadable resources where all the information on every tutorial is available. For you to have access to information on the color palette, we're gonna be using the grid with which you can draw your sketch and all the materials necessary. We don't add a lot of details in our sketch, but we want to indicate where the highlights are, mark the buildings, the reflections. In our current drawing, the right part is darker and has shades, but the left side has more light because the sun shines on it. First, we're going to use pure and light colors. There's a pink color for the wall here. Make sure you have all your materials handy. We're going to create different color combinations. In order to achieve our full drawing, we need to have clean tissues, clean water. Take your time to make your color mixtures. Here we're going to be mixing pink and red. As mentioned, we have a pinkish wall. We add a bit of water to our brush. And airbrush is a sword brush. And we begin. Remember to keep an eye out for where the highlights are, the parts that are completely white. They are the white of the page. There are different white lines across the buildings. That's why we indicate some details on our sketch and how they are the guidelines for us as we apply our watercolor. We're using an alizarin red hue here. The concentration of color is very low. We want to start always from the lightest colors to the darkest colors. Lift color off of your page with a tissue just like I did right now. You don't need to apply a lot of pressure when when placing the tissue onto your page. Feel free to send me any questions you might have along the way. You're also more than welcome to share with me your final drawings. I'm more than happy to share with you some feedback, some guiding pointers. The lighter color is while we basically sketch with our watercolor at this stage, the better. Because we can easily make our drawing more, more shadowed or darker. As we, as we progress in our drawing. Remember to keep an eye out for the highlights. We want them untouched. Even if we're gonna be adding a very slight shadow or tonality. But later on in the drawing, for now, you need to leave them as clear as possible. I'm using a raw sienna here. As you can tell from the mixture I made on my palette and my application is that there's a higher concentration of color on my brush. Make sure you can comfortably see your model. Keep looking at your model. Every few minutes. Take a moment, pull your head back and look at the drawing that you are creating. The more we look at our image and our model, the more we understand where the highlights are, where the shadows need to be, and visually how to progress. Or adding the details as we see them. The more we work on this part, the more we are specifying the windows and the lines between them. These white lines or separations are the, are the highlights but also the element that is going to make these windows stand out. Gain their form. And we'll have a better indication of where to also apply our shadows around these highlights. We want to make sure we're applying our colors in the right direction. I'm keeping my wrist light. And keep working with your brush without adding excessive water. Only if you really need to use the amount of dampness in your brush as it currently is right now. Take advantage of what texture it might give you. I added some more color here because I need to work on the roof. Now I'm going over some little details on this part. Now we combine orange and green color just to create a warmer, warmer tonality here. Now we add green and pink in order to have a more, a more cloudy pink. We're going to use that color for the bridge. This is the shaded part of the bridge. We need to go over all the details that we've created in our sketch. We want to work on every part and keep working through to every next, every next section. We're specifying the lines. We want to be able to basically create a sketch in watercolor for ourselves. I hope you were able to achieve some kind of freedom with the medium at this point. Enjoying it a bit more, playing around, discovering more about the medium and the materials. But also maybe discovering more about yourself and your style. Because the more we practice a medium, the more we're able to know more about our comfort with it and our preference with using the different materials. This part here is darker. So we're going to change our colors slightly. We're going to combine red and blue and a little yellow. And then we start shading. We've achieved this warm, warm, purplish tonality. Pay attention to the way I'm applying the color. It's very light. I'm using the side of my brush to spread my color. There's no light or highlight in this section, so that's why I'm applying it everywhere. I'm adding more water using a little bit more of a blue tonality here. I'm applying my color in a very vertical manner. Take your time to observe your model. Here I'm using an indigo and then alizarin whew. I want to work on this part underneath the bridge. Generally we specify the shadows with the tip of the brush. And then we use the wider part of the brush for sketching. In fact, we add colors and shades and lights and several steps. And we go in a back-and-forth movement. After that, we use the dip brush and sketch the place. And finally we add colors again. We're building layers. As we work on one part and move to the next one, we're allowing the first part to dry. We apply our colors lightly. Pay attention to the movement of the brush and also the use of colors here, we want to make sure that there's harmony visually on the entire, entire drawing. We want those colors as well to be reflected in different parts, although we've made different color combinations, there's still this harmony in terms of tonalities. We use a very light turquoise blue for the water. Again. Keep notice of the movement of the brush. Take your time to make your color mixtures. Pause the video if you need to, and then play again to continue together. Notice the application. The concentration of color in my brush. There is less water and more color. We added this turquoise blue in the shadows underneath the bridge. Needs to be visual logic to our image. That's why we have that color in the bottom of the, the bridge in the shadow because it's reflecting the water. We don't want these different tonalities to look like they're alien from each other. That's why you mix a little bit of each other's tonalities in reflective parts. Here I'm creating the shadow with a viridian hue. When you're changing colors, make sure that you wash your brush and dry it. For the viridian blue, we've combined blue-green and a little brown to make a dark green blue color. I'm going in again with more of, more of the bluish color underneath the bridge. Now we're combining the red and pink color. Keep in mind the highlights and where and which parts need to stay completely white or the white of the paper. Every few minutes, take a moment, pull your head back and look at what you've created. Look at your drawing. Make note of what needs more shadowing, what needs more details. Pay attention to how I'm applying my colors on this water, water area. Although we're creating a general sketch with our watercolor, we've given it quite a bit of, quite a bit of quite a bit of character. After this part dries, we're going to use a dip brush. It looks like this. We're going to use brown ink in order to create space. We don't use black ink. Black is too harsh. We don't want it to clash with all these beautifully delicate tonalities. I'm checking that my pages dry. With a tissue. You can remove any excess water or color. Now we're going to create this building with linear sketching. We use linear sketching in the last tutorial. We can dissolve it with some water later on. But this doesn't mean that you should be less careful with your application. Be very intentional on specific. It is a simpler form of sketch with various lines. Follow my lead. Although we have details and smaller lines that are horizontal or main lines are more vertical to imply that rising perspective. The amazing thing with buildings is that they're rising against gravity. That's in terms of only perception when we look at them. And they have a lot of vertical lines and horizontal lines. But the point is to make sure we're drawing our lines in the right perspective. So what we think is a horizontal line might be more diagonal or more curved. This is a technique that requires focus and the little bit of concentration while constantly looking at your model. Look at where the lines are, where the highlights are. It helps you place your shadows correctly and your outlines. It's okay to make mistakes or have some lines that are out of, out of, out of measurement. Because generally we're drawing a lot of lines and you can start by making them lighter and then choosing one of them and decided to make that line darker to accentuate a certain column or a certain line at the edge of the building. But the idea is to enjoy creating these details. This delicately. It does take time to draw these lines. The idea is to keep looking at your drawing and looking at your model. I'm looking at where the details of my buildings are. You want to pay attention sometimes that our brush doesn't release more ink than necessary. If we're releasing more ink, it's too, is to basically add more shading to a certain part. You don't want to put a lot of pressure on, on your tool. Which in, which in turn creates more pressure on your paper because it might be wet and you might over apply your color. Try to hold the brush like this. Exactly as I'm holding it. Remember to be intentional with your marks, even if they are not perfect. Just simply choose where you are placing your lines as opposed to placing them randomly. We want to take ink with the edge of the ink stand, not dipping it all the way in. Just at the edge like that. We release any extra ink from the dip. And we continue adding our details. When we dip our brush and ink, it starts off by having a little too much ink. So you want to start with a darker shaded part and then go to the lighter parts. Also keep in mind that when we press the brush with a light pressure, we have less ink transferring onto the paper. So it's just a matter of practice really. We're using a high-grade dip brush here. Keep observing your model image and apply your details accordingly. Our brush has lots of ink at first. So as mentioned before, we need to work on the darker parts first and then we'll move on to the lighter parts. And remember, you can remove any excess ink using a paper tissue. Take your time. Keep in mind that the more you practice, the more you'll start enjoying creating combinations of mediums. Over here we're combining watercolor and using our ink brush. We should look at our painting more than the model just in order to make sure that we're placing the lines properly. Because at this stage we have a lot of information on our art work. So we know where to apply our lines, but of course, check your model image. Every now and then. These white stains are helpful for making our work beautiful. You need to leave some parts white. We can remove any excess ink using a paper tissue. When it comes to watercolor though, don't be too worried about it. We can create stains. And that's the technique in watercolor that gives us that aesthetic. Take your time. Focus on the details. There is a structure here. If we draw it, it will make our work even more beautiful. Make sure you keep your wrist light and your application light as well. You don't want to transfer too much ink onto your page, unintentionally. Go over the details and thicker lines and thinner ones. We started from this part. Then we increase the pressure that we're placing onto our ink brush here. And that makes it release more ink. So we're able to work on the thicker parts where the thicker lines. And to give more contrast to our work. Keep observing your model. If you feel like you're not sure what the next detail is, your model has the most information. Now when it comes to using several mediums or combining two different mediums with each other. You need to look at different model images. Practice drawing them, practice using two different mediums together. It can be watercolor and pastels or watercolor and ink. Our ink and pastels, It's really up to you. Now we're going to work on these arches here. The color that we used below is just a halo. And now we're going to hatch or on top of it, just to make it more beautiful and to give it that clarity and those details that will define it even more. Keep focused on the details. It's about placing the lines in the right places and not about filling in all the spaces. If we had to create this artwork with only ink, it will take longer because there's a lot of information to be added with. One tool or one medium. Be careful here not to get your hand dirty or palm. And the important part is not to pick up ink and then transfer it onto other parts of your drawing by mistake. Always keep an eye out for the highlights, the parts of the artwork that needs to remain the white of the paper. We keep the line between these two shades here. Perhaps there are other details in the painting, e.g. there's a chimney here and we don't draw it because it is just a stain at this point and it can indicate distance. There's a texture on this roof here. You want to increase your hand pressure on your ink brush just to release more ink and get that shadowed area done. Keep focused on the details. When we are working on watercolor parts, we have to hatch to connect the watercolor and the white parts of the cardboard. In order to create harmony between them. We should pay attention to the transition of the mediums into each other and the details and how, whether they have a background color or not, and whether they need more color in them. It's really all about creating that balance and adding the details in accordance to our background and the different textures here. So we need to work on these parts and work on the visual balance of it all. Look at all the tips of the buildings here. Make sure that you've got all the details down. We use dots and small lines for this part of the roof. And we use Y dots for shaded parts. Take your time. Now we're going to work on Windows. We should draw the windows in one direction. First, we need to specify the lines. We should look at our work generally in order to add the details properly. Especially with buildings, their windows that need to line up either horizontally or vertically. Just on the same line, even if it's diagonal. Take your time. Now we're going to work on the bridge. The movement of our brush is fast. Our brush movement shouldn't be too slow. You want to make it quick in order to also achieve that gesture or that texture that is created with, with this with the Ink brush. It also helps you keep your hand pressure really light by creating these marks and lines quicker. Keep looking at your model image. We continue adding details to every part that we work on. We use several dots in a row or dashes in a row in order to create a general form of this part here. As long as the detail is uniform on a line, it will add to the texture of the bridge here. The darkness of the Congress of the bridge should be equivalent to each other and there should be consistency or a consistent transition really of that shadow. To take a moment to observe your own artwork. And also look at your model image and add the details as necessary. We don't use a very wide line for this brush in order to work on light and delicate parts. This part of the bridge is delicate. We draw this arch form of this part. I hope you've been enjoying adding those details with our brush and ink. Now, as you can tell, by this point in time is that we don't widen the line of this brush for lighter or more delicate parts are darker parts. This part of the bridge here is delicate. And we draw the arch form a couple of times with several lines to darken it. But when we're drawing the shadow, we are basically almost, almost sketching these lines right next to each other to achieve that darkness. And we want to cover this part completely, but we don't remove the watercolor parts. We want to leave those, those tonalities coming in from the background. We work on this part when the lines become thin and delicate, some parts need more hand pressure and some parts need lighter pressure. We have some some wooden poles here that are into the water. So we're just adding them. I hope it's been somewhat enjoyable and meditative to act to the, add all these details on the different buildings. And to work on the different parts. We want to keep observing our model and adding the shadows exactly where they need to be, as dark as they need to be. With the lines here I'm using my brush to create lines right next to each other, creating a relatively dark tonality, but not completely covered. We need to leave some parts to allow that beautiful tones of blue and browns and the background to come through. If you need more, practice with this tool, I would practice different forms. So in this drawing we have buildings and a bridge. But what I mean by different forms is to draw trees or flowers, or even a blanket, e.g. where the lines will become more irregular. And that's very good practice. It tells you a lot more about your tool. Learning better how to switch between different pressures. Because we're not making our lines thicker with this specific brush and ink like we are basically drawing more of the lines, but applying them in the different directions. So even under the bridge, notice how the lines start off horizontally from the top and then start curving downwards, almost becoming vertical because that directionality is very important. It director eyes into the drawing as to what the curvature of the bottom of the bridges, that part that's under the bridge. We continue adding these sketches vertically here. We want to complete all parts of our drawing. We want to mimic that texture that's on the water that we created with the watercolors. Now I'm adding more details here onto my bridge. We're adding these details here, we're sketching them, but we're going to work on it with the brush in a little bit. Because we want our image to look complete. Remember what we talked about in terms of balance across the entire drawing. Not just in the tonalities of colors, but also in the techniques we've used different techniques, but does it look balanced? Is there a part that looks like it needs more details, more of the tonalities, maybe in the background. We need to work on them. If you need a few moments to stop here, stop the video. Look away, take a break, come back with fresh eyes, and take a look at what you've created so far. There are some windows here. But notice the movement of my hand. Notice the back-and-forth sketching where I'm not creating one solid line in one direction and that's it. No, my lines are light and they are back-and-forth to create a complete a line. Just taking a moment to look at my drawing. Noticing some lines here that needs to be added. We want to go over those details here that are mediating between a very dark part which is underneath the bridge and then also these reflections on the water. We want to be able to add our marks in such a way that is harmonious with the water. So our lines closer to the bottom of the bridge are near each other. And as you move away, they start to space out a bit more and then you have those squiggles on the shadows. Now on this building, we have some more shadows, but the idea is to look at the main diagonal line in the middle of our drawing, the one that's accentuating the top of the bridge. You want to make sure that it's connecting to the vertical building we're working on in a very logical way. You want those lines going across your drawing or vertically across your drawing with a windows above each other. The towers that they are aligning really well. Because if they're not aligning, our buildings will look kind of skewed. So we can own this building. We're going to draw the windows, but we don't make it very dark. We keep those parts really light as we're at the edge of the drawing. And we keep those parts faded a little bit. We let the first layers of ink dry before trying to add further details. At this point. If you've just worked on the building on the right, you need to let it dry a little bit. If you're worried about picking up any color with your wrist, if you're resting your hand on your page, place a piece of paper under your hand as you're working on this building on the left? I'm holding my brush halfway. So my risks, risks rests a bit further. There are some banisters that we create with lines here. The color density of these windows is low. Some windows are open in some way, those are closed. We need to continue observing our model and picking up those details. We might think that it's not very visible or won't show, but these little gestures show everything. And notice how the highlighted lines we didn't touch in the initial, initial tone we placed in the background of the building here that we're working on. They are our guidelines. They remain our guidelines as to where we're going to put our windows, allowing those horizontal lines to be balanced and allowing all the windows to sit correctly next to each other and on top of each other. Also the highlighted lines will remain as highlights accentuating that horizontal perspective. Please feel free to send me any of your questions that you might have along the way. Or if you just want to share your, your drawing, maybe I'm more than happy to look at them. It's always beautiful to look at watercolor paintings. We can have a discussion about them and I can address some concerns or maybe give you some feedback. Remember to practice and simply enjoy the process. Enjoy the medium, enjoy playing around with the tools you have and the colors you have. And practice those techniques. The wet on wet, wet on dry, dry on wet. All these techniques have their own aesthetic and their own effects and their own use as well. Some of them are better or more powerful for trees and nature and these kinds of lines. And others are better for beautiful cloudy skies and, and textures and clothing. So it's just a matter of practicing. Look at how little gestures and dots I'm placing to indicate the windows here. But they're very important. They make the entire left half of our drawing look almost totally complete. Now our windows are completed. We add some details. If we see we've missed some. But we shouldn't add too many details in some parts because we don't want to overly darken them and becomes unnecessary and it creates an imbalance. We have to maintain the harmony between all the parts. This consistency in the view, it implies the distance. If you make one of the windows too dark, it'll just look like it's not sitting right and it's a bit alien in the middle of the building. So take your time to view your work. Bring it together. Look at visually the visual logic. Look at it from the top to the bottom, from the left to the right. Look at the perspective, the dimensions. If anything, looks really out of place. It's just a matter of noting what could have caused it. Then try it again. Try it again, practice again. Some windows are open so there's darkness inside them and some are close so they're a bit lighter. I'm just reflecting off of my model here. And what I see these arches here can use a little bit more detail and shadow. This brush here with its thin lines and all the details we've added. We also use it as a mediator. Let me explain. So it's a mediator because it's mediating between the watercolor tonalities you've created and sketched our drawing with primarily. So we created our pencil sketch and then we created a watercolor sketch that had some details. Then we went in with this, with this brush that added much smaller details. But when you, when you apply it in more lines like we did under the bridge or in the shadows of the arches of the windows on the bridge are different windows. It becomes this mediator in several lines. It's brings together the watercolor painting, this brush and ink painting. We continue to add details of the building here on the right. The idea is to look at any parts of the watercolors and all the parts of the brush and ink application and see if there's a part that needs to be harmonized, that needs to be brought together. So e.g. let's take the water. We have watercolors there. We've also applied our pen, but by creating those squiggly lines and reflection of the wooden sticks in the water. We've brought harmony to our image because two techniques are together. And they're reflective of the buildings. And these two techniques and harmony are everywhere on our drawing and not simply isolated. The water would have looked separated from the rest of the drawing if it wasn't for these few squiggly lines at the foreground of our drawing. At the very bottom. I'm only adding these details here partially because it's the end of our drawing. This building looks very complete. Now we want to add some lines onto the water here. Just a little more lines. Observed my application. Very light pressure. Horizontal lines, really lightly. So remember what we said. Mediating. We're bringing harmony to both, both techniques of coloring. We've used a sword brush with our watercolors. And we're using this brush to apply our ink, but we're bringing them together. These are the shadows of the columns and the windows here. We need to create that balance. Look at how irregular my lines are. We just add them as necessary and as lightly as we need them. We create texture on the bridge by hatching like this, vertical lines, horizontal lines. Go over all the parts. First look with your eyes, go over them visually and then apply your lines. I'm noticing something at the top of the building here that I can add. Our hatchling is almost complete. We're just making sure we're not missing any last details. Now our work is almost finished. We're going to wet our brush or sword brush and use it directly on our hatchling parts. If you feel you need to wait for your ink to dry everywhere, just give it a moment to dry. Pause the video and play again when you're ready. Now with their sword brush. There is shade here. We wet this part with this color and we apply it lightly. We can remove it with a paper tissue. If you've applied a bit too much, you should be able to see your hatching and all of your ink. Ink brushstrokes through, through your sword brush. Coloring. The paper tissue and picking up color allows you to lighten the color lifted off the page, but also make your drawing a bit more clearer if you want to see more of your ink, ink, paint, paint, gestures. Just keep looking at your image. You want to keep looking at the whole picture. And we want to keep the texture that we've achieved everywhere. We cover this part with a little bit of blue because it's different than the rest of the other parts. On the bridge. We've applied our yellow ocher, but there's some blue within it. And down here as well. There's a beautiful faded, faded effect by lifting the color off of the page with the tissue. I want to maintain that aesthetic. Adding some color into the windows here. Just to make sure that my, my ink, ink application has not, is not overpowering my watercolors. We still want the watercolor effect to come through. Now, we let it dry and we keep making edits. We make it better with a dip brush and add hatcheries. If we feel like the watercolor effect has overpowered in some places, it's a constant creation of balance between the two techniques. Remember that completing an art work can really vary from one artist to the next. We all perceive our images very differently and our preferences in terms of aesthetic and different effects from different mediums. It varies. So I can look at this image and feel it's complete, it's done. I don't have any more details to add. I've added all the details that I need. And sometimes you can look at it and continue to see, Oh, I want more contrast or more highlights or more of the watercolor technique or the watercolor aesthetic. So it can take some time to complete an artwork or a drawing. But the idea is to continue looking at our art work. And to look at it's what we've achieved so far. I appreciate it for what it is. The different techniques that you've applied. And the most important thing is that you've enjoyed it, you've learned something from it. I'm adding more details here just because I feel like this part of the bridge needs to be more complete. And if the final result, if you're not happy with the final result, just remember that all the techniques you've used, you can reapply and try again. But take a break. Take a break in the middle. Because we always learn. We always learn from practicing. We at least gain more confidence with the medium, with the tools that we're using. Now our work is complete. I hope you've enjoyed all the techniques we've used today. Keep practicing and looking forward to doing another drawing with you in the next tutorial.