Transcripts
1. Introduction: Oh. Hello, friends. I am Niki, a watercolor artist based
in the Philippines. If you are new to
Skillshare, welcome. If you're an old
member, welcome back. In today's class,
we will be going outside to do some
nature journaling. For those who may not know, nature journaling is a practice
of creatively recording your observations
and experiences in the natural world
through writing, drawing, painting, and
other creative methods. So for today, we will be painting four kinds
of mushrooms. These are the fly a manita, the inky cap, the bitter oyster, and last but not the least,
the amethyst deceiver. So what is in store
for you in this class? I'll briefly discuss what nature journaling is and
its importance. I'll share with you the
materials that you will need. Then we'll go through the different
watercolor techniques. We'll loosen up by
doing some warm ups. I'll share with you the colors
that will be used during this class and finally paint
the four kinds of mushrooms. To conclude, I will be sharing a few lessons that would help you in your
watercolor journey.
2. Nature Journaling: So there are four aspects
to nature journaling. The first would be observation, focusing on what you see here, smell, possibly taste,
and feel in nature. The second would
be documentation, recording your
observations through creative means such as writing, drawing, sketching,
and many more. The third would be connection, cultivating a deeper
connection with nature and developing a greater appreciation
for the natural world. And the fourth would
be reflection, reflecting on your experiences, asking questions, and exploring your relationship with nature. So why is nature
journaling important? What could it benefit us? First, there is a
greater appreciation for the natural world. Connecting with nature through
journaling can lead to a deeper understanding and appreciation for
our environment. The second, it reduces
stress and anxiety. Spending time in nature and journaling can be
calming and therapeutic. Third, it enhances
creativity and imagination. Nature journaling can spark
new ideas and perspectives.
3. Materials: For this class, you will
need the following. First, you will need
100% cotton paper. Here I am using Academy
watercolor paper pad, 10.2 by 7 " and cold press. Then you will need some
watercolor paints. I will discuss later on what
colors we will be using. You will also need a cup of water to wash off your
brush, of course. You will also need
watercolor brushes. Here I am using the silver
velvet round brushes size eight and size four. You will also need a
pencil and eraser. Here I'm just using any
mechanical pencil that I have. And lastly, you will
need one button to identify or name the mushrooms
that we will be painting.
4. Watercolor Techniques: Let's begin by reviewing some watercolor
techniques that will help you authoro a class. The first is the wet
on wet technique. This is the process of adding
wet paint into wet paint. You can use this technique
to create shadows, high to low contrast, and interesting movement in
your watercolor paintings. To be able to do this, first wet the paper. Before applying paint, use
a clean brush to evenly wet the entire area of the
paper where you want to paint. So here I'm just placing some clean water on the circular area
that I drew earlier. See how the paper shines
because of that clean water. Now get some paint
and colorable too. Apply the wet paint by
loading your brush with watercolor paint and apply
it on the wet paper. Then observe the blend. The wet surface allows the
paint to spread and blend, creating soft edges and
a seamless transition. This technique works best on 100% cotton paper because it offers superior water
absorption and retention, allowing for smoother blending and easier control
of the paint flow. Et's now proceed on the
wet on dry technique. This involves waiting for the
first layer of your wash to completely dry and then applying new paint
to the dry surface. This method works great
for layering color, adding fine lines and details and adding definition
to your pieces. To do this, first,
prepare your surface, ensure that your paper or perhaps the previous
layer of your paint is completely dry before
applying the new wet layer. Load your brush, wet your brush, and pick up the desired amount of paint from your palette. Then apply the paint. Apply the wet paint
to the dry surface, keeping in mind that the paint
will not bleed or spread. In this example, I
added too much paint. So what I did is I used
a piece of clean tissue, or you could use a clean
piece of cloth and dab it on the wet area to
create some highlights. As mentioned earlier,
if you're going to layer using the wet
drying technique, you'll have to wait for
the previous layer to dry, then add a new layer of paint. Here, I just took a creamy
mixture of my paint and use my brush to drag it on its side to create those lines. Let's now go back to the
wet on wet technique. Since this area
has already dried, we'll add another layer by placing clear water
again in that area, then adding a creamier
mixture than before and placing that paint onto
one side of the sphere. Well, let it dry and move
on to the next technique. The next technique would be the splatter
watercolor technique. This is the process of
loading your brush, then flicking or tapping your watercolor brush onto the surface to create
textured random effects, which I think adds character
to the overall painting. You can also use a toothbrush where you dip in the
toothbrush and paint, and then use your finger to flick the bristles
across the brush. In this case, I load
my brush with pin. I use a watery or milky
consistency of the pin. Then I hold the handle at the very end and start
tapping with my finger. I also use another
clean brush to be able to create
more of that effect. The last technique is the dry
brush watercolor technique. It involves a brush with
minimal water and paint on it, creating textured and
broken brush strokes. If you notice I already did this during the wet
on dry technique. Here I take a creamy mixture of the paint and load
it onto my brush. Then I turn my brush
sideways and start using the texture of the cold press paper to
lay down that paint. If there is excess
water from your brush, you can use a piece of tissue or cloth to take out
that excess water.
5. Warm Up: But for this section, we will draw three circles or spheres and then work on them. Particularly, we will
be applying the wet on wet technique and the
wet on dry technique, and then a bit of the dry
brush technique as well. Imagine that the light source
is coming from the left. So there will be a shadow
on the right side. Take your brush and get a milky consistency
of that paint. Apply a very light wash
on that circle or sphere. Then keep adding a bit more
paint on the right hand side, where that shadow is located. Then also add that on
the bottom right side. Then take your piece of cloth or tissue and start dabbing where the light source
is hitting that sphere. Do this while the
paint is still wet. This is to create the
highlight of that sphere. Uh Then do the same for the second
and the third sphere. You can play with different
colors in your palette. Just make sure that you're
applying the same technique. So once again, we are
applying a light wash, a watery or T like consistency of that paint
onto that second sphere. See how I try to take off
that hard edge by getting some clean water
and placing it on the upper left side where
the light hits the sphere. If you feel that there is too much water on
your paint brush, feel free to have your
cloth or tissue in hand to wipe off that excess
water or to absorb it. Continue to add
more paint towards the bottom of that sphere so that the sphere
does not look flat. Then apply the same techniques
on the third sphere. Now, let's wait for
all three sees to dry and then we'll move on. Here we will apply the wet on dry technique and possibly the dry brush
technique as well. Again, take your brush and
get the same color of paint. This time, make it more of a creamy or buttery
consistency of that paint and start tasting that on the lower bottom side of your sphere to create
more of a shadow. If you feel that there
are too many hard edges, you can just splend
it by getting some clean water and using
your brush to stroke upwards. You can do the same on the
shadow part of that sphere. Repeat the same steps for
the second and third sphere.
6. Colors: Let us now discuss the different colors that we will be using for this class. We will be using
two types of red, one yellow, one
blue, and one brown. Here are the specific
colors that I am using. The first is a warm red
using an rose door Maarly. The second one is a cool red. This is gram quincredon red. The third is warm yellow. I am using Daniel
Smith's naples yellow. The fourth is a warm blue, specifically using Daniel
Smith French ultramarine. And last but not the least, I am using a warm brown, specifically Daniel
Smith's Bnciana. In case you do not have these colors, you
don't have to worry. Just find anything that
is closest to them, cool red, warm yellow, warm blue, and warm brown. Let's experiment the different
colors that we have. First, let's try combining
a warm red and a warm blue. H combining the two creates this warm
grayish purple. Let's now try combining a
cool red and a warm blue. This now creates a cooler
tone of that purple. You can see that there really
is a difference between the two when you use a cooler
red or a warmer red. We can use this to our advantage when doing our class project. Let's now try combining a
warm yellow and a warm blue. This creates a warmer green. By adding more blue
to this mixture, it becomes more of
a bluish green. Then if you also add
more maples yellow, then it becomes a lighter green. Let's now go ahead and try to combine a warm red
and a warm yellow. It definitely creates
a warmer type of red, almost orange. But if we use a cooler red and combine it with
a warmer yellow, It turns into a cooler
type of orange. If you combine the warm
blue and the warm brown, it becomes almost neutral tint or a greyish, almost
blackish color. This is one of my favorite
color combinations. Et's go back to the warm
yellow and warm blue mixture. If you add a cooler red to the warm yellow and
warm blue mixture, it turns into this
warmer purple. If instead we add
the warm yellow, the warm blue, and the warm red, it creates this grayish color. It's good to have an
understanding of your colors. So keep experimenting with
the colors in your palette. Maybe you'll find new color
combinations along the way.
7. Project 1 Pencil Sketch: Et us now do a pencil
sketch of the fly a minita. First, draw a half circle and it doesn't have
to be perfect. This will be the head
of the mushroom. Then let's draw the stop. So you can use imperfect squares or imperfect
rectangles under it. Try to also place
a bit of texture by placing wavy
lines on the bottom. We'll now draw a second
fly a manita mushroom, but this time smaller and in the background
of that first mushroom. So here I'm just
placing some wavy line. Feel free to be a bit more
creative in this part. Make sure that the
pencil sketch is very light because we will
be painting over it. Let's add imperfect circles in each of those mushroom heads. You can make the lines wavy to make it look
more realistic. Oh in the next section of the class, we will be painting
these mushrooms.
8. Project 1 Mushroom Cap: Okay. We will begin the first project by
painting the fly a manita. For this section of the class, we will be painting the
cap of the mushroom. I am using size eight, silver velvet watercolor brush. Have your water
cup ready as well, and your paints or
your paint palette. Here I am taking
a milky to cream consistency of that
quinacerdon red. I use the tip of my brush
to paint over that cap. Make sure that you
are not painting over those small circles
that we drew earlier. This takes a bit of precision, but with practice, I know that you will
be able to nail it. H This will take a little
bit of time to do this. But I promise you it will
be worth it in the end. So be patient and keep going. While the right bottom side of that mushroom
cap is still wet, I take a milky to
creamy consistency of that rose story madder lake
and add it for more depth. Et's now move on to the
second fly Amanita. So again, take that milky
to creamy consistency of that quinacredone red and start placing it on
the second mushroom, being careful not to go over those small circles
that we initially drew. Then again, take a creamier
consistency of that rose Dory madder lake and start
placing it on the right hand, bottom side of that
second mushroom. For the next section
of the class, we will be painting the
stock and the grass beneath these fly amnitas. H
9. Project 1 Mushroom Stalk: Let us now paint the stock of these fly
Amanita mushrooms. Here I take a t to milky consistency of
that maples yellow. You can add a bit more water to create a light
wash on those stalks. Use the tip of your brush and
the belly of your brush to fill the overall stock
of the first mushroom. Leave a few gaps
and don't paint on them to create some
highlights on those stacks. When you reach the
end of those stacks, you can see that there
are harsh lines. You can just blend this by
taking some clean water and using the belly of your
brush to blend it out. Here you can create
a small amount of that light wash. Now take a creamy consistency
of a Berntiana. Add a little bit of
that quinacerdon red. And while the paint is
still wet on those stalks, drop or add that color
in in some areas so that there is some shadows under
the cap of that mushroom. You can create different lines
by dropping in that paint. This will still get
lighter because we are using the wet
on wet technique. So you'll have to work quickly here so that the paint
will spread out. Now take some French ultramarine and a bit of that naples yellow, mix it together and create a creamy consistency
of a darker green. We will use this as the
leaves under that mushroom. So a tip of your brush, you can use a smaller
size brush and just flick outwards
creating those lines. And because grass comes from or goes in
different directions, sure to do this to have
a more natural look. Let's now apply the
splatter technique that we learned earlier. So get a bit of water to
loosen up that paint on your brush and start tapping
at the end of your brush. You don't have to
be too neat here. Personally, I'm okay for
it to be a bit messy. That's just the beauty of how
random those splatters are. Here I'm just adding more
grass for more texture. It's now time to work
on the second mushroom. Here, I zoomed it in so that you can see better and follow along. So we'll do the same process taking a milky consistency of that maples yellow and dropping that color in the
stock of that second mushroom. Then I take clean water and spread it around
under that stock. I take a creamy mixture of burnt sienna and
a little bit of the quinacredone red
and drop in a bit of that mixture on the stock while the first
layer is still wet. I make sure that the
naples yellow or that first layer is still seen. Again, I take a
creamy mixture of that French ultramarine and naples yellow and add the grass. I use the tip of my brush to create those different lines. And I go in different
directions. While the brush is
still loaded with pain, dip it in water and proceed
with the spatter technique. In the next section
of the class, we will be finalizing these fly a manita mushrooms by
adding some details.
10. Project 1 Final Layer: It's time to add
the final details to these fly amnita mushrooms. Here I take a creamy mixture
of the quinacadone red, mix with naples yellow, and a little bit of
that French ultramarine to create that dark brown. Et's place some shadows under those small circles on the
cap of those mushrooms. So use the tip of your brush to place these fine details
under those little circles. Feel free to use a
smaller size brush, but I'm still using my
size et silver velvet. Add the same creamy mixture
under those mushroom caps. For a darker mixture, feel free to add more of
that French ultramarine and drop that color in below
those mushroom caps. Let's now use the dry
brush technique by having a thick consistency of
that pain and dragging the belly of your brush
under that mushroom cap. Make sure not to hide the first layer so that there is contrast
to the painting. Now take your size four silver velvet brush
or any smaller brush and get some burnt
sienna and a bit of that CacerdonRd and continue
the dry brush technique. You can add the texture and under those wavy
lines of the stock. Use the tip of your
brush to add a bit of variety and lines for more
texture and that stock. Keep adding more of
that darker paint on the certain sides of the stock where the shadow is located. The rule of thumb for me
here would be on the right, bottom side because the light would be coming on the left. You can also use the darker brown around those
white highlights. This will really show
contrast in your painting and make it look more
like three or realistic. Using the same size for brush, take a creamy or
very thick mixture of that naples yellow and
that French ultramarine. In the same way that
we did earlier, just flick your
brush upwards and in different directions to
create that grassy effect. Feel free to play
around here with color, so it doesn't have to be just
this dark neutral green. You can also add a bit of red
or that quinacredon red or even mix your French
ultramarine and your quinacredon red
for a deeper purple. Let's now take a closer look of placing these finer details
in the second mushroom. We basically do the same
process all over again. So again, mixing
a creamy mixture of that quinacredon red and French ultramarine and
dropping that color under those small circles
of that mushroom cap. Then placing again a thicker
consistency of this mixture. Under that mushroom cap, you can also add a bit of French ultramarine
and that burnt sienna for a darker mixture. Use the same mixture and do
the dry brush technique, slanting the belly of your brush towards the
right side going down. Then adding a bit more of that darker color
under that stock. Make sure that the first
layer that we did earlier still shines through to show that contrast
between light and shadow. Use the texture of
the cold bruss paper for these dry brush strokes. Et's now add more fine
details to the grassy area. Instead of using the color I
used in the first mushroom, we can mix more
of naples yellow, and a little bit of that
French ultramarine and flick your brush upwards again and in different directions
to create that grassy area. Uh I'll make more sense for this grassy area
to be lighter because it's more on the background
versus the first mushroom, which is in the foreground. So feel free to play
with colors and mixtures in this part
of the painting. We're now done with the
fly a Manita mushrooms, and we will be starting
our second project, which is the inky cap mushroom.
11. Project 2 Pencil Sketch: In this section of the class, we will be drawing the inky cap. You can also refer to the references for
the pencil sketch. To draw the cap
of the mushrooms, just draw some
narrow semicircle, as opposed to the one
in the flyer manitas. Here we will be drawing
four of those inky caps. You can also have caps in the foreground and
one in the background. So here just follow along. When it comes to the stock, you just have to
draw some narrow, thin lines from the base
of that cap until the end, where the grass will be located. So now you have your inky
cap pencil sketches. In the next section
of the class, you will start painting.
12. Project 2 First Layer: It's now time to start painting
this inky cap mushrooms. We will mainly be
using the naples yellow and French ultramarine
colors for the mushrooms. Here I take my size eight
silver velvet brush once again. Take a milky consistency
of that naples yellow and drop that color in on the first cap
of that mushroom. Use the tip of your brush
for more precision. And to avoid those harsh lines, load your brush with clean
water and use the belly of your brush to blend that out on the rest of
that mushroom cap. While it's still wet, take a milky to almost creamy consistency of
that French ultramarine and start dropping that
color in using the tip of your brush so
that it will spread out. Only place this color on the
lower side of that mushroom. Use that same milky consistency
to paint your stock. Here I just use the tip of
my brush and move downward. If you feel that your
naples yellow is too light, you can add more to the
cap of that mushroom. So here we are just doing the first light
wash. You will be adding more details later on
to make it more realistic. We will be doing the
same process and using the same techniques for
the other three mushrooms. Here I do a close up so that you have a better view
and can follow along. Again, take some milky consistency
of that naples yellow, and then use the tip
of your brush to place it on the upper left
side of that cap. Then load your brush with
some clean water and blend that out on the rest
of that mushroom cap. Then take a milky consistency
of that French ultramarine. And while those
layers are still wet, you can drop that in. If you feel that the
piece is too fast, feel free to paint
it one at a time. Again, take the
milky consistency of that French ultramarine
and then use the tip of your brush to place a
light wash on those stocks. Then we'll work on
the last mushroom cap behind those three mushrooms, doing the same process and
using the same techniques. So here, I'll just leave
you to follow along. Et's now proceed into
painting the grass. Similar to the first project, we just take some
clean water and place it at the bottom
of those mushrooms. Now take a milky to almost creamy consistency
of that burnt sienna and use the tip of
your brush to place a few dots and let that
water do its magic. I add a bit of French
ultramarine and naples yellow, creating a almost
creamy consistency of that grayish green and using the tip of my brush to
create a grassy area. Remember to create
that grassy effect, you should create those lines
in different directions. The tip of your
brush will be really helpful in creating
those thin lines. So if you feel that the
size eight is too big, go and size down your brush. Then take your size fur brush. Take a t to milky consistency
of any of those two colors, making sure that your brush
is really wet and apply the spatter technique
again by tapping your brush lightly
around that grassy area. Feel free to add a bit more of those grassy lines using
your size four brush. But please do not overdo it. In the next section
of the class, we will be painting the final details to
the second project.
13. Project 2 Final Layer: It's time to add
the final details to the inky cap mushrooms. Using the size four silver
velvet black brush, I take a creamy mixture of that French ultramarine and add a little bit of
that naples yellow. Using the tip of
that paint brush, I place some lines over
the cap of that mushroom. I try to be as precise as I can, creating straight lines
and very thin ones. If you feel that your brush
doesn't have a fineer point, you can use a size
two brush or smaller. For a more realistic look, I break down those fine lines. For the stock, I take the same creamy mixture
and add a slanted area just below the mushroom cap towards the right
side of that stock, creating a small triangle. This will serve as the
shadow of that stock. I add those fine lines to
outline the stock as well. Here is a closer look. I add a creamy to
milky consistency of that French ultramarine on the lower right side
of those mushrooms. I load my brush with clean water to blend out those harsh lines. Then I proceed to paint
the stock by adding a creamy or stronger mixture of that French ultramarine for the shadow under
the mushroom cap. I break down the lines
when I outline the stock. You can see that you
really need a fine point here and to be more precise. To avoid those harsh lines, I take clear water and blend that out on the
rest of the stuff. I then proceed to take that same creamy mixture and add those fine broken lines
on those mushroom caps. You can add some dots in
between or at the end. I also outlined the bottom of those mushroom caps
using broken lines. So do the same with
the other two. You can add more paint and less water for
those fine details. This will really highlight the first layer versus the final layer that
we are placing. Let's now focus on adding finer details
to our grassy area. Here is a closer look
of how I add them, making sure to go in different directions for
a more realistic look. I switch between Burn Siena and French ultramarine
when adding this. In the next section
of the class, we will proceed with
our third project.
14. Project 3 Pencil Sketch: Okay. We will now proceed
to our third project. We will begin by doing a pencil sketch of
the bitter oyster. You may check out the
reference section for a template of the drawing. Unlike the other mushrooms, this does not have a stock. Rather, we will be drawing
the branch of a tree. For the mushrooms itself, you can begin by drawing different circles
overlapping each other, maybe one or two could
be away from the metal. Using the circles as a template, you can make the outline
of these mushrooms wavy, kind of like how you
draw a flower petal. For the tree branch, you just draw a few lines behind your mushrooms and
don't make them straight so that it
looks more natural. You can draw it in a curved way. Later on, we'll be adding
some leaves to it. In the next section
of the class, you will start painting
these bitter oysters.
15. Project 3 First Layer: Let's now start painting the first wash for these
bitter oyster mushrooms. Here I'm using my size eight, silver velvet, plaque brush, and taking a milky consistency
of that naples yellow. I play some clean water on
those bitter oyster mushrooms. We will apply the wet
on wet technique. So using the milky
consistency of the naples yellow that we
created earlier in our palette, we use the bella brush to
place that and drop that in ensure that you are able to cover all those bitter
oyster mushrooms. When it comes to the edges, here I am just using
the fine tip of my brush so that I won't
go beyond the outline. For the tree branch,
I place, again, clean water to apply the
wet on wet technique. And I take a milky
consistency of Burnsiana and rose story
madder lake mixture, and I drop in that color using the belly of my
brush and it's fine tip. To create those three branches, I use the tip of my
brush and I wiggle it so that it doesn't
look completely straight. If you are having a hard time, you can use a lower size brush, such as your size four
or your size two. On the lower left side
of your tree branch, you can add a bit more color while that area is still wet. Then to soften that edge, I use clean water. Again, you can take your size eight or your size
four brush and use that mixture to do the splatter technique
around the tree branches. I also take a milky
consistency mixture of that French ultramarine and
naples yellow once again, and I use belly of
my brush to place a few dots around those tree branches in
order to mimic leaves. All the while also
doing a bit of splatter technique using
that color mixture. For more shadow on the left
side of the tree branch, you can add a
creamier mixture of the buntiena and even mix it with a little bit of that
rose story matter leak. You can blend it
out. Anyway, we will be fixing it during the
final details section. Take a milky consistency of that Bersana and
that naples yellow. And place that mixture
on the bitter oyster. Ensuring all the while that the first layer of Naples
yellow is still seen. A rule of thumb here
is to place that layer towards the bottom of that bitter oyster
near the tree branch. That will be the one
creating the shadow from where the other bitter oysters are being layered on top of it. Then, feel free to
add a bit more of those leaves on those
three branches. In the next section
of the class, we will be adding
the final details to this bitter oyster.
16. Project 3 Final Layer: Et's now add the final details to this bitter oyster mushroom. Here is a closer look. The tus are size four, silver velvet black brush and take a very
creamy mixture of that French ultramarine and Bnciana for that
dark brown color. Similar to how we did the final details in
the inky cap mushrooms, we will again be more precise
and also be patient in placing these broken lines in the bitter oyster mushrooms. So again, if you require
a thinner brush, feel free to size down. Then also using
the same mixture, outline using some broken lines, this first bitter
oyster mushroom. Well, now move on and do all the other better
oyster mushrooms using the same dry
brush technique. So please be patient
and let's keep going. Uh Uh, Um We'll now move on to do the tree branch. So again, using the
same color mixture of that very creamy French
ultramarine and burnt sienna, we outlined this using
some broken lines and also add a bit of shadow on the lower left side
of the tree branch. We add more depth by adding more tree branches by
wiggling our brush. We've now completed
the third project. We will now move on to the fourth and last
project of this class.
17. Project 4 Pencil Sketch: Okay. Let us now begin our
fourth and last project. We will begin with
a pencil sketch of the amethyst deceiver. You may refer to the
reference section for this pencil sketch. We will be drawing two different
angles of the mushroom. So for the first mushroom, we will be drawing a
semicircle once again, a bit bigger this time, similar to the fly a manita. It's not a perfect circle, so follow along here and then draw the
stock right below it. For the second mushroom, the view will be under it. So here just draw a circle. Create some wavy lines
around it or on its outline. Then draw the stalk
under it going downwards towards
the grassy area. Draw a few lines from
the middle towards the outer part of flat mushroom. In the next section
of the class, you will start painting
the first wash.
18. Project 4 First Layer: It's now time to paint a first wash of this
amethyst deceiver. Here I take a milky
consistency mixture of that French ultramarine, a little bit of that
Rose dry madder lake, and also a little bit of that quinacridone magenta to create a deep, bright purple. Using the belly of
my size eight brush, I've dropped that color
in on the first mushroom, making sure not to go
beyond the outline. I use the tip of my brush
for more precise painting. While that's still wet, I still drop a bit more color on certain areas
of that mushroom. I focus the deeper color on the lower bottom left of
that amethyst deceiver. I also paint the stock. I add clear water at
the bottom of the page. Let us take a closer look
at the second mushroom. Again, mix a milky consistency of that French ultramarine, that Rstorymderk and
quinacerdo magenta. Here I'm using, again, the belly of my brush to glide that paint on the surface
of that mushroom cap, all the while ensuring that I do not go
beyond the outline. Because this is the
underside of the mushroom, the color will be deeper as opposed to the
first mushroom. Then again, use the
same color mixture and glide it towards that stock. I use clear water at
the end of that stock. Uh, while the area under these mushrooms
is still wet, let's add our grassy area. Here I take the same mixture but adding a bit more of
the French ultramarine, and I drop that
color in creating some grassy area using different lines in different going in different directions. Feel free to play
with color here, adding a bit more red to
your mixture or blue. It really is up to you. Oh. In the next section
of the class, we will be finalizing this
fourth and last project.
19. Project 4 Final Layer: I it's time to add the final
details of this project. I'll be using my
size four brush. Using the same mixture, but making it creamier, adding more French ultramarine, more quinacadrone magenta and Rose story Mader
lake and less water. I paint the outline of
the first mushroom. I use the fine tip of my
brush to be able to do this. I also outlined the
stock of that mushroom. Focusing more on the
left side and also adding a bit more shadow near
the cap of that mushroom. Adding a bit more of fluid, I use the tip but also
almost the belly of my brush to add these fine
lines to outline the stock. Similar to the other projects, this will really take some time, so please be patient. Uh Take the same creamy mixture and we'll work on the
lines under that mushroom. For variety, keep
them broken or add a few dots and a few small lines coming from
the middle going outwards. I noticed that the middle of
the mushroom is quite light. So I add a milky consistency of that same mixture and drop that color in that
middle portion. Let's now paint the
second mushroom, applying the same
process and technique. Here again, take
some creamy mixture of your French
ultramarine mixed with quinacerdon magenta and
rose maderlq and add a bit more color on the
left side of your mushroom. Outline the bottom as well
using the tip of your brush. Add the same creamy
mixture in your stock. Then take some water and use the splatter technique and place it all around
that mushroom. I then take a creamy mixture of that French ultramarine
and that maples yellow and start adding
the grassy area. And again, adding
a few lines going in different directions
for a more realistic look. Water down your paint and add a bit more of that splatter. As this is a Mature
journaling class, I've added all the names in
each of these mushrooms. In the last section, we will
be concluding this class.
20. Conclusion: A big congratulations to you for completing
all four projects. Before I leave you I
would like to share a few lessons that can be helpful for you during
your art journey. First lesson that I would
want to teach you is that warm ups are very helpful
in getting you started. In the same way that we warm up our body to prepare
for an exercise. We should also do warm ups to prepare for the painting
that we will be doing ahead. It helps clear our
mind and prepares our emotion for the next
piece that we will be doing. The next art lesson that I
would want to share with you is to work quickly when doing the wet
on wet technique. The effects are much
better whenever we work faster while the paper or the
first layer is still wet. The third lesson
that I would want to impart on you is to
always play with color. Get to know your
palette more and try different combinations of the colors that
you already have. This will definitely make
you a better artist and have a better and deeper understanding
of the world of colors. The last lesson that I
would want to impart on you is that practice
always makes progress. To me, perfection
does not exist, but progressing and growing in your art journey is something that you can
always be proud of. Always remember that the greats did not become great overnight. It takes a lot of
practice and effort and patience to progress
in their own craft. So keep practicing and
enjoy the journey, as well. A big thank you for attending and participating in this class. It was really a pleasure
teaching you today. Please do not forget to share your projects in the project
section of the class. I would greatly appreciate it if you could also
leave me a review. Feel free to check my profile and follow me for more classes. I would also love to see your final projects in social media, so you can check out my profile
for my Instagram handle, and you can tag me, as well. I hope to see you
again next time. Take care and have a good day.
Nikki Jao, Watercolor Artist
