Playful Watercolors: A Wavy Pattern of Textures, Paint Your Own!

1. Intro: Welcome to Class!: Hello. I'm Stephanie. At Demico dt, if you know me from Instagram. We're going to paint together this piece. Yours is probably going to look a little different, and that's cool. You're going to choose your own color. We're going to have fun. We're going to test many different textures, and we're going to play and experiment. And this is really what I want to share with you, my love for play for experimentation, for trying out new things and see what happens on the paper on the page. And just have fun, relax, paint and have a nice moment. During the whole class, we'll paint together different watercolor textures. So we learn and document how the watercolor paint behaves with these textures, and even going to try us ku. And pain. Because why not? We're also going to practice our brush strokes so that we have a better control of brushes and that we can make some nice little lines between the layers of this pattern. When I say practice, I just mean we're going to practice by making different lines and such so that you can get the result that you expect or that you're looking for in your work. We're going to take a few moments to play around with a color palette or two so that you get a feeling of these color palettes to know if they're right for your piece or if you want to try something tolling you. So this is going to be another lesson in the class. At the end of the class, there's also a lesson bonus lesson on o paper. So playing around with textures on Uo paper and on watercolor paper gives for very different results. So we're going to take a few minutes to look into this. 2. The Class Project: A Watercolor Wavy Pattern: In this class, we're going to make beautiful wavy pattern such as this one. In the project video. We'll paint this one together with three colors. You can choose whichever colors you want and we'll add beautiful textures with alcohol, salt, dropping in water like here, and dropping in other colors in the ras. As you can see, these little wavy patterns are a fun way to get to know your water colors. You can also document color palettes, swatch your color palettes, learn to make mixes and see how these colors play together. They're also a great way to practice your brush skills as you want to have nice little lines in between the different layers, and they're a great way to get to know your paper better. In this class, I'm going to work on bamboo paper. I had made these tests on different papers, cold press, and hot press paper from the Jackson Brand studio line. And as you can see, different papers don't produce the same result. So this is the project you're going to make today, and here are a few other examples of things that you can make on different paper. So this is a very, a much thinner paper, and more diluted colors. This is the same bamboo paper. You can go monochromes or have all your colors from a certain family on the same thing, or you can go for a color palette. That brings in different colors. You could as I did in this example, use a color palette that you just bought and you want to document how they play together, or you can go for tiny art pieces or larger ones. Though I have small ones to show you in this video. I hope you have as much fun as I do painting these because they're a true part of my art practice. Also, I would love it if you share your project with us, whether you use the same colors I'm using or another color choice. I would love to see what you decided to make. You can see down below. In the project section of the class, please share it with us, and I will make sure to go and see each and every one of them and give you uh or tips and ask away any questions that you want. I'll see you in the first lesson. 3. How to Upload a Project to the Gallery: To share a project with other students. You can see below the class below the videos, Below project section. You can click here. You can also find the resources. The templates I shared with you, click on Create a Project. Add a project description Watercolor swatches. You can add a project description. And I'll make the description a bit better later. You can upload the cover image. I'll put this one as the cover image. Make sure it's under eight Mg. Submit. And you can add images and I'd love to see all of your swatches, so you can drop them on, drop them in and click Publish. The class will be launched in this section in the project section, you will be able to see the project of your fellow students and comment on them. I will personally go look into each project and leave you a little feedback if you need. Ask your questions away and I'm really excited to see your projects come in. 4. Materials needed for the Class: Materials. In this class, we're going to use a few materials. Of course, we're going to use watercolor paper. So I'm going to use for most of the class, the Hanmul bamboo paper, not a watercolor paper per se, but a pretty decent mixed media paper, as you can see from this reference page. I like the textures that I get on this paper. I'm quite used to working with it, but you're welcome to try your favorite paper as well. Do note that different papers will produce different results, so go ahead and experiment. We're also going to take a moment at the end of the class to try some textures on pole paper because you get very, very different textures and they are very interesting. As you can see around the table, these are all the materials you're going to need for the class. Of course, some water colors, either in pans or in tubes, some watercolor brushes. So in watercolor brushes, I prefer imitation sable brushes. The more bouncy. They it's easier for me to make great lines with these. Was the imitation squirrel brushes, as you can see, the tips are more flexible. They're great brushes, but for this For this, I prefer the sable imitation ones. Two containers of water. If you're familiar with water colors, one to rinse your brush out, one to keep water clean in case you need it, and we're going to make textures with clean water, so a little important to try and keep one clean. Little dishes to use as palettes. They can be ceramic dishes. The metal parts of a watercolor palette, or tiny palette, ceramic palette. Is this one that a friend gifted me a little while ago. You might also want little dishes to put in the things that we're going to use for texture. What are we going to use? In this class, we're going to use some salt, coarse salt, finer salt. These are both table salt kosher or pickling salt, as you can see. These have color in them. I've used them previously for these projects, or are not going back in my cooking. Also, I read about trying out Koko and rice for texture. I don't use food a lot in our project, but this was lying for a while in my cupboards. Another supply you're going to need if you want beautiful straight line at the edges of your wavy pattern masking tape. Artist masking tape or some washi tape and we'll see a couple of tips to have it not tear or drawing. And finally, some alcohol. Rubbing alcohol alcohol that you can buy at the art store or art supply store. Do be careful or not. My s warnings to have, make sure you have a well ventilated space. Also a little bottle like this to spray it on your water colors to activate them. You can also use alcohol in this to create a nice effect, and tiny color ppts, or you could use a pencil or a toothpick to drop water or alcohol. Finally, pencils are ruler and an eraser for tracing out models. That's about it, mostly you in the first lesson. 5. Texture Play - Salt: For this lesson, we're going to test out salt, and I'm going to show you two different colors. So we're going to start with the digo, which is a nice dark color, and the texture of the salt will show most on this color. I'm going to put a carmen color in this one and above titanium because this is the combo, I would like to in my last piece. I think they look nice together and make for beautiful mixes. For this, I know I said I prefer sable brushes, but as these are our exercises to get to know the textures. So I'm putting water a bit because these colors are directly out of the tube, and we can play with them as well. This is pretty pale. We're going to go with a dark color. There you go. You don't have to pre with the paper when you put the colors. Let's try to remember dirty water jar, clean water jar. I rinse my brush for no reason. We're going to do two of these because we're going to put the small salt, the table salt, and we're going to add the cher salt as well. We're going to see the differences. Now when you put the salt in, you don't want the paint to be too runny because then the salt will dissolve in there. U. If you see here, hard to see on camera, but there's no puddle. In this one. This one is still very wet, so we're going to wait for a second, but we're going to put the small salt on this here. And it's still a bit wet. You can blow on it a little. It'll make texture. It will simply be a little less visible. This is pretty good. When you see that the salt is already turning blue, it's because it's drinking up the pigment. If it stays totally white, then the pain is too. Now we're seeing a bit here and now we're seeing the color moving and the texture. How much salt you put in there? It's really up to your taste, and we're going to do the kosher salt next to it or the pickling salt. The grains are larger, as you can see, so they make for a different texture. We're going to test out the carbon color as well. Here we're looking for very saturated washes. It's all right to take from the tube just add water to get the consistency right. But if you would want something a little more subtle, you can add just slots of water to your brush and have very diluted color on the side. This car color is very very strong color as well. I'll test them on these diluted versions. O a diluted dico as well. L two diluted. As you can see in the water and these two together make a beautiful purple. It's starting to dry a bit too much. Quickly add the salt. And we're going to combine them. Those two might have dried a bit too much. Before we take it off, we're going to need to the or the color will come off. We're going to simply identify our p and set it aside to come back to a. 6. Texture Play - Alcohol: This is going to be fun. The first thing is, this is a pretty large container. It stinks a little bit, we're going to just put a little bit in this dish. Now, be careful not to dip your brushes into this because it's not great for your brushes. We're going to keep building up our reference. We're going to go with the Indigo again. Now with rubbing alcohol, you can either drop it in while the paint is still very wet. No puttly, but wet, or you can put it in when it's starting to dry. The effects won't be the same. Be careful if you're working in a sketchbook as well because it might go through your page and on to the next. Note this. And My P pet is not working anymore. It won't hold the alcohol. You want to drop tiny drops very large ones. But you can see the facts are quite spectacular. If you don't have one of these little things or one that doesn't work, I should have brought one in, but I don't have one with me. You could use the tip of your brush. Don't put it in your mouth afterwards. Not a good idea. And you can drop some in there. As you see, the alcohol pushes away the pigment in the water. If you're wondering would water do the same thing? You see here, I'm getting weird effects. It's probably the alcohol that when it dropped at the beginning. It probably dropped here as well. If you were to some water in there, You would see that it pushes away the pig minutes, but you don't get a very round effect as you do with alcohol. Now if we try this with the red. The reason I'm not trying with the buff titanium is because it's pretty much the same color as the page. We wouldn't see of an effect. I really put it on the palette for the mixing we're going to do later. An see when it drops. The see this is why each color has its own reaction. Maybe here it's because I had it was d, we're going to try to re wetness, if you will of the color swatch. We're going to add more color and more water to the page. I'll show you after. We'll finish this part. There you go. If you add more water, you get a different effect. Was here you almost get an eclipse thing, which is cool actually, here it was very wet, it pushed the water away. I want to I want to make a purple version purply a purple version and see what happens. If you have a color mix, Remember, depending on the effect you want to get you might see that whatever is going on on your page might not be exactly what's going on on my page because the paper you're using might be different, the colors, the alcohol, the salt and the previous lesson. Maybe you're getting different effects, which is why it's important to try them on before you make your final to gather knowledge about what's probably going to happen. That's pretty cool. This really seems to be happening because the color was almost dry. Might be a bit of dark blue. We're going to try to recreate this. Mind you, it's been like five, 6 minutes, and I'm already sick of the alcohol smell. While this dries a bit, we're going to just add here water. And try not to put your hand in what pain? Haul A always writing it wrong because it's not quite the same in french. Here here we. It's important if you want to things, If you want to recreate things to take notes, so you can remember how you achieve them go home. Almost try. See, this is a paper I'd like to use because also things relatively quickly. Which can be good or bad depending on the effect you want to achieve. Here, drier. That's a drier. It's okay. D when alcohols. And there you have it. So have fun. Try a few things, and don't forget to keep notes to write notes on your page so you can remember later what you made. 7. Texture Play - Water: Water is water at texture in watercolor. It can be. If you're familiar with watercolor, you might know the term olfloer. If not, I'll explain it to you. It's one we're painting we're trying to make usually. We're trying to make a nice even wash. When I say usually, I mean, there's the technique and then there's whatever you want to make with it. But you might come across this term of cauliflower. This is a very even wash. Now, it's starting to dry and on my paper, it's starting to dry a bit quicker than if I were to use 100% paper. If you add some water to the to the parts of the painting that are starting to dry. You're going to see this this even wash starting to get uneven, I guess. You're going to start to see the shapes appear that will be that will still be there when the painting is dry. If your goal is to have a very even wash, then you will have failed because the added water will have disturbed that even wash. But if your goal is to add texture, then water can be your friend. The way to do this is to find the set spot when the paint is starting to dry, but is not 100% or you're going to have simply you're going to lift the color, but it's not going to make the same texture. So the fun thing to see, which is hard to catch on camera when you're filming is you see no more puo, but the paper is so it's a bit hard to see on the camera. So you see this one was too. This one is perfect. And this one well, it's still dry because it's still very wet because we added some water earlier. If I add water to this one, which is dry, I'm going to lift the color here, but it's not going to make these caflowers. They're called Cliflowers, because when you add water to something that's almost dry but not totally dry, the pigment will not the water will explode and away as the word I was looking for. It will push away the pigment and you will have this beautiful beautiful cauliflower shape. Beautiful if that's what you're looking for. Again, if you're looking for an even wash, you're not going to be happy about that. Once again, this paper is fun because it dries quickly, but you have to be careful. As I talk too much, this is dry as well. I won't be able to make a water a cauliflower. Here you go. If when you put your water, it's just wet and you're not getting the shape you want, let it Let it dry up a bit. When it does, you can try again. Now, not all pigments and once again, the effect will not be the same on every paper with every pigment. The only way to know is to test these things and embrace the unpredictable nature of the medium. Let's not forget to identify our tests. 8. Texture Play - Colors touching: Something similar to water that we just saw in the previous lesson is color, which means what? It means having two colors, painting next to each other. And then they lightly touch. You'll see some colors. I'm not sure about this one, but you'll see that some colors can overpower the other. And it gets quite interesting. The goal is to have the colors really lightly touch each other. We'll see how we use this in the wavy pattern a little later. You see the subtle variation. In this one, it's the red that's going into the blue color. We'll see if we paint the red, what will happen. I'm going to find out at the same time as you because I did not test this before hand. We put the red color down. You're going to add. You see as I do this, the goal is to paint the whole thing first and then have them touch because if they touch while they're too wet, they'll just The two puddles will mix and you'll end up with a purple thing in the middle, which can be very beautiful. But it's not quite what we're looking for right now. Just trying to see if they touch slightly, what will happen. You see it's interesting whichever way I put the blue. The red is the one where the pigment travels from one side to the next. We'll see how we use this when we make our wave patterns. This is going to be interesting. We're going to bring in the buff titanium. Which, for instance, if we make a layer of buff titanium in the middle, of course, you can't really see it because I would say this is a buff titanium colored paper. We're going to put some blue on the side. Again, we're testing, everything doesn't have to be perfect, right? You can see once again, it is the buff titanium that's traveling and Dan digo. What happens? Well, I just made a French flag. If we put the red next, and we'll see it's the red that travels. Of course, if you make these and the pain is totally dry on both side, nothing will happen and we'll practice more in a lesson with we're going to try to make lines and have things touch. You don't have to have them touch for the whole thing. When we're going to make our lines later, we're going to try to leave low gap and sometimes we're going to touch like this. Let the colors touch a tiny bit. Se and sometimes little bit goes a long way. See it's time. It's the pigment, but it's also the water. In these ones, I put more water in the white. That's why the blue travel indeed both colors. I really love these little color explosions. This is something I really enjoy. And that is a texture. Let's forget. I was going to forget colors touching. 9. Texture Play - Couscous: For this lesson, we're going to try something I've never tried before, adding cocos on we paint. I've read about using Cocos or rice. As I said in the materials video, I'm not too fond of using food in order to make art because I think food should be eaten, sorry, instead of wasted as an art supply. On the other hand, I go back and forth on this, but anyways, this ccs was hidden in the on the far end of my cupboard and was probably way past expiring. Anyhow, we'll try to see what happens in here. I think this was fine grain and medium green mix that I had We'll test this out. I'll try it. Not much seems to be happening. We'll try with a bit of a wetter version. I can't remember if I said it. Anyways, I had read about rice as well. I'm guessing pasta or whatnot, dropping stuff into what paint. I've seen an artist do beautiful things, dropping flowers or dried flowers in paint as well on you pop paper. Truly listen to your creative Truly listen to what your creativity wants to try and go for it. You may find out something very cool you want to do more of in your practice. We'll see what happens with this. Maybe it's very whelming and the experiment will sit there. But. Let's try. 10. Removing Salt and Couscous Once Dry: Now, these pages are somewhat dry. The k not so much, but it's really falling off the page very quickly, even though I just made it a few minutes ago. We're going to leave this here for a sec. These other ones sticking to the page, so we'll see after. But see, this is the page with salt. This is pretty dry, and you can see lots of texture. Now, you're going to want to rub off the salt because it's not going to stay in your piece. But you want to do so gently. Even though it's dry, if you rub it off too much or too fiercely, you might end up for one having lots of color on your fingers, which is not so much an issue, but actually damaging some of the texture that you got from the salt. I've seen people use an eraser for this. I find it damages the texture if you're too harsh. So one thing to pay attention to, you see that the salt is color has color in it now. I put it all back in my container of salt that I use for art purposes. You can see there's color in there. If you use that salt in a very light color, the little bits that are blue might transfer the color to another piece, but the way I work, I don't mind so much. So it's really up to you how you deal with that. You can leave if there are tiny bits that are really stuck on there, you can leave them in, they might add a little shine to the piece. I don't think it's an issue, but be mindful, if you rub too harshly to take it away, you might damage the underlying paint. But you can see how the salt shows more in the very saturated washes because it sucks up more pigment and there's more contrast. But you can still see very interesting effects in the lighter washes, but you can see here that the effect is very, very light. But it's interesting nonetheless. That's for the salt and for our little friends. I'm not sure that's the right word in English, but I like it. So Let see here, it wasn't totally dry. That's okay. But you can see in there that some of the color was picking up by little grains. I'm thinking maybe that to have an interesting effect on this, you might need to drop a lot of it on the piece. There we have our two pages with the salt and effects. 11. Warm Up and Line Practice: In this lesson, we're going to practice making mines in the pieces that we're going to make today. Piece or pieces. There's different lines, and it's nice to have a little warm up. Try to see which one we enjoy making the most and which ones we don't at all. So and this is where the sable brushes come into play. I have more difficulty with the squirrel woods. This is a Princeton Aqua number four. It's quite tiny. I I would make a whole piece, I would probably go for a bit of a larger one. But let's play with this one. In the wavy pieces, our goal is to leave a tiny bit of space in between the different layers, if you will. We're going to practice this here. We're going to make one layer, and then you can take the same color or switch. It's not really important for this. But we're going to practice following the first line. Very gently. I touched here. That's all right. This is why you want to practice. I haven't practiced much before doing this here with you today. But this is why it's nice to have a little warm up. And we rewet everything to keep the piece wet for texture. One way to do this is to leave a larger gap and then you come in. We've got to make sure everything is wet. You come in, and then you close that gap making it smaller as you go. Rather than trying to make the gap very small and then getting frustrated. The beginning, you leave a larger gap and then you close it afterwards. You see where the colors touched. If that's what you want, it's perfect. If you wanted to leave a gap, well, it didn't happen this time. If you don't want the colors to touch at all, you might want to let every layer. Thing on the brush. There you go. Here, it's almost dry. If I touch with my brush, the colors touch, it's not going to be so bad. But really take this lesson as a practice session, you simply practice making these lines. You see, I've been using a very small brush. If I use the larger one, I'll cover more ground. But it is perhaps easier to I tend to forget to finish my sentences. It might be easier to make a mistake. Here I'm warmed up a bit, so I already feel looser in my hand and my gestures. There you go. So you might want to finish your page, or you want you might want to try something else, or you've been warming up already, and you're ready to go. One last thing. I want that would be fun to practice. Is finding the angle at which it's easier for you to paint. I'm right handed. When I make the waves, I often turn my paper so that I paint vertically. If you're left handed, it might be easier for you to do it on this side. This is very unnatural for me. I wouldn't paint like this. At some points, you might prefer to paint on this side, make the wave in a horizontal fashion. Which is much harder for me, but that's a very personal thing. Perhaps take see. It's something like this happened. Well, here it's a practice. It's really okay. That's why we do these things. But if it's in your final piece that something happens like this, you could just say, it's part of the design. I wanted to layer so you can have Previous layer isn't quite dry, so it's not going to layer perfectly, but you could say, I want to glaze over it. Sometimes it did happen to me in a final piece. I said, Well, what the heck? I'll just layer the whole thing. There you go. Yeah. Another thing is, instead of free handing the things, I've added a template so you can trace it. So if this is a black wing pencil, I would suggest that you use something like a H pencil, something that's very light, and then erase it a bit so you can see if I do this on camera, you're not going to see anything, so I'm using this darker pencil. Yeah, either you're tracing or you want to draw it first No firsthand, but you might want to draw the pattern beforehand. One thing you need to know that if you paint over something like this, watercolor is very transparent colors. Either you find an opaque paint to go over it. Or if you want to erase them after you're done, you need to not paint the lines, not paint over the lines. This could be you could try to paint I could help you what am I trying to say? Drawing lines before hand might help you out because you can concentrate on the in between, and then you go near the lines afterwards. But remember, if you paint over them, you won't be able to erase them. If I were to feel this is good for me, I would be able to go with an eraser such as this or a tiny one. I'd be able to go in between and erase them. Practice a bit to warm up and to gather skills and get better at these things. 12. Choosing a Color Palette: When choosing a color palette for your final piece, there are a few ways you can do this. You could want to document mixes that you can achieve with a given color palette. This is what I'm going to be doing with these three colors. There's different ways to choose color palette. Analogous complementary to find, for instance, if you want to a gray or black with red and and green. You could go from green to red with all the shades of gray in between. One of my favorite ways, however, is to try and try different random color palettes. We're going to have fun. Trying out what this means with these three colors that I have. I've chosen these colors because I know I will get interesting mixes. But how can you see what you can make with these colors? You take them in your palette and you start mixing them a bit randomly. We've seen the purples that we can have, but we've not played with the white yet. We're going to add this in. And you can make low squares like this. I have a whole color swatch in class, so you can go in there if you want more info or more exercises in finding color palettes, but this is a nice way to see the range that you can expect from playing with these three colors and a wavy piece. By adding a little bit of this and a little bit of that, I really enjoy making little pieces like this because it's it's an interesting and fun way to document well, not all of them because that would be a very scientific way to look at it and require lots of rigor that I'm not using here. Making tiny squares like this with the different hues that you can find by mixing only three colors is a very fun way to give yourself an idea of what you can expect in mixing these colors during the wavy pattern experience. Of course, when they try they give you a whole other area as well. For fun, we're going to try three other colors. Something I love to do is to go for random colors and not necessarily colors that you think might look good together. And I forget what these colors are. Because I've put them in these old containers a while back. But I think this is a mi color, and this is a ultramarine blue. This is a color called Lunar Earth. This one I know because it's written on the I think someone had given this to me. Sorry for the noise. We'll use a tiny palette for this. In a similar fashion, I'm going to play with this here. Up to now, we've played with very out of the two wet colors. If at home, Of course, if you've played with watercolors before, I don't need to tell you this, but if you're new to watercolors, if you're if you're using pan watercolors or tubes that you put in pans. They might take a bit a few minutes to fully activate. Keep this in mind. Yeah, we're going to just mix them and see what happens. We're not making a color chart here. We're just having fun with different colors. Often we mix two colors, but we don't think of adding that third one. Really embrace embrace color mixing and have fun with it. That's interesting. That blue and orange give a color when they're put together very similar to that brown that I. I had not thought of that. It's an interesting find. You see when this happens, it's not wrong or anything. It just means that here you have perhaps more of you might have more different hues than mixing these three colors because two of them make something very similar to that middle color. That's why it's fun to take a few minutes to swatch your color before project because you might find that your combo is not as interesting as you saw in the beginning. It all makes brown. That's very interesting. I was expecting that blue and orange to make more of a burgundy type of color because it's a very very warm red orange color. But I guess that this blue is also quite quite a warmer blue than I expected it to be. It's an interesting combo. Don't forget write down these things because you might want to come back later and find that it beautifully and then not remember what they were. There you go. 13. Let's Paint our Project: We are going to make our wavy pattern. On this paper, it rips when I use tape. We good tip is to put the tape on your pants beforehand. Be careful if you have some pets, you might pick up pit hair and whatnot. If you want a perfect margins, you might want to measure them out. I'm more of a Let's hope it looks good thing. If you want your margins to be perfectly square, perfectly equal, you might want to measure them out. But I'd like to just put the tape on as best as I can. Like this. Take a look at the end, looks not too bad. This one is perhaps a bit crooked, so should have looked beforehand. So before putting the other layers of tape on There you go. Just be careful. If you layer tape, make sure that the layer very well, or color will get between those layers. Also, when working with alcohol, I took a syringe to put it in so I don't deal with the smell. Know that if you work close to the tape, it might actually get under the tape. We're going to start with layer of blue, dark blue. I say the colors, but I mean, you can definitely work with the same colors as I do, but you can definitely use the ones that you have on hand. The second layer, I'll go with the blue still, but a bit of a lighter version. Keep in mind to try and keep your whole section wet because if it dries, you will see marks when you go over them. S here, I touch the two colors, which is fine. We're going for a intuitive piece rather than a perfect thing. I put the alcohol as I said, in this syringe. Just dip it and have it draw. I think says that you can't have two textures in one layer. It's really a taste thing. When I work, I like to go I like to do randomness in the colors in the order of the colors. This is what I'm trying to say. But it's also nice to go sometimes from one color to the next. I'll try this one here. I'll go from blue to purple blue to purple with a bit more red. And to now, I've been really using that same curve, but we'll try to invert it on this side. You see a little bit of the purple run off to the other side. We'll deal with that in a second. If we make a bigger belly to this and then we round it up, see the color is touched. They were a bit closer. We have a curve that goes like this and and we have a different shape at the bottom. We played in the texture videos, we played with having the colors touch, but you could also drop some color as you go. Since there was an accident here, we're going to embrace it. We're going to add more here. I did put small salt there. We're going to go for larger salt here. The difficulty. I tend to work a bit quickly because you want to put the salt and stuff before dries. If you have co co press paper, you might not have the you might have a bit more time. Before it dries totally, you might be able to move a little slower than I here. I was going to go for a random color, but then I remembered I said I would go from blue to red. Added some red on my palette. And we've not not added a water texture. We'll do that next. This will have to dry a bit because there's more water in that layer, which is not to say it's right or anything. You see here the color was. When they touch, They won't bleed in together. We'll add we'll add some water in this in a sec, but I think we have time to make the last layer. I say last because we're at the red, so we're going to design in the sec where we go after. We're going to switch up the curve again, just for fun. The idea of these pieces is really try to do what you feel like the piece needs as you go along. As I said, I work quickly because my paper dries a bit quicker, but we can pause in between layers and stuff. I take a smaller brush to make the textures here. You see where the paint was a bit more wet. The effect isn't quite the same. Even if the goal of this class is to play with texture, it doesn't mean you have to have texture in every single layer. Here we could skip it and say we'll keep it red just like this. Where to go next. We'll make a red layer. I guess there's a touch of blue in there with a bit more water just to have a different hue. Remember water colors, if you put more water, you will get a paler color. And here I did end up putting a bit of blue. For the sake of it, I'll add more red. If you're not happy with a color, before it's or even after though it might leave a few traces, you can go over it. There we go. Here, right beside it, we're going to put a very white layer just for the contrast. That red is very staining, unfortunately. Well, not unfortunately, Here. I was last paying attention to the curves. The shape is not as interesting, so we're going to go back and change it up a bit. I feel like that pink one needs texture, I'll put in some salt. It's okay if it goes on the red, the red is almost dry, so it won't do much and I'll put coarse salt here. I think it's pretty. I don't like when there's too together, but if you move it, when you move it, it'll make movement in the piece. And we're going to do a blue buff titanium. I almost looks like lavender. It's interesting. Take a moment to see to notice the colors that happen. Yeah. Like here, I'm not totally joining this, so I'll put more I'll add another code of buff. Messed up the white space in here. Cover the whole thing up. As buff titanium is very opaque. Looks like it was meant to be. I really want to put some dark indigo next to that. That plead is beautiful. I think we'll try the alcohol on this piece because the of titanium we put mix too well more than I expected in there. We're not seeing texture. But we're going to this is really beautiful. No, there's not go a bit lighter and more water. Just for the color, have some contrast with the layer above it. My pieces tend to end up in these very round shapes. I really like them at the end. Digo was a bit more dry than I thought. Even when they touch, there's no traveling of the pigment. Which is fine. Put some salt. And perhaps a bit of water in here. To mimic the a bit of touching here to mimic the nice beautiful bloom I was here. And Let's finish with a nice purple. You know what we'll do, we'll drop some titanium in there. That could be texture. 14. Removing Tape (Tips Included!): I let these dry overnight to be sure that all the salt, all the colors are really dry. The first thing we're going to do is over perhaps another paper if you don't want salt to go all over your disk. Gently rub the salt off, wherever it is, and you see in these little spots. You get to see that the pigment. The pigment was absorbed by the salt, as you can see, on the white page, you see all the colors. There you go. And this one was a test that I made as I first started to film the class, I didn't like where it was going. So I set it aside and made the other one that you saw in the video. But I came back to it and finished it. None. So it's less colorful. I ended up being very nice as well. Don't a bend in too quickly. Now, the tape. I'll try this one first in case something goes wrong. Depending on your paper, if you know that its, one of the things you can do to help is to make sure that when you remove thee, you do so at an angle and very close to the paper as opposed to, like this, there's a higher chance that the paper will rip. Gently, and there you go. If you're like me, I'll going to work in this. But I tend to stick tape pieces all over my desk to reuse them in other pieces. If you use them, just make sure to wash this as you put them on your next piece because I've had some instances where the tape actually transferred color on another piece. There you go. If you've ever worked with this paper, you know that it sometimes rips. So the combo of peeling it slowly and tipping it to your pants or your shirt beforehand helps it. See, as I say this. Rips. So we're just going to start on the other side. Slowly. Now tiny rip here. It doesn't show much in the end piece. Another tip would be to take your blow dryer. The dryer for your hair, put it on heat and reheat the te before you take it off. It will soften the glue underneath and make it easier to remove. There you have Here the margins aren't quite symmetrical. If it bothers you in the end or if you feel that you left too much space, well, you could just cut it off to finish the page. We're going to do this one now. I'll try removing both. I can't because it's actually underneath the other ones so. I'll speed this. Oh. See, I went too fast here. I got carried away because it was going so well. Do not get carried away. Take your time. I'm not a very patient person for these things. So not all papers will behave like this. Some will be a little more forgiving on the tape. Also try not to let them for too long. I probably should have removed it at night, a couple of hours of drying sign, would have been enough. And there you have it. I. 15. Bonus Lesson: Yupo Paper: In this lesson, we're going to play with some po paper. Up paper is a very fun paper. It's not plant based. It's a synthetic paper, you'll see that the UPO paper reacts very differently from the samples we made with the bamboo paper. We'll put those aside for a sack. Also, I want to tell you experiment with all your papers because all of the results will be different and it's very fun to know what they are beforehand before starting in piece, and it's quite fun to play with them. Those were two little blocks from Jackson, so it's not cotton, but it's a studio line with Hot Press and C press. And as you can see in these little tests that I made, the results that you get are quite different, especially with the alcohol as this texture is much smoother than here on the cold press. So you see the circles are not perfect, but they're more round than on the cold press, and the salt as well has very different results. You can see here, they have a bit more sparkle or snowflake effect, whereas on the hot press, it's much more grains of salt that you see. It's not the same colors, but you can see a bit of the difference that you have on this paper. So yeah. It's going to be fun on the UP. It's a totally different story. So first up, we're going to divide our sections into two spaces. And I want to do this because you'll see on UP paper, the watercolor paint. The watercolor paint doesn't dry. Well, it dries. But I mean, it takes a long time to dry. So we're going to make these two sections. I'm using UPO paper because that's what I have on hand right now, but there's all sorts of different brands that have up consistencies. Sometimes you'll see them listed as mineral paper. UPO, I think is plastic. But yeah, so there's different alternatives depending on what you want. For this one, I'm going to use this little dude that I bought at the pharmacy. The drugstore, as a sprayer, and we're able to open it up. And use this prayer thing to drop alcohol on there. So we're going to rewet our paints they have dried overnight. For this example, we're going to go with a quite saturated color because that's when the effects are more dramatic. As you see when I apply the paint on the Up paper. It doesn't spread as much. The water stays on top. On top of the paper, it doesn't go in because it's non absorbent. We're going to cover both of these sections. We're going to go with blue at the top red at the bottom. Carmon to be exact. We'll try to keep if you're doing this as well. Try to keep your washes at wet. I go to drop a few We're going to drop a few drops. Drop a few drops. We're going to drop some titanium in there as well, just for the fun of it. Though it doesn't seem to cool right much. Well, there you go. First off on the right, and you can see how the carmen overpowers the move. So we're going to drop some salt here. I'm not sure I've I worked with alcohol and you lot, but not salt, so we'll see what happens when it dries. And this is the fun part. Dropping you can see how the colors move. You could also work with the dropper for a more precise here if I had a dropper, it would be a little more precise. You could also use the prier. But on input, it would be less interesting. I feel that too much of the color has gone so we can play here to add some color back in. You can do this for hours. As I said before, be careful with your brushes and alcohol, they're not necessarily the best of friends. So make sure you wash them with the brush self afterwards just to be on the careful sign. And there you go. If you feel that for instance, this was too much, we just cover it up. We'll see how it tries. It's really the fun in this paper is that you can play with it a number of times, let's say you don't like this section. Add color again, and then, I add it too much. F S. You can definitely come back and add alcohol in there and see the rounds move. You can see here it's starting to dry, you see the beautiful salt texture. There's a lot of water here, but we're going to add a b's go crazy with the texture. C shouldn't say that. Let's go. I'll go overboard with a texture and see what happens. I'll see you when I tries. 16. A Few Words Before You Leave (+ bloopers!): I hope you had as much fun as I did during the class that you experimented with all the different textures that maybe you did even more behind the scenes after watching the lessons. I would love it if you shared your project in the project section down below. It would be so cool for me to see all of your projects. Don't hesitate if you have any questions, thoughts, things you want to share with us. Please share them in the project section, and I will be very happy to read them. If you're on Instagram, please share your creation over there and tag me, Stephanie Ad Digo Dev. I will be very happy to see them over there. Yeah, that's it. I hope you had a lot of fun during this class. I hope you keep on playing and exploring with your watercolors and other art materials. And I'll see you in another class. By Man is Enix.