Transcripts
1. Red Umbrella: INTRODUCTION: Hi there. And a
very warm welcome to my online watercolor class. Today we're going to be
painting this vibrant scene of a young woman caught in a spring shower with
a big red umbrella. I'm going to be sharing lots of my favorite tips and
techniques with you, such as how to create speckles
of light in a rainy sky, how to paint the
distant misty figures, and how to paint reflections
on a watery surface. It's a wonderful subject, just perfect for radiant,
luminous watercolors. It might seem a bit
daunting at first, but you're going to
be able to watch over my shoulder as I guide you through it every
step of the way. It's beginner friendly, even if you've never
touched watercolors before, or if you're an
experienced artist, looking for some
different ideas. There's a magical feeling you get when painting
with watercolors. And once you know the basics, it is easy. Anyone can do it. Like any other skill, it just takes a bit of
practice and enthusiasm. We've included a copy
of the drawing in the project resources section so that you can download
it and trace it, and then not worry
about the drawing because this is a
painting class. I am a professional artist, author, and tutor,
and over the years, I've sold a lot of work
across the world and helped hundreds of people to
learn more about watercolor. Art is my absolute passion, and I truly believe that painting is hugely
beneficial for everyone. You can see examples of
my work on my website. My style leans towards
impressionistic and contemporary rather
than photorealistic. I like to explore loose approaches that
bring out the color, light, and essence
of my subjects. I've tried to
replicate this across all the many other videos
that I have on Skillshare. Please don't worry if your painting doesn't
look exactly like mine. Lowry never worried
whether he looked like Van Gogh's or Picasso's. We all have our own unique style just like our fingerprint. And with that understanding, it's time to get on
with the painting.
2. Materials; Drawing; Paint sky and foreground vignette effect wet-on-wet; use salt for light sparkles: Hi there, and a
very warm welcome to my online watercolor class. I'm going to be sharing lots of my favorite tips and
techniques with you, such as how to create speckles
of light in a rainy sky, how to paint the
distant misty figures, and how to paint reflections
on a watery surface. I think you'll really enjoy this captivating painting with the contrast of the
vibrant red umbrella against the soft misty
surroundings and the distant light reminding us that the rain will soon pass. You can either watch
the whole video through and have a good at
the painting afterwards, or you can paint right alongside me as I guide you through it. Now, regarding my materials, these are the ones
that I'm using. But if you have
different colors, then don't be afraid to use the ones that
you've already got. Most of my paints are either transparent or semi transparent, which will allow the white of
the paper to shine through. And this is what gives watercolor
its wonderful radiance. Tend to keep opaque
paints for when I want to cover up the underlying
paper or layer of paint. I've slightly altered
the original photograph, which had his ears at
the top of his head, and I've moved them
a little bit more to the side because I wanted to
create a landscape image, and that's the beauty
of artistic license. And I've included a
copy of the drawing in the project resources section so that you can download
it and trace it, and then not worry
about the drawing because this is a
painting class. I've got all my paints ready
and mixed in a palette. But before I apply the
colors, I'm, first of all, painting with clean
water all over the scene apart from
the central area where the key figure is. This technique is called
the wet on wet technique, which is simply wet
paint on wet paper. If you put wet paint
onto dry paper, that is simply called the
wet on dry technique, and you do have more
control with that one because the paint will only
go where the brush takes it. So you do get a
stronger colour and more hard defined edges
where the paint ends. The wet on wet technique
gives you less control. First of all, you
wet the paper with clean water and then
apply wet paint on top of the wet
paper and let it spread into the wet wash. Now, this results in a lovely
diffused effect with soft edges. I've now thoroughly wet
all around the scene, apart from the central area
where the key figure is, which I want to keep dry because that's where the distant
light is coming from. Well the paper is
still very wet, I'm first of all, dropping
in my cerulean blue color. I want to create a sort of vignette effect with
the background sky and the foreground being stronger in color in the corners and
across the top and the sides. Because I'm applying
the paint on top of that wet underwash that
I put on previously, you can see how nicely the color is blending
into the background. So at the moment, I'm not
getting any hard edges. I'm getting that lovely soft
diffused blend of color. And I'm applying this color at the outer edges of
the painting and letting that flow gently towards the center without actually
reaching the center. So wherever you place the
color in the first place, that will be where
it's strongest. And as it starts to
disperse into the wet wash, it becomes softer and paler. I'm working my way around the
scene using this process. And if any paint does get into an area that you
don't want it to do, so if it actually accidentally
goes onto the umbrella, you can just use a piece of
paper towel and dab it off. One of the important
things to remember with watercolor is
that it tends to dry approximately 20% to 30% lighter than when
you first put it on. So it can be difficult to judge the tone when you
first start painting. That just just comes
with experience. Now, you do need to work
quickly when you're using this technique because as soon as the paper begins to dry, you're not going to get this
soft diffusion of color, this nice soft blending, and you will start to
get more hard edges, which at the moment is not
what we want at this stage. While the colin
blue is still wet, I'm now adding my
ultramarine color. This is a darker blue, and I want to strengthen the tone at those corners and along the edges
of the scene. Other words, I'm emphasizing this vignette effect of being darker around the outside and moving towards a
lighter central area. And don't be afraid to pick your paper up and give
it a shake from side to side to encourage those colors to run and
merge into each other. I don't want the ultramarine to completely cover the
whole of the cerulm blue, so I'm adding it very sparingly
around those outer edges, letting some of that
cerulean blue show through, particularly where it's in the areas going
toward the center. The paper is still wet because I've just added more wet paint, the ultramarine to it, and I'm going a
stage further with this intense color by
now adding some indigo. Now I will add this again
to the outer areas, to the corners, and intensify this vignette
effect even more. Again, I don't
want to completely overpaint the ultramarine and the cerulum so you
can see that I'm not entirely covering everything
that I've just painted. And when I move down
to the bottom of the scene where the pavement is, I'm using more
horizontal strokes here to replicate the
lines of the paving. If tackling this whole area feels rather challenging and
you're not a fast worker, then you could just
apply this process, first of all, to
the left hand side and then to the right
hand side of the scene. So you could paint
it in two halves. If you're painting along
with me and are finding that your paint isn't blending and diffusing into the wet wash, then you're starting
to get hard edges, then it's probably
because you didn't wet it enough at the beginning, and that really is key. If that's the case, it's
best to let everything dry completely and then
very gently pre wet the areas again
before continuing. I'm now stroking in
a few touches of burnt umber down each
side of the scene. I want these to resemble
sort of abstract shapes of buildings that might be in the background without
being too definite. The last thing to
do for this stage is to sprinkle on some salt. Now, if you put it on when
the paper is too wet, it will simply clag. If you put it on when
the papers too dry, it won't have any effect at all. Best time is just as the
shin is going off the paper. As the salt dries, it soaks up the paint and leaves behind little
speckles of light.
3. Paint umbrella & main figure - 1st layer, wet-on-dry; use tonal values for 3D : I've mixed some quinacadon
gold with some burnt umber to get a sort
of light fawn color. Now, you could use any light
brown that you've got if you don't want to mix the
paints or a raw sienna. And I'm using this
color to paint the first layer onto
the young woman's coat. I'm trying to paint round
a hair as much as I can, and also the strap
of the red bag. And then just also
thinking about where the light might be
affecting the tone. So on the edges of each arm and along the
sides of the coat, and it's going to be a bit darker behind the bag and
the strap of the bag. We are going to apply
some darker color, another layer of color later
on after this has dried, where we'll be able to put
more creases in and more definition of tone in
the relevant places. So not trying to get the whole thing done
all in one step. Having said that, thinking
about the folds in the fabric, where they are
lighter, you can use a thirsty brush to lift
out some of the paint, and that's simply cleaning your brush in some clean water, dabbing it off on
some paper towel so that it's damp
rather than wet, and then soaking up with
that thirsty brush, some of the paint that
you've just applied. So in a small way, we can begin to
emphasize the folds in the fabric and the areas where it is lighter at the edges. I'm using the same color to paint the little short
boots that she's wearing. So painting over the areas of the boot itself
and the soles. At the moment, because
the paint is wet, there's no
differentiation between the left and the right boot. But when we come on to
do the second layer, we'll be able to define that
separation more effectively. I should perhaps
have mentioned at the beginning of this
section that I am now using the wet on dry technique
so wet paint on dry paper. If you remember,
we didn't pre wet this central area of the key figure like the
rest of the scenes, so everything here is dry. I'm using cadmium red, which is a really nice vibrant, orangey red to
paint the umbrella. I'm adding little
touches of extra pint, the either side of
each spoken towards the bottom of the umbrella
to increase the tone, darken the tone in those areas where the fabric will
be a bit darker. I'm also missing
out little areas, little speckles of
light that might be reflecting from the light in
the sky onto the umbrella. I've got a very good point
on this particular brush, though, it's quite easy to go around those
little tiny shapes. Now, you don't have to
do that, of course. You could just block it all in, but I do find it helpful
to leave little areas of unpainted paper to just add a little bit more energy and vitality and light
in the painting. Because red is such a
strong vibrant color, the viewer's eye will
naturally be drawn to this area when they are
looking at the painting. So don't rush this a little bit. If you need to take your
time, that's absolutely fine. Unlike the wet on
wet technique where you do have to work
rather quickly, with the wet on dry technique
that we're using now, you can take your time and use more control over the areas
that you're painting. And I'm just working
one section at a time and leaving
little slivers of light unpainted paper in between where the dark spokes
are going to be later on. And then, while that cadmium
red paint is still wet, I'm now adding in some
little touches of zarin crimson and putting this
either side of each spoke, where the fabric will dip
down and be darker in tone. And again, it's
just to emphasize and bring out the
structure of the umbrella. Because I'm adding wet
paint to wet paint, I am now getting this softer diffusion of one
red color into the other. So I've actually reverted back to the wet on wet technique because in addition to putting wet paint onto clean water, you can also use this
technique to add wet paint to an underlying painted wash. Having completed the first
layer of the umbrella, I'm now moving on to
our young woman's legs. Now, she's wearing
tights or leggings, so I'm using cerulean
blue as a sort of underpainting for the lighter
tones of these areas. And I'm just being mindful
of that small gap between her legs that I
obviously don't want to paint because we need
to keep them separate. I And then, well, that's still wet. I'm using my indigo and just
adding this darker blue underneath the coat
where the legs will be in shadow, touching in. And again, because I'm now going into the wet
and wet technique, those colors are blending and
softening into each other. And I'm just touching
that indigo down the side of her left leg and now
moving on to the right leg, which because it's moving forward is more in
shadow than the left, so adding a little
bit more indigo and dark tone to
this forward leg. Because the leg on the left hand side is backwards
and more into the light, we need to just be
mindful to keep some of the center area of the leg
going down to be more lighter, keep that cerulean blue color more visible where the leg
is catching the light. There's also a slight bend at the knee on that left hand leg, so we want to just put
a few creases using the dark indigo just at the back of the knee there
where the leg is bending. The paint that I applied to the coat is pretty much
dry now on my paper, so I can go back in with my red and start
to paint the bag. But if your paint is
still wet on the coat, then leave it a few
more minutes to dry completely before you start
painting in the red bag. Now, as you can
see, I'm painting in the strap and I'm missing out little bits where a hair
is covering over the strap. And then I'm taking that color down and painting
the bag itself. And as I did with the umbrella, I am mindful of the areas that are going
to be a little bit darker. So the bottom of the bag
and the left hand side, I'm going to be touching
in a little bit of extra red there
to darken the tone. But at this stage,
I'm not going to be adding any sarin crimson as I did with the umbrella because
it's a much smaller area, and I don't want that alzarin to run into areas of the bag
that I don't want it to. So I'm just using the same cadmium red color to darken the tone
here and there, but I will do more definition when the bag has dried
in the next stage. And that has pretty
much completed the first layer of color
now on the key figure. So I'm going to leave
all of that to dry thoroughly before moving
on to the next section.
4. Paint umbrella & main figure - 2nd layer for depth of colour and tonal contrast.: Everything's thoroughly dry now, and I've brushed away the salt which had dried on the paper. I think you can see some of the little light sparkles
that it's left behind. So I'm quite pleased with the
way the salt effect worked. Adding the definition
and tone to the clothing in
the same sequence that I worked the first layer. So starting with the coat, I've got a slightly stronger
mix of that quinacuadon gold and burned tumber and I'm using that to paint
the darker areas, which will be just
below the umbrella. So the top of the coat, that's
going to be more in shade. And as it moves out
away from the umbrella, that tone is going to be
a little bit lighter. Also on the edges
of each arm where the light is coming and
making a difference there. But the creases in the arm, they are going to
be very visible in the darker brown
burnt umber color. Coming around the left hand side of the bag and where I've already tried to introduce some light folds
in the material, I now want to introduce the darker areas where
the material dips. And though I'm using my burnt umber and
quinnon gold color, that darker shade
there to emphasize those folds and the shading the shadow below and at
the side of the bag. As we are using the wet on dry technique, we
are, of course, getting more hard edges, and there is a way
that you can soften those using the blending
and softening technique. Now, this can be quite
a difficult technique to master if you've
not used it before. So I'm just going to switch into a short demo of how this blending and
softening technique works. To blend and soften a hard edge, you need to use a clean
damp brush to pull the paint away from the hard
edge and blend it softly until the color disappears
into the white of the paper or the underlying wash.
You may need to clean and dry your
brush and repeat the process several
times in order to get that gradual gradation of color until it disappears
into nothingness. It may sound like quite
a simple technique, but in fact, it is quite a
difficult one to master. So do practice it
because it will make a massive difference
to all your paintings. If you haven't
used that blending and softening technique before, it might be useful to
practice it on a bit of spare paper before actually trying it out on the
painting itself. As you can see, I'm
now going in with an even stronger darker mix
of this rina unburnt umber. There is more burnt
umber now in the mix, and I'm adding the
much darker areas. And I'm using a mixture of the blending and softening
techniques in some places, but in other places, I am
leaving some hard edges, particularly where those
creases are in the inner arm. And I'm just working my
way around the coat now, adding the dark tones where they are most needed and
particularly around the left hand side
and below the bag and in the areas between the sides
of the coat and the arms. I'm reasonably happy now
with the tonal values and the shading on the coat that's emphasizing the creases and
the folds in the fabric. So I'm moving on to paint the darker tones on her
left and right boots. But I'm adding some darker color down the left and right
side of the top of the boot in a very thin sliver of that lighter tone in
the central part of it. Then I'm adding the
dark brown color to the sole of the left boot, and I'm also using the dark
color for the right boot, which is further forward and is in shadow from the left one. I've added a little
bit of indigo to this right hand boot just to darken it a little
bit from the left. Now, because the paint on
both boots is still wet, I'm going to have to let
them dry a bit and come back to the boots to add a bit
more definition later on. So I've turned my
attention now to the umbrella and I've
added a little bit of indigo to my lyzarin
crimson color to make it a darker
red yet again. And I'm going to add this
darker color to either side of the spokes again to give a bit more definition
to the umbrella. As you can see, I've just turned my paper around so
that I can access this area more easily
without putting the hand over the wet coat
that I've just painted. And I am going to use the blending and
softening technique to soften that darker color into the underlying color
that I had before. And I'm also imagining that
the umbrella will be a little bit darker over on this left hand side than
it is on the right, where there is more light catching over on the
right hand side. I And in fact, as I move over onto
the right hand side, I'm using just the plain
sarin without the indigo in it to add more definition
in between the spokes. I'm using neat indigo to paint the spoke of the umbrella
as it comes out at the top and also the handle
that you can just see between the bottom of the umbrella and the
young woman's shoulder. And I'm painting a
very thin line of indigo just along the
edge of the strap, the left hand edge of the strap, as well to give it a more three D appearance and the little tiny straps that are attached to the bag itself. I'm using the indigo
and zarine mix that I used earlier
on the umbrella to add the darker tone to this left hand side of the bag and also the
underneath of it. Just to add a little bit
more interest to the bag, and painting some small
shapes which could be a little pocket on
the bag or a logo, perhaps, just a
few little sort of abstract shapes that give it
a little bit more interest. To do that, you might like it just as it is, so
that's optional. What I am mindful whilst I've got this red colour
is that there will be some reflected color from the bag onto
the coat itself. So I'm just glazing
on a little bit of that red colour on the coat
immediately below the back. And now I'm using
the indigo color, the dark blue color to further define and add tonal
values to her legs, again, to give them a more three D shape,
a rounded effect. So immediately below the coat, and at the sides of each leg, we'll have that darker tone. And as I said earlier, when we did the first layer, the left hand leg is
slightly bent at the knee, so I'm going to add
a few creases at the back of the knee there to depict that bend in the leg. And that's pretty much the
second layer of the umbrella, the bag, and the
clothing completed. So I'm going to leave
everything to dry now and move on to
the next stage.
5. Paint hair, distant figures and buildings; paint reflections.: Now, you can use any color
that you want for the hair. I've added a little
touch of red to some burnt umber to give it
a chestnut brown look. I'm using a small pointy brush so that I can paint in some of those flyaway hairs that are blowing in the
wind towards the left. Her hair will be
darker immediately below the umbrella
where it's in shade. So for that small area
just below the umbrella, I am using some pure burnt
umber, some dark brown. You don't want to go too mad
with the blow away hairs. It's not actually blowing
a fourth ten gale. Just a mild breeze, really, and we're only really
positioning some of those hairs blowing out to
give the figure some movement. And as you can see now, I've actually switched to a
very fine small rigor brush, which I'm using to paint just those single stray hairs that are blowing out
there in the breeze. And I'm also using
this brush to paint in one or two darker
hairs with indigo, just to give the
hair some depth. For the distant figures, I've mixed together a little ultramarine
with some indigo. I want a quite dull blue. I don't want them to compete
with the key figure. One of the biggest mistakes that people can make when they're beginning painting is to paint the heads of
people too large. So do keep the head quite
small in relation to the body. And I'm using this sort of dark, dull blue colour to paint
the whole of the figure. I'm not adding any more
color to his clothing. There's quite a lot going on in the foreground with
our key figure. So again, I don't want
these two distant ones to be competing and stand
out more than they need to. And to intensify that
misty disappearing look, I'm using a little bit of paper towel to just
dab off some of the colour on the
right hand side of this first figure
that I'm painting. And while I've got this color on my brush and in my palette, I'm also going to paint
this chap's reflections. The thing to remember
with reflections is that they are always
darker in tone, nearer the source, and
they fade in tone, get lighter as they move away. I painted quite an abstract
shape for the reflection, just some horizontal squiggly lines that are broken
up in between. The second figure
over on the right, is even further away, so I've got smaller shapes here, but again, I'm using my dull dark blue color to paint the figure
in its entirety. You'll notice that with
figures as small as this, I'm not even attempting
to paint in any feet. And as I did with the
figure on the left, I've painted some squiggly
lines immediately below this figure for his reflections in
the wet pavement. And again, to give that
misty disappearing effect, I'm just dabbing the
left hand side of this second figure with a
little bit of paper toil, just lifting some
of that paint off. And then staying with
my small pointed brush, I'm using my dark indigo to paint the sole of this
boot on the left. You could add a little
bit of burnt umber to the indigo if you wanted
it to be a pure black, but indigo, when it's
put on quite neat, is a very strong color, so that will do,
I think, for now. I'm painting a very thin, fine line of indigo just
above the boot on the left, where it comes away
from her leg and also a very fine line in
between the two boots. So just down the
left hand side of the boot on the right to
separate out those two shapes. Because the key figure is nearer to us than the two distant ones, the reflections will
be stronger in tone, and they will also
be larger in shape. So I'm pre wetting some of
that foreground just below the key figure where I'm going to position
the reflections. Now, reflections are a mirror
image of what is above. So I'm starting with
that dark indigo color just below the boots, and then switching over to the brown color that
I use for the boots. That'll be the next
part of the reflection and keeping the shape pretty
similar to what is above. The color spreads too much
to the left or the right, then just dab it off
with some paper towel. I pre wet this area
so that I would get some nice soft diffuse
blends in the reflections, but I'm still keeping my
eye on it all so that it doesn't go out of control
and into the wrong places. Remember what I
said earlier about reflections being stronger
in color and tone, nearer to the source, and softer and lighter
as they move away. So the reflections for the
leggings won't be as strong in color and tone as the reflection for
the sole of the boot. I'm now painting
some streaks of red, the same color that we use
for the bag and the umbrella. Now, there isn't
really any reflections in reality from the figure here, but this is where we can use artistic license because I need to tie in the colors in the umbrella and the bag
with the foreground. In reality, they would
be a lot further down on the pavement
further below. I think there are times like this where you've just
got to really use your intuition and
your own feeling about what looks right
on the painting. Instead of slavishly following what it appears on the
scene or on a photograph. I think I'm going to
be a little bit brave and actually add a little
bit of this red color. Very watery mix
this is, very pale, and just introduce it into the left and right sides
of the painting, as well. Again, just to try and
get some harmony and movement going around the
painting with some of this red. The important thing is
that it's not as strong in tone or in color as the red
in the umbrella and the bag. Otherwise, the eye is
going to go more to these abstract shapes than
it is to the main figure. So as you can see,
I'm keeping it very, very loose, very, very watery, and just creating a few
more abstract shapes, again, to give that painting
a little bit more interest. And I'm continuing to build up these abstract shapes
in the background. I need to add some more
horizontal strokes to indicate where the buildings might stop and the
pavement begins. I'm doing all this in a
very abstract fashion, mark making and adding shapes and strokes to
indicate what might be going on in the background without actually painting
anything realistically. I notice that I'm using
quite watery paint and using the blending and softening
technique where I need to do to keep everything
blurred and distant. If you are a person
that likes to see things more
realistically in art, then of course, there's
no reason why you can't add more detail in
here to these shapes. After all, it is your painting, so don't be afraid to do
what works best for you. I'm fairly happy now with the mark making and
the abstract shapes that I've been creating along the foreground and
in the background. There's just enough
detail to indicate that these figures are walking towards some buildings
at the left and right, but I've still got
that nice strong light coming through the center. So I'm now going to add
some watery raindrops, just a few using the
spattering technique. Spattering is a technique where paint or masking
fluid is flicked onto the painting surface to produce some interesting
textural effects. Load your brush with some paint, and then you can either
shake the brush with a rising action to
force the paint onto the paper or tap the brush with your forefinger or with a second brush that you're
holding in the opposite hand. You can use a toothbrush
for very fine spatters and just rub your finger over the bristles to spray the
paint onto the paper. As you can see, I've added some rainy spatter coming off the umbrella and also
coming off the red bag. And there will
also be raindrops, of course, on the foreground
and coming off her boots. And now I've got some watery
white acrylic paint mixed, and I'm spattering that
also onto the umbrella, little bit on the bag, and onto her legs in the foreground. Now, you don't want
to overdo this, so I don't want it to
look like there's a force ten gale and a storm brewing. It's just a light spring shower. So just a few little
spatters here and there. And then whilst I've
got this white paint, if there's any
highlights that you've lost on the actual
painting on the figure, particularly, you can just
add them with your brush. Little touches here and there
can make such a difference. Example, I'm adding some
white highlights to the back of this leg
that's catching the light, so few little strokes for the creases in the material
where there's the bend of the knee and down the
bottom part of her leg. And I've also added a
couple of highlights to the center of that left boot. Because I'm painting white on some areas that are quite dark, the white does look a
little bit too stark, so you can just use
some paper towel to block some of the paint off and make it look a
little bit more natural, and you can even use the blending and
softening technique to dull those white
patches down. Still a bit too stark. You can add some more
dark color over the top, providing it's still wet. Once that white acrylic dries, then you wouldn't be able to
put watercolor on top of it. And if you feel that
your foreground is a bit too dense,
too much color, then you can use
the white acrylic to add some horizontal strokes or little dots here and there to break up any areas
that are too solid. Another way that
you can break up any areas of paint that are too solid is to use a damp brush to lift the paint off
or use Magic sponge. You can use it to lighten an area that is too dark or even strip the color right back to white paper depending on
which color you've used, because some colors do stain
the paper more than others. Just tear a small
piece of the sponge, dip it in some clean water, then squeeze it just
damp and rub over the unwanted paint until
the color is removed. Use a paper towel in between to blot and get the last
bit of paint off, and keep rinsing your sponge
out during to keep it clean or even throw it away
and use a fresh piece. And if you want to lift paint
off in very specific areas, you can use a small stencil
like I'm using here. Just stroking my
damp sponge across the horizontal stencil and then dabbing it with a
paper towel to dry it. And you can see that
I've now lifted off some quite nice
horizontal streaks of white or light paint in the foreground to give it a little bit more
interesting depth. If you don't have a metal
stencil like this to hand, you can just cut
some shapes out of some masking tape and
use it in the same way. And I think all I
need to do now is add a little bit
more spatter using that dull blue gray indigo color that I mixed earlier
to the foreground. And then I think
I'm in danger of starting to overwork
the painting, and I need to call it finished. I do hope you've enjoyed this painting and that
you've learned some tips and techniques along the
way that you can incorporate into
your own paintings. And why not pop it into
a mount and a frame, and you'll be amazed how good
it looks when you do that? I do hope you have
enjoyed this video, and it's encouraged you to have a look at some of
my other classes. I've got lots of lovely
subjects loaded with more tips and techniques to help you with your own
exciting art journey. I'd really love to see your
own finished painting, which you can upload to
the your project section. And if you could
just take a moment to leave me a short review, that also would be really great. In the meantime, thank
you for joining me, and I look forward to seeing you next time happy painting.
6. Red Umbrella FINAL THOUGHTS : Well done on completing the
painting of the red umbrella. We've covered quite a
few different techniques as you've been following
alongside of me. And importantly, we've developed our own interpretation of the scene instead of slavishly following the
reference photograph. Use the wet on wet technique, putting wet paint on wet paper. We use the wet on dry technique, putting wet paint on dry paper. And we added layers
of color to increase depth of tone,
contrast, and richness. We looked at how to
recover the white of the paper using magic sponge and how to add white
to the paper using white acrylic paint,
ink or goash. I would really love to see
your own finished painting, which you can upload to
the your project section. And if you could
just take a moment to leave me a short review, that also would be really great. And if you've
enjoyed this video, do have a look at my other
classes on Skillshare, which are packed
with more tips and techniques to help you
on your own art journey. In the meantime, thank
you for joining me, and I look forward to seeing you next time. Happy painting.
Carrie McKenzie, creating painted visions
