Watercolor for Beginners: Creating Harmonious Artworks with Leftover Paint

1. Intro: Hi everybody. This is mu and welcome to my Skillshare class. I finally got all my equipment is from Singapore to hear Munich, Germany. And I'm just enjoying this atmosphere. And end. I've noticed something aha moment that I had while watercolor painting that I thought I'd share with you. Now, I'm sure you all came across. This might be a problem for some of you, might be a not a problem. Watercolor paint leftover on your palette. Now sunlight just mix it and just say, Hey, I just make it into some neutral color because mixing everything will become great. Um, if you have all the pigments on the color wheel, of course, but yeah, I have no problem with it, so that's fine. But while I was painting, I realized what I specifically do to use the leftover paint. And then I do something very simple, very simple indeed. But I thought, well, some of you might find it quite interesting and informative. So here I am. I'm going to share that this class will go over the basic techniques as well. So it is definitely for beginners out there who are just starting with watercolor. But as well as those who are experienced, sometimes even for me, going through all these warm-ups was quite hard. It's not easy. I've been painting watercolor for a few years now, but I still find these like basic techniques as a warm-up and really hard, but also you, it's like a refreshment. So I hope even for those who are quite experienced would find it useful. And finally, for the final project will be making these abstract watercolor paintings. I was inspired by artists on Instagram that I found called Jocelyn bend forward. Now she creates these kind of artworks I just loved, loved them. So try check her out. She's so amazing. So at the end of the day, I am a portrait painter to say I just love portrait painting. But at the end of the day, sometimes I just don't want to use so much of my brainpower. So here I am. These are not easy, but they are so relaxing because it's more like doodling and painting over them really. At the end we'll add these gold accents. Because I'm quite inspired by clipped going to amuse looking at his work at the museum recently. So we're going to add these clips like gold accents at the end just to give it a bit of shimmer. And I hope you enjoy the class and find it quite informative and useful. So let's dive in. 2. Materials: So I like to get into the materials that you would need. So first of all, you need a pencil and an eraser. Now I'm going to be using the kneaded eraser because it's less damaging to the watercolor paper. You'll need some paintbrushes. It's nice to have different sizes because we'll be creating different shapes. And it's nice to have some big shapes, some small shapes and so forth. So that's better to have around. And then you'll need a paper towel to wipe off the brushes. And then you'll have to have a jar of clean water or preferably two jars, but mine's like super big, so this should be enough. And then I'll be using these leftover paints that's in my shaky watercolor paints. Now I do. I will mention that it's better to have, like an artist grade watercolor because oh my god, this does it make a difference? So that's the watercolor paint. If you don't have these kind of gold pen, this is the Sakura pen calligraphy for gold. If you don't have these around, which I'm really into right now, so I really recommend getting it. It's so fun. But if you don't have them, then maybe you might have some metallic watercolor paints around that you can use instead. And just use your paintbrush like thin paint brushes to make the small accents, gold accents at the end. But if you don't have that, then you can always use a jelly Jelly Roll pen like this, like a white pen or even the sacra black pens. Whatever pen you might have around that'll be nice to make cool marks at the end. And then you'll need watercolor paper now for the sketching part and the warm ups that I'll be doing, I'll be using this acrylic watercolor by Canson. And for the final project, I'll be using the Winsor and Newton watercolor cold pressed the hundred 140 pound paper at the end. So that's pretty much everything you need. Now let's get started. 3. Color Theory: Okay, so we're quickly going to go over the color theory. I've taught this in other classes, but I think it's quite important. And the reason why I'm doing it first before doing any warm ups like wet on wet technique and so forth, is because I believe that color is very important. I just love color. I just think that's the most important part of a lot of my paintings. So I like to go over it quickly so it then we can use the colors that we like and we are set to use for the final project in the warm ups. So for the color wheel, it starts off with the yellow and then the red and the blue. So just imagine there's a triangle and now we're going to the, these are called the primaries and without the primary, so you can't make any other color. So often when you get a basic watercolor palette, they often have these three in some painters and artists basically out there use these three and then make their own colors in-between. So that's even possible. So, okay, so the yellow and the red creates an orange. So I'm just going to, I'm not even going to mix these first for explanation purposes. And then that's the orange, a typical orange that you think of. And then the red and the blue mixed together makes a purple. So I'm going to get this purple right here. This meant it's called, I think the manganese. I don't know how you pronounce pronounce that. But this manganese is quite thick and granulating. A bit weird, but anyhow, okay, and then the yellow and the blue creates a green. I think this is quite typical green that people imagine. Okay? So that's what you call the secondary colors. So they are, that's these three, the orange, the purple, the green. And these are only made, created by mixing the primaries. Then there's the tertiary colors which go in-between these. So this, I'm not going to go over it because there's not much space. But you get the idea. Basically it'll be if it's between here, it'll be a orange-yellow. So kind of in-between. In-between here, it'll be an orangey red. So that would be the tertiary Kotler's. Now, there's also within these colors, there's the warm and the calls. I think you've heard about this. So let's try creating that. Because I can have it was a great refreshment to my to my knowledge because just going over this, I was like, Oh yeah, because I got kinda got stuck with the orange, but you'll see what I mean. So we'll make the warm colors. So when we say warm, when we create a yellow, means that it has to be more towards the red side. So for this, I'll use yellow ocher because I believe that's quite like a warm yellow. And I'm not going to mix these at all. I'm not going to mix it because then you'll kinda get, I think more of the idea. So that's the yellow ocher for the orange. I'm going to use quinacridone, burnt orange by shrink, because I think that looks like a yellow, but it's actually a orange, believe it or not. And then I'm going to get Rosie Dory, I think that's what you call it. So that's like a warm red because it's quite like more towards, I would say the yellow than it is to the purple. So that's warm red. And then we're going to get warm purple, which I will use this Quinacridone. Quinacridone, violet. So that's a warm purple when it's more towards the red, It's a warm purple. And then next we'll get a warm blue. Ultramarine blue is warm because it's more towards the red than it is towards the green. Then for the green, I'm going to get sap green by Daniel Smith. Now, this is supposed to be a warm green because it's more towards the yellow than it is towards blue. And then finally, um, I think I did it, I did at all. Okay, Sorry. But I would say not to think of it. These are quite close, so okay. So I think I'll need to I'll need to change this a bit. Maybe for the orange, I'll make it even more different. So I'm just adding a bit of Ozzie. Red gold. It's called, I think it's basically a yellow, a red, and a violet. So I shouldn't be really using it for it, but just for the purposes of explanation that they're quite different now. Okay, and then next, I'll go to the cool colors. Now for the cool colors, I'll start off with the yellow again. So this is called bist yellow. I'm not too sure how to pronounce that one either, but it's more towards the green rather than it is towards the orange. So it's supposed to be a cool color. And then for the cool orange. Now this is the bit that I got a bit confused. Even painting for a few years now with watercolor, I was like so what is a cool orange? Now? A cool oranges supposed to be more towards the yellow than it is towards the red. And this chrome, orange is pretty much supposed to be more towards the cool side, like really it could go both ways. But I personally, with all the oranges that I have on my palette, I believe this is the closest that I can get to it. So that's cool orange. And then for the red quinacridone, magenta. So believe it or not, although this is called magenta and some people may consider it pink. I mean, not pink, but consider it more purple. It's actually a red. It's a PR. I think it was a pigment, BR2, CO2. That's right. So quinacridone, magenta. Now that's a red color. It's more towards the, it looks more towards the purple, towards blue. So it's considered cooler. And then for the purple, I will use the smart. I just love this color. This is one of my favorites and my granulating colors. It's by Winsor and Newton. But this is a violet. It may look more like a blue, but believe me or not, it's a violet, but it's towards the cool side. So that's smart. And then next we'll go to the cool blue. I am going to use the cerulean blue. Now some people would call this like a failover, blue, green shade, because basically it's a blue more towards the green, so it's a cool green. And then finally, the green, I always have more space here. Okay, so for the green, cool green, I would use the viridian. Maybe viridian from, I think this was a gradient. So a cool green would be more towards the blue rather than the yellow here for the warm ones. So this is where it changes a bit. You're like, which way around is it? Basically this one would be more towards the yellow. For the cool green, it'll be towards, more towards the blue. Okay, so that's the cool and warm and as you can see, it creates a different field to it. What was interesting for me when I tried to create this class was that my palette really mostly consists of warm colors. I don't really go for the cool colors. But then for the purples, I would go for the cool. It's a bit weird. But also another thing I realized is I use more of the granulating colors more than the quinacridone, very bright colors. I think it just creates a happy tone when you use more bright colors. And I just don't seem to prefer that personally. So it's interesting, just try to create these basic color. We'll just go with what you think is considered the norm. And then the warm and cool and see what kinda feel you might like. Between these, It's a good exercise to do once in a while, even if you've painted for a couple of years. Okay, So now we're going to create a complimentary color. I think I'll do maybe three examples here. So a complimentary means opposites. So when we look at the color wheel, I'm just going to quickly draw something here so it's easier. This is going to look a bit dirty, but it's fine. So when we say opposites, it means it's right opposite from the color wheel. So for a yellow, it'll be purple. For, for our blue, it'll be orange for a red, it'll be in green. So let's just pick like colors and just try to align them next to each other. So a complimentary of read will be a green side-by-side. They just create so much contrast. And when you mix these, it'll create a neutral color, basically a gray, which some people just mix their blocks by mixing these complimentary colors. And one of my favorite here is with ultramarine blue. This is quite popular among watercolor, is, is with, I think it was burnt sienna. Because it's burnt sienna, although it's a neutral color, it's more towards the orange in the color wheel if you think about it. So that's quite beautiful. Let's just try blue with quinacridone, burnt orange. That's also quite pretty. Okay. And what else? Let's try purple and yellow. This is a mixture I don't quite often like, but let's try with the yellow ocher here. And then shrinking violet. Those are complimentary side-by-side. They create contrast. Next one, for more of a harmonious look. We're gonna look at analogous monochromatic and try adding color schemes. Analogous means basically when it's the three colors next to each other. So say this one would be yellow, orange, and red. It could also be orange, red, and purple. It could be red, purple, and blue. So one of my favorites, Let's just try with this violet smoke. So that's purple. And then my favorite read, one of my favorite grit is potters pink. So it happens to be both a granulating color. And then let's choose an orange. My favorite orange is transparent pyrrole, orange by Winsor and Newton. They are quite different. And why this happens is because these small and the violet and the orange is quite vibrant. But the potters is quite, quite more muddy and kink and that's not a nice word, but it's more neutral tone. It's not vibrant as the other, so it could look off a bit. So when that happens, you just need to probably use the same cool colors or the warm colors here, maybe I should've used a cooler red. But either way is we'll go over that later on and I'll explain how you can create a more harmonious look. Okay, so what else? Let's try a blue, a green, and a yellow. My favorite blue. I have quite a few. But let's go with this cobalt blue. And then green. Let's go with the viridian green. And then for a yellow, I don't like yellows, but let's go with the nickel type. Tain it. Yellow. I don't even know how to pronounce this. So that's quite analogous, That's quite pretty. Then let's try the yellow, orange, and red. So for yellow, I'll use this. Or was it called? I always forget this one. The nickel azo yellow. So this is quite a yellow, more towards the green. It's more cooler. And then for orange, let's try using the chrome orange. And then for the red, let's try using the scarlet Perl. I think it's called the parole Scarlett by Daniel Smith. Okay, so those are analogous colors. They have more harmony than the complimentary contrasting look of the colors over here. Now for the monochromatic, this is quite important for watercolor because watercolor you can get the darks by using more pigment and the water. And the opposite goes for, if you want to go for a lighter look, it's more water and less pigment. And monochromatic means you just use one color to get the whole scale. So let's pick that smart that I like quite a lot. So I'll just start off with a very light color. Then I'll go much more darker here. And then I'll go actually just dry brush almost and filled with pretty much only the pigment. Okay, Next one, the triadic. Now this would be, that's why I put a line for the stars. So it'll be okay using the yellow, the blue, the red, or it could go okay, using the orange, green, and purple, it's basically, you skipped one color from the pigment. So it's like, it looks like a triangle when you choose those colors. So that would be, let me get my favorite orange, the transparent pyrrole. Pyrrole. I don't know how to pronounce these. And the purple, let me get imperial purple. And it's called quite a pretty name for a pretty purple. And then let me get the green. Now. I just like radian green now that creates a harmony. Could see that, oh, okay, it's, it's giving a different feel to from the rest of the color selection. Okay, So next, I'm going to choose a different one. Let's go with red, blue, and yellow. I'll choose a red that I quite like It's called quinacridone coral. I think it was the, so this is a red. And then I will choose a blue that I like. I do like seriously, and blue chromium. So let's choose that. And then let's choose a yellow, which I quite like any yellows except for yellow ocher is always my favorite. So that's quite pretty. And you put C. Okay, so let's go to the next bit. So now we're going to be mixing colors. Now I put a heart mark here because I was like, Okay, I'm going to choose one color that I love. And then I'm going to choose colors that I don't quite like. And then I'm going to see how I can make them into something that I would like. This is quite helpful when you're using the leftover paint on your palette. Because basically by using one, by adding basically one color, what happens is that you discovered the secret to harmonious watercolor paintings by choosing one color to mix into all other colors, creating a unified and cohesive art work. Okay, so for the next bit, we will be mixing colors. Now, this bit, I'm going to select one color that I love. So we're going into mixing colors. Now, I've discovered the secret to harmonious watercolor paintings by choosing one. That's right, just one color to mix into all your other colors, creating a unified and cohesive color scheme. So this is what I will do first, I'll choose one color that I love and the colors that I don't quite love. And try mixing the color that I love to each one of them. And then they'll look harmonious. Let's do it. So one of the colors that I love will be English, Venetian red. Now this is, I chose that color. That's not granulating because I don't think everybody has granulating paints as much as I loved them, like I just loved them. So basically this here is all granulating paints, but I wanted to choose one from my non granulating palette that I just, I don't know why, but it became English Venetian red, which is which is basically a brown color. Right here. English Venetian red is a PBR one-on-one. So I'm going to use that brown, although it's not quite from the color wheel, but I just don't find any colors that I really love from, from the other colors that I have here. So anyway, so I'll be using English, Venetian red. So that's the color that I love. It's quite ready. It's quite ready for the colors that I don't quite like. I will be using lemon yellow, which is p y three. I think this often comes with a very basic appellate that you'd get. So this is lemon yellow. Now, you can tell that I don't quite like it because I don't often use it. I will be mixing my English Venetian red, and try to not mix too much pigment into yellows because they're quite, they're not that strong. A lot of them are quite transparent and they're not quite opaque. So a bit goes a long way. So now it looks a bit like a yellow, but anyways, so that color, I love more than it it was. So that's lemon yellow. Now, I don't quite like cadmium red, although I have kind of seen how I can work with it recently with portraits. But anyways, so that's cadmium red light, It's PR 18. I'm going to add a bit of English, Venetian red here. Cats are quite strong and opaque, so adding a bit more than yellow is okay. Now I'm going to use cerulean blue tone. This is a PW for with PB 153. Now, it's basically at the low blue-green shade, but I don't quite like this blue either. So I'll just mix a bit this English Venetian red, and look at that. It almost looks like there's a pigment that shrink mixed called glacier green. I think it was. But it just looks like that. Yeah, so it's pretty I just love these colors. I would definitely like Krita artwork. That's basically these colors. Okay, so let me put so I don't forget, try to write these down so you don't forget which colors are what? That's English. Venetian, red, lemon yellow. And then that's cad red light. And that severely in blue tone. Okay. So, um, okay, so I'll be using the leftover paint now. You could see I have quite a bit right here. So first, I'd like to write what colors are leftover. So first of all, let's just draw the color wheel again. So yellow, red, and blue. And then next comes purple and then orange and then green. And what happens here is that I would want to write, okay, that's yellow ocher that I have left. So I got this chick. I got That's cobalt turquoise light. So that's actually a green pigment and white. So I got that. Then I also got another green that's permanent. Permanent green, I believe, green olives. So I got another green and then I got burnt English, Venetian red. So that's more like orange, yellow, it's right here. And then I got purple. Now, I would look at what I have the most. So the bit that I have a lot is right here. So once I get that and I'm like, okay, I have a lot of these. I only have one that's right here. So I don't have any blues. I have a purple. Then this, the one that's furthest away would be the one that I would mix with the other colors. So here it will be something that's quite apart from the rest, which is this violet. So this is the shimming go. Violet. So that would be there. And then I would use the others. That's right here. So that will be the yellow ocher. I would mix this up a bit with shimming because I'm violet. Just a bit goes a long way with the yellows. And then I'm just going to mix these two blues together because they could always mix together and still look quite pretty. So that's the ultramarine violet with cobalt turquoise light. It's a green blue. And then I'm going to mix a bit of this shimming color violet. And then next I would mix this permanent green, olive, green olive, and then mix just a bit of this shrinking violet again. And then finally the English Venetian red. This could basically be my red, although it's a brown. And then mix a bit of this Schumann go violet. So there, I could basically use the leftover paint that's in my palette and they still look quite cohesive. Like there's some kind of like harmonious power almost going on. So this is how I use my leftover paint. Now, this There's another tip that I would I would add to this. Now, if you have like a swatches like I do here, I have all my new to our reds and greens and yellows and oranges. You could always like, swatch these out and be like, okay, what color kinda goes together with which it's more easier to look at. Like the harmony and how, what colors might go together. Also, another tip, my second tip would be like sometimes you have, okay, there's a bit of an orange here. What I would do is to make into them, into one, I would just mix them. And if these are pretty much reds, then I'll just mix this whole section and create its own kind of orange color. Now again here, it's like a bit of a green, blue with a purple. They would kind of go along together there. Then that would create a bit of a purple, no, like a blue-green almost because the green ones. But you can kind of make like your leftover paint into more blocks of bigger paint if pigment, if you know what I mean, that would be a purple right there. And then here I think they're all pretty much set into their yellows, blues, greens, reds. So when you do mix colors and you have to take out some pigments, I really recommend just grouping them into the same kind of color schemes so it's easier to use them later on. But definitely using one color to mix with the others will help you and help you to use your leftover paint that you can't you don't want to throw out. Okay, so let's go to the next class. 4. Essential Watercolor Techniques: So now I'd like to go over some warm ups with watercolor, and that's quite important for creating the final project piece. So the pigment water to ratio is very important. What it basically means is because watercolor needs water to make the, all the values. You need to be able to understand that more water means less pigment. So it'll be like the lightest light of what you can get out of the watercolor paint. And basically, less water means it's going to be very dark in value. So you'll be basically getting the darkest of that watercolor paint. I like to use one color from here. I think. I'll use a red because it's more easier for everybody to see. So first of all, I'm going to use the lightest light and then more water to start off with. And then I will get it to become the darkest darks. You don't have to create a perfect circle or anything. We're just trying to get the pigment. Correct. So once you get the hang of this, then you'll be able to really understand watercolor. I wouldn't say how many you would need to create, just create as many as you can. And then for the final one, I would basically wipe off the water in my brush. I'm basically only have pigment. And then now we're going to go very dark and then work on, okay, What I've done. Emergency. Looks better. Okay. So we're gonna get I think this one is not light enough. It's not good to go back at something and rework it. But, oops, okay, So now we're gonna do more pigment and then it'll become less. I think I used this cobalt turquoise light because I just love this color. So that's the darkest it can get. It should be a bit darker. As they say, just practice makes perfect. So just have to do it many times until you are happy. Adding a bit more water here. Getting white paint all over. Okay, now we're going to create flat washes. Now what that is is that you take one color and you make the color like stay in one same value across. And with watercolor, it's just difficult to make it have a clean look if you go over it again and again. So understanding how much water is inside your brush is very important. Now, you could see there's a bit of a puddle right here. You can always scoop it up a bit, but see, I think I'm trying to work it a bit too much. Were you working it over and over causes it to become less vibrant. So that's a flat wash. Let's try it in the other color. Now you can also create a flat. I'm a variegated wash. And you can do this by adding a different color on the other side. So I can use that red I was using. And basically don't touch it until the end. And then try to blend it here. These are quite the opposite because the, although it looks like a cobalt, cobalt blue, turquoise looks like a blue. It's actually green, so it is complimentary colors, so it's not the best to kinda do a wash. And then I'll do another wash just in case because their space. So it's always good to pull the pigment and the water out to wherever there isn't any water. You haven't lead your brush on, just pull it and then you have a flat wash. Now we're gonna do gradation washes, which is basically having pigment and then making it less with pigment and the more water. So I would use this red again because I don't want to use it up. More pigment here. Then just keep on adding a bit of water. Again, a bit of water. Again, a bit of water. Again, a bit of water. And then clean your brush. You can make this aligned if you want. Okay. I think I went over, it. Looks dirty, but thank you. So let me try it with a different color. Can just cobalt turquoise light, wiping my brush, adding some water. Adding some water again. Okay. So that's my gradation. Again. Let me use the English Venetian red. Starts off quite dark. And then more water or water. Okay. Okay. So those are my gradations. Now, brush size matters. So I put this end because we'll be working with big size shapes in small slice and we want those variations. So first, I'll be using this brush and create a circle. Now, I'm going to use the serially in blue. So to fill up that much space. This brush kinda was perfect. It create it pretty much an even layer like a wash. And I'm going to use this slides brush and then create a bigger, a bigger circle with it. And it makes my life easier and it makes it more controlled. And it would create an even wash. Next, I would use this small brush and see what I can do. So that's like the perfect size that it would create. Now, if I try to make a bigger circle with the small brush, it would be quite difficult for me to get an even wash. I would have to work very fast. Move the paint around. Although it's not impossible. It is quite difficult. So that's why breast size matters. Now, we will work wet on wet, which means that we'll put water first and then we'll put in some colors. Now, I just loved this way of working with watercolor paints. Because it's almost like you have to lose control. But that losing control and knowing what might happen and what might not is just, I just love it. I flipped my water first and then I'll come in and I'll put some pigment inside. Just drop it. Okay. And I'll let that dry. And also what you can do is you can create you can put the water, and then you can put different colors within this water you'd late on. So I might add yellow ocher on one side, and then the cobalt turquoise light on the other side. Excuse me. And I could let it just see how that blends in. I could also, firstly the yellow ocher and then more pigment of the yellow ocher. And then I could go over it with the cobalt turquoise light and just drop it in a bit like that. So it already has the yellow ocher underneath, which with green it'll make it turn more like a green. A yellow green, which is quite a beautiful too. So you could, that's a wet on wet technique, a blending wet on wet technique, which I already did over here. But okay, let's try shrinking violet. Then I would get a red. And I could blend this red into the Schumann key, violet. So I'm working and quite working with the pigment, thinking, Oh, how much water is there? How much water can I lay over to get the look that I want? Because basically if my brush was very dry and I squeeze everything out and laid my brush over it than it would've sucked up a lot of it. And the red wouldn't have got onto the violet that I laid underneath. So water and pigment ratios vary. Quite important. Okay, so let's do another one. Let's get this cobalt green and make the area what? I am going to blend a cerulean blue. I'm going to drop that right there. And then I'm going to try to blend it with a bit of water, not overworking it. Okay. Now creating whitespace, I don't know if I would actually use this too much for the final project, but I still want to do it. It's kinda neat and cool. So I am going to mix like a red here. So initially the white is only created a few. I'm keeping a whitespace available. Like open. So what I do is I'll create this circle right here. But I'll create another circle using a complimentary color. Basically come over here. Be mindful of this whitespace right here. Just lay there. I would go using like a really watered down pigment first, like this. And then, oops, I kinda blended it on the sides, but it's fine. And then I would come over with a darker pigment. This needs more water to flow. So there's a bit of whitespace right there that's been created. We can try doing more of these because doing more is always good. You'll get the hang of it. I'm going to have a very light watered down pigment, again, trying to be mindful of that space in between. And then I'm going to drop. So if I have less water inside my brush, it's going to suck up a lot of the water that's on the paper. And then it will only give me a bit of the pigment onto the water. So having more or less equal amount, like quite a bit of water on my brush and then dropping in colors would make the pigment spread more. Okay. So that's creating whitespace. Now, we're going to work with blooms. It's also called backgrounds or cauliflower. So we could see some of them already here. Some people don't want this effect, but I just feel like it's really beautiful, so I like to create them intentionally. So we'll do that. I'll use granulating colors or more. It just feel like they're more likely to create these blooms. I'm going to use a viridian. Basically it's like they're pigment particles are like bitter, bigger with granulating colors. That's why they're called granulating. So they go into the creases of the paper more like these particles. And it'll look like as if they're kinda like a stone or something and so pretty I just love it. Okay, So here I laid down a viridian. Now also laid down a cobalt turquoise green right here. And I'm just going to let it dry a bit. How you create backgrounds is once it's almost dry but not completely and you touch it and it's damp. Some people just try to look at it with some angle and see if it's share or not. And if it's share and it's still kinda doubt, that's the moment that you put water and extra water on top. And what happens is that the water would then push the pigment outwards to wherever the water runs, and then that will create the, the blooms or cauliflower back runs. So let's just wait a bit more because it's still kind of shiny right now. I would like to do layering. So I would for layering, what I mean is that we're gonna do one wash. And then on top of that, we're going to put different colors and see what layering kinda mix the colors beneath look like. So try to pick a color that's not too opaque. Now there are transparent colors and more opaque colors. So here I have my opaque stent are kind of like the squares will be covered, will be black basically. So this will be opaque, this would be transparent. This would be semi-opaque and so forth. So I would I mean, for the first wash, I don't think it quite matters. It matters what you put on top of it really. But I'm just going to choose a color that I quite like, which is this yellow ocher. So yellow ocher. Okay, I think this one is drying out, so I'm going to dump a bit of water right here. Right there. Okay. I might have been a bit too slow, but okay. There you go. It's getting that blooms right there. It's kinda pushing. I could have been a bit earlier, but it's quite hot today. I guess it's dried up pretty quickly. I'll use this cobalt turquoise light. So create a wash. And then once this is dry, we'll do a bit of layering. This is a great exercise to also work with your strokes like lines, making thin links. In the last one is create. So I think for my final project, I'm not set yet, but I'll just use these paints that are left here. And I'll go with that mixture of using the shimming color violet, which I don't quite like because it's too vibrant with the other colors that are left here. So I'm just going to create a bit of a mix right here. Just see how that looks together. Big circles. Then adding a bit of this violet is they had it too much with the purple screen. Here, just like experiment with whatever you have on your palette that's leftover and try to mix one color. That would be the color that you wouldn't mix to the rest to make it harmonious. I think I went too much. The purple. One else, English, Venetian red. Even sometimes connecting these circles make it look quite pretty. Okay. So I'll try to do the layering bit right now. Would just use the colors that I'm expecting to use. Just touch it and see if it's kinda what still, it's a bit weird, but it should be okay. So that's permanent green olive. It's pretty. And tried to make the the watercolor that you use more pigment and less water because it might, if the underlayer is not quite dry and might try to blend into the layer underneath so it's better if it's completely dry, but I'm just going to work on top of this right? Then that's the violet. It's quite pretty. And then I'll just add one that's just basically the same color that's underneath. Now that's really pretty. I like that color combination right there. Now I'm going to work over the cobalt turquoise light. I'm going to use the same color right here. It's quite opaque as you can see. It's permanent, green all live. So you could tell which colors are quite opaque compared to the others. Okay, so I'm done with layering as well. I like how that connected right there and created a kind of like a bloom of its own. The blooms here just so pretty. Okay. So I hope you learnt, got to do some warm ups and got the hang of watercolor a bit more. So now we'll be working on the sketches and the color selection. 5. Sketching and Color Selection: Okay, so for this class we'll be doing sketching on for the final project ideas. I've created six squares and this is pretty much the ratio of the final project paper that I'll be working on. And I've also put a bit of wine here, three lines. So basically this is the rule of thirds. Maybe you've heard of it. It's basically to have a better composition. Where the two lines meet is supposed to have, if you put like a sheep there than it's supposed to work overall. So we'll just create sketches and see which one is best. Now, as I mentioned, we'll be working on abstract shapes like circles and squares. So I'll just start off with here. Think. Make a circle. So there's no really rules that I go by. But I'm just going to draw whatever I feel like it at the moment. Okay. So this is my first one. Then I'm going with my second one. Really doesn't matter like where things should really be. As long as it kinda feels like it looks right. Hey, BL, create a circle right here. She paper sheep. Maybe small circles added. Okay, that looks nice. Then for the next one, I'm going to make it quite simple. Maybe just using three shapes. Three of something quite works. I don't know why, but it's because it's one of the things that just seemed to work. Three circles. Maybe just where those lines meet. I can put like a smaller circle, maybe even a rectangle like clips style, and maybe even a smaller one inside it. Okay? And here I'm going to do another one. Small rectangle. Maybe sheep like that. Maybe like a circle again. I would say just create many as you can. Without thinking too much. Try to be spontaneous for this one. Now. For this one, just start out with a big one in the middle. Maybe small circles around. Yeah, I think that's enough. Okay. So for this one I think I'll try to make maybe even circles that seem to be cut off here. But then maybe, maybe shapes that are weakly bigger shape. That x here with a rectangle goes here. Then maybe small circles around there. It looks heavy, quite right here. So I might even get like a semicircle here is limestone, go vertical. Okay? And then for the next one, I'm wanna make it quite simple compared to the rest. So what I'll do is I'll get a very huge rectangle right on the side. And then get a bit of square there. And then another rectangle actually, and then maybe a semicircle, just those three. And then D is could be connected with a circle that goes like that. And then I could put some rectangles like that. And like that. Small circles around. And then for the next one, make it. Let's see what else can I play with? Maybe I could do one big rectangle, rounded rectangle. And then the gold x coming down like a circle with a bit of another circle here with the goals accent. And then I can connect these, but come to this third point here. Alright, Maybe you in there. Maybe it could be like a two circles together. And then then this could be a long rectangle. And then their coop. Maybe there could be another like circles that come like that. Okay, And the final one. So the key really is just to go with the flow. You're feeling like. It's better to intuitively just draw whatever crosses your mind. And just use the three rule of thirds as like a help to come and get you going and thinking of where allocate, things, like allocate this shapes. Okay. I think I'm done. So I'm going to look over these. I'm going to first select which one's going to select which ones. Kinda speak to me the most, maybe three or four. This one. I don't quite like it doesn't seem like it kind of speaks to Me too much. This one I do like, yes. This one Not really. This one. Not really. This one seems okay to me. This one? Not really. This one. Yes. This one I quite like and maybe this one now. So for me it's this one and you can't really explain why the fit is just seems like it's working like visually for me. There's no really like rural of why these are working. But now I would use my leftover paint and see how the ones that I've selected look with the colors. So I will be using the colors that I've already selected, which are all my palette. This shimming get violet, purple would be the one that's furthest away from all of the rest. So that would be the main color that I'll be mixing the rest width. So it creates this, it'll pull all the colors together in one piece. Okay, So let's get started. Then. I'll try to let's just get started. So there's no really rules that I would go with when it comes to where do you place the colors, I was going to explain well, where the rule of thirds meet, the lines meet. That's the place that I would put like one specific color. But not really, it doesn't really work that way. I would rather put the gold accents that we'll be working on in the final project for that area. Rather than just working that area with the one specific color. So sometimes these circle shapes could connect with one another because that could create quite like a color. I need to add more of this green here. And moral right here. So now I'm looking with blue and green are the biggest colors right here. So I kinda wanna work like this In analogous color scheme. So the red should be less used. So I'm going to put the red in the smaller ones so it doesn't fight much with the rest. So that might help with how you allocate the colors. I'm going to bring that green back in. Some could be even darker green and some could be a lighter green. And you can kind of play around with the values of these colors. I'm going to add a bit of violet here. Maybe I'll use yellow right there. Add a bit of that. Shrinking violet. Now that kind of went a bit too much, but you get the idea. Okay, And then next one, I'll work on that. So again, the same idea over this bit with the green, violet. And then when you do place the the colors, you do want to thank all. Do I want to blend that into the other color or not? And if you don't, you have to wait until it completely dries. Here I'm not thinking too much. I might add my own critique later saying, Oh, I might want to swap that color around and so forth. But for now, I'm just layering all the colors in. Use. The yellows right there. Then I'm running out of the swimming pool violet now from doing all these testing. For that one, it'll be the English Venetian red. So now I might have to go over to this pellet and use this violet instead. So for my next one that I'll create, I'll be using a different file at the smoked. So I'll be working on this one right here. The yellow, because there this small blue. And then use the cobalt turquoise. I'm running out here. So this then I'll use the English Venetian red. Add the smoke a bit. Okay, so basically, I've created those out of the paints that was leftover. But because testing purposes, I've already tested quite a lot with the colors in there pretty much running out. So now what I will do is I've got a lot of paint here that I want to use. And obviously whatever paints leftover means, those are the pins that I quite love and I just use overthrown over. So I'm going to use that, I'm going to group it up now. So that's the reds. Although they look a bit like purples. That's another red I could use right there. That's another red, the quinacridone coral. I'm not sure what that thread is, but I believe it's still a red so I can use that. And those are a bit of oranges. And I don't have much blue left, but I do have this warm green right here. Okay, so my mission would be pretty much to use all these colors. So now I basically have more reds and oranges rather than green. So I would mix the green or the blues into these at the top to make like a colored that would fit. But since I want to use quite a lot of color, I'm beginning to think that I might just use this paint right here that I really want to use up. This is the ultimate mystery. I think it was called on. I think this was the copper actually of Daniel Smith. So I'll just mix these instead. So this will be my main mixing medium. And I'll create one right here. The colors that are basically left over on my palette. Because there's quite a lot of bit to fill up, but I'll still beekeeping. I think I'll stick with the let's see, we'll stick with the reds and oranges and then the purple. Now the red, purple, and blue. I just love this color scheme right here. I think that's one of my favorites, so I'll just use those. So it still creates some harmony. And I wouldn't quite used the yellow, I believe. Okay, So let's get into it. So I'll use this pink right here. But I'll always tried to mix this color right here. And then then this shimmer a bit. And then I'll use think we've got pretty much the reds. So I'm going to use some violets here. Then I'll use this blue right here. Now I'll mix shimmer. Think I quite like this. Okay, So I've created this and I really liked the color, the red, purple, and then the blue. But I'm just going to further, I'm just going to play out with the other sketches that I didn't quite like. And see. I'm just kinda practice, see which other colors might work as well. So I'm just adding these blues and greens right here. Even might bring in this blue right there. I'm just combining all the colors will work together. If they're not complimentary. I mean, you can combine the complementaries if you want Greece, but I don't really want grace for this final project. So I'm just combining whatever colors that will work together. On keys. There, I have it. I might try to see if I can combine all these. Let's try this one out. And then I'm just going to add a shimmer to each one of them. See if that will still combine them all together. Using this. That's a red. The quin Magenta, I believe. Bit of simmer. And then let's use this green right here. Maybe I can use this dark green right here. And maybe even this foolish, it looks blue, but it's actually a green. Put a bit of summer. And then what else haven't I use? I haven't used this. Let me add that blue. It's not strong enough. Ebl, this gray right here. Then I'll add this yellow. All right here. Then the shimmer. Okay, So that kinda pulled everything in. Just using the shimmer kind of worked as well. Okay. So I think personally, I do. I like this color right here. It was the cobalt turquoise light with a bit of, I think it was a civilian blue mix with the shoemaker violet. I think that's pretty, I like this kind of analogous colors of red, purple, and blue. I think that speaks to me the most, but I might add a bit of that blue, the green blue. Just for an accent because I just like that contrast. My main goal would be to use these. They're pretty much watered down now and I don't know how much would be left, but I'll use those and maybe just directly add straight pigments into the final project once it's kinda pretty much drawing. So then it has a bit of that pop kinda look. So I don't use more paint. But yeah, I think now I'm pretty much sitting with them. What I want to do, I'll go with this composition right here because I just feel like that speaks to me the most. And the colors as well. 6. FInal Project: This will be the final Project. Now I was supposed to be using this Winsor Newton cold press paper, but I've decided to use a different brand, Fabriano, but a hot press paper. The difference here would be that it'll be hot press. Cold press now is hot press. And that the size would be a bit bigger. But the cotton ratio is 25%. This one is 25%. That's the same. I would really recommend using hundred percent, but because I dislike using as much paper leftover, that's not hundred percent right now at the moment. I'm trying to use it all up, so I'm just going to use this one. I just love how the hot press works with granulating colors and even just non Granulating as well. They just leave this really interesting marks rather than cold press. And my husband said, it looks messy. I just love it. So I'm just going to use depth. And I did put two lines, two lines across as well. Then I can do the rule of thirds. I placed all my lines that I'll be working with in the sketching stage. I mentioned that I'll be doing this. That hasn't changed. I'll be doing exactly the color. Will, the colors would be exactly the same I suppose. But because my palette is almost the paint on my palette is almost gone. But I'll be using the same kind of ideas, as well as narrowing down under analogous colors of red, purples and blues. Okay, so let's get started. I would highly suggest you to tap on your paper after you get so you don't see so much pen marks because after you lay that watercolor paint is not going to come off. Okay, so first, you do need to plan out which ones you're going to lay the paint later on, which one is further back and which one you want to face towards you. And for this one, I'm going to go with I think this one would be farther back, so I'll start with that. And then I'll do this one because I want that to be in the back as well. And this one would be in the front? Actually, no, because I'm using the neutral culpa purple here, which if you study color a lot, then you'll notice that the things that are further back are more neutral or more cool toned. And then the warmer colors will relatively compared to this one. This one is much warmer, although it is a cool red. So I'll make that to the front. So that would be first, this would be second, and then this would be third. And this I would do at the end because I don't want any paint to get on my arms while I'm working on the rest. Okay. So this will be relatively like a big paper. So I'm going to work with my big paintbrush. Here I go. The first using maybe I'll just use this red that's leftover here. And I'm also using this shimmer to unify all the colors and get them all together. Looking more cohesive. Actually need a bigger brush, but I don't have much big brushes. So I do like to use very light Paint first. What I mean by light paint is more water than the pigment. Then get the area white. And then I'll come in with a darker magenta. And if you overwork your paint, then it'll start looking like if overwork them. So try not to do too much. I'm laying that copper shimmer paint Now I'll be working on this one up, but I'll have to let it dry. So I'll have to wait until this dries so then I can work on this layer right here. Which means that I'm going to work on the bottom one because that one could be done right now. Okay. So for this one I'm going with a blue and I don't have much blues left. So I'll have to dig into this a bit, this cobalt blue, because we've done the sketches and kinda selected our colors. The final project will be relatively quick. If you get any paint, then just tap on some water in that area and just let it dry on its own. The problem with using 25% cotton is that it kinda looks very uneven and it doesn't really soak too much of the water because it's less quality paper. So you do have to control the use of your water, which I'm not quite doing right now. Then I'm going to go in with the second layer here. Maybe even let the paint do its job of it. And then I'm going to add the shimmer. And because this looks too vibrant at the moment, I'm just going to add a bit of water and also even a bit of that magenta that I used over here. Okay, I'll let this dry a bit and come back later. So now that it's not completely dry but almost dry, I would go to the next layer. Now, for this bit, I actually are, I'm actually thinking for this, for this bit. I'm actually thinking there's one circle here, but also one soccer circle here. And I'm thinking about creating more deaths by layering one layer of watercolor pigment and then a second layer after it dries. So for this, I will be using this shadow violet by Daniel Smith. I just love this color, so I tend to have a lot on my palette left. So I'm going to go with quite a watered down color of this and make a big circle. Now I got some paint there. Just tap it. So working with a big paper is quite hard because you have to work quickly before the paint really rise up, which is quite difficult, especially when using a paper that's not hundred percent hundred percent cotton. So why did you use it? Miwa. Yeah. I just want to use up all my Art materials. So I'm very determined to use it. Okay? And one of the key things about watercolor is to not overwork and area. Once it's done, you just gotta let it do its thing. So now it's creating all these blooms that I just so-so love. This is the fund bit of granulating colors. Can you see that? It's just wonderful and this shadow violet is very interesting because it's like a mixture of, well, it's a violet, but it's a mixture of, I think it was orange and a blue which creates a neutral. And then it's got a bit of violet. I think that's what it was. I have to double-check. Let me see. So the shadow violet. Oh, okay. No, I was completely wrong. So DC, this granulation going on here is just so wonderful. It's because there's water, more water here and the other parts are pretty much drying faster. But this one has still like a puddle. Oops, I touched it. A puddle of water right here that's basically pushing the pigments, the pigment particles that's underneath and that's engraved in the paper underneath. And with hot press, it even is more. It comes out even more because I guess it's more finer paper with less creases. Creases but more kind of like how would I say more bumps basically where the pigments can go inside. So it just shows so beautifully. So this is one of the things that I would try to avoid covering another layer off and work around it once it's completely dry. And it's best. Just, the key with watercolor is to not overwork it. And using paper that's not quite hundred percent is quite difficult and tricky, but it just creates these parts that you can't really control too much. And I just love it. Okay? So I would think this is not quite dry, so I would want to wait until that one dries and then I'll work on the second layer of this circle right here. Okay. So the papers dried pretty much. And because the paper's not hundred percent it's like kind of buckling a bit. What I mean by buckling is that it doesn't quite hold enough water that it's looping a bit and creating these different bumps here and there, which is not really nice to work on. But I was planning to make another layer right here, like a circle, more of a circle rather than an egg shape, an oval. And basically, I still see my paper. I mean, my pencil mark right here. I like to quite go a bit darker right here, but I want to avoid covering this beautiful granulation that's going on right here. So what I'll do is first, I'll lay water around it because pigment only goes around would only flow towards word there is water. There. I have a border right here. Cannot quite see, but I have a border right there. So I'm going to lay my paint and this time I'm going to go a bit darker and work around this beautiful area. And I'll just create, just go quite fast. And here. And I'll have a really dark edge right there. I don't want to show any pencil lines. Should have kind of erase that a bit more, but I have more water to blend this pigment around as quick as I can. And then I'm gonna make a bit of a circle right there. Circle right there. Then covered this whole area as quickly as possible. Then I don't worry too much about how the lines are. Some areas could be quite light. In some areas could be quite dark and war. Fine. But yeah. Okay. So I quite like how that is looking. I think I'll leave it to dry again and I'll come back. Next. I want to go over this blue again. Now, I just think that it's quite different in colors right now. This is quite vibrant compared to these two right here. What I'm gonna do is I'm going to use a bit of more shimmer, but also I'm going to use a thin layer of the shadow violet on top just to make it look more cohesive. So the problem with the sketching phase is because we've used the Leftover Paint. Obviously, if you have a lot on your palette, then it's fine, you can use that. But because I didn't have quite enough, is they looked quite light in value. So when that happens, everything does look quite cohesive because it's quite light and you don't see that much difference between the colors, but when you kind of okay, once you've used up your leftover paint and you kinda dig into the pans, then it does make sometimes that quite a difference between colors. But just keep on mixing other colors into one another in and try to make cohesive look. I think I quite like how that turned out. So I'll leave that to dry. I just added the same shadow, violet on top, quite thinly from here. And then I added the shimmer. Now this doesn't have a shimmer yet, but I might add it at the final stage because for me, that's just like the main part of this whole painting. That's where I want to draw the eyes. Okay. So I think that's still wet. So we'll come back. I've run into a problem. As I was looking at this painting, I've realized that I didn't create enough depth into the first layer of that, which is a problem because the more I lay this one, then this will be hard to go back to to work on because it'll get mingled and they wouldn't create that depth. When I'm planning to do is I'm going to work on this alone first until I get the correct depth. And then I'll rework on this one for the final layer at the end, because now this one is also too far away. I mean, I kinda like it, but I think once I lay this bit over this wall, basically not really be existing anymore. Okay, so let's go to working on this layer right here. So I have to go really dark for this one. But at the same time as I did with the blue, it's already popping more than the rest. And I'll need to dilute it. And for that, again, I'll use the shimmer, but also I'll use the shadow violet and see how that goes. Okay. So now I'll probably put the shadow violet here. So it's a bit away from the shadow violet, the main one right there. And then I'll add a bit of shimmer right here. And then I'll get more pigment in my brush, less water, and just go over the edges a bit. So what's happening here is that there's less water in my brush and more pigment compared to what's on the surface of the paper. So it's creating this kind of kinda like a bleed Look Okay, So I think I quite like how it's turning out. So let's let that one dry. And I really, really love how this blue turn out. So I don't think I'll go over that and touch it at all. I'll have to wait for this. And once this is dry, then I will rework this whole oval shape. And then finally the circle shape. And then only then will go to this shape right here, this bit, it's pretty much dried. This top bit is not tried, but my oval shape will only go a bit above. So here I go. I'm going to use this color as well as this color right here, if it helps at all. I don't really have any colors left on my palette from testing and all sorts. So bear with me. I'm just going to mix that, use that. Okay. And then use some of that as well. Okay? So I'm going to do a thin layer right here. Getting that layer back. And using too much water would then reactivate the underneath layer which might be something you are going for. But yeah, I mean, I don't really mind at this point because it'll kinda blend in with the shadow violet and that'll create another kind of harmonious look. I think I got that sphere back. I just feel like this bit looks a bit like not really blending into the hole looks I'm going to work with a smaller brush and wet that area, but I forgot some of these bits are what I'm working. I'm trying to work around it again because I don't want to destroy that pretty granulation that's going on. Blending here. Okay. So I kept that bit. Okay, and now I'll have to wait for this to dry out. And then I'll work my final layer of that circle right there and then work on this bit right here. I'm going to work with the circle shape that I have here. This would be the final layer. So I'm going to keep in mind that I really, I'm want that cohesive look and for that we're going to mix that one color to kinda tie everything together. I haven't quite tested it out yet. How the copper will look with this shadow violet. But I'm sure it all look pretty so I'm not scared about using it. So again, I'm going to work around that granulation, but and how I'll do that is I'll have more water, less pigment and just blended in with just water. Not really touch that. As much. Gotta work quite fast when doing this. And then now I'm going to add that shimmer a bit, maybe a way. Right here. It's already drying. It's quite warm where I am right now. Spring has finally seem to be coming. I've been waiting for quite awhile. Okay, so I'm not going to touch it anymore, so we're back. Now. I realize another problem. Basically. First, I was planning to make this pop out and this was gonna be a cool red. And basically this was going to be much more of a lighter color. But because of the problem of layering, this became quite strong. Now, if I do the same thing, It's I mean, it's okay. I just probably wouldn't like it as much. I believe. I was thinking, okay, I have to come up with another plan. So I want to use the same cool red, so it stays cool color, nothing warm here. So I want to keep that kinda cohesive with also using that shimmer that I use. So I thought, okay, Then how about this opera pink? So this is where this kind of like swatching kinda comes to play is that you can place it and think, okay, that would work. I'm thinking about using this red called the opera pink. It really stands out. I quite like how that might look. But because it's quite transparent color. And I want this layer to be coming at the top, meaning that this has to pop to the front. I am thinking about using an opaque color. Now opaque color has a bit of white inside of it. So I was thinking about using the white buff titanium. This is really a good color for bringing opaqueness and kinda like whatever you mix it with it, It's a granulate everything, but it also creates this kind of like neutral organic look to everything. I am going to try use that. But first of all, I want to see and test it. So it's really good to have some scrap papers laying around and see how the colors mixes. Now I'm wetting a bit of buff titanium. I'm thinking about layering that layer first. And then I will add the opera pink a bit. So this is quite a transparent color. Then I'll add that copper shimmer. And then I could even bring cohesion by adding a bit of shadow violet again. So I think that would work and worst-case, I would also just basically use everything on my palette to see if it kinda brings everything together. Okay, so let's go with it. Let's see how it goes. I am getting the buff titanium here. I need a lot. And I'm going to layer on top first. And I still have these pencil lines right here as a guidance. For me. At least I'm not like a very detailed work person and my Art is quite rough looking. I don't mind a few here and they're like pencil marks to kind of I'm showing. So I don't mind this bit blending as much either. That could be quite nice. So watercolor is a lot about also letting go. At least the style that I like to paint in. And I just love how it has its own mind. Okay, So now I'm going to get a bit of that opera pink. Kind of lay it. Go quickly. It's already kind of drawing. I add more here. Okay. So I am going to add the magenta as well because I think it's a bit too much actually. And hearing their son Paint on there. Oops. Okay. When that happens, it just lifted off with your paper towel. Okay. And I'm going to add a bit of shadow violet, maybe a way. That's not a bit. It wouldn't do any harm really. Okay, So I bet I added a bit of shadow violet right there and let it do its thing. And I'm also going to add this shimmer a bit. Probably add it right here. Okay? And because this shadow violet is quite strong this bit, does it seem to pop out as much like it's as if the shadow violet is the one to the front, which I didn't want, but I'll need to kinda layer it again and again. And I don't quite want to do that because of the fact that I'm probably the shadow violet is going to be waste stronger than the white buff titanium. And maybe this is something I should have did in the sketching process and layering, but this got to play with it, see how it goes. But overall, I really liked the look. I can't really say for sure yet because it hasn't dried. But let me also add this leftover blue here. A bit. Maybe even closer to here. So I'm pretty much done with my paint. I didn't use the oranges because I wanted to use more of these magentas here. But I mean, it can't really create any painting with these because it's mostly water. So I'm kinda happy I didn't use this palette as much, but it's fine. Okay, So let's wait until it dries. I am going over another layer and I'm going to look at this and I come up, I'd like this area, so I think I might keep this area, but the rest. I'm not too worried about covering. So I'm going over with the buff titanium. Again. I don't find to get quite a lot of it work my way around that area that I just mentioned. I don't mind getting rid of that area covering it. So now I'm going over with some left over paint here. It's going to tap some hair. And then I'm getting that opera pink randomly putting it even towards there. Then I'm putting that copper again. Then I'm getting dark shadow violet. Then putting it right there. And I'm being mindful about creating some finer lines. Where it's a bit kind of looking like it's all over the place. And then maybe a bit more of that. Pink here. And up here. A bit too much of that shadow violet. Okay, I think I like how that looks. I don't have much paint left here. You can see I might use this green that I have. That's pretty cool. I think it'll kinda work. I'm just going to add a bit of that. Gonna go overboard. That yellow is warm but might work a bit, just a hint here and there wouldn't be that bad. And I'm done. I'm going to oh, no. Sorry. While I was painting the camera pretty much moved around and it's pretty much done. I'm going to wait until these dry. And then finally we'll get into the final Project. Well aware will use the gold as an accent at the end. 7. Final Project Adding Gold Accents: Okay, so now we're at the final bit of the project where we'll be adding gold accents with this sucker up and touch calligrapher. It hasn't completely dried, but the bit that hasn't dried wouldn't affect my work. So I think I'll just try to stay away from touching this bit and just work my way. I'll just flip the paper and work on this bit right here first. So I'm going to get the, I might use the smaller size. I'll use the big size first and then I'll work into the smaller side. I'm going to oh my God. Oh my God, that thing just fell off and sprinkled all over my heart. Lord. How did that happen? That usually never happens. Things happen. It's fine. Let's just call it art. Okay, so I'm going to work my big sized calligraphy brush and trying to be mindful, going in one round. And with this one, I think I'll use a smaller brush. I'm trying to be mindful of trying to go in one loop. Okay? So that kinda creates a different thickness. Well, obviously because you're using a different pen, which has a different thickness, but it just creates a more depth book. And then I am going to make a thin line. I've created this circle right here with a compass. I'm just going to make really thin lines from the edge of the circle down. Does it have to be completely straight? Sometimes, when you're drawing these lines that shows the state of your mind, it could be kinda curvy at times, it could be super straight. And I just feel like that's where you are. Minus a bit curvy. It's fine. I'm just going to go with the flow. The accident could have caught me a bit windy. Then I might start to be mindful of getting it a bit straighter. King. So that kinda creates like a circle right there. And then I'm going to create little wiggly worm here that didn't connect. And then I'll probably use a bigger marker for the next one. Create a wiggly worm. That bit. There. And then another wiggly worm. And that's pretty much it. So I'm going to look away, look at it a bit away and see what needs some adding a kinda like how it looks. But I would say the accident makes me want to touch it a bit more. So I'm going to create a bigger circle here and there. Maybe even like Clint style rectangles, pinnacle here and there. Maybe a bigger one here. Just pretty much playing what feels right. Rather than actually really thinking too much. But okay, I think I'm done. I could go quite overboard. But I just feel like something is quite missing there. I might add a bit of circle. Oops, touch that area. Goes like maybe I should draw it with a pencil first. Yeah. Maybe not. Maybe this should be curved inwards. Yeah, that looks much better. So I can always erase the pencil marks with an eraser. I don't worry too much. Okay. So I quite like how this turned out. I wasn't expecting that accident to happen. Well, who does? But I hope I was able to still create a good piece. I quite like it. I probably framed this somewhere in my room. I love how the colors turned out. The layers didn't work as much as I want it at first, but I managed to work through it. It's always like when something doesn't work, you just got to push through it. I just learned that lesson after few years of painting. Just push through it and might look not the best, but don't give up. 8. Thank you: Well done for making it this far. Please give yourself a pat on the back as that's what I always did to myself when I make something that's not easy. Art is not easy, but it's fun. So we create, right? Just one node. Changed. I just felt like something was missing here. Something was missing right here, something was missing here. So I add it three things. I added the goal accent, a bit of circle, oval right there, and a little rectangle right here. Because something was missing. You just look at a piece and you'll probably think something is missing right there. So it's always good to go back and try to work on things. I might leave it for a few days and then I'll come back and be like, Oh, okay, I need to add something. So that's fine. What if it makes you happy, then it's good, right? It looks right now. And I just love how it turned out. So congrats to myself. Okay, so please share your final projects. On the final project that I would love to see what kind of variations you can come up with. It's so lovely to see our other artists share their works. It's quite inspiring for me. And also one. Please, please, please, please leave a review if possible. I'll really appreciate it if you can. It's always good to know what kind of things I should change or become better at so I can make better quality videos in the future. Okay, So thank you very much and see you next time. Bye bye.