Watercolor: how to choose colors for a perfect palette

1. Intro: Hi everybody. This is mu and welcome to my Skillshare class. Now I've been doing watercolor only for two years. So you might be like wait a minute. So you're a beginner intermediate level and you're teaching a class? Yes, I am. But I will tell you that there's a lot of things that I think advanced watercolor is, we'll take for granted and cannot really explain what we beginners struggle when it comes to watercolor or really anything. So here I am. I wanted to share what I learned through what I was creating a month ago, and I wanted to share my process. So here I am. So this is the goldfish that I created with watercolor and gouache. I've kinda combined what I did in my earlier class, japanese patterns. You can check that out if you'd like. I explain how to do the same pattern. So here I did gouache and here I did watercolor. And there are many things I've kinda realized along the way and I thought I really want to share my learnings. Now, have you ever came across finally finished a watercolor painting and you were like, I chose the colors that I love, but somehow this combination is not quite working. Really. Explain why this class will help you exactly with that. In this class, watercolor, how to choose colors for perfect palette, we will be diving into how to select the right color combinations while being mindful of the transparency of the pigments use. So first of all, we will be learning why to always start with color palette selection, to how to use the master's pellets as inspiration. And three, what ordered to layer the colors to get the best results. So I hope you learn a lot from this class. Let's dive in. 2. Materials: Okay, So I like to explain the materials that you would definitely need first and then following the things that you might want for your convenience. So first of all, you'll need two cups of clean water. So basically one would be for cleaning out your brushes and one would be to mix water into the pigments. Then next would be watercolor paints. Now I use artist grade watercolor paints because they're just so beautiful and they last longer. They're just basically high-quality. I think they make a whole lot of difference. So this is the chunky that I have. And then in the yellow palettes, I have all the Daniel Smith granulating colors, and I usually stick to one of these because there's limited space on the desk. But I do suggest you get artist grade watercolor paints. Next. You would need watercolor brushes. Now, I have a few, but basically get a round brush. It works pretty versatile. This is the da Vinci cosmic topspin that I have, number two and I have a 00, which is a Winsor and Newton and I think this was a sample. So these are both rounds. I have a whole list of what I'll be using in the resources section. You can download that PDF file and see for yourselves what I'll be using. But anyhow, these are two brushes that I really use quite a lot. And then they also work with gouache. I don't see any problem using it with gouache as well. These are gouache paints. Now, I typically use the designer squash by one certain newton. I do have fuchsia, monkey, hard, gouache, and Holbein as well. But you'll need gouache will be using gouache for the background because I think they kind of are cool when you mix it with watercolor paints. I mean, not mixed, but use it as a mixed media. And you need a pencil kneaded eraser so it doesn't damage the watercolor paper that you use a cloth to clean your brushes. And now we get into the papers. First of all, for kind of like color theory, I would be using this Fabriano paper. It's not really for watercolor, it's for mixed media, but I find it cheaper and kind of nice to just work on things that you don't necessarily need water color paper for. So I'm gonna be using this as the color for the color theory. And then next I'll be using this one, the watercolor watercolor paper. This would be for the warm ups because I would like to know like how the watercolor paint reacts to watercolor, watercolor paper. Because eventually we'll be working on this Arches watercolor paper. It's quite expensive, but I think like all final projects should be on a very nice high grade paper. And this is a three GM. And also it's pure cotton, which is very important. You want it to be heavy, thicker paper enough to hold the water so it doesn't buckle up. But these are basically like pad types so you don't have to tape it around if you aren't going to be using watercolor paper that's not block type like this, then you'll have to get masking tapes and tape it all around so it doesn't buckle as much. But when it's like a 100 per cent cellos and not cotton, it doesn't, it's really difficult to kind of work around the paper. You'll see what I mean. But for warm-up purposes and study purposes, I'll be using quite cheap papers. Okay, So from here on I'll talk about the things that you might want for your convenience. So we'll be working on gouache as the background. So you might want gouache like basically more kinda stiff paint brushes. This is a Princeton velvet touch and I think they work well with the gouache that I'll be using. So it'll be cool, nicer for you to have kind of gouache brushes. And next, you might want these brush holders. I've made myself out of clay to just hold your brushes. And also I recommend you to have some scrap papers. I'm sure they're lying around watercolor scrap paper to test out the colors before you laid it on to the final piece. Tracing papers, quite great to help you out with like just kind of drawing the final project onto here and then practicing it a few times around. And a compass, a quite use these and a ruler. These disposable pallets are quite nice. I use it for gouache mainly. And if you don't have that, you can use like a butcher's tray that's lying around in the house. I'm sure I use this as my gouache palette because I don't specifically have a palette for the galoshes. And oh, I forgot. This is quite a must, but salt, I put salt into this container right here because I'll be using for my final project and the warm ups. And I also have swatches of all my watercolor paint as well as the gouache. Because these swatches you can kinda blinded him out and then be like, okay, these are the colors that I want to use together and so forth. And you'll know whether it's granulating, transparency of it, the staining quality of it, and then the light fast and the pigment numbers and so forth. So these are quite helpful when you're working with a lot of colors and mixing them. Okay, so that's pretty much it. Let's go to the next class. 3. Color Theory: Swatching: Okay, So we'll be getting into the color theory first. You might be thinking, wait a minute, we haven't even done some warm ups. Now we will be getting into more of the warm ups like after this class. The reason being is because I would like to do the warm-ups with the actual colors that you'll be using. Because while you're using it, you might realize, Oh my God, I don't want to use these colors. It doesn't quite work well. And there's also quite a lot of layering that we'll be doing. And you might just feel like, oh, I'm not, I don't want to use that. So we're gonna get into the color theory first. So you can basically pick the color study you're actually going to use for the final project and then use those colors to work on the warm-up so you get the feeling of the pigments and so forth. So before I get into it, I also want to mention that if you do want a quick warm-up as a beginner, then always check out my other class that I've done in that class, I have basically a warm-up that will help you to get to understand watercolor paints more. So I really highly recommend you to go to the class before getting into here. But anyhow, back to color theory, I wrote all these bits right here, original inspiration. So I'll show you the image that I was looking at. This is the goldfish image that I will be painting that I solve fors that inspired me to do this project. Okay, so there's the black, There's two orange, There's the basic, I'll call it more of a blue because white is more like just open space and watercolor, There's no such thing as white painting. Then red and then the background was neutral, kind of like white looking. So this is the basic original inspiration photo that I'll be taking. Now. I numbered them out so it's easier to follow. So here's swatch. Number one, switch number two, switch number three. These are the ways that you can select the colors based on the original photo or painting that you're looking at. If you can't select what colors to go for or it's not quite working like all, like mixing these colors are using these colors together doesn't quite seem to fit. If you have that feeling, then I suggest you do these to find out which colors you want to do for the final project. So for the first swatch, number one, select from print. So which means that just go directly from what you see. The original. So the original was, were these colors. So I already laid out what color they are. One was the PB 41, which is ivory black. One was P16 C2, which I use the shimming key from orange, I think it was. And then for the blue, I use PG. Fifi was assuming keys, cobalt, turquoise. And then for the red, I use a mix of PR 108 and P B19. Then for the neutral white, I use P B9 and p27 for the background. We're gonna be using gouache. I've used gouache, Winsor and Newton colors to make this color right here. So I would try using, just try doing a swatch using the same, basically colors but different pigments from different maybe brands to show you an example. Okay, So first of all, for the black, I think I'll try to go for the mix of I think it's called a I'm not quite sure how you pronounce this, but hematite, think that's what it is. Sounds like a weird food, but my type, I'm going to use hematite as the black. It's kind of more light to color, but it's granulating. So I'll use this then for the orange. So this is the chrome orange, so it's gonna be basically the same, but hold on. I'll just change my mind, sorry for moving back and forth, but I'm going to use actually different colors because it's gonna be boring for you just to watch. So I'm going to use quinacridone gold actually for this bit, because that is a mix of a yellow pigment as well as around. So it's basically an orange. And then blue. I will use the yes, iridescent. Iridescent blue. Actually hold on. I'll use this orange. Chrome orange because it's just it just matches the whole look of it. So I'm taking back what I just mentioned. When you select from the print. It's just like, okay, I'm just gonna pick a blue, I'm just going to pick a red. I'm just going to pick an orange. I'm just going to pick a block. And I'm just going to pick a neutral kind of color That's basically gray for the red, am going for the opera, pink because that is a PR PR one-to-two. It's a Daniel Smith color and I quite liked that vibrancy. But you say it's pink, but basically it's a red. So I'm going to use that color. And for the neutral white, I'm going to mix basically two complimentary colors. And I'm thinking for the gouache bit, let me see. I am going to mix two colors. So I will be mixing these colors, the cadmium red and also the cobalt turquoise light. I think that's what I'll do. But for the gouache bit, for the neutral colors, I'll just do it at the end because I'll have to get my gouache set. So I think I quite like this mixture, the bright orange, the bright blue, bright red, pink, and the little less opaque block. Okay, So for the swatch number two, I wrote select color for main than work around it. So basically the main color I think, is the red. That's basically where you kinda look at the photo and you're like, that's where my eyes go to. So I'm going to select what am I going to replace the red width. And then I'm going to look at the color wheel and then select around what I'm going to be actually using. So it's a bit tricky what I'll explain what I mean. So first of all, the red, I want to replace that. Now, what color do I actually want to use this, the question I'll be asking, and I really want to use this color. I'll show you. I have a color wheel that I made from the shimming key colors. So I wanted to use this. It's like a bluish purple, but it's basically like a teal color right here. The closest this was made from mixing the cadmium red light of shimming key with the cerulean blue? I think it was, yes, by mixing those, I got this color. But that's better to mix colors and create something. But when I'm in a rush, like I am right now, I just want to quickly use a color that's already been made. I just picked out this color, which is the learner blue, I think is the closest that I could get. And it's a very beautiful color is Pb 15 mixed with PPE became 11. So that's what I'm going to use. It's called donor blue. So I'm going to get that, and that is the color that I want to use as the mean. So I chose that as my main color. Essentially, like there's the red in the color wheel, the yellow and the blue. So these are the primary colors. I did a whole class about that as well. And then mixing red and yellow is in orange mixing red and blue. Violet mixing blue and yellow is a green. So these are the secondary colors. So this one, the red. Let's just say we're working on this one. The red would be 0, the starting point. So I'm just going to put a 0 right there. And the wheel could go that way, which I would just call it a plus way. And that way would be a minus way. So the red is a 0. Now, what is the blue then? It's, it's one to two ways plus two. So it's a plus two. Okay, so the red is at 0, the blue is a plus two. And then the orange is a minus one. And then the block is just a neutral color. So we're not going, it's not in the color wheel, so we'll skip it. Blacks should be just a black or something close enough and neutral called the neutral. The background, we just skip here. So I chose a blue, although it's a mix of blue and black. So this would be my 0 next. So it's 0, that would be at 0. Let's just put it 0. And then the blue should be a plus two. So we need to select a plus two. So from here, this way is a plus, so it should be a yellow. I'm going to write this has to be a yellow and a blue. And then the orange should be a minus one, which means it should go both that way, the other way around. So it should be a minus one, so that'll be a violet. I need to choose a violet for this one. And the block is a block, so I'll just leave it as a, B. B, Okay? So that's basically what you need to choose. And why am I doing it this way? Because the original inspiration there has to be like a calculation that is working for that. So I just want to select the colors that kind of match with the equation of that original paintings. So this is why I do it this way around. It might be a bit tricky, but you can, I think you'll get the idea. Okay, So I'll be choosing the yellow. Now, this is where the swatches come into a bit of a handy thing because that's the lunar blue I use. And I was like, Okay, what colors work up as a yellow? And I picked this one because it has a hint of black in it and it just I think it kind of pops out when it's next to each other, but it doesn't go against each other. I quite like how it looks together. So for the yellow, I'm going to use the bismuth mandate, yellow, which is that color right there. It's a pretty color. And then I'm have to choose a violet. And again, I use the swatches, I want to use the moon glow was this, which is a PG AT a green, a blue and a red mix, which is quite interesting, but it makes a violet. So I'm going to use this moon glow as the violet for my swatch. And then for the block, I think. I don't know somehow I quite like to use the hematite. Is that how you say? I'm not quite sure, but anyhow, I like to use that. So I'm going to get hematite and use that as the black. It's not too opaque and I quite like how it just looks together. Again, the background, the gouache will work on later. So those are basically the colors that I'll be using for swatch to next swatch three, how do I select the colors? I pick a painting and then swatch that. I was looking for another inspiration, not the original painting, but I was looking at hook size painting, which is this one. And it's of a bird. I use an app called swatches. It's really helpful. That is in the resources section as well. So you can get it through your phone. It's very easy. You basically select a photo and then you tap on the areas that you quite like the color of. And then basically that's the colors that I'll be using for this painting. There's basically five colors that we need to pick 12345 years, five colors. One is basically the red bit, which is like it's in the middle. It's basically where the eye is drawn into hoax I used because this color was the quinacridone coral. I think it's called as the p, p R2 or to nine. So I thought, okay, so for the red, I'll just use that color. So that's the color that I'll be using. Then next, which one would the background be? Because that's what's mostly covering the whole painting. And I thought, okay, that one, again, I need to find out what gouache works the best. But if I had to make it with watercolor, I thought, Okay, I'll mix the same coral color, the in-depth thrown brute blue that I'll be using for another part of this painting. But anyhow, something like that, That's quite close. I can mix a bit of black into there and make it more closer probably. And then the next one was, okay, what catches the eye quite a lot. I think the blue was I think the blue kinda did that job. And in the original painting it was the black. So I think the in-depth thrown blue was a color that quite match that. So I thought, okay. Actually, no, hold on. I think I'll use a black for that one. Black just stays black. Oops, okay, in a mistake but I thought, okay, let's just go with the black. The next bit would be something that repeats itself many times and it covers quite a lot of space. Not as much as the background or the black bit of the painting, but I thought that would be the in-depth around. So I would use that for us, the orange bit of the original painting. Then next one was somehow a color mixed with Naples, yellow of shimming key, as well as quinacridone gold. So I need to mix these colors. I might change my mind as I go. But it think that's the color that I would like to use for the white bluish bit. Okay. I think that's pretty much it. Those are the ways that I choose the color. You can just go by how you feel like, like if you say, Oh, I just want to use these five colors, just go for it. That's fine. But this is just to give you an idea of what I like to do and it helps me quite a lot. And the overall work just looks really good. And when I do these kind of studies, so we're gonna be working on the gouache. You have to make a neutral color, a gray color. Basically, what I quite like to do is get the main color and then basically add a complimentary to that and make the neutral. So that would be the red. And I do have a Holbein opera pink color. So I'll probably use that and tried to see mixing what makes it like a neutral tint. I'll be using this. So that's the opera pink that I have. I'll use the permanent green middle to see what happens. Okay, so it did create a neutral color. Okay, I think it's pretty great and I think it's quite nice. So I might use that. And then next, we're going here. I have to mix something with this blue right here, blue block, the lunar black. And for the gouache, I'm not too sure what I would use. Let's see. I might use the ultramarine color. See, ultramarine deep. I use the sepia to see if it creates like a nice color. Sometimes just mixing browns with BlueJ is creates a pretty color too. Okay. I quite like that color. Yes, I like it. So I'll be using that. I think for this swatch three, I'll use this mix of the violet right here. Hold on. Let me write this down. So this one was a mix of ultramarine plus what was it? Scipio. Okay. Then that was per minute. So Opera opera pros, permanent green. Ok, and for the lilac color, I think I'll use the opera color mixed with this cobalt turquoise light. You think? Think that would be a nice lilac color to use? Right off course, these might change along the way, but I would write down opera, abrupt process, cobalt, turquoise. And I'm pretty much done. 4. Color Theory Transparency: Now here I have the transparency when you pick up, let's say this gouache or watercolor paint. It has the square mark. And it basically tells you how transparent this pigment is. Here. If, if the paint pigment has this square without any thing inside and means it's transparent. That is semi-transparent, semi-opaque, and that is opaque. Now, the reason why this transparency is pretty important is because will be layering quite a lot for the gold fishes fins. So I'll give you an example. This is one that I've created. And here you could see that there's three layers. Now, this is kind of covered a bit with the red, and the red is covered a bit with the black. Now, if the block is opaque and was opaque, then it'll cover up the whole thing that's underneath there. So it's very important to know which colors are opaque and which are light. And depending on that, you might have to change like which part you're gonna be using a specific color for. So that's why I lined out 123 because 1234, because these 123 is the bit that's going to be the fin, basically. So the black bit is going to be the outer layer. So you can paint that at the end. It could be opaque. It's better if it's opaque. I guess an orange would be in the middle, but this has to be maybe semi-opaque to semi-transparent would be best. White, blue bit. This bit needs to be pretty transparent. So then you can like work on layers, but you could always kinda like work in a different way to allow you to use that color if you really want to. Okay, so I'm going to just try out the swatches. Now. I'm going to go with the first swatch and I'm going to show you the colors that I'll be using right here. So okay, so these are the colors, iridescent, electric blue, and then the chrome orange and opera pink. And then probably hematite, genuine. Okay. So these would be the colors that I'll be using for my first swatch. And here I have a test where I could basically put a pen mark that wouldn't disappear with the water. It's waterproof. So I could kinda check how much it is opaque. And then I'm going to be layering each of these 12 threes with like the one would be the block that I'll be using, the orange and then the blue and so forth. So we'll be layering to see if we can see through one of the colors, through another color. Okay, so first I would like to test it. I'm going to try out the hematite genuine first to see how opaque it is here. I've also, that's why I have these black lines to see how opaque each of these are. But anyhow, I'll be doing that test here. Of course, you can kind of like add a bit more to see how much you can cover. All use a different brush or maybe I could just use this. Okay. So first, I would like to go with the iridescent blue. So I'll try to cover up this whole place with the blue, iridescent blue, because that'll be my inner layer of the goldfish. You don't have to be perfect. It just needs to cover up the whole area. And again, this paper's not meant for watercolor. So enlightened, not react the same way as your watercolor papers, but it's fine. It's just practice. It's kinda difficult to work around and I'm creating this weird layers. I shouldn't overdo it, so that's fine. That's one layer. And I'm just going to also test dark on this side to see what it's like. We're just using the thin color. So you wouldn't need the number four, which is to read what I put. I would test it out just in case this one is semi-transparent, so it's not completely see-through. There. This, an electric blue is supposed to be transparent. Hematite genuine is supposed to be semi-transparent. So it's kind of the dark bits doesn't show too much, which is good for me because I want it to be somehow able to darken so you don't see through it as much. So it looks good. I'll try the opera pink. This is supposed to be transparent. I think it's pretty much dry, so I'm going to I'm layer the orange next. I'm going to be layering get from this bit on words because it's not too dry but it's fine. I'm just going to go over. So here we're just checking like what each color looks like over on the top. Doesn't look too bad. So aren't going to wait for this layer to dry. And then finally we're going over it with the hematite genuine. At the bottom. This is a space for you to try a different color if you didn't like the first one. So I might try. So I still want to use this iridescent blue. So I'm going to color it again. Maybe it needed a bigger brush for this. Too late. So, Kay, think this bit is dried up, so we're gonna go over it with the hematite. Genuine. I think I quite like that color. The blue with the oranges. Muted. It looks a bit muted, but it's still pretty quite like it. And what the hematite genuine kind of like I like how the black is, we're working into it and granulating the colors like basically separating the pigments. And it will look totally different on our watercolor paper. So I think I quite like that, but just for testing purposes, I'll just use a different orange this time around and see how different it will be. I'm using the quinacridone gold hue by I think this was assuming keys color. It's a mix of yellow and red. So it looks a bit different. But I think I already don't like the color. Basically layering means it's going to add the color at the bottom. So basically blue and yellow is more on the yellowish side, so it's turning up more green. But I don't quite like that. Look already. Which is good because you're just practicing to go dark in this bit over here. It's not totally dried up yet, so probably not a good time to go over it. But anyhow, I would wait for that to dry up. Next, I think I'll go to swatch to I'll show you the colors that I'll be using. Again, I'll be using the hematite. Genuine. With that I will be one and then the violet I'll be using to run below. And then the bismuth and the yellow, as well as the learner and blue. So those would be the colors I'll be using. I'll do a bit of a patch test on the slide on the test, but I don't think I need to do the black again, so I'm going to skip that. I'll do the moon glow. There's the moon glow and the bismuth Halo, the best met the yellow is supposed to be quite opaque, but still yellows are pretty hard to cover up the whole area. So there you can quite see what's underneath. You probably have to go layers over layers with the yellow, but not a lot of yellows are opaque, so that's good for bismuth yellow. And then the lunar blue. Lunar blue is semi-transparent. So this would be something I'll probably need to use over and over. But again, this one, I'm not going to be using it for the swatch because this would be the main bit. Bit doesn't need any layering really. So I'm going to put that aside. So I think this layer has dried up, so I'm gonna go over it with the hematite genuine just for testing purposes. Okay. I think I made up my mind. I really liked this one better than this one. The orange doesn't quite work with the blue over here. Well did the swatch for these colors. So first, the number three would be the bismuth yellow band details. I'll be layering got first. I'm using a bigger paintbrush, so it kinda works better than the first one I did. While I'm waiting, I'd like to go to the next swatch. Was the in-depth thrown around? And then the Naples yellow with the, I think it was the quinacridone. You go, I'm still thinking whether to use the Naples yellow with the quinacridone gold hue or what the pronoun orange hues. I mean all the red goal, I think the quinacridone coral I'll be using, but that we don't need to use for the final swatch here. Okay, So while we're waiting for this, I'll just do the swatch test on this side. I don't need the black. I'll do the inductor and blue. So the in-depth thrown blue is a transparent color. And then the Naples yellow. The reason why I want to add this is so it softens up the quinacridone gold or the ASU red gold because of the fact that hook size on yellow kinda was vibrant, but also at the same time muted. I don't know how to explain it, but that's how I kinda thought about it. So let's just see all the red goal is transparent. All I had to mix it. So it's either that or Naples yellow with this hint of quinacridone gold hue. So this would be something I would like to test on this second bit, I guess, to see which one works better. And then that's the coral, quinacridone coral. Just transparent. Okay, So I'd like to go over this swatch. Number two. The second color, I believe was the violet. Ok. So the moon glow. Okay. Quite like how that's looking. I think I'll try a different yellow just to test it. Or maybe even a violet. Actually, I think I'll try the same yellow, but with like a deeper, kind of vibrant violet just to see how it kinda looks like. So we'll let that dry up. While we're waiting for that. I'll go to swatch three, mix, the Naples yellow. Naples yellow here. So I'll just write it down first, the red gold. Alright, Ozzie, and this one would be the queen. First. Go with the Odyssey. The second one we'll go with the brain. So I'm going to go over this one with the hematite. Genuine. I think the Boone glow is quite dark. And because the moon glow has a bit of violet, basically, it kind of already mutes, like combined with the yellow. It's complimentary, so it kinda mutes everything. I think I need a darker black actually for this. So I'll need to change the hematite genuine to something different. So I think I'll need to write this down. Hammer. Nope. And then I think I'll try using the lunar black instead. Something darker. So this is basically how you have to test things around to see what works and does it. For this one. The violet, I want something stronger. So I think I'll go for the imperial purple, which is a P B19 mix with PB 29. Just to see what it looks like. I think I quite like that better than the moon glow. I think it kind of like how that yellow is seeping through. So I'm gonna write moon glow. Hello and then go with imperial purple. I think because it's basically the same idea, I think I might use the lunar black instead for the final layer over here as well. So let's go back to here. Here, I'm going to use the in-depth thrown blue, basically orange. With blue, it should almost neutralize everything. But let's see what it does. I think I'm right. So that one, yes. How it works? Being layered. I know it looks pretty good. Let's see what they're all like. This one better or not. I think so far. I think I like the Azi, red gold more than the use of quinacridone gold hue. Think I'll circle this one. This is out of the way. And then next I'm going to go over this with learner black. See if it darkens. Again. This is like a granulating colors, so it'll split things up, the pigments off, but it's really pretty on the water, watercolor papers. Think I like that better. It's more dark too. Yes, I think I like the learner and black for that. And for this last bit, I think I'll be using a neutral tint. But M Graham, it's a mix of p B19 with p27. I don't know how it'll turn out. That would be my block. This pretty set. 5. Warm Up: Okay, So we'll be getting into the warm-up as previously mentioned in the other class, I do have this Skillshare class where I get into more details on pigment to water ratio, which is really important. So if you're a beginner and you're not pretty sure, not really sure what they're your kind of an intermediate level than I was strongly recommend you to jump into the other class and do the warm up before we get into the warm-up in this class. Okay, so we've done the color theory. Now the reason why I did the color theory first was so you know which colors you might be working with. I'm under two swatches right now and swatch to swatch three is what I'll want to try to work around with. So here I'll be using those colors specifically. So I can see more of what I might be using j. So I'll be working on the wet, on wet technique. So first of all, I'm gonna get some water on my paintbrush. Kind of what the whole area. I do have a circle here sketched out with a pencil just so it's easier to work around it. And this is a warm up so it doesn't have to be perfect. We're just testing out to see how the water to pigment ratio works. It's just a warm up basically, so not need to be focused too much on making it look perfect. So I'll be putting randomly than death thrown blue that I'll be using for this project. Since this is just a warm up, you could basically do pretty much whatever you want. I want to play around with the colors that I'll be using. So for this one and dot there and blue, I'll be using the neutral tint as well. So I think all n colors here and there. Just to see how that works together. Quite beautiful. Also kind of put more water to blend them out. Now watercolor painting, it could look darker and then eventually it'll get lighter. So having that in mind, I might also drop in while it's wet. I drop in some writ the quinacridone coral that I'll be using wet on dry. So for the next one, I'll just use the same color again. So the paper is dry. I'm just going to kind of work around the circle again. Might try to blend another color into here. This inductor and blue by Daniel Smith is a granulating color, which basically means the pigments like kinda separate. This. I think it has lists binder in it or something I forgot. But anyhow, yeah, let me see how that plays out. I'm also kind of blending in colors. But it's still a wet on dry technique since this surface right here is dry. My blend, this area, overworking, watercolor could make it look less pretty, so I don't want to do too much. Okay, then next bit is salt for the body of the goldfish. At the end, we kinda creates a very nice texture by putting a bit of salt. I use salt only on the body of the goldfish and then put a bit of gold watercolor as well. But for that, I kinda wanted to see how it looks with this in-depth and blue. I think. Oh, no, I'll use the quinacridone coral as that would be the body color. And then I'll also use the lunar black on the half side because those two swatches that I have, the body colors would either be quinacridone, coral or lunar blocks, I think learn and blur. So that's what I'm going to try doing. One side would be lunar blue. Lunar blue needs quite a lot of pigment to get it quite dark at is as it's quite transparent. And makes sure it's kinda still wet for awhile until you lead the salt. That's about half. Blend it a bit. Now the palette that I chose for these two swatches compared to each other are quite different. One is more muted and kinda darkish colors. The other one is quite vibrant. So when they're kind of a line like this, kinda looks very it, it basically contrasts each other. Okay, so I'm going to sprinkle a bit of salt. These two colors are granulating, so they kind of like already split up quite a lot. But the moment I that salt, It's like separating the pigments even more further out, which is quite beautiful. And at the end, once it dries will rub off the salt. Okay, So next we're working with whitespace. So this is from my Mandela class. And I sketched out what I've used before just to work with whitespace. And these are other shapes that I thought might be nice. And this is the actual shape of the goldfish. I, and I quite like the use of whitespace there because it kinda create a different field to it. And by having a bit of whitespace there, it just pops out. The I, I think it looks quite pretty with just this whitespace at the eye. If you don't want it, that's fine, but I think it's quite, quite cool to have it, so we'll be working on that. Now. Here. I think I'll use again quinacridone coral. So I could also play around with colors a bit just to how some fun. But basically the pencil marks that I've created here, I'll be opening a space in-between, that would be the whitespace. So here I'm just coloring in what I see around the pencil mark. Might just have a bit of fun and put some colors in there. And you don't have to wait for the pigments to dry in this case because we're going to create a whitespace in between. So here very closely, I'll just like basically it goes down, leaving some whitespace. So you can kind of play around with the width of the whitespace in-between. It's pretty much down to you. Sometimes having quite a lot of space is prettier, but sometimes just having a bit of space is also quite delicate and they'll get about different feel to it. So here I'm just using different colors. Then death thrown with the coral, quinacridone coral. Well, I'm being very careful with the whitespace in between. Sometimes using a very dark color will make that contrast even clearer of the white. And the color across from that. While I'm doing this, I'm able to kind of play around with the colors. And for this bit, I think I'll use a neutral tint. Just wanted the colors that I'll be using for this swatch as well. So here I have to be a bit more careful because I want to create a whitespace in-between the semicircle with the bottom. Okay? And then next, I think try using the learner blue. And I'm trying to be mindful of again, creating that white space in between. So you don't have to draw the same kind of shapes. You could just draw any shape and just be like, okay, for this bit, I'm going to go close to the pencil mark for that edge. I'm going to leave out a space in-between. Playing around with different shapes will give you a great warm up opportunity. Just throwing in a bit of color here. Just for fun. This paper is not the best for. I mean, it is a watercolor paper, but it's not a 100% cotton. So it's not as nice as arches, which we'll be using at the end. Okay, So, um, that is one whitespace there, there, there, there there in-between white space. Now I'm going to work on this one. I think I'll use Naples yellow bit of Ozzie gold. Then put a bit of the nerve block in there to see how it looks. Okay, and just kinda mix some things here. You read the neutral tint. And for the next bit, I'll show you how you could also do the wet on wet technique. I'm alright, this exercise, which for some people might be a bit easier, just put in water first. So it doesn't go, it kinda creeps still creates that water space if you put the pigment in and then go over it with the pigment. So the reason why you might want to do this is so it doesn't create that hard edge that you could see in the other ones. So for this one is hard, It's hard, hard edge. Whereas this is more diffused of it because you've laid out the water beforehand. Then you can even go in and kinda push that even further N side towards where the whitespaces. Okay, and that bit is done. Now we're going to do this, but I created the pencil marks where you can leave a whitespace. So it looks kind of like a mineral stone. So for this one, I think I'll use in job throne blue. I'm just loving this color right now. And I might mix lunar black into it. So for this one you could also like, I'm just exercise purposes. If you do have a gouache white gouache, then he can go over the lines with the wash. White gouache later on. But we wouldn't be using that for the final project, at least for me. So I would not be doing that. A bit of black there. Then I'll go to the next block. Going to the next. The same idea over and over. Just being mindful of creating that white space in between. Quite nice to have like a very thin brush to do these exercises. Because sometimes you need to go really close to the edge of very narrow, thin edge. Once you get that whitespace down, better to kinda work a bit fast. So the watercolor, does it leave any lines that you don't want around? That's why I love using 100% cotton paper because they're more forgiving. Oops, didn't create enough white space there. But the next layer, I think on the other end, my way up. I think I'll add a bit of purple here just for some Kotler. Pretty much done there. So I've created the whitespace. It was kinda difficult to do some bits, as you guessed, the brush that I wasn't using wasn't quite enough and small enough. But it's okay. Now we're going to this one over here. I'll just use random colors. Okay, so we're pretty much done here. I've created some ways. Okay, So this whitespace warm-up will be about creating the goldfish is AI and creating a whitespace in-between but a quad like to kinda get myself working on the actual colors that I'll be using. So first I'd like to go over the swatch, one that I'll be using. So that would be think for the outer layer, I'll try to use the lunar blue. And I've already created a pencil mark here, so then I can just use that as a guide. And I'll kinda do the wet on wet technique called to the same for this side as well. And then for this one Lunar blog with learner blue, the inside layer, There's no equation here that I'm using really. But I am kinda considering the main photo that I saw, that art of the goldfish. And then I'm basically doing the same thing. Like okay, what was the body color and the fin and then working around with that just so it's kind of close enough. And adding some black. Then the last one, I'll just use the imperial purple with the learner block at the end. Only when, once it's kind of like try it out. Maybe I should go a bit lighter on this final one, so then I could add that black eye dropper. Make it more standout. Okay, so I'm gonna leave, but I'm going to work on my second swatch and kinda go back to working on this later. So quinacridone coral first and then in-depth their own blue I'll be adding to this one. More lighter is better, kinda looks to block. I'm a scooping up some watercolor here. That's, it's a bit too dark. I don't like that book. Next bit, I'll use quinacridone coral with neutral tint. For the other side, I might even use the neutral tint first just to see how it might look. I'm going in with the neutral tint first, coming in. The coral. Think I like that. Then all used in doubt thrown with the neutral tint to next. So I'm being mindful using a bit of a lighter around. Why not put a bit more water? Or this side just to see what variation looks better. I think I'll go back to that one. I'm using the lunar black to put that final dub of black. There. I'll do neutral tint like this one. So far. I quite liked so far I wore. This one needs more improvement. So I'll try to switch up some colors just to see if I can create something I like more. I'll be using the business. I'll try using the imperial purple just to see how that turns out on this side. Good. Try it out a bit. So now it's looking more muddier. Yellow and purple. Of course it wouldn't go quite well together because they are complementaries but worth a try. Now I'm adding blue here. Dot quite like any of these. So I'll go back to using, I'll switch things up, try to use the imperial purple first. That switches things up. Add the bismuth yellow just a bit. And I'll use learner blue first. And then add the bismuth yellow on top of this to see whether it turns up pretty. Then finally, I'm going to use this yellow and then add the black at the end. So for this one, I think I'll try to use opposite. So I'll use less of the quinacridone coral as the base because that didn't quite work out. The other side, come on, try it up while I was trying to get my mic to work again. So quite not going to quarrel. And then I'll try using the neutral first and then add the quinacridone coral at t. And again, like I did for the side, say, think that seemed to work a lot better. Theme called Try that throne. Blue on the neutral tint. And as well, just to see what that for the final, I'm just kinda do the same. Actually. No. Maybe I'll change things up. Maybe I'll use the Naples yellow first. I haven't used any of these Naples yellow with the all the red, gold. Because that is one of the colors. I'll be using for the second swatch. Let's see how that works out. Maybe I'll add quinacridone coral as he wouldn't fight against each other too much. Okay. So I'll go over this one with the black that I'll be using the lunar black eyes again. I don't like is it? Oh, I'm not facing the same black here where I got the intro. What I'm using. Kinda went into fast before it dried. But I do quite like the look. I think I like this one when it's like not too dry, but not too wet as well. But this does look more like a goldfish is ISO. That's quite nice. Okay, so overall I think I do like this one the most I didn't quite like when using the bismuth on band-aid. Yellow as the piece. And I think this looks kinda like Kish, I like it when I use the neutral tint as the base and then the quinacridone Chrome the top. But I think overall I do quite like this palette. So I think I might do two of these pallets on this layering warm up and then use just one of these for one of the warm ups for layering. Let's bit as painting over sketch. Here I drew in detail of it kinda looks like a butterfly wing, but true the details of what I want to paint over. And then pulling in out of pigments were gonna be like kinda visualizing in our, in our heads. But then pulling out the pigments very thinly to make something like the fin of this butterfly. Here. There are one to two bits that needs to be layered like this. Then finally, we'll just use water and kinda pull up the water with the watercolor paint brushes outwards and then kinda move the paper around to move the water that has the pigment inside it. I'll show you how I did that. Okay, so first of all, I like to paint over the sketch and do the detailed work first. So initially I have I'm gonna be using the swatch two. So the first thing that I want to start painting, it's been C, which is the inside, I call it the fence, see, and this would be the bismuth on bended yellow. It is an opaque colors. So you need to check like kinda what the transparency is, the level of the transparency, but this is opaque, so I do want to quite go light with this yellow. But yellows are quite transparent. It doesn't really kinda cover up too much. So here we're going over trying to be mindful of the lines as much as possible. Um, I might go in a bit darker in certain areas and try to get your paintbrush to be vertical. Kinda helps when doing very detailed fine lines. So you might want to do that. And you do want to work quite fast when doing this. So then we can kinda go in as well with a different color here. I kinda want to play around a bit just to see how things look together. So I'm going to just dip a bit of lunar black here. Create some lines as well. Okay, I don't want to do too much. So next would be phi1 B, which is imperial purple and yellow and purple kind of like are going to fight a bit and it might turn out muddy. So I want to leave that section open and work on Finn a would just learn it. Block. No black cook kinda cover up a lot. So I wanted to be a bit careful. But the good thing about doing this painting over the sketch is basically you don't have to worry about too much of the layering because if you're being mindful Where the pigments are going to be laid out in the first place. You don't have to worry too much about all my God, these are going to be layering each other because they wouldn't. But a bit of layering sometimes could be quite pretty. Because watercolor paints kinda look luminous. They're used in such a way. My God. Oh, let's add a bit more pigment just to give it more depth. I'm also create some lines there. And I'm pretty much doing like a wet on dry technique because I want those hard edges to show anything. A bit more black here, just to give it more depth. Okay, so for the final layer inside, which would be the imperial purple, I think all give it a bit more time. When you do the Layers. This is going to be the most typical because you don't want to quite get into the other colors. Into one to trying to help create that fine edge between the bottom layer and decompress. So anytime it like that, I wouldn't say I quite like the yellow but I mean, again, the yellow my town quite pretty on the cotton Marsha's paper. Okay, so the next bit would be pulling in and out of the pigments. This, I would like to work from inside to outside. I might try to change up some colors here. Or am I stick to? I might mix it up. So I'll start with the imperial purple this time around. So we're gonna be working kinda have to do the imaginary line until when these pigments go. Until all try to get my pigment, the first part that I lay out quite well. And then while to kind of pull it out like randomly, trying to make it vertical would be nice too, but I would say try to push in first and then. Try to push versus pull out. Make it quite random. Michelle, push in and pull up, push and pull out, and try to make it straight towards the outer layer as much as possible. Not push. And then it's got to be quite fast when working. This, especially since I'm working with the sellers, birds, the bus, and then try to randomly give it a bit more little strokes to even out the space in between the lines. That's one way to do it. Now, I'll be going doing the outer layer. I think. I think I still want to use the black card, the order and layer. So black. Again, it's the same idea, but this time Around will be again doing the outer layer. Just a lot of water and pigment and coming in. But gotta be mindful of the layer that would be coming in later between the block and the purple here. I can go in and then push and pull up. And then just randomly going down again with more pigment and water. And then coming in more pigment and water. Coming in. The final bit. I kinda think coming in quite a lot. It looks pretty gotten to touch it to my chickens. I quite like how it looks. So this putting on a lot of pigment and water on the outer layer, wherever you're going to start working on and then pulling it out. I think it looks more natural and I quite like it rather than sketching it and kinda trying to go over it in detail. So I think I'll let that dry for awhile and moving the water, this is another technique that you will I don't want to do if you're not quite sure with your brushstrokes, but I would recommend doing it this way. But if you're like, No, I want to go totally. I want to let the watercolor do its work. And I don't like the hard edges, then I would recommend you doing this. So first I'm laying out some water. Then I'll be doing initially the same thing I've done here, which is basically pulling out water that I see it. I'm sure it's really quite hard to see from the video, but here I'm pulling out the water. Gotta be quite quick with this and this one I'm using the ****. Figured this out first. Okay, The Odyssey. Oops, I don't have much time to work quite fast on this. And then I'm going to be dropped in the pigment and the water again. A bit more, Oscar. And what I'll do is basically move the pig. So kinda let it do its job. Again, this is kind of cellulose paper. It's not, I'm not paying quite successful here to this bit dry. So I'm just going to help it a bit here. But you can see here it's kind of like going down. So it's kinda working their work. Inside as well. So this is more intuitive way of doing it, just letting kind of like the water and the pigment do its job. Basically covering up the paper. I'm wetting the paper again. Basic coming kind of work a bit faster here. This time. I'm going to, I should have got ready with pigment. Then get again. Moving the paper. I think this one worked better than the other one. You can just leave it tilting for awhile. How it looks now. So this is quite pretty. C, it doesn't get the hard edge looked as much as the other ones. So I quite like it. I might even do a mix of it. Basically for the outer layer, I might use this way or the other two layers of the thin, I might actually did this trick of pulling in and out of the pigments. So I quite like to work on this next, try using the isthmus and the yellow. So this is gonna be the tricky part. Need to kinda work around with. And because this yellow is quite opaque, I would have to be mindful of the imperial purple that's underneath. The black could always kinda cover up the top bit later on when we kinda layer in. Again. But here I'm trying to be as mindful as possible. The bottom layer and the top. The top needs less of work to be done because we can always cover it up with the block. So you got to understand this is the bit where I kinda mentioned that you better understand your transparency levels of the pigments that study used. So you want to wash like in this case, I kinda realized, okay, So this yellow kinda cover up a lot. And I want to use it in the middle instead of like the inner part of the the thin, then I might be like, Okay, I'm gonna work on this first. And then work on the imperial purple, and then work on the block. So now I know what I should be doing. The culprit that down before I forget to color. Here's color layers. Good. Circle. But work on our middle layer. First. First, and then purple layer where black. I'm just drying down my notes so I know what to do next. Yeah. I think I'll use that one. That's quite pretty. And then I also wanted to luck. Try moving water method. Okay, so now I want to come back to this one. What I'll be doing is the middle layer. The middle layer blue. So get ready with that in bathroom to first get ready. Putting the water in the middle. It's not to try yet, but see how it goes. The orange bit is quite dry, but black is not dry. We use we do use quite a lot of water. The top bit, I don't mind too much. Gonna be working on the bottom layer next to the first layer of more closely. Because you might get this like weird hard edge looking kind of layer on the top if you've got kinda spread out the water first. And now I'm going to lay out the blue paper. Now we're going to move it around. Sorry, I only have one hand as I'm holding my mike because somehow it keeps on stopped being to record it because of the battery situation. Okay. So so this fit is not quite working, so I'm just going to pull it out a bit. Again. Cellos paper doesn't do the job that I want it to compare to. A 100% cotton. I think that is quite pretty as well, but I still think I still like the swatches. And the way of doing this one, the outer layer kinda looks nice with the moving of water, but I think the rest, I'll just go with the plane in and out of the pigments. The strokes warm up. We're going to be using gouache. Well, I will be using gouache and I think it's nicer to have like a cross stroke because they're more opaque than watercolor. And so I'll be using this angular brush by Princeton, the velvet touch. And the reason why I use Angular is because it's so much easier, I think personally to make like a really like, I don't know, somehow the strokes look really nice on this. And the reason that I wanted to do this class was with these practices on strokes that I was doing just a warm-up of random strokes just made me realize so much about like painting itself. And I caught a thought, as I explained in the introduction of this class, I did mentioned that when you focus on each stroke to make it aesthetically pleasing, it just changes the whole dynamics of like the, the final art that you'll be creating. It just looks so much better. Okay, so we're just going to practice some strokes on this left-hand side. And then we're going to basically work with watercolor, like just imagine this circles right here as the body of the fish, the goldfish. And then we'll work on some strokes around it. What wash? So for my first swatch, I use I kinda talked about using ultramarine deep with sepia. So this is the color I'll be using. We'll just go with straight strokes first just to see how it kinda looks. I think I've added a bit more Scipio, I mean, a bit more ultramarine deep into this dark, almost like TO looking color. Then once I've done a few strokes, then I'm going to work on different styles. Drugs like just twisting it, seeing what kind of different shapes I can create by just moving them quite differently. And adding quite a lot of people. Water and less pigment will give you more of a watercolor look. I dislike how the variation of these colors like comes out. Just mixing more of the Scipio or more of the ultramarine, mixing more the water into it, less pigment. I would say variation is also key, but also being mindful of these like each strokes of what. One movement does kind of like pushing into the brush a bit. I'm kinda pulling it out just creates a different look as well. Twisting it around, coming back in. And it could go even really thin by how much you pull away the brush from the paper as well. And yeah, just keep on doing that. Now I'm going to use a different color. I'll be using opera with the cobalt teal turquoise light. Sorry. This is wash as well. Try it in extend first, so I have enough. Good also be the time to experiment with the colors as well, because with the quash, we haven't really tried out too much of what colors we'll be using so far. I mean, we did, but this is the moment to kinda, kinda try out different things too. I'm also being mindful of the whitespace that I'm creating because that could be a guideline as well to creating variety of different strokes. Trying to create like a stroke that's visually pleasing is just a key. I don't, there's no equation for this, but you just kinda try out different things, I guess. So next we're going to combine the colors that we'll be using and then kinda working around the circle as if the circle is the body of the goldfish. So for the swatch, number one, I've decided to use lunar blue. So I'm going to get a bit of lunar blue here. And just to get out some bit of more fun out, I might add a bit of different pigments hearing there. So for the lunar black one, I might add a bit of lunate blue one, I might add a bit of imperial purple. This literal blue almost just looks like plain black to me. Sometimes. It does have blocks. So that's fair enough to say. I'm going to add a bit of purple, then more. And for this one I'll be using the coral, quinacridone coral. So when they get a bit of, that, probably add a bit of Naples yellow to this. Just to give it a bit more variation as well. So we're just trying to imagine these as I'm the fish's body. And now we're going to be using the gouache. So I think I'll just use the colors that I'll be using for each of these ones. And four, I've done quite a few of like testing of this, but I quite like it when we start off with a bit of a lighter gouache, almost like a watercolor. And then make it deeper as you go outwards. But I'm just like randomly putting strokes here. The key for this is there's not much key but to just create as many random strokes as you can. But kind of not touching each other. And I think the strokes that you make first should be quiet. Longer, maybe longer than the ones that you eventually create as you go outwards. So the image that I got for this was basically when I looked at photos of gold fishes and the, the marks that they create around the water around them or use really light Tish when it was close to them. And then it kind of started getting like more darker in value as it went outwards. So that's how I got this idea. And just try to be mindful of. For each stroke that you create. It's like visually pleasing, like push and pull out. Just concentrate on each of the strokes that you aren't creating. Like, I don't quite like the stroke that I created right here. It's not as smooth as the others. But he can't undo them. So It's trying to be mindful here. Psycho. And although I haven't made it as dark as I want to, because I'm kinda using one hand right now to hold the mike. I don't know why I'm doing. It is what it is. So I'm just making sure that my voice has been recording. So here we're also using a bit of that whitespace. I'm like leaving white space in-between, making it kind of like thin as possible between the whitespace of these strokes. This site to kinda turning them around also makes a pretty nice variation. So here are my strokes are getting much more, longer. As you probably can tell. I don't quite like that. Finish right there. Okay. So that bit is done. I quite like how some have more blue than others. And I did start quite light in the inside. So this is what the final piece would look like. You can kinda imagine getting into this one. Again, the same thing, just different colors to practice more. I get the feel of what different colors would come a turnout in the final project. Being mindful of each stroke. I didn't like that. I'm going to try that. I'm done. I do quite like this one. I don't quite like this one. And I think it also didn't work out how I kind of like didn't really do what I did here, which is startup with a shorter strokes and then work my way up longer. I think I did that more on this one. So it looks like prettier, but color wise. I think I like this one, although I didn't quite managed to make it to the lilac that I was probably supposed to. But that being said, I think I'd like to go back to the final testing. Kind of like a color theory part B. But we'll be testing with these two swatches again, just to see how it really looks like combining all these warm ups that we did right here. 6. Test Drive: So in this class we'll be working on testing the colors that we selected from the color theory. And then after that, we have done all the warm ups. We probably have a clearer selection of the colors as well. So I'll be doing swatch to, and swatch three and see how the workout, and then finally choose which colors to use. If you've already decided that, that's fine. But this will give you a head start into basically it'll be a warm-up of the final project that we'll be doing for the next class. I've laid out my thin a fan be Vinci. I've worked out that for actually for the inner thin, I'll be using a purple. Then I'll be using a black. I'll be using purple. Let me just write this down because I've changed my mind. So the first one would be the purple. So that would be number two. Actually, let's just put this. Okay. So that's the changes that I would go with. Unlike to go first with the yellow because that was more opaque, traced to use The pulling out with my hands. But for the right-hand side, I might mix things up a bit, but okay, so first I'll try to work on the imperial purple. First. Although I have sketched out the the pattern of the fin, I'm just going to doesn't have to be perfect here. The aim is to just look at the colors and look at the whole composition, and then decide on what swatches to use. Again, this paper that I'm using is not for watercolor, but for just mixed media in general. So I know it's not going to look as good as the final cotton watercolor heavy paper that we'll be using. So I'll just have some music on. And you can skip ahead if you're not so interested in the making of this. 7. Final Project: Watercolor: Finally, we're here to do the final project which is drawing this goldfish with watercolor. And then finally using the strokes around it to kinda give it a bit of style with wash. First of all, I'd like to go with the yellow bit of the thin with the bismuth yellow, since that's quite opaque color. So I'll be doing that. So essentially I'll be laying out this, this myth yellow. And when you work on the first layer, I would kinda go a bit thin. What I mean is like more water in it. And no did that on this other side as well. So the reason why for adding quite a lot of water is so then you can, even if you make a mistake, you can kinda go over it and kinda get the pigment out and kinda work your way into the water so then you can redo it over and over. So I'm just pulling up the pigments some longer than the rest as some shorter. And I did lay out the diddly. I kinda sketched underneath the black the altar thin layer. So it'll be easier for me to do later on. Because I thought that one I'm going to use the technique of kinda just link laying out the water first and then working on I'm just moving the water and the pigment around. So it gets like a softer, not really crisp look because I quite like that. Okay, So I lay out this color. I think I got a bit of pencil mark smudged around, so I'm going to clean that out with my kneaded eraser. Okay, so I'll do this for the other yellow layered bits. So this bit is kind of like, um, I'm gonna go over the, so here you could actually see a bit of yellow on the original sign just going to put in that this covering up the other bits that should be yellow as well. This should be yellow. And then this should be yellow as well. So I'll be going over that. Not clearing out a lot of water. Some of that pigment. This should be a little less well. This should be yellow as well. And then willing to do the thin. That's a bit stronger, yellow right there. So I'm just going to add a bit more here. Okay, so the yellow bit is done. Now I'd like to go over the I'm purple bit. Yes. Okay. So I quite like this layer to dry out. So I'm going to work the ivory black first. Okay, So after this is kinda a bit dry, I like to work on the purple layer bit. And after that, I'll be working inside this area. So I want to get the learner blue, make sure the middle body, but it's going to be wet as well as the purples. Okay, so first, I'll lay out the purple for the thin, the second layer. And I'll be going as light as possible first. Actually, I want this layer to dry a bit, so I'm gonna be working here. And the reason why I mentioned I want to make sure the learner block is a lunar blue, sorry. The body color that I'll be using in the middle is ready to be used is because I want this edge right here between the body and the side of the body to fuse in a bit. So basically I want it to leak on the other side of it because that's, I don't want like a line created really. So I'm going to wet this area, but more basically I'll be connecting them. So it kinda leaks out to the next layer. So now I'm going in with the lunar blue. Just have these areas as possible. So now I'll kind of go over it a bit more. Add a bit of darker areas to this. And underneath here I want it quite dark as well. And I'm going to be adding a bit of blue to some areas just to get it, give it a bit of vibrancy. And also to bits and pieces of the side of this imperial purple. Okay? And now I like to go over a bit. Okay, so I'll leave that to dry a bit. Now. I think I'll work on this outer layer of the fin with ivory black. So as I mentioned, I'm going to be using lunar black, but also ivory black. So making sure that those are plenty is a smaller brush because I quite like to get the water. Oops. Just got some order on the side, so I have to be mindful that area a bit. Okay. So I'll work on the left side first, putting some water and trying to lay the water where I've sketched in with the paper. The rest I'm kinda working freehand. But for this black first layer of the thin the outer layer of the fin, I mean, I'd like to kinda work wet on wet and move the paper and water. Rather than go in with it in detail with strokes creating hello like a hard edge. I just liked the spawn tenuousness of just moving the water around. So I'll just I'll be coming in again to lay out the water more quickly. So then because I'm sure this layer kinda pretty much dries up before I'm even ready to kind of lay on the pigments. Okay. Going over it again. Okay. I'll be adding the granulating color later on to kinda split the pigments. I'm laying out my ivory black. I'm moving in a bit. The first layer just to make sure there's enough pigment. Going to move it around a bit. Some that's might need a bit more help. Okay, now I'm going to use the lunar black. Kind of had a bit that splitting look. Granulate these up a bit. Okay, so I'll let that dry a bit as I don't want to move the pigment around when working on this side of the layer. Okay, so next this one's, the middle bit is kinda drying up. So I think I'll work on my second layer for that bit. I'm going to lay out more imperial purple on the side and then add a bit of lunar blue. So I'll work on the middle bit. Again. I'll be putting in layer of this blue. And next I'll be using the salt. Because I think this might be my last layer to work on this. Trying to blend out this bottom bit more. Adding a bit more yellow. Again, I'll add some lunar black to sip it. Now, I'll be happy adding a bit of salt right in the middle. Okay. So next, I think all think this is not yet trying, but I don't think it's enough water to move around anymore. So I'm going to work on this other side. I'm going to lay in the water. K. So I'm going over the water and a bit more again, just so that there's enough to move the pigment around. Okay, so I think I'm ready, I'm going in with some ivory black first. Let it run down while I put it in. This helping. Some areas heading a bit of the Lunar Black and Latinx. I did get a bit of block. There's gonna be laying in the imperial purple, so it should be okay but cannot work on it while I can. Okay. I think I'm done with that black layer right there. So next, ongoing in this small layer of black right here on the top. For this one, I am not going to use this water technique as the space is too small to work like that. So I'm going to get a bit of ivory black. Then give the learner black. I did draw a sketch for this as well for the block. Because I want to make it I want to know the width and this shape much as close as possible as the original. Again, back to ivory black. Okay. So I think this area is not as dry enough for me to work on the next layer. So I think I'll work on this bit inside right here. So I'll go over with the imperial purple. First of all, I quit like to o because the other areas are not as dry. I'm gonna be working on this layer right here. I'm going to wet a bit of this layer right here just so it doesn't create much of a hard edge line between this purple that I'm going to lay out. I did sketch up the edge between this top layer, in this bottom layer. So I have an idea of where I can lay down the block. I'm gonna go back in again trying to add a bit more darker color to this purple. I think I might even go darker. Now, I'll work on the black right here. I'm going to use ivory black. Kinda thinned it out quite a bit so I can kind of play around with the darkness of it, gives me space, room to kinda work around with it for a while. Think got cold darker now. I would like to talk to be darker than the bottom. Going to add more black. I think I'll let that dry. I think I'll work on it gets dry enough now. Okay. I'll be working on the purple for the middle bit. And I'll be using a bigger brush side supply just to lay out the. Watercolor and then come in with a thinner brush at the end. So I'm going to be laying it out in the middle of the top and the bottom, making sure there's quite a lot of water. We got to work quite fast forward this before it creates a line. So it did create a bit of a line. So I'm kind of going over it, a bit. Kind of blended over. And I'm working my lightest light as well. Not quite light enough, but like imperial purple into the whitespace that's created here. And that's why kinda like drawing it was a good idea. But next, I have to make sure that I have put in some lines into kinda worked my way into these yellow as well. Now I want to add a bit of color. Dark on the outer layer. The blocks. Because black is way darker, it's not going to hurt. If I don't get that curve looking. I mean, those lines looking as nice at the top. Okay. I think I like how the purple turned out. I think I'll add a bit more darker areas. Now I'll be working on this side. Work in light. Laying it out on the middle. This is why working with like a 100% cotton is really nice because they forgive more things. So going in, making sure, can those bottom bits more. And having your brush vertical as possible is better when doing this. On the bottom bit. When you want to create those really thin lines. Okay. Now I'm going in it with a bit more darker purples, also trying to make more lines. And if you go over like really dark and all the areas, then it's not going to have much of a contrast between the black and the purple. So trying to keep a bit of balances as well. Okay. Go lift it off. Okay, so next, I'll be working a bit of this layer right here, which is supposed to just cover up with blond hair and blue. As it's part of the O. It has a bit of like the body color. All right here, just sneaking in a bit. I mean, I don't know what to say. I don't know the body parts name of gold fishes, but anyhow, it's all the same. I stopped body color right here when I looked at the goldfish. Okay, so next, I like to work on this middle bit of the purple as well. Wow, I have some purple paint around. Just working with my with my small brush. My first layer of purple was a bit dark here, which I should have made it a bit lighter. I probably should've worked with the smaller sized brush. So I'll add a bit more darker purple and certain areas. Now I'm making it lighter and more water. Okay, now I'm going to go over this bit, a bit more because there's some kinda whitespace. It doesn't look quite the same as the one here. So try going in a bit more. Okay. Next, I'd quite like to, oh, I forgot to add a bit more purple, some areas. So next, I like to work on the middle that I'll be using Naples yellow. Oh, first of all, I like to work on this area right here, which is basically going to be, I'm going to lay out purple first and then learner blue. And I'll add a bit of the lunar black, as well as the theme of flu. I don't quite like the black is a bit too dark, so I'm gonna allow the that they love to shine through. While this bit is waiting, I think I'll work on this thin a bit more. So I will make this a bit darker on the outer edge and create some lines. I think I'll add some purple just to kinda diffuse this area. Lift up off. Okay. So I don't quite like how this is turning out, so I'm going to lift it off. See you It's been a while since I laid that paint down, but it still allows me to lift it off, which is excellent. Okay. So next I'll work on the eyes a bit more. Okay, so next I'll be working on the ice. So first I'll go with the purple. Very unlikely. Gonna add the blue thing. The pigment was not wet enough so didn't quite turn out the way I wanted it to. Okay, think about luxury, thinner. Next, I'll be going over. The planner block, this on this tip and pluck just this area right here. Then finally, I'm just going to use a very light purple. So I'll let that dry. So I'll go over the Naples yellow and now this entire section. And eventually I'll be using the purple and the lunar blue on certain areas. I would quite like this to be quite quick. So I can come in to work on the areas. I'm trying to be mindful, this whitespace much as possible. Now, I'll talk in a bit of purple right here. Then the lunar blue. Just this whole area here. Add a bit more Naples, yellow here. And then a very strong purple. Add it more here. Then again, working into looking into lunar blue. In here, I want it the strongest. So I'm going to tap in a bit more. And I'm going to use a bit of this black just to create deep. So overall, I think I'm pretty much done with this. There's some fine details that I can put in, but that would be some of us, it's kinda like a semicircle on this bit, this bit, and this bit, this bit, this bit. But I think I'll leave it as it is because I'm not going for the detailed look here, but I am a bit concerned about this bit here. It's not as yellow as the other side. So the bismuth than the yellow being quite opaque. I'll just see if this will work by adding a bit more layer of it. I think it's quite opaque, so it is helping by adding a very strong opaque layer of it. But now I have to make it look nice and not like I just add something there to balance it out. I'll do the same on the other side. Heading somewhere. And the yellow bit more here as well. Okay. So I think I'm pretty much done. Next. I'll be going to demonstrate the strokes to add to this piece. So, yeah, let's get to the next class. 8. Final Project: Gouache: So this is the second round node, the final project I've done the watercolor bit now I'm going to go over around it with some gouache with strokes. And I'm just going to leave a room for failure and say that I might go over the whole entire area with gouache and then actually work on top of that was some strokes or I might just leave it as it is. But I kinda want to play around because like washes, you can just work over gouache as many times as you like, whereas watercolor, that's not the case. And I'll be using this angle shader and also the Angular Shader. So these two brushes are meant for mixed media like gouache as well. Okay, So I like to use the scrap paper or on the side, this is a watercolor scrap that I have around. I've did some tests before. So this is something I've created outside of the class because I wanted to test out which color is kinda go with this swatch. And I realized that the mix was cobalt, turquoise light with opera and primary blue from Winsor and Newton. The opera is from Holbein and the cobalt turquoise light is from Winsor and Newton as well. Okay, so I'm trying, I'm going to mix these again, just see if I can get the same colors. The inside layer is going to be light and it'll eventually get darker as I go out. I just thought that look was just the best overall. I think I need to add. So I want to make a lot of the color that I'll be using because you don't want to go out of the same color as much as possible because it's hard to get the same color later on. Okay, I think that kinda looks right. I like that. A bit muted but not to mute it. I think this looks like the color of the year. I think I forgot the name of it. Starts with a p, but quite like it. So I think I'll go with that. I'm going to keep this around so I can go back. I'm going to make a very light, almost like a watercolor. This. Okay, So I'd like to start just focusing on each stroke. I go. The first strokes. I like to make it as short, shorter than the ones that I'm going to create later on. Just being mindful of all each stroke to be aesthetically pleasing. Trying to make it look different. And it's possible. I don't quite like that one. I think all kinda try to see if I can work. That looks a bit better. I'm going to be moving the paper now and then. So it's easier to work with. And I'm also kind of like twisting. My brush and also kind of twisting it around just to create different strokes. One, tearing the paper and just to make it easy to work with, I just feel like these random strokes kind of give that feel of like being in water. And those, I don't know what he called, but the kind of rhythm created around the fishes when they move around. Also, like changing a bit of the colors as you go out, is quite nice to. I'm gonna make this a bit darker. But I'm trying to make the twist to come inside in words rather than out. This is how I think it looks better in a dish couplers here. So from here on, I'm just going to repeat what I've been doing. Just adding a bit of darker, making it more opaque. As I got out. Having a bit of variety adds texture. Um, now as I'm getting to the painting of the strokes, I'm making it flatter because I just think like the goldfish is coming this way. There's a lot of movement, the back or the side, but I just feel like there's more there's less movement in the front of the fish. Okay, so there I'm pretty much done. I was thinking I might go over it like with just plain old pick gouache color, but I like to leave a bit of space for failure just so I feel safe enough to just do whatever I come up with. And that way, it just makes me not afraid to do something that could turn out, right. So I think I quite like it. I'm just going to keep the strokes that is as it is and it's still in the process of drying, so I'm going to leave it as it is for our while to dry up. And then once it's done, I'm going to get into the details of the goldfish. 9. Final Touches: I'd like to use these like metallic colors. The con side tom be for just kind of give a bit of accent in the middle. And since there's some salt, I'd like to get that away before I lay down my goals. Okay. So before I directly go into this, I haven't tested out during my color theory class, so I'm just going to see which gold's will work the best. I kind of want. That. I think the silvery look, we'll kinda look good because overall I'm using quite cool colors. I'll go for the champagne gold. See how that works. Doesn't quite shine through too much. Tracing. This guy might like that better. Word, the Silver. I think I quite like the white gold. Think that might be the best. Just a bit. I don't want to go overboard. It's kinda putting in a bit put up here too. Think that would be enough. Somebody stop me, please. Okay. Okay. And then next oh, because I didn't quite do well there. I thought I'll just add a bit of white gouache that I'm using to mix it with the Vendee watercolor bit. Maybe I should test this. Okay. Not peak enough. I think I will go darker. Okay. I'm basically adding a layer here and making the lines. Some are longer than others, some are shorter. Kindness towards the blue bit too much. So taking that away. And only the white here as well. And just so the look matches overall, I'm going to add it here as well. Creating this swatch first, it totally looks different. Paper quality really does make a difference and we're only testing here. But when you see the colors and you feel like, oh, it's not working. I think you just need to try out a few things. And so testing on our actual watercolor paper also helps. But yeah, I'm pretty happy with how this turned out. I did quite a few tries. I even created this one actually, while I was creating this class. Basically to check out which swatch, like color, swatch like looks better. And I thought, okay, this is closer. But I still didn't quite like how the dark kinda started off with being getting it light. So I kinda flipped around the block in the yellow. And then I'm working on a color paper and testing it was quite useful. So before this, I've created this one as well for practice purposes and it didn't quite go well. I think I did a better job with the fins. But yeah, if you want to create this pattern, Japanese pattern, please check out my class mechanical, I explain about how to create these patterns called the Save. I hop over there. Okay, Please share your final project. I like to really see how it turned out for everybody. 10. Thank you!!: Congratulations, you've made it this far. Give yourself a pat on the back, You deserve it. Now, we went through quite a lot like ideas of how to select the pellets to. We looked into the concept of transparency and kind of layering what that actually meant. Three, we went into warm-ups, wet on wet, wet on dry salt layering and some strokes with Bosch. And then four we want to do, we went through transparency. I think for was we did so many things. I think for was actually using those swatches that we were deciding narrowing down on. And then using them as a test drive to see what actually it might look like. Now, I say this over and over paper makes such a big difference. So if you have the flux to kinda like he is just not expensive, nice papers to do the test, then that's great. Just go for it. Then finally we got into the final project. Now please do share your projects. I like to see the variation of colors that you've come up with. It. I know it's kinda hard sometimes you don't want to show it, sometimes it just like pan. But I post a lot of my projects that I've done with other classes because I think it's good. Like I often go back to where I started and kind of thing. I used to do that. It kinda reminds you of your paths, that hollow you're really getting better. Practice makes perfect, right? So, yeah, I would like to see you upload your concepts. That'll be great. Okay, so see you again sometime soon. Thank you for taking the class. Bye.