Watercolor Painting like a Pro - It's easier than you think !

1. Watercolor Painting like a Pro..It's easier than you think: everybody. Thanks to join me in my painting course, I'm gonna be teaching you lots. About what color? We're really gonna be taking your painting toe next level. I want you to be able to paint like prose. So we're not gonna be doing just little graphic designs. Do doors were actually going to create a painting that you could be proud. Too high on your wall painting with watercolors Business. Difficult as you think. It is a sign I should plan everything. And you know what brushes could do? Different strokes and a little bit of the technique. So we're gonna be doing a three stage process is actually gonna be a lot easier than you think it is. I had a teacher once called Joseph's book, which look him up because his fantastical artists on the great piece of advice he gave me waas too. Not chase the painting around on paper, but supplies everything before. You need to know exactly what you're gonna be doing before you even put your brush on the paper on Mother's great advice. My name's Michelle for my lessons on Let's dive straight in 2. Painting Venice Part 1 - A few words about composition: welcome back to another lesson today. This is what we're going to be tackling. It's a photograph of Venice, so I'd love to be standing in Venice at the moment, but unfortunately, because of locked down, were in quarantine in US isolation. So I'm gonna have to make do with a photograph. Andi, I got this off the Internet. One pin dress are fortunate. I don't know who it's by. Otherwise, I'd give them credit, but some I chose it for many reasons. One, because there's not a lot of color in it. So it's a good tonal study on, but also because the composition is really good. That's often the case. When you have a photograph to copy, the composition is already done for you. I just want to point out why. I think it's such a good photograph to copy. So composition. We have this coming in from the left hand bottom corner, which leads you into the focal point, which is around about here. The dome, also the light and then the far distance just disappearing in the mist. So then the clouds up here, a dark from one side, so that also leads. Are I around so, yeah, if you composing a picture, that's exactly what what you want to do. There's all sorts of different types of composition. You can have an H type composition. You could have a cross composition, you could have an S or said on Did. You could also have an L where it's really all on one side. You could have a big block of interest on one side and just a small block of interest on the other. But composition to be strong, there has to be enough movement within the painting for your eye to keep following the painting around. You shouldn't just come in and straight out. So the idea with the painting is to keep people's interest to hold their interest in some way. Tonally here, this is going to be a a three step painting. We're going to do a basic wash, let it dry, then do our blocks of mid tones on. Then, once that's dry again will be going in to do the fine detail, which are going to be the darkest parts to bring the depth into the painting. So I've already drawn mine up. There you go. It's just delight. Outline drawing. I don't want too much detail in there. You conceiving in the photograph? There's not a lot of detail there to copy. If you're not confident about drawing FREEHAND, this is quite a good size. I've got 1/4 sheet here of paper on DSO you could trace the This is just a photocopier. So if you've got a sheet of not carbon paper but graphite copy paper, then you could use that we need to do is tape. You're drawing onto the table on one side. Slip your graphite copy paper underneath so it's not going to move. Keep it in position and just trace around the main outlines. And it's a simple is that if you can free hound draw, it's a lot better, obviously. But to begin with, you can have a lot of fun, even if you haven't hand drawn your own painting. So we're going to get started. You can see I've got my drawing hips already. Thought this is going to be my reference photograph. I've got my usual colors out. Which arm? Ultra marine blue, Kabul turquoise. Um, I've also got some ordinary Kabul blue. Then various other colors are littering crimson on chrome orange, but I probably won't be used in a lot of those. Some people use a neutral tint to de saturate colors. You can do that just by mixing a little bit of unearth color in with your paints, so that's what I'm going to be doing here. Also, there's a little bit of a contrast in color. You can see it's colder here on warmer here, which is another thing that you're looking for to be doing in your painting. You want to add interest by having those variations in tone. Andi in Hue. So we got a bit of cold here, and that divides up the planes so the sky is that warmer color on then The bottom part is a cooler color for the water. So usually the painting is divided into two different areas. The sky on the earth or the sea, or whatever is on the bottom part on. Then the big blocks of man made buildings here. There are no figures in this drawing there, probably the hardest things to draw if you want to capture the movement in a natural manner , so that takes a lot of practice where US architectural things. As long as you're good at drawing a straight line on a circle, then you're going to be OK. So my paper today, I have no idea what make it is. It was given to me by an artist friend who left me a few sheets of paper because he emigrated. So what? I can tell you that it's semi rough and it's very, very heavy. So it's probably a 600 ground piece of paper which will not buckle because being so thick, it's almost like cardboard, so it's not going to buckle up, even if we put a lot of water on it. So let's get started on. I've just got a home from my favorite brushes him, my faithful duggar handmade rosemary brush, which I absolutely love. This if I need to do any fine lines quite good. I probably won't need this big squirm up because I'm probably going to be using this soft round brush. Israel natural pair. Andi, I might use this for some fine details. Like the windows must feel the need. Uh, or I could juice this other little square on what groups breaking, but just sticking up back in again so that holds a lot of color and you get a fine point, but some of them to do the same job. But it's good to have them handy, just in case there's nothing worse than then you paper dry. Why you looking for another breath before I start? I need to analyze the photograph to see what I'm going to be doing. Your painting starts as soon as you've chosen your subjects, so it's not with the first brushstroke. So we're going to do my lightest lights air here on Do not so much here, but it's quite light. So that's the first wash that I need to do and carry it down. It will get lighter and lighter as I go down, so this is the color I need to mix first. 3. Painting Venice Part 2 - First Wash Light tones: So I've got my company and orange here. It's much too intense and dark, so I'm going to add some Naples yellow, which is also opaque. But, um, by the way, future skies No poor Cielo is probably one of the only colors that doesn't mix with the blue to make it are green. You don't want green skies, but again because it's quite opaque. I'm gonna have to water that down quite a lot. Still a little bit too intense. It's a little bit better. Don't forget. The paint always drives lighter, so I think that's good to go. Maybe know a little bit more of this Naples yellow hair. So here we go from the top, it's more. I've watched it down a little bit. Add some more over here. Keep it going. I've got my board prompted an angle. As always. I'm letting that go over my jury. Of course, it's going to get darker at the end anyway, So doesn't matter on getting down to where now I want it to get a little bit more purple E on the horizon. So I'm going to start put in my purple over here. I need it quite intense. Otherwise, it's just gonna wash away the yellow. So see what this is like Probably a little bit too intense because I said it's gonna dry lighter, See what happens there. Now I'm gonna water that down on add some more Kabul blue. I want that really quite water because the water is very, very light. So on the paper, I need it to remain almost very, very well. Now let's see that bead that's going to keep my painting alive as wrongs that's there because there's still water there, so the paint isn't the paper isn't drying underneath. So gonna just wash across here on you can see the sky just runs into that, making it even a little bit more grain. So that's just one of one. Don't worry about these buildings, because we're going to be going back to those. So like that, they're taking some of the yellow off. I'm gonna take a little bit of the yellow off Hera's. Well, don't worry about that other, so you can see it's still alive. So I'm just gonna drags more water across their There's no paint on there. Just what was left on my brush on There you go. So seems to be making mixing in nicely. Andi. Now we're going to let that dry Onda will do it so magic on the paper as it drives and mingles together dry. You can use a hair dryer if you're in a hurry, but it is best to leave it dry naturally because you might otherwise miss some effect. It's the the wet paint is going to be doing so. So it's nice to see how the pain evolves on its own. So I've just let that dry naturally, and now we're back to go into face to which is to put down our mid tones. Eso we're going to be painting those on the dry paper. 4. Painting Venice part 3 Mid Tones on Dry Paper: you know the reference photograph on dime seeing very purposely blue here on day. It's the same color here, but it's just a little bit more watered down. So first I'm going to tackle this area with a purple with a little bit more red in it. And then I'm going to add some more blue to tackle just the big shapes. I'm gonna be concentrating on any details. We want to concentrate on the largest shapes. Andi, even when when there's a cluster of buildings, it's best to let them will be joined up. Otherwise, they don't look natural. So that's all going to be one block on the same over here. A swell some of the other mid tones here. So I'm just gonna mix those colors now bear with me going to use my big brush to mix the colors. So I've already got a purple here which the blue has run into, which is okay when Rod, a little bit more of this salads Aerin crimson. I think that's about it. Que quite like that. I think that's just right. So I'm gonna leave that brush loaded there. I'm gonna pick up my little squirrel mop So what I'm gonna be doing is picking up this color, Andi, even though I've got a good reference there, one little trick for doing around building is just stopping on here. Andi going around like that. See? So I didn't have much color on there, but at least it's where So now I find just put that in Should run nicely where I went it so it shouldn't go outside that line anyway. We can use the point. Yeah, I was working this frightened. That was gonna be too big appoints, but it went OK. I'm just Nissen and contract that down. It's fine. Anything underneath is gonna be darker anyway, So it's good. Teoh use the same color because you're going to get variation in shades on dso gonna be more realistic without having to draw in all the small details. So keeping and eye on my reference photograph need a little bit more of that and you can see the orange just gonna also be on there on and looks as if the sun shining on the top of the building Any little white marks are okay, There's the belt. How are there? So the sun is actually shining through it. Anyway, I've just realised I've gone over here to the building that so I'm just gonna lift that off while it's still wet. See, it's bit of a myth that you can't correct what car? That someone should drink quickly. So gonna go down here just by doing this? I'm gonna be making the paper underneath, Wet with this lighter mid tone. Keep looking across at my reference photograph. Can't see much of the drawing in there the moment just suggesting these buildings go. See, I'm not worried about not filling that in too much any of those, like little happy mistakes. So bottom part spot in part of my photograph is a lot more blue in color. So I'm going to add some more blue to my purple, mixed your hair. I would say that's quite right, because don't forget, it's gonna be a lot lighter than you see in your puddle. So where do I want that? I'm gonna do it across there, cause paper underneath is dry. That's not gonna run down too much. That's just through these little marks on top. Little statues on the building been worried too much about the details. A little bit more reds, Michelle The top hair Just let it mix soon. Bit thicker Here. This is a little bit thick are Tourette. Just stop it on a little bit more. So it mixes in with blue. It's here. Uh huh. No, I'm gonna let this run down a little bit When I do that on the side of my paper of my board , it's just too dry. It a bit running down a little bit. Cool. Some clean water on. I'm just gonna go across. This is a little bit lighter over here, so I'm just gonna weaken the paint. A bit like to cross here is well, me too. Do that horizon as well. Just getting water, clean water. So it's gonna spread good around a little bit too much. So I'm just gonna brush that off on what I want to do now. IHS make. While it's still wet, I get the chance of making that smoky effect. That was a shame, but in the mind is worried. Stop! Hey, Could little bit darker, Smokey part again. I'm like that Stride So a little bit more in there. Just a little bit more whites still work hand from Cullerton. Gonna be careful now That doesn't run down because it wasn't just now. I just started a little bit of a car. Just make you look like this. Some depth in the buildings? No, just lift off again to the other side born in there. They're more intense. This is gonna be darker afterwards anyway, So no problem there. It's where I want all the soft edges. Um, just putting in some softer parts by letting that go onto the wet paper underneath. So a Siro. Shame about that. But we're trying to fix it afterwards. Might actually be in a defect in the paper. I'm gonna lift off a little bit here. I'm gonna lift off a little bit here as well, just to make the water 100 a bit lighter. Okay? Just trying on Cem. Think that's OK. Now what I want is to lift off this little bit in here. Could do that with some water, so I got some clear water from a brush now Just drug a bit in the Andi I think I need some hair. A swell, just clean water. Do its job by expanding. So do little hairs? No good. I'm no What the horizon two just gradually mingle. Could actually I don't need that hurried finest. It iss. So there we go. Now, that sweat I can lift that off. Did she do that with my clean water? More clean water over here? Yeah, I think my paper was scratched. That that's why that's how points Not to worry. We had a boat, so I'm gonna let that dry now on. Then we'll go back to it. So just let it dry off naturally, if anything starts running down or just tampon with a bit of paper. But I'm quite satisfied with that. How is turning out the moment? So let it dry. Another look. That's my reference photograph on day. I decided that I should add these little waves now because I don't want tohave hard edges. So why the painting is still dump? I'm gonna just put those in just a little bit of the same. Dark purple. A little bit thicker, more blue? No, I feel fine. It's actually a little bit browner than that. Somebody de saturate that a little bit with this messy color of the hair. So don't too dense just gonna But in a few little too much cover, No, too much car. Just get it all gonna disappear into the paper in a minute. Anyway, one too many onions and to see just a bit of movement. And if I see that it doesn't absorb into the paper enough and I'm going to pick it up with my paper towel just a little bit. Don't too obvious. You ever hear just a couple of lines this in a swell trying to lights? I'm not copying. Exactly. Just putting in some marks. Let us know now I will let it dry. Promise. So I was really annoyed with that mark there on, so I'm just gonna have ago that correcting it. So I've got some titanium white straight out the tube. I'm just mixing with a tiny weeny drop of my bluey purple. I'm just seeing if I could dio any cover up here just to break the line up. So it's not so obvious. I don't mind using white somewhat color start some of the purest spot of those. The result is what you are. You could makeup I got That's a lot better. So worked 5. Painting Venice Part 4 More Mid tones: is not completely dry, but what? I've been standing back watching it dry. I decided that I am going. Tried a little bit of a darker color in here just to give a little bit more depth. I'm gonna change brush. I'm going to use my little dagger brush on quite like that red there. So I'm gonna have something a little bit similar across here. A little bit more red in that purple. Still not very dense. I don't want it too obvious to dents. So just gonna do the roof here down. You bit off of there while I'm at it. Mice would have some of these lines. I'm gonna go down into that because I like that. Affect there is Sony at the top? I don't want to make it a little bit darker. They're on this, Rufus. Well, so I've gotta come across here a little bit. You're making a photo copy off this? Seen It's just gonna be an impression. I wanted a photo. I just keep the photograph. So we're gonna just do a couple of these lines here as well. Pence was still visible underneath. Just make it look as if there's a little bit of shadow underneath the ledge. I'm not a little window there, you know? X still down, pundit Me. So it's not gonna be not gonna dry too hard studying bit here because I want it. So have a little bit more depth. Stand back. Look, those lines were bit too obvious. So I'm just gonna go over and she just across a bit more water that soon Drug it down And no, the dark part hiss here. Love roof, vertical lines. I think that's okay. Nearly dry so I could do the other side as well. So whites in the shade is a blue turquoise e color. So that's actually almost it. I'm just gonna go every little bit more. My turquoise took west my blue, but to green makes it in now. So cross here. I think I don hand just missing the little boat s So I need my buying brush. I'm gonna make it. You look at it in the photograph. That little boat is the same car. Is this so car I'm gonna be using on just a little bit here. Reflection in the water point up at the front just so that it looks like both. So So another little. But behind here, she's the same tone. No, don't just do little bits in here. It's another boat here. Vaporetto doesn't have to be exact. I can't even see in the photograph all the details. So I'm drawing what I see. You know what I think are conceit? I don't know. I'm gonna let it dry. 6. Painting Venice Part 5 Moving onto Final Stages: When you stand back all the time, you start to see the defects on. And I'm not sure whether to leave all this in here because there's a little bit too Smokey . So I'm gonna bring the dark down a bit more. So I want to do few nines a little bit more underneath here. Just very weak paints. That's okay over there. Okay, now, just lift off a little bit Here. I even go back at the end of puts Mitel, not just to make it looking more smoky. The mist coming off the canal that's dry now think it's looking pretty good slighter on the original. But I've got an effect that I like So satisfied. As I said, I'm not doing an exact copy on So now for face three, what we want to do is the darker parts. So this dry on now, I'm gonna move on to some very Dennis pain. Andi, I'm gonna use my faithful little dagger brush because so controllable. So what color am I looking for? Wow. What sort of color is it? It's not exactly black. It's Ah, dark bluey grey brownie color. So it's just what I'm gonna mix together. I never use black. Anyway, highways mix my own color. Um, if you mix ultra marine blue Andi um burn number, then you're going to get a really dark color at a little bit of red to it on, and you'll get something that's almost black. I like that. But I want to look more blue in it. Yes, just less severe. Andi. It's sort of blends in better with the rest of the painting. Something that's gonna be dense enough. So I'm gonna do some more. Want some number? CPO. What have you have? Yeah, collect that a little bit more brown just to, you know, I'm even a little bit of red. See how black Buttis see if it's done sooner. Yeah, I think that will do. So what we're gonna concentrate on first? Well, going to do this part, view these thes. I probably will tackle these with my dagger brushes around, then the ones at the back, or probably used a smaller brush. So let's have a go. So competent marks look copying. Exactly. No, I need Semetic Alliance. No, I put that dark on. Realized underneath is actually probably a bit too light, so I might end up going over with a wash ride at the end. Sparkly that. So just give that no building but adapt But you can see I'm not copping exactly just squinting a little bit See where the major Dr Shape so and to dick too dense moment for down here. So just gonna watered down the back I dragged that across, see, gives texture So my pose skip these right? Just that's all right. No, it's all over the place This one's took voice 7. Painting Venice Final Part 6 Darkest tones: just putting in a little bit of fun blue on there because it's gonna mix into the darker color underneath. Andi stands out quite a lot on and I think I'm gonna just drag wash across here. It's not quite dry. Don't do that when it's dry. Could see some little lines here that I didn't put in this the balcony. So it's probably a good idea to put those in a swell now. So just to make it look a little bit more architectural, just do some sharp edge just down here. Horizontal lines. I think I'm gonna let that drives nearly finished. Yeah, I should stand back. No, just another area. Hey, I don't want to put that move because this is gonna be reflected into water, so I need this to be a little bit straighter. Just all sorts. Different blues on brush. Sit. Great. She goes up a pole. All right, so it's dry now, so I'm just mixing color toe wash over here. I totally got the tone wrong there. Being too timid about how the pain was going to dry on its tried a lot lighter than I thought it would. So that's why I couldn't correct that. I've got my big round, flat brush. So? So they think about it. So we Yeah, good. Just dry my brush a little bit. I just want to lift a little bit off of there because I wanted the same color. Just wanted, like, toe and erupts some of that pain off of their into beside just to make it a different car. You can leave that I said. So what do we do now? I'm just gonna wet the tape across just so it doesn't stick to the paper. Always use white masking tape. Otherwise it's gonna totally put you off your colors. Be looking at a bright color all the time, So I do recommend that you use white masking tape. Tape off now. Nice clean edge. Hopefully wow. 8. Where do you start with Watercolors? Learn different effects.: Hello again, Everybody, welcome back to our next lesson. So today we're gonna be doing one of these reference charts, too. Keep in mind some different brush strokes on defects that we can make with a couple of different brushes on different ways of putting the color onto the paper so you don't have to read all of this. Now, show you as we go along what exactly we're doing. But you can see there's so many different effects you can get just by changing whether it's wet on wet, dry on wet, the type of brush that you use in these real handy to actually get to know because when you're starting to paint, the first thing you should have in mind is exactly what you are going to be doing. So you could have a look at your reference photo or your subject it and see what ones of these Vecsey could actually use. I'm showing you some of my favorite brushes. We're not gonna be using them or but always have some handy. They're my favorite ones here. I've got a sheet off my favorite paper and some mosque intake. This is Fabbri on autistic or 300 grams on the front is when you can read the watermark properly. That's the front of the paper. It doesn't really matter if you use the front or the back. It's slightly different, but there really isn't that much difference. So we're gonna be taping this to my board. Keep my board at an angle because it's important to have the bead of wet paint running down your picture because it keeps it alive as it were. If your paint dries, then you can't really go back and touch it unless you're doing another layer over the top. So I am just taping some paper onto my boards on them. We're going to be drawing off some square grid buttons. Nothing difficult about that on. Don't be writing what each effect Waas, Uh, just for my own memory, just in case I ever forget what actually did on there. But the more you do different effects, the more they just come really natural to you. I have two pots of water. I like to keep one clean. Now you see why in a second, so my paints were dry, even though they were from troops, but there that she'd right, So I'm working some water into them to make sure that they're nice and moist. So the first effect is just a solid wash. This is my favorite brush because you can get some uneven effects with it. So I've just put some paint paint on the paper as a solid wash. The next one is actually agree. Did wash. So I had. She had too much pigment on my brush for the first stroke on DSO, even though I had water, it carries on being very. I'm really quite dense, so I'm pushing the paint upwards again, as you can see and then to give you a better rider of what I mean. I've added some more paint at the top to darken it a bit. This is for glazing, but we're going to let the paint dry off and come back to it afterwards. Now we're doing some wet on wet, so here happens is if the paint is wet, then you had something next to it. It's going to run into each other so you can use this to your benefit or it actually could cause problems when you're painting. So it's good to realize what happens with the paint on your paper Here. I've got some wet paint and I'm gonna drop some more wet paint on top. You can see it expands, so that's gonna leave soft edges around him. If the red paint underneath had been dry, then that blob would leave actually, um, a solid and hard edge by adding wet paint onto it paint as well, because they mingled together. You actually get different colors now. I'm drying off my brush because I want to dry brush stroke futures, Drag it across the paper. You can see it skips where paper is rough on leaves that, um, sparkly effect. Now you can use that. If you're going to be painting some scenes of water, the sea, then that can give a good effect to create the little are waves or the foam of the sea. Here I'm just during some scum bling, mixing different colors onto the base color. The brush is actually annoy. All color brush is a little bit stiff arm there. I'm lifting off some of the wet paint and then this some sort of effect is good for during for alleged bushes, that type of thing I've got a mixture of hard on soft edges. There. This we're gonna leave to show you some negative painting afterwards. Once it's dried, I'm gonna be lifting off that color just put down. So at first with a dump brush, I just picked up any brush. So just passing over. I've lived some of the color up here. I've got some clean water on the brush in. You concede it expands. That's gonna leave a knife's nice soft edge. Andi there. I've just lifted some more color off of the first brushstroke Even more here, you see? Sticking quite a lot. This paper, a lot of bum rough and tumble as it were. You probably couldn't do that with a lighter waited paper. Here. I want to be pushing out with a flash flood rush. I had too much pigment on the first, the loaded brush, so I took some more. I wasn't satisfied with how much I took off first. The part there before, just before. So done that again. Here. I'm gonna be wiping out with a towel paper towel, and it's almost the same as lifting off. But here, I'm going to be leaving hard. Reg is Because the paper towers obviously dry, it just lifts off whatever it comes in contact with. I just want to be doing some mole different little brush strokes just to give you an idea. Just with a couple of different brushes you couldn't drag along. The point can use the side of your brushes. Go back to my favorite little brush has a lovely little point on it, so you can get all sorts of really precise marks. Then, if you turn it on its side, you can actually get quite a wide long mark. This is also great for doing leads, especially olive tree leaves, because you just push it down, or from a fine point, it will get wider and taper off. You can see what I mean. No, I'm using some masking tape, so it's important to let your mouth sorry your mask in fluids. It's important to let masking fluid to dry completely. Don't ever attempt to paint over damn masking fluid. Now I'm using of used to candle ah, to put some wax on the paper on a little bit of masking tape. She can see if I go over with the paint, then it's not gonna color where the waxes this is permanent. You can't remove that works. Then on the other side, I've put down that little bit of masking tape on Did you can just about see it now We'll see it close up in a second. But there again, where the tape is, no paint can color, so once it's dry, we can lift the tape off. Then I've done various things. We've got hard edges on that circle on the left and beheading more water on the right of made it softer on the orange paint. I scratch with the pen nib on because the paint was still wet. When I did that, the paint run into the group, so that makes the darker line. I will go back to that when the paints newly dry to make some white marks. Yes, still a little bit to dump. So on the total choirs you could see I had sprinkled some salt. We're going to let that dry as well. Where I'm doing now is I'm going to be splattering with smarter. I've got my faithful little sprayer here with some clean water, and if you spray on top of the wet paper. Then the paint will expand with the clean water. You can see it makes that speckled effect. We'll take a close up of that in a second as well. So the next one we're going to be doing is some are sponging or with a paper towel to see. I'm lifting off to make one effect. Then, if I put some color on this paper tell, then I could do some speckles. So that's again is quite a ah useful technique. If you're doing any for alleged your bushes, that type of thing trees the next one, we're going to be grating with a nail file. A watercolor pencil on top of wet or damp paper on it makes that speckled effect will have a look close up in a second. The last one is just a putting on some thick, opaque paint on a mark and some transparent paint on the mark, just to show you how much paint concolor up your marks, Andi. Now I'm going back to my mask in fluid, that is. Dry it on. I'm just rubbing it off. My finger conceit left the mark, and so the white paper underneath was protected on again. Same with the masking tape that I took off. All I'm doing is going around a light color that had dried with some darker paint to do some negative painting. Now this is useful for creating shapes or putting your shading just brushing off the salt There can see it leaves the speckled effect that's really useful for doing sea foam. Here. We haven't a look closer up some of the effects you can see that speckled. It's really a great effect. If you're doing sand on a beach, hands here. I'm going to be glazing over the dry yellow paints. We left it dry. So now if we go over with another color, you find that where the two colors cross each other will go a little bit green. Here. I've gone back to my scratching, so the painting was actually a little bit too dry. But you get the idea. You can lift off some of the paint and leave a fine mark with a pen name. Now that's useful if you want to do any very, very fine lines, thank you for watching. I hope that's use will keep your reference. Andi, maybe use it again 9. Tools of the Trade: Brushes: lo and welcome back, I'm having Look today, my favorite brushes. This is a big square or moppets. A number 14 by Jackson's Pierre School head holds a lot of color. Andi, even though it holds a lot of color, it also has a fine point. So it's great for making marks on for filling up your page here. I've got a gorgeous little dagger brush by rosemary. These brushes a hand made Andi. It's probably one of my favorites. It's a 3/8 of an inch, and you can do all sorts of strokes. With that, you've seen my other video. You'll see here. I've got just a ner, a synthetic flat brush. I sometimes take brushes from my tray of oil brushes as well, or my acrylics, but argues that sometimes it's another squirrel moppets, a different size smaller on again. This is great for drawing, holds a lot of color. It's a size two on DSO, another name for school mop. His party agree, coming from the type of hair that's used, So these are brushes that were originally used for calligraphy. That's why they're so good at making marks. This is another one of my favorites It's big on very soft. It's natural hair hair. Andi. It's just a local Italian brand on. It's a large. That's where I can tell you about it. Doesn't have a number on. This is great for doing skies and clouds. This is a doctor made by DaVinci. It's a number four on its pure sable Kalinsky Onda Dagres, Great for doing fine lines, holds a lot of color, so there's nothing more frustrating than running out of paint just as you're halfway through a line that's in the middle of your painting. This one, on the other hand, is another hand made brush by Rose Marie. Don't use this an awful lot, but ties good for different marks holds a lot. A lot of color. This is a brush or picked up in London. Andi It see the Japanese or Chinese intended for calligraphy? It's just made of bamboo, but with natural hair. Onda again. It's great for drawing details and things. So yes, sir, quite a lot of brushes, really. I mean, sometimes you wouldn't even use them. This is another hand made brush by rosemary, and it's quite strange at the end. He can see it's dry But if I wet it, you can see it has that sort of stubby reservoir, the top of the the brush, and that's for holding more color. So again, it's a good way of keeping a lot of pain on your brush for doing fine lines so you can have a similar use to the dagger for that one. This is one of those brushes that Chu fill up with water. Um, they're good for sketching and taking on sketch Krul's and things you could even substitute the water for paints for liquid paints on Did Use It as you wish holds quite a lot of water that can be handed to take with you. If you don't want to have to carry a bottle of water, you know you've got some some water handy for just sketching, filling your drawings on the go. This is something that is every painters secret weapon. It's a very fine spray bottle on. Did you would keep clean water in there, and it's good for doing all sorts of effects if your pages starting if your paper is starting to dry up, so thank you for joining me are taking a look at my lovely favorite brushes. You don't have to buy all of these. Just two or three to start off with conduce different Marxist sufficient. But hope that gives you an idea of what I have on what I use in my painting. 10. Brush up on Color Theory: everybody. Thanks for joining me on this lesson on the color wheel. Just getting the paper ready. I am using this arches. Watercolor paper 300 rounds. I wouldn't use anything less than 300 grams because otherwise you're gonna have to stretch your paper. It will buckle. Andi couldn't probably handle the brushstrokes that you might want to use. So room do we. Now? I'm just getting some primary reds in my palette. Andi, I'd already dampened the little loss injures earlier. But as you can see, it takes some working to get the water into them. So that's why I prefer to use tubes rather than thes little palettes. So I'm just getting ready to use some red, some blue and some yellow, which are, of course, the primary colors. So we're going to start off by putting some little blobs of just primary colors on the paper. Here we go with the yellow Just a little dab of yellow there, not read After I've cleaned my brush we don't want the color to get dirty, clean my brush again and she can see And now some blue No. What we going to do? Just get in small color there is to mix the red and the blue to make a nice purple. You get used to, um, the right doses for these, it should be obvious. See, half and half. Otherwise, the color is going to be different here. What we're doing is mix in some red with some yellow We're gonna be making orange. I wasn't satisfied with the dense tea with the color of the orange, so I did a little bit more yellow as a say after you have the experience, you realize whether it tends to one color or the other here. All I've done is mix the yellow with blue to make green. And then I added some more blue to the same green to make a blue Leah green. Now I'm gonna I make sense more green here on divided some more yellow as well. So these Ah, no tertiary colors. She can see a mix more orange. And then I added some yellow to it. I'd run out of orange, so I need to small so you can see it's a more yellowy orange again. This is a tertiary color. Here are mixing some more purple with my red to make, um, or purposely red to make some more purple because I'd run out. And so now I'm going to do a purple, but add a little bit more blue social conceit Tens towards the blue. Andi, it's a completely different color. So the reason you need to learn this is because you don't have to buy tube of color for every color that you want to use. You could mix them yourself so it could be more economical Course, depending on what reds, what alone? What blue you actually choose Because there are very many different variations. Unless you get in the primaries than can vary the type of color that you mix I'm doing now . So I'm gonna be are doing a little bit more. Ah, a little bit of blood to the primary reds. So I'm doing I'm just de saturating it. I'm turning it down a little bit because I don't want it to be so bright. And the more black you mix can see the dirtier. The color becomes so less saturated. That's your shade. I've added an extra block there because I had the room, so I'll only do two on the other colors but same thing here, made in a little bit of black to the blue. And as we go along a little bit more, I'm doing exactly the same to the yellow. Mix it well and again she can see, depending on the black as well. There's many different types of black, so you will find that different blacks, our have different tints to them. They can be tending to more towards green or more towards blue. What I'm doing now is adding a little bit of white to the primary color. So to primary red sheikhoun see it again orange. And the more white your odds. You eventually end up with pink, so that would be your tone. The more white you add, the lighter, the tone going towards the center. That's because I've got more room on the paper. We're doing it again for the yellow. Consider gets lighter and lighter and lighter, which is pretty obvious now. The last face in this simple color will is going to be mixing all of my primary colors that I started off with all together. Ondas you see that will make brown so, to be honest, I never use black in my paintings. I always mix my own. Andi, I usually do this by mixing blue Ultra marine blue with some burn number on that would already get very intense. But if you add a little bit of red as well, then you end up with something is very, very dark, almost black. So I'm just dropping down on here what we've done. So we've got our primary colors are secondary colors where we mix just two primaries together and then the tertiary colors, one with me primary color with a secondary color. So thanks for joining me if you come back for the next lesson, which is going to be on different brush strokes. So I'll see you in the next lesson. Thank you. 11. Practicing Clouds: blue. Welcome to another lesson today I'm practicing clouds. So I taped my arches 300 grand semir off watercolor paper onto my board with masking tape. And I'm just mixing some ultra marine blue with some Kabul blue on. I'm doing a graded wash across the top of the paper. It's my board is propped up as a way since you concede said an angle, so the water will be running down with the color as well. So all of those lines were blend in together. Onda. As you can see, I'm making it quite intense at the top aan den. It gradually gets lighter as it goes down the paper, so that's just a great wash it bottom. I was going to do just sky and then I decide it might be nice to have some see, so I just did a quick brushstroke across the bottom. This is where the magic happens. You can see taken my paper towel, Onda. I'm lifting off some of that color, which is still really quite wet. Sheikhoun see, it leaves the white paper to come through. Andi has U dub where the paint is still wet. It will run back into the mark that you left so you can get variations off whites by doing this. So I keep going back. I was just doing this scene from imagination. I didn't have a reference photograph, so I'm just making. The clouds are puzzled. Go along on just playing around with them until I'm satisfied doing some little wispy ones at the top of the page there. Ondas you can see I'm just playing with them. It's really fun to do clouds. I'm letting gravity do its job. Let the paint run down my notice those little fleck of paper on the on the paper itself. So I lifted that off. So now what I'm doing is I'm mix in some purple. So just a dab of blue and a double red Andi just quite a quite a runny purple. And I'm just going across the horizon line. So composition that horizon line is never bang. Smack in the middle of the paper should even be the 1st 3rd top, all the last third the bottom, which is where I've put mine. So I'm just making up a little scene, not really sure what I want to do, but it's even going to be a little village on the sea front. Or maybe even some rocks on DSA, um cliffs. Who knows? So just splitting. Um, just seeing what happens on the paper as I go along on and I'm gonna let that run in because the pain behind it, it's still really quite wet. So it's gonna run a lot, So I didn't want to put too much paper on it here on the bottom. As it said, I decided to have some see, So then some really quick brushstrokes across with the flattened side of my round soft brush. Now, on the other hand, I've got my my squirrel mop, my big square, um, up, which you can get really fine point on and above those white mark. So I decided to let them stand out a little bit, so I mixed the darker blue. I don't have just added that above the white marks. I was looking at the clouds and thought I'd like to give them a little bit more depth. So I'm just doing a very pale purple wash hair almost a gray, and I'm just picking out some eye shading underneath the clouds here. Andi stabbing off to make sure that I get nice soft edges here on the left hand cloud. I've watered down even more just to give some texture. Make it a little bit more interesting. Um, they were quite nice as they were just white, but I thought I'd make them a little bit more interesting. So going around, topping off a little bit more on DSO. That's basically all you have to do to good do clouds. So on the right hand side there, I'd up some off some paint off because I saw that it was running a little bit too much up the page. Um, because it was still quite wet. Hear him where the waves. A transparent. I've decided. I like to put in some nice turquoise. So this is a Kabul turquoise on, so it's really quite runny. A lot of water in it. I'm just as we go alarm. I didn't a little bit more dense color just so you can see the turquoise a little bit more . I'm just going in the background to make it darker on the horizon because, of course, the see on the horizon is going to be darker and Now I'm just put in some salt above the what's going to be the crest of the wave so that salt will have to dry and it should absorb some of the color underneath it and decided that here, um, I just needed some more turquoise. So I did some more turquoise paper underneath was wet. I dump end it. I'm just seeing if the paper is still very wet or if it's drying just so hiding. What else to do with it? Andi, it's good to paint standing up because then you can see more. You can stand back and have a good look here. I decided it would be nice to have two layers of landscape there on the edge, so I've just put in a little bit of a little bit more texture. Still purple. Ah, little brush. Just making abstract sort of patterns I thought would be nice to have some rocks on the right hand side as well. It is also a good way of covering up that bloom that it occurred there. So I was so made the color a little bit, um, more contrast ing to the water. So I did a little bit of yellow and green to the purple mixture, so it's a little bit more green yah, And that was a nice contrast to so much blue. So I'm just I didn't some more texture there in the landscape, a couple of rocks in the sea on and where the sea is more shallow, it's going to be more turquoise, so that little turquoise mark will actually quite useful On the right hand side here, I've mixed the darker blue. There's a lot of ultra Marine Andi, also a little dove off a couple blue on DSO. I did a little bit on the right on just putting in some different waves and texture with a different color just to make the see more interesting as a sort of didn't have a reference photographs. I'm just making it up. Then I got it really dense and dark on the wet paper I got are quite like that. So I I did some more on the left as well. Just to balance it out. I didn't want it all on one side color, so I'm just trying to break up some edges with the points of my brush. This is my round sable brushes very soft than as it dries a bit. You can also squash it into a point, so it's very hand yours over doing straight lines as I'm doing now. So just doing little marks on the horizon just to this sort about putting in some texture. You don't want it to look flat and try to imagine what you would be seeing on DSO. The smaller waves in the distance are going to be smaller. Broken lines in a dark colored. I thought some boats would look nice, so I decided to do some maths on some of those marks and I had made on DSO. It seemed to actually break up the horizon nicely needed. I needed something vertical there, even though they're very small on. And then I thought, they're sailing boats, so they need, of course themselves. So I've got some white straight out of the tube, very, very dense on my fine dagger brush on. I'm just putting in some make believe. Sales on those mastered I painted are different sizes for the different distances Summer, Nero, some ERM or far away, so off course, or going to be on one straight line on the other. They were quite nice. I also thought that sins, that it's the sea scene. We needed some Siegel. So I'm just drawing in some Siegel's. They're not a perfect M. One of the wings is shorter. I gives it breaks up the line a little bit. Looks as if the sun is reflecting on the wings. So they're not the childish ems that you would have drawn at school a little bit more realistic, even though they are just small. Walks my belt to see them better ham. Now you can see close up the little boats on that dry brush. Stroke was a happy accident, Andi. After I'd done the clouds, I just pulled my brush across Ondo because it's the semi rough paper I left. Those glistening are foamy waves. Here. The turquoise is quite a no opaque color. Andi, I thought that block of color waas too opaque. So I just went back with some clean water to break it up a bit. Make it a little bit more transparent here. I'm flicking on some foam. I've got some really dense white paint on a flat acrylic brush. A synthetic brush on. I'm just flick in trying to make it our stay in the bottom third of the paper. I don't want it going above the horizon, really? And that's one of the final touches. This brush a found, was actually ideal for this thing because it's a fix. Just enough. You could try the toothbrush. Um, you don't want big blotches. You want very fine marks. You can see there on DSO This is it finished. She can see the salt is still drying on there. I don't want to take the salt off into It's perfectly dry. The idea of using masking tape as you can see us when you take it off, you get the lovely clean edge. If it sticks on your paper, just go over it with some Ah, water on lift off and I loads of clouds. And I thought that that EJ was too hard. So I decided to make a correction, so I hope that was helpful. Thanks for watching Am. Please join me in my next lesson. I'd love to see any comments on do your work as well, so don't hesitate to leave them. Ah, for me to have a look and I can give you any comments and feedback if you like