Watercolor Special Effects using Household Supplies

1. OPENING: Hi, everyone. My name is Leon, and I will be your teacher for today's class. For today's class, I decided to do something. So blood fund for all levels, including beginners so everyone can way will be exploring watercolor effects with household supplies. So these are the spice that I already have at home. So you may also try to experiment with things that you have available at your home. For all the lessons, I would recommend you to watch the lesson three before painting a loss so you could gauge at the kind of things that I will be doing because some techniques do require you to work fairly quickly and would require the surface off the paper to be wet. So that way you can gauge time. You're painting yourself before we start. I'm going to list you the lessons on for basic outline off this class. That way you would know what to expect. When you take this class, I will first show you all the supplies that I use for the lesson. Then I'll show you which colors I use. In case you want to use the same ones. I will then explain the paint applications that I'm going to show you how I prep my panels by masking. After that, I will start with the wet on wet technique, then moving along to stamping techniques, then using waterproof supplies to resist watercolor splattering techniques, using soap to make textures, studying sold reactions, making shatter texture with cling wrap, watercolor reaction to alcohol lifting and raising. Then I will finish off by unmasking the panels than introducing you to the class project. Because the class requires a lot off different household supplies, that might be a bit confusing if you collect them all at once. So at the beginning off each lesson, I will miss the supplies again individually for that particular technique. That way, you can pause in between the lessons and get the spice that you need before painting along . And you may even do the lessons on separate days. With all that said, I hope you guys enjoyed this class and let's begin 2. SUPPLIES: in this lesson, I will list you the supplies for this class. Firstly, you'll be needing watercolor paints here. I'm using my pen tell because it's nice and very affordable. It's good for beginners, and it accepts all the rashes off the special effects Really well. I will go through more detail about this and the lesson where I will be experimenting with salt as not all watercolors react the same way. The next thing you will need is watercolor palette. It's preferable to you something with wells, or just so you can pick up water with a dropper and one of the lessons. Next, you will need a clean jar for your water and to shoot to clean and dry your brush. For this class, I will be using for brushes. Ah, flat brush. Mine is a size half a round brush, minus a size 14 as well as a size zero. Brush size is very between bread, so just use the right size, depending on how big you want to make each panel or frame. And last but not least, I also have used brush that I don't care for it to pick up masking fluid and rubbing alcohol and so one. You will also need a few a four sheets off watercolor paper. I'll be using cats in Excel 300. Yes, and to paint on, do some extra experiments along the way. This is optional, but you might also want to use a hairdryer. Next, I will issue all the other things you will need for the lessons there. Quite a few supplies, but if you don't have any specific ones on hand, that's okay. You can wash the lessons to see the reactions, or you can opt out to interpret the exercises yourself with objects you do have at home. So here are things I will be using, firstly as a masking tape. This is optional, though. Then a sponge couldn't was or Q tips. Best lean. A candle oil, Pasto or wax crayons. Lasting fluid US mobile or a smoke up soap straw salt. I will be using three types off water absorbent. Here. I have Ebsen, Salt Sea Salt and MSG because I'm Asia's, and that's easily available for us. But you can experiment with different types of salts to if you don't have a missed yet cling wrap. Rubbing alcohol, small shot glass, cotton pads and a dropper. If you would like to do all the lessons at once, I will list you the supplies here and you can take a screen shot of it. 3. COLOUR PALETTE: in this lesson, I will show you the paint that I'm going to be using and also the colors that I use specifically for this class. I decided to use pen tell because it's very affordable. And prior to making this class, I tried doing all the different techniques and experiments, and I find that pencil works really well even for the harder things to react, which is salt. This is a bit tricky because not old brands have the same reaction. So during the lessons where I covered sold experiments, I will also be sharing with you my personal experiments with different brands and show you which brands work and which ones doesn't. So just as the head start from the sets that I own, coy watercolors and griefs does not react to salt or it has very minimal reactions. So if you only have one of those two brands, you will still be able to do all the other experiments and exercises. But you might just want to watch the lesson on the salt to see the reaction that creates. So getting back to the colors that I will be using throughout this class, I will list you quickly the colors from left to right. So the 1st 1 is pressuring blue, then cobalt blue, ultra marine, blue, sky blue, purple, red, purple, lemon, yellow And the last one is for 1,000,000. You will also need a bit off white if you would like to paint using the same colors s me. But I already have some on the other side of my palette. So I'm not going to add that on another color is also brown. I will only be using a tiny bit of the color so you can add that to the color palette. But I'm going to show you how I mix a brown color using the colors we already have here. 4. PAINT APPLICATION: throughout this class, I will be using a flat brush. But if he only have around Russia on hand, it's also possible to use that the size off the brush will depend on how large you make your boxes for the experiments here. I'm using a size Hoff flat brush by Art Media, and I will also be showing you how to apply the paint with a round brush. Here I have this size 14 by reefs. Brush sizes differs between brands, so you might want to just the size of the bosses according to the size of the brushy happen hand. Before we get to the experiments in this lesson, I'm going to go over the witness off the surface that I'm going to be doing throughout the lesson. So I want to make sure that you understand that in order to have a good reaction for most of these experiments, you need the panel to be a certain dampness. So when you load your brush with paint, it's good to make sure that your brush has a well distribution off paint and water, which means that have a nice, cohesive mixture. If your brush happened to be a bit dry, like the first application that I put on paper. While the surface is still a bit damp, even the slightest you are able to top it with more water or more paint. The more water you have on your brush or on paper, the more diluted the paint will be and vice versa. And while the area is still damp, any surface that has water and painting it, you are still able to move the paint and water around with your brush to make sure that you have nice even surface. I'm going to do another wash, but this time I'm going to add way more paint in the beginning so you can see that is a bit easier for the water and the paint to spread across the surface. So this is a better option. But remember, if your brush was a bit dry like the 1st 1 you were still able to top more paints or more butter on it, just like this one. Until this is how, what you want the surface off the paper to roughly be so that during some off the experiments in the coming lessons, the paint will have time to react and settle to drive to the things we're going to add to it. For the third wash, I'm going to apply to colors. So for the top part, I'm going to buy the same color, which is cobalt blue and below. I'm going to put some red purple, as you can see. Because both colors are still wet, you are able to have the paint around and mix it straight on paper and create this blurry line in between. For this one, I'm going to mix the paint in the middle where they meet and see that you can't create a touch off purple in the color in the middle because you are still able to mix the paint around here and there. If the surface is still wet, don't worry if any of the surface look a bit on, even even for the one color one. We're not trying to create the perfect flat wash, but rather the Web surface that would create a nice reaction for the experiments. The washes will show too much anyway, because we will be adding a bunch of things with the wash for the next one here. I'm going to be doing the exact same thing. But this time I'm not going to blend the colors in the middle, but rather leave them next to each other. And as thes color dry. You will see that the colors will mingle with each other because where there's any, what surface touching each other, the water will travel. This also depends on the consistency of paint off one part of the area if it's a bit thicker because it has more paint and let not blend as well. But I will also be showing you a bit off a wet on what in the panels later for the last one here, I'm going to be using three colors, and this time I'm going to apply them randomly in little splurges here and there. But you will see that because the paint is still wet. I don't have to move the paint around too much. I'm mostly letting the water do its thing and letting them blend naturally. The colors that I used here are cobalt blue, red, purple and ultra marine. I mainly showing you these process because these are the washes that I'm going to be doing mostly throughout the class and and a lot off the lessons, so I'd like you to have a good understanding off the wet surface that you're going to look up for while doing these experiments to get the best results, I forgot to also mention that whenever you need a reset off a clean, dry brush before changing colors, you can always clean your brush with water, then dry with a paper towel or tissue. We actually do this very often, but a lot of time it is off the frame. So take your time and clean or reset your brush whenever you feel the need to. So now I'm going to be showing you the exact same thing, but this time with a round brush instead of a flat brush. Just so if you don't have a flat brush available, you can also be comfortable doing the same experiments in the coming lessons by using a round brush and still get beautiful results. The only difference is I find that the flat brush can hold a bit more water and essentially for this class. That is what you want anyway. But the flat brushes are a bit nicer for even surfaces, but says that it's not something that we are specifically looking out for in this class. It really doesn't matter which one off the to ease in the yet. So for the rest of this lesson, I will be showing you how I push the washes again. So if you've decided to use the round brush and you're still a bit unsure off how to approach it, go ahead and watch the rest off this lesson. But if you do have flat brush available and you're already comfortable, then you can go ahead to the next lesson. Uh 5. MASKING: I think this lesson I will show you how I roughly musk my paper. The step. It's actually optional. It's up to you whether you would like to draw out your own frames or even doing exercises without frames. That's also a possibility. Masking, however, just makes everything easier for you to paint, as you don't really have to think about painting outside of the line. And in the end it makes each kind of looks more need. If you're worried about the tape damaging your paper that you can stick the masking tape to a fabric like piece of clothing so the adhesive isn't as strong, or you can use a hair dryer or masking tape for taking it off. After you've completed the class here, I'm asking without measurements. I just first start masking off the side of the paper. Then after that, I find the midpoint roughly and please my mosque and tape There. I then hop it again to create four columns, and then after that I'm going to divide the page into three rows horizontally. So I roughly measure out 1/3 off each part, and that's the finished panels 6. WET ON WET TECHNIQUE: Let's get to the first technique, which is the wet on wet if you need toe Watercolor wet on wet technique means to paint on top of what surface, whether it's with clean water or with a painted surface. So for the first panel, I'm going to do the clean water First. I want to distribute the water the same way that I did on the previous lesson. You basically want to create a wet surface for the paint to travel, and then after that, take any color you have on your palate. And while the surface is still what I'm going to just do single strokes with any color. You want mine as a mix off lemon yellow and a touch off cobalt blue, and basically you will see that where there's water as long as the surface is still wet, the paint will find a way to travel across the wet surface. For the second panel, I'm going to do another one on my technique, but this time I'm going to add paint onto the first layer, and what you will see is the same reaction. But on different colored background, this background color is a mix off sky blue and lemon yellow at the top layer that I'm going to play later. It's the same color as the first exercise. Make sure that you put two different colors for the background on the paint you're going to place on top, so it's a bit easier to see the way the pain travels. The reaction might differ, but depending on how thick the consistency of your paint is, the thicker the slower in will travel. So just play around and experiment. If you would like to get to know this technique in a bit more death, it will take a while for the pains dry. So while you wait, we can move on to the next listen. 7. STAMPING TECHNIQUE: in this lesson, we will be trying out a technique called stamping. You can actually go ahead and find things around the house that can step with today. I will be using a sponge for the 1st 1 so I've just cut out this punch into a square so it's easier to manage. You can use any type you want, but this is just happen to be the one I have on hand. This technique will give you interesting textures, depending on the material. In this case, this bunch use. So for this one, I use a mixture of cobalt blue and red purple, and I'm using a thin consistency. So it's what watery for the sponge to absorb. You can also try it. This, with the thicker consistency, is something with a drier surface would also give a nice texture here because I have two different size. I'm also going to apply the same thing using the other side. If you would like to also try the same method using a thicker consistency paint, it would be best wait for the first layer to dry and add another layer on top or try it on an empty panel so the texture will be clear enough for you to see. So for the next one, I have chosen to step with cotton tips or Q tips. Here I'm using five to make the process faster. You don't have to have exactly the same amount as me. If you use less, you're going to have to stamp a bit more and vice versa. So for this one, I've chosen the color pink to stamp to make the pink. I mixed some red, purple and for 1,000,000 I also added a bit off white to turn the red into a nice pink color for this one. I also decide tease a thinner, watery consistency so it's a bit easier for the cotton tips to absorb paint. But if you want to use a thicker consistency to get the color that will put out a bit more , you can also do that. But you might need to make more paint, so you have enough for the paint to be observed into the cotton tips. And now, with your tips ready, you can start doing a stabbing motion on the panel, and I'm thinking about making cloud shapes with them. I also try to rotate the car tips around in case one of the cotton tips and slightly race so you can still get a good distribution off paint with. I'm pretty happy with how the paint is distributed. Can anyone guess what we're making for this one? I'm sure you will when we add the final element to this panel. But before that, I'm also going to add a touch off red with same color mixture, but without the white. For some shadows, I'm only going to add a small amount so it works as an accent instead of taking away from the paint color. Now I'm going to show you how to make a brown color using the paint we already have on the palate. But if you already have a brown in your palate, you can use a street away. But since I'm only going to be using a little bit, I'm just going to mix some. Firstly, I'm going to mix an orange color by using lemon yellow and vermilion. Then I want to mute or turn this color into something money by adding the opposite color. In this case, I'm using sky Blue. Then I'm going to darken it by adding ultramarine and Prussian blue into the mix because I want a darker brown. As you can see now, I'm starting to build up a darker color, and it's a bit muddy, So all you have to do is keep adding all the other primary colors again. So all you have to do is pretty much go back and forth on those colors that we already used . And if the mix is a bit red, you want to try to add on opposite color and vice versa until you get the right brown tone that you would like. By the way, you want to mix colors like these. I do prefer using a round brush something with a decent size. If you're using a small brush, it might take a while to pick up the paint. If this is but confusing for you, then, of course, you can just use a patent brown color or squeeze fresh paint. But I thought I just give you a bit off inside about color mixing anyway it. Once you're done, I'm going to switch to a size zero brush and start painting some lines with branches sticking out. I'm pretty sure you guys know what we're painting now? This is a secretary or a cherry blossom tree. You can really get creative with this one and try it with different objects you have around the house. Say you can scrunch up an aluminium foil or even use a hairbrush or anything that has ridges that would do really well and give you interesting textures. I just choose thes two objects because I find that they're pretty common objects we can find in any household. But feel free to make extra panels to experiment and let your creativity run wild. 8. RESIST / MASKING TECHNIQUES: next technique or experiment we're going to do is cold. Resist where we either mosque off areas or cover an area with a medium for the paper to resist any observance, ease off water or paint. For this one. We're going to do four panels. You can do all four of them with me, or skip any off the panels if you don't have the materials available to you. So for the 1st 1 I decided to use a candle. The wax from the candle will act as a resist. So for this one I'm going to draw waves, and it's been hard to see what you've put down on paper. But just be confident with your strokes. I will show you that my 1st 2 lines were a bit light handed. So when I tried to put my paint over it after a few strokes across area where I didn't draw it with the firm enough hand the paint end up washing away the wax. The color I used for this one is sky blue, with the slightest touch off them and yellow to give it a slight teal tone. Then I'm adding ultra marine blue on top off that sense, I find that the contrast will be nicer with the darker color. But it's really up to you, which color she choose for this. In the end, the purpose off thes lessons or this class is for you to exercise and try out different techniques, so the color mixing is very much open to interpretation. I'm just letting us know which colors I use in case you want to use the same colors as the demonstration, though, just to speed up the process, I decided to use a hair dryer for the first layer to dry off, because I want to show you that you can do a second layer. So whichever part you're resisting has an initial color. I'm going to redraw the waves at the top and then paint with a thick consistency sky blue. Or you can stick with the ultra marine blue. So it becomes like a negative painting technique and the end something that he can take away from this experiment is that the wax isn't so strong that you can actually rub off the wax if you keep applying paint or stroking the area with your brush for the next one. I'm going to use oil pastel where you can also use wax crayons. And this time we can get the colors from these oil based or wax based mediums. For this, I'm going to dress spirals, and I'm also going to add small dotted lines around it. I think I was thinking something along the line off Starry Night by Van Gough in terms off the color. You could be as detailed as he wants in this step, but I'm just going to keep my nice and simple, so it's a bit easier for everyone to follow along. Once you're done with drawing out the pattern or anything you like, you can now add the paint I'm using a pretty rich and thick consistency off a mix off oppression blue and ultra marine blue, so the color off the yellow will pop out more. But, of course, you can choose any color you want a differ. This is like the 1st 1 It is possible to take off the wax or oil pastel as you can probably see some residual yellow flecks on my brush, so be a bit gentle, one. Applying paint. It's always gentler on the paper when you have a decent amount off water on your brush so the paint can glide across easily and reload to your brush whenever you feel like your brush is starting to dry off the next one. I actually learned by accident because of my skin condition. I used a lot of gasoline on my hands. I find that any slight bit of paper I touch when my hands has some vastly did always raise the watercolor and gives a certain texture. So I'm just going to call my finger with some gasoline, and I'm going to tap the oily finger on the area of the panel. You don't have to go to heavy 100 on this, and it's not really visible, but it will show up once he paid over it. I think this texture might look interesting for soil or something like that because it gives an interesting, uneven surface. The color that I used here is a mixture off ultra marine, red, purple and four million. Still, for the last one, I'm going to be using masking fluid. I know that this isn't a household object, but it is one of those very useful tools to use when you're using watercolors if you want to avoid using any whitewash and paint as a watercolor purist. So for this it's best to use a brush that you don't really care for, so it doesn't ruin any off your good brushes. I'm painting cloud shapes on this panel, so I'm going to do round shapes and different sizes and something a bit more fluffy at the top than the bottom. You can also do splatters with masking fluid by tapping the loaded brush into another brush or a pen, which will create splutters off masking fluid. Once you're done painting, you can wait for the masking fluid to dry off by and dries off quite quickly, depending on how thick you play the masking fluid. But this really depends on the brands. The best way is to check by touching if it's slightly tacky and you don't have any residual masking fluid on your finger than strike, so once it's completely dry, I'm going to paint the sky. So first I'm going to use purple and paint halfway down the panel. And while the paint is still wet, I'm going to add ultra marine blue at the top. Once you're done, with the top part. I'm going to mix on orange color, so I'm going to use the colors vermillion and lemon yellow. I want the bottom off the sky to be this orange. But before we paint the bottom, I'm going to create a transition color to put in between the purple and orange, some going to add purple to the orange mix and also add a bit of white to make it nice and still pink color. I'm going to add some orange to brighten up the color, too, so once you're done, go ahead and apply it. I'm going toe by it, very close to the bottle, and while it's still wet, I'm going to also add orange color. When your paint is completely dry, you can peel off the masking fluid using your fingers and reveal the mosque off area. Be careful to peel slowly to avoid tearing the paper underneath, especially for the larger areas like the cloud right here. E think I had a wet area on my panel somewhere, which I accidentally smudged into the cloud, but that's fine because we're going to paint the mosque off area after this, using the same pink color that we mixed as the transition in the sky. I'm going to paint some shadows at the bottom and middle section off the cloud. I used this color because the shadows are still reflecting some of the colors from the sky , and this makes the clouds extra fluffy. 9. SPLATTER TECHNIQUES: on this lesson, we're going to do some splattering techniques I love. This one is really a lot of fun to begin. I'm going to first mix a color. I'm going to use ultra marine and purple, and I'm going to mix them in a place where the paint can together So we drop. You can pick it up. So as you guess here, I've wells on my palette, so I'm going to mix the colors there. But if you don't have wells, you can try mixing the colors at the edge off your palate so your paint can together together and be easier for you to pick up till once you have a decent amount. I'm going to use a dropper to pick up some paint. If you don't have a dropper, you can also use a dry brush to pick up the wet paint. Make sure that your brush isn't initially wet or else the paint you pick up will be more diluted and just let your brush be fully dripping loaded with the paint so you can create puddles off paint. But I find that it's much better to use a dropper. I'm going to create a couple of paint droplets to begin with. Then I'm going to take a straw and start blowing the paint in different directions. You can create such dynamic movements with this. I've tried using regular thin straws, but I find that the smaller straws doesn't work as well as the bigger straws or a straw that you use for boba or bubble tea, because he can blow with a higher pressure and intensity with the largest raw. So the paints will disperse more and give a better effect. I'm going to add a bunch off different colors. So here I'm going to add droplets off purple and then later on, I'm also going to do some red purple. I also want my mix to be rich, so this platter is very visible whilst at the same time nice and watery instead of thick, so the paint will guide across the paper easier. When you start blowing the paint, the more confident you are when you blow the air, the more the paint will disperse. If you blow at a slower rate than the paint will only move slightly. This'd is so much fun, and I love the different thickness off strokes there in this platter panel, another tip as to aim to blow where there's a puddle of paint and try to blow the paint in different directions. This technique is so much fun, and I love the texture it gives out In the end. The next splattering technique is like what we previously did with the masking fluid on the clouds, and that is to use brushes. I'm using afraid brush for this one because I find that it creates better distribution. So I'm going to use similar colors to the first panel that we previously did. But I'm going to also add sky blue with a bit off. Why did it for this? I'm going to use a brush that is fully loaded with paint at the same consistency as the previous panel. So you want something that's quite watery but still very rich and color. I'm using another brush, and I'm going to do tapping motions and let the pain dropped from the loaded brush. Another way is to drag the loaded bristles in a flicking motion across the other brush to create fosters battery movements. Remember that you are free to choose your own colors for these techniques. If you like purples or pings, then that would also look really nice. I try to go for harmonious colors for splatter techniques, so when the paint mingles with each other, it creates a nice transition and sped off muddy colors. For this next one, I'm going to paint on abstract background. I guess you could call it like a galaxy. Usually for this, I would do a lot of players to get the right vibrancy. You can pay the background as neatly as you want, but I want to focus more on this platter technique. So I'm just placing the colors really roughly around panel. And I'm just going to do a couple of players to get the decent amount off vibrancy. As you can see, the middle area has the lighter color. Whilst the sites, I prefer to have darker colors so further light blue, I use sky blue, and I also added a small amount off lemon, yellow and middle. Then I transitioned the sky blue to ultra Marine, and then finally, on the sides, I put some pressure in blue. If you would like to increase the contrast, you can also add some black to depression. Look, if you are interested in the more in depth galaxy painting and would like to go into more detail with it, I do have a couple off available classes for it. One is the basic off painting small galaxy Polaroids and I also have another class where you apply these galaxy textures to a fox painting. So if this is something you're interested in, you can go ahead and check that out. As you can see what are colors dry, a bit lighter than what it is when it's wet. So I'm just going to increase a bit off the intensity by adding some off the Prussian blue around the sides, and I'm just going to leave it for now and wanted splatters. But if you would like to add on more layers like I would usually do, if I do any galaxy painting, then you can go ahead and pause the video. And then once you're done adding the layers, we can move on to the splattering together. So for this splattering technique, I'm going to use a small toothbrush, and it's going to have similar effects to the previous platter. We did, but I personally think this one has been easier to control, but it really depends on you. This is just another option to go about splattering. So because we have a dark background splatters will be made with pure white water color or gua sh. And for this it's important to get the right consistency off white paint. If you want the larger dots like I have here, then use a thinner consistency. But if you would like smaller dots as textures, then you would need to use a thicker consistency bait. It's also better she is freshly squeezed paid for this because it will be easier to load your brush. 10. CREATING TEXTURE WITH SOAP: in this lesson, I will be showing you how to create a pebble texture using soap. So in a small bowl he can also use a small cup. I have mixed freshly squeezed water color paint. Couple squeezes off the good soap at also water to dilute the mixture. I then used a straw to blow bubbles than I mix it all together until it has smaller bubbles that you can pick up with the straw. I then place those bubbles on paper and wait for them to dry because off my sled skin allergy with normal soap, I used baby soap because that's what I have available. And baby Soap in general is less bubbly than normal soap. So after doing this one, I actually found some spare liquid soap that I'm not using, and I decided to try it with that for this here I use cobalt blue because I thought that it would suit the color off the bubbles. But for the 2nd 1 I tried using a darker color, so the texture is more visible for you to see for the panel. I tried filling up the whole thing with bubbles and because my mixture was a bit running. I think it might have something to do with the soap that I used and the color was quite light. Some levels did not show through, but for some parts where the bubbles did dry off completely without the moving around, it did create some really nice textures. Here is a sped up version off the bubbles drying off. As you can see. Don't move them around. Just let them dry. Naturally, it does take a little while, but they will soon pop by themselves and give you this really nice texture. Here I will be doing the same thing, but with normal soap, I decided to include this mixing process for this one so you can see the consistency that you want to achieve. The colors that I use here is a mix of oppression blue and purple, mixed together with the squeeze soap, and I mix them together thoroughly before adding the water. If you add the water first, it might be more diluted than you want it to be, and then you would have to adjust the soap and the paint again so it's better to mix the water last, so overall you want it pretty runny, but not too thin that you won't be able to go bubbles. So after I got the right consistency, I used to straw to blow bubbles. As you can see, it's so much easier to get the bubble list with normal soap than compared to baby soap. After you blow the bubbles, the bubbles will be quite large. So to make them smaller, I mixed them with my straw to create tinier ones. And then, if that's not enough for you to put down on paper, I will blow more and repeat the process until I have a decent amount off bubbles for me to take with Maestro and put down on paper. So once you can pick up a decent amount off bubbles, I'm going to use a scrap paper and just place them down like what I did before in the panels. And I'm also going to put this under time lapse so you can see the final texture. So here's the final result. As you can see, the darker color makes it much easier for you to see. The first time I looked at it, it just looked like bubbles, and after seeing it again, I find that this would be really nice texture as pathways or outdoor walls made out of natural stones. 11. SALT REACTION TO WATERCOLOR: in this lesson, I will show you salt reactions with watercolor. I will be using two types off salt and also MST reaction. Both products have the same property in which they will absorb the water color and create wonderful textures. For the 1st 1 I'll be using absent salt, which I use for my garden where I live. The table salt is a bit different to what people might be used to in the States. So I'm using Epsom Salt today because I find that it has similar texture and uniformity to table salt particles. So for this, you can go ahead and use ordinary table salt if you don't have abs. Insult available after you're done. Painting a very wet washed to a point that at puddles he can go ahead and sprinkled the salt. I find that the Epsom salt insults with uniforms. Small particles reacts the fastest as it's more even throughout, and it doesn't take too long for the particles to absorb the water and also dissolved for the next one. I'll be using sea salt, and this salt has different uniformity, so when you place it down, there are areas off the salt, which isn't touching the watercolor, and this makes it a bit harder for the water to be absorbed, so it does take a bit longer. I did my own experiments off camera, and I will show you the results at the end off this lesson, but I found that it is best he's very liquid consistency and yet really rich colors. It's best for the surface to be really wet because Theis reaction takes while to produce. And once the surface is dry, Ed will stop reacting. So basically, we want to prolong the time for the salt to absorb the water and the paint. For the last one, I'll be using MSG or monosodium glutamate. This is a flavor enhancer that you might find in savory snacks like chips and things. This is also commonly used in Chinese food. When I eat a lot of savory foods with MSG a lot of time, I become really thirsty. So we decided to give this one a go and see the reaction. The MSG is shaped like long grains, and they're quite large in size compared to salt particles. So, like the sea salt. This also takes a while to react after you're done with this, you can go ahead and move to the next lesson. But I want to show you a sped up version so you can see the reaction that's happening. Then I will show you my own experiments that I did off camera just for some extra information. So for my own experimentations, I tried with several brands because I've tried this using quite before and it didn't work. So I wonder if it was just the color or was maybe due to the properties off the paint. The burns that I tried here, our whole bide Cottman reefs, coy and pencil. So as you can see, the whole band worked really well and the reaction was very fast. Then I moved on to my reefs and nothing really happened. It absorbed a tiny bit, but it wouldn't create the crackling texture that one would desire for the salt reaction. The coy, as expected, didn't have any reaction. It absorbs a tiny bit, but it didn't have any textures either, so I tried it with several different colors, to to see if it was just those two particular colors. And as you can see here, none of them work. The Cartman also works well, but the colors are quite transparent compared to the pencil, and it can't be applied as thickly s pen tell. So I find that pencil works best and the end compared to the other student grade paints for the salt reactions hold by and also works really well. But since this class is aimed for beginners, I want to use something that most of you probably have one hand on. That's why I just he's pen tell in the end. It's also okay if you only have reefs or quite paint available to you, because all the other special effects that we experiment with in this class will still work well. So don't be discouraged. And you can use those extra pedals for other experiments that you might want to try out. Here are this watches that I made for my pencil watercolors to see the different hues and of all hues work the same way, and all of them work really well except for the latter colors. Maybe it's also of it. Heart See is still reacted, but it doesn't react as well as the darker, cooler tones. I also tried it with excessive amount off water and very little salt. And as you can see, the salt mostly dissolved, and it creates this really misty looking texture. Whilst if I just use the normal consistency, it comes up with this crackly texture that you will solve from the previous panels here. I also tried it with different stages off witness, but this time with MSG. And as you can see on the right hand side here, where I did a flat wash, the washed dried pretty quickly, so it's only left with little flecks off the actual shape off the MSG. And then I also tried it with a very wet and rich consistency off paint. And because the MSG had a lot of time to settle and then dissolved, the reaction becomes very vibrant, and you can really see the contrast in colors between the paper color and also the ridge paint. So that's it for this lesson. Let's move on to the next one 12. USING CLING WRAP TO CREATE TEXTURE: for this lesson. We're going to do a simple technique, and this is to add cling wrap too wet paint. I'm going to use the color mixture off cobalt blue and lemon yellow, and then, with a cling wrap slightly larger than the size off the panel, I'm going to place it on top off the wet paint. The mess here, the plastic as the more texture will show through what's the pain? Tries. So it's very, very important for the paint to still be wet before you place the cling wrap. Since the texture will come due to the way the cling wrap pulls and gathers the paint in certain areas, creating a very interesting texture. You can leave this to dry and move on to the next lesson while you wait, But I will show you what this looks like once it dries off. 13. ALCOHOL REACTION TO WATERCOLOR: in this lesson, we will be using alcohol to create different patterns and textures. For the 1st 1 I'm going to paint the whole area with cobalt blue for this one. The pedal doesn't have to be as but as the previous salt experimentation. But you still want the surface to be slightly wet or damp. For the 1st 1 I'm going to use a straw toe plan alcohol. I'm using just unordinary rubbing alcohol, and I'm going to dip my strong in the alcohol and tap the access off so your straw is not dripping wet and then used the straw as a stamp where you've dipped it in alcohol and have a look at how the watercolor reacts to the alcohol. The alcohol has the opposite reactions. Salt where the salt absorbs the water or paint the alcohol. Ashley pushes it away with your feels the color off the paper, but aren't like the salt. The alcohol reaction is fairly quick, and this makes it really fun to watch for the next one. I'm going to be using a dropper to squeeze alcohol out, drop by drop, and because this holds more alcohol, the reaction is going to be much more drastic. I love this one. It's probably one of my favorites in this class. So for the second panel, I'm going to use the nice and vibrant Prussian blue, so we will be able to see a really clear contrast off the paper color and the paint from the alcohol reaction. Look at how the alcohol booms and it spreads out, creating almost like a tie dye effect. You can do as many as you want here or even take another panel for this. I personally find this really satisfying to watch. As you can probably tell, when the watercolor and alcohol stars to dry the white off, the papers seem to retract a bit, so it is better to use quite a good drop off alcohol to see a clear reaction. If this isn't too clear for you to see, I will further demonstrate this and the next couple of pedals for the next panel. I'm going to use ultra marine blue and purple for my wash, and this time I'm going to be using a brush that I don't care for toe five alcohol. I'm just going to use the same brush I use for my masking fluid. I've read that alcohol isn't good for natural hair brush, and sometimes it can weaken the adhesive off the bristles so it just be on the safe side and use a scrap brush or cotton tip is also a good option for this. Now take notice. When I first apply this, the edges are quite smooth, but once it dries off, the paint on the alcohol will leave a distinct separation. So if you're looking to make a softer dot, it's better to use the lifting technique rather than this one. Also as note, the contrast off the effect will also differ depending on the level of dampness or how dry your paper is now. If it's completely dry, then it's not going to move. But even if it has slight dampness, the alcohol will still give a reaction. However, it might not have the same amount of contrast. Instead, it will create softer colors. So for the fourth panel, I'm going to place random colors here and there. I've said it to use the color sky blue, red, purple, ultra marine blue and pressure blue. And for this panel, I'm going to use the splattering technique to apply the alcohol by tapping two brushes together. Notice that the smaller splatters disappears right away because it's such a small amount of alcohol that it just gets dissolved with water. So if you do use the splattering technique took my alcohol, it's better to have quite a soaked brush. So when the alcohol splatters that will drop in larger amounts. So with triggers a better reaction. I'm going to speed up the rest of this so you can see the alcohol reacting, blooming out and then retracting or disappeared. 14. LIFTING / ERASING TECHNIQUES: in this. Listen, we will be doing the lifting technique I'm going to use for different objects or tools for this and for the 1st 1 I'm going to lift with my brush. So to begin, I laid down in Washington. Use any color you want, but mine is a mix off ultra marine and red purple. This best that the wash is really wet so the pain can be lifted easier. When the paint is dry, the brush would be able to pick up any more color unless you activate the paint first with water so us you've placed on the wash quickly clean my brush with water, and I dub it onto shoe to drive the brush a bit. Then you can go ahead and lift the wet paint by dragging the brush across. I'm going to do lines for the 1st 1 but you can make any sort of pattern or during you would like Wait a 2nd 1 I'm going to lift with tissue and here I'm going to show you that you won't be able to lift the paint too well. If the paint is drying on your paper, are is not what enough as you can see because I just paint the base with a thin coat and dries quite fast. And when I tried to lift the tissue isn't able to pick up too much paint because the paint has already settled on the paper and is in the process of trying. It is especially visible on the bottom part off as you can see where the paint is still glossy and wet, the T shirt took off a significant amount, whilst the paint at the bottom has barely any lift. So I'm going to do another coat while the paint is still slightly damp and then lift it up again with tissue and using ultra marine blue. By the way, for this panel, as you can probably tell, I'm going to lift and make cloud shapes. This is a very simple technique that you can use to paint clouds. Whether you used tissue are also a clean brush, like the previous panel, especially cause they're slightly wispy, which doesn't have a lot of definition. Not like what we painted earlier with the masking fluid, where the lines are very distinct. - So for the third panel, I'm going to do the same thing as the previous Panelists. But this time I'm going to use cotton pad. You can also use cotton bowls to absorb the wet paint on the panel for this one. The colors that I've chosen is for 1,000,000 red, purple and ultra marine blue. And as you can see, the first layer was a little bit to light for my liking. So while the paint is still what, I'm just going to add another layer to redefine it. It's really up to you how rich you want the colors. But I find with these lifting techniques, you can see it more if you have a darker background, and that would give you a better contrast as you're lifting the colors for this one. I'm just doing abstract lifts without any particular shape in mind, but you can lift as you please and create any shape or pattern you would like. I find that the cotton material doesn't lift as well less tissue, so this would be great if you want a lighter paints lift moving along to the last final panel off this class, I'm just going to do a simple one. I've makes for a 1,000,000 with lemon yellow to create an orange color, and I'm just going to paint one color wash for the last one. And for this final lifting technique or erasing technique, I'm going to be using contents or Q tips because thes are small and this makes it really easy to control. Firstly, I'm going to use to Q tips and create a Chevron shape or pattern. And since I only have space for three of thes, then I decided to go back again with only one Q tip this time and draw in between the patterns. So there you go. That's the final technique for this class, and I don't see you at the next lesson where I will be explaining the project for this watercolor effect class. 15. UNMASKING AND REVEAL: way are basically done so you can go ahead and peel the mosque in tape slowly to be safe. You can use a hair dryer to heat up that he sieve from the masking tape so it peels but easier, since the heat from the hairdryer will weaken the bond off the adhesive. But it is also possible to peel it straight off. But just be very careful to go slow and pull the opposite direction to get the best result . I pull too fast at some point, and I ended up ripping some white parts off the paper. But it's OK because the painting wasn't ruined. That's why it's better to pull the opposite direction. So you have better visibility off what you're appealing. Once you are done with this 1st 1 then go ahead and do the exact same thing on the second page. That's basically it. That's all the watercolor techniques that I have for you for this class. If you're interested in seeing the end result for the 2nd 1 you can go ahead and watch the rest of the lesson. If not, you can skip through to the last class where I will be announcing the class project. - Uh , 16. CLOSING AND CLASS PROJECT: congratulations and completing this class. I hope you guys enjoyed the experiments on much able the different reaction from outcomes using different possible supplies for this class project. I would love for you to follow along the lesson, but if you don't have any specific supply that I used in this class, I would love for you to get creative on, find something that you have in your own home and trying using the technique using the objects that you have. Or if you're up for the challenge, you can make something like a card or ah, bookmark Using one or more of the two weeks that we covered in this class, I will post the video where I make something using the techniques on my YouTube channel. So if you're interested in that, you can go check it out and Beetle auto. So that's it for this class. I hope you guys enjoyed it as much as I enjoy putting it together. I hope you guys get to try these exercises out and let me know how you guys go by posting it in the project section so I can take a look at it. I really love single different prints you guys come up with. If you get this class, I would love for you to leave like and also review. I love reading the thoughts you guys might have while doing this loss. That way, I get to gauge on what people are looking for and future classes and I can also keep improving and produced things that you guys would like to much if you would like to see more for me, as I mentioned, I do have a YouTube channel. It's called Janjalani, and I post mostly watercolor really did things, including short tutorial. So if you're interested in doing smaller, shorter our products, you can follow along to my our tutorials on YouTube. If you would like to see more illustrations or paintings by me, you can also follow me on my instagram out at my gender. Scorn Janjalani. This is where I post more intricate painting such us food illustrations and things like that. So if you're interested, you can go follow me there. That's basically it for this class. I hope you guys enjoyed it. Unlearn something. You Thank you for watching till the very end, and I will see what the next coming class. I