Transcripts
1. Introduction: Hi, everyone. My name is Irina Trzaskos. I'm an artist and illustrator. Welcome to my studio to explore the magic of watercolor. In today's class, we'll learn modern watercolor techniques. I hope after this class you'll feel more confident using this beautiful medium. Let's gets started.
2. Watercolor Supplies: Paper: To paint in watercolor technically you need only three thinks. It's a paper, paint and the brush. Also need some additional supplies to make your painting more comfortable and so your artwork more beautiful. Let's start to talk about paper. In watercolor is very important to understand which paper you are working with so it will affect the quality of your artwork. There are different types of watercolor paper. First of all you can find watercolor paper in different sizes. Also you can find it in size like these ones or as file pads. Also there are blocks and troughs of paper so on. Paper differs by size, texture, and weight. All the information is usually displayed on the paper when you are buying it. Here we can see the size of this sheets of paper. It's nine by 12 inches. Next to it we can see the weight of a paper, which is 140 ponds or 300 grams, which is also important. You paper won't change its shape when it's wet. Another important factor is of a texture of the paper. We have three kinds of textures, which is a rough texture, gold press, which is a smoother especially if it's a grin being like here, and hot press is the smoothest paper. Now let's take some watercolor and try and look how it looks on different textures of paper. If you have a possibility to experiment with different types of paper, I higher commanded Sun taken like medium density a water color, and I'd just applying it to rough paper. It's either up to you to decide what kind of paper to us, but it's nice to try them all. This is called press I usually use. Its smoother but it still has some texture, especially when I go like this dry brush. The hot press is the smoothest one. It's also pleasant to work with, but it's up to you. I highly recommend it if you have a possibility to try different types of paper with different texture, just do it. Size wise, just pick whichever suits your project. Away it was 140 pounds is a good way to just start with especially if you are a beginner. These are our papers as you see on the rough surface, we can see nice texture. On gold press it's a little bit smoother and that's more gentle. Hot press show those more pigment even some granulation, which is quite interesting. It's up to your experiment and decide which paper you like.
3. Watercolor Paint: Watercolor paint comes in pens, which is dry types of watercolor, and hat we need to water it to work with it in tubes and also there is liquid watercolor, which is concentrated. To work with tubes, you will need a water color palette to squeeze the paint in. Also, there are types of watercolor, professional watercolor, which is called artists watercolor, and there is a student type watercolor, which is a lower quality but more affordable type of paint. I'd suggest you to buy artists watercolor if you can afford it, but you're welcome to start with any type of watercolor you like. When you pick a watercolor, you can notice on student type, there is some not as much information as an artist type watercolor. Also on pens, you can also find the same information if it's artist type watercolor. Let's look and try to understand what all this labels says. First of all, we'll have a name of a color. For example, this watercolor says blue. The name is usually in different languages so that you can understand even if English is not your language. This one is in Russian and Spanish, I think too. After the name we have a code for every color, so for blue it's PB 15. What does it mean? P stands for pigment and B stays for blue. Some colors have more than one pigment, so it could be PB 48, PG 12, all on one tube. Next we can see on Winsor Newton, we see this one says Series Four. What does that mean? Series count from one to five and it's the cost of pigment which went in these type of paint, so one is the less expensive and five is the most expensive. W when you pick a Series Four watercolor, you're going to expect that it to be more expensive than Series One watercolor because the initial pigment itself is more expensive. Then we can notice it has two letters AA. AA stay for permanence measures. AA are extremely resistant to light, feel, and chemicals, so you know that your water colors will stay long time more vibrant. A stands for resistant and some types of colors are type B, which is moderately durable. On my Russian watercolors for the same measures I have, three stars for AA, two stars for A, and one star for B. These are all the notions you can find on watercolor. There are some more, for example, like security measures but these are important for your artistic creations. Next I will show you what we will do with watercolor [inaudible] just buy it. Now, I want to show you a tip, which will save you a lot of time during good painting and also it will save you a lot of patience. When we just buy a brand new watercolor set, we have to do following things, so it will make our life way easier, especially as a beginner, and if you don't have your watercolor palette picked yet. It's a brand new set, so you don't know where which color is. When we just buy the set, they're usually all covered in some kind of a wrap, which has the name of the color on it, so we would unwrap them all what I did with most of my paint and don't rush to throw out this paper with the name of the color. Instead, we'll save it, and we'll save them in exactly the order the colors are inside. After we save all these papers in the order our paint is, you cut a piece of watercolor paper which fits in here and what we'll do next, we'll take our color one by one, and exactly where it's situated in our watercolor set we'll paint it. Do this thing with two of these rows, because usually I have only two rows of colors and I suggest you do the same if you have new watercolor set. Now, you've got more familiar with your color palette. After your drops of colors are dry, using your little papers, write the name of every color under each of them. After you are done writing the names of your colors, just place the color sheet right in here and you'll always know where which color is. Next we'll talk about brushes in watercolor.
4. Watercolor Brushes: There is a big a big variety of brushes in craft store. It could be a little bit confusing when you're going to buy a brush and you are not sure what to pick but the truth is that there are three main types of watercolor brushes. There are round brushes, fled brushes and mop brushes. Also, there are other brushes we would use randomly, but this three types are the main types used in watercolor. Even then, 90 percent of the time I'll be using a good round watercolor brush. If you can invest only in one brush, I'll suggest that you to buy a Number 4 or Number 6. We'll go with the watercolor brush and they come in the natural hair like a squirrel. Squirrel hair you can recognize by color. It's very dark and it's almost black but bristles, feel really soft. Other natural brushes are kolinsky sable. This is Number 4 and Number 2. If you watched my other classes I have been using them most of the time. Difference between squirrel brushes and kolinsky sable brushes, squirrel brushes we would use for bigger areas. They're softer, they will hold a lot of water, so we would use them for beautiful washes and a kolinsky sable we would use for more detailed work because they are way easier to control than squirrel brushes. Also, there are synthetic brushes or mixed synthetic with natural hair brushes which could be nice too. I'm not using them a lot, but I'm sure you can find some nice affordable synthetic brushes too. Other type of brushes are mop brushes. By the way they're built, can hold a lot of water and it allows us to create really beautiful big washes like for landscapes or big areas of water color. Another type of brushes are flat brushes. They can be really small or really big depending on the purpose. They also can be natural or synthetic. Thin brushes are nice to lift the paint out of paper or to paint some straight lines or buildings. That's what we are using flat brushes for. To understand if a brush is good or not, we have to dip it in water and then take some water off the edge of char and then just a roll it around a finger. This tip has to be really sharp, as you see this one is. Then your brush is good. Other types of brushes there are, for example, water brush. This is synthetic brush, which has some water inside. When we need to use the water, we would just squeeze it. It's a very nice brush to use for outdoor sketching. Also, there are different brushes we could use as bladders or for textures such as calligraphy brushes. This flood brush is good for splitters. This is a liner brush which is nice for some long stems on branches. Also there is a fan brush, which could be nice for textures and this flood irregular brush. Next is try all our brushes and see what brush marks we can create with them. If you've got a variety of brushes at home, it's very important to get to know them better, for example, see what all them can do. As we said this holds a lot of water and the tip is so good that it's a huge brush but we can create tiny lines with it. We can create washes, but we'll get to washes later. For now lets just see what brush marks we can create with brush. We can going to go from thick to thin and just create things. Let's see what we can do with our kolinsky sable brush so we can really go very detailed or we can just press the brush against the paper, draw some organic lines and then press the brush against the paper. With kolinsky sable we can create really tiny details because it's so easy to control. We will be doing exercises on controlling good brush a little bit later. What we can do with our fled brush, its a straight lines, you can see that synthetic brush is not holding the water as good as the natural brushes. You have to constantly dip it in water, but also we can create some gestural, more organic branches like these. Again we can go to all lines. Experiment with your brushes as much as you can. Turn to stand all the textures you can get. Let's try a calligraphy brush. You can see. This brush when you're putting it against the paper it holds its bristles just like that, so we can create maybe some flower or hair with it. Also very interesting. But if we would dip it in water, it can stay with a nice tip and work just like a regular brush. A fan brush has very specific shape so I'll summarize. Texture we can create with and the liner can hold a lot of water and create a very uniform long lines just like this. Just try all your brushes and see what marks they can do.
5. Additional Supplies: Besides paper, paint and a brush, we need few more supplies to make our art making more comfortable. One of the supply I use often are the boards. I have in different sizes, and I use them to stretch the paper, and if you're so good at stretching paper, you can stretch it right on a board. Or you can go with more simple solution like this painter board, and this is a paper. I'm using a masking tape, which is another supply I constantly use. Just very straight, like one-quarter of inch from every inch of the paper. I would tape it onto the board so it won't distort when we're doing beautiful big washes. If you're doing just one small painting in the middle of the paper, then you probably don't need to stretch paper. But if you're not sure how intense your painting is going to be and it may get really watery, it's better to stretch your paper. You can be more confident with outcome. This is too short. Like one quarter of inch from every side, we would tape the paper to our board. This is a board we just bought in hardware store for our workshops. We have like a bunch of them. We just decided to do a little bigger than 9-by-12. But it's up to you what kind of boards to buy. You can buy them ready in arts store or you can just order them and pre-cut them in hardware store. Another tool we would need is paper towel and paint palettes. This is ceramic paint palette I love because it's easier to wash and take care of, and this is some plastic palette. Some of them come in bigger sizes, so it's totally up to your preferences which kind of palette you like. I don't like my table to be cluttered, so I use the smallest palette. At the beginning when they use the palette, and they have paint on it, it becomes like these little drops, so it doesn't spread well, but it's just because you don't use it enough. So if you want it to be more usable, you can scratch it with some sandpaper. Other tools we will use is just simple pencil, any pencil you like. If you like soft pencil, it's okay. I like mechanical pencils because I don't like sharpening my pencils. Also we can use eraser, this type or this type. So many of you like ink than watercolor techniques, so fine liner is a good tool to have. Just make sure it's a waterproof, so it won't elude in water when you add watercolor to it. Another tool I use often is white ink, white gouache, or white gel pen which adds special effect to my watercolor, and water of course. These are all the extra tools we'll need to create beautiful watercolor artwork.
6. Basic Techniques and Styles: There are three main watercolors techniques; wet and wet, wet and dry and dry brush. Dry brush is also called dry on dry sometimes. First word is for paint, and the second word is for paper. On wet and wet techniques, we would have a wet paper or a wet paint. One of the ways would be, just putting a lot of water on our paper, and then adding paint chit. This technique is the best to use some soft natural rushes. This technique is also used a lot in blending, whether you want to blend a few colors. We will be talking about blending a little later. We're done with techniques that give us a very soft edges, which watercolor is known for. Wet and dry technique is when we are leaving the paper dry, and just diluting watercolor with water in watercolor palette. After we dilute it in water, we can apply it on paper. This technique will give us more sharp edges and more define shapes. We have way more control in the wet and dry technique and it's used a lot in a more declarative style like foreign design or illustration. Of course being a lot of time, so we'll use both techniques on the same painting, or even all three techniques. This is wet and dry. Very defined edges. At the same time when the paint is still wet we can add more paint here, so it'll be again, wet and wet technique. On dry on dry or dry brush technique is when we are wetting our brush first and then dry it in a paper towel. Then take a lot of pigment on our brush and applied it to the dry paper, so we would get this really pigment and little bit textured or layered. Sometimes really textured technique, depending on the brush. This is [inaudible] , so it's giving not a lot of texture, but if we would have a more synthetic brush, it would be like way more texture, like this kind of lines. These are three main techniques, you have to know about watercolor before we start painting. Next I'll show how to make beautiful watercolor washes.
7. Watercolor Wash: A definition of what are watercolor painting, we have watercolor Washes. What are watercolor washers. Watercolor wash is area painted with watercolor diluted with water. There are three types of watercolor washes First type is, a just a simple, flat wash. Take into beautiful flat to wash, we need to devote, a lot of paint, a good quantity of paint with water. So we don't have to mix anymore creator. Mix single water out of paint with water, and good watercolor wash takes practice, so don't get frustrated efforts. Not perfect first, but, there are some tricks I'll show you which will help you until, I've got watercolor wash. So we're antifungal brush in paint, just like this, until brushes loaded with paint on water, and then we start applying it to the paper, as you see I'm keeping my paper on there an angle, and then just moving this, drop, paddle of water down and when I see that it's not a problem anymore, I would take more, watercolor paint and add, to my, bottom line of the paint where it's, this along with drop and they keep moving like these, without interfering with the upper part anymore, I'm just dragging this paint, down the water bath, with a tip off my brush. So I'm not keeping her brush, flat on the paper so it doesn't touch paper a lot, just a tip of a brush I move, this trough of water, with paint dot, and a load of brushing again with watercolor and water, and we are done. So this is called the flat watercolor wash. Actually the most difficult one execute here. So try not to be distracted while you do this kind of wash. Try not to talk like me. What do we do when we are at the edge of the shape? We still have this, bottle of water color. We can't cleave it because, otherwise it will, give us imperfect shape. What do I have to clean is to wash your brush, and drive and flip towel very well, and just, absorb, any fast all this bundle before it won back until our wash, and interfered with [inaudible] area. This one is the trickiest of the washes, and it just pull a flat wash, and this type of wash we will, try is called a gradient wash, with one color, so we will have, pigment with water on the top, and just one line, and this is same way watered with what are called paper is under an angle, so I let in the created to help me, to create a wash. So we have one line with paint, with lots of pigment, and again I have to have this sort of paddle at the edge, then there is dark edge in water to our, watercolor and water mix, and then the loaded more water, so it will create a light than one here and again, I'll add more water, feel like you need to, make the angle, neither just go for it and lift your [inaudible] up, then add more water to pigment, and so on until you get to, white paper. So like here [inaudible] and taking just clean water, and then cut is beautiful umbrella look and at the end, again will just drive a brush and will absorb the excessive water services as gradient wash. We will have a tool where more color gradient wash. So we'll start with, our magenta again and again make sure you have this paddle at edge, of your work on wash right here. Change the angle of your board if you need to, like it to be pink till the middle, and then add a different color to have watercolor wash, so have a two-color wash. You can try with more colors. We can, even make a rainbow wash, if you feel like it. So another color I'll like to add is [inaudible] blue because it mixes beautifully with magenta forming this purple, and here, I'd like to switch back to magenta. So this one will be beautiful, multi-colored gradient. This are three main types of watercolor washes. Flat wash a gradient, with one color, and gradient with more colors. For the most of the times in our paintings on this, it's not a landscape, will be using different shapes for our washes. Like for example, we want be dark squares, but we'll need to do a leave shape for example. It's good to practice. Make any washes and different shapes and that's what I suggested to next, so let's try to make a flat wash leave. If I add excess of water somewhere absorbed into them wash, and next let's try and make a gradient wash leave. You can define the shape while it's still red and this is a beautiful watercolor and multi-color shape. So if washes you have to work fast and just try not change a paint leaf areas which are already painted, and go back in here and try to do anything to split for watercolor [inaudible].
8. Blending: One of the most beautiful aspects of water color is the ability of pigments to blend between each other once they touch wet surface. So, that's a triad. So we have this blue here and on the bottom. Well, take some magenta. If we add water between these two pigments, you can see how they blend and the upper half I'm blending by moving the paper around, like this. Another way would be just watering the area we want painted. The pigment will always follow the water and will never spread where there is not water. So it's somehow beautiful property. So we water the area and added one pigment on one end and the second pigment on lower end. Again we can move the paper in detail and see how two pigments are blending together. We would use this a lot in painting flowers. Like for example, we would take some orange and Carmine red, and the orange again. You can see how beautifully they are blending together. You probably noticed this in my other classes. I just sync this same property of watercolor in a painter style a lot. Also you can paint the stem. It wouldn't make sense till we touch to this two areas. Once it touches near the end. They leave the same one, say dodge, they start blending. You can drag the same on other shapes too. Example we have this leaf and then we will take this green and you can see them blending together. You can touch it and you can see how blue is spreading on the stem and blue is spreading on this leaf and so on, beautiful. Also I want to show you how a delay has soften the edge if watercolors already dry. So we need to wash our brush and dry it in paper towel and just very gently rub the edge of the area we want to soften. I can do it few times but just a little bit of water, almost dry watercolor brush. So you can see how this area is already with soft edge. Next we'll explore the transparency of watercolor.
9. Transparency: Now that a beautiful progress of watercolor, it's transparency. Let's explore with transparency off our paint then following exercise. Mix some paint with a lot of water and using magenta here. Then let's paint some circles or all shapes. Make sure they don't touch each other. As you see my watercolor is very watery. So should be yours. Next lets leave our albums to dry. It's very important them to dry fully. After our first layer is totally dry as dry as initial paper we should mix another color with a lot of water and mix some, [inaudible] orange. Next I'll paint the ovals which would overlap with previous ovals. You can see how transparent our watercolor is in this points where two ovals intersect. We can paint another color too. Again, we mix it with lot of water. Try not to touch at areas which are still wet. The layer has to be totally dry before you overlap it with another color. Otherwise, as you remember from previous exercise, our colors will blend. Watercolor transparency is used a lot in layering techniques to obtain a very realistic look, for example, as for botanical illustrations or really realistic paintings. I'm painting little strings to my ovals, so they will look like balloons. They can use this as birthday card. Next, let's explore some glazing techniques and see how we can combine them with blending [inaudible].
10. Layering: We can use transparent soft watercolor for layering. Layering is a very important technique to know in watercolor. It's also known as a glazing technique. In layering, we're applying watercolor to dry paper. The watercolor is really watery and transparent and we would apply it layer by layer, allowing other layers to dry in-between. Let's do this little exercise, painting a tulip. I'm mixing blending techniques with transparency. What we'll do first we'll just water the paper as we do it in blending. We'll start with some cognac orange, add it to the top of the flower and then we'll take some carbon red and we'll stir it and get to our watercolor wash. Hope it'll get wet with our brush. Think we need more carbon red here. So this is our first layer and it has to be really wet and really watery. So, transparent. Once we get closer to the stem, I'll take some cadmium yellow and add it to my watercolor wash. Again, it has to be a watery and then we'll add, into our yellow we'll add some green. You can see how beautifully it blends together. I think we need a little bit help [inaudible]. Next what I'll do, I'm coloring the leaf with lily water yellow, and again, I'll add some green shade and admire with blending. This is just first layer, so we'll be adding more layers. So don't worry if your leaf is too yellow. It's all right. Now we have to let it dry. It's very important. After our first layer is totally dry we'll mix more water color with water and again with watery mix, we'll add shadows where needed. Well, you'll see the transparency of watercolor a lot in my classes when I paint flowers in realistic style. When I painted a penny and a poppy flower. I'll leave the links to the classes in description of this class. If you want to practice your layering in water color, it'll be wonderful. The same on the leaf and on the stem. Then shadow, we can blend it softening the edge. Like we learned during blending techniques and on the leaf too. A little darker here. We keep going until we are happy with our flower. We can make it really realistic by adding layer after layer. For example, I would take a darker paint next mixing some magenta with emerald green. Add even darker details here. Maybe here. This line, we need to blend a little bit. Right here. Let's soften this edge. After we are happy with our shadows, of course I could keep going here, but it's a really fast and easy exercise. We can add some texture as a next layer. Botanical illustrations are really good exercise for layering in water color. So if you want to practice, just try to paint some realistic flowers or things. Again, we can add some texture, as the next layer. Maybe some layers on the stem. So this is our tulip and glazing and layering techniques.
11. Color Value: Any other medium in watercolor, will have the value of the color. The value is the range of the color, starting from the lightest shade, to the darkest one, or from the light to the dark. It can approach a value in watercolor in two different ways. First, you can just explore the lirik, by mixing a lot of color with a lot of water, and by applying on a layer to the paper. One layer. The lightest stir color in watercolor is white of the paper. If you wanted to get the highlights somewhere, add just enough not to cover it with color and it'll be the brightest, and the most luminous point in your painting. If we decided to explore layering, adding value to our painting, then we will do it the following way. When you apply the first layer, very watery blue with another color, and leave it dry, just like in Glazing Technique. Now when it's dry, I stress our paper, we can add the next layer, with the same mix of watercolor and water. You can see the second layer, overlapping the first layer, giving us a next range of value in color. It's a darker blue. Again, we have to leave it dry. When our layer is dry we will add another layer of the same water ink, water color, and paint. You bid it as many times as you want. I've learnt five layers of watercolor, and this is silver layer. Number 5 is way darker and the color is deeper than the layer Number 1. In this wave we obtained entire range of values in watercolor. Another way to obtain values in watercolor is the role that, next to the light source, watercolor will be the most watery, and next to where the shadow is, the watercolor will have the most pigment. Let's try it. Example, lets take some golden orange. Of course, the lightest one would be, just the white of the paper, and no need to paint that. Next will be a very watery, and it works better with some colors, than with others. First, will be a very watery color, next added more pigment to the same mix. All the exercises are very important in watercolor, and in any painting, and it just brings more interests to your artwork. Next, we'll add more pigment. As we approach to this shadow, our paint will have more pigment and less water until we get to a dry brush filling with almost dry paint with touch of paper. If we want to create it even darker shade, then we would have to add a complimentary color, or any dark color to all our paint. Complimentary will be blue or purple, so I'm using purple. A drop of purple into our golden orange. I think it means a little more orange under this stage. If we wanted it even darker than orange we'd add more purple. It's very important to remember the rule of, closer to the light source watercolor will be more watery, and further from the light source, it will have more pigment. This will be the darkest brown shade of our golden orange. How did I apply it in practice? Let's say we have an object, and say pear, so next to our light source, where the high light is, so here, it would be most watery, and inside it'll have a little darker so we'll add more pigment. As we go further we'll add more, and more pigment. On this side it will even have some complimentary color. I'll finish with concentrated orange again. These are the values in watercolor and a way to approach them.
12. Brush Control Exercises: I think it's very important to be able to handle your approach very well. Let's do some brush control exercises. But before that, there is a tip about brushes on how to hold it, so you'll get more control on your watercolor. If you are painting in a loose painterly style and you don't want much control although you are painting, then you would use softer brush and you would hold it a fiber from the brush itself, closer to the end of the handle. We said [inaudible] should control the brush much. For more precise work here, we've used [inaudible] brush or even a synthetic brush. It's not so soft as a natural squirrel brush. You would hold it closer, you will get more control over your strokes. We'll just pick on your favorite color or any color you like at the moment. Let some be in some shapes and the more you dry painting the more precise shapes, the more control you have over your paintings in future. Just start with simple straight lines. As many as you can. This is exercise is acquired rate of patients. After you did the vertical lines, you can switch to horizontal lines. Try so the distance between them will be approximately the same. It will still help you to control how much paint you have on your brush too. Some diagonals. Diagonals again. A rectangle. A square shape. At the same time you'll practice your washes, try to make a uniform, like in the flood wash. A triangle. I'm making one of each but you should try to make like an entire roll of triangles and try it off the lines, of course. A circle. This is helping you a lot to get used to the brush and to start feeding the quantity of water and paint, which shows the key things in water color. Next, let's try to paint a star. After that, I'll do some lines under the star. Then maybe a heart. All kinds of shapes you can think of. I'm trying to pay attention to everything, to the symmetry of the shape and to the uniformity of your wash all at the same time. Next, let's try to practice this exercise by painting the shao. [inaudible] drawing, it's a seashell. Next I'll take some blue and then [inaudible] shape. Then I'll leave a little bit of distance and I'll paint my next one. Again, I'm leaving a little distance. Note that [inaudible] previous one, am painting the next one. I feel like I need to switch to a smaller brush, so am taking [inaudible] number one. Just following the shape of the painting, like I said, of the shell. This is a very good brush control exercise. Feel free to rotate your paper if you need to. The same way all the way around. Here is our seashell and other shapes in watercolor. Please practice your brush control. Then next will try different unusual materials in watercolor and we'll see all beautiful effects they can create.
13. Special Effects in Watercolor: Now when we've come to the end of our class, I want us to explore the unusual materials we can use in watercolor to create beautiful effects. The most simple one will be just when we do the wash. They look the best on the dark washes of watercolor so let's start with some purple, ultramarine blue and just regular blue. We must effect to see when it dries, so I'll just show you what we do first and then after it dries, I'll show you how it looked. The easiest material to use is just some clean water. While our wash is still wet, I'll just add some drops of water in it and it depends on the level of its wetness. You can experiment, let it dry more or it can dry less and it will have different effects. Next material we'll use is salt. You probably did it at school. It's still fun. Just try to experiment and let's see what we can do with it. Meanwhile, experiment with color still blending. You probably did not just do mixing even gentle it will. Well, again while it's dry I'll take just regular salt we use in our meals and just sprinkle it. Going to see some areas dry, [inaudible] That's a lot of salt. Again, we have to let it dry and see what happens. Meanwhile let's make the next wash. [inaudible] here. You have to work fast so it won't dry. Add some cadmium orange or not. I think they're bright [inaudible]. Next what we'll use is a plastic wrap, just regular plastic wrap you have in the kitchen. We're taking the small piece and we'll just crumble it and I'll place it on our art while it's still wet and we have to leave it until it's totally dry. Meanwhile, let's try the next one. Take again purple, blue. This plastic round thing was easier to make on a bigger painting and I just wanted to keep all the special effects together on one paper, so it's just painting on me now. Next we can use are just regular Q-tips and if we'll have a really dark wash, we can just absorb some of the paint with Q-tips and instantly have this beautiful bright circles. Blue again. I just love blue and different chains of blue. All this effects look better on a darker washes, so think blue is good way to show them. Next one we'll use is rubbing alcohol. You can get it in pharmacy. Here is just a regular type and in the clean brush, I'll take some drops of alcohol and drop it on my wash. You can see how magic it looks. Beautiful. The last one we'll try is next to a plastic wrap. You just a white ink. Again, we can apply it on a watery wash for the more unusual beautiful effect what we couldn't apply it to a dry watercolor for sharper, more precise shapes. If you apply it while its still wet, this is the white ink I'm using. It will just dilute in watercolor like this, which is beautiful too. But if I'll wait when it dries in the in it I can just paint like I paint. Now let's wait until our paper dries and then I'll show you how this salt, water, and plastic wrap effects look. They've already started to dry and we can see all the beautiful effects created by our unusual materials. Salt is nice to use when we paint some snowflakes, and also we could use water if we don't have salt next to us. It's pretty much of the same effect. Also you can see the watercolor itself has reaction between the different colors and they're all beautiful and usual. As I said, we can use white ink when the paint is dry. It also looks very beautiful. For example like these. To remember what I used, I put a little note next to each of hexagons, and you can do the same. This was our class and I hope you'll practice all those exercises. I hope this brought some clarity to this magical and beautiful medium watercolor. See you in the next class.
14. Last Thoughts: Thank you for watching my classes. I hope you had a chance to painted me. If you like this class, please, leave a review, and upload the project to project section of a class. I can't wait to see your beautiful art work. See you in my next class.
Irina Trzaskos, Watercolor Artist & Illustrator
