Watercolors of the World: Learn to Paint Complete Artworks

1. Watercolors of the World: Learn to paint complete artworks: Do you need a change from the traditional lesson structure that you see over and over again. Want to jump past repeatedly practicing brushstrokes and dive into creating amazing artworks where you can learn along the way. If so, then come on a journey with us and explore the watercolors of the world where you'll learn tips, tricks, and all the techniques to create incredible art works as you paint them. This is a course that will teach you the learn as you paint approach. You'll get to apply what you have learned through painting complete artworks from start to finish and a fly and practice all the techniques such as wet on wet, wet on dry, dry on dry, and wet on dry with different brush sizes and textures. Watercolors are an incredibly versatile medium and have so many unique uses. Throughout this course, you'll learn techniques that will help elevate your paintings regardless of your skill level. You'll have the opportunity to paint a variety of beautiful artworks through learning many different examples such as how to paint skies and clouds. Realistic flowers, human forms, close and far distance. Trees and branches. Water reflections, building textures, sunsets and sunrises. Oceans and rivers. Different perspectives. In depth shadows, abstract flowers, and skin and fabric. This course will allow you to explore the world of watercolor painting and give you an insight into which aspects you enjoy the most. To further your practice. You will get additional course materials and assignments to help you practice. Refine an ingredient, your newly learned skills. What are you waiting for? Come join us, where you'll take your creative skills to the next level. 2. Red Poppy Flower: Hello everyone and welcome back to new watercolor painting tutorial. We're going to start this lesson by learning how to fix the paper. We're going to work together on it. So this has gum tape. Use a damp napkin, just wet your paper towel, cut your strips of gum tape a little bit longer than each side of your page, which is set to on top of your wood platform. We're going to need normal tape too. But later, after we've applied the gum tape, the gum tape has a shiny part. We apply water on the shiny part with a wet napkin. And then measuring the width and the length of the paper accurately. We apply the gum tape like this. You press it down. You can dab it with your tissue or add a second piece of gum tape. We repeat the process for the upper side of the paper as well. We apply water on the shiny side of the gum tape and fix it like this. On the paper part of the tape sits on the paper. The rest holds it back onto the word platform. Remember you can stop the video. Do this process, and then continue and then press play again. Applying the gun tape on the paper and fixing the paper is very important. If it's not done properly, it's going to affect the whole process, the edges of the painting you're going to create. You'll avoid having your page moving at all. Even as it's drying. It'll help with flattening the page. Take your time. Make use of your napkin. My wedding it or removing excess water from your gum tape. You're essentially wedding your gum tape before placing it down and padding with your hand just like that. When we're done with applying the gum tape, we use a dry napkin to fix it on the board patiently, press down, go all around, make sure there isn't any excess water when it is completely fixed. Now we're going to apply the regular tape on it. Here I'm using scotch tape. The important point here is to apply this tape about 1 mm higher than the gum tape. So a part of that tape is sitting on the paper and then the rest of it is on the gum tape. Just like this. It overlaps the gum tape onto the white page. We repeat the process and the other sides as well. Remember you can pause the video at any point in time, continue your process, and then press play again to continue together. Now we use your dry napkin to fix the tapes on the board. This process must be done in patiently. You want the tapes to be as flat as possible as fixed. Know damp dots or points at any point all around. Take your time. This is what we're going to work on today. A poppy flower. Most of the watercolor techniques will be applied on this painting. However, the most used technique would be wet on wet, which is the hardest watercolor technique as it requires a lot of speed. And before the paper is too wet to work on, we need to have finished almost 70% of the work. We're gonna go through several points here. To start off, we're going to use the sword brush. You also have water and napkins ready beside us. Because you want to have quick access to your napkin to remove any excess moisture. This is a water spray. Another tool that is very useful for the wet on wet watercolor technique. You will continuously use it. You must pray very small droplets of water. If the water drops are big, the work would be damaged. So the idea is to be able to control where you are spraying your water. To start working using the wet on wet technique, we need to spray water on the surface of the work. Just like this. Follow my hand movement just across. Making sure the water covers the entire page. The whole surface should be wet. We can also use the brush and move it like this across the paper while we have dipped it in the water. So the water is spread all across the paper. Now we're going to use yellow to start the work. As previously mentioned. We begin with the watery color to start the image for the wet surface. And while we are using the wet on wet technique, we begin with a watery and light color. This is a sword brush. Notice the way I'm holding the brush in the sample we are working on yellow is the lightest color. Another point we have to keep in mind is that yellow tends to become dirty very quickly. That is why we apply it first. We are now applying the watery color. The hand movements are very important. The way we move our hands here. And the brush is not similar to what we do. And when working on oil and pencil, instead, our hands are moving freely across the paper. As we are working, we apply water on the surface. Whenever we felt like the paper has become dry. It is something that normally happens in the initial stages of the work. Take your time to get used to using the brush. Pause the video if you need and practice on the side. We are now adding the rays of light that we see over here. Again, consider the hand movements and try to move your hands and the brush with a very freely. These gestures will be obvious in the final result of the image. Then we're going to use orange as you see on these parts on top, using the same hand and brush movements. This is a cadmium orange hue. Don't forget to use your spray as needed. And it's also okay if some of these background colors reach the flower, as the flower we are going to add later is darker than the background, so it would be completely covered when we reach that part. We should not be afraid to move the brush across the paper. Not being afraid to move the brush across the paper freely is one of the important steps in watercolor painting. This was for the first layer. And now we're going to work on this stem with the color indigo. When we buy the watercolors set the names of the colors are written on each color. But makes sure not to worry too much. If the colors available to you are a bit different, don't go for it. Don't let it discourage you from practicing your watercolor technique. One of the useful things we can do is creating a cheat sheet for ourselves. So we know the names of all colors on your palette. We're going to mix indigo with olive green and start painting the stems. Now, notice how I'm using the tip of my brush. And just like that, we paint the stems completely. As the line is one of the strongest elements in the painting, the line of the stem, I mean, we must pay attention to where and how we're using it. Because it is more contrasty than the background it is on. Here we're not drawing a continuous line for the stems. Instead, the lines we're adding are interrupted in-between and we use different hand pressures. Of course you can add highlights later on, but it's good to have a controlled application of the stems because this is a wet on wet technique. Make use of your napkin. Should you want to remove any excess moisture or control where the color is going. We're now working on the leaf are hand movement must be like this. There's another leaf over here. To add the background on this part, we're going to mix green and white and apply the color on the surface like this. We should not be afraid to move our hands and brush in this manner while working on a watercolor painting, the free hand movements matter a lot because they do come across in the way the image looks in the final result. We're very close to reaching the stage in which the paper is too wet to keep on working. We're now going to use the splattering technique with the green color using two brushes and must be done like this. This will help us add more random details to the work. Remember if you need a bit more time, pause the video, and then play again to continue together. The more you practice this technique, the easier it will become. I'm adding a bit more color to the stem here. We're using the same color combinations we had with indigo and olive green. And we are adding other layers on the work like this. Make use of your napkin should you require to control the moisture, the amount of color on your page? The more you practice, the easier it will become to gauge the pressure of your hand. Now we let the surface dry using the hairdryer, then we keep on working on it. At this stage, we dry the surface using the hairdryer so the puffiness of the paper goes away as well. Make sure you're holding your hand dry or not too close to the page, but also not too far. Be weary of pointing your hairdryer at an angle. If a part is really watery with some you it might move the color. But be patient in this process, allow the page to completely dry and become flattened. Remember that our downloadable resources are available to you with the guidelines and any more tips on the watercolor techniques for you to refer to and practice? The drying process might take longer than usual as we're working with a wet on wet technique. But it is important to dry these layers that we're building one at a time. Because the background colors do feed into the top layers as well. And we want to avoid smudging the colors into each other. Using the wet on wet technique in watercolor, the paper would get too wet to keep on working. If we continued working on that, wet surface stains would have remained on it and the whole work would have been damaged. This is why it's important to patiently draw your page in order for the next step. Next layers to build up harmoniously and more beautifully. We wash the brush completely to start this part. And this is how we should wash the brush. The brush has green colors on it and now we want to use lighter colors like yellow and orange. And if we use the same brush without washing, the work would become dirty. So we dip the brush into the water like this. Make sure you have your napkin and water handy. It is better to use clean water and also clean napkins to wash and dry the brush and remove all the remaining colors from it. We also clean the color palette using a clean napkin like this so that the remaining water and colors on the palette won't damage the work later on. Take your time. Use clean napkins. Now the surface is completely dry and flat. We're going to start painting the poppy flower itself. And the color we're going to use is orange and Scarlett. We can either buy the whole watercolor sets or by each color pen, e.g. we use indigo a lot and it is most likely that we run out of it. We can always buy the color pen and use it. We can buy each color pen that we need. We're going to use Scarlett now and mix it with orange and create a watery color. We're now going to use the wet on dry technique. So the paper is completely dry and we're going to apply this watery color on it. In this way, the brush moves easily across the paper. Follow my hand movements. Just like this. Our brush moves easily like this across the paper. And whenever we felt like the brush has not enough water and color on it and is not moving easily. We dip the brush into the mixture of water and color that we created earlier and keep on working. We do not spray water on the surface in this method. The flower background we have worked on right now must be wet enough for us to be able to add more layers on it. Right now we're going to mix scarlet and orange again with a bit of alizarin. I hope I'm pronouncing that correctly. This time applying it thicker. Like this, we will work on the darker parts of the flower. Follow my hand movements. We observe the work and add darker layers on the darker parts and create lighter layers on the lighter parts. On the next layer, we're going to mix alizarin, orange, and scarlet with a bit of purple this time so that we have a darker color combination, a deeper hue. And with this thicker color, we start adding the darker parts quickly as the speed is very important at this part of the work. Remember, you can pause the video at any point in time. If you would like to practice the brushstroke or the pressure with which your hand is applying the color. Do so on a separate page and try it out. For the final layers. We do not apply any water to our colors at all. We directly put the brush into the color pens and apply them on the paper. This thickness creates a texture that shows the poppy flower even better. At this stage, we're not going to add any more layers to our flower. We now mix the Indigo and olive green again and use this green combination to add more details. Take your time referred to the techniques that we have been using from the beginning and repeat them. Now I'm spraying water on this part just a little bit so that the tip of our brush moves easier across the paper. We put our hand like this so the water does not spread to the other parts. We're going to add the dark spots that we see on our sample model. We work more on the petals and the stems. If I'm going too quickly, please take your time, pause the video, and then play again. To continue together. We should not be afraid of moving the brush across the paper. We must work freely, moving forward step-by-step. When working on a watercolor painting, our hands and our brush must move freely across the paper. As this affects the brush strokes, the way that the brush strokes appear on our page. Now we go back to the red color combination we made earlier. And we use this color on the first poppy flower. And moving our brush like this. We are now painting the other poppy flower. Make sure your napkin is handy. This one is a blossom, so we take the thick color and apply it on the paper. Then we wash the brush, dry it with a dry napkin and fade it like this. We then repeat the process on the other blossom. Makes sure to take time after the course to practice these brush strokes. Again. To add to the beauty of the work, we're going to add another dark layer on the edges of the blossoms we have just worked on. It is okay if the color mixes with the green part down there, we can add more green layers on the stems that will make it even more natural. We add a bit of darker layers on these parts at the edge of each section using thick and dark color. Just like this. The brush I'm using is very versatile, allowing the brushstrokes to be different using the tip and achieving those details whilst using the rest of the width of the brush allows for more shading or blending technique. We dip the brush in the red color combination that we had and add more details using the splattering technique with two brushes now, just like this. So this was the painting for this lesson in which we have used three techniques. Wet on wet, wet on dry and splattering. Make sure to practice more. The more you practice, the easier this technique will come to you. The final steps are adding more and more details to the work. Move your head back a little bit. Take a look at the image and the composition. Take a look at whether you want to add some highlights or where you want to add some more details. Note the brushstrokes that I'm adding in details right now. Or to simply give the image more depth by creating these lighter, lighter gestures. They give the image some distance and they add richness to the background. They allow the foreground of the poppy flowers and their stems to stand out and be more contrasting to the background. Take your time. Like I said, look at your image, look at the composition, the good where you would like to add certain details or highlights in order to add highlights, wash your brush, dry it, and then apply lines and dots onto your image. If you are just starting to use the watercolor technique, especially wet on wet technique, don't be discouraged if your image is not perfect or not as you had imagined. Any technique requires practice. And the more you practice, not only will your final images become more perfect, but your confidence will grow. You will have more control over how much moisture to remove, how much color to add, when to, when to stop and allow the page to dry before you continue the next layers. Now I'm going to use the cutter blade to remove the paper from the board. We hold the color blade exactly like the sideways and not from the top. Because if we do so the paper might be ripped off. Make sure you are careful and patient in this process as we start removing the paper. You can also rotate the board in order to remove your page easily. Pass your cutter, bleed more easily around the page. Keep in mind that the work must be completely dry before we can remove it from the board. Thank you so much for joining me and see you next time. 3. White Daffodil Flower: Hello everyone and welcome back to a new watercolor tutorial. Today we're going to paint daffodil flowers together. To paint the daffodil flower or any type of flower we need to fill the area around the work first and work on the background as our initial step. And we need to move from watery too thick as well. Use the kneaded eraser. We have already done the sketch of the flowers right now we're making it less bold using our kneaded eraser. We take a moment to observe the composition and the model we're looking at. And the colors we mostly see are the cold colors. And we're going to use our sword brush for this work. Makes sure the materials you're going to use our setup and ready for you to use. The color we're going to start working with is the cobalt and the ultramarine whew. That's cobalt blue and ultramarine. We're also going to create a gray color later on by combining black and white. The specific colors I'm using are Chinese white and black. I'm mixing my blue color, some water. We're going to start with completely watery colors for the background. So make sure you add a bit more water to your hues. The green colors we're going to use will be a combination of the warm and cold greens. Now we're going to spray the page while covering the middle part, as you can see me doing here. After spraying the surface, we begin to add colors. And the first one is gray. That's Chinese wide and lamp black combined together or any white or black you have handy. Then we start adding the blue color combination we just made and start working like this. That's cobalt blue and ultramarine hue. We wash our brush, dry it, and blend the blue colors we have just added. We start repeating the same process on the other side. With our blue color combination, we pay attention not to add the blue colors on the flowers. We blend the colors again. Also, we spray water whenever we felt the surface is not wet enough. We're going to add the gray now and keep on working on the background. We blend the parts that need blending completely. We're going to use some turquoise blue and start working on this part of the flower. We also spray water on the colors we add to create the faded look. Here I'm adding a Prussian Green. And we continue to add the colors completely watery and use my spray. Keep fading. Now we move on to create an ad, the green colors. We begin with a light green and also warm greens and add color on some parts. I'm using a sap green as well. Don't forget, we spray water whenever we felt the surface is not wet enough. We spray water on the lower parts like this so that our brush moves easier on the surface. Now I'm going to use a hookers green light. We randomly add the colors by tapping on the wet surface just like this, adding dots and lines. Try to follow the movement of my hand. We add the combination of warm and cold colors like this. It would make our work more beautiful and add depth to it. This is a viridian hue and olive green. And keep repeating the same technique of dots and lines, a combination of different tones. The warm and cold green. We add the colors randomly like this. With these brush movements. We are done with the first part of the work as we have added the background. Now we are going to dry it with a hairdryer. Make sure you aim the hairdryer at an angle not too far away, but also not too close. To damage your painting. Use your tissue to dab around the image and clean the borders. And keep trying your image by waving your hairdryer left and right. We make sure that all parts are dry. And in the next part, we're going to add the colors thicker and more specifically, this needs a little bit of patients. You want to make sure your image is completely dry in order, in order for your risks not to catch any color as you are going in more detail on the middle part of the flower. Now, we move the hairdryer all over the world to dried completely. In this way, the puffiness that has happened because of the water we added on the page will be gone. If we don't dry it completely, the papers puffiness will remove the tapes and the whole work is going to be damaged. This is why this part is very important to be done. We will continue our work now when we've made sure that the surface is completely dry, touch it gently to check. We add thicker colors to our palette, the same colors we were using from the beginning. Then we spray some water on the surface and add the colors like an outline Over the flowers very carefully. Notice the angle with which I'm using my brush to achieve the details. I'm spraying as I'm painting. We paint the background in this way. Now we're going to add olive green on these parts. To the green. We're going to add some brown and create colors the way we want them and also thicker than the previous layer. Mixing a little bit with the brown. That's olive green and CPR. Keep repeating the technique of lines and dots and spray where needed. We keep on working like this. As the image details keep building up. Use your tissue through, remove excess moisture. We're going to use the same color combination, green and brown, and add some dots and lines on the other side of the flowers like this. These details add to the beauty of our work. We wash the brush and fade these edges and add random details like this. We paint the leaf like this and then add thicker layer of color. We also add darker outlines all around the flower. I'm still adding detail to the leaf. We splatter some color on our paper like this. This technique is called splattering. We then repeat the same process on this part as well. Adding a little bit more detail onto my leaf on top. Remember, we spray water whenever we felt like the surface we are working on is not wet enough to work on. We are now adding random details to the work. We add thick layers of color on the parts that are supposed to be darker. This will also add to the beauty of the work. The contrast will accentuate the flowers as we add more details to them. We're not going to work on these parts at this point, we begin merging the background color to the flower. What matters is to know that we are not going to use a lot of water and color and we will use the brush as it is. Doing this, the work would look more natural. Use your tissue or water spray should you need to as you're adding the details. Now, the next part, we will start working on the flowers using our round paintbrush. To do so, we're going to make some more gray color by combining black and white. That's Chinese white and lamp black. We derive the surface one more time with the hairdryer to make sure the surface is completely dry when we begin to work on the flowers. Remember point your hairdryer at an angle not too far. Now to close and move it along your page. Right, left, top to bottom. The more you practice, the better your technique will become. When the puffiness of the paper is gone, we will start working on the flowers. The puffiness is caused by the water that's been added to the page. As it flattens down, then we're ready to work on the flowers. We must make sure that the water in which we wash our brushes, it's clean. And now we're going to start right from the top using two brushes with two different sizes and paint the flowers. We add the color, wash the brush, dry it, and then fade the color we have just added downwards. We're going to use different colors like blue, green, and gray, and add the outlines on the flower. The next step is to fade the colors we have just added. I'm using a fern green. We add cerulean blue on these parts as well. We add the thick color and then we fade it exactly like this. We wash the brush, dry it, and then fade the part we're working on at the moment. We continue to paint the petals like this. We add a darker line wherever the petals and on the edges of the petals, and then we fade it after we washed and dried our brush. I'm using a Chinese white and a lamp black for that outline. We should be closer to done like this. We add the thick color and then fade it right away after we washed and dried our brush. Keep repeating the same techniques as you build up the details and the contrast of your image. I'm using a cerulean blue hue here and wash my brush, water it down. Then add more detail. We then move on to the other side and repeat the same process. We add the color starting from the edges, clean the brush and fade them. We're going to use the colors that we have used on the other parts such as green, blue, indigo, and turquoise. Working across the image will require the same technique repeated of washing the brush, drying it, or padding it down with your tissue and going back and feeding the color you're working on. We're not going to fill the entire whitespace or the whole part of the image. We work on the outlines and then feed the colors on the other parts. Here I'm using a fern green, for instance, to show this pedal clearly we're going to darken these edges so that it can be seen better. I also used an indigo here. This way we show how the petals look. We add the color in the thick form, then we wash the brush and dry it to fade the color on the other parts of the petal. Using turquoise. We're going to use this technique right till the end. We fade the colors into one another. Make sure you're not filling in all the whitespace. You're simply adding contrast and detail by following through the image of the flower, through it the edges, and fading the colors slightly. We will work on the next flower with the same technique. We're going to use more of the turquoise blue alongside the green to create beautiful colors on the petals. I'm using a Prussian Green with a turquoise here. Take your time. Make sure your wrist as comfortable as your resting it. To add the details. We're going to create more gray color. Again. This time we're going to add some warm color to it as well and start working again. The basis is a Chinese white and a lamp black hue. We add the warmer color combination on these parts. As I'm doing here. We add colder colors on these parts. We also wash the brush, dry it, and feed the color right after we added it. Fern green is the color I'm using right now. Make sure your colors are watered down in order for any adjustments to be done would be a bit more forgiving. We're going to add some blue. Now, indigo. This is very detailed and delicate work, so we need to be patient while working on it. We have to keep in mind that it is normal to paint it badly a few times before actually being able to do a good job. Practice makes perfect. Because this flower is in the profile view right in front of us. We need to add the shading layers differently like this. At this point, we're going to add the darker details using the smaller round paintbrush in the shape of dots. We're going to use indigo and the brown colors. We use the tip of the brush and add the dark parts like this. I'm using a combination of indigo and CPR. After adding the dark parts, we're going to wash the brush, dry it, and feed the edges a bit. We need to be considerate and careful how we use our brush so that the work turns out nice and clean. We can also change the brush in-between a news, a bigger one for the other petals. We will use an olive green here. We are now going to work on this part of the flower. We use the brush like this. Follow my hand. We dry the brush and fade these parts as well. Now I'm using a Prussian Green. I make use of my tissue paper in order to reduce the moisture of a color and to dab my brush into it. We continue repeating the same techniques, going over the edges, the outlines. And remember, the more you practice, the more naturally it will come to you. Different brushes as well require different ways of application. For the last part of our work, we need to wash our brush completely because we're going to use the yellow color, which is bright and tends to get dirty quickly. We are adding this color in the middle of the flowers. I'm using a cadmium yellow, pale hue. The yellow we're adding is a bit watery compared to the other parts so that the color is we're going to add on top of them, have the space to mix and blend. We're going to use some of the color orange and apply it very delicately on the yellow parts. Just like this. I'm using a chrome orange. We wash the brush, dry it, and fade the orange we have just added. We're going to add some Scarlett on top of it. We can also use burnt sienna for this or a combination of both. A good combination would be cadmium, red deep Pew and burnt umber. You would then add this combination like this. Using a smaller brush. We mix green with a brown and apply it thickly on the middle part of the flowers. Follow my hand and mimic the brush strokes that I'm making downwards. These tiny lines. The more practice you do, the more confident you will become in this technique. Take your time for the next couple of minutes, going over the same details, repeating the same techniques of fading and blending and adding little details. Then use your hairdryer and dry your painting. You want to keep a short distance from your image in order not to move around any color that might be thick, but not too far. So you make sure that your image is dry. You need to be patient waiting for your painting to dry properly before you can take it off of the board. Use this time to look at your painting. Look at the composition visually. Look at the highlights and the shadows. Look at the tonalities of the colors. If there are any adjustments you would like to make. Now would be the time. If you're trying to add details, wash your brush, dry it, and with a dab of water, go into add lines or dots. Again, this would require for you to dry your painting again. But this is the moment to look at it and see if you're happy with that. Now I'm going to show you how to take your paper off of the board using a cutter. I'm adding a small detail here. I'm using a Prussian Green and a sword brush. I'm adding a bit of a blending technique with water. Now I'm using my cutter to go around from underneath the page. Please do so carefully. I hope you enjoyed this course. Thank you so much and see you next time. 4. Snowy Mountain Scene: Hello everyone. Welcome to another watercolor course. Today we're going to work on a snowy mountain. First, we use gum tape to fix the work on the board. You want to have a wet napkin Ready to dampen the gum tape all across. Cut your strips a little bit longer than each side of your page and pat them down. Pat down your tape on all the signs. You use your tissue to further adjust to your tape and removing any extra moisture. Now at this level, we're going to use adhesive tape or scotch tape to firmly fix the work, makes sure that you're clear tape overlaps the gum tape so it sits a couple of millimeters onto the white paper and then the rest of it covers the govern tape. This tape is also called cellular tape. You can go ahead and apply the tape on all sides of your page. Again, making sure it is a couple of millimeters onto the white page. And then padding it down on the rest of the gum tape. Go all around with your napkin just to make sure there isn't any excess moisture. And let's begin. We will begin with the sky. We're going to be using a sword brush. The color we're gonna be using is civilian blue. Of course, use any color that is available to you or is best to your liking. It's better to test your color and check that it is the hue that you want. We might add some violet from the left palette here. I also do have some violet in the right palette, but simply to give more depth to the civilian blue, I added a bit of violet. We will combine some violet and purple for the sky as well. Once you have made the decision on what combinations of colors to create with a blue. We're going to use our water spray. We're going to spray the page. We will then use a dry napkin to remove any excess water drops on this part of the sky, which we're working on. Just in order to have a consistent surface with the same moisture everywhere. We will be using to color combinations. The primary is surrealism, blue and violet. The second combination is violet and purple. Let's start with this cerulean and violet on these parts and then add the violet and purple on some of the lower parts here, as you can see. Follow the gestures of my hand. Not too much pressure. Your surface is wet. We're using a cool hue to show the weather in a snowy mountain. We wash and dry your brush to fade this part. This is a repetitive technique of washing the brush, drying it, and then going back in to the colors that you have applied and feeding them out in order to create this more beautiful deep blending view. Put your colors freely by brush. Don't hesitate for your wrist work to be relaxed. The free movement with which you apply your brushstrokes, they come across in the final image, apply your colors more freely like this. Go in all directions. Sure, your wrist is relaxed. You want to now assess how damp or wet your pages. Use your water spray. Spray a little water on the mountain. Just like that. The color I'm gonna be using is violet. I'm mixing the color with the blue hue here. And then we move our brush freely to achieve some of the shapes that we want. And I'm also adding details using the tip of my brush. It's better to have a napkin handy in order to feed the shapes that you are creating. The details that I'm adding and then dabbing with the napkin. It's a technique called paint stain. I'm doing it freely and randomly as I'm adding the details of the mountain, I'm using a surreal in blue here. Take your time to look at the image that you're working on where you want to put the details, which parts you want to leave as white, and where you'd like to apply the blues and purples. I'm also adding violet here, and it's a diluted violet. And we keep shifting between violet and blue. Remember, both are diluted, diluted violet and diluted blue. As this is a background as sky. You want to build these layers slowly, but we want to have them feed into each other. The more we build those layers and the more we add details to our image, we must be fast as we're working. If you need, please pause the video, take your time. But as you're working on these layers, you need to just be a little bit quick. I'm saying pause the video in order to be able to practice on the side or take a moment to see how much, how much moisture you want to remove or how much you maybe mixing a bit more color. Next I'm gonna be adding an ultramarine blue, which is close to a natural blue. Keep washing and drying your brush to fade the color downwards. Now I'm using a yellow ocher and it is a diluted occur with a soaked brush. Now we continue with the color violet. While our brush is still soaked. We leave some parts of our work white or untouched in order to maintain the hot those highlights and the final image. Make use of your napkin as you are applying this stain technique. Follow the motion of my hand when I'm creating the stain technique, It's basically transferring the moisture from my brush onto the page and then dabbing out with the tissue. The excess moisture. Here I'm using an ultramarine blue, of course, diluted and applied on top of the violet parts as we fade them. Keep repeating the same techniques and building that detail on your image. Remember that if you have alternatives of colors with you and not the exact same colors that we're using. That's completely fine. Don't let it discourage you. Use what is available to you. Would you have easy access to? And also what you're more confident with in terms of brushes, in terms of colors. Just keep practicing. As you can see here, I have been fading the colors that I'm applying. The ultramarine blue, the violet, and still continuing to add details using different parts of my brush, either the tip or the rest of the bristles sideways. And applying my feeding technique, mixing technique. There's also the stain technique which you leave the color on spot but maybe dab it with a tissue in order to remove any excess moisture. But keep repeating. These techniques. Follow my hand gestures. And as mentioned, pause the video at any point in time necessary. Here I'm using an ultramarine and it's a thick ultramarine. I'm mixing violet and sepia here. As I'm adding more detail. And it's a thick purple trying to achieve the contrast, the parts in the foreground of the image. They're thicker and darker than the layers we have been working on in the background. Now it's move and violet together. These mixtures of Hughes give a deeper color and a wider spectrum of tones. In order to work faster, it's better to prepare and combine the colors you need on your palette in advance. So if you pause your video, mix your colors, and then play again and continue together, that's also an option. Here as you can see, I've added a yellow ocher. I'm feeding them together completely. I'm still applying the color stain technique as I'm feeding parts of the colors, I'm also leaving them be and sit where I want them to be. I'm going in with the ultramarine as well, with the ocher and some raw sienna. As this is a video lesson, it's preferred to continue the work and then we'll use the drier. Although it is better to dry each part at each step as soon as it's finished. We use ultramarine here to create the atmosphere better. And then we get the wetness using our brush. I'm applying it diagonally like this. The next color I'm gonna be using is a lilac mix. We use purple with a warm tone and then faded. Having your napkin handy is very important at this stage as you are moving between different tones. I'm adding a little bit of pink here. For the purple lake, right next to the ultramarine blue. And a dry napkin or a clean napkin helps to control where the colors are sitting, where to leave certain stains to dry in their spot and therefore retaining some detail within them. And don't forget about washing your brush, drying it, and then going into, maybe achieve some highlights. Here I'm using my napkin in order to achieve some highlights. The process of keeping the page wet is time-consuming, so do be patient. Now I'm using a lilac mix with our soaked brush. We keep adding little drops of color in different parts and keep repeating the same technique as we have been. Now I'm applying a yellow ocher, will dry it and then add Ultramarine to it just because the yellow is a lighter color and can easily get dirty. At this stage, it is very necessary to dry the image. As I have been applying a lot of droplets of color here and there, fading them but also making sure to leave some parts white. So it's best to seal and secure this layer before we move on to the next patient in this process makes sure you're aiming your hairdryer add to your page not too far away, but also not too close. To risk. The color around. Take your time, go across left and rights. The idea is to flatten the page again because the water bubbles it or makes it more curved. And we would like to achieve a flat surface again before we continue the next layers. Remember, you can make use of our downloadable sources in order to have access to the guidelines, the materials, the sketches, the drawings of the image that you will be coloring in watercolor. Of course do let me know if you have any questions and continue practicing. If it inspires you more to practice on the same image again and again, That's one way to do it. If it's more motivating to try a different watercolor image every time. That's also another technique because it is simply about being relaxed in the medium. Relaxed in your technique and your approach to the way we hold our brushes matters though, how freely we apply our brushstrokes matters. All of these details will show up in the final image. Now, our image should be completely dry so we can proceed with the job. We wash our brush completely, spray a little bit of water where needed. We want to create a vague shadow in the background here. Watch the way I'm applying this really diluted mix of color. I have violet, I have a CPM mix, some burnt sienna here. The mixture I'm using currently is a burnt sienna and a raw sienna. We're using this brown tone edge by combining orange and burnt sienna. Just like that. Spray some water in order to feed them a little if you want. I'm using my tissue and spraying some water. We dry our brush just like that. Wash it, dry it. Then draw and use the hue that's there in order to stretch the color and draw it in like that. And creating some vague spots. After drying this part, we want to work on the upper part of the mountain. That's important to dry this part as it is a thick dark layer which Is very close to the next part. Take your time as you're using the hairdryer. As you can see primarily, I point the hairdryer without moving it just to allow a stained a stained color that is in one place to maybe dry a little bit and then I start moving my hairdryer. The next part we want to combine burnt umber and CPR to create a thick color. Have it ready on your palette. This allows for the page to dry even more. As you're getting ready to apply these colors. Now we start to work on the mountain using a dagger brush to put some color stain, just like this. Note how I'm using the tip of my brush. Notice how closely I'm holding my brush, how close my fingers are to the tip of the brush. This allows for focus. In order to achieve the details that we want to achieve. Then using a round-headed brush, we fade the lower parts of the spots here. Just like that. Follow my hand gesture. There isn't a lot of pressure here is just pulling the color downwards in order to achieve that detail. Again, using the sword brush, we put those colors stains and again, take your time. Pause the video. Should you need to practice on a page on the side? And then play again and continue together. I'm alternating between a round brush and a sword brush. There is some purple toning underneath some detail. So I'm going in with the purple. Then we wash and dry the brush to fade these tones downwards. And we keep repeating the same process and we do it frequently and we keep a good speed, not saying we need to be very quick, but a good speed, a consistent speed that allows the details to remain a little bit damp in case you want to go in and add something or remove some details and keep the highlight. Now I'm going to add some sepia. And I'm using my sword brush again. Practice the way that I'm applying the details here. Take your time. Practice makes perfect. It will also let you know what you are more comfortable with. How you can achieve this technique in your own way. And keep creating these details just like this. In this part we have some texture. Applying these repetitive, repetitive gestures with my brush down the mountain like that. We don't need to create the spots, just like in the model, but it looks more natural and beautiful if we try to draw it similarly. Keep looking at your image as you're working on it and they pull your head back, take a look, make sure that you are applying the details where you are intending to apply them. Just like this and repeat, repeat the same technique, washing your brush, drying it, and pulling the color down which you have just applied. Now I'm using some sepia. On the left-hand side of the page. As you can see, I'm continuing my application of the details of the mountain. I'm using my sword brush. Keep in mind as you're working on the image and adding the details to leave the whitespaces. Here there's some indigo, which I'm adding as well. Leaving the whitespaces is very important as it does highlight, bring out more of the detail of your image in the final, final image when you're done, just like the dark parts, they are contrasty, the light parts are contrasty and they accentuate your image. Again, we're going to combine burnt umber and sepia here and continue our application of the details and fading the colors. And using the round headed brush. Switching with the sword brush. As we continue working on the mountain, continued to wash and dry your brush and fade the lower parts of the spots you're applying will create a texture this way, which makes it spectacular like it gives a real depth to your image. Combining a little violet here. There's a large spot. We would like to give more detail. We continue combining a little violet, purple, and brown for the endings here. Then with our clean and dry round brush, as you can see, I'm going into fade them. Would look something like this. Round brushes, very important. Keep your brushes handy to switch between them as you are keeping a good pace and speed of application. Now when making a mixture of moles and violet and CPR. For this part, we wash our brush, dry it, and faded as it is quite dark. And I would like to soften this part. I continued to use my round-headed brush and repeat the same technique of washing your brush, drying it, and going into feed the detail. Or pull the color in the direction that you wanted. Because the direction in which we apply our colors matters. It matters as to how you see the image. Is it upwards or downwards? The perspective changes. Now I'm working on the tonnage here, as you can see of the violet and the purple and how they're fading with each other. Now I'm going to be using my sword brush again. We combine violet and brown for this part. There are some violet tones here. And then we quickly want to fade this lower part as it is quite dark. Now switching to my round-headed brush to add those details, dragging the color downwards, and then keeping your napkin handy. It will allow for the control of the color and how it's seeping. Into the next tones. We want to completely fade the color on the edges in order to give it dimension. We can even take off some paint from some parts using the napkin while fading the color. Building those layers is a repetitive process of the same techniques. Washing your brush, drying it, fading the colors that you've just applied, and using the napkin in order to remove any excess moisture or water, allowing for every next detail or every next layer to be applied in the right place. We continue to use our sword brush here. On top of this stain, we see some shades. And i'm, I'm, I'm applying them just like this. Now, a warmer tone of brown using burnt umber and burnt sienna. I'm going into apply them. Then. The next step is to use the round brush. But I want to finish adding those details. Wash your round brush, dry it. If you need a little water, exactly apply apply the water on whilst guarding with your hands so the water doesn't hit different parts of the image. Now, the violet and the move and the CPM mix, I go in and I add that detail in order to create the form easier and give it these different tonalities. I'm using my water spray to keep my my colors versatile. And for me to be able to make them mixes of the tones where I require them while still controlling how far to mix them, how far to let the color C band. We keep using the round-headed brush and combine burnt umber and CPR to make the form in this part. If you feel this part of your page is still very wet, allow it to dry before continuing to the next point. Take a moment, pause the video, dry this part in order to. Continue working on it. I want to accentuate here these interrupted lines that I'm creating. I'm creating them like in dashed motions. Here. I'm using a natural hair brush to draw this part using thick burnt umber and burnt sienna. We want to work on the details here. Natural hair round brush allows for a little more detail or natural-looking detail. Take your time. Practice on a sheet on the side just to get a sense of what strokes this brush is going to give you. It makes the work look more natural and real. You also want to practice the pressure with which you want to apply color. With this brush. Follow the motions of my hand, creating these details here. Next, I'm mixing a violet and a sepia. Now we formed this part. There's a little violet here. We want to spray some water to move our brush smoothly. You can also add a dab of water onto your brush, as opposed to spring. Now I'm adding a burnt umber, burnt sienna, and light red mixture. I'm going over the shape of the rock. This mixture is a thick one where you have the burnt sienna, burnt umber, and sepia. I'm carefully adding in some darker parts and some lighter parts. We repeat the process of washing our brush, drying it, and fading the color we've just applied with a round brush. Pay attention to the details in the image, the little branches that we have drawn to make sure they're not fully mixing with the layer that we're working on now. Use your napkin in order to remove any excess moisture. Wash your brush, dry it, go into fade. Some details of any colors you've added. Now I'm going to use the ultramarine. Of course, wash your brush completely before going into use. To use the ultramarine color added. We want to fade it quickly upwards to combine with the rest of the mountain and the tones that we have created. I'm controlling my application of the ultramarine using my napkin to take off some paint if necessary. Now I'm using the mixture of burnt umber, burnt sienna, and CPM. I'm going in to add some more of those details on the mountain, making sure that I'm not covering all the parts that I'm leaving. White parts. You're highlighted parts of the image are powerful, just as powerful as the dark parts. They support each other very well. Make sure you're not, you're not going through the process to slowly. You want to keep a good speed as everything is slightly damp. Maybe some parts you don't want them to get dry too quickly. You want to have a more forgiving application of the colors. Because when they're wet, then you can remove some of the hue or add some more. Now I'm going to spray a little bit of water. I'm using an ultramarine blue. Then we fade it. We wash our brush, dry it, and feed the ultramarine we've just applied. Now for the next part, I'm going to be applying the mixture of violet and purple and brown. If you need a moment to mix your colors or more of your colors, pause the video. Have here mixtures ready on your palette and then play again. And we can continue together. Apply the details. We wash our brush, dry it, and fade them. This is another way to feed your colors as well. With the round brush. Clean the edges of your page just in case. To avoid any interruptions onto your image. Take a look at your image and check if there are any dark parts you would like to add any more dark and parts. You want to take a look and see if there's something missing or maybe you have missed out. And the details. Then go in and add some spots on lines. As you repeating the same techniques while adding details and leaving the highlighted parts. If your images dam to speak careful where you're placing your wrist or fist as you are working on the image and continued to wash your brush, dry it, and fade. Fade the colors you have just added. Now I'm using a CPR. We see some way tumble weeds far away in here. If your tissue is completely stained with colors, you want to grab a new tissue. Remember, you can download the color palette that we're using right now and have it as a reference for. Anytime you would like to paint this painting again. Now it's time to dry our image. We need to let it dry completely. Before moving on to the next step. Grab a few new napkins, clean ones, wash your brushes completely. Make sure you wash your brushes. And before going on to the next step, we want to make sure that our image is completely dry. Look at your palette if there are any colors you want to mix more of. Now is a good time to do it, or maybe pause the video. Do it while your image is drying. The next color I'm gonna be using is ultramarine. I'm going in to add these details. We can still hold onto the hairdryer as as we add more details to our image. We're also adding a brown mixture here in order to give the shadows of these little tumble weeds or branches. I'm just trying to make sure that my image is completely dry as I continue setting the hairdryer aside now with our sword brush using the ultra marine. We're going in on this part here. We spray some water. Then we continue fading the color that we have just added. Follow the motion of my hand. The direction of the color application will affect the perspective with which we're able to see the image. It will come across in the end as to whether the mountain is higher or going upwards or the ground is ascending diagonally. Therefore, direction of color application matters as to how we will be seeing the image in the end. Now I'm using an orange and brown mix. Going in on the right side of my image. Applying them with my sword brush, toning, cleaning the edge of my page just to continuously have a secure, secure application of my colors without anything bleeding in by mistake. Now using the ultramarine here to show the form of this hill, this little hill at the bottom. Giving in some detail using the absolute tip of my brush. Wash your brush, dry it, and go into either fade the color. Maybe add a little bit of highlight. Use your napkin to remove any excess moisture. Now, we want to work on this part by using a salt technique, which gives us a granular form, granular texture. The colors that we're gonna be using. Our hookers, green light, intense green, emerald, Sap, green, viridian hue. There's some green tones at this level, including warm green, cool green, olive green. Remember, this color palette is downloadable. So you'll have it for your reference. Clean your palette. In order to have a nice, clear new set of mixtures. We start by diluted color. We put olive leaf green, warm green. Rapidly put the colors on the palette. And now it's time to fade the colors together as we're applying them. We spray some water. Just like that. Then we start with the light color and apply it very fast. Then we use the leaf green. Apply that as well. Some burnt sienna here as there's some red tones in this part of the image. We quickly dry our brush. We spray wherever. We need to spray some water. And we use some olive green. We use all sorts of green colors here for the warmth. To travel from the warm, warm colors to the cold colors. Take your time, add all the tones. And the same motion as I am applying. Follow, follow the gestures, the brushstrokes, gestures that I'm applying follow the speed of my hand. You can use the shades of green which are, which you are appealing to you, which are more suitable for you or any colors that are available to you. The darker greens are accentuating. As you can see, they're creating more details on that landscape. We're leaving some light parts as well. We are not covering everything. We're leaving some light parts and that allows for a depth of view, allows for more details. Wonderful. Keep your tissue handy, wash your brush, dry it, then feed any color that you have applied. Now we must spread salt on what surface? We don't want it to get dry. We must quickly draw some interrupted lines in here before it gets dry. It's important to do this task fast. When the paper is still wet. Just like this. I'm also adding some color here. Hookers, green light. We wash and dry your brush every time. And who wait to see what happens after we've applied the salt, of course. Continue repeating the same technique. If you want more texture, add the salt whilst the page is damp. Go into add more details. And now it's a process of simply viewing what's going to happen as it's drying. Wash your brush, dry it, and then fade the colors you've just added. Continued to use different tones of green. This will simply give a lot more richness to your image. A depth of perspective. Details also, keep in mind to leave the highlighted parts or the light parts. I'm adding a bit more salt here. As the page is still wet. This is the opportunity to do it. I'm cleaning the edges of my page in order not to, by mistake, have any color interrupts the image that I'm creating. Now we let it dry and we don't use the dryer because we wanted the salt to be absorbed by the paper. So do not use the hairdryer. Leave the page dry on its own. Observe your image and pay attention to the form or the texture that has been created by the salt. The detail that looks like the grass, and more up-close foreground texture of the landscape. We continue to leave the page to dry and let the salt get absorbed by the paper completely. Be patient and simply enjoy the details that you have created so far. It is not suggested to use the dryer when it's still wet as it could blow away the salt, making the salt move or create some lines instead of dots. Therefore changing the effect which you had intended on in the first place. And it might give a more vague a more big detailing than we had intended on. Wait until the salt gets completely dry and absorbed by the page on its own, and then use the hairdryer on your image. We want to make sure that the page in general is dry before we move on to the next process. As you see little by little, the salt grains appear here. They have more texture. They are giving out a completely different life to the foreground of your image of the landscape and the grass. And all the details that we have added. As we're using the hairdryer, you want to keep the dryer at a distance until the cardboard gets dry entirely. Then we can slowly bring the dryer closer and closer in order to dry our page much better and much more consistently. Take your time. Be patient. Enjoy the details that keep appearing as you dry your image. Take a look at what details we have created so far, what highlights we have, what details might be missing, anything that you might want to add or maybe hopefully be able to remove or place a highlight on to in order to retract the color. Just remember, don't let the speed with which this technique of watercolor requires to discourage you from practicing and trying when practicing is the only thing that will gain us confidence in this medium or in any medium. Keep trying. And there's technique and how we dry or image. There's technique on how we use our brushes, how freely we apply our brushstrokes. Make sure to keep the hairdryer much closer until the image is completely flattened. And another detail to keep in mind when putting salt on your image, spreading it, or strewing the salt is you don't want your paper to be overly soaked with water. You want it to be damp, but not overly soaked because that will simply cause an unpleasant spots, large spots and not have that beautiful grainy small spots texture that the salt provides. On the other hand, strewing the salt on a completely dry page or after it's been fully dried. It makes the salt simply sit on the surface and it is not then absorbed into the page as it's drying, allowing for the effect of the soul to be viewed and the textures of the colors you've applied. Of course, applying this technique and achieving it very, very well requires practice. So don't be worried if it's not great on your first try or if you don't get the result that you desire. So don't let it discourage you in any way. Now with a dry tissue, we remove the extra salt. And next we're gonna be using our soft brush. Again. Make sure all the edges are clear. Put your image back down. And we go in with a sword brush. We're going to use a yellow ocher. This would be almost at the end of which we are using the yellow ocher color to draw our trees. That is a diluted yellow ocher. We spray a little water on top if necessary. Then with the ocher we're going in and drawing the trees. As you can see. Apply your strokes as I am doing here, follow the motions of my hand. I'm adding just another tree on the right as well. I'm keeping my yellow ocher diluted. I'm going in with a tip of the brush to draw the tops. Then adding a little more detail to the bottom of my trees. Now, I'm creating a mixture of cadmium orange hue and cadmium red deep hue. After applying the ocher, I'm combining orange into, into the trees. Now with some scarlet red that gives us this deeper color, are deeper orange color. I'm able to achieve some more detailing and depth onto the trees. Now I'm using an alizarin crimson hue, the middle parts of the trees. And I continue to use my primary mixture of cadmium orange hue and cadmium red deep hue. Keep your tissue handy in case you want to remove any excess, excess hue or moisture. The details I'm adding right now are using orange and Scarlett. We draw some vertical lines, as in the model here. Following the guide. The next mixture I will be using is a thick sepia and burnt umber. Wash your brush, make your mixture onto your palette. Now I'm adding it in the form of irregular lines. Keep an eye on the details that we're adding. Makes sure you're not creating very thick lines because they are quite dark. So you will achieve the detailing that you need without having a large line strokes. These dark lines are to achieve the branches of the trees. Just like this. Keep your tissue and your hand ready to dab any extra details there. Also have your round your round headed brush as well, just in case you want to soften some details that you're adding. Essentially we are repeating the same techniques everywhere. Now it's a process of adding more details. Anywhere on the image. Take a look at it. Pull your head back a little bit. Take a look at the picture that you are creating. Look at where maybe some more dark details are necessary. Maybe some lights can be accentuated later. Take your time. And if some parts need fading, wash your brush, dry it, and go into fade these colors. If there's any hue where you want to add more tones of it, like the green, more green tones. Go in with little details and add them. We spray water from a distance if we feel that the surface is a bit too dry and not allowing the color to flow naturally or easily. Add some more spots to cover the salts are accentuate the texture the salt has given us. It all depends on your taste, the aesthetic you want to achieve. Just like this. Follow the brushstrokes and the speed at which I am applying color with my brush. We put the spots like this. We wash and dry your brush and then we fade. Make sure you always dry any excess spots or water around your image so it looks perfect and nothing, and nothing enters your image by mistake from the sides. We are almost finished. I'm using a burnt umber here. I'm drawing in some darkness in order to add more depth to my image and it makes it a lot more beautiful. You could, if your page is a little bit damp, you could add a little more salt and more lines and more dots. At this stage while your page is damp, but not, but not too wet as we mentioned earlier. As this could ruin the texture which you have achieved so far. Apply some more colors, are more details. Wash your brush, dry it, and then fade the color. Once you feel that you have added all the details you want to add, you've used your tissue to remove any excess color. You faded the colors you want to fade. You've maybe added some highlights, then you're done. It's time to dry your image entirely. That the drying process were you because even after drying it, you can add more details if you wish. As you see me doing here holding the hairdryer, I'm adding a little bit more details or I feel it can, it can, it can have a little bit more depth. Remember, the more you do this technique, the more confident you will become added, the better you'll get. Don't be frustrated if it's not as perfect as you might have wanted it to be from the first time the salt technique does take, does take time to practice. Thank you for joining me today. I hope you enjoyed this watercolor painting course with assault technique and hope to see you again next time. 5. Car in the City: Hello everybody, Welcome back. Today we're going to paint an urban view and we're going to explore the wet on wet technique. I'm going to use a gum tape, as you can see here, in order to adjust my paper on which I'm going to be creating the painting. We're going to make the shiny side of the gum tape wet with the help of a wet tissue or napkin. We will then place each strip of tape along the edges of the paper and press it down firmly in order to fix the paper in place. Don't worry if the strip of tape is longer than your page on either side. The important part is to have part of the tape on the paper and the other part on the board. That way you're painting will be firmly interested to the board and not moving while achieving your painting. This process is important as we are going to be doing a wet on wet technique. So to have the page fixed firmly is very, very important. Once you have put down the tape on the edges of the paper, they would have some moisture on them. So using a dry napkin or tissue, you want to rub onto the tape all around and make sure there isn't any excess moisture on the outside. Make sure you press down firmly with your napkin all around on your gum tape. And then the next step is placing strips of clear tape on top of the gum tape. When lining your page with a clear tape, you want a part of it to sit on the paper just like this, then the rest flattened onto the gum tape. This process is important because we are applying a technique like I said, wet on wet watercolor. This will help hold down your painting in place and have nice clean edges all around by the end of it. Now it's time to complete our drawing. I will be outlining the drawing here. If the pace at which I am doing it is too fast, or if you would like to practice a little bit more, please refer to our downloadable resources where you can have the image and practice drawing it ahead of time. Now that we have our drawing outlined and ready for us to add color to spray your paper to prepare for the wet on wet technique. We're going to start from the sky here. I will be using a dagger brush and a yellow ocher hue. I will then add a little lemon yellow hue to this part. Would be like this. Applied in this technique. Makes sure your brush is wet. As we are working on the sky, the next step would be to use a blue hue, like a cerulean blue hue, in order to tone a bit further in the sky. Continue blending continuously. Making sure that the colors are merging in a nice way, in a nice blended way. Continue to use your spray where necessary. As this is a wet on wet technique. Most of the time your page will be wet. Make use of your tissue in order to reduce moisture or reduce color in different parts. Notice that the way that I'm using the brush, that technique in which I'm brushing upwards or downwards. We fade the colors. Just like this. Keep blending. Try to mimic the motions of my hand. And the way that I'm applying my brushstrokes in order to blend the colors in the sky. Adding blue where needed. Adding yellow are needed. When this guy is completed, we then dried with a dryer. In order to proceed to the next step. We patiently dry it. The aim is to flatten the page. Make sure that the hairdryer is pointed at the page. Not too closely, but not too far. In quick motions all around. The more you practice this technique, the easier it will become. It'll feel more natural. We're going to start by going for the buildings in the painting. We're going to use light colors for the primary layers. Because with the wet and wet technique, we're building colors in layers. Each layer is wet. So we need to just be careful in terms of how the colors are being blended with each other. Since we will be beginning with a light colors, it is much better to clean the palette before starting on a new area of the painting with a new set of colors. I'm going to be using an ocher here. Gamboge hue. I'm not sure if I pronounced that correctly, but that's how I would say it again, bogey. We put yellow gray to see where we'll need it. Here. I have a yellow ocher and I added a violet underneath it. The next to it I'm adding an ultramarine. Also indigo, which is an indigo blue. We're going to combine and use all the mentioned colors. All the colors you can see here. We spray water on some parts like the sky and the buildings here. We're going to use the ochre first. Follow the motions of my hand. Use my direction as a guide. Even the application of the yellows in different parts. We fade it upwards. We use the yellow gray paint, the colors just like this. We are creating a basis for where the shadows are going to fall, where the lights are going to fall. Use my technique as a guide in order to practice. And only practice will make this easier and will make your results even more perfect with time. The next color we're going to use as violet. Take advantage of the direction that your brush allows you to spread the color. Not only upwards or downwards, but how, how wide it allows you to spread the color. Now I'm using a combination with the ultramarine. For this part, of course we use more ultramarine. How I'm using the edge of the brush as opposed to the length of it as it's the tip of the brush. In order to get the detailing that I need. We're going to add a little indigo. Just like that. Now we combine yellow gray with a little ground and some other warm colors, such as combining yellow ocher and burnt umber together. In order to go in between layers, in-between colors and to fade them nicely. Just like that. Using lines, leaving some highlights, achieving some lines in order to get the contrast and to see more of the image. Keeping everything wet. As width as necessary, not too wet to dry. Use the tip of your brush in order to add details or more color in a more concentrated manner. And then the rest of the brush and over to fade and pull color upwards or downwards. We combine, occur and pink to have a warm color. So like you see on my palette, my okra has a little bit of pink in it. We get this warm deep tone and a little brushstroke with a warm brown as well. Just like that. A burnt umber. Again, we're going to spray some water. Yeah. And then continue outlining the building and the image recolor and faded to the side. Coloring the hotline. Then we fade it just like that. Using horizontal motions in order to fade. And sometimes in order to achieve the, the, the high perspective of the building, you go vertical. You fade the colors vertically. We need to leave some small parts white. Remember, we need to leave some parts wide as their lamps or light. Wash and dry our brush to fade this part. We try not to color the lamps here. We wash and dry the brush and then come back to the image and apply some light to it to achieve some bright parts. Just try not to color in the lamps. Now, using a purple and violet, we combine some purple with the violet to use them. For this part. The colors are called. The ones I'm using are purple lake and deoxyuridine, violet. Violet. Apologies for mispronouncing that. Notice how I'm applying the color and a vertical motion. The perspective is upwards. It gives the viewer a better a better view and understanding of the perspective. As you apply your brushstrokes according to the movement of the eye into the image. We're still using colors at a lower density, so they are thin. The more layers we add, the higher the density of the color will become. Right now we have a high amount of water mixed with the colors. The next part we're going to use brown, a burnt umber. In order to add some brown toning. Apply your brown layer lightly and in a vertical downward motion. Use the tip of the brush in order to apply the details of the building, some outlines. Then the larger part of the brush in order to feed color. We let it get dry for a little while. We dry it using the dryer. Again, zero point your dryer at an angle not too close, not too far. And wave it all over the page in order for the air to spread evenly, flatten the page and completely dry your painting after drying. That's that's when we'll go through more details and further detailing of their painting. Now that our page is nice and dry, we want to start from the upper part of the building. I'll take my brush, prepare my color. I'm going to use an ultra marine. And then continue adding more details to the top of the building. Note the brush that I'm using in order to achieve the details that I wanted. So small round brush, I'm using an ultramarine color. This round brush will allow me to use thick color, which I then wash the brush, dry it in order to feed the color that I had dress applied. Just like that. Continue applying this technique again and again. Where you apply a more concentrated outline. And then you wash the brush, dry it, and then feed the color that you had dress applied. Make sure to have your napkin handy and your spray Hindi. In order to control the amount of color on your page, that amount of moisture there. On the brushes that you need in order to achieve the tone and the blending desired. We're combining some indigo to these blue colors on the palette, ultramarine and indigo. And use it for this darker part here on the top of the building. Now we go next, we go for a burnt umber, burnt sienna, and CPR. Me, combine them together. Are they in a burnt sienna as well? So that's a little red. Now we're going to spray some water in order to move our brush smoother. As this is a wet on wet technique. The water will always help to soften the lines and achieve the details slowly layer by layer. As we're applying our burnt sienna here. We then repeat the same technique of washing the brush, drying it, and then using it to fade the color. We had dress applied. Just like that. Make sure you are comfortable with the brushes that you're using. Because your image will look more natural and relaxed as you are applying irregular brushstrokes in order to create texture. And the texture is that you are creating will create depth to the image. A sense of distance within the image that we're looking at. Here, I'm using a burnt umber because these parts needs to be darker with burnt umber or a raw umber. We add some spots and dots for making it more detailed. Our building is darker, so we need burnt umber for it. Especially in the upper part. We then repeats same technique which is washing our brush, drying it, and then fading these parts which we're adding right now. There's also another way to fade these lines using a dagger brush. While the images is wet. That's when we work on these parts. That's when the moisture allows for the details and the blending and the highlights to continuously be changing or moving. Now I'm using the dagger brush. Follow the motion of my hand and the way that I'm moving my hand with this paint brush, the more you practice, the more you will be comfortable in this technique. Make use of your tissue. If you feel there is a higher concentration of a certain color and it's a place. Apply your gear color with your brush with a medium pressure, not too hard, not too light. Using the edge to create the line just like that. Detailed outline. Even when putting a detail or an outline, you don't want to press too hard on your brush. You want to keep your hand really light. We have drawn some intermittent lines for the walls. We then faded them. And all the while our brush is wet. We work on this part exactly like this and repeat, we wash, dry our brush and fade downward. Fade the details that we have put downwards in a vertical motion. Using the burnt umber. Does it pick color, I mean, for the darker parts, it helps achieve the character of the wall and the building. It indicates the oldness of the building. And with a wet brush, we put some spots and dots for more details. There will be a lot of details to apply in this painting. We're going to build them up layer by layer slowly as we are working wet on wet, drying a layer, then adding another wet layer and managing the tones, the blending together. It takes a little bit of practice, but practice makes perfect. The more you do this, the more naturally it will come to you and you'll get comfortable with how to blend how much of certain colors to add. And continue the same technique of washing your brush, drying it, and then fading. Fading the details you have just added. Right now, I'm adding an ultramarine for this part of the building. We continue the same technique. Makes sure that your, your hand or wrist is sitting comfortably in order to have the control that you need to place details onto your image. Remove the brush upwards like this and paint some spots and dots just to show the texture on the building, the oldness, the character, the tone of it. We continue feeding the colors and it's just a process of fading more or fading less. That's the challenge with wet on wet technique. You need to continuously control how much you're blending, how little you're learning, how, what is it, how, how dry and to control the colors from completely blending into each other. Using the burnt umber right now or a raw umber to do these parts of the windows. Just like that. Just make sure try to not waste the color here. There is a texture in this part, so, um, we're trying to achieve the texture. Dislike this and this motion. Follow the way my hand is moving sideways by pointing the brush, the direction of which the details are going to be made. We wash and dry our brush and then fade the color downwards. Just like this. Now we're going to use our dryer for a little while just in order to flatten the page and to be able to set the details that we've created and be able to move on to the next layer as well. We need to secure this layer, these details that have blended with the primary layer, which we have put down as a base foundation. The tones that are coming through from the yellows and the blues and some reds. Just keep drying your page up until it is completely flattened. Then we'll move on to other parts of which the details could become more clear or we could keep them less clear. If you want them to be or more vague, we spray more water onto them or in order to add more details and allow for the bottom layer to come up and blend with the layer we're working on right now. Now I'm using indigo. There are some spots and dots here to add. I'm also using a raw umber in order to add some details. Spraying the page to keep it wet. Very good. Keep repeating the same technique. Use the edge of the brush to get more detail. The width of the brush in order to blend. Blend your colors well, use your water spray in order to control how much of the color you want to blend. Then wash your brush, dry it, and fade. The color you've just created are drawn in. Fading it downwards. Just like that. I'm using a burnt sienna because we see a red tone. And we add a little burnt sienna and then faded downwards. Now with the burnt umber for the darker parts, just like this. Now in this phase, we're going to go ahead and complete our building and then we'll go for the rest of the details. We're going to use a round head brush or round-headed brushes, holding selected numbers in one hand. Getting ready to proceed with the hand that you are. Painting with you have your main brush and then you can have another two brushes on the side which you can interchange with going in with the dark indigo for the dark parts from the top because the top of the image is darker than the bottom of it. While and then with brown colors, burnt sienna, burnt umber, and CPR. Little bits of ultramarine. I'm gonna go in and paint the windows. And the details. The reason why we need to be patient with drying the pages to have your hand securely sitting either on the edges or some parts on layers that you have created before. That way, it keeps your image secure. As you continue to add your details. Keep following the motion of my hand and the way that I'm applying the brushstrokes. Some, some brushes I'm holding way closer to the brush strands and others are a little bit further. Maybe applying more pressure, more detail than others. Use my emotion as a guideline. Practices the only thing that will make this better, easier, and more natural to you. As we move along, we continue the same technique of washing the brush, drying it and fading. Fading the color we have just applied. There's some darkness here, so I'm going over it just a little bit more. Faded as well. Now we're going to be painting the windows. We wash and dry your brush and fade. I know I keep repeating it, but that's just the practice of that makes, makes the results so much better. So much more natural and less control. Because the energy in our hands and the way we create a certain paintings, they just show on the page how stiff or how loose we are and that's all purposeful. Just like this. Take your time. Again. We use thick brown color for this part. Our brushes continuously wet, it's washed, and then when we say dry the brush, you just dab it, dry it off onto a napkin, but it's still moist, allowing it to fade downwards. The color. This downward motion is because of the perspective of the image. It helps with how we see the height of the building, the depth of the composition of the image altogether. Looking up towards the top of the building, we can completely control the perspective based on how we are creating those brushstrokes. Finally, we are using even thicker color for the darker spots. Now, makes sure to use your paper towel and I'm using a small round brush. I'm combining a little black and burnt umber to paint the light pole. Once I'm done with the windows, That's going to be my next step. I'm combining CPR and lamp black. I'm starting from the top of the lamp the lamp pole. I'm adding in the details. Take your time. If you want to hold down the platform on which your painting and page or on, you could for more stability. This allows for your drawing hand or dominant hand or painting hand to be in control. To apply its line as lightly or As darkly as you want. I want to add a little yellow inside the lamp. Using the same brush. Make sure you wash it entirely. Because yellow is a very bright color and it can easily be, be dirty with a darker colors. So I'm using a lemon yellow hue. Wonderful. Just to get that little bit of brightness. And we're gonna do the same for the next light pole. Again, we're mixing sepia and lamp black, creating the outline and the detail. Take your time. This is definitely a more detailed image. It has a lot of details to go through. So going through the repeated techniques of washing your brush, drying it, fading the color, making sure the pages dry before going on to the next layer. Fading colors vertically in order to imply the perspective of the image. All these points are all important. But the more you do this, the easier it'll come, the easier it will become every single time. The more beautiful the results are. There are some faded windows that we need to go over. And it's better to paint the tree first as well. The light green, olive green. In order to tone. I'm using sap green and olive green. Spray some water in order to make it wet either onto your colors, your palate, or your page. Yeah, just like that. We'll start off with a light green and then use the dark green on top. Try to place your brushstrokes in these small motions in order to indicate the details of the tree. As it's trying to accentuate the leaves of it. This combination of the brown and the green creates a rich color and in-depth color like olive green and CPR together. Continue to wash your brush, dry your brush, and fade the dark colors in the light parts in order to have them naturally exist together. Soft on the eyes. Just like that. Now we have the car. We have a car in the distance. We're going to try and give it some detail here. We have it in the background behind the car, which we see in the forefront of the image. That car is somehow a little bit faded, but you can give it a bit of detail by keeping the headlights as white, giving the ground some shadow underneath the car that's in the distance underneath the tree. Right there. Use a small round brush for this. It will be really helpful to get the details that you need. Use your spray if you feel your pages a bit too dry. And guard guard your page if you want the water to only hit certain spots and not others. Wash and dry your brush and dab with your tissue. Just like this. Keeping the background behind the car that's in the distance light, allowing the car to stand out. Now I'm combining black and violet, That's Lab black. And diode dioxazine violet against. Apologies if I'm mispronouncing that, spraying my page. We're combining the violet in a way that it makes it more of a cool hue. And the black for this part, that it's cooler, it's like a soft, soft gray or a more violet gray in order to show the shadows in the front. We were doing this as the brush is soaked. Just like this. And we shade this part. And then we fade the shade that we just shaded. Yeah. We fade it, although it was a shading, we still want to faded and not have it with such a crisp outline. You want it to be natural. The shadows are looking natural in this image. You can make this color darker for the shadows under the car. So this same color and simply making it a little bit darker for the next part. In order to mark the shadow underneath the car. If you need to add highlights to the shadows you're creating right now on the page. Wash your brush, dry it and then go in adding the lines or dots where necessary. Now, I'm going over the shadows that are underneath the car. Just like that. Slightly diagonal motion. It's not horizontal and it's not vertical. Just a slightly diagonal motion or to indicate the direction of the sun. Wonderful. Want to feed this top part upwards. Because the building wall is right there and everything about that building, all the, all the tonality, all the brushstrokes are upwards, implying the verticality of buildings and how they are up against gravity. So again, this gives the perspective that we're talking about. Now, dry your page. And then the next part is to go back to the car and add more and more details. But we need to dry the page properly. In order to secure all these details that you've added, all the shading, all the tones, all the blending. Take a moment as you are drawing your page, take a moment to take a look at the composition. Take a look at the details. Maybe there's some highlights you want to add in certain parts. Maybe there are some dark outlines you would like to add or contrast. Now, we're going to use a small rounded head brush and combine indigo with ultramarine. And a little violet. Indigo, ultramarine and the little violet together. And you dilute the color with some water, of course. Then we're going to apply it to the car. Make sure you have your tissue handy in your other hand in order to dab your brush. If there's too much color or too much moisture. You want to control the wet layer because wet on wet layers can easily blend into each other. We would like to achieve some detail on the car. They're using a round brush, a thinner brush. It allows for the detail, it allows for the outlines to be made, but without. Without diffusing too much moisture, which can make colors blend too much or go beyond certain lines that you have indicated in the outline. Try not to touch the white parts. Keep washing and drying your brush and fading the parts that you have colored in and leave the light parts as light. Use the same combination but of course darker to achieve some more details just like this. I'm using indigo too dark in the dark parts. We wash and dry our brush to fade the necessary parts. Just like this. Bit by bit without putting too much moisture, keeping the page wet, keeping the brush wet. Use your tissue to remove any extra moisture or color. When we use the same toning technique. For the dark color. Then we do the same for the lighter parts as well. Continue to wash your brush, dry it, and then fade any color that's applied. Pay attention to how you're applying certain colors. Are you applying them vertically or horizontally? Because the color on the page does take direction, so it changes the way we see certain objects or perspectives. Fade the lighter colors lightly. Try to avoid the parts which are white in order to keep them white. Now, I'm using a cerulean blue here. Now I'm using a thick indigo to create that outline on top of the window on the car. So the indigo is being used for the darker parts of the car. Try to keep an eye on how wet the page is, how much moisture your brushes putting onto the page. Use your napkin or a tissue in order to dab off any excess color or excess moisture. And keep blending and toning. After washing your brush, drying it, and fading the color you've just applied. As you're working on these details, keep looking at your image. Take, take a, take a little step back, move your head back, look at the image. What does it need? Here? We're creating a regular shades to color this part of the car. You have a burnt umber, you have an indigo, you have a black. And this creates more depth, that gives more depth to the painting that you are creating. An underneath the car. If I'm going to add some little bit of shadow or a little bit of darkness just to specify the shadow here. Giving more detail to the car. The wheels. I'm making use of my napkin in order to remove any excess color. And you want to do this quickly becomes a habit that'll become like secondhand to do it just to be able to catch the color before it sits into the layers before. Use your spray. Guided onto the specific parts you want on the page in order to control how the color is sitting. What other colors isn't mixing with. Now we dry. There is a lot of layers on the car, so take your time. Use the dryer and dry all these layers we've created onto the car. There are several tones and several colors on there, so we want to secure it, have it nicely adjusted. Now using a smaller round head brush, we draw the plaque and the number of the car. So notice how thin my brushes. Make sure your wrist is nice and stable. Hold down the the platform on which the painting is on to make sure it doesn't move. I'm creating an outline around for the plaque and creating the number and that's just little details in order to add some depth. Now I'm going to be adding some cadmium red for the headlights of the car. First we use thick cadmium red, then we fade it. Just like that. Then I'm going to use black for the details. This brush is very small and thin, allowing for these little, little details to take place. For you to achieve them and for it to look beautiful and natural. And you're able to achieve more, more clarity, more clarity to your image. I'm going to add some shades to some parts of the car. Now I'm going to use a small angled brush and some sepia. Keep going over the details. If there's anything that requires more adjustment, wash your brush, dry it, and go over it, or add some light to the top part of the car, It's darker. So again, we need to consider all the light and shadows and work on them. We need to repeat the same technique. Fade the ending part. Dressed like that. We're going to add more details using white gouache. White can be very powerful. We need to keep it clean. Use a smaller brush in order to apply these details everywhere on the building. On the windows. In order to accentuate the building give, give the darker parts like a nice highlight when looking at them. Because the light parts are just as important as the dark parts, they equally highlight the equally bring attention even in the texture of the building. Just like that, you can add some little lines and dots. Move your head back a little bit. Take a look at your image. Take a look at where maybe your eye will catch that a highlight is needed or contrast is needed somewhere so you can add the white end comfortably. Now the pylon on this part. First, we show the pylon and the form of dashed lines. Make sure to take your time and use your brush as lightly as you can in order to create that line. There's a lot of details in this image. The more you do this, the more you gain confidence. Then we add more dots and more lines in order to show the details of it. We have another pylon all the way down. We can achieve that in dashed lines. Make sure you have your tissue handy. In order to quickly be able to reduce the amount of color or hue in a certain line that you've applied. We want to darken the shadow of the car on the ground as well. Using the same tones that we're using right now. Take your time. Achieving such details with dark spots and light spots as well with a wet on wet technique takes a little bit of practice. But the more you do it, the better it gets. Because every layer is a new tone. We've created wet on wet technique where every layer is a new tonality. You are allowing for different layers to mix with each other, but just peek through a little bit through their tones. Here I'm using a medium round brush in order to achieve the shadow underneath the car. And remember the technique is always repetitive or the same. You wash your brush, you dry it, and then you go back to the color you've applied in order to fade it out. Now for the next part, we're going to be drawing the human figures on the right side of the painting. Yeah, we're gonna show their heads just by little drops like that. He put them in a row next to each other in order to show the perspective. If your page is dry, remember you can use your spray and direct, direct the moisture by covering the part that you want wet or by shading the parts that you would like covered are away from water. Continue adding details. It seems as if one of the figures has an umbrella in his hand. Just like this. I'm using an indigo and a black here. And we can see the second figure from behind. But take your time. I mean, all these details. If there's any white parts, try to avoid covering those white parts because white is very easily dirty. And we want to achieve that brightness because like we said, the white highlights just as much as the dark. So we do need it in the end to accentuate. Now we're going to work on the second figure, who is behind. His hands seem to be in his pockets. You could use a brush with a smaller tip as well. It's a matter of preference and how much your brushes if using moisture onto the page. I'm generally a smaller tip would allow for more control, more detail. The more you do this, the more you'll be familiar with what you're comfortable with, what your technique is, how faded you want an image to be, or how detailed do you want it to be? And figures are a good practice in a drawing. In order to work on that part. Make sure you have a second brush and your other hand just to switch between them quickly. Although this is a wet on wet technique, but when it comes to little details with concentrated color, you don't want them to quickly settle in, right? But tissue also helps. I'm creating the shadows for the figures in the image. Again, using water in order to fade. Wash your brush, dry it, and fade the color you've applied. Shadows are all happening on this diagonal, which is neither horizontal or vertical. The verticality is happening For, happening for the buildings. Which again increases the perspective of looking upwards that they are going against gravity and higher. Now, this is the time to just move your head back, look at your image. Are there any highlights you'd like to add? Are there any darker lines you'd like to add? It gives you just a moment of looking at the composition, deciding on what you want, a bit more of, a bit less of. And this is the time to go for it. I'm gonna be adding some doves flying up in the sky. These are merely little lines indicating different distances of birds. Just like this. Hope you've enjoyed this course. It has been a pleasure going through that with you and see you next time. 6. Boat on the Ocean: Hello everybody and welcome to another watercolor tutorial. In this lesson, we're going to work on this sample in which we can see the boat and the C. Clearly. We're going to use almost all of the techniques we have learned already until now. Let's start with the initial sketch using a regular pencil. And then before moving on to do anything, we make sure that our paper is completely clean. If that is not the case, we use our kneaded eraser in order to clear anything on the page, which is not necessary. Now we're going to use gum tape, regular tape, and a wet napkin in order to hold down our page on to the board. Measure the width and the length of your page and cut out pieces of the gum tape to be applied around. You want to apply some water with a wet napkin on to the gum tape. Before pressing it down around your page. You then take a dried napkin and press it all around onto your gum tape, making sure there isn't any excess water or droplets of water here and there. Before you go ahead and apply your silo tape on top of the gum tape all around. To start the work, we need the water spray, our watercolor palettes, a glass of water brushes and napkins. Make sure you have everything handy as we're gonna be using all of them. We're going to use the sword brushes like always as they are one of the mostly used types of brushes in watercolor. And then we need a natural hair brush as well. Remember that the color palette we are using here is downloadable. We are suggesting certain brushes but make use of anything that is available to you or any brushes that you are comfortable with. Our choices of color and materials might differ a little bit, but that is completely fine. One very important point to keep in mind when working with watercolors is to keep the palette clean and dry. So when we want to start working on something, we need to clean and dry the palate so it's ready for any new color combinations to be made on spot. It just saves you a little bit of time. This way we make sure the colors we are using and their density remains exactly how we want them. So if you're using lighter colors, you don't want them to be mixed with any darks in order for their brightness not to be changed. Once we've made sure that the palate is completely clean, then we can start working on our image. We need to observe the work and think about it before we actually start working on it. On this sample, we think about what techniques we must use to paint the sky or the sea, or from which part we need to begin the work on samples like this. We start the work by painting the sky. As we move from the bigger items to the smaller ones in watercolor, we start with a bigger surface. Then we will start working on the details. Look at the different parts of the image, look at the different combination of colors that we will be creating an order to achieve these tones to, in order to achieve the textures. What details, what lines and dots here and there, it's good to observe such a detailed picture before starting it. It will help with the speed of creating because the techniques we're going to be applying will require a consistent speed. Not too fast, not too slow, but just consistent. In order to achieve the detailing that we desire. Another point to be taken into consideration is that we start from the lighter colors and move on to the darker ones. From watery mixtures of color to thicker mixtures of color. For instance, this guy has lighter colors and it needs to be worked on with watery colors. But we do have some lines going across from the boat to the left-hand side of the image. They create some sort of texture and depth of field, and we need to use thicker colors to work on them. When we have a sky in the sample were working on, we start the work by adding the sky primarily as the background color we're going to use on this part is ultramarine, which is a very natural blue and is mostly used when we want to paint the sky or the sea as it is very close to the natural color of the sky and the sea. We are going to be adding a lot of water to this color on our palate. The next color we're going to use is yellow ocher and we need a bright occur as well. We are preparing each color on our palette, adding the right amount of water, the right amount of hue. We want them to be watery because we are creating a background which is a lighter tone. So they're ready for us to apply whenever it is time. At this stage, I'm going to use my water spray. We spray water on the area we're going to paint, which is the sky. The technique mostly used to work on the sky in watercolor is wet on wet, my brush is wet, my color as wet, and the page is wet. As it was mentioned earlier, we're going to use lighter colors like yellow. We then wash the brush and start applying the ultramarine on the paper. Make sure you have a dry napkin handy. We dry the brush with a napkin and fade these lower parts. Like this. Keep your wrist loose and practice more free application of color with the brush. Pay attention to the free hand movements we need to use on these parts. This hand and brush movement helps us better mix and fade the colors into one another. On the page. We have to keep in mind that we need to keep some parts untouched as well. These white areas in between the colors we are adding, add to the beauty of the work. They accentuate just as much as the dark parts of the image. Follow the motion of my hand, the speed with which I'm applying the brushstrokes, that technique, we will keep on working with the same hand and brush movement. Practice makes perfect. The more you practice, the easier this technique will come to you. We will move on to the next steps as we're done with the sky for now. Use your napkin in order to remove any excess moisture in your brush or on your page. Now the next step is to apply the same technique which we have just applied on the sky, doing it on the water parts of the image. So guard with your hand the area onto which you want to spray some water in order to leave the sky part to dry. And then we start working on the bottom part without leaving any stains on the upper part of the image. Now that we've created a wet surface to start working on the C, we're going to use ultramarine again and start applying the watery color like this. Remember, we need to leave some parts untouched so the whiteness of the paper shows in itself. It is okay if these two parts merge into one another as we are going to work on it more and add other details using a thicker color layer by layer. With each layer we will be building, the colors will become thicker and thicker, allowing them to become more defined, allowing more detail to be visible. Very watery colors are only used for the background or the primary layer of an image. Now we're going to use our water spray. We use very random brush movements. As you can see here. We can even spray some water on this part to create the texture we want a little bit sparkly. Now we're going to mix indigo and ultramarine for this part. When working on the C part of our painting, we have to bear in mind that the lower parts are always darker. The hand and brush movements are very important as we need to be free and move easily on the parts we want to work on. And keeping attention to the direction of our brush strokes. We move up and down on the C part and add these free dark, oblique lines with our brush. Just like this, follow the motion of my hand and my brushstrokes. The more you practice, the easier it will be, the more confident you will be making these gestures with a brush. Now, we're going to use the sword brush and a clean napkin. We let the work dry for a few seconds. In the meantime, we take the sword brush, we dip it in water. We take off the water with a dry napkin. And using this oblique part of the brush, we add some white parts on the sea. Moving the brush like this. Apply some pressure and add these highlights. You wash the brush, you dab it on to your napkin to dry it a little bit and then you go back in onto the wet surface with a hues you've just applied horizontally. And you are essentially as if adding highlight or removing some of that color with your brush, bringing light into the textures of the water. We do this at this time, that the surface has not dried completely. Again, dip the brush in water, dried with a napkin and add these white lines like this. Keep repeating this same technique until you achieve the amount of detail you want in the water. Now is the time to control or reduce the amount of color you have of the blue in different parts. And remember the bottom part, which is the foreground of your image, the lowest part of your page is a lot darker than the top part. So you're creating a degradation down from light to dark. And add these lines are horizontally, which implies movement in the water direction, a deeper sense of perspective to the image. As we have used the wet on wet technique on these parts, we need to give time to the surface to dry. Now, the next mixture of colors we're going to be using is indigo and ultramarine mix. This part, for instance, is completely wet and if we keep on working on this part, the work would be damaged. So we're not going to touch it anymore until the surface is completely dry. Now, we're going to use the hairdryer to speed up the process. We want to achieve a flat surface because of the water and the dampness of the page, it is warping or bubbled. And we would like to bring it back to being a flat surface. So be patient use your hairdryer directed at your page from the top. Not too close, but not too far either. Being careful with the closeness of your hairdryer is only essential in the beginning when there's a risk of moving some colors that are really watery on the page. But make sure it's completely dry in order for us to be able to move to the next step. Now using the napkin as you see me going around the page, we are drying the surface with a hairdryer, but it will also using this dry napkin to remove any water from anywhere around the work. So it does not damage the work or bleed into it. Take your time, hold down your surface. You can track if your surface is dry simply by tapping or touching it with a single finger, lightly on the side. But do that after you have dried your surface for at least a few minutes. Keep in mind that had we not applied the gum tape properly, adjusting the page down onto the cardboard, the paper would have puffed up when we added water to it. And the drying would not have been achieved properly. In order to get that completely flat surface. Use your fingers to touch the edges of the page to make sure that it's completely dry and there's no puffiness remaining. Now with a water spray, we need to spray water on the parts we want to work on. Again. We want to add darker layers to the c So we need to spray some water onto it. You can guide your, your droplets of water by guarding the bottom part of your page. I'm using a soft brush. And I'm going to use the indigo color mixed with ultramarine and apply it like this on these parts to make these lines look more natural. Keep in mind that you don't want to cover those white highlights that you have entered and created. Dressed before drying your page. Those nice, beautiful white lines going across creating a curve and a movement in the sea. This is enough for this part of the page. Now we're going to use the round paintbrush. Make sure that this brush is completely clean. We do not need the spray water on the surface anymore as we are not going to use the wet on wet technique for this part, we cleaned the palette to start working. We also drive the palate completely so that the remaining water does not affect the density of the colors we're going to make and use for this part. Mike mentioned earlier, we don't want to risk having our lighter colors if we're making light color mixtures to darken. Now we're going to mix alizarin with burnt sienna to work on this part. Using the colors similar to them on the palette like light red is also possible. If you're using alterations of the colors that are here, although this palette is downloadable and maybe you have alternatives of colors or different preferences, that's completely fine. What matters is to keep the colors completely watery at this point in time because we're still building these layers. We dip the brush into the color combination completely like this, as if the whole color combination can be carried onto the paper with the brush. The surface is completely dry and we're adding the watery color on it so it is wet on dry technique. Next, we need to use the hairdryer one more time. We stop working and use the hairdryer to dry the parts when we feel like we cannot work on the surface anymore. The idea here is that leading on this bottom part of your image might get damaged or change if it's not completely dry. So in order to seal that part, we need to dry it fully. Once it secure. Now we can move on to work on the boat. We take a lot of the color combination we have created and we start adding it from this part. We add a lot of watery color like this so the water remains on the surface. Then we wash the brush and move the brush like this on the surface and fade the colors. Take your time, make sure your wrist is light, your hand movement is light and applying the right pressure. Remember to leave some parts untouched and white. Next we're going to use occur on this part. Yellow ocher. Notice how I'm applying the color with different densities. Some of the mixture is a bit more concentrated and another part is lighter as I'm fading it. So in order to fade, you wash your brush, dab it on to your napkin and then fade the color you've just applied. We keep on working like this because right now the work has not dried completely and we're going to use the color combinations we had created and add thicker layers. If we keep on working like this, the work will continue looking more and more beautiful and professional. As I'm adding the alizarin color. Again, we wash and dry the brush and start fading the color like this downwards. Keep repeating the same technique. And you can start lighter and slowly get thicker. Apply it with more density as you layer your image. Next, we're going to apply the ocher, the yellow ocher on this part. Then we're going to use a burnt umber color to work on the parts next to it. This is going to give some depth, some definitions, some contouring. All these details are necessary and that's why it's good to have your palate clear, ready with the colors that you need. The water is ready, your napkin is there in order to catch any excess moisture or color. In the process, you continue as usual, washing your brush, drying it and fading the lower parts are fading that color you've just applied downwards. Next, we're going to be using an ultramarine color. Very watery on some parts of the boat. The boat is not blue, but we are we are determining some parts of it with this color. So as you can see, it's like a reflection from the color of the water onto the boat. We're also adding water to the boat part. In this part, we use the sword brush, which is wider and add the shadows to the boat and also water to its surface. Continuing to use the sword brush, I'm going to work on these edges. We take a bit of a thicker color and add the shadows on this part. Just like this. Make use of your water spray because we're adding the shadow and the reflection of the boat, we are using the same color with more indigo. We also spray some water as we keep our hand and the spray far from the surface so that the brush moves easily across the paper. Speed becomes very important at this point in time as we need to apply these colored layers consistently, quickly before they either dry or blend into each other. Make use of your napkin tissue in order to dab some color off or add some more tonality. The more you practice all these techniques together, the easier and more confident you'll become at applying them. I'm applying some reflection of the boat here onto the water. I'm using the edge of my brush to accentuate some details, leaving some tiny white lines in there. Follow, follow my lead, follow my application of the brushstrokes. The direction with which I'm applying the color. Is it downwards? Is it horizontally? Is the tip aiming to go to the right or to the left? We use the tip of the brush on these parts with burnt sienna and Alizarin combination. We made that combination earlier. So if you have it on your palate, It's easier to go in just like that and add the detail, the reflection of the boat onto the water. We then go on to add droplets of color on the surface. It's like a stain technique. Here I'm using an alternative, green and indigo. We add darker layers on this to create darker lines where the both touches the water and its reflection. Yeah, exactly. Added dressed like this. As we apply the colors layer by layer and fade into one another and make use of your napkin to reduce the amount of color to control how far your colors bleeding or seeping into another layer. You can also control how much you're feeding a color. When you wash your brush and dry it and go back and it picks up color off of the page. Adding more lights and highlights. We can darken this area even more by doing this. Then again, you wash your brush, dry it, and create, go back into the image and create a white area by allowing the brush to pick up some color off of the page. Just like that, giving it some detail that line. That curvature. It looks more realistic and more natural. Always keep an eye out on the light parts if there are some white dots that make the image look more realistic, just let them be. Now with a burnt umber, as you can see, I'm going into add a little bit more details. The bottom of my boat and fading the edges by washing my brush, drying it, and going back into fade it. This is a very watery, burnt umber that I'm, that I'm doing here and applying. After we have done this part, we start adding the details on the boat using the round paint brushes. For now I'm going to use the hairdryer. We need to wait a bit so the surface dries. Before we move on to the next stage, we're going to use the hairdryer to speed up the drying process. So be patient, take your time. Direct your hairdryer not too far from the page, but also not too close, steadily, initially, so that any watercolors do not move right or left. Once they have dried up a little bit hung onto the page, then you can go across left and right. Drying your image properly. Because although we'd want these layers that we have created to translate into the next layer that we're going to do on top. You don't want them to bleed into each other such that they mix and give you a very vague coloring. So the drying process is truly very important. Now with a round brush, we're going to add details. We have a red mix. Which we have already created. We're going to use a combination in this part. We add the color in the form of droplets on that surface. Just like that are hand movement would be like we're just tapping on the paper. Just follow my hand movement. We wash the brush and start treating the color towards the top. Now we're going to use a Van **** brown color. We have like raw umber and burnt umber. And after mixing the, mixing them together, we start adding the lines that we see on these parts. To make sure that the brush moves easily across the paper, we add water to the color combination. If it's easier to wet your brush and add the moisture that way, then basically spraying water onto your image. That's also very good. I'm spraying because it helps me out. In terms of the movement of my brush right here. Keep your colors watered down in order to create the shading. Because it's easier to build on lighter layers rather than dark layers and removing the color from them. That's a more difficult process. We want to work at a good speed. I'm not saying very quickly, but at a good speed between applying the colors, keeping the, the surface stamp, and working with your napkin and dipping your brush and drying it. Now, pay attention to the hand and brush movements and these parts, we're not drawing straight lines. Instead, it looks like the lines are interrupted in-between as if they're almost dashed but not dashed. And now we're going to use more of the indigo to make the colors Boulder, we can even add some black to it. But if the use of black is worrisome, stick to indigo. The more you practice, the easier it will be for you to work with these techniques in alternating sessions and apply the details as we are right here. We're working on these areas with thick colors, adding the colors in the form of leaving droplets on the paper and using the dry on dry technique. The hand movements in the same as before. We are not drawing the lines completely dragging the brush across the paper in one stroke. It is like we are tapping the brush on the paper so you don't have to worry so much or let it stress you out that you have to make a 11 stroke of line. No, you're doing it in these little dashed, dashed, little lines that are sporadic and not even. Now I'm using the burnt umber and burnt sienna. We add the color to the parts that need to be thick and then we leave the spots empty for the parts that need to be lighter. And to achieve a more watery aesthetic, we wash the brush and dab right back into the color to make it look a little lighter with the water. We have some yellow color on this part which we're going to add. Make use of your napkin if you need more clean napkins, pause the video and grab them. As we're adding the color yellow, which tends to become dirty very quickly, you want to have a napkin in your hand to maybe dab off or remove some extra hue or any bleeding into it. We add some of the yellow on this part. We observe the work and add the colors that we see. We need to add some outlines, for instance, a dark outline here which we're adding. We add details like this. I'm using a brown mix here in order to add these details. We're not drawing complete lines, but instead we're drawing interrupted lines. This will leave the image looking more natural, more in reflection of the water as well. Continue to repeat the technique of washing your brush, drying it, or dabbing it onto your napkin, then fading the color you've just applied in order to soften a certain line or soften a certain gesture you've created with your brush stroke. If you need some time to re-mix your palate colors or different mixtures. Pause the video. Make your mixture, makes sure everything is handy. Your napkin, your water, your brushes, and then press play again to continue together. Here I'm using a blue mix. We can use the colors we already have on our palate. And like I said, maybe makes more of the ones you have. The idea is to add darker layers because they define the outlines of our image and the presence of certain objects and their perspective in the picture. We wash the brush again, dry it, and then fade the lower part of the lines are creating or that we were just working on downwards. Now, to add more details, we're going to use the colors we already have in our palette, like indigo and the brown combination. And using the round brush, the round paintbrush. This allows for a little bit more control. Look how closely my fingers are to the tip of the brush. It gives me a little bit more focus. Here I'm spraying some water. I'm directing it with my hands so it doesn't so the water doesn't land on the entire page, but only on some parts. That allows for my brush to move easier on the paper as we're working with a dry on dry technique. But it's only very slight water spray. We add the darker parts, then we wash the brush, we dry it and we fade these parts towards the lighter colors. Just like that. Follow my hand movement and the gesture and use my my brushstrokes as a guide. The speed at which I'm doing it, the precision. We can even go back to the darker parts and work more on them. Now we're going to use a Van **** brown. We wash the brush again, we dry it and we fade these lines a bit towards the top. We also have these sharp lines on these parts which we are adding. We continue to add more and more details on the boat. Just like this. The more you practice, the easier this technique will come to you. And switching between dry on dry, wet on wet. Your hairdryer is your friend here because it helps to dry all surfaces before moving on to the next layers. Now I'm using a combination of indigo and the brown colors with a bit of alizarin as well. And now we're going to start working on this part of the boat. We continue to wash our brush and dry it and fade the details or the concentration of colors which we might be applying as outlines in different parts of the image. There are some dark spots here. We're going to add them using the same color we have used on this round part, that all these parts look somehow the same. Repeating the same technique allows for harmony on your image. It will look like everything has the same style, it has the same application. So they will all look like they naturally belong to each other. We add all the details in the darker parts so that we see here that they play an important role on how the work is going to look in the end. And of course, this will add a lot of beauty, a lot of contrast. By contrast, I mean differentiation between the detailed boat and the Vega, or more blended tones that are in the water or the skies. The technique we're doing right now is dry on dry technique. We're just adding the details at this point. So if you need some time, pause the video. Take your time, focus, add those details. If you want to practice certain brushstrokes are certain movements of the hand. Just do it on a page on the side. Even using such light pressure as I'm doing right here. This requires a little bit of practice as well, so you can do that and then come back to the video and press play and continue together. In the process of a dry on dry technique, although it's called dry and dry, you could add a bit of water so that the brush moves easier on the paper and start adding these lines which are all interrupted. They are not a continuous line stroke. Using my brown mix. I just keep in mind to wash my brush, dry it, and fade these lines if they get a bit too dark. There are more lines on this part which I'm trying to get at. These irregular lines we're applying will add to the beauty of the work and the distance like you can see, different distances in the work itself. What's closer in the foreground, what's further in the background and what's in the midground. These lines do not need to be precise like the real model as we're not working in a hyper-realistic style. Of course you can work towards that, but right now that is not the purpose. But we should add these lines freely. We add details on different parts like this, applying some small dark parts here and there. The idea is to relax and to, using this technique, using this medium. And practice does make perfect in the sense that it gives you the confidence, the focus, the ability to switch between Techniques. Having all your materials ready in handy. It takes a little bit of practice, but it will happen. At this point you want to make use of your napkin. We wash the brush and start fading this part. We can even use the clean and dry napkin to fade some parts. It should be applied like an eraser where you're dabbing the napkin into the page like that to pick up any excess color that you are applying. We're adding the details on this part using a dry on dry method by tapping the color with our brush on the surface. At this point, we have applied enough detail to this part. We just need to add the rope that is overhear. Remove the brush like this. And these lines will indicate and imply the rope. Going across. Take your time, keep your wrist light. Go over the details we wish to go over. Remember you can wet the tip of your brush should you need to. You could also remove excess moisture by dabbing it into your napkin. Now I'm just adding some more details into the boat and then fading the colors. You're also adding some slightly darker layer on some parts of the rope. Now using an indigo mix, that's the next part. We're adding some dots, e.g. on these parts so they look darker as the surface is dry when we add the color or texture is created and it adds to the beauty of the work. The indigo color is a reflection of the red hue that is on the texture of the boat. Mixing these different tonalities makes the image look a lot more natural and reflective of all the colors around. We can see a shadow over here on the water. So using a blue mix, I'm washing my brush. Using the blue mix. We work a little bit more on the edge of the boat at the back. Then we wash the brush, dry it, and start fading its edges. We're going to use colder colors on the boat that is located further back. We're going to add a bit of dioxazine violet. I hope I'm pronouncing that correctly. We're going to add some of the violet to the Indigo that we had. And as the boat is further back, we make the color watery so it becomes lighter and in essence appear further in the image that it's in the absolute background of the image. So it's in the back, left, and behind our boat. Although both boats are technically on the same axis of the image and the composition, we want to change the density of our color in order to achieve the depth of field and the depth of perception by making that boat look further behind the primary boat in the foreground of the image. We keep on working like this and then we wash the brush and dry it and we start fading quickly. The color that we had just applied. Reuser napkin to that color off or remove it off of the page. Now we're using a wet on dry technique. We use the napkin to make this part a bit lighter as well. It'll pick up any color by removing it off of the page. Take your time, keep washing your brush, drying it and fading. So keeping our layers lighter will simply be easier and more forgiving as we are building those layers as opposed to creating really dark layers and trying to make them lighter. We're now going to use thicker colors and apply them while they are dry. Adding more detail, which in turn will make the work more beautiful. For instance, on this part that we have this wooden stick, we're going to add it using the dry methods so that a kind of textures also created. Another point is that we add details like this, not in the form of straight continuous lines but interrupted lines. This will help you relax into the technique and relax with using your brush. Wash the brush completely so that it is clean and work on the shadow of this wooden stick creating on the water. The boat itself has created a shadow over here. So this is what we're working on right now. We wash the brush and fade these parts using the thicker color. Again, we add more details on the boat using the dry technique. Here I'm using a black and indigo marking the line underneath the boat. We take more of the thick color and apply it on this part. All of these details will add to the beauty of the work. We keep fading. Any color that is concentrated. You wash your brush, dry it, and fade the color. Now we're going to use a water spray. And we're going to use the colors that we have on our palette to work on these parts. But first we spray some water and very carefully we start adding these details on the water. We are creating a water stain effect here. So you have your napkin in your hand. You're applying these details carefully. We don't want to overdo it. We are being careful and fading, fading Our application of the color. To add these sticks that we see over here, we're going to use brown color combinations such as sepia and burnt umber. And we're going to mix, and we will also mix them with the colors that we have on the palette. Using the wet on dry technique, we start applying the watery colors on our dry surface. Make sure you're keeping an eye on the speed with which you are applying these layers. You're keeping your napkin handy, wash your brush and dry it and fade any colors you are applying should you need to. And we continue working like this. The top part of this image is more clear and defined than its reflection on the water. Make sure the right side of your page is completely dry before you place your fist onto dry to draw the left part of your image. In order for our brush to move easier on the paper, we're going to add a warm color here like a burnt sienna, to paint the wooden texture as it is. We mix of burnt sienna here and apply it just like that. We have painted the boat lower than the actual model as we wanted to have more of the sky. It is okay to either work exactly like the model or change it a bit like this. It is an aesthetic choice really. It's also okay to work with a dry method on these parts to create the texture of the wood. It's a matter of choice and comfort. Like we said, Let not the differences of maybe the color palette available to you or the color palette in the video or the technique or the brushes discourage, discourage you from practicing and going ahead and practicing those techniques in order to get better and better. We keep adding more colors like this. And we keep adding details. Remember that you have downloadable sources available to you in order to have access to the image, the guidelines, the pallets that we're using today, the brushes, the technique, everything is available for you to practice. Go over your drawings. Feel free to get in touch and let me know if you have any questions or concerns or maybe share the work that you have created. These are more than welcome. Just like we have worked on the boats, we're going to add more and more details to these parts. We are soon going to add the ropes, the shadows, and all that using the watery and light colors. So keeping the pressure of the application of the colors and the brushstrokes light, creating the contrast, making sure there's a difference between the reflection and the objects on top of the water. Going over these little details change napkins. If your napkin is overly saturated with color, the napkin is there to remove any excess color, allow for some light to come back into the image because the lights are just as important as the darks which create the outlines and the presence of everything on the image. And we're using watercolors in general so that it gives the feeling of the water and the reflections on it. We work on this part, adding more details in the forms of shadows on the water. It becomes more realistic but also more natural and more beautiful, and its depth of perspective increases. Now I'm using a blue mix here we keep on observing the work and considering all of its details as our eyes would get used to what they see because we've been working on it for some time. We might have missed some of the details. So we go back in and we add the darker parts and the details that we might have missed. There's also an element of personal aesthetic, like if you move your head back, look at your image and you feel you would like more lights into any parts, more darks. It gives you a chance to look at the image just a little bit differently. We add the rope here. And we see like trying to add the texture that it has. We add the dry color in order to achieve that texture. Then we go on to repeat the same process for the other ropes. Practicing, we'll build confidence. It will also allow us to discover what, what we're comfortable with, what we're good at, what we are, what we need to learn more of. Practicing does reveal how much we can do and how comfortable we are in the use of certain brushes, certain colors, certain palettes. It can only do good. The next stage is the white 7. Summer Blossom Walkway: The foundations: Hello everybody and welcome to a new tutorial. Today we're going to paint a landscape with flowers together using a wet on wet technique. We're going to start off by measuring some gum tape according to the size of our paper. So cutting four strips, the size of the length and the width. Place your page down on a cardboard or wooden board. And then we can start applying the gum tape too. Every side of your page using tissue and a water spray, you make your tissue wet. And then you apply water on the shining part of the gum tape so that it becomes completely damp. And then we apply it just like this on the paper. Take your time. Make sure that a few millimeters or onto the page, and then the rest are holding onto your cardboard or your wooden base. Apply the water across each strip of gum tape, press down across the entire space. And then repeat for all sides. If you haven't already taken a look at your downloadable resources, you can pause the video and take a look. It has all the information you need for this tutorial. In terms of the palette, we're gonna be using. The image, the details, the grid, the drawing, the base drawing as well. So you can take a moment to take a look at that. Now, as we are applying the gum tape, you want to use a dry tissue to press over all the sides and make sure it's completely flattened. Excess water anywhere all around dressed like this. Because the next step is to apply a clear tape, scotch tape. And you repeat the same process all around for every side except that the clear tape, we'll go over the brown tape by a couple of millimeters onto the white page. And then the rest of it is placed down onto the brown tape, the gum tape. You go all around. You want to take your time in this process and make sure you do it well and you flatten the tape really nicely and make sure there isn't any moisture all around. The final result of your sample or painting or practice will be a lot more beautiful. We'll have these nice, clean, straight edges. And finally, use tissue just like we did for the gum tape to go over the clear tape one more time. Now, once you're all set with your materials, everything is around you, your palate, your colors, your brushes. Then we start working by painting the sky. However, the sky in this sample is not that difficult to paint as it is faded. If the materials you're using, be it colors are brushes are slightly different than what is recommended or what I'm using. That's no problem at all. Make use of anything that you have, any materials that you are comfortable with. Here we're spraying some water on top of the paper where we are going to paint the sky. I'm starting with a rose color in the sky. On my palette. I'm creating watery combinations of colors. The rose madder using the sword brush. And now we're going to add the ultramarine. Follow the movement of my hand and the application using the sword brush sideways across. Using the length of the brush. Notice the way that I'm holding my brush and how freely I'm applying this watery ultramarine. And you keep on working like this in order to add a background. This will give the depth to our final image. The free movement of your hand will show through the image in the end. So make sure you relax and that you are comfortable. We have a mountain in the background. Here. I'm using a cobalt blue. We move our brush just like this to paint the mountain. Use my hand movement and brush gestures as a guideline for you. Use the tip of the brush in order to accentuate the top of the mountain and some little details. And make sure to wash your brush or dab it in order to feed the lines that you have just created. You can use a dry tissue to take off excess paint as well while it's still wet. Because your page is what we did sprayed with water. To draw the water. We do not use the spray and wet our surface. Instead we're going to wet our brush and apply it on the work. Using an ultramarine blue, cobalt blue, we can use a variety of blue colors for this. Remember that combining different tones of a certain color adds depth and richness to our image. Also here I'm using a civilian blue hue with a cobalt blue hue. If you need to pause the video to make your mixtures, go ahead and do it, and then we can continue together. We work very delicately and apply the colors lightly because at this stage we are working on the background color and we are not actually painting the sky mountain and water themselves with a water spray or wet brush. We went this part and add the background color at this point. Take your time. Now I'm applying a light pink and I'm mixing a light pink and a bit of Joan brilliant. And to create the color to be used on the background. There are different tonalities because the image and itself in the end, we'll also be reflective of these background colors that we're using. A combination I'm using right now is a permanent rose and a lemon yellow hue. Keep your hand light and the brush pressure light. We mix the zone brilliant and the pink and add a bit of water to it using our brush to make it a watery. Make sure your tissue is handy. Just in case you want to remove any excess color, but mix your colors really well. And continue applying them as I am doing here across the page at the bottom. We will build these layers slowly, slowly. We want them to translate into each other. Each layer we create, we wanted to translate into the next one, but without bleeding into it. Take your time. Now we use a blue color, very bold and thick, and we apply it like this on our paper, which is still semi wet because we've sprayed water onto it and it's allowing us to create some fading and also add little bit of details onto the water. I'm using a civilian blue here. Follow my hand gestures. I'm also washing the brush, drying it and simply going into add highlights. It's removing color. Then I go in with more color again to add details. But the technique of washing your brush, drying it, and going in clear without any color on it simply removes color and adds highlights. Now, using a round paintbrush, we work more delicately on the mountain. I'm using an ultramarine still. I want to go into these details. I'm using my tissue to remove some excess moisture or excess color. It's always better to have a leeway to allow you to remove or addressed any application. Remember, in order to fade any lines you've added, wash your brush, dry it, and then go over any dark lines are outlines that you have created. If we're not satisfied with what we have painted, we take the paint off using a dry tissue. And like I said, we create the color again and redo the painting on that part. We must make sure that we clean the brush completely before doing this. Now I'm fading this part. We're going to keep repeating these techniques. Because wet on wet, as you can see from the energy of my hand that I'm working a bit faster. I'm also trying to control the moisture, but also keep the moisture not take it away completely. In order to achieve that style, that watercolors style. We're now adding the line between the mountain and the sea. I'm using a civilian blue hue. Create the application dressed like this. Use my motion as a guideline. We let it dry a little bit. Now, when the C part is dry, we're going to be using our sword brush and we add some linear white parts. Like this. Wash the brush, dry it, and then go in clear and remove some color just to add some highlights. This is a highlight technique and I'm also creating some curved lines in there to indicate the water. We constantly wash the brush and dry it and add these linear white parts. Exactly like this. Now when you're ready, we want to use the hairdryer at this point so that the layers we have added dry quickly. And then we would be ready to enter the next level. When you're using the hairdryer, you want to make sure that you're placing it at a medium distance from your page. Not too close, not too far, steadily at the beginning so that no watery color moves around. And then you start going across left to right in order to dry your page properly and flatten it. We use the hairdryer at this point to that all layers can dry. Well. We must always remove the extra water around the paper using a tissue because it will damage our work if it seeps back onto your page. Be patient while you're drying your page. We want it to completely flat and have no bubbles because of the amount of water we might have placed on different areas. So do take your time. Observe your image as you are drying and watch how the colors are drying. It will inform how you see your colors as you apply them. We learn a lot by knowing how our application will be drying. It tells us a lot about how much color to add or how little. Because sometimes maybe your own technique develops as you're taking these lessons. And you realize your style is to have it slightly lighter than the image you're working on. But in the drawing process, take a moment to take a look at your lines. Take a look at your image, and study where you want to keep the highlights. As there may be different pink colors in our watercolors set. We're going to try them out on a separate paper first to see which ones are good to be used for painting the flowers. Take your time. We have the rose color, which is this one. It has a bit of purple in it, so it can be used on some parts. We have a magenta. This one also has a bit of purple in it. It is Rose violet. There's another color named Oprah, which is this one. We're going to use opera, rose violet to paint the flowers. You also have a cadmium red hue. Observe your colors. Take a moment to see which ones create good combinations. We're going to work on the building, adding the details for it. So we add the necessary lines and the edges for it. Just like this. I'm using an olive green here. As we have the green plants. We also have a flower pot, which I will be adding. Watch the technique that I'm using with a sword brush. With the tip of, the tip of the sword brush. I'm going into add these little details in this motion just in order to achieve a line. But without it being completely connected, it can be with these little dotted, dotted dashed lines. Here's the place the flowers are located. On this point we have the green parts of the work. This is the building we start from the top and work on it like this. We determine the right places for the building and whatever was in front of it. So we won't get confused later on. We need to use the purple color, the one that is warm and dark. It may even look a bit dirty. We're going to combine it with violet. So that's dioxazine violet and moles. Whenever we felt like the color we're creating is not clean, we should instantly clean it. Remove it from the palette and then create it again. Our watercolor pens must also be clean. We do it like this one. We repeatedly, we remove a slight layer of paint off them using a clean brush. One more time, we're going to mix the colors, the warm and the cold purple we add water because we need a very watery color. I'm spraying the page. We want the surface we're working on to be wet. And then slightly adding colors on different parts of it. Just like this. This is my dioxazine, violet and moles. Make your applications light. Keep your water spray handy. I'm working vertically with a direction going downwards and upwards. I want this area to be very light. I'm using the length of my sword rush to apply faded color and then the tip to add more detail. We keep on working like this. We added the purple color on these parts. There are some shades of blue on the door as well, which we add. I wash my brush, dab any excess moisture from my page. Then I go in with the blue. That's a civilian blue hue. Just so we can define the door. Follow the brushstrokes of my paint application. Keep your clean tissue handy and your spray handy just in case you want to change or add more tonality between colors on the page. Take your time to look at the details. If you need to pause the video, go for it and take a look at where you're applying certain tones of the purple and the blue. Once you've applied these background colors and remove any excess moisture, we need to dry the surface so we're going to use the hairdryer once more. The hairdryer allows for a quick drying effect and again, observe your colors as you are drying them. Because layers that we're going to be creating are going to translate into each other, but we dry them in order for them not to bleed onto each other. Thus changing the colors, the beautiful mix, mixture of colors that we've created. If you're able to take images of your painting at different stages as you're building the layers. That would give you a very nice sense in the end of how it came together. And also a chance to message me or send me any of these samples. If you have any questions, I'm more than happy to give you some pointers or feedback or any guiding points. And of course, make use of your downloadable resources. They have all the information that you need for preparation, for readiness, also for practice. Because practicing will improve your watercolor painting and watercolor technique in general, the freedom with which you use this medium. Now we want to use our round paintbrush and a mixture of burnt umber and CPM and a bit of burnt sienna. Watch the mixture that I'm creating on the palette. Now with a water spray on this part right from beneath the light, we start adding some colors with a tapping movement of our brush. Follow the gesture of my hand and the direction with which I am applying the color. We clean the brush and fade these colors we just added. This is the constant repetitive technique we will be doing. Then we add some darker colors just like this in the same manner. The colors consist of burnt sienna and burnt umber. Usually the warmer colors are here. You also have a raw umber, burnt umber. I'm spraying a bit more water at this point, we can also see some small color stains. We're going to use some shadow green and add these light shadows that have been created on the wall here. And we fade it as much as we can right after we've added the color using a tissue very delicately. You can use your tissue to be very specific to remove exactly from specific spots. Just like this, we're going to add the dark parts as well. Keep an eye on your image altogether. Take a moment to look back and see where you're adding your dark parts, which parts you're going to leave highlighted. For this part of the work, we're going to use the brown combination we have just made with a bit more of burnt sienna. It also looks like there's a bit of alizarin crimson as the woods seems to have a shade of red in it. So I've mixed burnt umber and Indian red. We start adding the color in a very delicate manner, putting dots and lines in a row. This removes the pressure from creating a straight line all at once in one gesture. The hand and brush movements should be like this, dotted. And that's how we add the lines. Take your time. If you need to pause the video, do it. Then we can continue together. Wash your brush and clean it on your tissue if you need to. But make sure your wrist is comfortable. Whilst you're applying these details. If you need to remove any excess color, dab your brush onto your tissue. And we continue adding the detail and blending just like that. If you need to soften any lines that you've added, wash your brush, dry it, and go in with a clear brush to fade the, these lines. Another reason to make sure that your page is dry, and that's why we take our time patiently, is so that when you place your hand and your wrist onto your page, nothing is transferring across. Now, we're using the purple on some parts. We're going to add them on spots like this. Mixing those different tones and, or placing them next to each other gives a much richer result to your final image. If we feel like that the color we've created is not similar or even close to the color that we want. We can easily remove the paint using the dry tissue like this. That's why you want to keep a little bit of water on your brush and your page a little bit wet so you have some leeway to make some changes or add some different tonalities of colors. And also having a watery palate allows for your colors to spread a bit more. You have more of it to use without being disrupted. We're going to add the cold purple we had created earlier. Pay attention to the hand and brush movements here. We're still trying to remove the paint. We do not want as much as we can using the dry tissue. It also looks like this part is done enough. We add more dark layers on the parts that need to be darker. We go over these parts with the same technique. If you have too much color on your paint brush, dab it onto your tissue. If you want to go into fade a line or a color that you've just applied. Wash your brush, dry it and then go in over these lines. Softening the lines doesn't mean that it's taking away from the detail or the definition of certain elements in your image. No, it's simply softens the lines. Here. I'm using this brush to create very little detail. My brushes are only a little bit wet. I'm going in to add these lines. Make sure your wrist a stable, Take your time. We're going to use some orange at this point. It's almost like a light read. In order to apply this part. Follow the movement of my hand. Keep your tissue handy. Make sure it's clean as well. So you have extras on the side. We're going to add a bit of this color on top of the orange, the color we created while working on the wooden parts. We're now editing the parts that need to be edited with the same colors we have created and used up until this point. Just like this, follow the same technique that I'm doing using, use it as your guideline. Remember at any point in time you can use your tissue to dab the page and remove excess color. We're now adding the shadow under the awning. And then we continue editing this part again. By editing, I'm bringing it to the tonality that is most suitable at this, at this point. And using my tissue to either remove excess color from my brush or remove excess color from my page. We're going to take some of the burnt sienna and as we can see, some shades of red here as well. We can add a bit of alizarin as well and use this combination. It's a light red and an Indian red. We wash the brush, then we dry it and use it to blend the colors downwards on this part. The direction of our paint strokes, brush strokes add so much perspective to the image. It adds gravity or lifts certain details in the perspective and it brings a lot of depth to our art work. So do pay attention to the direction in which you're applying your paints. And when these areas are dry, we're going to add more details on them to make it even more beautiful. Now we're going to work on the upper side of the work. First, we need to clean our pilot as we want to use light green colors. Now, we're going to carefully clean every part of our palette so that no water remains. Because if we're not careful with it, the colors we're going to use later on would be dirty and then the work would be damaged. Or trying to achieve clarity of all the colors. We want them to speak for themselves while being blended nicely and remaining adjacent to other tones. We spray a little water on our palette like this are the colors could be mixed easier. We're going to use the color olive green and leaf green and the combination of shadow green. So we add them on our palette just like this. I'm using sap green, olive green, fern green next to each other. Now we spray some water on the upper side of the work. We move from the lightest color to the darkest one. From leaf green, we add water to your brush and with it on our colored color on the palette. And start adding color to the wet surface with a tapping movements of the brush. Just like this, very patiently. And exactly like this. A small tapping, short gesture with the brush. We're still using a leaf green here. Take your time. Make sure the pressure with which we're applying the color is medium to light. Using the round paintbrush, we use the tapping movement to add the color on these parts. Whenever we felt like the surface is not as wet as it should be, we spray more water. If you've sprayed too much water, use your clean napkin to remove or dab off any excess moisture. Continue to reapply the same technique. I'm using a sap green, leaf green. We spray water as much as it is needed to keep the surface we are working on wet so that we can add darker layers on the top of what we have added up until this point. Take your time, observe the tonalities of the greens that you're using. Where, which parts you want to add two which colors? We need to use all these colors to make the work beautiful and move from lighter colors to the darker ones. We work on every detail. Every part, right now we're adding the shadows underneath each flower and leaves we have painted. At this sample is full of details. We need to pay extra attention to these details not to leave anything behind. We add the darker colors quickly before the surface with the initial layer of color we added becomes so wet. With the same hand and brush movement. We are not painting each leaf or any, any specifically for just adding colors with a particular movement on wet surface. This is where we are using the wet on wet technique as we are adding the wet color on the wet surface with the tapping movement gestural way in a slightly gestural way to indicate leaves. I'm using a sap green here, it should be done like this. Follow the movement of my hand and color application using this brush. Notice how close my fingers are on the paintbrush to the top of the brush. The control with which I'm applying my color. If you need your surface to be more wet at any point in time, spray some water, keep your napkin handy. You can also use your napkin to remove excess color either from your brush or your page. Right now we take dense colors with our brush and we apply it without making it watery. We're still using the round paintbrush. I sprayed the page. We want this part up here to be blended more so we spray a bit of water on it. We continue adding the colored dress like this. The wet on wet technique may require a bit of speed in the application, but don't let that pressure you in any way. You could pause the video, practice on a separate sheet or on the same sample. But take your time. We're going to add the green on these parts as well here very lightly. We add more water and blend these areas as it needs to be faded on this part. We can also add some darker layers underneath and in-between these parts. It would make it more beautiful because it gives it more depth, more depth of perspective. Because it'll be more obvious what's in the foreground and what's a bit more in the background? Follow my lead. Now we're going to use the shadow green once more, taking it completely dense. And starting from this point, we will add a bit of darker spots on our work. Wonderful. I'm bringing out a bit more detail and giving a bit more depth to the green leaves. We wash and dry our paper carefully so that we can blend these parts a bit. Continued to work in this manner. Then at this point, we need to let the surface dry a bit. And then we will work on it again, adding the details little by little, layer by layer. Those beautiful details and even the light spots that we're leaving behind, they will come through in the end. That's why we need to dry all the layers so they simply translate into each other, but not bleed into each other, ruining the colors. We are mixing purple and green now. That's a dioxin. The deoxyuridine, purple, excuse my pronunciation. Dioxazine purple and a fern green. Take your time. We add the color we have created like this. And we use the same technique of drawing the line in a dashed motion. Make sure that your wrist is stable. Or using a small brush in order to achieve the detail and the control of your brush and the focus. Then you'll wash your brush, dry it and fade these lines. Once you wash your brush and dry it and add the shadow we see on this part. We repeat the process several times until we are satisfied with what we have painted. We also use a tissue to blend it at the end. Just like that. We mix the colors of green and purple. This time denser. Thicker than the last time. You want a higher percentage of the color in that, in that watery mix. So that's the dioxazine purple and fern green. We blend the edges like this. I'm going to add the detail, the lines, the definition, the shadow within the arch. And we blend it, wash your brush, dry it, and blend the lines you've added. We use the color indigo shading this layer on this part. So your brushes a bit wet and you use the indigo to add a bit of detail. But also to shade. I'm taking my time here as these are the details that are defining the image. They're giving each element their own, their own outline. We wash our brush and blend the ending part of what we have drawn. It just softens the lines that we have presented. They're not so stark that they seem like they don't belong in the image. You soften them without taking them away. We take some more thick color to apply. Note that as we move forward, the color we take and use becomes thicker and thicker. You want to pay attention to that a little bit. You don't want it to be overwhelming. Keep your tissue handy and go into apply your outline as I am doing here. We wash the brush and blend the tips and the edges like this. Always take a moment to pull your head back and take a look at what you're applying to see does it need to be more faded? Does it need more of the outline? Should I remove some color? Should I leave a bit of highlight here, are there. Now we're going to dry our surface using the hairdryer. Again, this part, you have to be a little bit patient. The hairdryer at a medium distance from your page going left and right. We need these pores to be really dry. There are a lot of texture details that are going to come in with the flowers. And then in the foreground as well at the bottom of the page, we want everything to be nice and dry and ready for the next stage. We wash our brush now, making it completely clean. We're going to use the color opera on the next part as we're adding it to the flowers. Now, remember that you can send me any questions you might have. You can send me an image of your final picture or result or painting, or even the different stages in the middle where you might have had any questions. And I'll get back to you with pointers, any feedback and guiding points. But don't let anything discourage you. Make use of all the brushes you have. Any brushes you have, even if your color palette is a bit different than the one that suggested in the downloadable resources. Dressed go for it. Because practice will bring you closer to a more confident, confident application of this, of this medium. Because with watercolor painting, there's that, there's that style. I sprayed my page a little bit here. So we either spray the surface completely or we add the color in the water in a very watery state. We spray water on the places on which we're going to add the flowers and watch how I, how I guide it, where the water is going to land with my hand stopping it from falling. On the rest of the page. We're going to add the flour so that the flowers come out good after we've worked on them. We add the opposite color on our palate and then start adding it on the paper in the form of small dots like this by tapping the brush on the paper. We're now adding the background for the flowers. We're going to add different tonalities of the pink in order to bring in the details. But that's in the next step. Right now, this is the background of the flowers were indicating where the flowers are gonna be sitting, which areas they are going to be taking up in order to also keep an eye out for where the highlights are going to be, which parts we want to leave white or lighter. Now I'm applying the color in a very watery form, so it's much lighter. We completely fill the parts of the flowers on them using the opera color for the background of the work. Now we add these colors by tapping movement of our brush irregularly and in the form of very small details. And we continue working just like this. If you need a moment to practice, just pause the video, bring an extra page next to you, and simply practice with your brush how you want to apply the flowers and that technique, the tapping technique, or even the shading technique or fading technique where you wash your brush, dry it, and then fade which you've applied. We keep on working on them using the tapping movement of our hand and brush. Just like this. That's why we only water sprayed half of the page so that where my wrist is landing over a juris to sitting to apply and paint the top part, it's completely dry and it doesn't affect the bottom part of your page. As we move on to applying bolder colors and bolder layers, now we're going to use the alizarin crimson, giving more definition and different tonalities of the same color gives so much richness to our image. It's also a depth of perspective. It becomes more clear what's in the foreground, what's in the background, what's closer, and what's further away in the composition. We're going to be very delicate, especially when we are working on the background and creating the basis of our work. Adding darker layers to it step by step. We'll continue working in this manner. Follow the gestures of my brushstrokes. Use them as your guideline practice on the side if you need to. We wash our brush and begin to blend the colors. We have to keep in mind that we need to be really fast doing this because it's a wet page and our brushes wet as well. Use your tissue as a way to remove color quickly from your page or to remove excess paint from your brush as well, where you dab your brush onto your napkin. Here I'm using an alizarin crimson hue. We're also going to use a bit of scarlet to add a shade of red to the flowers. Another option is a cadmium red hue. And we're going to use them too dark. And some parts of the flowers, the others are in Alizarin crimson hue, excuse my pronunciation is perfect at this point in time. We're still using the tapping movement of our hand and brush. The application of the colors and the direction in which you're applying also give so much perspective to the image. Giving the flowers the seemingly moving, moving, moving texture. We wash our brush again to fade the edges on the flowers like this. Take your time to observe your image as well. Pull your head back. Take a look at your page. Look at the parts that you want to keep highlighted or lighter that way you make sure you don't put any color on them. And also observe the darker parts which you are adding onto the lighter background. Just to make sure that you're not missing anything or maybe you're not putting too much in one certain area. We repeat the same process using the Alizarin, crimson and scarlet on the parts we have blended because we need to add denser color on them. This becomes very important when we're working on the areas that are located underneath something else in our work as we have more shadows to work on on these parts. The shadows gives so much realism in an image. Like they allow for each element to have their presence and to be rooted in the picture and it's in its composition. Use my hand gesture and brushstrokes. As your guide. We continue working like this. At this point, we're going to go back to our green leaves to work more on them. Finishing off the edges of the flowers here and dabbing any excess moisture with my tissue or my brush for any excess whew, I continue to fade the edges of the flowers. These parts should be blended a little bit more. Like I said, it gives movement to the flowers as if they're flying in the wind. Use water and tissue to create this blended technique or faded technique that we're looking for. We're now going to add leaves, darker ones using the shadow green. We start from this part and a darker layer right underneath the flowers. Using a fern green exactly like this, exactly like this. Take a few moments to look at your image and check that you are applying your color exactly where you want it to be. We add very small details from time-to-time so that it looks like leaves. We have another green color which is called sap green. We bring the sap green forward and add a little bit of it on some parts to create a cold feeling. We wash the brush and blend these two colors together exactly like this. We're going to take some more of the shadow green and apply it irregularly so we create the form of leaves. Now we need to add another flower on this part as well. Again, we wash and dry the brush and blend these areas. Trying to make sure that you're visually keeping in mind where your flowers are going so that if you're applying and painting the leaves as we are doing right now, that you don't add the greens to the parts where the flowers are gonna go with pink tones. Also to keep the highlights in check and keep them bright so you don't apply color there. There are parts that need to be blended even more. We're using the same color combination, keep working till we reach the part on which we will work on the flowers again. To add the darkness underneath the flowers, we're going to use the shadow green and apply it as it is completely thick on the sap green areas we have already worked on. Remember that you can pause at any point in time. Practice a little bit more on the side on a page. Keep your tissue handy in order to remove any excess color quickly. Because there is a certain speed that we're working at here. The more you practice, the better you get at it, the easier it comes to you. We wash and dry our brush quickly and start blending the colors we have just added. We apply our brush sometimes on the edges and sometimes in-between the parts to blend them. However, we let the dark part to remain as they are on some areas, you don't want the dark parts to kind of dirty the colors next to them. We add some small dots right underneath this flower. We're going to add shadow green and add this part that has a shape and a form just like this. Followed my application of the color. Use it as your guide. Practice, repeat. Keep repeating yourself and practicing in, until it becomes easier. It just gets, comes easier to you. Your application becomes more free. We're blending this part again. We're going to add a bit more of the sap green on this part to add the cold feeling or a cold tone. The feeling of the image, but a cold tone. We wash our brush and blend these parts. Then again, we use more sap green and start adding the thick color right from underneath this flower. Wonderful. We're trying to add the details in order to really give some richness and definition to the volume of the image of the flowers or the flower bushes. We can even use indigo to create the kind of darkness we are looking for here. We wash our brush one more time and start blending these parts. These techniques are repetitive, yes, but each time that we repeat them, we get better. We know more about how much of the color to add, how little, how much to blend, what to leave as a certain detail, what to go over the edges and fade out. We're still using the tapping movements with our hands and brushes. We use the tapping movement to add the color and then we wash the brush and go back into the image and blend what we've just applied. These lights and shadows, the dark and light parts and our work at the beauty and the perspective of our work. We observe and see a lot of sap green on this area, 8. Summer Blossom Walkway: Complete your artwork: To make this next color and apply it on our completely dry surface. So that's burnt sienna, burnt umber, and a bit of CPM. The surface must be completely dry, but our color mixture should have some water in it and we need to add more of the red shade as well in that color mixture. Take your time if you need to pause the video and or clean your palette to create your application. Do so. Now, using my sword brush. I'm applying these deep detail over here. I'm using the tip of my sword brush. I'm filling in the details. My color is a little bit of watery. I'm creating this line using the technique we talked about, which is not a direct, complete straight line in one stroke. My color is watery. We need to add a bit more purple on these parts just like this. We wash the brush, dry it, and then blend these parts that we are adding right now. Take your time, make sure that your wrist is steady. You are comfortable in the way you are holding your brush and applying your color. Then we clear the edges like that. Wanna give some definition as we're working on this part. Now using purple, we keep on working just like this. The mixture of these brown and purple tonalities, they give such, such depth. And keep an eye out on the direction with which you're applying certain colors. Is it upwards? Is it on a diagonal? Is it downwards? Because it matters because of the way that the water dries on that page, the way that you're blending technique takes place. And it dries, it will show through in the end. We're now adding color on this part of the wall with a watery purple we have created. Just to add some shading to it. We're trying to bring forward as many details as possible. That doesn't mean that the details have to be dark or very contrasty. They can be very subtle, they can be very light. It can be faded. But the point is to bring that detail forward. It's how to apply the line and then go in and fade it. That doesn't mean to removing it, it just means fading it. Now using a round paintbrush, we're going to add the mixture of sepia and burnt umber and keep on working on the wall, that's CPR and raw umber. Try to observe the speed with which I'm applying the pressure with which I'm applying the color. Practice on the side on a paper with different pressures just to see what's, what comes more naturally to you, what's easier. Maybe you need to add more pressure in order to get more color or more definition or more focus. These are all little details in your technique that will develop. The more you practice. We completely wash our brush now and start working on the branches using the leaf green. But first we spray some water on the surface we want to work on. And now I go in with the olive green and we start repeating the same hand and brush movements we used on the other side. Tapping, tapping the brush and adding these parts. And adding dots on the paper. Just like this, follow my brush gestures and the way that I'm applying my application, use my technique as your guide. We do not need to use that much of the leaf green and we can use more of the olive green which we are going to add in the same manner. We add the colors just like this. We wash our brush, dry it, and then start to fade and blend the edges are tips and also the parts that are located underneath some other elements. Giving a darker tone to anything underneath other elements is to indicate some shadow onto them and some layering. We continue working just like this. Then we start adding the darker colors and we're going to begin with shadow green, and add the color in the form of dots on the paper and blend them within the lighter colors. If you need to pause the video and rewind and re-watch this part, do it. We can see that on some parts we need to use sap green. Until the sap green we have added sets dry. We blend these areas around it. We add the colors as if we're adding small dots irregularly on the paper. But keep in mind that you're adding them within a certain shape, obviously of the branch. You're adding them randomly within that space. We're going to add sap green on these parts and the thick form and then we blended on the other parts. Again, we're going to fade these parts more and blend the colors like this. And then we add a bit of the leaf green. Again. Take your time and add more moisture to your brush if you need to. If there's any excess color on the tape, make sure to the habit or remove it so that it doesn't bleed into your image by mistake. Your head back. Take a look at your image. Take a look at the, at the, at every, every stroke you're creating and see if it's all looking the way you want it to look. We're going to use shadow green and indigo here and apply it like this. That's a fern green and indigo. Continue your application exactly like I'm doing it. Blend, wash your brush, dry it and blend. You want to work towards a certain texture. After we add these dark parts, we can add more color to them and create more texture. We can also go in and Bolden the branches. Using these darker colors. The more you practice, the easier it will come to you. Wipe down the sides of your page if there's any excess color to paint this flower pot. Right here on the right at the bottom, we're going to use the burnt sienna. And we begin with a watery color and move towards the thicker version of it. You can also mix in a burnt umber. It should be done like this. Keep the color watery. And then we blend these parts. We take a thicker color mixture and with a shade of red and apply it on the work. We're going to mix it with a little Alizarin as well and paint the flower pot like this with the combination of burnt sienna and Alizarin. So that's burnt umber and alizarin crimson hue. Look at the details that I'm adding. Some lines are with more concentrated color and then on top of the background. And then I add more water to my brush to blend in the lines that I have created. This is a wet on wet techniques so you can spray your page or add more water to your color mixture or your brush. We keep on adding the dots with a decrease and the increase of our hand pressure. So if you want your your leaves to show darker, apply a bit more pressure. If you want them to be a bit lighter, less pressure. That's if you're using the same color. Of course, you can use a darker color to indicate a darker tone. We're talking within the same color. How to, how to apply these different dots and gestures with different pressures to achieve a background. Depth of perspective. Follow the same movement and gestures of my hand and paint brush. The more we practice, the better it gets, the easier it gets to apply all these techniques together. This application of the leaves in this dotted movement gives so much texture. That's the whole purpose of it. It's the texture and the applying different pressure with different colors simply brings so much richness to the, to the image. We mix olive green and leaf green here and we add a color combination and thick format on the paper. You can also make sap green and olive green. Remember to keep observing your image, the details, the highlights, just to make sure you haven't missed anything. And as you're working on your image and spraying water and adding colors, always wipe down the sides of your image on top of the tape, making sure there isn't any excess color that could bleed into your image, ruining these beautiful details. But continue observing your picture. Noticing what's, what's needed, what might have crossed your eye and missed out. As we spray the water like this, especially on the parts we want completely faded. Reapply thick colors on the paper and keep on working. We're going to take some thick shadow green, mix it with olive green and then apply the color combination in the form of dots on the paper exactly like this. Keep going. Use the tip of the brush, the sides a little bit, the different pressures in order to achieve that texture. Now we make some shadow green with indigo. We can even add a little bit of brown to it and apply it on the parts which are a bit darker. That's fern green and indigo. Pause the video if you need to create this mixture or create more of the mixture. Take your time. Apply the dots comfortably. Take a quick moment to pull your head back. Look at your image. Where do you want to add those dark, dark dark parts? Keep an eye out for the highlights. Which parts do you want to leave highlighted and bright with no color or very little color? We add the small dots irregularly and then we wash the brush and dry it to blend and fade the lighter colors with a tapping movement of our hand brush. So even the fading of the application of color we've just created can, can be done with the tapping technique. We should make sure that we just tap the brush on the paper and not drag the color. Takes a little bit of practice, but it's such a beautiful technique to achieve. It gives you so much texture and such, such a nice translation between a background color and a foreground color. In this part, we're working on the flower with the opera color. Right now. We're actually determining where it is located and add a shadow with this color not to lose and forget it later on. While we are adding the darker layers of the color. We're using the permanent rose to indicate where the flowers are going to be sitting. Then based on this background that we're creating for the flowers, we then build more layers on top to give, to give the image of the flowers more volume or presence and also to allocate where they're going on the page so that we don't add color to it by mistake. This should be done just like this. Taps of the color. There's also flower here in between. And one more up there. We know if choose a light color and add the background around the flowers as we need a very light background for these parts. Here I'm using a sap green. I'm trying to create a background around these flowers just a little bit. Then we take some of the shadow green, a bit of olive green, and after spraying some water in this way on the paper, to give us a faded look, we apply them guiding the water spray here in order to have it only on this part and achieve the texture that I want. Guiding my hair, my spray here, my water spray. And I go into apply more details. The movement and direction of the brush strokes is different while I'm going up and while I'm painting downwards. All these motions, the direction of your brush strokes be at dots are upwards or horizontally or downwards. They completely dictate to the viewer where to look. And it gives a depth to the objects that you are that you are painting. Now we take some shadow green and keep on working like this. We can even rotate the paper a bit to be able to parts the way we want. We can do it just like this as well. Because sometimes the movement of our hand might not be comfortable to achieve a certain direction of a brushstrokes so you could turn your cardboard or wooden board with your page. Obviously. We should not be afraid to add the darker parts. Just add them just like this. You can use less pressure if you're a bit worried. Until your confidence grows and grows and you start applying the dark parts exactly where you want them. Continue working in this manner. Repetition does improve technique a lot. Give definition to all the details around the flowers. Take your time. We're going to use shadow green here. We can also add a bit of brown to it if we want to, the darker parts because there are some brown that are reflecting off of other parts. That could be a fern green and a CPM mixture. We're going to use the thick color and apply it just like this. Make sure that you continuously look at your image. You're looking at the perspective of the image where the mountain is, the water, the foreground, the shadows that we've created underneath the bushes are on the leaves. So to keep an eye on these details, it's very, very important. Now we mix a bit of this dark color with shadow, green, and indigo. Apply it with a tapping movement, just like I'm doing here. I'm tapping with the brush and at the same time fading and blending them on these parts. I'm using the water spray here. I continue working. Keep an eye on the pressure with which you are applying. The pressure you are applying on the brush. We wash and then dry the brush to be able to blend and feed these parts. So after adding a dark part or an outline or color here and there, you want to go back in and feed it. And we keep on working just like that. Don't forget to use your downloadable resources. All the information on the content of this lesson is available there for you. It's a good guide and a good marker. Like to remind you of all the bits because especially if this is the beginning or in the beginning stages, it's always good to go over all the details. Make sure that also you have enough colors mixed on your palate. Your brushes are handy, your water is clean, your napkins, you have clean set of them. We continue working on fading the parts which we are adding. We wash the brush completely. And now we take some opera and work on the flowers. We added the background for. As these flowers are all faded, we can add them like this and we do not need to be very specific. So remember how we've, we've marked where these flowers are going to be. We've left, we've left those spaces for them and we're simply applying the color to add definition on a gesture of the flower as opposed to it being extremely detailed. Now we're adding the Alizarin. We work on the flowers and show their inner parts. We also add some shadows underneath them. That's Alizarin crimson hue. Again, if you have an alternate color that is more suitable for you or more readily available, just go ahead and use it. You continue working in the same manner where you would wash your brush, dry it, and go into maybe fade some edges. If, if there is any detail that's a bit too to define or too much you. You can also make use of your napkin here, of course, to remove some color, but be careful at this stage because it's a smaller detail right? Now we add some darker layers on the flower pot. We wash the brush to be able to blend these parts completely. Pull your head back, take a look, take a look at what you're working on because sometimes we can find ourselves so focused on one element of the image that it kinda like we forget to sort of step back or move our head back to look, Oh, okay, maybe there's too much shading here or too much darkness. So allow yourself the space to be able to look at what you've created. And it just brings out your ability to see where you want to add some details and it just becomes more and more beautiful. Now blending these darker green parts into the lighter green parts because we want to create harmony between them. Write in this way like you connect them to each other. They will look like they belong within each other on the image. Hello, The gestures of my hand, the way that I'm applying this technique of dotted, dotted color. And it's also a watery and it's not not very dark. I'm dabbing it with my tissue just in case there's too much moisture or too much color. The more you practice, the better it will get, the easier it'll come to you. And the more we do the blending and the fading between the darker colors in the lighter colors, the better it gets. Now where I'm using the hairdryer, we dry the surface of our work at an angle slowly. And then you can speed up the motion of your hairdryer left and right. But once you make sure that your primary your primary layer of the colors you've just applied, dry it up. Take your time. The drying process can be a little bit. It takes a bit of time. So be patient. Because the better it's dried up, the more beautiful the translation of these colors become for every next layer. If there's a top layer, if not, then you're simply bringing out more definition and depth to those details like the background, the different greens we've put here, and the flowers and the pink areas, right? I also really love observing the way that the colors the way that the colors dry as I'm using the hairdryer, I find myself like, really focused on how it's drying. Now, we mix the cold and warm purple with a bit of burnt umber to create the color, we need to add the shadow on the following part and we make it completely watery. It's a purple lake and a raw umber. I directed where my water because we want to leave some parts of the paper in-between untouched and white, okay? This is how we add the shading layers of this part. Again, I'm applying a purple lake and a raw umber here. I'm using a sword brush. My color is watery. Follow the way that I'm applying the color here. I'm using the tip of the brush and also the thin length of it. It simply going in and adding those details. But keep in mind you're leaving some parts white. We're working on the shadows here that are caused by the buildings on the left. We create the same mix of color, this time thicker and we add darker layers on these parts, on the edges like this. You want to keep your napkin handy and wipe down anything on the sides on the tape because you don't want by mistake for it to bleed into your image. I'm maybe affect the year, the details you've created. Wash your brush, dry it. Now I'm going to be mixing a yellow ocher and a raw umber. And I'm applying it right at the bottom of the paint and I sprayed my page just a little bit, just to have that shadow on that little bit of background color. Now we're going to add the details of the pavement here we take some of the blue color and create the form. I'm still applying the yellow ocher on the raw umber, but with a bit of blue. Now, just adding little details, little gestures. I'm keeping my brush wet, of course, and my colors are watery. Be careful as you're painting the little parts around the potter around the flower because we don't want to ruin these details. If you need to spray more water, do it but direct it with your hands so that it doesn't go on to the flower or any parts that you don't want it to. Use. The purple color combination we created earlier. And the shadow over here to go over it, right above the flower prompt. Now with the hairdryer, you could dry. You could draw the part we just worked on just to just to make sure that it's nicely sat and not and to avoid the color bleeding away from the specified shadow that we want. Take your time, be patient to use this time to just look at your image. Maybe you've missed a shadow here and there. Maybe you want to add a little bit more of that blue really like tone on the pavement. Or do what I do and just enjoy watching the colors dry and the effect that they create as they're drying. Now, to the next step, the brown color combination that we have created, we add some burnt sienna. And after this part dries a bit. We're going to paint the chair over here. So again, that's the brown color combination that we have. We're adding a burnt sienna to it. Then we're going in with a smaller brush. To add the detail. This part is completely dry and now taking the thick color, we start working on the chair. Yet again, we're going to be very specific and add all the chairs details. We just paint the shape and the form of it, like the outline of it to indicate that it's there. Make sure that you read your wrist is relaxed and stable as well. Going in and adding the details. Use the pressure that is best for you because it's not necessary that once we are applying details that the pressure has to be harder because it's an alkaline know, it's a comfort. It's a question of comfort and what's easier for you. We continue adding the chairs like this. We add more dark color to show the shape and the form better. We wash the brush and blend these areas. That's the next step. We're moving the brush and adding the small lines irregularly to create that kind of watercolor effect that we want or that we're looking for. Again, blending the edges are feeding the edge of an outline that we've created. It simply gives more harmony and to the element that we are painting, but it doesn't look like it's standing out. It becomes very much part of the image. We mix the warm and cold purple now with a bit of burnt umber. To add the shadow on this part. I'm going to add the details. That's di dioxide, dioxazine, purple and burnt umber, excuse my pronunciation. So that's dioxide dine and burnt umber. And next we're going to blend these parts gently. But first we want to add the details. So if you need to wash your brush, dry it, then go in and blend a little bit more. Keep looking at your image as you're working on it. It's just helpful to keep, to keep in perspective how we've applied all the details. Maybe something needs to be lighter or darker. And before these parts dry up, we have a chance to go in and brightening something. A small flower pot over here. We're going to add it like this. We're going to take some shadow green and add details on this part in the same manner we did to the others. There are a lot of details on this work and we have to be careful and patient to add them all one-by-one. And in a way that doesn't that allows each element to stand out, not to be blended into each other. And at the same time we fade the edges and allow these parts to all belong to the image together and create harmony. It's a fern green that I'm using over here. If there are any parts of your image that you feel are a bit too wet, just go in and dry them. Pause the video. Here, I'm adding cadmium red and alizarin crimson hue. We use the mixture of scarlet and Alizarin to work more on the flowers on top, adding darker layers carefully because you don't want to go too dark. You still want it. That's, you still want the lightness of the flowers to show. We're now working on more of the details, adding a bit of darker layers carefully. Be at the leaves or the flowers. Here I'm using a fern green. I'm observing my image as I'm working on it. We want to pull our head back as we're working on it and simply take a look at what's, what's next. What are the light parts that we maybe want to add or create highlights? Now remember as you're adding color, you can use a dry tissue to take off paint like this. We wash the brush and start blending the darker layers we have just added. It's a continuous and repetitive motion of these techniques. They help us to control the details and to control the watery colors that we have added to the page. I'm adding more shadows here. Now. We're going to work on a technique called white gouache. We're going to use the white gouache and add small white dots on some parts. We have kept the whiteness of the paper on some parts, but we're adding more white color or pulling color off. With our gouache. This would make the work even more beautiful because we're accentuating or highlighting some parts of the different details. As we're not able to always keep the white parts completely white. The white gouache helps us achieve that. Well, the technique that I'm doing, I'm going in, in this dotted motion technique with my brush. That's a round brush. I'm going into add the white dots. That's white dots with the white gouache. Just like the darker parts that highlight and give definition and give outlines. The white parts accentuate just as much. They bring so much depth and beauty and perspective to these elements that we worked so long on. These delicate small white dots make the work look detailed. We can also add them on to the darker parts to accentuate the details within the dark, the dark outlines and the dark bits. And we add the white quash very carefully. Take your time. Again. We're continuing to observe the work as we're adding these elements on the flower pots, it looks like a small white flowers which is beautiful. Now, the more you observe your image or your sample, the more you'll notice the bits that you want to add more highlights to. You can spray some water whenever you felt that is needed. In this way, the texture of the ground and the walls and also the lights and shadows are created. Here I'm adding a purple lake and a raw umber detail. Keep an eye out on any color on the side. Tap it down, make sure your tape is completely clear of any excess color. And we continue working in this manner. We're keeping our napkins handy. I'm adding more, more shadow details. Spring some water in order to loosen the color and allow for my brushstroke to become more free and bring through the color in that, in that stroke. Wiping down the tape on the side if it has any excess color in order to avoid any of our colors bleeding on an unwanted space. Using the tip of my brush here. In order to add more outline. Remember, use your napkin to remove any excess color. It doesn't have to be with a lot of pressure, but it might help. Now we're going to use the rows on this bar. And I had a red shade to it. That's rose madder hue. And I'm using a small round brush. We wash the brush. And also what this part at a bit of water to it with our brush and keep on working on this, adding its lights and shadows. Instead of spraying that little section over there, we added water with our brush. Now we mix the colors of burnt umber and burnt sienna and create a kind of brownish red color. We add a bit of alizarin as well and start working like this. So that's raw, umber, burnt sienna and alizarin crimson hue. You wash the brush, dry it, and then blend these dark edges. We're going to use our brown combination and start adding these details with a watery color. We take from our palette. A watery color allows you some changes. It gets some leeway in terms of removing excess color, especially when we're going in and adding details just like that. It should be done like this just very delicately. Make sure your wrist is comfortable, relaxed. You're able to go in and draw in those details comfortably and confidently. We dry the brush and fade this part completely. Continue working in this manner. The more you practice, the easier it will come to you. All these steps will simply become like a natural response and you continue working. We can see something here. We're going to add this detail as well. We also need to blend the colors we add. The brush is completely dry and we use it to blend the colors right after we add them because when we added the colors, we added them wet. Correct. So once you dry your brush, it allows you to take that color that you've just added and drag it without any excess liquid. That's what we're doing. Take a look at your image one last time and see if there are any details you would like to add or maybe something that has been missed out and maybe some shading here and there. If you prefer more green on the top of the image, you'd add them in. But thank you so much for joining me for today's lesson and hopefully see you again next time. 9. Ballerina Portrait Watercolor: The Foundations: Hello everybody. Welcome back to another watercolor lesson. Today we're going to paint a figure, a ballerina figure. We are going to cut the gum tape and the size of our arch paper. Measure the width and the length of your paper, which we're going to set down on a board, a wooden or cardboard. Cut, your strips of gum tape a little bit longer than the width and the length of your page. Bring a napkin with a little bit of water on it. We're going to apply some water to the shiny part of the gum tape and then press it down covering a part of the paper and then the rest onto the cardboard or wooden board. We want to apply water with our wet napkin onto the shiny sides of our gum tape and then paste them down onto the arch paper all around on every side. Once you have all strips of the gum tape applied to all sides of your paper. Then you use a dry napkin to press down on all sides and go all around in order to set it in place. But also remove any excess droplets of water on, either on the board or the tape. And to secure the image in place, make sure you're applying your gum tape as flat as possible. And that your paper is as flat as possible on the cardboard or wooden board. The next step after applying your gum tape would be to apply a seller tape or clear tape on top of the gum tape. So as mentioned earlier, use your tissue just like this to go over your gum tape, removing any excess water, making sure there aren't any droplets anywhere in order to seal the page in place and secure it as we do our watercolor painting. Then you take your seller tape, cut strips that would fit all around. Then apply them a few millimeters onto the page, the white page, and then flattened the rest of it on top of the gum tape. Do this all around on all sides. And then again with the help of a dry napkin or tissue, we rub the tapes and fix the paper down. This process is really important, not only for the edges of the image to be nice and clean and beautiful, but also to assist in the process of wetting the page with water and drying it. So take your time, make sure this process is done very well. In order not to lose all your effort in the painting that we will be creating. We're going to start with the blue tones here, including ultramarine, cobalt blue, and maybe also some purple and some white. So let's prepare our palette. Make sure your palate is nice and dry before applying your different mixtures. This will also allow for the mixture of any light colors to be done properly so that they're not dirty by any of the dark colors. Always have your palette nice and clean. Now I'm making a mixture of blue here. Diluting it. Diluting the combination, I mean, the diluting of these colors and these color combinations is simply to be able to create a nice background, primarily a light, nice background. The colors are purple and white for the background. This combination is blue, white, and purple, which we add a little more purple to it as we move along on the image. Now, the third combination is cobalt blue and ultramarine. First we're going to color the background. As the whole work is light. We fade the trace of this drawing a little bit. So with your eraser, we clean the surface and lessen the trace of the pencil. You don't have to go really hard on the image, but just enough to have a, an outline and a guide for us to be able to follow. But to lessen the intensity of the lines. Well, now with a water spray, I'm spraying the background so that I'm covering the figure herself in order not to get water on the figure and be able to focus on the background without affecting the image of the figure. We start to apply the light blue combination on the background. And then some light purple, which we've made. Now makes sure these colors are watery. With a tip of my brush, I'm creating a little bit of an outline on the back of the figure. That way, I'm keeping the background separate from her. Plus that background is wet while the figure is not. So that helps a lot. Again, a little light blue combination allow for the whitespaces to remain as well if there's some spaces you'd like to keep white. Now is the time to start keeping an eye on that. We tried to carefully color around the figure, her head and her hair and her face. Precise. Use the tip of your sword, brush and outline the chin as I'm doing here. The shoulder. Just like this. I'm using a deeper blue here, more contrast the blue to truly show the difference like the separation between the foreground, which will be the ballerina figure, and then the background which I'm attempting to have as light. Then we apply the purple as you can see on this part and fade the colors with a soft brush. This will allow for this technique to take place a bit quicker. Your soaked brush will allow for the color to spread for you to tone it. And this technique is wet on wet technique. Keep going over the tones of the background. Should you want to add more blue in different places, or maybe fade the colors a little bit more. You can spray water by making it more watery and also make use of your napkin should you want to remove excess color. The direction in which you're applying your brushstrokes will also elevate the figure. If the background is downwards, it will change the perspective. So try to fade everything upward on the top part of the image, while on the bottom it's downwards. We want to darken a little bit on this part here at the bottom, which will indicate a little bit of shadow. Maybe. We want to be careful not to spread the color and unwanted parts. So make use of your napkin in order to dab off some excess color so it doesn't bleed into the figure. Have a stack of clean napkins on the side, handy and ready for you to use. As you can see with a dry napkin, a clean dry napkin were able to remove the color entirely away from the line which we have indicated here of the figure. We derive the extra color around the paper to before using a dryer to prevent it from spreading to the other parts of the work and spoiling it because using a hairdryer or has a risk of using a hairdryer on a very wet page has a risk of moving the moisture around with the color in it. So we could use a napkin to simply reduce the amount of water or color in certain aspects. If you don't want to dab your napkin into it, you could simply place the napkin slightly over the moisture for it to absorb it without changing the tone and the the mixture of the background you've created. Now we dry the page with while holding your hairdryer still in the beginning, hoping for the the colors to dry in place, then you start moving. You have a hairdryer from left to right or more with the more motion in order to dry the page fully. Let's try to be patient while drying the background and the image at all stages because the drawing process is very important, it will allow for the next layers to be able to feed into this background layer without bleeding into it. So it's very important to do this process patiently. This works specifically has a lot of details, so we need to do it step-by-step because we want the final result to be beautiful and detailed. Remember that the palate, a color palette we are using here is downloadable. Make sure you make use of the downloadable sources we have provided for you with the guidelines and the and the materials that we are making use of and the colors are making use of. And of course, if you have materials and colors that are similar, that that's still good if it all works. Any materials that are available to your colors that are available to you. Go ahead and use them. Don't let these little differences discourage you from practicing because watercolor requires practice. And also tones of color can be personal choice or preference. If you want, e.g. the background to be orange and yellow as opposed to the blue and the purple which we have created here. Now, it's important to let the page completely dry and flattened. Because it does it does on flattened because of the water and it being soaked with water. The process of drying it helps flatten the page again in order to apply those details correctly and combine more tones. Next, we are going to use a combination of white and ultramarine blue. Wash your brush and make the mixture. Or you can use a mixture that you already have on your palette to paint this part with a really diluted color. Because it's also a blue and the background is blue. We want to differentiate the tonality here. We wash and dry our brush to put our blue light tones, unnecessary parts. We're going to use a dark blue color again and the wet part with a high-speed. Just like that. We want to draw them in thicker lines because we want to achieve that outline. Take your time, make use of your napkin if you want to remove some excess color from your brush or excess moisture from your paper. As you can see, we're putting thick color on this wet part. And at the end of these lines are applying purple. Follow my hand movement and the lightness of pressure using the tip of the sword brush. Here we are applying these details into the dress of the ballerina. Now we cover this heart-shaped part by hand so that it doesn't get wet and spray water. On the next part, as I just did using purple. There's a little purple with a warm hue here. So I make a quick combination color combination of purple with a little bit of blue. Keep in mind this is a detailed image. So if it doesn't turn out the way you had expected or wanted from the first time. Let it discourage you. Keep practicing and go back and do it again. Practice does make perfect because of the application of colors with the brush, with a sword brush using different parts of the brush as well. The application of pressure and the amount of color hue, and the amount of moisture as well. All of these are elements that keep increasing or decreasing and they are changing as we are working on the piece. The more you practice, the easier it'll come to you, and the more you will develop your own technique in watercolor. Now we're going to use a warm, warm purple here for this part of the dress. And it will continue as a fading technique here in order to achieve more and more details using both blue and purple. We fade them completely in order to form her skirt. And then we go back to use the purple. At any point in time, if you need to pause the video, mix more of your colors. Or practice a little bit more of some brushstrokes on the side. Go ahead, pause the video. Practice, get what you need, and then press play again, and let's continue together. In this phase here, we're using some violet, which is a cool hue in this corner. Now, applying a dark outline, make use of your downloadable sources. There's a lot of information available there in terms of the color palette, the materials needed, the brushes and their use, the techniques and practice on the side on, on paper with watercolor, because practicing will help a lot in our confidence with the medium. Notice how I'm using the brush. Notice the movement of my hand, how close my fingers are to the bristles of the brush. The details that I'm adding continued to use the same colors to build up this ballerinas skirt. They do need some definition because of all the details of the dress and the creases in them. So make sure you have your cup of water on the side in order to add moisture. And your colors ready? Again, pause at any point in time in order to mix more color or Grab or material, or simply take a break, come back because the freedom in your hand gesture and the brushstrokes do come across and the image. As we work more on the dress, we're combining the blue toning with the purple. And both were keeping them at a, on a light tone. These are not very dark, dark gestures like brushstrokes. And continue to use the same technique of washing your brush, drying it on your, on your napkin, and then fading the colors you have just applied downwards. The direction in which color is applied is very important. It allows for the perspective of the image to be more natural and more uplifting of the figure there. Because if the dresses downwards, it's responding to gravity and making those brush strokes downwards helps, helps the figure and the perspective be more natural and more present. Whilst viewing it. We're using thick and dark purple here. For the other parts, we have a combination of both violet, which is warm and purple which is cool. As we're adding details like this and little lines, little quick lines next to each other. We continue using both warm and cool purples. Randomly. Don't forget to wash and dry your brush and fade the colors in together and feed them downwards or according to the direction of the cloth of the illustrated image. Now we're using indigo here. Follow, follow the motion of my hand. The speed at which I'm applying the color, the lightness of my wrist, and the use of the tip of the brush. Here. We fade it's lower part and then leave it. Next, I'm going to be using the ultramarine and do a diagonal outline here, as you can see for this part. That is not a full-on straight line, continuous line. It's modal, little gestures within the line, little dashes creating these details. Take your time. Make sure your napkin is handy. Now I'm using an ultramarine to continue that detail. We alternate between these color combinations that we have created for us in order to build more and more details one layer after the next. We're going to be using an ultramarine. And this part as well. We use the same color we see in our model. Then we fade it. We're continuously repeating the same technique of washing the brush, drying it, and then fading the color we've just applied. Notice that the different directions of my brushstrokes, depending on the subject that I am painting. If there's a piece of the cloth that's going more horizontally or diagonally, whilst others are more vertical. All of these brushstroke directions matter and the motion of the dress over the perspective. Once you've applied those details just to outline a big part of the model and her dress. The next step is going to be too dry the image, because we've played, we've placed several tones here. You have an ultramarine, different purples and the green. Use your hairdryer and not too close to the page. Not in order not to risk moving any wet colors, but not too far either. Go left to right, left to right, keeping the colors in place. And be patient in this process. In order to fully dry, fully dry, the image needs to be dry in order for us to move to the next stage. Again, the idea is to have the layers translate into each other but not bleed into each other. So this drying process is very, very important. Before going on to the details of the next part, it's better to finish the base of this painting and then go through the other details. We're going to change the brush and use a round-headed brush. Makes sure to wash and clean your brush. Before we move on to the next stage. Now we're going to use a yellow ocher for this part. Look good. The model image or the reference image as you're working on your current image. Now with a medium round brush, we're going in with the ocher yellow. This color it can easily be dirty by other darker colors, which is why it's very important to have the image dry, to have your brush washed and clean and ready for use. We don't want to spray water on this part. We want to make it wet, Bye soaked brush. So put the water on the tip of your brush and then drag the color downwards in order to shade that part. Because we want to focus only on this spot. So spraying it with water might risk wedding more parts than necessary and thus ruining the other layers or neighboring layers. Now we're adding a purple tone. And they are the same tones as the ones you have on your palette right now. And they are diluted purple combinations for shading. Every time we check if we need to wash and dry our brush to fade this part. It helps with the way that the colors are sitting and being diluted or more concentrated. Now I'm using a bit of indigo here, considering the shade, we do this part like this. We can also use some ultramarine. Right now this part is wet. Wash and dry. Our brush to go back into the color we have just applied and fade it. Beta upwards. Just like that. The direction we're fading the color in indicates the motion of the sleeve that we're working on. The darker parts imply the lower bids or a shadow. Then we fade it again. And we keep fading and using this technique of washing your brush, drying it, or dabbing it onto your clean napkin. And then going into the color we've just applied and fading it. This is enough detailing for the shoulder for now it's better to paint her sleeves. And sometimes remember that as you're working and wetting your brush and adding water to specific parts. If you feel there's too much water, you can use your napkin to directly dab onto your page, onto the excess color and excess water in order to reduce it or remove some of it. And control the way that your tones are coming across. The next color we're going to be using is ultramarine. Once I'm done with this part. Here I went back to apply a bit of the yellow ocher. Again, controlling where it's sitting. We're going to spray just a little bit of water on here. It's totally up to you to decide when you need to spray water or when you need to add it with a brush or with your brush. That's a, that's a personal choice because of the amount of details there. So depending on how comfortable or confident you are with your application, both techniques work just as well. To be honest. Here we're adding some light and shadows. I'm gonna be using some purple for the creases that are completely purple. Just like that, and we fade them upwards. Now, for the next crease, we're going to use a combination of blue and white, which gives us a pastel color. We wash and dry your brush for fading it upwards. We continue building the color by making it thicker as well. We're not going to touch this part until the next step. Now we start this part by making it wet with a soft brush. Just like that. I'm gonna be using a white and a violet, a combination of white and violet for making a pastel light violet color, which is a cool hue. We combine the violet and the white completely on our palate. And we start from this side. Spray water if you feel like the surface is dry, again, you can apply the water with your brush if that's more comfortable or more controlled for you. Next, we're gonna be adding an ultramarine for this top part. And then we fade it in here. Look at the speed at which I am applying. The brushstrokes are mixing them together. Mixing both tones together, follow, follow my guide. Copy, copy the motion of my hand and the way I'm holding the brush as well for reference. Don't forget the little creases in the details of the dress here. Make sure you're looking at the details of the sketch that's already there. We're adding a little light blue here. We must be careful not to paint her hand. Creating that line, control the moisture. Dab your brush onto your napkin as recreating that contrasting line, that line that separates the hand of the ballerina figure from her dress. Now we're going to add more details and other parts. We're going to fade some creases. Now we use pastel and light blue dress like this. If you need a moment, pause the video. Make more mixture of your color combinations on the side, wash your brush, get clean napkins. Well, we're almost done with the basis of her dress in this phase. Move your head back, take a look at the details you've created. Check your image. Take a look at the composition. Did you miss any details? Are there any details you would like to keep an eye on or highlights you'd like to avoid putting any color onto. Now we dry the work. Before we go on to the next step. You need to be a little bit patient here. Make sure you're aiming your hairdryer at the image but not too close. In order to avoid any spillage or movement of wet colors. There's a lot of toning between different colors here and color combination so you don't want to lose your effort. Take your time, go left to right, and allow the work to dry comfortably. You also get to see your outlines better as your layers are drying. You get to see the lines and the sketch and everything that you want to fill with more details and more color. We're going to start the details from the top part and then we move downwards. Take this chance to grab a dry napkin. Go around your image on all sides to make sure there aren't any excess water droplets just to keep space clear and avoid any any water bleeding onto your image. 10. Ballerina Portrait Watercolor: The Details: Now, like I mentioned before, we're going to start from the top of the image, adding details and then work our way downwards. Clean your palette, refresh your water with a wet napkin or spray your palette. Clean your palette so that it is ready for the next part, which is a lot of light colors, which we don't want to dirty with any darker colors from our previous color combinations. It's better to paint the skin first. So we'll clean the pilot completely not to spoil the skin color that we're going to create now. And we need clean water, a clean brush. So make sure you wash your brushes, dry them completely. Then we can start working on her skin. Because later we want to go for her dress details again, which are darker colors. The color I'm using here is John Brilliant. We put drone brilliant on the palette. We completely dilute the color. Then we start with a light part of her skin. Start lightly. The more diluted your color is, the more forgiving it is as you're building the layers of this color. Because if we go in with a more concentrated color or darker, it's more difficult to remove that color and reassure the lightness. For the lighter parts. We completely failed the color because we don't want it to be so contrasty. Order to keep our tone bright. We want to keep the color diluted. For the shades and the darker parts. We're going to still use a brilliant but a bit thicker in order to make it darker. Or in to emphasize the details on the neck or the crease of the collarbone and the chin. You can find this color shown brilliant and other watercolor sets to the word drone means yellow. So it's a yellow brilliant. Well, we've made now this part darker here. And in other parts we're going to carefully put all the details. Make sure you're using a smaller tip brush to allow you to enter with these details and add them with precision. Take your time. Follow the gestures of my brushstrokes. Continue to carefully add those details. Just like this. You want to be able to tone the colors together or the darker shades with a lighter shades. Make use of your water maybe what the tip of your brush if necessary. Now I'm mixing a burnt sienna and a John Brilliant. We carefully and delicately put the details here and quickly faded. We fade this part and then shade it. So you can wash your brush, dry it, or dab it onto your napkin and then go back in and drag the color down by shading it. Keep doing this, this technique. Keep using this technique in order to make the skin tone look more natural. Make the shadows look more natural. And we need to work in a quick and quick speed just to avoid the color bleeding into the next parts. Dry your, wash your brush and dry it and go into fade the color again and again. Make sure your napkin is handy. And keep repeating the same technique. I'm adding a little bit more of the burnt sienna here in order to create a little bit of a thicker, thicker outline. And to create the darker parts like the draw bone, we're using very thick color. Just like this. If you feel you want to keep your hue a little bit more watery, just a little bit more watery, not too much in order to achieve more tonality and blending. When you wash your brush, dry it and then fade the color. That's also another way to do it. We add the details using this color, just like we add food seasoning or flavor to our meal. Slowly. Again, you continue washing and drying. Your brush to fade the lower part here. Just like that. What we're trying to do is to fade these lines in order to make them look more natural. While still accentuating the body part. If you need a moment or if I'm going too fast, pause the video, refresh your palate, wash your brushes, get more napkins, get comfortable because it is a little bit more detailed work. Now after ensuring that this part I faded, after making sure that we have faded it. Well, we'll move on to the next step. But so far we're going to keep repeating the same process until the fading of this part is done very, very smoothly and nicely. Here I've been adding the burnt sienna to darken these parts. And it's better to change our brush to a smaller brush if it's necessary. In order to achieve the details that we want. Take your time. Keep all your materials handy and follow follow my hand gesture, follow my brushstroke gestures. Copy what I'm doing as a way of practice. You can also do it instinctually as you're looking at your model image, looking at the painting that you are creating yourself. Look at the light, look at the shadows and apply the darker tones to the shadows and the lighter tones to the light, and then feed them together accordingly. Make a choice about your brushes because you want your hand to be free, light, and able to create these gestures so you can use a medium round brush here. We're adding a little burnt umber to our burnt sienna, which gives us red and brown toning here. We wash and dry our brush to fade these parts quickly. And we keep repeating this process of washing, drying our brushes, and fading the color and the lines that we're applying in order to make everything look a lot more natural, a lot more blended. We dilute the colors. We add water to the tip of our brushes. If we want to make something lighter or dilute a certain color a bit more on the page without having to spray the area. Remember that practice does make perfect. So the more you do this, the easier it will become, and the more you'll learn about your own techniques. If you wish, you can share with me the result or share with me questions, or show me what you have ended up creating in the end in order to get some tips or have some questions answered. Now we wash and dry your brush again and fade this part because look at the darkness of the lines. Washing my brush allows me to remove colored dress like this. Make use of your napkin in order to remove excess hue or excess water. And of course, to dry your brush should there be excess moisture on it or color? In fact. But the important part is to be comfortable, to be relaxed and to go for the details. The more lighter we work, like keeping our colors a bit diluted, the more forgiving it is when it comes to changing the tones are blending. Blending the colors on different parts of the body. Here as you can see, I'm adding a reddish tone with a little Alizarin. And we darken this part with the burnt sienna as we fade in. We continue with the same process. If I'm going a bit too fast. Take your time, pause the video. Step back, take a look at your image and see how you want to proceed. The more you do this, your confidence grows because your own technique will be developing. Your own comfort will come through in the image itself. Again, this image has a lot of details, so do not be disappointed if the result is not as you want. Here. I'm using a gamboge hue for its edge, and I'm going to use some ocher as well. We have to be careful not to spoil the scallop lines of her dress by mistake. So just like this, make the color thicker and darker. This is a process of layering. Layering that needs to take place with the minimal moisture. So it dries as we're working on it. And then the next layer comes on to translate and become thicker and build on that. So step-by-step, we add the color. It thickens and the more darker for some parts as well, it becomes. We're now using water here. Just keep that in mind. We're not using water as much as we're using our color on the painting. For the darker parts, we're using the combination of a brown color. And even sometimes, we can use only one brown color to indicate the shades perfectly. We doesn't always have to be a mixture of a brown color or a combination of brown colors. If you need to create more of your color combinations or add more colors to your palette or clean your palette. Pause the video, go for it. Having everything ready in handy and available around you makes it easier to work at a good speed. Because the risk with using a little bit of a dry or technique like this is that the color will sit in very quickly. It dries very quickly. And you want to be quick. Now as we're applying darker shades were fading them. And repeating the same technique. Wash your brush, dry it, and go into fader. Now I'm gonna be using again the drone brilliant. I'm applying it dressed like this, softly diluted. Just like from the start we're building those layers slowly, slowly fading and blending. If you want to take more time and sit with the image, using are downloadable resources. You're able to have the sketch and take a look at it and maybe practice drawing it and maybe practice painting it. And maybe practice toning and blending certain layers together. And then practicing these kinds of details images is a very good practice. Will only help create more and more beautiful imagery. Because your eyes will be used to the details, you will make more visual imagery. Visual notes as to where the highlights are, where the dark parts are. And keep checking if those layers that you're creating are perfectly faded. Step back. Always look at your image. Take, take a look. Are you happy with what you've created doesn't need a little bit more water to fade more. We want to add more details in order to beautify it and to do a perfect job. Also that the skin part area, the neck and the collarbone. They are a little bit more defined than the rest of the image. The background which is hazy or vague with color, and then the dress which has a lot of layers and details. So it's busier than the skin tone part, which is what we're working on now and does require a lot of time. Again, we continue to use the Joan brilliant in order to turn her skin, wash and dry our brush and continue coloring the skin part. This is the edge of the dress and its shadow. So we wash and dry your brush and completely fade this part. Here I'm using a burnt sienna. There are a lot more details here, so we need to be patient working on them. We shade and darken this part slowly, slowly with a brush as small as comfortably. Allowing us to achieve those details. If you need to pause the video and refresh your water. Go ahead and then we can continue together. Look at how the outer part, the shoulder on the right is a bit lighter than the left. The left parts of the shoulders, because they're casting a shadow. Now we want to work on this part of the chest. Again, we use the zone brilliant. I can mix it with a little bit of burnt sienna as well. For the lighter parts, we use the drone brilliant, and for the darker shades we use the burnt sienna. And then we apply some blending technique in the middle. Take your time, make sure that you're getting into the process, enjoying it. As you're working on it. Always move your head back. Take a look at your image. Look at the composition, look at the tonalities that you are applying and building. We can use a little brown hair or a combination of burnt umber and burnt sienna as it is, a darker color than it would be something like this. Follow how lightly I'm applying these details using the tip of the brush as opposed to the round, the full round edge of it. We completely fade all these tones after washing and drying our brush. We've put some color onto this part and then we're dabbing it with a napkin with their clean napkin in order to reduce the concentration of the color. Here we're using a much smaller round head brush for this line, as it's a really delicate line. Relax your wrist and focus on the detail and we patiently and elegantly fade the net of her dress. Follow the gestures that I'm creating with my brushstrokes. Now we put some dots on this part to show it like the net fabric that is over there. Follow the way that I'm applying the detail here with my brush. And keep an eye out for where I'm creating darker lines in order to achieve more attractive contrast in the image. Now we're going to use indigo for shading this part here. Indigo gives more depth to this detail. It's also a deeper hue, like a richer color. For this part, just like this. These different tonalities, they need to sit well next to each other, especially that this is different. Blending on skin tone. So take your time, wash your brush, dry it, and then pull the color down. Reducing it, fading it in a very, very nice way. Now we're gonna go through the details of her dress. Redraw the darkness. We fade at wherever is needed. Remember, keep in mind the direction in which you're making your brushstrokes. Because it indicates whether a cloth is wrapping around her back or if the cloth is downwards like the rest of the dress. These, these directions imply motion and movement and sort of like this response to gravity as well. Here I'm using a medium round brush. We draw the creases on her using indigo on the dress like this. Then we fade some of these creases completely. And we continue to use indigo to put more darkness or more contrast. And then wash and dry our brush to fade those dark parts completely. Again. Wash and dry your brush. And at the end of each dark line here, fading it upwards. Make sure you're applying this technique in a continuous motion, repetitive, but also at a very good speed. Because the page is a little bit dry in the water application comes from the brush itself. So we want to be quick. Just like this. Now we're going to combine indigo and ultramarine in this phase. So take your time. If you need to pause the video and mix your colors on your palette. Redraw the work for a little while. Touch it with the back of your hand or the tips of your finger very slightly. Make sure it's fully, fully dry. The drawing part is very important. That's why we need to be a little bit patient with it. Now it's time to draw the creases of this part. Follow the lines of your sketch. Focus on the details. Make sure you're not missing any other details. Are covering white parts in which you would like some highlights to come out in the future. Keep washing and drying your brush, and then fading the dark lines that we're creating. Again here we're going to use an ultramarine for this deep and long crease. I'm washing my brush, drying it and then fading this line. On the edge of the crease, we apply Fick color. This gives the dress a lot more detail and presence and this sense of contrast in the middle of the space on the page. Some parts of the crease is purple. So we need to go in there with a little bit of purple and add that detail and that tone. Then we outline her skirt by putting some dots. We outline at when we fade them, we feed these dots to create creases more naturally. We're gonna be putting these dots using indigo, thick and dark indigo color. Just remember that even if phi1 crease matters here. So try to look and trace the model carefully, not to forget any detail. There are some tiny creases here and there. And officially, it's good to pull our heads back and take a look at the image in front of us. How far we have brought forward some details whether some highlights can be kept and so on. We want to include these tiny creases and feed their ending. Here we're using violet and purple are combining both the violet and the purple. We apply it on this large crease here. Then we completely fade it, wash our brush, dry it and fade. Apply your thick lines first before you start fading. We're gonna be fading these downwards. Now we combine some indigo and ultramarine and applied on this crease. I'm applying detail with a tip of my brush, but then I'm going to go in and faded as well. So let's wash our brush, dry it and fade. Here we see a large crease, which is an indigo. We want to continue working in the same manner. The more consistent our technique is, and the more repetitive it is, the more harmonious the entire image becomes. The aesthetic that in which your brushstrokes have come to be on the image, the fading, the blending technique. These were all be together in a harmonious way. As we're building details, we want to draw the bold outlines in order not to lose their place on the image and have them more dominant. And then we fade them downwards. Now we're using the ultramarine and there's another crease on top. And we can fade it upwards or downwards. Although both colors are blue, the combination of these colors make the painting more beautiful and the toning between them becomes quite, quite beautiful. Now I'm using a little bit of indigo here. Then for this part, we also apply ultramarine. We need both colors. We can apply them just like this. Take your time to look at the tones that we're applying next to each other. And those outlines, the darker lines help us to really, really accentuate this dress. We have some tiny creases here and there. We need to include them. Some of the creases are vivid and clear, some are faded. So we need to consider all these details. As you can see, we're going to continue fading the creases here. We want to continue drawing in some creases with the details. For the darker parts, we completely darken them just like this. Thick and dark. Take your time to create these lines. It doesn't have to be one long motion to create every line. It can be slightly dashed line in order to give us a little bit more confidence as we're drawing out the dress. It has a lot of details. Redraw them and their highlights which are the gaps around those details. Patiently. Take your time. Now in the next part, I'm gonna be using ultramarine and indigo, a part of single creases in ultra marine. And then another part of the crease is an indigo. So carefully paint them separately. Make sure you clean your brush. In order not to have these two colors mixing too much and to accentuate these colors by ultramarine. And why do we make a pastel color which is light? Now we shade the dark parts. Some shades are darker, some are lied. We're careful about their placement on this image. It would be something like this. You keep your brush moist in order to be able to change the amount of hue on your page or on a certain detail. You can also use your napkin to control that. We apply our color wherever we feel is needed. So always look at your competition. Continue looking at it. As you're building these colors, as you're adding more and more details. This image is a great practice to get into the details visually keep in mind where, where certain lines are, sketch is coming about. To create a background that is feeding into the foreground but without bleeding into each other. And also to accentuate these skin tone ride with all the layering that we've done and now with the dress. Well, now it's enough for this part. We're gonna go for the crease over here on the side. In order to give it more depth. These different directions of our brushstrokes. Again, remember they give a perspective to the image like whether the dress is falling downwards or it's wrapping around the shoulder. All of these details are really, really important. Just follow the gesture of my brushstrokes, use them as a guide and continue building these layers. We have a tiny crease in here, which is in brown. We are going to fade this tiny brown crease just like that. And we're going to ease the process if needed by spraying some water. In here, There's a cool Violet crease. We're going to be doing these details mostly with thick colors. Take your time, make sure your hand is stable. We're doing the whole process step-by-step to make it tangible and easier for you at this learning stage. Follow my hand movements. It's going to keep looking exactly like this, where we apply the gesture, the lines, and then we go in and we fade them. If something needs to be more defined, we also create the thicker lines in order to get definition within the dress. There's a pink color in here which I'm applying and we fade it completely. We're working on the darkness of the creases. Just like this. Don't forget to use your downloadable resources. All information on the content of this lesson is available there. Take your time to look at your image and apply your lines where they're meant to go. But also use the fading technique in order to leave some leeway in order to add color or remove color. Just like this. Now for this part, we combine cool Violet and warm purple. Recolor these parts too. Thick and dark color, bringing some definition and depth both to the dress and the image in general. We dry the brush for fading these parts, so make sure it's not wet in order for your color not to seep away from you. Then we use a dryer to get rid of this puffiness here, to flatten the page, and also set the color, giving it, giving it It's time to sit properly next to the other colors because we're fading tonalities together here. Take your time with the dryer. You can message anytime if you have any questions and I can guide you. You can also share with me your practice image or artwork. And I can give you feedback and pointers and guides. Now we're going to work on the subject's hands and feet. We wash our brush fully and clean water just in order to avoid the colors mixing together or Medina together, losing the nice clarity of each color. We also clean the palette because we want to make light colors. Again, we're going to use the color called John Brilliant for her skin. Joan means yellow. The color is called Joan brilliant. We dilute the color and our brushes soaked with it. We start from the darker parts to create the outline. Going down just like this. Follow the gesture of my hand, not just the movement but the gesture. And then we fade the part that we just added. Use your water, use your tissue if you feel like you've added too much color to dab off some of that color or fade in more color. Go into add some details like this. Then we're going to combine ocher with burnt sienna for the darker parts of our hands. We wash and dry our brush to fade this edge here. Take your time. Keep your napkin handy, a clean one in one hand, your water handy. In your downloadable resources, I have put all the information that you need in order to practice again and again because this image, specifically this one in this lesson has a lot of fading, a lot of repetitive technique of drying your brush, soaking your brush, going into fade darker parts. With practice, It's not that it only makes more perfect final result. It's the freedom with which, like the ease and freedom with which you apply in color and paint becomes better, becomes higher, you become more relaxed. And these gestures. Show on your image as we're applying and fading the colors here we lessen the pressure of our hand while we fade, we don't put so much pressure on the paper. We continue to use thick color to shade under her hand. We're trying to give definition here. So I'm going over the arm area. Here. We're combining burnt sienna and burnt umber. Again, we darken and shade under the hand, the arm really. Then we fade. Keep in mind your hand pressure must be low while you're fading. On this part, you're not pressing really hard on, onto your brush, on your brushes. Then I'm going to press too much color into this part. You want the pressure to be light. We're trying to achieve a more realistic view of her arm and its position. This part is almost finished now, before we go on to the next step, now we paint her leg. We use those drone brilliant again for its first layer. Going in lightly with a watered down version of the color. To complete this part. Here the skin is light, so we want to show it. These different tonalities are what's going to help differentiate what part of the images further in the background. What's more in the foreground, giving the image its depth and perspective. Especially that there are many creases in the dress and you have the arm and the leg. So take your time if you need to pause the video, re-watch certain parts, follow the gestures of my hand and practice. Just do it. And then you can play again and continue. We can continue together. As we're using this combination here of burnt umber and burnt sienna for the shades of her skin. There's a part that's darker, so we darken it more and then we fade. We go back in to these darker lines and we feed them into each other, like with the next layer. So they're not really highly contrasting. We use the combination of burnt sienna and burnt umber and the dark areas, especially for the parts which have red tones. We're going to use burnt umber. Now, remember that this image has a lot of details and right from the beginning, all the outlines and grids are done and ready for you if you need to practice your drawing in your downloadable resources. So these are helpful throughout the lessons because once you have your drawing and you print it out, you can either draw directly onto your image to practice it primarily or create a separate drawing by referring to the drawings and the grids and lines that you have downloaded and printed out for yourself. As you can see here in the image, I'm using a little orange. Just to add to the tonality of the red tones and the orange tones in the leg, which has a shadow as it is in, more in the background. This gives a definition to the arm which is above or in the foreground of the image. Take your time to look at the image. Pause the video if you need to. Follow what I'm doing, the details that I'm going in for because sometimes with all the lines in the drawing, we, we could miss some details here and there. I'm using a smaller brush here. Going into add the little details and outlines with the darker part. My smaller brush allows for higher detail, more precise placement of my details. And we fade it. Also here on this part. Just like this. Seeing these details sort of pop out. And as we're creating the image, It's really a lot of fun. It's quite nice to get to this point. And this part because it just brings, brings more life to the image that we're working on. Especially that this is, this is quite a detailed one, so it takes time to bring out a little bit more of the final image or what it would look like. We haven't ocher color in here. And you need to keep in mind the crease of the dress as you're adding the color in this part. We mustn't lose the shades on her leg. Keep your eye out on the details on the lines, the outlines which are not yet filled with color, and also the ones where you have added color and faded color. Especially that each color is taking direction on the image like some are going diagonally or horizontally or vertically. So make sure you're adding your color in the right place. Have your tissue handy in case you need it to dab off any color. When we're here, we're combining drone, brilliant and ocher for this part. We wash the brush, dry it, and fade these parts at the end. I mean, we've been using the same technique all throughout, but still, it's just in the process that becomes a reflective reaction to just continuously repeat. Take your time, make sure you're really looking at your image. Makes sure your hand pressure is not too intense. The lighter you go, the more leeway you have to change some details, remove color. You can wet your brush in order to move the color around or fade it with and shade it with the tonalities that you've added. To work on this small shadow over here, we're going to use a bit of ocher. We add the dark parts on the foot and then fade them upwards as well. The reason we fade upwards or downwards, That's the decision made depending on the part of the image that we're working on, because this direction really does affect the perspective and how we're seeing the image, like how your image is going to look. Because it does give any downward, any downward brushstrokes gives it a gravity like it's going downwards. There's a heaviness. If it's upwards, then it's lifting the image, right? It's lifting that part. Just like we've done so many directions on the dress. It's because the dress has movement, right? You guys are doing great. Now. Next we're going to be using the John Brilliant to add the background which is very watery and move towards being thick, starting from light, then moving towards a darker part. But just follow what I'm doing. Now we're going to use the color combination we created earlier to add the shadows. We wash the brush afterwards and fade the color. We work on the edges using thicker colors this time. Remember, we're at a part of the image where we're really trying to bring out the details and different parts. Here I'm working on the second foot, adding the skin tone colors. And because the legs but feeds the arm. Are, they have significant detail and would really bring quite a lot of beauty in the contrast with the dress and the whole image. It's important to give it the right amount of time. Now, to add the dark spots over here, we're using a brown color combination of ocher and burnt sienna. Remember we wash the brush, dry it, and fade any outlines that we have applied. After we're done with this part, we're going to work more on the dress and its details. The next step is using ultramarine to help us better show the lights and shadows on the dress. Makes sure that pressure, your brushes, not really hard, that you're keeping your gestures light. Then we're adding purple here and fading the colors that we have added. Now we're going to use indigo on this part. Take your time to observe your image as you're adding your colors. Now we're going to use the sword brush while we have dipped it in the water so that we can fade these parts. Follow the gestures of my brushstrokes and the movement of my hand. Now it's time to mix the cold purple with white and use it on this part. Make sure you use your water spray directed with your hand by guiding where the water to drop. We continue working on this part. The water allows for a fading technique which spreads the color a bit more. Use your napkin Rican, remove excess water or excess color. And we apply it like this on the paper. Observe your image or observed the sample in front of you and start adding the colors that we see here and there little details that we might have missed or would like to highlight a bit more. We can also do the outlining of these parts. Use the brush you're more comfortable with. If it's the sword brush, go for it. If it's the smaller point, brush. Then also go for it. Or adding these dark parts here to bring more definition. And we add the details of the dress. Just like this. Remember to repeat the technique. You wash your brush, you dry it, and you start fading the edges of the parts we had just worked on. Now we're going to start working on the shoes using our round paintbrush and a pastel purple color, we start adding the color while it is watery. Apply the color wherever it is needed. Make sure your napkin it clean napkin is handy so you can remove any excess color. And keep observing your image as you're applying the color. If you're hesitant or uncertain, keep your brush a bit watery that way the application of the color is not condensed and doesn't become very dark very quickly. We have these colors on our palate, which are White, Ultramarine. We mix them and use the combination to keep on working on this part. It's a great combination for the fading of the purples that we've created and the ultramarine shades. We keep going in to fade the details. Wash your brush, dry it, go into any detail or lines which you've just added. Make sure to control the pressure of your brushstrokes as well. Keep an eye on it because we can very easily get taken with getting into the image and adding the details. And then suddenly you realize the pressure of your brush strokes are heavy. Right now we're creating a warmer color tone and we're using it on this part, on these edges. Then we start fading them. Make sure your napkin is handy in case you want to remove color very quickly. We add these colors on the upper part as well, not specifically only there because we just want to show the colors and the tones that are there. To separate the dress from the shoe, from the foot. We want to keep an eye on these details. These are the details that really will make your image pop. The color combination on this part is blue, which we're applying. The colors we're adding are all watery and we immediately fade them after we add them. Does to be careful with all the layers. That's why we're keeping the colors watery. The brushstroke pressure light them napkin handy the water is there to wash our brush, dry it, and go in and fade any color application we have just made. And it's also to fade these nice tones we've created into each other. Beautifully. Repeat the process on this one using purple and pastel, blue and fading the two color combinations into one another. How do we keep working on it? Now we're going back to work on the details of the foot. We're applying purple on this part here. Just because the colors of the dress, they do reflect onto other elements of the image. Of course. Remember that we're using some color mixtures which are warm, and some color mixtures which are cold. While you're working on your image. There are some parts that are warmer tones, but follow my lead. Of course, this will make it much easier, but it's just to keep an eye out as you're listening to me as to where we're adding warmer tones and where we're adding cooler tones. Both with the purples, the blues, the ochres, the brown combinations. Here we're using a warmer color combination. We had to work on the shadows on these parts. So they're a little bit warmer. We wash the brush, dry it, and start fading this part as well. You don't want a very sharp, sharp definition. You want a little bit of fade in it, so the whole image looks like it belongs to itself. All parts belong to the image. Now we wash the brush thoroughly so that it is completely clean so we can use the pastel blue color, which is lighter to work on. And we're going to fade this line completely. We keep working on the details and fading it in order to achieve a nice, nice foreground and to make that, that foot in the front stand out. Now using a smaller round paintbrush, we add the details on her shoes, like these darker parts here. We add some indigo to the combination to show all the lines and shadows that they create on these parts. Make sure your brush pressure, your head is light. And we continue working in this format. Now we add thick color to indicate the darker parts. If you're at the beginning of your journey, just have fun. Have fun with all the materials that you have, all the techniques that I'm sharing with you here, feel free to message me, share with me your final artwork or image or ask for feedback, I can give you some guiding points and some pointers as to what can be done differently or better. But the point is to, to feel free and more confident and have fun with, with it. Without getting too disappointed about the results and the beginning, just because there's also you in all of this like you haven't approach a technique or a style that you will enjoy more and more as you make more artworks. Now, coming back to our image, we're going to move on to this part here. We're going to use a darker brown tone combination, which you might already have on your palette and add all the darker parts that we see. And we continue to add details just like this. Look at your image again and again, like move your head back. Take a look at all the details of the composition. Whether the size of the foot is as you intended, as it was outlined from the drawing and underlying it, the arms, the dress, the background. Because there are quite a bit of details that we have gone over together. And tones, be it on the ballerinas shoes, or the s 11. Calming River Boat: Hello everybody, welcome to another watercolor tutorial. Today in this lesson, we're going to work on how to paint this beautiful building, the sea, and the sky. Now, keep in mind that you have your downloadable resources available to you. If you have those or you can go through them, make use of all the information on there. Primarily, you'll find the outlines and the grids of the image that we're working on, ready for you if you need to practice your drawing. These are helpful throughout the lessons because you could either print out a couple of print and practice directly onto one of them, or maybe draw your own on the side like a new outline of the image that we're working on. Either way they're available Also, you have information about the color palette that we're using, the brushes that we're using. Again, if you have a color palette that's slightly different, or brushes that you're more comfortable with. And again, slightly different. That's completely fine. Don't let it discourage you. Go ahead and make use of what's available to you, what's easier, what you're more confident with. All these things really matter. So now we're going to start off with our gum tape. As usual, we're going to measure the length and the width of our paper, making two strips for the length and two strips for the width. And we're going to apply our gummed tape, gum tape on it. Follow my lead. It should be done like this. So we're going to use a completely wet napkin. So applying some water to your napkin, it can be in a ball or a flat napkin surface and apply the water within it on the shining side of the gum tape. So one important point is that the gum tape must become completely wet so that it is properly applied on the board or the table. So you have your page on your wooden board or a cardboard. You set a exactly where you want it. You have your gum tape strips available. You're applying water with your damp or wet tissue onto the tape. You want it to be completely wet and applying it down just like this. You're gonna do the same to the other side. You want to apply your tape as flatly as possible. And this initial step plays an important role in the whole watercolor painting process. If it's not done properly, the paper might become puffy and the whole work would be kind of like not perfect. It would be a bit damaged, but you want it to be as flat as possible. So we need to be paying a lot of attention while we're doing this part. Take your time. Apply each strip, go around the whole page. Then with with a with a dry tissue, you want to go around the page to remove any excess water. But this also allows you to kind of flatten your tape entirely. That makes sure that your page is in place and that your page is nice and flat. Now the next step is to use a clear tape and you place it a few millimeters ahead of your brown tape onto your page and you flatten it again. You go over every side. Perfect. Go all around. And then again with a dry tissue, you just want to press down on all the sides to make sure that both tapes are nice and flattened. Everything is in place. And it fixes the tapes one more time using the dry napkins. In the end, when the tape is completely removed, you have these beautiful edges that are nice and clean and clear and nothing on the sides revealing the wonderful image we're gonna be working on. Now using a natural hair brush. We have different sizes of sword brush, round paintbrush. Have your brushes ready for you there for you to select from. And again, if you have an alternative set of brushes, something that you are more comfortable with are more readily available. Go for these. In this work, we mainly see darker colors of the same category are the same, like tone. However, we're going to add more of the lighter color to it as well. Later on. We're going to start our work by adding indigo blue on our palette. To start, this color will be used a lot in this work. So make sure that you have enough of it that it's readily available next to you. We're adding some sap green to our palette as well. One point to keep in mind is that we can have the watercolor palettes like bees, but we can also by the watercolor pans one-by-one. You can have a selection of colors, or you can have separate colors on their own. Like you can have your sap green on its own entirely because maybe you use it a lot too. It's a color that you use often. Remember, you can message me anytime if you have any questions and I can guide you or give you some pointers about colors and brushes and maybe the image. And in general, feeling more comfortable with the watercolor technique. Here I'm adding to my palette and indigo and a yellow ocher as well. I'm trying to prepare my colors so you want to do the same thing. We wash the brush completely when we want to add the colors to our palette. So for instance, right now that we're adding the, OH, curtail our palette, setting it ready for our work. We make sure both the palate and the brush are clean. I sprayed some water onto my page and we're now going to start working on the sky. I'm starting with the ocher here. And we add the color just like this. We also add some ultramarine. We're trying to basically accentuate the background in this very light. Adding both colors together. Follow the movement of my hand and my brushstrokes. The surface is wet, my brush is wet. My colors are a little bit watery and I'm going in with the ocher and the blue to add a nice background and start blending them together. You wash your brush, you dry it and you fade the colors we've just added slightly into each other. You want to make sure they're harmonizing. There is harmony in the way that they are together on the same surface. Now with this sword brush, we're going to add a little indigo to some parts of the sky. Again, I'm continuing to simply bring the colors together. I'm adding some darker parts on the edges. Pay attention to the direction with which I'm applying this color, because the direction of our brushstrokes really gives perspective to our image. We again dry our brush and fade the color we just added. This technique of fading will be used a lot. And it simply allows all the elements of the, of the image that we're working on, the sample that we're working on, to look more natural, to sit more comfortably on the page. We continue working in this manner. We keep fading. If you feel like you've added too much hue, you can, you can dab your page with your tissue, but at this point it's better to dab your brush onto your tissue just like I'm doing and going into basically lift color off of the page directly and that introduces highlights. The highlights are just as powerful as outlines and dark parts. Keep that in mind. Great. Now, we're not going to work on the sky at this point anymore. Now that we've done that, I'm water spraying. The rest of my page here. We're going to work on the sea. Spray the surface as much as you feel is needed. We continue adding water to the surface with a brush as well, just like this. So I'm going into the details. We try to add water evenly on every part at the same time we consider the parts we need to keep untouched. Remember what I said about highlights? They're very important. So if there are parts that you want to keep white or need to be completely untouched. Keep those in mind. Now I'm using a Prussian blue on this. See, I'm using this color because it's a little bit lighter. It's the reflection of the sky onto the water. And it gives a differentiation between the sea and the sky. And again, these tonalities of the same colors like different tones of blue just add a lot more, a lot more depth to our work. You can add some water by spraying some water onto your surface if you felt like it wasn't wet enough for your brush movements. Here I'm adding a Van **** brown just to create that outline that separates where the building is and where the C is. And I'm adding ultramarine and applying another layer at the bottom on this part. Again, keep your water spray handy. And you keep on spraying on the surface if you feel like it's not wet enough or not allowing for your brush to move freely. With a dry tissue, you can remove any excess water. It's better to have some leeway and be able to remove color. Have freedom and the movement of your brushstrokes. Then to have a less watery application which might make our gestures more set and not allow us to make changes. We want to also remove the color right away with a dry napkin, especially to the places we want to keep that whiteness of the paper. Now the next step is to continue working on the sea with indigo. We will be adding some shadows in the next steps. But for now, we're working on the background, determining where the shadows are going to fall. We need some Prussian blue here. We apply it and then we add more indigo like this. Take your time to observe your image as you're working on it, as it is wet, they, it gives you a little bit more freedom to just move your head back. Take a look at where you're applying the shadows. Maybe you want to remove some excess color from some parts. And keep an eye out on where, where the highlights are. I'm going in to add the waves here, some wave in the water. We wash the brush, dry it, and then move the brush across the work like this. That's to add highlights. So after I've added some waves with color, I wash my brush, dry it, and go into add highlights. What it's, what's basically happening is that a dry clean brush is removing excess color from the surface and thus adding more detail which is a lighter. Just be careful of any excess color that's on the sides of your page. Just to not pick it up with your wrist and maybe by mistake, have it bleed into your image. But continue adding highlights just like I'm doing over here. Have your napkin handy or water handy. And a sword brush is perfect for applying those waved lines into the water. Be it with color as I'm doing right now, or when I wash my brush and dry it and go into add the highlights. I'm cleaning the size of my page. We're done with this part right now. And as the paper has become wet, we need to dry it completely using a hairdryer so we can move on to the next level. Again, make sure you're aiming your hairdryer and not too close to the Facebook page, but not too far. And go across. Allow this wet surface to dry up to become flat. Again, take your time, be patient. And I usually really enjoy watching the colors dry because of that effect of watercolor. And it helps me learn a lot about the colors so we can really observe how they sit into each other, what texture it creates. Yeah, and it gives me a moment to look at my image. Now we make sure that every part of the paper dries perfectly in the puffiness goes away. Especially because we want to build layers that are translating into each other, but, but they are not bleeding into each other because if it's wet of the layers are wet, then you end up with the colors mixing and not really being accentuated on their own. Now we should keep the hairdryer like this, maintaining the distance between the hairdryer in the paper as we draw our page. All these details matter a lot in the process of our work and they will have a huge impact on your work. At the end, we need to pay attention to the smallest details. These, it's almost ritualistic like these repetitive techniques. Washing your brush, drying it, going into fav the details, drying your page, letting, letting the layers kind of sit and be flat. Although some steps might seem maybe not important, but they really are, they really, really are. Now with a round paintbrush. We're going to start working on the building. There's an important point we need to keep in mind when we want to work on the buildings. When we create our color to work on them, it should be watery. And we should use all of our brush to work on the buildings like and what I mean by that is not just using the tip of the brush, but we also use the sides of it. And as you see here, my entire brush must be covered in paint and water. So I'm dabbing it on the right and the left. On my palette. I'm practicing on a page separately. When we have the brush completely covered in paint like this and water, we start working in this manner. Follow the movement of my hand. It looks like the water remains at the end, like a little blob at the end of my gesture. This helps us when we're working on this part at the top, we have the watery paint down there on our on our paint or brushstroke. Then we can immediately start working on the rest of the building dressed like this. If you need to pause the video and watch this part again, do it just to practice as well. We have to work on the building like this using a lot of water, so it does need some practice. So don't be disheartened. Just practice and every time it will get better and better and come easier to you. You want to keep your wrist loose, you want to apply, you want to apply your brushstrokes in this medium pressure. When we want to work on the buildings, we always start from the top. If we start from the lower parts, then we constantly put our hands on the parts we have just worked on, which would be wet and it's going to leave stains and also damage the work. So it's better to start from the top, especially in the technique that we just talked about where it's watery. We're applying the color in this watery brushstroke manner. The colors, we're going to use our indigo and burnt umber and CPR. I've also mixed burnt umber and CPI here on my palette with a lot of water. We mix this color and make it completely watery, but also we're going to use some blue that we added to the work before the Prussian blue. As you can see, we added to our palette to add to some parts on the bottom, the colors we mix and make are all completely watery. I'm using the ultramarine and cobalt. And as we do not have this color, we can mix them with water a bit, with a bit of white and add the color for the background. As you can see, we're starting from the top. Pay attention to the hand movements. Were leaving some parts completely white with our brushstrokes. So keep an eye on your application where you're applying the color. And again, we're adding the color as it is completely watery. Using a smaller brush helps control where this watery color is going to sit. You can use a tapping technique as well. And this way, as we're adding, the brown and the other colors, should be done just like this. Take your time. Pause the video at any point, if necessary. Going in with the Prussian blue. We keep working on like this and we take some of the indigo, this time a bit thicker. And we repeat the same process. Follow my hand movement, use my hand movement and brushstrokes and the speed at which I'm working as your guide. Practice, practice, practice. Now it's the indigo that I've talked about. We're gonna be adding it. Again. Keep an eye out on the parts. You do not want to add any color to, like you want to leave them white. That's the whiteness of the page. You want to leave it untouched. The pressure I'm applying is light. I'm continuously looking at my image as I'm working on it. Using these different tonalities of the blues and the brown just gives a lot more depth to the work, a lot more detail and richness. But now just focus on the application. How you're applying this watery color and where you're applying it. Makes sure your napkin as handy because you can lift some color off of the page with it. You don't have to apply so much pressure on the tissue. It can be light. And instead, instead of directly pressing the tissue onto your page, you can also simply press your brush onto your tissue. Excess moisture or excess water or color from your brush. Here I'm using a Prussian blue. And we keep working on the other parts of the building until this primary part dries. We can come back to it. Again. We're using the same method. We're adding the watery paint onto the paper while keeping some parts untouched. We apply the lighter blue layer. We apply it first because we keep on working and adding other layers, which will be darker. So we want to leave some parts bright. This color, this bright color would be visible through the layers. And it would give a lot of depth to the work. Remember, we want the layers to translate into each other and not bleed into each other, right? So you wanna make sure that your light bright colors come through. If you're able to take images of your work or your artwork that you're working on at different stages. More than happy to answer questions if you want to share them with me. But they're also a nice reference for yourselves to look at how you build the image as you move along. Now, the part that we're working on at the moment is the background of the buildings. So we want to add the color in such a way that it is going to cover most of the parts. And that's why we add them while they're completely watery. So it gives us a chance to maybe lift some color. Spread it very easily. Without, without interrupting the details of the building itself. The outlines that we have there with the gridding that are drawn. This is how we continue adding the background in this manner. Use my emotion as your guide. There are also some shadows that manifest themselves from the deeper layers, right, the background and also the lines that we have of the image. We want to keep everything light at this stage as it is a background. Because there's gonna be a lot more details to add on all parts, the building, the foreground. Okay, Now it's time to dry our page. We're going to use the hairdryer, of course. Make sure it's at a medium distance from your page, not too close, not too far. We want to make sure that all the different parts that we've already worked on are drying and dried-up. Go from left to right. And slowly if you feel like the colors are too wet because you don't want them to move around from the direction of the air as they're drying, then you can move your hand a little bit quicker from left to right. But be patient, this process is very important. I'm touching my page slightly to make sure or assess how wet or dry it is. And we continue drying accordingly. Take your time. Make sure you're the edges of your page are also clear. Here I'm mixing some indigo with a sword brush. I'm going into add some details to the building. Now. We spray some water and we hold the water bottle at a distance from the paper just enough to give our brush the ability to move freely. Adding water to your page just allows you with your brush to pull your colors and move them a lot more easily on your page. But do it from a distance because we don't want to over spray the page. Now this is a brown and CPM mix. We're going to add a little bit of it on the top of the building here. Wash your brush and go back in and fade this part. Just like that. Wonderful. Continue washing and drying your brush to fade any part that you've just added. Here, I'm using an indigo. I'm going in to add more details now, notice how I'm not adding the color to every single little millimeter of the building. Like I'm leaving some parts which are light or white. With a tip of the sword brush, I go into add the edges and the outlines and some details. And then with the long side of the brush, I spread the color, but still focused on the details. So leaving some dashes better that are light, some white lines, some brighter parts. We need to continue adding the color on the surface of our work exactly like this. We need to consider that some parts are darker and some parts are lighter and they're just as important. We continue using the fading technique. There are also some parts where the blue color we've just added to the background shows right through. Which is, again, why we dry the surfaces. We allow the background layers to translate through the top layers. And we continue working in this manner. We add thick color for the darker parts. And yes, they're watery. In order to give us some freedom and some movement on the page. Now we're going to use a round paintbrush. And we continue the same techniques. But using the round paintbrush. Here we're adding a watery dark blue on these parts. And we keep some parts untouched through which we see the blue of the background that we just worked on a few minutes ago, peeking through. That's why we want to keep an eye on the details. We don't want to put darker color everywhere. You want to leave some parts accentuated. That's the detailing. And that's what gives watercolor the effect that it has. We're going to add some brown combination here on this part. And the color will move through towards the blue layers we've just added and continue washing your brush, drying it and fading the parts, the outlines and the dark parts you've just, you've just applied. We can always come back to different parts as we're working on them and editing it. Because as we're working on two different parts, you allow one part to dry while you go back to another part of it. Remember the fading technique of washing your brush, drying it and fading the lines and some details. It, it just brings so much beauty to the details that you've added because when they're a bit faded, just a little bit, it creates harmony between all the elements on your page. And it removes any sharp, sharp, sharp lines which might make an element that is in the background are far away in the perspective. It might make it suddenly pop. And it would look like it doesn't belong to the image. Fading technique and blending is really, really great. We continue because we need some darker parts on these areas here. And we keep on working in this manner because there are a lot of details on the buildings and we keep repeating the same methods. And again, reminder, keep an eye out on the details. You're not adding the color everywhere. Now, the next part, it needs to be a bit darker, so we mix an indigo and a black. And we add this dark, darker layer over here. Pay close attention to my hand movements. My brushstrokes. Follow my lead. Practicing again and again will simply make, make your technique a lot more confident. And all the techniques that we've learned in the lesson and other lessons of watercolor. We'll start coming naturally to you. As we repeat them, as we apply our colors, as we keep an eye on all the details, all of this will start coming so naturally. So the more you practice, the better the results are, because the more confident you are. Now we need to be more specific on this part while adding the darker color. And a lot of the building has dark colors. That's why we need to leave the bright parts. It will help, especially in the end if we're adding more highlights. It'll bring a real accentuation. Because not all highlights are stark white. Some of the highlights are basically the background colors that we have applied, the bright blues, right? We need to be more specific with our details as we're adding the darker colors. Just take your time, make sure your wrist is comfortable. I'm dabbing color off of my brush here onto my napkin, which is a little bit of a much better control than directly placing my napkin on the page you can use still can use your napkin to lift color off of the page. That's completely fine. But removing color from your brush to such detailed parts of the image is just a little bit safer if it makes you more comfortable. Now we mix black and indigo and we continue to apply them on these parts. Wash your brush, dry it, and fade. Any lines that you feel are that need to be favored or need to blend in nicely. As these parts are not that bold and look lighter here underneath the top parts, we add colors in a more faded men are more watery manner with less, with less concentrated color in that mixture. Just like this. Use my technique as your guide. I used my water spray to add more water to the surface just to help me spread the color. Easier to move my brush in a much easier manner. We keep on working on these parts using completely watery colors. Now, I'm, I'm looking at some white parts entirely which look like little windows, and I'm making sure that I'm not applying the color on these parts. If you need to pause the video and simply look at your page, look at where the highlights are aware that darker parts are just to keep an eye out because we can very easily be taken by the details and completely focused on them and lose track a little bit of where some highlights need to be. It also it helps to just take a moment, take a look at everything. If you have a spare page on the side that you need to practice on, or maybe clean your brushes or make more mixture of your colors. But as this is a wet technique, it like I'm working at a certain speed. So you can also use that as your guideline. It doesn't mean that we have to go very fast. No, that's not the case. It's simply at a medium speed where I'm trying to control how far the colors are spreading. And if I need to remove any excess moisture or excess color, make sure your napkins are handy and clean napkins, your water, your brushes. If you feel that you need to wash your brush entirely. Go ahead and do that. We're going to use a bit of the brown combination on these parts. Now. Yeah. So brown on the CPU. Then again, I have an indigo and a black mix. Remember how we talked about when colors dry? They have observed them as you're drawing them with a hairdryer. They drive in this certain effect that's really quite beautiful. So even though we have a brown mixture and then indigo and black mix, you can, you can definitely see the difference in the tonality on the building. Now we spray some water on these parts. The water itself helps create some dots, That's texture. And it also helps creating lines on the surface. That kind of brings, brings detailing of the building backup. And this kind of texture effect just gives this older looking, older looking effect to the buildings. Just make sure that your wrist is on the side of your page that you're not picking up any color off of your page because maybe it's a bit wet. The more comfortable you are, the more free your brushstroke gestures are. More confident you are as you're applying these details. Watch how closely I'm holding the brush, how close my fingers are to the tip of the brush because I'm applying these details. The more you practice, the more you will be intuitive as to how much water to have on your brush, how watery your color mixes are. When to lift color, where to leave the highlights. So that's all techniques that we'll just build and build. And the amazing thing is that the more you practice, the more you discover your own techniques like your own approach, what you're comfortable with. As you can see, I've added some salt on the side here as it has dried up. And the salt is a texture which will give a lot more detail. And I continue adding some details with my brush here. As you can see, the salt will react on its own to the, to the watery, watery background and the watery details that I'm adding. Now I'm going to use the water spray for continuing the process. We work on the darker parts here simply by adding black. I'm looking at exactly where the darkest parts are and going in with small details with the black. Now wash your brush, dry it in order to go back in with indigo or an a black mix. That's a softer mix up the black. Take your time. Pull your head back. Take a look at all the details you've added. Keep an eye out on the highlights. All this detailing will give so much more beauty and depth to your image. We add color on these parts like small stains because you want to be as minimal as possible. Now, now that you've added the background, we've added the dark parts, we've spread our colors and faded. We want to continue working on these details, right? Add them just like small stains. It depends on how much time we want to put on the work. We can keep on adding more and more small details in the form of shapes and lines. Here. We add the details in the darker parts using darker colors. As usual. These details in the form of dots and lines, they add to the beauty of the work. We continue working just like this, applying the same techniques and building the details. Now for the next step we're gonna be using the white gouache technique. We want to use our hairdryer first, make sure that we are drawing our page. Again. Place your hairdryer at a medium distance, not too close to the paid, not too far. You don't want to swing it too much left and right in a quick manner in the beginning, because we have a lot of dark details and they're a bit watery so you don't want to risk moving any of the colors on the page. Hold your hairdryer steady. And then you can go a bit faster and maybe move your hairdryer left and right and up and down in order to make sure that our last layer is dry as best as possible. The patient in this process, very, very important. Now we're gonna be using an indigo. I'm just spraying my page just a little bit at the bottom. We spray water in these parts and we want to add some shadows or reflections here. We need to do these patiently and add these shadows exactly where they need to be. I'm using a soft brush. Watch the technique that I'm doing. Follow my hand, follow my technique, use it as your guide. And I'm adding a watery color on a watery page. Remember we've sprayed the page. I'm creating this reflection onto the water, which is basically the shadows. Here. I'm using a Prussian blue. And I'm going in to add the details, still leaving, leaving the parts that need to be bright or white as is without touching them. That's why it's important to observe your sample, observe your image, see exactly where the highlights are in order to make sure you don't add the colors to it. And also to see the direction. I'm working horizontally as the water, as accentuated with the waves. But here it's on the shadow and the reflection of the building onto the water. So I'm reflecting the darker part on the left and a bit lighter on the right while still leaving the bright blue come through these details. And as you saw with a dry tissue, if you have any excess color or water lifting or you can wash your brush, dry it, no color and go in just like this and add highlights. I'm highlighting the waves in the water here. Continue working in this manner. We wash the brush and dry it in order to add some white lines in between the layers. And this helps the work look a lot more natural. And for all elements to look more harmonious, That's the entire purpose behind fading. These parts are fading the edges, adding the top part of the shadow here. Going into observe other shadows and add the details. Remember to make use of your downloadable resources. Just a moment to remind you that they're there for you and it has all the information necessary. And do send me your samples if you want. At the end, send me your other results. The image that you've created in the end, I'm more than happy to see them and share some feedback if you want, give you some pointers, some guiding points. Now for now this is enough for this part of the water. With a hairdryer, I'm going in to dry this part. We need to be patient in this process. As the layer of the layer of the sea or adding the shadows or adding another layer just allows for, for the detailing to sit very well and to dry. I really enjoy watching the colors dry with a hairdryer. Because they become flatter and at the same time they just expand just a little bit and become a shade lighter. Shade lighter. Just looks so beautiful and natural. We're now going to work on the boat. But first we have to spray some water on the colors we have on our palate so that our brush moves easily across the paper. I'm using a round brush. And we're adding a dryer color on this part so that we create more of a texture and an outline. Apply your lines the way that I am. It's not in a direct one motion stroke. It's little bit by bit as if you're applying a dashed line. You're lifting your brush just a little bit as you're applying your color. Now, we're going to mix a black with indigo, applying it very thickly. As we start working on these parts. This looks like a harbor here, a small one. We see some wooden parts over there that we're adding now. Keeping an eye out on the details is very important because we want to see where the highlights are, where the dark parts are. The color black plays an important role here alongside the indigo, as it will show the necessary parts. We are working on a better comparison to the buildings like we want to create a better contrast, which itself is dark, the building is dark, but we want that contrast of the harbor. So using a black is great. Keep in mind that we have dried the foreground and the C in order for us to be comfortably leaning or placing our wrist down as we're applying and working on the different parts of the page on top. We're now adding the reflections in the shadows of these wooden parts on the harbor, on the water. So we need to use more watery colors. This part needs to look lighter. The shadows and the reflections they need to look lighter than the harbor itself. Now, we dip a dry brush in the color and apply it like this on the paper as we want to create some texture on these parts. So follow the motion of my hand. The way that I'm applying it. Make sure the sides of your page are clean. We're applying the same dry brush on these parts as well to create the texture that we're seeking. We use the same method on all parts we want to add texture to. It gives a lot more depth to the work. These shadows over here as well need more texture. Make sure you have your tissues handy. If you're tissue is filled with color, you want to use a new one. Because you can also use your tissue to fade different parts. The challenge in this image is the different dark parts of it, because it's mostly a lot of dark detailing, although the percentage of the page is bright with the top part of the background and the foreground with a C. But in order to add all these tonalities of the dark parts, There's a lot to learn. Remember here you can also use the napkin to fit different parts like this. We're simply focusing on our image and looking at it, making sure that we're adding the details. We want them to be. The texture technique that we're doing right now must be used on different parts of this work. Take your time to observe and see where you want to add more lines, more highlights. We're making use of our napkin, we're making use of our fading technique and also the technique of washing your brush, drying it and with no color going in and adding highlights, either lines or dots. But you see how e.g. the light parts on the building like those dots. They look like the lit parts on the building in the night. They give so much character to the building as well. That's why it's important to leave the white parts light. Or adding a bit of texture to these parts here and there before we move on to work onto the boat. Now for this part, we're going to use the same colors that we already have on the palette like black and indigo. We're going to work on the boat with thick colors. We're going to use some of the Prussian blue and apply it on this part of the boat. Just like this. We're going to keep this color over here on the right side of the boat in order to create a difference,