Your wet on dry watercolor toolkit - watercolor tutorial | Agnes Bodor | Skillshare

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Your wet on dry watercolor toolkit - watercolor tutorial

teacher avatar Agnes Bodor

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      Introduction and project description


    • 2.

      Toolkit: tiling and blending


    • 3.

      Toolkit: layering


    • 4.

      Tools and materials


    • 5.

      Practicing the basic brush strokes


    • 6.

      Practicing the basic brush strokes - continue


    • 7.

      Practicing tiling


    • 8.

      Practicing blending


    • 9.

      Practicing layering - balloons


    • 10.

      Practicing layering - leaf


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About This Class

Your wet on dry watercolor toolkit - watercolor tutorial is tutorial where I show in great details the wet on dry watercolor technique, with examples of great watercolor painters, also we will practice this knowledge in basic and more advanced way.

Meet Your Teacher

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Agnes Bodor

Level: Beginner

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1. Introduction and project description : Hi, my name is Agnes bought out and I am from Hungary and move to theatre in 2007. And since then I live here and work in neurobiology. But to keep balance, I always adopt to make art, especially painting. But also I made doing origami photography or whatever occupying my mind. My favorite technique was always watercolor and I love to paint landscapes and core thread. But nowadays I mostly bring together. When I paint cats, I wanna catch their SIM, their beauty, their movement, not just copying of course to all what early-stage patients. Also, when I use water or I wanna use the potential of these materials that their own UCI, I don't wanna use the Euler amphora. I know you've done a water color. I think soon be used very slowly, very three. Let us call as diffuse and may linger on paper because two, make good piece it watercolour. It's very, very important to understand the material and to be able to control. Because otherwise it won't work. And on my watercolor tutorial, this is a cracking lifespan. To make you understand this very complicated material, the water colors, and be able to use its beauty. But be it Master. Hi everyone, thanks so much for watching my skill share tutorial. In this tutorial, we will do something completely different from the baton rat cat paintings, which I did mostly in the previous tutorials. I will start though, introduce CO2, the VAT on dry techniques. This is a very basic lesson with lot of information. We will use. Many of the tools that you have when you paint wet and dry. Tools means here not brushes and stuff just like how you can use the paint on wet or dry. These are your VAT on dry water color toolkit. So this lesson will have a lot of parts and many different little lessons. We're not making a real painting here, just trying this watercolor tools with trying to reproduce them on just a little piece of papers and we not planning yet to organize them into a real painting. So this will be that triggered something very new. I really like the wet and dry technique. Many painters use this technique. And also just for the future, techniques can be used very clean. But it can be mixed with other like wet on wet technique or there are no rules here. So but you know more, you have more tours. So the first tool is tiling, the second is blending, and third one is Layering, which I will introduce today. The first to sexual. We're BY just taking a piece of paper and trying all these three vet on dry towards the tiling, the blending and the layering. After that, when we have some idea of what's going on, we will do little painting lessons using these three tours. What I'm trying to do on those little lessons, I'm trying to use those tools clean. So just one of them at the time. It's very hard. It's much Hartford and mixing them. So it's not always working. So first we'll be tiling, which probably the most basic ones and we will pay in this leaf weed that mattered. Second, I will try to show how to blend colors into each other. Of course, if you want to do this like very beautiful and just blending colors there. There are a much more precise way to do it. My aim is to kind of show it organically when you paint, how you can do that when you do a painting and not when you're painting from life, for example, of course they, I don't know how to put this. Because you can do real painting with very precise though. So I just, it's just really hard to, to tell. So when I paint, let's say when I paint just from life, let's say, Unfortunately I was using a photo, but when I paint life, that's what I'm calling. Like I'm painting organically like i'm not making and not thinking about the tools and using them clean. I'm just using as the project. I feel asking me to do. So. I'm mutually mixer mix or I always mix these tours. I I barely use anything clean and I am also not very precise and it's really hard for me to do things cleanly. But here, that's what I tried. I tried to give an idea when you use the technique clean, what kind of options you have. And so the third technique is layering. And here we will have two liter lessons. One is this balloon painting, which is just a little exercise. Two layers, watercolor, which is actually mostly my way of painting wet and dry. So this is, feel more familiar to me. And after doing the balance, we will do something more, a little bit more painting like. And we will paint the same leaf just with the layering technique. Like previously we painted with the tiling technique. So now I'm trying to show how I would do it when I'm layering it. I hope you found this plan exciting and you decide to do it. And if yes, see you in the next section. 2. Toolkit: tiling and blending: In the toolkit section where I introduce the tools itself, I will introduce two tools through to accent watercolour artists. First one is Robin parcel. I'm sorry about the pronunciation. I'm not sure how to pronounce. She paints mostly landscapes and for reference, I will call this technique for now tiling. Tiling. In this case means that you pay and little colored surfaces and you tire them next to each other. You can see that you can worry this technique very much For example, she little bit overlay the tiles, but you can live vide those between the tiles or you can tie or some area of the painting and not others. So the possibilities are almost endless here. Here you can see a much more detailed example. But you can imagine at tons of variation of this technique, probably from this veteran dry toolkit. This is probably the simply asked. So you can take your subject or your view and just tried to go and paint liter one color surfaces and match them next to each other. So that's, that's one way to work and look at the result. It's amazing. It's very metaphor. Here. The color is pre-prepared, so you order depict picking up the, the mixed colors in. As I see, I'm not the painter, so I can be wrong here, but as I see it, just one layer always and, and tire next to each other. So here you mix a little drop or brush, amount, color, or depend on your area. Of course, if it's being, you need much more and nicely put one layer of that color on your paper. So the variation of this technique we time showing next is we knew blend colors into each other within your collar areas. So the artist I'm introducing is David Mack. Aon. Sorry, again, I'm not sure about the pronunciation. He is absolutely incredible. And via he also tyre areas usually hit tired, bigger areas, and within the areas, he blend colors into each other as you can see, for example, in the middle, this little hillside, it's Vo1 tire, the hole here. And you can see as Alito blue patch is blended into an orange and then probably paper, right? So he's skip and then a yellow color blending into it. And then on the bottom you blend a darker blue. And this is how the whole paintings build up. So bigger tires and within the tires you mad colo or color or different colors into it. Other. Of course, it's very rare that artists use one technique entirely clean. But actually in the case of these two artists bought the previous one that dialing and this color blending plus dialing, It's usually, at least on this example as adiabatic liens or not. No. Not much other technique mixed in. You can see these techniques pretty clean. And one more example for the same, from the same Arctic stand for the same thing. But here you can see it's much more complicated in the foreground that had much more tiles. Usually the tiles have little white edges. And you can see on the background mostly blended diodes also in a foreground, for example, on the right side, those orange red are melted to each other. So it's much more complicated, much more things added up. But the, probably the most interesting was to leave little white edges between tiles and mixing different basic techniques. 3. Toolkit: layering: The last tool in VAT on dry toolkit I introduced today is the layering, wet and dry layering. So what you can see the landscape of mine and why I'm showing it, because I used this technique a lot in this painting. The idea here is that you start on a dry water colored paper and you put down little water colored patches and you wait untill dry. And then you add more and more on top and they overlay. Of course, when you paint organically, it's not like you dry. And then you do the next one. You just put down everywhere watercolor patches and you building the whole painting together and vial you adding every little color surfaces. You, you organically going to another area. And when you're done, you can go back to the origin because it's already dry. Of course, you need to make sure your brush only contains enough water to make the Alito surface and not leaving droplets. Because otherwise it will be messy and they will flow into each other. But this is a really one of my favorite technique. You can see a little cut-out much closer here. You can clearly see those little patches of colors by how they overlay on each other. You can see, of course, sometimes it's not 100% clean, but it's pretty clean. Clean. I mean, it contains only this little detail, contains only this one technique. Not the whole painting contents are the technique too, but this little details contains only this layering technique. If you impatient or just, this is your style, nothing wrong with it. For example, on the top, this orange, a little bit flawed because I didn't waited until it's dry and it was too much water and it generates this literal bloom. So generally this button right, tax techniques not generate blooms or was Bach's. But you can, there are no rules. But if you use the technique clean, you not ending up in Bloom's. Otherwise this can be your strength to mix them. So nothing wrong with it, but just saying, when you use the technique clean, you always wait for the previous layer dry and that's when you add the next one. Here. You can start with any colour. You can even work with three colors, the three main colors. Because with the next layer you always modify our previous color. So opposite to the previous technique, you not using predefined colors where you only had one layer and that's your final color. But here you always changing and building the color's itself via you building up your pain Tang. As I said, this is one of my favorite technique I use a lot, so I show few more example. I often use this in portrait her. So I'm again just showing a cutout here. I also used a lot, the layering or so just one layer clean tiling. And here again, very similarly. Diode, also layered, but it's more like layering in this case. That's a very classic technique. Many famous painter uses it clean or mixed. And one of the most famous painter pauses. And also when he used watercolor, he almost always use this layering technique very, very beautifully. It's absolutely amazing. Typing your browser, pauses and watercolour and zoom in. You will see it always this technique. So he built it up this whole, whole Still Life. With this technique. Actually, you can see in the background and in the upper, you can't really see that. It's looked like almost mood colloids. When you look the halting or even just looked at Brown, probably Woodward Background. You don't think he build up those from layer of paint. But when you zoom in, it will be obvious. You immediately can see the brush marks. How it's built up that colorful textile, or even the foreground or the fruit. You can see it's many, many distinct brushstroke and it's most probably dried before he added the next layer. And this is how he ended up with that very rarely sticks mood view because he didn't painted a gradient. As would be another technique. He added always just one brushstroke of color. And when it was dry here did the next one and the next one. And this is how built-in up at this beautiful fruits. And here again, you can see that he mostly used clean colors, but as it build it up, it it, it caught the sheds and and stuff like that. So for example, here you can see blue and purple on the dark side of the fruit oil ways. And it just like one color layer, one liter color surface. And this is how he built it up at the tones and the volumes and even the colors, just building up this little layer of colored patters. And here is one more example. It's a landscape. If you look close it abuse it. Asked probably for color, blue, green, always the same one. Red and yellow. And build it up for this landscape. Also, he's di, contains a lot of paper rights. So he skipped many area and just keep the water the water color paper right there. That was true also on his still life. So if you want to see the most amazing way of using this layering technique, searched for the water colors of Paul Cezanne. 4. Tools and materials: In this section, I will introduce you the tools and the materials you will need for this tutorial. So in this tutorial, you need watercolor paper, but the quality is not that important. And I either suggest to use cheap watercolor paper or your decide, or even the backside of your old, unlike unwanted paintings. So don't, don't use good quality paper. You need a little corner on your old painting or even you can overprint partially or odd painting. And many watercolour paper has good backside, you can use that. And also there are many student grade watercolor paper which can be suitable for this tutorial. But I use this the fluid watercolor paper called press. Just as smart block, nine by 12 inters in. Also used leftover areas on my old painting and backside of my old paintings. So whatever was handy I used. Don't spend too much money on it for sure. So what they're colored paper beside the fluid. The cheap one you can buy if you need to. Why is the console x l? I can such as that, or if you want to buy good paper, but I really don't suggest two. For this watercolor paper, I like the Kilimanjaro, the ash or attaches the stone hand, the long-term prestige. And actually I like them anymore. So these are just few examples, but I strongly suggest don't buy anything. Activist grade for this tutorial, specifically other four other tutorials I really suggest at is great. But for this one old paper side of your augmenting backoff, oil painting or student grid. Cheap paper is suitable. You will need few large waterborne strongly suggest white or transparent, because then you can follow how we are water get dirtier and dirtier and you know when to change. More water bores, the batter to with a minimum lighting and tools, larger sizes. I think that AT will need few brushes or even one is enough. But I used it was sealed brush, black velvet type brush. And I probably use size aid or or whatever was around me. But I think size eight. Was what I used. Regarding paint. If you have any watercolors that honesty, any with six color, you are fine for this tutorial. If you have more, it's better. Of course. I suggest artist grade paint. It can be a SAT or you can have tubes. You just need few color. Five-sixths. Of course more than battered, but 5-6 scholarly, we're fine. Absolutely fine for this tutorial if you don't have. And that actually, I strongly suggest this Daniel Smith dot card, which contains about 238 corner, if I remember correctly, all the colors they have. And you have sample from each and every color. And actually you can totally paint several full-sized painting, The amount of paint on those dot cards, and you have every color. And that's a really good thing to use for this tutorial. And it's just really fun too. Play with this dot CAD or so beside this tutorial. But it's like, let's say 25 bucks, I think on Amazon or oblique. And that's so much cheaper than any act is great water color set. And if you are a beginner and you don't know what and how we continued that. I absolutely suggest also you will learn which color you like, which, not which one is reversed easily, which one is transparent enough for your purpose as so a lot of things you can learn. And I really suggest this. What I used is sun earlier, 48 color watercolor SAT, which I have thrown from a long time. I likes an earlier paint very much, but I am absolutely not a big fan of this kid. I think there are many weird colors in it. The colors I like that they are not in it. And I just not a big fan of this set. I have a full box of tube colors from Santa Maria and I really loved them. Absolutely loved them. It wasn't a lucky by phone me, but, you know, sometimes you have this kind of stuff where you don't wanna use your most favorite paints and it has many colors and it's a really good quality paint, so that's what I used. And other than that, you will need some probably need some kind of light per, which I would say if you don't want to buy, that came by on a photo, which I totally understand. Then probably kitchen paper towel is your best guess. So that's what I said. Just and I think that's it. I hope you are going to try this tutorial. 5. Practicing the basic brush strokes: So let's start and try the basics. Absolutely all the basics, just try on a piece of paper. So take your piece of watercolor paper and the append and water boards and one brushes enough. In what I'm doing, I'm making little color surfaces. At One thing you can learn from this as to add exactly the right amount of water. So when you, when you take off your brush, it's it's completely covering the area but not leaving like shiny water, paddle, paddle there. So it's just exactly the right amount of paint. If you have leftover Like I'm not now, you can remove it by drying your brush a little bit and take it off. But as you can see, if you have a good water colored paper and you wait a little bit most time it's equalized. But if not, That's what you really can do, is drying your brush and and remove the access. This is what exactly I am doing here. So just don't leave extra water because that's usually generate blooms, which is not a problem when you organically pain, but this is an exercise to make this color surfaces just right. I'm working on a, I think a backside of a watercolour paper, if I remember. Actually, I think I'm I'm working on the leftover of my or I mean, the side of my old painting site's a good paper, if I remember correctly, it's probably in a piece of arche or Aj's paper. I'm not sure it's the backside or not, but it's not even important for this exercise. So in this case, just one case, I leave more water to see what happens, but actually didn't bloom on the end. But I tried. So if the paper is really good, it's usually just equalized and suck up the water very well if it's really, can show how good is your paper on that. If you get a lot of Bloom's, it's usually a cheaper paper. So and also like you can make this in just shapes. Same thing to use your brush and like make like shapes with that. So when you paint, it's, it's really depend on you. If you just use bus brush stroke shapes or you design like you just always use triangles or round or whatever. Or you can use or kind of vn are more ships so you can try that. It, since it's a beginner tutorial, it's good to try, like, decide that you will make whatever like shape. Like a plant with leaves or something like that. And I again, trying to add a little bit more water. I don't know where it's lead. And I'm showing Next is the blending, Blending colors into each other. So there are two ways to do this. One of them is to start with one color. And then when you are done with that area, just pick up the next color and blend them together in a middle. I will show another version of this, just like just do it once more with different colors. So you just start with one color and take the other one and lead them in the middle to blend together. So the other way of doing it is preventing your area and just working in that area. And in this case the middle will help you to, because it's already developed. It we loaded the bring the two colors to each other. That's also useful if you want to leave a light zone between the two kilohertz, then you can you can have just the color blending into the right. And yeah, that's another way of using if you just want to name one and the area with going from dark to completely white. And of course, you can do this with as many colors they wish. How your color exactly will behave. Its depend on a pigment, the brand, the binder, so many things you can get surprised at that regard. Some colored Bland last, some core blend very well. You will only know if you try it. Paper is also important. In this case. In some paper you can get better result is some paper, it will be always stripy and uglier. It's totally depend on on your on your water color, pigment, paper, experience, level, everything. So you can use this technique. The second one, to have some kind of shape where you want to melt colors. I'm using a little yellow as a basis, just make it visible. And it's not what I want. Like, assume this is just clean water, but otherwise it wouldn't be visible. That's one of the one of the lady suggested to me who is doing my tutorials. It's easier to see and she's absolutely right. So then you can add the colors into this pre wetted area and Eventually the wet area will bring the colors into each other because they all diffusing on each other direction. And so you will have an area where the colors are meeting. Of course, if this is your STI or you are an illustrator, you can do this so much better than I do. So much better quality. But my aim is here, absolutely NADH to doing anything like a perfect blending and stuff. Because I'm not good at it. It's not my thing at all. But I just want you to understand when you paint organically, which actually is my tank, what kind of tools you have. And when you paint organically, you It's very rare that unless it's your style, it's very rare that you need to have like perfect gradients or stuff like that. As just its actually just show you what your paint can do and what you can, how you can use whatever your, your watercolor tools. How watercolor can be used. So it's about that, not about generating the most beautiful gradient. Many painter landscape or anything, honestly. You, your, your and you do it like not like an illustration way or you'd like really painting. You usually work very random. I think at least me. So I'm not making decisions that I'm making a gradient here or what? I'm just building the whole thing and whatever that thing and ask me to do I'm doing it. So the next thing I'm showing the layering. So I also introduced, if you remember, Cezanne and lot of other artists. So I'm layering now. So layering only can happen if the first layer is dry. If not, you will either loosen up the first layer or the second layer won't have an edge because it real just for into the previous layer. So if you want real clean layers like this, you need to wait until your previous layers are completely dry. Also, when you add the second layer, you cannot really go many times over the first one because you will loosen it up. That's also depend on a paper, a pigment. How staining is the opaque pigment? How the paper is good for lifting some pigment, much easier and some paper is much easier to lift up the previous layer and mid sandpaper, it's really difficult to lift up the previous layers, so it's depend on pigment and paper again. But overall, my suggestion just go above the previous layer, maximum twice and try to not massage with the brush too much because you can easily lose your first layer. So that's layering. Actually when you layer coil here you can, with this technique, you can use clean calories and you wanna change colors. You just add a new layer and this is how you mixing colors, you not remixing them. You just mixing layer, you adding a new layer. That's how you mix the colors. Of course, you can mix and match all of these technique. What I actually do when I organically paint. 6. Practicing the basic brush strokes - continue: So I'm continuing this toolkit practice section. This is the second part. So I'm just continuing with either exec Sam sport where I finished. So I was talking about layering, which I just did on one of my gradient. I just add a new layer on my gradient. So this is what I'm trying to say. All these things can be mixed and matched it with each other. And when you, when you really paint something, it's usually happening organically. The another thing, especially when the layering its gives you very different results. So you can use the colors vary, like dance as I did it here. Or you can use very, very light colored washes and then layer those very, very light colored washes. Actually bought al fine. It's when you have very light colored washes. You can build many, many layers on each other. So five, even more. We have very strong colors. It's, there is a point when you completely lose your paper right? With the water color. No matter which technique to use, you don't want to lose the paper, right? You always want to have that brightness, that, which make the colors match more living. You always one that brightness from the paper, you know, and I completely cover the paper usually. And so that's another thing you need to understand if you are a beginner with watercolor, that no matter how light is the new ad, you always lose paper, right? And your volumes is always dark. And so for example, I added yellow. And if it would be an oil paint or a temper, our guage, It would be lighter than the orange behind, let's say. But with watercolor, how you need to image in imaging several colored glass. And if you just put one layer of colored glass front of you, lot of lights coming through, but you adding more and more layers of colored glass, no matter how clean is that coal or even yellow, or even just clean glass, eventually block more and more light. This is how water colored works. So with every layer you losing more paper white, and your color value get worries. Darker and darker bats are a very important rule to understand. So we'd water color. It's very different from oil or, or acrylic. You can't go backward. You always can only go one direction, light to dark. It's not like you add a new layer of white and then. You when you don't like it and you restart on that area. And that's not happens in watercolor, you only can go darker. So if you don't like something, usually you just go volume darker. And everywhere. It is, how it works. And I am showing the very light version of what we did just now is a very light version. I add very, very diluted colored washes. On the left side. Of course always need to wait for dying. And so I'm just showing that's another thing when you layering, you can consider that like, ha, ha, what value you start to it. And the logical ways to start with very light values then building up to darker deductions. But it's nothing wrong with it to starting with more bright colors. You just probably can't give, can't put as many layer with darker colors then what you can do with lighter ones. So when you layer, you always need to eat more. Because very opposite of the wet on wet technique video, to work violates wet. It's the opposite here. You always have to wait until your first layer is die, when you paint organically a painting that's usually not a problem because it's bigger and you work, you always can go a sport where the previous layer is already dried, but I'm working on a very small area and it's a little bit different because I'm filling up everywhere and I always need to make sure it's dry. So also I want to run a short distinct as clean as possible. So yeah. So I'm showing now a little bit of dialing, so I had the yellow tie all it wasn't the best color choice. But anyway, that's another thing you can practice to put very complicated colored shapes to each other. Three ways. One is exactly, precisely next to each other that's really had. The second is leave a little wide zone between them. That's also hard, but probably a little bit easier. And about the same complication when you want to, just a tiny bit overlayed at is none of them is easy. But it's good to practice because It's it's just make your hand a little bit more smart when you paint, you don't need to like, think about it. You can do it more automatically. So it's good to have just paint up 1020 intermingled colored ships next to each other. And, and try with these three ways to like overlay. Have a little gap between them and just exactly touching. Make sure you always put tiles next to each other when the previous one is dry. It's much easier. Even if you leave a little wide zone, you probably will touch one color we flow into the other, which is usually not a problem and you Painting organically, but if you want to practice tied to avoid it, because that's the aim of the practice. Just your hand be more precise and smarter. So I'm continuing to building this very light washes on each other. I think it's a very beautiful those light washes on top of each other. So I really like to work that way. Also. You can see all the way through I'm working. I, I always end up the exactly right amount of water in my brushes, in my brush. So I'm not leaving puddles. It's just in this case the brushes so much drier than. But if it's true die it's a problem because you can't finish the wash, so it's really exactly the right amount. And that's another thing is probably not trivial. When somebody is a beginner, to know, to know the right amount of water in your brush. But if you choose your brush size right, they knew your, you will eventually learn. Your, even without thinking about, you will learn that brush. Take how much water. You will learn your bashes just by using them. So don't worry too much, it will work out. So you can see this in the last thing I did, they allow with the blue and the red. You can see as I mentioned, the darkest color is in the middle. And it's because it's the most layer, it's three layers and everything else at two or one layer. Even if the last layer is yellow as it happened, it's still dark and everything was there previously. So it's very different from other paints. It's still it's still just another layer. It's blocking more color, no matter what is the color, the yellow is blocking or not as much as dark blue, let's say, but the yellow also blocking the paper, right? So every color blocking the paper white. No matter how light is at. It's just the amount how much it's blocking. That's different between colors. Also how, how thick you use it. But watercolor honestly don't like tech. And it's very expensive. So you don't want to paint like them better. And also it's ugly. Water colored is the best when it's light washes or not light but just washes. They think what you can see here on a paper that's kind of the range, I said just so you can see, the lightest strange in the dark is strange. I wouldn't go lighter or or more levels or darker regarding how much paint ideally you tap. So just try to keep this colored glass feeling with watercolor. Always make the paper white come through. So you can see the arrowed I mentioned with this blue first-time made it dark and then I decided to wash off a little bit. So I massaged my previous layers too much and it came off. So you can see the red one on the right side come a little bit lighter in a in a spot because I just, I just loosened up the first layer to match when I added the blue and then I remove the blue, it was too much massage for the red and it come off. So I lost that a little bit. It's again, when usually you pinned organically, these kind of things are not even like, it's not like not a problem. It's usually just beautiful. But if you wanna do something like illustration or you want this to be very precise, then tried to NAT massaged, just put on the layer and leave it. Because if you go back and force you will loosen up your first layer. So next we trying to paintings, we using these techniques. 7. Practicing tiling: So in this section we finally start to paint. I choose this leaves. For the first hand on part. This will be the tiling. So what I do, I just use watercolor pencils to outline just very, very vaguely. And lea leave and I start to paint tiling like the way I explained. So I tried to get the color right, right away and just build up the painting or this exercise. It's not a painting at all. By this technique. I am, it's not something I usually do, so I won't be great in it. But I think I can just, So what is it about? And because of my many years of watercolor experience, I probably will do a little bit mixing with other techniques, but I tried to keep it very just clean on the tiling type of solutions here. And you can use this leaves on the monitor you, as you see it, or you can totally feel free, just put another leaves next to you or any other object. What you think is a good example for tiling. So one way of doing it is to take one color and put it down already in several places where you know, it will happens. The advantage of this method is you don't want a pain. The neck style via your first previous tiles are red because they will melt into each other, flow into each other, unless you leave a thin white line between the tiles. That's actually not super easy, but look very beautiful and exciting. Many act is to use that technique. You can try it absolutely in this exercise, just try it. Try to over lay tires when the first one is dry, obviously. Try to label it or white zones. It's all very expressive, very useful technique. Ideally said, just try everything we were talking about and also try to do it very organically, especially in the second part. So don't really think about just as, as, as you fail because you decide the shape and the size of the tiles and lots of things you decide, you, you decide how clean colors you use. Audio mix dial up very much it all. We result a very New way of painting the sleeves. And it's, it contains that way or on personality. So I'm at least right now using very clean colors, but you can go pretty mixing with the green, with brown and orange and a little yellow and go that way. It's totally on you. How you do it. Also, as I said, you can overlay the edges of the tiles, but in that case you have to wait until the first layer is completely dry. You can leave little zones between them. And this is how you, you kind of start to understand water color. As I mentioned, possibilities are endless in painting or art that are much more. Things never happened then the thing's already happened in ads. So you have always a chance to do something completely new, completely new view. You don't need to follow as I am doing it. The only thing I suggest because this is what I'm trying to teach. Just use the tiling technique that ad. And other than that, you use your own Bay. As I said, you can go with very tiny tiles with very large tires. You can use the shape of the capillaries in the leaves as a tile shapes, but you can completely just follow the shapes of the colour. The colour areas, which is not really followed. The capillary system of the leaves. So you, you have a lot of freedom here. I'm just suggesting to use the tiling technique that at if you're not sure how to go. Unfortunately, I named this for tiling and I don't know how the literature or whatever call it. But I mentioned several artists in the introduction, if you not sure, go to their work and zoom in and look what they did. Also, if you don't want to paint this leaves, that's totally fine. You can make tiles from everyday. Theoretically, there is no such a thing. You cannot paint. This way, even you can take a white, white mug, let's say a white person or a mug and new campaign tip tiled easily because the white person among usually reflects a lot of colors. It has shades on it. And also shapes like the little holder or whatever. You can find the tiles in anything. So if you want to use different item, rock and beautiful rock or really anything a face portray. You can do it this way. Fruit, fruit can be really good. For this way. Also, you can ignore the shading and just deal with colors, for example, in the case of the slaves. Or you can also include the shading into the structure. So you can see it has a very light area on the left side from the midline and very dark on the right side on the midline so that can be part of the tire lengths. So Tyack and ends where light and dark areas switch. I completely ignored that. For example, when I did mine. This is why I am saying the possibilities are endless. Use your fantasy, the ways you like. Just use the tile technique. You will need some pesante because you must not try to avoid to paint where the previous layer are. That because that's, as I said, unless you leave little white zones between, it's not great for the tile technique to to put diapers next to each other when they are wet and touching each other because they definitely will flow into each other. My color trustees are very like clean out of the box colognes. But that's again, also your test. If you premix your colors or not. I'm removing the little bit the water colored pencil drawing when I don't need its unfortunate little, little wait time and new door days because you really can only paint where where you already have dried areas. As I said, it's pretty new for me too. I never really used this way, this technique. But it's the basic, the basic technique. Actually. Good to know about it and good to understand it. You can be much more particular, much more precise on this, like using just one way. I giving example. I mean one way, like, let's say you live via zones between every tiles. You use. Given size of diodes or you use as a tired the main thyristor capillary system. And then you tile within those zones. You can overlay the tiles as, as as I showed in the, when I introduce the activist, the one I showed Robin parcel, she always overlaid a little bit to the edges of the tiles. So you can be much more particular or you can be organic. A little bit like me. So whatever happens, happens, you just go by the flow. There are no rules here. As I said, you can do as you, as you wish. So I finishing up this, you can make a whole painting like this landscape, particularly nice with this technique. But I just wanted to introduce in this lesson. See you in the next part. 8. Practicing blending: So deflection will be all about blending colors. I chose this place. It got ZAB risky point. It's in that worry. I took the photo. And these rocks are very, very colorful and there are a lot of color blending here. So I found it as a good exercise for this tool. We can practice it a lot. So the idea here is to have given areas like tires, but within the big diodes, we have colored Blanding's. And so I kind of outline with watercolor pencil just as big dials. And I tried to blend colors within the tiles and then have a more sharp edge. Like in my case, it will be kind of more like space, like little rights-based, but I wasn't that precise about you can either leave space or tried to make it very fitting very well without space or you can make a little overlaying within the tires. Whatever you think. The trick here, I'm using arche paper, rough. I had this very small paper from long time ago. Psi dot it will be a good exercise. It would be a good use in this exercise. It's actually really good for this thing because this paper is really high quality. So the idea here is you have to finish the melting the colored very fast. If you let the colored sit too long, it will settle and start to dry. And when you add the next color, it will generate balloons. If you add water control is not good. Let say you have too much water in your brush than the colloids. We'll just flow into each other too much and you will lose the individual colors and you won't get a nice gradient. It will be just more similar everywhere. If you finish a tire like a big tire, with the gradient in it, It's better to start another title a little bit further, Dan, because so not a neighboring tire because then they there's a good chance that they will melt into each other. If the two painted area touch each other, you can live a little wide Zoe's, but it's hard to be that precise. Another thing I wanted to mention, the you don't need to follow the exactly the rules. You can be a little bit innovative here. So what I, for example, trying to take one color paint, painted too many sport within the dial and then add another column in between. And so you don't need to just go from 1, slowly, direct it to the next, to the other end. But you can work in the who're tile at the same time. Also wetting up the tile entirely can have because it's another way to doing it. I showed it in the basics. So then your color just mapping in the wet surface and you can add another color between them. So that's another way to work, but you can work on competently on a dry so you start to add layers just always from, let's say left to right, and just go all the way and you don't need to prevent. So you can try all these. And actually I suggest to try all these methods and see which one is. Suit you the best. I, The video again is super long and honestly, after that point its most repetition. So I will speed up the next segment. Just don't be surprised, but it's enough slow to, to, to watch it. But I don't wanna do two videos on this because it's already a very long lesson and it will be a long lesson when you're doing it. I just don't want to applaud like so many hours of painting and to finish this quiet smart paper, take pretty long. But you can do it whenever. The good thing with this, you can stop and continue. Just finished a tile and you can start the next dire next time. If you don't have a time to finish it, it's a little bit time consuming to to go through the whole thing it in once. And even it's, in many cases it's a little bit better even to have gaps between because the tires can dry up and you have less chance to met together tires as it happened for me between upper right yellow and below, darker brown. So sometimes it's not even a problem when you paint a painting. Don't, don't worry about it. It just, this is a practice and we want to use the technique as clean as, as precise as possible. I'm I admit I'm not great in that to being just using one technique, very precise. I'm not good at that. But I really like already what happening in, actually, I think I will use this more in my painting practice when I'm outside and painting, plan air from life. Because I enjoy it very much and I liked the result and I not. You usually use the layering way more in my own work. So as you can see, my method was to leave a little wide gap between the big diodes. But you can go very precise and manage them perfectly. Or you can go with the little overlay within the tire that can be beautiful too. And I, since it's a practice and not a painting, I urge you to try and test most things. Regarding the subject of this. The tutorial you can search on the internet, for example, risky 0.4 to o, or you can use mine in the beginning of the video. Or you can choose other photo. For example, lakes Chi, sunset, sunrise can be really good. Or you can use lives model like colorful leaves or, or you can use fruits and veggies, fruits with color changes on the outside and stuff like this or it's free. You can use and this technique on anything. And actually you can use this technique not only on coal or generation or changing color representation, but you can use it for values. Representing shading or like shared and light area on, on, on the objects. So you can totally do that with this technique too. So it not only represent colors and changing colors on surfaces, but how much is hit by light or it's in darker, shady or side of the object. Or the technique bought the tiling and, and the layering. And also this one for representing bought colours and colour changes and, and representing shade, the light areas coming from the 3D object. Another thing I want to say, all the three technique can be mixed with lot of paper white usage. So you so example, for example, the layering with Cezanne to lot of paper white usage. And also you saw on the example on David Makkot painting, he used lot of paper, right? So he blend colors into paper, right? And leave the paper right though. So paper right can be very useful. Here. I'm not really skipping beside that tiny lines between the elements, but that's another thing to consider. I stop here because I already reaching the limit of the video linked and I'm sure you can finish based on this. And the next thing we will practice, we'll be the layering. And for that we will use two separate videos. One simply around a little bit more PIN thing likes. See you there. 9. Practicing layering - balloons: In this exercise, we will use the layering technique by painting a bunch of baloney. This is a very basic exercise, but it's very useful because you learn your colors, the water controlling the brush1 and things like that. It kind of burning. So I speed up many areas. And you can just do it without following the video because it's really the same or the way I spit it up. As I said. Here I used the backside of my one of my painting which was on paper called breath. And this paper don't have the same back as the fraud, but it's pretty good. But you still can see that it's not as even as I would like it or if you used proper watercolor paper surface. But I think it's enough good for this practice. As I said, I said this to you, use cheap paper or backside of the paper or the side of your old painting. So the idea is you take your colors. Actually it's a really good way to learn about your colors. And you make many balloons with their boss. You can also worry here, how dark is your washes? So you can go with very light washes, darker washes. That's really good, all distinct to learn about your paint. You trying these things, so try to make both or all. So. And when it's dry, you have several balance dry. You can start to add the next layer of balloon when they overlay with the first layer. And you can learn how your color behave, how much your paper holds the paint, so how much the first layer come off YOU doing this? You learn which, which colors of yours are kind of transparent or not as transparent. So this is all properties of the pigments, the brands, the papers. So you will learn that also you will learn how much water you are brushed holds. So you will know how that your brush need to be when you start the Boulogne. If you make bigger balloons, of course use a bigger brush. It's easier than go multiple times. And that's it. So I just sat just to to do this until you really have a lot of the another thing it's good to test here, but of course, only venue of previous layers that are dry, just go for several layers. If you started to very light washes, you can try to layer 56 or even more layered and see just until it's nice. And see that the number of layers you like and start to do darker washes or so and see how many layers there you can layer put together without getting too muddy and ugly. So this is just exercise to understand your pins and pigments and Russia. Of course, if you use, if you try this on different papers or different paint brand, or even just different pigment, they will behave different. So you will get a very different result than when even just changing the paper. So if you're not like, for example, if you're using a cheaper watercolor paper, you will have bothers them. Also. When you have paddles, it's done though. Have a little darker line on the edges. But when you use good watercolour paper, it's usually not happening. But I actually like those dark relies on edges. Or even if you put very wet washes and then you let it dry, it's usually have a darker lines on the edges. So it just lots to pay play around. You can even do this just with a piece of paper by watching a movie or something. You need to wait a lot anyway to make sure your previous layers are dry. Just actually, this is exactly the way when I get new water color. This is what I do. This, this is the test time always doing ICC layering, not bellows, but usually just squares are very abstract way. But this is what I am doing this time testing my band's most of the time when I have a new new set or a new type of new brand of watercolor. On the end you can add with, with a sharp ink pen. You can add lines on the balloons and you can turn them into a birthday card or something if you want. So I hope you will try this and you found it useful. Next. We will test same Doyle layering, but it will be a real painting, so not just displaying on a paper. Ceo in that next section. 10. Practicing layering - leaf: So this is our second exercise for practicing layering i using a leaf again for this one. So this is on fluid paper if you are curious. And the main idea is to put in the front light washes, brushstroke on top of each other and build up the colors and the shape of the colors on that leave. So this technique can be used in many ways. But what I really like about you can go with very bright colors and you don't need to get exactly the color right because you always compare your current color in then you dust. I mean, compared to the reality, then you just decide, okay, it's bluer or more orangey. And the next layer you just use that colored very clean. And when it's overlaid the previous one, you just getting closer and closer to your values because he was so buildup volumes and your colours also. So it always comparing your current situation to the, to the reality when a band and you can make each layer you just adjust and getting closer and closer. And I also really like how these bright colors, it just so much more beautiful to have a faded color from many bright layers than just mixing up on a little this and just put it that medical or layer. I think it's really more beautiful. So as you can imagine, I lived like that technique. This technique also required to wait or raise for the previous layer to dry. Actually, I'm failing on that part a little bit because sometimes I overheard paint where it's not dry exactly. But if you want to go perfectly, always wait until it's a 100% dry. So first you can see I'm using really clean coal or like bright red, bright blue, green, bright green. And I start to build up values again with just using darker blues and eventually adding the, the colloids. I mean, adding up the colors, the real colors. So that's what I suggest to you. But you can do other way. How you shape and how be IDEO or your laser-like galore. Surfaces you putting that, that's entirely your style and your decision. So size-wise, very small or larger areas. Both can be amazing. No rules. That's the road. And you also can shape your, this little colored surfaces you can shape based on the structure of the leaves, for example, the capillary system. You can shape based on how the colors that place. So just check on that brown color on the leaf, check the shape and try to just go with that shape. You can also go by the volume. So you can see the left side. When it's curving down, it's darker because it's more shaded. Then you can just take that shape. And you can mix these shapes and size. And via you're putting down these little layers. So you have so much choices and you can another expect anybody end up with very similar results that regard, use your, your your preference. You can see the videos sometimes jumps because I wait for drying and I cut out the wait times. Also suggest to you like if everywhere wet, just stand up for ten minutes, 15 minutes, and go back back when it's dry or so, you can really, this is not a complicated exercise. You can do something else while you're doing it. And this is an exercise. So it's not like a real painting, although you can turn it into a real painting if you want. I like to paint leaves. I often paint like a big bunch of them in as a still life may. And it's one of my favorite topic. So actually regarding my test, I really like when it's about this state. But I did much further for this exercise. So i went pretty dark and many, many layers. And that's also good for you to go all the way even if you like it earlier or you can stop or to do multiple ones. Because you learn a lot, how much, how many layers can be put on top of each other and how dark values can be one layer. So if obviously if each layer is much darker, you use more than Speak man, you will have very few layers, maybe even just to. If you use very light verses, you can pick up many, many layers. 5-6 more events if you go very, very light washes. Yeah, but the important thing is if you want the keep the technique clean, just visit for drying. When you use this in real painting organically and then get, it's not necessarily that it's, it's dry everywhere because it can be beautiful in some spot, it's melting together. But this is an exercise, exercise where we practicing the layering. So the key here is really that layering dry on dry layers. You can see that another metal they often use when I layered, start with large colored surfaces. And when you, you go further and further you going with four smaller ones. So that's kind of my method, but it's not necessarily to go this way. I'm just saying as soon as I going further than on a process, I just putting smaller than smaller coloured dots. But you can see I still keeping the colors super bright. But the end result 1B that very clean colors because I'm layering all the colors on top of each other. So as you can see, I speeded up few parts of the video because it just came too long and I don't want to cut it into two separate videos. And there is a video length limit on skill share to upload. So I want to make sure it's fit. You can also add some sharp details like the capillaries and little brown edges of the Haws. Actually, when I'm looking, this leaves its look much lighter than on a monitor. I don't know why. Much lighter and lighter. On the monitor. It's look very dark. Also. It's good to go from lighter dawns to darker tones, but not necessarily just saying that it just easier because you can adjust the values. When you start with darker values, it's much harder to, You can't go backwards. It watercolor audio, as I explained, you always go from lighter to darker and no, no way back unless you make a huge wash. You Hugh. You wash off previously errors and stuff. But otherwise you always go forward. Just lighter to darker. Even the very dark area like the little handle of the leaves. I, I built it up from layers. And then give you make this task to compare this built-in up dark colors. And if you just mix it and dry it, I think it's just so much more beautiful menu builded up. I don't know why. Maybe I just believe in I don't know. So I think I'm finishing up here. I hope you enjoyed this whole tutorial and you learned the basics how to do that on dry watercolor. This was the last exercise. So thank you for doing it, staying until the end. And I hope to see you on my next lesson.