The two-minute art tip segment opens with several small videos on the screen from past shows plus
the text I like shiny. The title of the segment also appears which is Hahnemuhle Watercolor Blocks.
Hello and welcome to Cheap Joe's Art Stuff my name is Julie and I'm here to impart some knowledge to you
today via a two-minute art tip and today's tip probably not going to be two minutes
not gonna lie. But I wanted to introduce you to a new product some of you may be familiar with Hahnemuhle Watercolor Papers that we've had available for a while now in like the sheet form (a picture
and description of the Hahnemuhle watercolor papers appears on screen) really beautiful professional
artist watercolor paper just glorious but now we have them available in blocks. As we said
a professional watercolor paper (a picture and description of the Hahnemuhle watercolor blocks
appears on screen) mold made acid free it's a light fast natural white so not like a super super white
but it's it's very clean. It is surface sized and it has a vegan sizing which means it doesn't have
any kind of animal derived sizing in the paper and surface size means that that sizing is just
sprayed on to the top, which means that it's not permeated throughout the whole entire sheet, which
means that it it's an exceptionally tough paper but the sizing is really only applied to the
surface so if you're really really into scrubbing and stuff like that you know maybe not. However
this paper is really unusual (Julie's reaching into her desk drawer and bringing out some of
the paper) it's got a crazy soft feel. I really kind of like. It it's categorized as a cold press
but it doesn't feel like a cold press that I'm used to (Julie puts the paper which is part
of a pad on her desk along with her palette which contains several colors. The paper also
has a pencil sketch on it of a rhododendron flower with leaves and comb) so we've got
some here and I already have a sketch established going on. So I wanted to
show you a little bit about how this behaves (Julie reaches for a brush) so
they can get a feel for what we're talking about. I have my Golden Fleece size six here
and I'm going to primarily use wet paint onto the dry paper or probably not going to do a whole lot
of wet and wet unless we get into doing some amorphous shapes in the background. So let's
just play and I'll show you a little bit about what we have going on here. Let's see I'm going
to start with some American journey green gold (Julie adds paint to her brush from her palette
a picture of the green gold paint tube appears on screen) because this is a very very yellow base
green. So we're going to keep everything lively and fresh springy looking (Julie applies the green gold
paint to the leaves of the sketch) We're actually rendering a rhododendron leaf here so we want
some nice bold color in there but we don't want to muddy everything by getting too much going on.
So this is a color that I really like especially with like vegetation and stuff
that keeps every all the other layers fresh it doesn't muddy easily and everything
stays light and bright and warm and pretty and so this is a really really nice color and sorry for
saying really really I've noticed that I say that a lot but when something's really really good you
have to tell people (Julie continues to recharge her brush with paint and adding that paint to
the paper) and you can see that it has kind of I would almost say like a velvety texture
to it it's very unusual for a cold press not typical. So if you're looking for something new
to kind of play with and see if this maybe is a little bit more your direction and your liking
(Julie's describing the unique characteristics of the paper) check this out because as you can see
it's not like smooshy and woody like a paper towel. This holds a very tight crisp line.
It's gorgeous. It just doesn't have a pronounced kind of cold pressed tooth like you might be used
to. It behaves a little bit differently than that (Julie continues to add the green gold paint to
the sketch occasionally dipping her brush in water. She's still working on the leaves)
Drop some color in there quickly. One of the mistakes that I see people make with especially
like vegetation and botanicals is that they they will use the same color combinations throughout
and they'll treat every leaf the same and even though it's the same leaf on the same plant
that doesn't mean that all of them look alike and then this you know this leaf (Julie paints
in an additional leaf that was not part of the original sketch) it isn't even there I just put
it in there because I I wanted it there because there's just too much of a weird space there.
So the key is to kind of keep it light keep it interesting keep the viewer's eye moving
around and one of the best ways to do that is to change up the color, the way it plays throughout
the whole piece and how it lays within each of the the leaves the sections of the plant
because you can use it as a visual tool to move the viewer's eye around the peace. We're gonna pull pull the viewer out with a little bit of
repetition of this color like way out here and stuff. So again this is American journey green gold.
You can see it's sort of green but it's a very very yellow based green and gorgeous in my
opinion because it just it like we say it plays well with others. (She continues to add water and
paint to her brush) and I like it so and then we need to make a couple of these things happen
higher up. (Julie adds the green gold color to the cone part of the Rhododendron sketch)
drop some of that in here and up in here and you can see green gold is fascinating
because you can you can (Julie makes the green gold a dark color) make it this green
like that or we can dilute it with a little bit of water and it can be (Julie makes the green gold
color a lighter warmer green) this kind of green this just magic warm golden happiness that we're
gonna let happen right here and we're not worried about if we splash it into one of the other areas.
It's warm enough and forgiving enough to where that won't matter so don't get all hung up. It's fine.
So we are going to just show you basically how this paper works here. We will take this piece
to the next level. (Julie reaches for a new color from her palette called Ward Jene's Dusty green and
starts to apply it to the sketch) We're going to play around and let the colors kind of
do their thing. This is a new color that we have coming out
named after Ward Stroud (a picture of a tube of the Ward Jene's Dusty Green appears on screen)
Ward Jene's Dusty green and it is a lot of fun. It has its own particular behavior
and attitude (Julie's adding the dusty green color to the leaves mixing it at times with
the previous green gold color) It just looks so rich and luscious next to so many things. So
when you see that out there don't be afraid pick up a tube it's going to be great and you're going
to love it (Julie continues to add the dusty green paint to the leaves of the sketch) it's
very highly pigmented and so just a little bit is going to do just fine
and it's just warm and luscious and pretty (she points to the dusty green in her palette) and you
can see even in the palette it's got warm tones in cool tones all in one and so you get this amazing
dynamic range of color within this one thing and it's that's nice I mean that's nice to have
and so we got some good stuff happening right here (Julie blends the dusty green on top of the
previous green gold color) we're gonna keep playing that up keep playing it up and letting some good
stuff happen and we're going to we've got some wet and wet passages where we've got existing
color already down. We're not going to try and you know like steer it in too hard we're gonna
let some fun things happen. Now we're going to switch up so we got all this like yellow green
yellow green you know cool stuff happening so what are we gonna do? (Julie uses an arm gesture and sound
to show that she's moving in another direction) we're gonna, errrr! steer it in another direction.
and I'm going to grab some Quinn Violet which is
as you know one of my favorites and we're going to drop in. This is a little intense that color is.
It's super super highly pigmented, it doesn't play around, lots of gusto for your money. So we're
going to basically just put in color here (the Quinn Violet mixes with the previous colors) and
those two things mixed together, I don't care. It's fine. It's going to create something warm
and yummy we all want that. With this color dynamic you're going to have this like warm richness. The
quinn is gonna, the quinacridone Violet's going to provide that like just super sharp visual contrast
(Julie's adding the Quinn Violet next to the green gold color) I just love this color
it's so pretty and so we're going to let these things mix and mingle and yeah you're going oh
it's running all over the place! Yeah it is. It's fine. So (Julie watches her brush) we're going to
stop here with a little bit of tempting you, now that we've kind of shown you a little
bit about what Hahnemuhle is about. We'll take this on home, we'll finish it up and show you exactly
how all of this happiness. (a picture and description of the Hahnemuhle watercolor blocks
appears on screen) Definitely take a look at the Hahnemuhle watercolor blocks. They are so yummy and
so different and well worth a try. We love them and we sure you will too. Make sure to enjoy.
Appearing on screen and dissolving from one to the other are seven photos of the different
stages of Julie's painting. The photos appear one at a time each dissolving into the other.
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