hello welcome to chief 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 is about a new line of special schmincke watercolor
that you may not have heard of this is called schmincke's super granulating watercolors now
you may be familiar with granulating watercolor if you're not brief synopsis basically granulating
colors are ones that the pigment is such that even if you grind it down and grind it down you
still have a small amount of particulate always kind of in there and because you have that kind
of particulate in the um because of the pigment the watercolor behavior is distinctly different
the way it mixes the way it behaves with the way it interacts with other colors and stuff like that
these super granulating colors are one that have those characteristics in spades like they just do
grand things now for those that are less experienced with watercolors these will
probably not be um your favorite unless you're really really really willing to dig
in and experiment and let some happy accidents happen because these kind of do their own thing
one of the characteristics of uh granulating colors is that because they have such heavy
um pigment particles in them they tend to settle into the paper they also the lighter pigments and
some of the other colors that they have because there's a variation they're not all exactly
the same they settle together due to attraction so they kind of move together and you have these dark
and light points and sometimes granulated colors tend to look a little bit light on the surface
because of the way that you have undulations and changes in the color as it's applied to the paper
granulating colors generally do better on rougher textures like cold press and
rough and stuff like that because it only exaggerates the beauty of what's happening
with the granulation they don't tend to do so great on like
finished papers that have like a treated surface or like a hot press um they're very very smooth
because the the granules just kind of go a little bit nuts and kind of wander all over the place
they do require a little bit more water than maybe what you're used to because when you're using them
on like heavier papers and stuff the water tends to absorb quickly and then the color kind of sits
so you'll want to play around with the water that you use with these but i kind of wanted to show
you what these look like um i have a piece of 300 pound cold press natural white here
that i wanted to sample these colors for you so you get a feel and then we're gonna go ahead and
do a full on demo because they made sure to sucker me in and send me some of my favorite colors ever
so we have turquoise glacier is one of them deep sea blue is this other one and then deep sea green
is right here so i'm going to show you a little bit of what these look like so
you can get kind of a feel there are 22 colors in this super granulating line
not just just these i have an extra little fuzz on here but i wanted to
show you how pretty these are and how dynamic they are in terms of their look and feel and we
are going to play with a full-on demo after this with some other watercolor so you can kind of see
how they play with their neighbors but you can see that you can get really beautiful color range
with these so that one was the glacier turquoise or the turquoise glacier this is the deep sea blue
these are very very very intense colors they're a little heavy out of the tube but they are gorgeous
you can see here the power you get out just out of a little brush full and then here is our deep sea
green which i have a feeling is this is going to be one of my faves look how pretty that is
and yes i'm smooshing them right up against their neighbor so shoot me i just want you to see how
pretty and luscious these are you can already see some of the granulating effects taking place here
where the pigments are settling into the grain of the paper here you can really really see it
in these kind of like medium tone areas and also like in these really really deep color areas we'll
we'll punch up this really really gorgeous color rich this unique textural quality that comes from
the granulation and stuff like that so i have got now we've got those schmincke granulating
colors here we have a set of fine tech and then i've got my own watercolors here that are a whole
variety of things mostly american journey but not exclusively there's some dan smith and some other
stuff in there and then i've got some watercolor colored pencils here these are albert durer by
favorite castel so i was gonna gonna play around a little bit with this this is a princeton neptune
if you've been watching you have seen me doodle around with this brush and some water and color
in and what i'm going to do is i'm just going to haphazardly fling some water on the surface
with kind of no regard to where it goes really because what i'm hoping to do with this
is have this dry brush wet brush dry brush wet brush kind of um interaction um
with the colors and stuff and just have it go in and out of how these colors play
together so we're gonna just kind of lay some stuff down as you can see the color behaves a
little differently as it moves in and out of these dry surfaces and the wet areas too so as you can
see you get a tighter line on the dry surface and a much looser shape that comes from moving through
the wet areas and we're just kind of letting that stuff happen this is on a kilimanjaro 300 pound
natural white so not a bright white like i would normally use but i just thought it
might be an interesting little uh flavor change for today and so we have now gotten incorporated
all three of these new schmincke granulating colors the super granulating colors into this
space that we've allotted already and so you can see how they kind of interact on the surface when
they're wet and when they're dry brush and how kind of unique and beautiful they really are
okay we got some cool stuff happening like the the way the color's settling out here there's
a good bit of texture in here um you've got some interesting textural stuff happening right
here that i definitely want to keep because i love that but we're going to come back in and
bring some other colors in here this one's kyanite genuine from dan smith i love this color because
it's smoky but it's metallic and it's purple and blue and gray all at the same time it's just so so
pretty it's pigment base is actually um ground semi precious stone it you will notice that it
takes just a little bit longer to activate it than some other colors it takes a little bit of
massaging to make that thing kind of come alive but boy man when it does it's worth it you can
kind of tell here that there's areas of the paper that are still wet and there's areas that are dry
you know so therefore the paint is going to move and behave differently and then we're gonna
and we're gonna punch this up a little bit because when these dry they will dry down a little bit
and so the color will be even more subtle than it appears right now and we don't want everything to
be this really really pale tone we want some some bodacious color in there too i am gonna drop some
water in here to kind of make things not quite so linear kind of mess things up a little bit
okay and then this one is beautiful as another dan smith this one's zoecite and it's a earthier green
not kind of not so blue based and i really like it it's a nice contrast
to some of the more obviously blue tone stuff that i do it's friendly and it's pretty and it's earthy
and i just kind of like it and so we're not going to overwork this too much because it'll
it kind of loses something if we we absolutely beat it to death but that one's zoe site genuine
and then i think what we're going to do is put a little bit of
burnt scarlet and just to kind of throw you a curved ball actually i'm going to take my
watercolor pencil here and i'm going to put some calligraphic line in here it's kind of
like all kind of amorphous and all over the place right now what we're going to do is just kind of
um draw into it and since we're going to be doing and you know another set of things where it's like
dragged through the wet areas the dry areas you're going to see how this watercolor pencil will
react in all of those different spaces you know it'll it'll kind of pop up and disappear
and then kind of show itself off a little bit more in other other parts
and you know we don't want this to be the dominant i don't want this to be the dominant feature
of the piece it's just going to be a little something that's happening kind of in and out
and you can see as the pencil is kind of getting wet on the end you're getting a much softer
much smooshier line and if we've got some areas that are a little too hard
then we're just going to move them around you know if they become too dominant we'll
just make it go away so we're gonna let this dry and come back in with some other stuff
and a little bit actually let's punch it up with some gold everything's better when it's shiny
so we'll drop some of that in there and i'll probably do some um some gold leaf on this in
a little bit so we're gonna use some fine tech watercolors you see i love my fine tech and
this one color in particular because you can see it's it's almost i punched a hole in it
is what i've done and it's uh it's got uh has gotten its its use for sure um i default back
to that particular color quite a bit and uh i really really like it and then just let it be
and you'll see there's more granulating stuff happening there's really really cool textures some
uh the way that the colors are interacting with each other and then we're gonna let this settle
out and do its thing and then we're gonna come back and um do some foil treatment on it really
make it shiny so we'll be right back in a little bit hello welcome back we have been watching paint
dry no we haven't just kidding but some fabulous things have happened um on this piece since it's
dried this granulating color has caused some really really fascinating stuff to happen
like i'm absolutely in love with that little passage right there and this passage right here
there's a whole bunch of really really interesting detail and rich texture that's happening that
i'm excited about so we're not going to want to completely obliterate all of that wonderfulness
that we had happen i'm going to actually put a little bit of gold foil on this and you're going
no trust me it's going to be lovely and um instead of yes we have the mona lisa you know metal leaf
adhesive here and that's fantastic and stuff like that but i kind of like the immediacy of using the
zig glue pins and so i'll be using that to put down some fine lines of you know just adhesive
to make this kind of thing happen and we'll put some gold leaf on it and just see what happens
so bear with me when we uh while we work on this and see what we can have happen
and before i lose my place we'll put down some leaf and don't have a heart attack it's
not real gold folks so it's not like i dipped into the into fort knox to make this happen
and i know there's
better ways to make this happen we're gonna
very very staticky in here today so this is proving to be a little bit tricky
grab some more the glue is actually the glue from the zig pen is actually blue
and really great but on this blue that i've got happening here it makes it almost impossible to
see where i left off so we've got to kind of not lose our place when we're working on this so um
this
see he only thought that watching uh glue dry was dull
watching paint dry and glue in one demo i think you're going to be pleasantly surprised
this will take another 45 minutes to an hour to completely dry but we don't have that which
is why i'm using a zig pin the mona lisa does take about 30 minutes to cure and then before
you can put the leaf on and then another hour or so before it dries give that just a couple
minutes to settle in and then we'll dust her off and show you what we got hey so we've given this
just a couple minutes to dry and we're gonna see what we got underneath here and hope for the best
so bear with me and keep our fingers crossed um now granted i'm not using my very best brush
but i'm using a really really nice da vinci because it's nice and soft and does cool stuff
so i will have to wash this brush out after i'm done because it will be like little
gold flakes in there and that's okay
and yes you can save every last bit of this that i'm scraping off
and i have done that before because it makes a really really nice texture
i'm not doing that right this second but that can be part of what you do
so turned out kind of cool we started out with some schmincke granulating watercolor added in
some other of my faves a little bit of watercolor pencil and now a little bit of gold foil so you
can see all of those different processes but i think we turned out with something kind of yummy
and welcoming and hope you learned a little something and we hope that you enjoy thanks for
watching
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