you
fellow I want to cap and we're in the studio today
to work on some projects together what we'll be doing in our
in our assignment today is a watercolor demonstration
along the lines of the paintings that I have with me the two
on the back these are watercolors and the one on this side is an acrylic
so we're going to be working on controlling the out of control
these are situations that I often see in my workshops where people struggle away
with the things that are going on in particular were going to be working wet
into wet
and building multiple layers on
so if I was painting in the positive
the way that most of us usually work I would be filling in my shape with color
but instead of doing that because I'm working in the negative
I'm painting the space around it so I'm just gonna glide that color over and I'm
committing to memory this stroke that I'm making
and I'm gonna pull the color out wash it away
it's a really good idea to practice this before you get into a painting
specially when you're working what into what so they
your hand is trained to the shapes that you're making
again I'm washing not color away what's try once more without drawing at and
but that's the basic concept of what we're after
so the stroke load up this brush
12 to will fill out a little bit more
so there's my basic shape now in my
sample in my photograph they have not just cut into them
so I'm going to do that with my brush
I'm going to cut those in now so I'm carving away at that shape
on
when you're working with watercolors you don't have to just put it on
with thin layers drying in between
painters such fabulous stuff
0 it just spreads and it flows and move so why not let it do its thing
I'm knocking a little bit about to turquoise in there
just because I can still a little more
if you like it in one spot could it in another spot
if you put it down on you don't like it somewhere put it in another spot anyways
because
if at this point if I got panicky
and I grabbed a piece a tissue when I start padding out the surface
I'm going it I'm gonna disturb things and I'm not going to be happy with the
marks that are left on the paper
I want this to be really wet look at those nice stark's in here
I'm thinking about overall movement the structure
I love the plant the stems
work of you know some wash my brush 0 yet wants is put some that
rosy color in here first nice color
even though we've got some pretty bright lights on here in the studio
you can see how long I have to work in this wet
no way at approach building up these layers because first of all I wet my
paper so completely to begin with
and put it on this non-core surface so it's really just doing its own juice
are and I'm using all those thick paint
I've got my little rigor brash and I'm wedding it down
went a got some more water and I'm going to just
tickle it just like I am on my arm just take a look across the surface
above the paper just because they said its it's so vulnerable
just a wee brushing with this little bit of moisture on this long brush
and I should get some nice little light lines happening
because what I'm doing as I'm forcing some backruns let's hope it works
you know whenever you want to it doesn't but oh yeah there comes
we go put some lines down in there
just at break that up a bit
I'm going to turn my painting as I go so that I can get into the shapes that I
want I'm comfortable
handling the brush this way you'll see I keep my finger
on my paper where I need a reminder up here's where I'm going to go
so I have a leaf here here's a little
here's a little less space between the leaf the colors that I use
are guided by what color is already in the under painting
it's entirely up to you
how many layers you like to build in your painting
some people want to
leave it loose and diffused
so you may choose to only do
one or two layers and somebody else might like to be a little bit more
specific about the shapes that you're making and tell more
provide more information so
that person may choose to build a lotta layers and we looked at
building multiple layers and and that's exactly what you would do you just
continue to do this
skip stand back from time to time
assess what's happening yes I am getting a bit over background here so
dry of my brush she tease this said
goodbye to the background
let's hope
now the colors that are down here I've got a little bit of the rosy color
can't just tent don't need a whole lot
and I'm going to drop that
in to paint around I'm thinking about the large
mass form above the berries
rather than individual little bear East
its wash this down and decide how far do I want to pull this color
i'm looking at the shape of this branch don't need to define it too much
Marino just carving away and then I'll wash it up
there's some rosy kind of color here
its poll it forward get some black cobalt turquoise late in
Jan I'm just sticking with the colors that were in my underpinning
I know I'm completely safe to use
the five colors that I started with I can use them
absolutely anywhere in this painting and I won't get
into any problems it's when you are three quarters the way through a
painting
and you start searching through your power door into your paint box
think it will what colour my going to use now
that's when we get into problems with color harmony so if you stick with
whatever you begin your painting with Carey that theme through
the whole painting you up I'm so we guarantee yourself success as far as the
color goes
no matter what colors you've chosen to use