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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