Let's Paint Gourds in Watercolors REAL TIME Tutorial & NEO Watercolor Review Video Lecture | Master the Art of Watercolour Painting (English) - Art & Craft

hey there Lindsey here the frugal
crafter today we are gonna draw and
paint some gourds and pumpkins so I'm
gonna start off I'm gonna and I'm gonna
let my pencil line show cuz I kind of
like that sketchy looks I'm starting off
with kind of like a squashed oval and
then I am gonna do an oval next to it
it's kind of up on on an angle kind of
an egg-shaped
and then I'm gonna do a circle over here
and I am just working on some 140 pound
aqua B paper that I recently got an ice
pack up because it was really convenient
too I'm gonna set that palette out of
the way for a sec it's just really
convenient to have those smaller sizes
right there I'm gonna put the stem there
and you're gonna put my little stem on
this at all I think it's called the Jack
be a little pumpkin here and now I'm
just gonna start putting in some details
I'm drawing a little bit darker than I
normally would because for two reasons
for a one I want you to be able to see
what I'm doing and also I want my I want
my lines to show because I just think
sometimes that's kind of a fun look so
I'm getting these little segments in
here I want this to have a lot of nice
shape to it and this gourd here is kind
of leaning up on its neighbor here I
want a very sketchy look to this kind of
like like how you would approach
painting in a sketchbook getting little
streaks on here you can go obviously go
any race any lines that you don't want
and gourds are rarely ever perfect a lot
of times they do have they're lopsided
just depending on how the Sun was when
they were growing and this one just has
some very light striation nothing major
now at this point I do have a lot of
scribbles and I might want to kind of
tones some of them down a little bit
like when tonight maybe don't want to
show because they're just a little too
off the the edge of it
you could also alternately go over it
with a pen and do a little pen ink that
would be really pretty to do whatever
you feel like doing there we go
first off any of the crumbs the eraser
crumbs
I recommend a white eraser when you're
gonna do watercolor because it does not
damage your watercolor paper as much as
other erasers will and I am going to use
some watercolors these are the Neal
watercolors from cool
oh my gosh I can't see it acoustic copy
and they're the same people that made
that acquaint I reviewed the other day
and they sent me their watercolors to
try as well and I'm gonna start off with
a wash on the pumpkin here so I'm gonna
wet it first and remember your
watercolor paints only gonna go where
the paper's wet I haven't decided if I'm
gonna do the review of these paints
right here on this video or if I'll wait
do it on another video it just depends
on how how long this is going I'm gonna
start off with some nice warm yellow and
I'm gonna add that to the tops of my
pumpkins and a little bit on the edge
there and in the middles probably of
these chunks just to make them feel a
little more round get a little glare
there I'm just gonna tip it for you and
now I'm gonna do a little mixing I'm
gonna take some of that yellow oh and I
didn't spray this before I began so I'm
just kind of grabbing I'm grabbing it
off my brush as it goes this palette is
the Majella palette that came they sent
me after they change the deal on their
there if you buy the pure pigments and
it's the one that comes with it when I
ordered mine it didn't come with a free
palette but then they saw my review when
they sent me one it's kind of a nice
little palette it doesn't have a cover
or anything but it is kind of cool I'm
just giving it a little bit of that
mixed orange when I feel like it's like
it could use maybe a little bit
something to make it look a little more
complex because it's a very dull kind of
boring color so I'm going to grab this
orange that come
the palate pre-mixed and oh that's a
that's like almost perfect what the
become pumpkin is so I'm just gonna add
that in there too I think I might add
that to the red and see what kind of mix
I get oh that's a really rich color add
some of that to the bottom just to
deepen the color now I might glaze over
more shadows later but for right now I
just want to kind of get that richer
color in there and while that is drying
I'm gonna skip over to the green pumpkin
on the end and that I am going to I
think I'll start painting a drive so I
wanted to be a little bit more intense
I'm gonna continue on using some of this
color but I'm gonna mix the I'm gonna
mix a snap green into a right on the
paper because it's such a pretty sack
green I really do like this color in the
set some of the sets I've some of the
colors I find to be a little bit chalky
in this set and then others I find to be
extremely clean and transparent and you
know I think I'll probably just talk
about these paints as I'm doing the
tutorial that way I don't have to film a
separate review and if anybody's
interested about them they can learn
about it all in one place and not have
to hunt around for the review later so
you can see that those colors just look
extremely clean together and they flow
quite nicely and I think I'm gonna
darken that color and I think I'm gonna
mix it with a little bit of blue and I
think I'll use a Prussian blue so we'll
grab that right here um so I squeezed
these out in the palette probably about
three weeks ago and there was no
cracking with the paint at all which was
nice that all stayed adhered really well
into the palette which is something that
I was kind of concerned these we did
more of a student quality paint but but
they did stay adhered really well and
they're really easy to reactivate when
the time came while I was painting I was
too kind of playing around with these
last night - and they reactivated really
easily so I was pleased with that the
set that I have is a 24 set and I
believe that retails for about forty
seven dollars
and they have sets anywhere from 12 to
90 which would be the full range they
also offer individual tubes and honestly
I think I would look at the color
swatches and buy individual tubes
because and look at the what's in the
innum for pigments because some pigments
that they use are not really recommended
for artists colors I love the SAP green
and the pression blue is nice
I wouldn't like the I think it's ROS
matter it's it's the Lisbon crimson
pigment and it's kind of known to not be
so light fast so I probably wouldn't
want that one and some of the colors are
quite opaque which I noticed when i
swatched them out on black which I'll
show you in a little bit and those I
think I'm actually might separate this
set and put some with my gouache and
keep some with my watercolors so here's
that same yellow just with a lot of
water and letting it just kind of
putting that really light wash so I can
go over it with my darker a darker
version of that and I'm letting that
flow right in there because I think it's
kind of interesting it almost looks like
the in fact it might encourage it to
flow a little bit from the green as well
because I think it gives you like a
little bit of a reflection because gourd
skin can be a little bit glossy and waxy
looking and that just kind of helps
encourage a little bit of flow and a
little bit of reflection this is just
gonna be a fun fast and easy project so
I'm going to carefully wet the ground
underneath and I want to put the shadow
in now I think it's probably going to
allow some of the colour to wash into it
but that's okay because I'm approaching
this much more like I would in a
sketchbook and I kind of like to see
what the colors are going to do because
I haven't really worked with these much
for my shadow I think I'm gonna try to
mix something with that Prussian blue
since I already have the Prussian blue
out and I could why don't you're mixing
it with the orange and see what I get
there for a shadow oh that's pretty good
so I'm gonna take a little bit more of
that red which is giving me a really
dull gray purple and I think that's art
that's a nice shadow color instead of
just relying on my my earth pigments
like I usually do this will give me a
shadow that's going to work and be in
harmony with what I'm actually painting
so don't always just read
for the ultramarine blue and Brent
Sienna when you want to do a shadow look
at what you are what you're already
painting with and let that be a guide
and if you don't like the colors running
into one another you can totally let it
dry or use a hairdryer speed it up a
little bit I'm cleaning my brush off and
spreading out that shot a little bit
more alright oh my god - the stems and
the stem on the green is fairly green
but I want kind of light that's a little
too bright so I'm gonna grab some of
that yellow and some of that orange it's
kind of muddy make a kind of a brown
let's like get a little bit of that that
blue in there get myself a little bit of
a brown that's a little bit more natural
looking
I'm just going to add that in and this
guy doesn't have a stem but it's got a
little bit of a stump there so I'll just
put that in with that color and over
here on the pumpkin this is just about
right for the pumpkin stem so I'm gonna
streak some of that in and I will let
that dry before I put a lighter wash
over it
okay now at this point let me just feel
how dried that is I think I think that's
dry enough that I can go and put the
yellow streaks on top and I'm just
grabbing that same yellow I was using
and I am going to kind of put some
choppy broken kind of dashes any
skinnier to the top be a little chunkier
and wider at the bottom pretty much I've
done everything with this number eight
round it's a great way to cover a lot of
ground and not get too fussy my pencil
lines are showing through and that's
fine by me some yellows are actually
more opaque and you could cover over
those pencil lines if you wanted to I
look at my swatch that I did on what
cardstock it looks like most of these
yellows are pretty transparent pretty
pretty opaque I mean and this is what
I'm using but it's actually on white
paper it doesn't seem to be that opaque
because I could still see my pencil
lines through it but that's kind of just
a representation you can kind of see how
opaque those colors are which is kind of
typical for Asian watercolors I have
found with the exception of the mission
gold those aren't very opaque at all but
I've noticed that would like Holbein a
little bit I think it's just uh because
they tend to use different types of
paper and and it just works better with
like a nun size paper okay now I am
gonna dry this because I need to layer
on top and I can't do that when I'm
making a mess so I'll be back when this
is all driving okay now I'm going to
switch over to a flat brush and
pick up some of this shadow color
actually I'm gonna mix up a little bit
more because I don't think I have enough
so that was the orange and the orange we
made so we had the red and we had the
Prussian blue and probably a little bit
more pression blue and I actually made a
pretty good gray on its own without any
yellow so that's what we're gonna use
clean my brush scrape off any extra
water maybe even you know make sure
there's no beads on the fair will blot
it and then I'm gonna pick up the the
color on the edge of my brush I'm really
let it soak in as much as possible and
then I'm gonna use the full flat of the
brush and we're gonna see if the colors
underneath the lift up if it lets me
float it lets letting me float this
color on there which is great so I'm
just kind of side loading it on oops
very good job to keeping that edge there
and the color did travel all the way to
the outside of that so I think it will
just kind of soften that off a little
bit for the stems I'm gonna take some of
that yellow just kind of kick it back
with a little bit of that gray so it
kind of Browns it up a little bit maybe
a little bit more red so just so I get
kind of like an ochre color cuz I didn't
want to dip into another color since
I've pretty much I've got plenty going
on here I don't I don't need more colors
I can mix from what I have and I'm gonna
go ahead and a little bit of that to
both of my stems alright and then over
here I'm gonna have a shadow on top of
this gourd here from the pumpkin a
little bit too much paint on there so I
just wiped my brush and then I've got a
slice little slice of a shadow there
still using that same color that I mixed
and I'm just gonna add that right along
the edge there and that is the shadow
that the gordas is uh laying down there
alright while this is drying I think I'm
gonna show you what I did for swatches
that way we can do the review and
everything all together and um I want to
show you a couple swatch
I want to show you the swatches that I
did with the paint's that are in this
set so this is the swatches on white and
this set also has a Chinese white and a
an ivory bla black and I didn't put them
on the palette because I typically don't
use them and if I do want to use them
then I'd probably squeeze them out fresh
because I would be doing an unusual
technique that isn't how it typically
work here I have the color swatch tout
now a couple of the things kind of fun
some of these colors just seemed really
great and no issues but there were some
that gave me pause and this one here was
the Aurora pink and that uses the
pigment B v10 which is what a lot of
companies add to their Kodak ratone rose
to make the the color opera and this is
just on its own so it's it's gonna be
quite fugitive it's gonna fade and I
would be anything you mixed with this
color like if you were making a violet
with that color and like ultramarine
blue it would eventually turn blue
because that would fade away so there's
nothing released there's no solid
pigment to anchor that and I got the
information from the spin doctor if you
want more pigment informations on paints
and stuff these are great resources
right here on YouTube and I'd highly
recommend checking out his channel and
subscribing the Rose madder it's funny
because sometimes it's this paint looks
really bloody when it's wet like like a
traditionalism crimson and is the
traditional alizarin crimson pigment but
that's a fugitive color they gave it a
three star rating which was like
normally light fast they called it but I
I think on pretty much any Eastern scale
that would be a not suitable for artwork
rating so that kind of made me feel a
little funny about that there's quite a
few there's another color that has the
BB 10 which is a florist that stain
fluorescent color and now passion orange
mix so that's probably gonna fade to
yellow eventually and um you know you
just need to kind of know that that's
why I think maybe purchasing these
individually instead of buying a set
would be a better idea I love that SAP
green super transparent and gorgeous the
ultramarine seems fine the I love the
burnt umber PBR 7 the same as burnt
sienna but for some reason that the
granulation the part number is just
really pretty and I like it and I mean a
lot of the colors are the tried and true
pigments that you would know like that
PB 27 for Prussian blue that's pretty
standard PG 7 they call it Verdean but
that's a say hello say lo green they
were like color I hate crow I walks out
of corrodium chromium but that's not
this company's fault I just don't like
that color and you know yellow ochre
that's pretty standard there some of the
colors of standard something you have to
watch for that's kind of the the state
with most companies but I just wanted to
put that out there in case you're
looking at this set this was the 24 set
so i swatched it out on on black
cardstock and you can see that a lot of
these colors are quite opaque the reds
and yellows very opaque earth tones are
opaque generally so that doesn't bother
me
that's a Jean brilliant which is not a
color I care for and it looks less
orange in this set than other sets might
be useful if you're doing like
illustrations if you're doing design
work it might be a little more useful
but as for fine art probably not the
Blues like the the cobalt and the
ultramarine are very bright if you use
them really thickly but then when you
add some water they do end up being
transparent but I'm thinking about
actually splitting this stuff in putting
some paints with my gouache and some
with my watercolors but I just wanted to
give you that and you can I'm sure look
at the the the full line on your
computer or request a brochure some of
these colors are great but you just have
to look at the pigments and know what
you're buying just like with anything it
just seems like there was a few dodgy
colors in this set I did like that they
didn't crack and fall out I was kind of
concerned that that was gonna happen
when I saw how will pick they were
because some colors did feel a little
more chalky I just want to let you know
about that if you do get a chance to buy
it I would you know I would just make
sure you're getting you know what you're
getting basically I am into a smaller
brush now I think I'm gonna go to this
number 4 mimic which is not a real I
tried to oh you know I really want to
dip into that burnt sienna but I think
I'm gonna keep mixing that's not the
color I was using this is the color is
using which is a synthetic Polinski so
it's
like a real animal hairbrush just mixing
colors I'm kind of I'm mixing a bright
orange and muddying it with that with
the other colors my palate just to get a
really nice natural natural shadow color
you have to be careful now I got in the
conversation with somebody the other day
about mix using opposites to neutralize
your colors and it's a great idea
however sometimes when you use like if I
was to use blue as my shadow mix blue
right in there I would get a neutral but
it would be a muddy neutral and you have
to kind of be careful when you are
mixing your shadows and you were using
opposites sometimes it is fantastic if
you're not trying to paint something
that should be very fresh and vibrant
when you put any things like flowers and
fruit when you do when you use the
opposite in great strengths to
neutralize it
you can very easily get mud so if I was
painting a raspberry and I used green to
make my shadow kind of a violet color
it's gonna give me a much more natural
looking shadow and it's still gonna keep
that freshness of the fruit that I want
to achieve so I just wanted to to kind
of clarify that watercolor is one of
those things where it's like the more
you learn the more you realize there is
to learn and you can paint watercolors
every day of you've life and still they
will surprise you and I think that's why
I love it I've been painting with
watercolors since I was seven I had a
wonderful instructor who lived nearby my
house and I would wander over to her
house our Saturday morning and take
lessons and and it's just it's a
fantastic medium and it will always
continue to surprise you because there's
so many different things you can do with
it okay
so at this point I'm going to soften the
edges all of my shadows so I'm just
going in with a damp brush and going
along the edges of them now I do see
that it's totally took can totally glaze
over these colors without them lifting
which is good
kind of blend them in there I try to
keep a wet edge as I'm working and as
long as I keep working along that wet
edge I wear if you if you're not as fast
of a painter maybe just do one section
at a time so you don't end up with your
edges drying and giving you hard strange
lines I find as long as I can keep a wet
edge as I'm kind of jumping around I do
alright with this method but again like
I said at the beginning of this video
I'm approaching this more of like a
sketchbook type of painting when you
might not have a ton of time and that's
why I'm keeping it kind of loose and
fast now I'm gonna take the yellow kind
on its own there and brighten up the
tops now let's talk about flow the
different shades in this set are gonna
react differently that they don't all
flow the same and some granulate and
some granulation I think is due to the
pigments I think some granulation is
actually due to some fillers that are in
the paint it just i can see kind of like
a little bit of scale enos in some of
the brighter colors which shouldn't have
a scale enos they're more they're a dye
they should be nice and clear and
transparent and I do see a little bit of
scale enos sometimes and you can use
that to your advantage but that's also
kind of a marker of filler and if you'd
like the look of it and I just want you
to know what you're buying
basically I I love the Aquila acrylics
from this company I always love trying
out new watercolors so I was very
pleased that they sent me some to try
out but and I think if you have these
they're fine I don't know if I would
seek them out you know special mail
order them or pay a high price for them
just because I feel like you could get
more for your money
like with Holbein they're about the same
prices Holbein is on Amazon and I think
the whole vines are a little bit better
actually quite a bit better quality but
but if you have them they're fine I'm
just you know I'm looking out for your
pocketbook basically if you do want to
get these usually coupon code the frugal
crafter to save 10% they did set me up
with a coupon code when I when I asked
to review their a coil of paints and I
I think that would probably also work on
their watercolors I don't think they're
really marketing the watercolors that
much I think their focus is definitely
on their acrylics which are fantastic
that snap green plus the pressure blue
by the way so you know I don't I don't
want you to judge their company on the
watercolors which are fine they're just
they're just not something I would
really write home about I guess is what
I'm what I'm saying
not that I happen write home about
watercolors but you know actually might
because my sister and my mother paint so
maybe I would write home about
watercolors hard to say just get
rambling get painting and rambling
please I'm just kind of trying to get
some texture onto the sky I think I
might want to switch brushes I think I
might actually do something a little
different with this I think I might
actually speckle on some some light
colorful likes to show you here I'm
gonna knock over right pumpkins if I do
this but I'll show you here it's got
this like kind of flex flex flex flex
buckled what is the word flecked oh my
gosh texture there I think I might
actually do with some flit I might flick
on some some white on that or maybe even
that uh that Jean brilliant color after
it's dry
that might uh that might be kind of fun
it's catching on with a gel pen if you
wanted to cuz we're well beyond the
point of masking fluid if you could hop
in your time machine and go back you
could put masking fluid on what you
probably can do it cuz you probably
watching this before you attempt it
which is probably smart you get to uh
see how I should have done it and as I
go along
so when you go in and you start dabbing
with a little brush you really start to
add some interesting textures and that's
kind of why it's great to start off with
a big brush and then switch smaller as
you as you carry on through the painting
now the Kingston didn't crack in the and
the pallet but they did shrink down a
little bit which is fairly common when
you pour paints from tubes and I do feel
like I feel like the little dabs of
paint are getting smaller as I work with
them and a lot of times I don't feel
like that when I'm working with paints
it feels like they just go on and on and
on forever and I haven't painted too
much with this so I'm gonna be making
that stem fatter I'm telling you that
right now because I just totally over
painted that so I think they may be a
little faster to wear down then then
other brands but oh that stump looks
horrible oh well no so don't do that
when you go if you'd paint this don't
fatten up your stem like that that was a
mistake
didn't mean to do that that's what you
get for gabon and stop paying attention
taking some of that green that I love
that SAP green look at that with a
little bit of that mixed orange in it
isn't that just yummy oh I love it's
like moss it's like it's like that Moss
you would find in the woods on things
growing on stuff I love it
such a pretty color so that's that green
is going in my permanent collection I'll
tell you that but that's kind of the
thing I I would highly recommend
ordering them individual from individual
tubes if you can find them that way
because they're going to you're gonna
get better colors and you're gonna get
something's going to suit your style a
lot more oh so now let's see how they
left because I feel like I want to add
some highlights so what I'm gonna do is
grab this brush here it's just done it's
a fairly firm synthetic brush it's not
acrylic paint or brush a number eight
simply Simmons and I like this for
lifting because I don't damage my paper
whereas I might with a hog brush so what
I'm doing is this is damp I'm just gonna
scrub and it lifts very easily it could
be due to filler white is listed as an
ingredient in some colors in the line
oh yeah that looks off really easy so
for a beginner that could be a big
advantage and this is not a really
heavily sized paper either it's not
hundred percent cotton so it's fairly
durable real cheap it's the the aqua be
140 pound 50 pack of hundred forty pound
paper and percent cotton
I find it online I think it paid about
seventeen dollars for a 50 pack the
regular price was thirty but it was a
sale I had to keep on you know how that
goes
now I'm going to also add a little bit
of a highlight across the top here just
want a subtle Sheen don't lift off too
much
and too much isn't gonna lift off
anyways on a on a cotton paper that's
not terribly heavily sized there we go
okay let's take a look-see at our little
yellow in the middle that I've moved
this is what this looks like have a have
a look have a gander this is what this
guy looks like it's got some splotches
on it maybe I'll turn it so it's got the
interesting splotches so I'm just
setting that right back up there so I
can kind of see how the shadows are
gonna fall on that I'm gonna go back in
with my shadowy mess a little more a
little more of that uh Prussian blue in
there plug it a nice shadowy color and
I've got some shadow happening here and
I've got some over here from the pumpkin
I didn't get it quite dark enough before
and I want a little bit here on the
bottom pull those gourds away from each
other a little bit with a shadow and
darken up the little stem nothing left
now we're gonna we're gonna clean and
dampen off our brush and soften the
edges just be careful cuz I think that
yellow is gonna want to lift on us if we
are too aggressive in here if you're
picking this along with um with student
paints should paint just fine I think
these would lift very similar to how
much a Cottman lifts
all right and I feel like maybe I want
to gets a little browner and round up
the edges I don't have very much water
in this and this brush is not ideal to
use if you don't have a lot of water I
also want to get some of those spots
which is just dirt but I think it looks
kind of interesting so I'm putting it in
there and I'm gonna soften that up okay
someone's just asking me about how to
get uniform flecks on things so what I'm
gonna do is pause the camera dry this
and I'll show you how to do that all
right so I dried that out I'm gonna get
my to paint this is what the five molar
tubes look like if I just put in my hand
you can kind of see there this is what
the twenty milliliter tubes if you're
ordering them individually look like
they're huge so um so just again and
give you an idea I think you're so much
better off to have a few colors you're
really like in a larger tubes then an
assortment of colors that you might not
care for I'm actually going to squirt
this into just a little a little dish on
its own just a little bit of it okay
just like the size of a lentil you don't
need a lot and I need to add a little
bit of water to make this a little inky
er you want like the consistency of
cream and now I'm just gonna stir it up
okay so see it's like it's like a heavy
cream you don't want it really runny
okay you see how that looks there it's
not like running really it's might move
a little bit it's kind of like a house
well nonstick house paint but you know
in that ballpark now I'm gonna grab a
toothbrush and I'm just gonna load up as
much as I can there now well when I
dried this I actually took a second held
this up to the light and I just found
that had this scrap of newsprint on my
desk and I just traced and made a mask
okay so now I'm not gonna have crazy
white dots going elsewhere and we're
gonna grab a palette knife because this
is gonna help keep me uniformed I'm just
going to test
over here yep I can see I'm eating very
fine dots that way I'll load up a little
bit more I feel like I might need a
little bit more on here it may need to
be a little ink here but I can always
add a little more water in a second
sorry but the furnace let me finish this
and then I'll pause until it's over
and then I am just going to point this
in the direction of my gourds and just
drag the palette knife over it now if I
want some bigger dots what I want to do
is add a little bit more water I'm just
giving a little bit more spray of water
in here so the wetter your toothbrush is
the bigger the dots are going to be I
think I'm gonna put a little bit more a
little bit more of this white in there
just to and you know what a joyful of
white paint so don't worry about it
being wasteful because all these sets
seem to come with white paint it's kind
of aggravating because I hardly ever use
white paint so I have all these jars of
it all these little tubes of it so you
want a little bit juicier so probably
like maybe like a 2% milk Inc enos to it
texture consistency whatever you want to
call it and then we're gonna go over
again with our palette knife and see
we'll get much bigger spots when you do
that now I'm an even better solution
which wouldn't be you know this type of
watercolor really but you're doing
mixed-media who cares it would be to use
acrylic paint because it's gonna be a
lot more Paik like this you will
actually kind of pull in some of the
color from the gourd underneath and then
you're gonna have it's going to be more
actually it's gonna look more realistic
cuz if you look here these are not
bright white spots they are more
cream-colored and as that mixes with the
stuff underneath as it dries you're
gonna get that look so what I'm gonna do
is pause it because the furnace is loud
and it will be back in a minute to
finish this up okay so I kind of fussed
with this a little bit while the furnace
was on because I couldn't stand just too
I just believe it'd be and what I wasn't
what I ended up doing was I ended doing
a little texture on this and I just
knocked my brush on the floor that I was
using for that so I'm just gonna grab
another one I was using like a number
four and so what I did to these
different sections is basically I took
some of the red fairly on its own but
also mixed in with some of the mud that
I had on my pallet I've only used four
colors here so our colors mix well and
they haven't
muddied up so that's a good thing that's
not kind of bonus points for this
but anyway so what I'm what I'm doing is
in the shadow areas I'm dabbing with my
brush and I used a little bit bigger one
but this will be fine so again you know
we're working with our smaller brushes
as we get going so making more of a
yellow yellowy orange mix and dabbing
just to give it that kind of texture the
pumpkin has it's not super smooth it's
it's smooth ish and it's kind of like
got a matte kind of Sheen to it but it's
not completely smooth you know what I
mean if I could if I bring it over here
you can kind of see it's it's got a
little bit of a texture to it it's not
rough but it's it's not like smooth it's
got a little bit of that texture so
that's what I wanted to do there and
then in the areas there right speckled
the white something else I want to do is
actually go in and paint on some of the
more dominant polka dot kind of kind of
shapes and I'm not mixing the white down
with anything's I know that it is going
to mix with it'll eventually just kind
of mix with whatever's on underneath so
just try not to do it too uniformly
that's a great thing about when you
spatter it is that it does make it
naturally random so this is just to kind
of go on top whoops blot that little bit
there and I mean you could do a little
bit more flicking on there if you want
to I would put the mask down again maybe
I'll flick it with a different brush
just to give it a little bit more
variety let me try let me see if this
one's stiff enough to flick a little
water to it then my lifting brush here
see if I can flick anything with that a
little bit
I don't want to get up there we go a
little more of a spider there okay so I
also did not like the background so I
think I want to do something there I'm
just gonna go in and actually just kind
of randomly just dab some water down and
then using my mud and my palate
basically I'm getting the mostly yellow
with just a little bit of the other
colors just to muddy it down a little
bit and I'm just kind of putting in a
light source basically it's pretty much
lit from above but I want to just make
it not so white in the background I want
to give it a little bit of a ambiance
here that it was just really lacking
maybe add a little bit of uh some color
in there too and just kind of maybe even
spatter some of that color on there if
you don't like spattering you don't have
to look but I just felt like it needed
something and then you can do a little
bit of that in the foreground as well if
you want to I think it's a nice contrast
because the pumpkins ended up being a
little more detail than I had intended I
wanted to be a little more sketchy
looking at so this will help me get kind
of that some of that um fun back a
little bit less fussy a little more
spontaneous some of that back maybe do a
little bit of the blue the Prussian blue
in the foreground a little bit cool it
down make our make our reds seem a
little more vibrant make our oranges a
little bit more poppier
it's better a little bit out in the in
the sky too just to give it a little bit
of interest blot it where you don't want
it and then if you want to since we have
already added white to this so you know
technically it's not a peer transparent
watercolor anymore we can actually go
ahead and if you want to add a little
bit of this to add that kind of waxy
sheen on to other parts of the piece and
then when it dries it will be quite so
white because it is it is gonna mix in
with what's underneath that's just what
watercolor happen tends to do I can
bring that down
kind of accentuate the form a little bit
if it doesn't um
blend out as much as I want then I'll
just go in with my brush and kind of
wiggle it in and it will mix it up with
what's underneath so at the point if I
do speckle on white I have no problem
adding in an elsewhere because I think
it actually kind of makes it a little
bit more and a realistic it makes it
feel like it wasn't just an afterthought
let's take some of that and there you
can use a smaller brush if you'd rather
you can dab that into and get some more
of that texture so this is completely
this is if you like its pad rings if you
like it the adding monies if you like it
you could have spat it on masking fluid
at the beginning and totally you know
had your white parts and not had to use
white that's totally fine that's if you
plan it and that's what you want to do
so what I'm gonna do is let it drive one
more time and then we'll come back with
any finishing touches we want to add
okay we're all dry we're gonna do a few
finishing touches I've got some yellow
on my brush and this gourd is kinda
bugging me so I want to kind of brighten
up the yellow patches on it just to kind
of give it that that spark that it had
originally I did and when I was what I
had the video camera pause and I was
waiting for the furnace to shut off I
did kind of lift out the edge and and
fatten this up a little bit cuz I
thought it was a little bit too I don't
know it just it just seemed a little
weird and too skinny or something so I
find it up a little bit call me Rubens
how to fatten it up and I'm adding a
little bit of the red to this just to
kind of be the like look at the
reflections and the that's being
affected by the pumpkin next to it come
grab a little bit of a mix here I did
wipe off an area and put fresh paint I
just kind of pulled some fresh paint
into the my mixing area because it was
getting a little too muddy for these
final touches I'm gonna tone down some
of the white there but the nice thing
about the white in this situation which
I typically don't paint with white but
is that it kick gives you that kind of
dull waxy
he finished that pumpkins have I mean
and there's a lot of pains out there
they would do that because they contain
white such as if you were using buff
titanium or Naples yellow or something
that was just more of an opaque color to
begin with which a lot of artists have
no problem using that but they would
admonish anybody that dared to pick up a
tube of white I just think it's
ridiculous you do what is right for your
painting and um and that's your business
you do what you want to do it's your
painting it's no art police or some
people think there are police but
they're really not they've no power
they've no they've no power over your
art you're the boss of your art remember
that always always so what I'm going to
do is I'm dabbing in over here I want to
make sure I keep dabbing so I don't lose
the the speckles the flex the flex don't
lose my flex and so I'm just kind of
dabbing in some of that yellow it really
brightens it up and any place the year
you white is to white that will tone it
down a little bit
dope and I got some red there that's not
what I intended to do so I'm gonna blot
that right off no farm no foul and I'm
gonna grab some of my SAP green and
Prussian blue I really do like that the
SAP green and oppression blue from that
line I would get a full tube of that no
no problem oh gosh that's pretty I like
how when it goes next a little Fleck of
white you just kind of acts differently
and probably cuz I'm not used to using
white watercolor that I'm just like kind
of like ooh that's kind of cool
it just it kind of glazes over the white
and just enhances it and kind of inter
mixes a little bit just kind of fun and
that's what I love about art always
finding things to surprise and inspire
you a little bit more shadow under there
if you do want to do more like flicks or
anything feel free it's your painting I
think I probably have enough texture
going on in the background so it
probably won't myself but you are the
boss of your painting sometimes it's the
only thing out of our day that we could
take them Lully controls our is our
artwork I think that's why it's really
important to get kids involved in art
because when kids feel like
have no control in the situation that's
when they act out that's when they get
into trouble they found the wrong
followed with the wrong crowd this is a
great situation where they can have
complete control over their world you
know you know when kids get you know the
act out or they develop eating disorders
they do that because it's the thing they
can control let up control their art
give them paper giving paints it doesn't
have to be expensive that's a healthy
thing they can control they can express
themselves keep them off drugs for
goodness sake there we go
so there you have it I think I'm pretty
happy with this I'm gonna call it done
and if you are at this point and you're
like oh my gosh I made a mess I can't
put enough paint down to fix it I'm in a
hole what you do at that point is you
grab another medium try pastel try color
pencil try something like that that's
opaque that you can lay down on top of
this and you can usually 95% of the time
you can pull that painting around and
you can make it work for you call it
mixed media nobody has to know you
didn't sit down to intend to do a mixed
media piece right that's that's between
you I nobody has to know and the other
great thing about painting and making
art is that you don't have to show it to
anybody if you don't want to because
it's your art I wanna thank you so much
for watching today again these are the
mio watercolors I'll give you another
look here at the at the brochure this is
the box this is a 24 set that I'm using
I like them all right there they're
they're fine but there are some colors I
really like the ultra via Prussian blue
and the SAP green the also the permanent
yellow that I used today I like quite a
Bentley just grab my swatch we'll just
show you this here if you're if you're
done watch the tutorial thanks for
watching but I'll those that you don't
want it
I used a permanent yellow deep there and
the only thing is it contains pigment
yellow one which is not a very good
color so I'm kind of a little bit
hesitant to recommend that but I really
like the Prussian blue mixes great love
the SAP green ultramarine blue is nice
too it's got a little bit more of a
scaly miss to it that
we almost think there may be some filler
even though pressure brew even though
ultramarine blue is a granulating color
the scale enos here seems a little
different and I've noticed that scale
enos and some of the other colors so you
know that's like the compost blue there
is very scaly I think that if you were
if you picked out a few colors like the
burnt umber SAP green Prussian blue
maybe ultramarine yellow ochre is nice
because some of those colors I think you
there are safe bet if you like to do
blacklight painting or you want to do
you need some neons they give some
beautiful neon colors that would work
well for that that contain the rota mine
rhodamine dye BB 10 that will give you
that that glow but I mean I think
they're fine I think there's probably
more value you can get for your money
and other brands like Holbein or Turner
but they're certainly not about paint
just be careful of some of the dodgy
colors and you know take a look at the
color swatches and pigment information
online before you purchase make sure
you're getting what will be most useful
to you and I want to thank them for
sending me those samples I do appreciate
it and yeah I think that pretty much
pretty much covers it I hope you enjoyed
this tutorial please give me a thumbs up
if you liked it and share it with your
other crafty friends until next time
happy crafting