Live! Packing Tape Masking Technique For Watercolor // Fall Leaves & Texture

Okay, oh, I think we're live if anybody out there in the world can hear us, please let us know in the chat, because this has been a crazy day. I got an email that my Google+ account was suspended, so I couldn't do the simple mode. I usually do when I'm doing these live Friday lives to add to the gremlins that usually show up during the show. So I know there's a delay. If you can hear me, if you can see, leaves on your screen and my hands moving, please let me know. Okay, now I got to remember how to teach art, because I kinda, like I got ta, go in my brain and learn how to use an encoder again. So, oh one of those days, actually no, it was actually a perfect day until about ten minutes ago, and I just tried to stream it. I know I got that I got an email seeing my Google+ accounts, but it's been suspended, but I didn't think anything of it because I never post a Google+, but apparently they think I've been spamming. So uh, I don't know just one of those one of those things. So what we're gon na do is a packing tape masking technique, and this is the reference photo. It is on my blog if you want to print it out or you can just follow along with me. It'S completely up to you and I did a little sample this morning, a little 15-minute sample just to make sure the technique worked, because we're gon na use packing tape on our watercolor paper. So we really want to. I wanted to make sure it wasn't. Gon na tear the paper when we went to use it and it worked really well, so you might want to use this technique when you have a large area that you want to mask out because masking fluid is expensive. It'S smelly! It takes a long time to dry and it can be hard to remove. So this is a just a quick, cheap and easy alternative we're gon na begin by sketching and by the way I want to. Let you know that this video is brought to you by Jerry's art or amacom, our very understanding, patient sponsors who sponsor the live shows, even though you never know what's gon na happen. I have linked to all the supplies I'm using today over at Jerry's. So if there's any that you're looking for, you can find the link in the video description, which I did think I do think I managed to copy, though all over from the original the original place, it's wow, I'm glad even coders working, because the whole reason I Went back to these simple mode is because my encoder stopped working so we're gon na start off by making some leaf shapes - and you know the cool thing about this - is you can do it this way or this way? So if you're looking at the reference photo, it doesn't matter, you can do it either way, but I think I'll do it this way, so I'm gon na actually start with one of my leaves in the middle, so I can kind of space them out. They'Re kind of like almond shape, and I can draw them a little bit darker than I normally would so - that you can see them and also, I think the packing tape helps kind of take some of the graphite off my paper. So I don't think it'll be too bad. I wouldn't draw it so dark at home, but that's why I'm doing it kind of on the darker side and of course, if you wanted to print it and trace it, you totally could do that. That too, I just didn't, do a a printable pattern, because it's there there are very simple, simple shapes to do, but there's nothing wrong with tracing, because tracing is going to teach you how things really look instead of how you think they look. So if anyone gives you a hard time about tracing something, you can tell them that it's it's another valid way to learn how to draw. I do recommend having a soft eraser handy. So if you do have any extra lines you can erase them without damaging your paper, any white plastic one is fine. This is a factus, but I use the kind from the dollar store and those work. Fine too. Just look for the white plastic: just the white ones, they're gon na be fine. You don't want the abrasive ones. I got that first, one there, I'm gon na put one right next to it fairly close. If you just want to do three, that would look pretty too four looks nice as well. It'S up to you. I thought this would be really pretty hung up for fall time. How is everybody in the Chad boy of the the best people there so understanding people, and I think it's only fair - that we have no audio problems today, because we've had our share of technical difficulties before this I know so. These leaves are alternating. The stem stem direction so keep that in mind. So we got a point up stem up, and this is point up here - keep sketching on this nice watercolor paper, like I'm in a sketch book being kinda using a lot of sketchy lines, a little stem there. I want to exaggerate the stem on that one and we'll get one more here now. The packing tape is only about two inches wide, so we might need to double up to be able to cover some of these leaves. If you don't want to have to double up packing tape, if you're a little nervous, you can make them a little smaller, and I wouldn't get too detailed on the edges, because we're not going to cut out all those little serrations if we need to bring that Shape back, we can use a gel pen. That'S why I put that as an optional tool, or you can use a colored pencil if you want those that serrated edge. I don't I'm just afraid if I do too much digging with an exacto knife that I might end up with some staining and some issues from that negative painting. There'S an artist called Brenda. Swenson, I believe, is her name and she has some great demos on her website for free and I believe she also has a book and classes so she's, probably the one, the most talented, negative painters, I've seen. I would definitely give her a give her a look. I can't remember her, but her blog name, but I'm sure if you just search her name, it'll come up, but she does some beautiful stuff. I think she would be that the artist to you would think of when you like her work is kind of iconic. For that technique, there's also on the craftsy blog, a simple demonstration. You can also search Pinterest and it will link you to tutorials by know the craftsy blog has a step-by-step and it might have been by Brenda. I'M not sure, though, it's very similar to her technique. Okay, so we have got this o sketched out, so we're gon na take our packing tape, which is just from the this actually came from the post office, but any brand will be fine and we, our goal, is just to get a mask off our leaf. If your leaf is it's not too wide, you can go right over it with one one layer, don't press super down on the tape. Yet we are gon na press down the edges, but I wouldn't recommend totally covering the totally pressing pressing down the tape. Just because you don't want to make it more difficult to remove in areas, you don't need it. So I'm gon na double up here, because I have some of that sticking over and not ones pretty wide too. So I think that would take a couple layers of tape. Overlapping is fine, second hurt anything, although you shouldn't drag it out so much, I'm wasting quite a bit of tape to do it that way. Try to keep your wrinkles out of your tape, this tapes a little on the thick sides up. I actually probably makes it a little easier to work with and like a thinner, a thinner tape, but both should work. Okay, now we're going to take our exacto knife and we are going to cut away the excess, the excess tape. You want a nice, sharp, exacto knife and I'm not bothering about any sort of serrations here, and if you find that you need a little bit more, you can always pull up a piece and tape it down there. So I was like geez. I I think I was a little too stingy on that side, so I'm just gon na move a little bit over here from that scrap and just kind of cut around it. So I don't have a flat edge. So that's why you'll want to press it down too much right now, because you got ta, you got ta pull off the excess should pull up pretty easy. Sometimes you get a like if it's the tip or the stem you have to. You have to help it and they probably see that first leaf a little bit better if I tip it and get the get the light on that we're going to go around and do that for each of these leaves. So if you're watching the replay, you can skip ahead a couple minutes until we're done this. I probably won't take a couple minutes but 30 seconds or so, and so what I'm trying to do is just cut through the tape but not cut through the paper. So um, if it scribes the paper a little bit, that's alright you'll just get some extra outline. It'S gon na be a little bit of a drop shadow on those anyway, but I don't want to. I have big. I want to cut through the watercolor paper or leave a big gouge. I'M not gon na pull up this side till I get this one cut out just because they do share a piece of tape. You want a sharp knife because you want it to cut through pretty effortlessly, and I don't know how long you could leave the packing tape on, but it is a tape. So I just like masking fluid. I wouldn't leave it on indefinitely. I would try to finish it up. You know fairly in a day or two, so you don't have any acid or any sort of migration from your tape. I have no idea what's in the tape, but most adhesives will leave some sort of residue if left on indefinitely. Masking fluid gets a lot harder to remove the old the longer it stays on your paper, and I'm sure tape is probably similar. Best thing about. It is it's clear and you can see exactly where you drew if we had to paint that in with masking fluid, that would take us a lot longer and then removing it would take us quite a while to rub all that fluid off any questions. Probably a wise idea, I did add a frequent well, not really frequently asked questions about a product recommendation page. So if they have, you know, I just kind of put, though, like the watercolors I'd recommend. First, the pastels. I recommend first kind of like my favorites, so hopefully that will help people, because we get questions every week about. What'S your favorite this and what's your favorite that so I'm hoping that will help people so don't have to wait. You know for a week to hear to ask a question like that. I have not used the Heritage, so I couldn't tell you, but probably somebody in chat could or maybe later on comments in the replay, I'm using a bone folder, but you could use any sort of clean plastic thing to burnish down the edges. So basically, that just means I'm pressing down that tape on the edges, because I don't want water to get underneath paint to get up to get underneath here. Terry Jay, dime-store, diva TV. Why some three? Why do you three of my White Nights? Watercolors look very gel white and dry like alligator skin. I have seen this with other paints too, and I am baffled. It'S probably the pigments that are in those particular Club, particular colors. Some are very hard to dissolve and kind of minerally like I get that look on vert whenever I use Viridian it's kind of hard to reconstitute and it does get kind of that. Scaly jelly look. So it's probably just whatever the order. The pigment makeup is it's giving it that that quality, I'm pressing down my outside tape, while I'm at it so I'll, have a nice border now. Another thing I want to sketch on really quick is the division between the wood planks, I'm just gon na sketch. I don't need to make it as wide as it is cuz. I can always paint that width, but I just want to get those planks in there. You could use a ruler if you want them real straight. Actually, it's not a bad idea and the knife. I just need the knife out of my way: okay, it'll be okay, the scariest thing was just getting you guys here. You guys made it to the show. That'S really that's uh, that's the hardest part of today. I think. Okay, so now you're gon na mix up some grays and I am using my Turner watercolors. I also have some yarc in here too, because I had I had cleaned out a palette and I tried to combine everything so my palettes kind of messy. So I grabbed a plate to mix on. So what I'm going to do is make a wash of gray using burnt Brent, sienna and ultramarine blue we're going to be using burnt, sienna and burnt umber so that we can get a couple varying Browns. There'S my Brent's you're gon na hear all the slide over my plate. I got colors on here, I'm not gon na, but I just don't want to wash it and waste them and some ultramarine. I always get hiccups whenever I have any carbonated stuff right and what I'm gon na do is just add some more water to this, because I can just brush on this because it's you know I can just wet it with this color, because it's it's a pretty. You know it's just a flat wash, you know just a plain old wash. I don't have to use any water, no look at how well that resists. That'S protecting those leaves on there. So we're going to be able to paint these planks of wood as if the leaves aren't there, which is gon na, make it so much easier. And that's why I wanted to mask off the leaves, because if we had to paint around all of this every time we wanted to put it in any veining or wood grain or texture, it would just be. It would go from being easy and fun to being. Just a chore in a pain, so we want our paintings to spark joy, not annoy. It'S been a lot of a noise market sparking this morning, oh - and I can see that I missed that little bit of tape right there. So this is a little dangerous because I'm digging in with my fingernails on wet paper, so I might end up with a little mark, but it's wood grain, so it'll look like a just a a ding or something yeah all right. So now, if I want to add any soft shadows around the leaves, I can do that. I think I would probably move now. This is where I might use a less absorbent brush, because I wouldn't want so much water and mix. So if I grab a synthetic brush and mix up some color, I'm just by default, not gon na get so much water in it, because these brushes don't hold up that much water. So it's good to have some in your in your stash and since the paper is still I still pretty damp, it's not gon na be a really rough or hard edge. I can just go in there and and add those a little bit of like a drop shadow kind of there's a shadow on the picture. I'M not sure if it's cast by like a railing or maybe the photographer, but it does look a little odd like it. Probably doesn't belong there. That'S this big kind of block area here, so I'm just kind of imagining: it's not there and putting my shadow to the left of the leaves and we'll be adding more shadows and I'm kind of also just kind of feathering it out. With my brush so that I'll get end up getting a little bit of wood graining as we're doing it, so this is not a big deal if it doesn't, if you get something wrong, it doesn't really matter at this stage. It'S not gon na add up to too much it's just going to give us a little bit of a little bit of ambience. If you want there to be any color, it looks like there's some like faded uhm, like bluish gray, paint on here, and I really like the way that looks so the color I'm going to use for that is from the Turner set by the way that Turner Set is on sale for $ 19.99 yeah. It'S it's back where it's out of stock right now, but you can buy it for that price and I'll ship it to you when it comes in I've done that before when they've had something out of stock, but the price is really good, so you know you Might have to wait a little while for it, I can't remember how far backs backward. They were, but that's one of their staple products. So it's not like they're out of it. At least I never have been before they sell out quite frequently, and then they just restock - and this is the color - that I've only seen in the Turner line, it's kind of like a cobalt teal. It is a coal ball base, color, they call it turquoise, but it's it's got a little more body to it than other paints. So it's if you're doing a technique like this. I can even brush this over when it's dry and it's got enough opacity to it. That it it covers up in it, it remains nice and vibrant. I also grab my pastel pencils because one of my viewers Diane had asked about them the other day and I just used him in a card, but I thought that might be kind of nice to grab somehow and and show you them on a painting and they're. Also, a really good kind of like a rescue type of product, because if you get, if you like, you lose your lights or something's, not standing out enough, you can. You can go over the pastel, pencil and kind of bring it back. So now I'm gon na use a fan brush and this you can use any fan brush any stiff fan brush, so it could be like a hog bristle brush. This is a mimic hog, it's a synthetic bristle, so it's got that stiffness of a hog brush, but it does not contain actual animal hair. So that's kind of nice and I'm going directly in with burnt sienna, and I'm just gon na show you here what I'm doing my brush is wet, but it's not gon na hold a ton of water because it's so stiff. It'S not that absorbent. It'S typically what you use for oil or acrylics, and I'm going right into the pan, so I'm getting like I'm loading this up with a lot of concentrated paint. So it's right from the dry pan pigment that you ate the blue you're using it's the same pigment. It'S other cobalt teals, PG 50. Oh thank you Joey and I'm just gon na start on the tape and drag down, and you can give a little bit of a wiggle to it. If you want, it's gon na fade out a little bit because our papers still damp, but this is gon na give us some good wood, graining and don't worry. You'Re gon na have the hot mess stage here and that's alright pretend like the leaves. Aren'T there pretending the planks like the the separations and the board? Are there and then we're gon na grab some burnt umber? I am wincing my brush and just wiping off the extra paint and dipping it into my dried burnt, umber pan, which is a little bit darker and cooler. They come from the same pigment, family, iron oxide pigments and we're just building up layers, because it's gon na give us that beautiful texture and weathered look now something you could do also to frame your picture. A little bit more is add, more dark to the edges and corners and just kind of drag it up a little bit. And that will just kind of give you this like a little bit of a frame which will just be pretty. When you go to the split display it, I think something like this could even be. You could do something seasonal, and this could just be like a piece of like twine over a mirror and just clip this on with some pretty you know, clothes, pins or clips, or there was have those cute decorative clips at Target in the dollar spot. You could use something like that. It would be really pretty and put it up for a month or so, and then you could switch it out with something for winter. Okay and now I'm gon na try this and while I'm drying it. If you have any questions, I think that the mic that we're using is going to be alright with thee with the the heater. Hopefully because it's not my kids, it's the mic on the camera. So hopefully, hopefully it's working I'll speak up, though, if it's not okay, Jay asks. If we can use painters tape to make the masks you can. The reason I'm using the the packing tape is because it's clear - and I can see where I drew and painters tape is blue and I might not be able to see through it unless I drew it really really dark. Could they hear that today? Oh good? Okay, all right, that's dry enough! Now you can like take a rag and get a little water on it. If you want to remove some of the paint from the from the leaves in case you're, worried about dragging your hand through it or something you can just wipe that off, you don't really need to. But that way you won't get your hands in it. But when you go to remove it, we're just gon na lift up the end with like uh with our exacto knife. So it's not like we're rubbing it like masking fluid cuz with masking fluid. If you had all that paint on there and you want to rub it to remove it, you're gon na smear that and get streaks on your white area. So if using masking fluid for this, you would want to clean off as much of that dry paint. As you can now another another cool thing on this reference photo here, we've got these deep shadows that are between the planks and we also have these kind of rusty wood screws so for the rusty wood screws, what we're gon na do is find a pen or A marker, that's got a round cap and we're just gon na we're gon na make up some nice dark brown paint and we're going to use our just dropped. We'Re gon na use some of the burnt umber and ultramarine blue and we're mixing it up with our synthetic brush. So we don't end up with a lot of water, see how that's nice and thick it's almost like heavy cream and we'll make a nice almost black. Color to stamp with, and that's gon na, give us our our screw areas. It will basically give us kind of the indented area where the screw is gon na be - and I am just gon na roll this marker cap in it. So I try to get it mostly on the edge, but if someone gets on the middle, it's not a big deal because it does have a little in there and I'm just gon na stamp these in there and it's gon na give us a cool kind of Industrial look ironically, I actually have a stamp, I think, of a screw top. You will have to reload it every time because it's this is like hard plastic. It'S not really absorbing the paint just kind of having some of it. No, the reference photo. They have it on both sides. I'M just trying to decide whether I want just the top or on both ends. Yeah guess I'll. Do the other end too. Oh, that does look kind of cool it. Gon na gives it more of like a modern like a modern art. Look pop art. Look how many people do we have hanging out today? Oh nice, I don't think we've been over for 300 in a while that way cause the kids are back in school. Probably okay and then in the middle of that I'm switching to a small synthetic. This is a number for ebony splendor, anything it just not very absorbent, because what we want to do is pick up. The burnt sienna like on its own kind of right from the pan, and we want it really thick okay, so you just, I actually just work the brush in the pan until the paint does not look watery anymore, it looks almost pasty, so I know I have Kind of a thick application there and that's gon na help me get that rusty texture and I'm gon na go fill in these circles with that color and you will have to reload quite a bit because your brush isn't too wet. So your paints gon na want to drag a little bit. I'M also gon na grab a little yellow, ochre. That'S gon na leaned it up a little bit, see that cuz, we'll put our like the shadows for the little fill up slots. You can see how I'm resting my hand right here. If that had a lot of paint on it. I could end up smudging, so that's another reason to wipe it off. Actually, I could just turn my paper around and rested my hand on the table. That'S what better idea, probably again, it's the altar in sienna and yellow ochre, I'm using here and the yellow ochre, is mostly adding a little pasty and warming it up and lightening it without making it transparent. These are technically transparent, watercolors, but certain pigments have more opaque properties, mineral your mineral in organic pigments. We have any more questions areas where some of our fans are that's too bad. I just feel like this is a week of natural disaster. I feel so bad for yeah. Well, they I don't know if you saw in the Bangor Daily. They had the article about the couple that went down. The same are teens. They got married last week and they're stuck down there. No, I know a bunch of those people they're down Wow and they're stranded in this bunker. That was a resort hotel with no power, no running water. Well, they have power because they got a generator and a couple of the guys, but I no fixed it yep, but they're stuck in with my goodness the size of your studio with, like you, know, 50 people and we're all using buckets. Oh man, and they don't. This far as they can tell it's gon na be four weeks before they can get home because there's no air one way to get them out like that is scary. I'M surprised they didn't send home people sooner. Like so tell some of the guests that had left, but the wedding party in, like the bridegroom, were playing on stage right, it was too late to get him out like they couldn't they tried to get out before, but all the flights were booked yeah. That'S true! Cuz they're they're pretty booked anyway yeah nut area, so there I guess her cuz, her parents live here at the Bangor area and they're. There they've been trying to find some way to get them out, but right as of right now it doesn't look like they're gon na get home for another four weeks. Four weeks, yeah cuz my airport was destroyed, oh well. Hopefully they make it home safe. Well, it sounds like they've got a safe place to be at least but boy, I'm using that mix of burnt, umber and ultramarine blue that we used to stamp our little circles on and I'm making the divisions between the planks. I'M trying I'm using a another synthetic brush, it's a number eight or ten. Let me take a peek here. I think I've rubbed off the number. It'S an eight sorry, but I'm just trying to kind of keep it fairly centered on that line, because your shadows will be really dark in the middle or it's really where the the crack is really deep and you can see far down where it's really shadowed and Then it will get lighter as it goes out, so I just want to get that center part where it's really dark for the moment and now I'm gon na go back in with that fan brush and I'm gon na actually get into that dark color. But I'm a fan it out a bit, so this is watery err. Then we used before with the fan brush. They don't want, have really dark dark streaks, but I do want to add some more weathering in here. You can use a fan brush two ways. You can use that to put your streaks like that, you can also go in on the side kind of tap in some some bigger streaks. It'S a little bit more of that. That kind of does a nice job for wood. Graining too, when you go into the side, so you still get that that Multi kind of green look multi-grain. That'S not what I need like multi February line, two green eNOS: okay, let's sneezer a car! Oh it's! Probably! Oh! That'S all to talk to these fires. That way, yeah! So when you do your graining lines make sure that you're going through the entire you're going down the entire boards you're going. If you go up to the leaf that you yeah the leaf, you Tate, you bring it down the other way as well. I just realized that I'm going in this way. It works really good with the fan brush. I need to turn my paper around if I'm gon na go the other way, because then the curve of the Brussels, the bristles kind of work against it. So if I want to do this, one have that go that way. I want to go in this way, so it'll just be a little more natural. Hopefully the furnace isn't too loud. Okay! So now I'm also going to take this brush and just kind of dust along those, those plank grooves, and that's just going to give us the slightly a little bit darker like as it as it goes from dark to light on the edges. As it comes around the edge of as the light comes, that kind of around the edge of the plank makes it look a little bit more natural. Okay. Now we're going to go in with a smaller round. I think I actually want one my mimic ones might have rolled off my table. I think quite a morning, quite it Ben Chipman dimensions warning here seriously, so I will not be able to respond to anything for the next few minutes until she gets back. I'M gon na take a little burnt umber and I'm gon na add it to some ultramarine blue to make a shadow color, and this will be kind of the direct shadow from the from each of the leaves, and I am having enough water in this wall and Have to keep reloading, I don't want it super dark. It'S not going to be as dark as like the grooves between the planks or the we're gon na put a tiny little shadow around our little screws. This is not quite so dark because the leaves are pretty like not translucent, but they will allow some light to pass through they're blocking the light, but they're not like blocking light like a like a piece of wood wood they're, not that bad thick. So what I'm going to do is just kind of look at my reference photo and if I show you here, the light is coming from this direction: it's putting a cast shadow from each leaf directly to the left side of it. So that's what we want to do here and it's gon na get a little bit bigger if the leaf is lifted up at all and that's kind of going to give you that kind of Trump Louie effect the fool the eye and make it look really three-dimensional. When we paint our leaves and that one actually, that shadow goes right over as far as that cuz, that leaf is picked up from the from the bottom, a little bit now on the reference photo. There is this big shadow. I think it's probably like a like on a dock and it's a railing or something so I'm gon na pretend that's not there, because that's it doesn't really make sense to have it there in this painting. But you can do what you like just make sure you have any little puddles, I'm just going to dab right there and it looks a little puddle puddle II and I'm gon na mix up a little bit more. I'M going through this, the shadow color very quickly. Again, burnt umber and ultramarine blue with enough water, so it's kind of like a a 2 % milk consistency, and this one we have like a little. The the leaf actually makes like a a distinct shadow and there's actually a little bit of light and in between the stem and the shadow and then we're gon na just bring that around. It looks like this one does go over to that. Are they're making a kind of a little bump where the two boards, with the shadow crosses over the two boards, just to give it a little bit more of a realistic look, and the final one over here again is real tight at the tip of the leaf. Where it's touching the dog and then it gets wider and another reason we want this to be kind of this shadow to be thin and translucent is we want to be able to see that wood green? Now? This is kind of weird. The light goes through it and then then the this, the tip of the leaf, adds another a little bit of a shadow. It'S like the light, gets underneath the the leaf there a little bit, it's a little tricky. Well, I do have a weird shadow. I tend to like to feather some of the edges, as it gets away kind of diffuse that a little bit it makes it look a little bit more natural okay, now we're gon na switch to a smaller brush, and you can use a synthetic for this. You just have to reload more often, but it will keep your your color dark and that's what you want. So those two same colors again burnt umber and again I'll show you my palette as messy as it is. I am just kidding I'm trying to get a bunch of pigment and I'm gon na just put that right there. I don't want to add a bunch of water to it. I'M just trying to pick up as much paint as possible because I want this dark. I want it strong, a lot of water, I don't want to get be runny and I'm gon na grab some of this ultramarine and mix them together. So I really am going for like a black. I just want enough water in there that it, my paint, will move basically and then on each of these little screws, you'll see if you're looking at the reference photo that each one is a little bit different. We don't want to paint them all the same or they're, not gon na look very natural. So this first one we're gon na put a little shadow here on the outside of the screw kind of in the hole where it's set, and then I'm going to put a little X in there for the for the little slot for the screwdriver. This one's pretty dark all the way around, so I'm gon na almost outline it. Hopefully my hands not in the way I like. If I hold back further on the brush, you'll be able to see better, but I won't have so much control, so I may mess it up. This is very the direction of the the screws a little bit each time like the the way the plusses go and again, if you're watching the replay, you could just skip ahead until I'm done these uh these little screws here. No, this was kind of a diffuse shadow, so I want to clean my brush off, I'm gon na blot it and I'm gon na spread the shadow out a little bit and then I'm gon na let that dry before I put the the detail, the little screw Slot in there - and if you have any questions during this and a repetitive process, just let me know and that'll be a great time to answer some, Oh type, the word question and all caps, so Sarah doesn't miss it. What is I really like this one? This is an aqua lon. Unfortunately, Jerry's doesn't sell this, but they do have a dance called polar flow. They have a line. That'S got the scraper with a scraper, a cool acrylic handles, and the great thing about this is, if you leave it in the water by mistake overnight, your brush isn't ruined. Like my uh, I love this brush, but I left it in overnight and I totally I know the paint shipped and it was such a bummer. So I definitely a big fan of the acrylic handles. I I don't know how I think I ended up really loving the Aqua on, because I took a class and the instructor had us use aqua, Long's and she sent us home with two and it was actually acrylic class. It was like a decorative painting retreat and I just really I thought they they held up really well and for me, an acrylic paint. I attend to kill brushes so that kind of stuck in my head is these or a good brush to have? If you drag your strokes for the screw slots out from the center you'll get tapered a nice tapered and soulful, you can see right there. What I mean you just kind of drag the this the marks, oh there's, that little brush of stuck to my tape, we'll get back to you a little brush. Don'T worry the best way to avoid hard, hard edges and some paper is really prone to it. Picked with a lot of sizing in a cellulose paper, the best way to avoid it is to keep your paper uniformly damp, while you're working and so like. If I was painting this leaf and I painted it at all, yellow and then I'm like I'm gon na go in with another color. If I have parts of the leaf, that's dry and parts that are wet, I'm gon na get hard edges where I don't want them. So I either need to wait for L to dry before I go back in with another color or I need to do it. While it's all that same uniform, wetness cotton paper generally, it's it just balances itself out a lot better, so you're less likely to get hard edges, whereas, like a heavily size, cellulose paper you're much more prone to get hard edges, and sometimes it's desirable. If you're. If you want to force some blooms you're doing some something where you want that texture, but a lot of times it's it's just because your paper is not drying uniformly, and sometimes we do it on purpose, and sometimes it's not what we want. But that's why it happens. You might have little cracks and splits on the wood and that's what I did right there. I just dragged some of that shadow out it and basically just shows you this little Iike a crack in the wood. I don't do the same thing there, too, Tiffany gray, when I have straight brush hairs. What is the proper way to treat them pull out, cut or train back into formation? Oh and a brush um. I usually would just snip it you unless they come out really easily. You could try just kind of like going like, maybe like, like that gently and if they come out great, if not, I would just snip it. I don't really have that issue too much. So I do notice like some, I think, maybe it's more common with certain brands. It might be more common with natural hair, brushes, I'm not sure cuz. They don't typically use natural hair brushes. I have some older ones, but by the time they're as old as mine are they're. If they're gon na lose their hair, they've already lost it. It'S all you kind of shed when you first get them this screw. Here has a lot of shadow and I'll show. You you always see was set in really deep, so it's really shadowed in there. It'S also got some kind of cracked wood around it. I really think that looks interesting. So that's what I'm gon na really accentuate for this screw here and this one is then the next one. That'S very opposite. It'S very high set there's just a tiny little bit of shadow. It'S mostly highlighted. Well, I'm glad the encoder works. I'Ve been I've been hesitant to try it because it just stopped working one day, but it's working again, so I guess I'll use the uh I'll use this from now on. Since you know Google+ ones to part ways with me a pair. That'S so weird it's like who even uses Google+ actually thought was a spam. I thought like if I clicked on the link, then it would like take me to some middle eastern web site. Give my computer a virus all right. I think I want to have a little more color on the wood. I really like that kind of cobalt, turquoise color and I'm just gon na find a dry brush it on with a small synthetic brush and see what I see what I end up with. I might want to add more with a bigger brush, but let's go throw some of that in the darker areas. Oh I see I just I did forget a little screw in the corner, but I think I'm just gon na leave it leave it. Undone miss groves. Do you think having a reference picture is essential um, I don't think it's essential. It depends on how you paint if you're painting something from your imagination. I think it's really helpful as far as having well for me, maybe it's a bit of a crutch. I like being able to like look at the way the lights coming in and look at the subtleties, but you know the more. I find that, like the more that I paint out in nature in real life, the less I need it just because I can. I can recall how, like the light, hits things and how how it looks it's really nice for teaching, because then you can see exactly like. You can't look into my brain, but if I show you the reference photo, this is what I'm trying to get. It becomes. A lot easier but like stuff, I paint all the time like roses: different flowers and stuff, like that, I don't need a reference photo, because I just I practice so much so I think it just depends. You know how familiar you are with a subject. Your painting and how much you feel like you, want a little bit of of image to rely on or to lean on, because this brush isn't very absorbent. I do have to reload quite a bit and I'm reloading it right from the dry pan of color. Just want to kind of look like some paint has been. You know that still most paint has been rubbed off, but there's still a little bit there. So doing this with like a semi, opaque color like a cobalt works out, really well, okay. So now I'm just gon na hit this real, quick with a dryer and it got a little bit a little paint on my hand. I want to clean off before I get that somewhere. I don't want it and then we can remove our tape and that we can start painting our leaves website down. I can lay it lay my flat in my no i-i'll a mine flat after I take him out of the water, and then I throw him in a jar later and yeah brush tip up it really shouldn't hurt anything. You can always put like a just like um, I don't you have an old ashtray or something so you can rest your brushes in the little grooves or get yourself a little brush rest. I didn't know they still made ashtrays, but when I was in Canada they had like they had ashtrays. I like gas stations and stuff for sale yeah. I think that might even like the dollar store or something, but you could always just take a piece of polymer clay and roll out a log and put your freak make a little finger. Divots in there make yourself a little brush rust all right so to remove this. I'M gon na use my knife, so I don't see here any of that dried paint on me on that. The tape itself try not to just try to lift up an edge. Try not to gouge your paper a little piece sticking off. You can peel off the tape. Again, I'm gon na recommend you fold the tape back on itself, like I'm doing there, and that should prevent any any pulling up the paper and toss that right in the trash and I'm wondering if contact paper might not work, because it might not be strong enough. Strong enough on that made, actually it might actually look a paint seep under. I was willing to try that Eclipse masking tape like for rubber stamping, but I've never got my hands on any kind. I'D find one if that would work for watercolor. If it's too papery have you ever used that the Judy Kinsey clips I haven't, I don't know, I guess it would depend on what it was we're a waxy, okay yeah. I can't remember, though, it's more similar to washi tape. It probably wouldn't yeah. I just love peeling off a mask, it's funny how so many techniques like from stamping it can bleed over into watercolor or painting, or I mean I feel like everything can bleed over to one another as far as arts and crafts go alright. So what we're gon na be doing is jumping from each from one leaf to another. So that way we don't have to hang around with things to dry. So basically, what we want to do is kind of look at the base color for each leaf. So here we've kind of got Orange E and two red here: we've got mostly yellow here: we've got, you know, got up a variety of colors here we want to put a wash down on each of these first. So by the time you know this leaf is dry. I will have just put my wash on that so like we can just keep skipping around and we don't have to waste too much time, I'm going in with a number eight round a minute because it's nice and absorbent - and these are pretty small areas - you probably Don'T have to pre wet them, but if you're, if you have a paper that tends to give you hard edges like a viewer just mentioned, then go ahead and wet at first that's going to help it retain a more uniform dampness. So you don't end up with your hard edges and I usually don't go right up to the edge just because that's where I put my pigment in an old Wiccan, just fine, so I'm gon na mix up some of my think. This is only look at the permanent, yellow, permanent, get permanent, yellow and some pyrole red, actually permanent, scarlet or pyro pyro pyro scarlet permanent scar, actually either of those permanent bread or pyro scarlet will be fine. I don't want to make it quite as red as the the leaf is in the photo. Yet because I want to layer up and red is a tricky color, especially to photograph or to film, because it it. I think it confuses the camera. It washes out really easily if you need more control with your brush, hold it closer to the ferrule, which is that metal part. If you want to loose their stroke, you want to hold it further back and grab a little more yellow, hey I'm gon na fill in the stem. Even the stem will be repainted a darker red when we're done - and I don't want a white outline on this. I got a little bit of a white outline just like a little glimmer of sparkle there on the right hand, side, but not on the left, and I decided to make this more of a smooth blend than the really harsh line there. It almost looks like maybe it was under something and when the leaves changed and maybe light got to one part, not the other, it's kind of interesting, but I think it's gon na look funny in a painting, so you can do it. However, you want to make sure you don't have any puddles and then you won't have blooms the next one, I'm gon na do all yellow first, that same yellow. So, whatever yellow you use to make sure red use that yellow here I mean since it's just one color, I'm not even gon na pre wet it, I'm just gon na go right in there. Quiet chat today. What'S everyone talking about, I feel, like I always miss out on what everyone's we've got a couple different couple different. We got some people talking about different ways to dry brushes. Mm-Hmm we've got some people talking about the ASMR. Oh yeah, I'm taking a little bit of phthalo blue and a little bit of that yellow mixing up some green there. I'M gon na go right into the wet paint with that tray. I'M gon na trace the veins a little bit, so they have a little bit of um a little bit of a kind of a speckle, a flow of green look from the edge um. Maybe I don't know, I'm surprised, I'm kind of surprised. It doesn't because packing tape usually is is uh seems pretty sticky, but I guess it's not that sticky. I guess it's uh, maybe because I'm not leaving it on so long. But you know: I've had packing tape and I've taped up boxes and like it's, come off really easily so and I'm dabbing in some of the red on its own, because I want that kind of model II, kind of freckle II look up here, Jessica bag now Lindsay has said her: mom is a painter right. Does she have any published work? Oh no, my mom's, a hobby, painter um. She does like decorative painting. She tends to paint like following other people's painting, packets and tutorials. She strictly does it for fun. I also want to mention you could use your like if you want a more texture in the back, and I did it on my sample for whatever reason I didn't do it in the painting, but you can scrape in with your credit card scraper it's another quick Way to get texture on your wedding. What washes you can also do that in the veining of the leaf here, although I'm not going to just because once you scrape in that is therefore good, and I don't necessarily want to have so much to have that that permanently in case, I changed my mind On something - and this here looks just like that red, however, I did pick up a little bit of that mix that I, that orange you mix from the first one. I just wanted to get that. I have a little something: that's temper into the gap between that bright, red and the yellow into the green okay. The next one is going to be we're gon na wet it, because we're gon na put three colors but they're, not all gon na want to overlap our yellow so we'll go on. Oh, I just noticed. I still have a little bit of a little bit of tape on this one. Maybe maybe we'll hear the ASMR tape, I'm not sure your in leg, gouge ii, knife here, like the sound of a of pens being like tapped not tapped by when you have a handful of pens and they like tapping down by the sound of like of plastic Packages being open - maybe I do I get like managed to somehow get a huge drop of water outside that bleep, so I think I'm gon na actually skip that. If you end up like going outside of the lines when you're pre-wedding like I did there, I would really recommend letting that dry before you go in cuz that that pain is gon na, go where it's wet. It'S gon na whoosh out into that that area. So I'm actually going to skip over here and make sure I got all the tape off that one tricky one and I'm gon na pre-wet it cuz it's going to be a couple colors as well. I mean it might a few and I think you know I bet if you were using. This is called press. I bet if you're using hot, pressed paper, you might run more of a risk of it not wanting to let let go, but since I only press it on the edges - and this is a cold pressed paper - so it's it's, you know just by nature, has hills And valleys and isn't gon na be wanting to bond as well like you know, you stick something down on a smooth surface. It wants to grab it really. Well, if you stick it on a rough surface like trying to stick a piece of tape on to cement, it's not gon na grab, because there's too much too much roughness there. I don't like the sounds of people, whispering, though that creeps me out. I see those the videos where people whisper. I like that you can actually make your own custom ones if you want the heavens are all made, but - and so I have one it's a crackling fire roaring cat. Oh and I will say that, like my place, hen sir, I just look as though we were flying back yep from Nashville to DC. There was some turbulence, so I just put that in and it just kind of helped. Oh relax me a little bit. How was your trip it was awesome. Nashville is great. Oh nice people do not make it up when they say southern hospitality. Oh nice, everyone we met was super. Nice super friendly, very helpful, the weather we had cuz, you know the Hurricanes and all kind of stuff. We had rain e some rainy days, but you know we brought her raincoats and great tucked along and we would like to go back someday yeah. It looked like you guys are having fun just what the are you post, because we were doing strictly just uber and lyft. Oh, you know we had to stay kind of close to the downtown area. There were places you know, like 45 minutes to an hour outside of Nashville, that we would have liked to have gone to see, but it would have been expensive yeah. So so this is just the the red that the same red that we were using, and I think I want to mix up a little bit of purple in this one. So it does seem to have a little bit of a purple tone. So I'm gon na use the same red and the ultramarine blue. It'S not gon na really give me a great purple, but that's not it's not a bright purple on the flower, either on the leaf either. So that's perfect, you're gon na get was kind of like a wine color and I'm just dabbing it in where I see those darker patches on the reference photo. Well. If you can really see that, because it's so red, I know the camera can tend to want to normalize read a lot. I think that's why I like, when they they sell those artists, value finders they're like a red piece of cellophane, and you look through when it kind of takes the color out of everything. So red does do something funny to our eyes and the cameras and stuff. I think it has to do with that. They get it's hard for cameras and our eyes to tell between shades of red. I ain't gon na hit dry. This really quick, because I had that wet area there, and I don't want it to cause me any blooms or backgrounds so good time for questions or anybody has any love that. I hope, though, with the wedding couple were waiting a bit to take.