Paper is ready to receive paint. Now I'm going to take my little sketch that we looked at earlier and I'm going to put it right up against the camera in front of me and I have this one to have the option Alberta Canada. So I have them in front of me, I know I have all my brushes here. I have my rag, if we're going to draw it with the brush first, and I'm going to use my little brush. And I'm going to take some, I'm going to take a middle color, which is just going to mix up a little orange. Over here, I have some Indian yellow left, but I'm going to take a little bit of the hassle yellow.

And I'm going to stay with an orange a mid orange like this. Because a lot of the California watercolorists began their picture with a mid tone. Okay, so maybe I'll just put the picture upside down. This picture is going to go upside down in front of me. And I'm going to see if I can just get what I'm doing here with this. So I'm going to draw in or look at that.

Look at that shape there. There's the road and there's some little trees there. I'm thinking shape. Paint is more or less like tomato soup. Not too thin, not too thick. Okay, and I have some obliques coming in this way.

I'm just looking at my picture upside down. I got a vertical here. And this that's about to take a couple little sky marks in here. And maybe a little bit like in there, and then the rolling hills coming back down here. And that's it. Brush was in the water cleaned off.

Let me turn it around. See what we have so far? Ah, nice. Okay, if you don't mind, I'm going to turn it around this way now. But just to show you that sometimes giving yourself a little bit of a challenge, like if you're really good at drawing, draw with your left hand for a while or draw standing on your head. Do something different.

Okay, now I've got some big shapes here. This is getting exciting. I need to move to a big brush, I can use that brush, or I could use this, which is the Picasso brush. It cost me $8 and 79 cents on this in a sable brush might cost you $350. So that's a pretty good deal. I'm going to prime it I'm gonna dry it.

My paper Whoa, my paper might be drying. Okay, it's okay, I put more water underneath. This is getting exciting, it's starting to work. We don't have to panic about the paper drying. Now, if you only do surface wet, you're always spraying the picture with a little atomizer and then your paint was all going to take a little bit more of that orange on my brush like this big brush here. It's It's, um, boy, I just got just gonna try this.

There it is. Remember, don't be afraid to tilt your paper maker make a clean picture. I mixing over my picture so I'd be very careful So there is my soupy red. Take a little bit this red. It's going to be bold. I've taken my brush and I've gone over to the tree.

And then I clean off my brush. And I'm going to my boss that paint around with my paintbrush. Surrey. I'm going to tilted, tilted, tilted oh I need to soften an edge there. See the edge here. soften the edge.

Soften the edge. soften the edge. Beautiful. That's too twisted this way. No this way Got it. You can do the slap technique.

See how it slaps down. If it doesn't slap down, fall down. It's not wet enough. Now because I've already done the first session and let it dry. I take my Kleenex now. And this won't take any paint off what it does, because we've used staining paints like fellow scene and alizarin crimson and it looks like I used a little Indian yellow in this one, it's kind of a warm, orange, yellow, what I'm doing is taking the surface water off, all the water is inside the paper, it's saturated, it's not going to dry quickly.

And when I take the water off the top, the paint is not going to spread all over the place. So I'm going to do a little dispersion test, like we did in the first part of the video. And what I do is I generally take a little corner and just try somewhere wherever I'm going to be putting some witches here. Okay, see it's not going anywhere. So I'm okay. And don't worry if that you didn't want that there.

You can just it comes right off. Because the paper is wet. It's not sitting in. Okay, so I'm going to take my castle, brush, the brush. I'm going to lift this up as Mitch Turn it upside down. wet my brush can move everything over here you can see exactly what I'm doing.

You see, oh, there it is. Looks like a little fish swimming in the aquarium. pad it, rabbit, touch it to my rag. All the essentials 123. Touch it to the reg, take a little bit of Look how strong that paint is. So I'm going to add a little more water to it.

Now, most of the waters in the paper so I don't want to be using that much on my castle brush. That's where touching it to the rag is so important. Now if you can look at the brush, it's like a felt pen. It's loaded. So I'm going right across and look. See moving down.

Put one more sweep there. I think I'll put a vertical sweeping Couple like that. Might even put one more there. There we go. See watching what it does. Click, it's gonna hit this and go right over it.

So now by turning it on an angle that way, I get clouds moving in this way. And I see I've got a watermark here. That's from the paper. So I'm going to get 3123123 There we go. We just let that sit flat. Now.

The trick is to watch it. Don't be always bossing and touching your paint. I take my little rag I want to get that little white spot back. I like that little spot. See gently. That that is a great little move here.

Here. Like a little dot, dot the eyes just by touching it, there's another one there, leaving little white spots. See it's falling in there. So now if I want to, I can add a little more crimson in here. So you could have this all pre mixed, but I know this paint is not this paper is fully saturated, so I'm not under any obligation to rush, I can think. And then I can act or take my little sable brush this time.

Prymatt touch it to the rag. Take a little bit of the paint and because the paper is wet, I'll just touch it to the rest And I'm going to tilt it. And I'm going to put it right in here. Right. Now you see, that tree does not know that the sky is in behind it. So I will continue the stroke on the other side of the tree.

And I'll tilt it up just to see what happens. So really, I got I'm responsible for putting the paint on the brush and then on the paper, and then I'm responsible for watching. Now you see these I'd be great if there were trees there, but I don't want trees so I'm going to turn it this way. And then run that way. I can encourage it a little bit. Very small stroke.

Oh look see the blues coming down in here. So I could clean my brush. Very little water. Put a little bit of blue there now. Now the blue is mixing in with the Alizarin. At I'm watching, not doing just watching then I tilt it up this way.

Just watching it perfect. And the papers wet. So I take a little yellow on my brush, put it in there. I don't want it to thin and I'm going to see I took all that. Touch it to the rag. Pick this up a little bit Even this little I'm going to leave white and leave the road a little bit white.

And we're going to come on an angle like that. Then clean the brush off. Clean off the brush. This brush takes a lot of water. Why do I clean the brush? Well, because I want the paints to mix on their own.

I don't want to premix them. Now I take a little bit of the Alizarin touch it. Remember leaving bits of white is very important. And let's see what happens here. Well let this just while its way across if the clouds have that form, the shadows on the ground are really shadows of the clouds. So the shape of a shadow is important.

Remember, you have to pick up some drips, remember our class from the English watercolor, pick up the drips. Now this mark here is coming from the paper probably got scored somehow, or maybe got roughed up. And that's okay. We take things like that as a gift. Oh, there's a mark on my paper. That's a gift.

Okay, now I take a little bit of the, you know, I think I'm going to I'm going to stick with the sale because that might be just what you're using, but I could use ultramarine and I could use cobalt, but the sale is out. So I'm going to use the sale. And here we go. We're going right across with the sale with a cool section. Little bit of cool Here we go just dripping it in, especially in here. A little stronger at the bottom and let it tilt up a bit.

Very nice. Now I can lift off the road. I want to lift the road off because I want to have it lighter. So look how easily that lifts off like that word lift lifts. Leave the metal I know in country roads, the middle is a little darker. Might even lift off a little here to look.

See when your paper is saturated. You can lift up the color before it sets That's a great little spot right there. I think I'll just extend that right over. Never get rid of all the white man maybe the sun, really hitting