Glazing is layering or stacking colors like stacking up different shades of colored glass or cellophane, so one on top of the other and it modifies the appearance of the layer below. So you can see through the top layers to the bottom layer so the layers are transparent. Now you can see here, I've painted one layer along here in a strip. And as I've applied each of these different colors as a second layer over the first one, it's modified the color of the layer below. So this is what's called glazing in painting, glazing and layering are terms that are used interchangeably. Now when I refer to glazing, often I'm thinking of that pane of glass analogy.

So when I'm talking glazing I'm usually talking about and layering one area over another large area. If I have painted all of these yellow areas, let them dry. And then I've painted another color over the top to create a new color that I refer to that is glazing. Whereas I would look at these gold detailing, I call that layering. So I'm adding details and I'm adding a new shape onto the first layer. At first exercising glazing.

We are going to paint a strip of color on our worksheet along here. And we're going to let it dry because that's what we're doing today with our with our layering techniques, we must let it dry. Otherwise, the colors intermix, and it's no longer a separate layer. Yeah, layer one layer is now dry, and we can glaze it with some other layers so that we can create our own grid and see how the color will interact with our other layers. gonna work right to left being left handed so I'm not going over my own paint with painting the whole time already. So this is our little grading grid and as they drive we'll be able to see what the additive effect is of these colors over the turquoise.

For now, I'll just show you how you can create your own glazing grid, which can be a really good exercise before you start on a painting we're going to be layering lots of different colors. So you would start with your color scheme. And you paint that along the top and down the side. And then once it's dry, then you can go and add the color. So this color is this color. And you can see how this color reacts with the red and how it reacts with the dark red, how it reacts with the purple and how it reacts with With the blue, and so on.

And by using this grid like pattern, you can see every possible combination. So this is orange on orange. And this is the light red on the light red dot grid on dark grid. So even using the same color on top of itself has an additive effect. And that can be really useful, you can end up with some really vibrant colors. And you can see here that the blue on top of the purple is a lot more vibrant than the purple on top of the blue.

So that's as far as I'm going into grids right now, but you can certainly do a bit of your own research around creating grids. If this didn't totally make sense. There's lots of different color mixing grid suggestions that you could check out as well. Now I'm really excited about this next activity. I'm going to pick two colors for each ladybird and one half of the shape will be painted color a one half will be painted khalaby and then we'll let them dry. So that then we can glaze on the top of them.

Now for added speed with this exercise, we're actually going to leave a gap down the middle of each half of the loop through it nice and slowly. Okay, and for the areas where you're trying to be really specific about where the color goes, you use the tip of your brush and you leave it very vertical. Okay, and then when you're coloring in areas, then you can hold your brush at 45 and you use bottom half, two thirds of you the tip of your brush and you drag it along to half of my lady beetle and let it dry. And then we're going to glaze over the top. I'm going to go ahead and paint all of the rest and then we'll come back together and add layers. Face layers of our ladybugs are dry.

Now I've got my small brush so that we can start glazing stained glass layers of our life shapes. So if we consider that the left half is color a and the right half is color B, we're going to be glazing khalaby with a and we'll be putting color B on top of a site. We'll just be using these two colors for this guy. These two colors for this one. Alright, I've got some shape suggestions in the worksheet or you come up with your own as well. Now I find when I'm layering, it's always good to have a slightly thicker wash to go over the top for subsequent layers.

So we work thin to thick, so these are quite light. If we had this color mixed as thick as we possibly could it be very hard to layer, another layer of watercolor over the top and for it to be visible. So I'll get my orange, make it thick. Yeah, consider using the very tip of your brush and working vertical. It's hard to get very detailed and small areas if you're trying to work on the side. So here we are my glazing, three small dots on top of pallet Bay, and I'll pick up my read to glaze over here and what you're probably Notice from when we were looking at the color grids is that I on Bay is going to look different to be on a.

So if we get our red and I put that on top of that orange, when it dries, we can examine how the spots look different. All right. So that's our This is our first raising exercise. For this second one, I actually want to do sections like it's on a leaf. So this is my fellow blue pick up a little bit more of that. I actually want to glaze through the middle like this.

So when I think of glazing as opposed to layering, this is what I think of. Right I'm putting a flat wash on top of another wash. So here we are, we've got Bay on a I've picked up my turquoise and I'm going to lay that over the top of khalaby we'll see what that looks like when it dries. Already, you can see how dramatically different this layer of glaze is to this layer. And that's the power of glazing. All right, I'm going to speed this up and I'm going to work through the other ones.

So the main takeaways from this exercise are that leaving a whitespace between things can really help speed up your painting. A on B can look different to be on a and as with a first exercise, the bottom layer must be dry before you move on to the second layer. Now from a logistical perspective, with your pencil lines, what I find it can be quite handy to draw your shape like this. But keep the pencil marks light so that you can erase them easily. But then if you paint in here Then when it's dry, you can erase those lines. And I've given you a guide but they actually haven't been trapped underneath your paint.

So that can be a quite a nice way to do it so you don't end up with pencil marks especially, and the yellow where it's really apparent. Alright, so that's a little tip for when you're doing your worksheet. Okay painting and then put some music on so you can watch along Today we are using two colors for each leaf or each Ladybug, we have completed a glazing exercise where we can see what color a looks like on top of color B. And what color B looks like on top of color a. I'm just completing this. Some of my favorites are this yellow over the top of the light red. And this turquoise over the top of the cobalt blue i think is pretty nice.

I also really like this combination of colors. You get here from just two pigments. So there's a Australian turquoise or a cobalt turquoise, and then the solid blue, and how nicely they all look together What a beautiful sort of cohesive color combo. And something like this could be really interesting as well when you're mixing complimentary colors and you get some more muted organic looking colors, which is nice too. Right? So this is just a kind of a fun take on the idea of this glazing grid.