Today, this is our no draft, no slip method of painting. First thing you'll probably wonder is what are we going to paint, it's not so important as what we're going to paint. But what are we going to learn about painting. Now I'm going to start this with a small ink drawing of a landscape and I'll just draw it upside down so you can see it from there and I don't have to flip the camera around. I'm going to start with three trees. And then I'm going to just take the side of my pen.

Remember, it's not so much what we're drawing is you're going to be learning how to manipulate the paints and then we'll put those on the screen. side of a hill and we will put in a lake down here and another mountain here. A little hopping over here. Add some snow on the top of the mountain. A little line here. little texture.

We'll leave this as snow. We'll put in some clouds. Make sure we hop over three is a good number. There we go. Let's add some a little bit of girth to the bottom here. Can you bring this one down a bit farther.

Keep that one short a little branches. Turn it up. Very simple. I'm going to add the blue down here. Notice the blue soaks right into the paper and I have puddled it up on purpose. One of the problems with watercolor painting is too much paint on the brush.

That's where a thirsty brush comes in. A thirsty brush is a brush at doesn't have any paint in it. And it's dry. So here's all my drips and slips. Remember, no drips, no slips does not mean that you're not going to drip and slip. It's just that I'm going to show you how you can get rid of that.

Notice how I'm telling The paper slightly and I'm coming underneath here and I'm tilting the paper into the thirsty brush. When we're doing this method of painting, probably one of the most important things is the cloth. Because dry brush will pick up wet paint. Now you see that I can't get that unless I tilt it on 45 degree angle this way. And now it's tilting down. And I can just put the brush at the edge.

The English invented this style of painting. There we go. And I have picked up successfully all the drips. Now if I lay it down flat, it'll level out. It's a little darker here but and a little lighter here but that will probably just move over. Well, that was that big Chinese brush.

They got me in all that trouble because I did not touch the brush to the rag before I started. Let me do that one more time with the Chinese brush. I'm just going to give a little more of the paint and you can see it right there. I'm going to rub the paint on the top, touch the paint to the rag. Okay, here we go. I'm holding my paper, the brushes up pie and, and I'm hopping over that little white spot there.

I don't want to touch that. Notice like I'm rubbing the brush. I'm just this is a flat wash. It's one way to do it with dry paper. And there we go. Now you see we're getting lots of drips there.

I'm going to add them in there. What do we do? Put the brush down, get the dry brush till the paper dry brush. Get our little vacuum cleaner working When it comes to greater wash, graded in watercolor means graded in in contrast or darkness, so we're going to be going dark to light. Now the sky, traditionally the sky is dark at the top and light at the bottom. But we can as artists also realize that up in the mountains, you don't see the bottom of the sky so we can go dark to light this way.

So I may tilt my paper this way. And here we go. i prime my brush with water. I take a little bit of this blue. And I'm going to work the brush like this so that you can really see it. So there's my brush.

I've touched to my rags, it doesn't drip. And I just give it a little wiggle to get it going. Okay, and then I'm gonna have my well of paint right next to me. So I'm going to get what's called a puddle going to get a puddle. Now the paint will only follow the wetness of the path I'm making for it. Notice the paints not going in there.

Notice I have continually dripped into my little well of paint. I see that edge there. That's the wrong angle for the brush. The brush now has to be moved over here. And whatever edge your painting that's the edge that you point the brush at. So the brush points at the edge of your painting.

Notice I've continued this puddle, now you have to tilt the paper just right As you don't want any drips and you don't want any slips, as long as you keep the paint wet, it'll just go where it has to. Okay, now I see my big puddle there. Okay, I'm going to let it drip, okay, because it might happen to you. I can't let that sit too long or the paint will dry and make a mark. So I'm going to tilt the paper even more. I'm going to wait till it drips.

I might even encourage a little bit. Come on, come on, or Okay, fine. We'll keep going. Isn't that amazing? It only goes Now depending on your paper, you see, cold press 140 pound or two pounds, even 300 pound paper will perform like this. Because it's so smooth and it doesn't have any big dents and ridges in it.

Okay, here we go. Now here's something because I want to go through Did I have to add some water to my puddle, that puddle of paint that I have over here and quickly add some water or you could have pre mixed three, three types of blue like a dark blue, medium blue, light blue. Oh, now I got to get over my tree. Very easy, I just make a pathway. Now I want a little white showing there. So I'm just going to leave a little white.

I'm going to bring my pathway over the Sharpie. See if I can drain it over. Oh there it is draining just like playing with in puddles and river kids. I've got over it around. Well, I got my puddle over here now. Now I'm going to do something pretty magical.

I'm not going to add any more paint and I'm just going to add water. And each time I go a little bit farther, I'm going to add more water, more water, touch the rag a little bit don't want any drips. You can see by the excitement in my voice that this is a very concentrated technique. There's no time for fooling around. And notice how I've ended almost now there's my big drip at the end. Very easy, just I just run it over the tape rag, get my rag and I want to lift a little bit of the paint right here, just gently, not too much, just a little bit, lift a little, just to give a little variation.

And now let that dry. And I'm going to turn it around. How do I check to see if it's dry cuz I want to put one more wash on here. I take the back of my hand the back and it's still cool. That's probably needs to dry for now I'm just going to leave it alone. And I'm going to try one more graded wash here with blue.

But this is a faster one. I think you'll see how easy it is and I'm going to start with darker blue in my little while. Now watch darker blue, get a puddle. Get the puddle going. And I'm only now going to be adding water and it's all in the way I tilt. Okay, what is this one's faster and a little more rubby because I want a little texture from the snow.

And now watch. I'm going to tilt it. And this is called a wet paper graded washing the tilted this way to tilt it that way. And now I'm going to turn it right around this way. And I'm going to get it all dripping down to this. Oh look at it.

Look at it, look at it now that's a nice graded wash but light to medium to dark. Now if this was a vase of flowers, a person's face, a motorcycle Classic truck a building. Use the same techniques. Now I'm going to just going to take all those up with my thirsty brush. You don't want to leave puddles in the beginning as you learn this technique because puddles leave lines, pick it up very gently. And here we go.

Quick my next graded wash. One more. Get my puddle, no puddle, no wash. There we go. I've got my puddle, you must get the puddle. And then I'll add one more. See the puddle.

Now I can just add water. I think I'll probably be able to get away with just dipping my brush gently into the water not swishing it Okay, concentrate, point the brush at the edge your painting. Get into the zone. We better start thinking they're wrong. See that that big puddle there. I've got there goes.

I got it. We do have to think when we paint. Now my brush is just basically water. I'm coming to the end of my wash. I see I have a few drips up top here. So I'm ending my wash with water and I have a few drips here look.

I'm going to bring that because it's I'm going to bring it right into the cloud with some water. See, there we go. And repeat after me there are no mistakes in art. You can't make mistakes and are ready to turn By paper slightly, and I'm going to get a bead going. As you can see that's fairly dark paint. And just so you can watch it.

There's my little puddle. And now I feel to turn the paper slightly because I want to point at the edge remember and tilt to paper. That's as far as I'm going to go. And then I'm going to rinse my brush and take some of the lighter paint, which I started with. But I'm going to start it down a little farther and then bring it up and bring my puddle down that way because they want a dramatic dark light. I can wash off my brush again.

I'll get one more of the original paint. Now you see I can't reach that. Totally come at it from over here. Same with this one. Now it's getting a little bit tense in here. So I'm just gonna notice I dried my brush off.

And now I'm going to get just water on my brush. And I'm tilting, making sure that I get all my edges more water. Touch the edge is a good bead of water and I'm going to come down here. Now, if you let your paint sit too long in one place, you will get a line. So the thing is to keep it liquid, keep it moving. And now we're over here.

And tilt. Now remember my little white spots on the tree. One should look careful here. Looks like I might have got a little bit in here just so I can. There we go. A little dry brush here and I don't want to Touch that white spot here.

And notice I haven't added any water but tilting my paper got sort of locked in there a little bit. Don't worry about it. Don't even touch it. It looks like I hardly did anything here but actually, there's some paint on my brush and I'm really going to clean it here. If you don't wet the whole area, you'll get a line. Okay, and let that dry.

Now I flipped my picture over this way. I'm going to start with my dark paint over here. This is the fellow. Now you'll notice that I've got my my bead, and I'm not really stroking hard. If you stroke the paper hard and you rub it in any fashion, you will get you a braise the surface of the paper and you'll not get a nice clean effect. Now you'll notice here, I'm leaving Some of the white showing on my trees, I'm going to be tilting it now, bringing it over here because there could be some snow on the trees.

Now I'm really judiciously looking for white spots that I'm going to leave. I better get in the water now. And there we go. Slowly but surely, moving my way over. Now remember, got some beating up here and bring it down to the bottom. See.

And remember this little area before, we didn't make it completely flat, we wanted some undulations to give it a snow effect. So now rather than worrying about even here, I just want to make sure it's all wet. And then I'm going to get some running going. Make some running marks Get down. There we go. I don't want to run back too much here because this has already started to dry.

If I run water back here, I'll get some effects that I might not want. Now if I let it just sit flat, it'll soak in. Now I'm going to stop talking and concentrate. Dark light, dark, light, dark delay. This is light. I'm going to go dark here and pull it up to light here.

So have them dark here coming across. By the time we get to here to keep this light. This can go darker and get my dark blue puddle going Tilt Get up, take a little of this blue. Make sure don't touch the wet and hearing Go Go right across. Now it's time to get water quickly touch to the rags you don't get too much. Let it tilt.

Bring it over. I'm going to do a very debt washer, I'm going to add a little more of this paint. See I've got a nice streak coming down here. I'm going to pull it right through the bottom of this because I want to accent this white area here. So I can have a dark light, dark light. Also doesn't have to always go just dark to light.

You can go dark to light to dark, especially if you have shadows. Notice I'm doing the little because the papers getting wetter here. And I want to make sure you leave a little white showing around the tree and the snow. I'm doing the tap method now. Rather than rubbing the paper, I'm gently tapping, and I'm going to finish off, clean my brush, dry it and just tap out near the end here. Now because the papers wet here, I can throw a little more in when you get a little bold.

Amateurs are afraid to be bold. professionals are afraid to be timid. So notice the papers wet, very wet here. And I'm going to see if it just tilting if it's going to go past and end up over here. Yeah, I think it's going. Yes, there it is.

I'm going to encourage it with one more. up it's coming through here too. I like that. Like that random effect. There's coming along here as this is not too wet. yet.

Right, I'm going to add a little bit of the light around the bottom of the looks like ice cream snow. And I'm going to let that drip down, but because the papers dry here, it's not too dry. There we go. I'm going to take my dry brush, and I'm going to tap it out. dry it off, tap it out, dry it off, tap it out. So don't rub the paper here, gently tapping it but I am going to introduce one more color, and that's a little bit of the red.

So this is a lizard and crimson. It's the strongest read and it makes the best picks So I'm taking a little tight look a little I've got here just, that's even too dark. I want to make it even lighter. I'm going to start up here, and I'm going to leave a little bit of light on this side. I'm going to have the light coming this way. So all this part of the cloud makes sure I don't touch this.

If you really, really want to be careful, get your hairdryer out. Notice I put a little blue, little bit of pink there and I clean my brush off. And now we learned a great technique called softening the edge. We just soften the edge, more water around the tree. Notice that the paint only goes where the water is softened the edge now that's too hard an edge right there. So I'm tilting See, hard edge there.

Take my dry brush, picked up a bit of the drip. You're always dipping your brush softening the edge. So we get the pure white here. Now remember when we brought this into the cloud, that Crimson is now mixing over the failover to make a lovely shade of violet. Your best secondary colors are when one of the primaries put down and then you put another primary over it, such as what we'll do in a minute when we put yellow over here. Dry can't stress enough, two absolutely vital things you need to remember one.

Do not put washes over washes. Unless the under wash is dry. The paint needs to dry. Then you put another coat on no rubber rubber rub rub rub rub rub rub that destroys the top of the paper and makes it dull and money. Only gentle strokes. And the second thing on dry paper, always put the paper dry between washes.

Okay, let's bring it out this sky one more time with one more wash