Lessons
Day 1
1Class
1:11:27 2Q&A
35:31Day 2
3Basic Introduction
04:30 4Paint and Paint Properties
35:33 5Understanding Color
08:06 6Hue: The Color Wheel
14:16Mixing Colors
15:56 8Other Color Terms
17:07 9Light and Shadows
03:14 10Layering and Glazing
06:19 11Homework
07:47 12Q&A
08:15Day 3
13Watercolor Papers
23:36 14Paper Characteristics
34:12 15Watercolor Brushes
19:15 16Basic Brush Techniques
32:32 17Putting It All Together
09:28 18Q&A
07:08Day 4
19Drawing for Painting
1:03:45 20Proportion and Perspective
06:41 21Good Composition
29:16 22Last Class Preparation
05:40 23Q&A
09:10Day 5
24Introduction
06:29 25Creating Textures
19:45 26Other Fun Techniques
33:13 27Reserving Whites and Lifting
53:13 28Things to Remember
21:54Lesson Info
Layering and Glazing
Let's talk about layering and glazing transparency allows depth the color, but transparency also requires planning, so you want to make sure you pay attention to your planning and create your strategy. When it comes to layering and glazing, you usually lay down your life skyler's first and then build your color intensity on top of that. Tom hoffman, I think I said earlier, uh, didn't say never do more than four layers, but says one, two, three, maybe four layers after that, you're going to really start getting into creating mud on your painting, so you have to be really careful to paint to use and how densely you put them down. So and one thing about layering is that you need to let your layers get completely dry in between, because if you paint on top of a wet layer, in other words, if you put paint down and that paint is still wet, you paint on top of it and you'll be literally mixing the paint on your paper just like you mix it in your palette and you'll create a much flatter look t...
hat way to try to keep your luminosity, let the paint dry in between, and then when you paint blaze or put a layer on top of it, it'll stay as luminous as possible. And value studies help you a lot in uh uh pet planning your paintings you know you go and you have okay this my light its value and I you do your light under painting there and then you do your next value and you do your next layer there and then you go three year five values and by the time you get to your last value you're you know you're all set and glazing you glaze to change the hugh value to intensity and temperature of your colors so this is a painting I did so study I did very, very quickly one day on plane air and on the left hand side is uh glazed with a cool color and on the right hand side I glazed with a warm glow so if this were england and I wanted it to look more like it was in england I would glaze it with that blue color if it were italy and I wanted to have it it had to have the tones of italy I would glaze with color on the right so you can see what you can do with the effects you could do with doing glaze is a different commuted summer uh well, as soon as you put as soon as you put another color on top of a color that's underneath you're going to change the light reflecting c from the paper so it usually does now if you use really nice beautiful glowing colors and you're using your transparent and if you're using a dark stain er but very very little lovett to glaze like you khun glaze with a halo but you use so much water with it then you're not putting that much pigment on the paper and you'll still kid get a glow to it this I glazed with ultra marine which verges on being semi transparent and and so it has more pigment particles it'll it'll diminish the globe when you say you glaze are you are you painting? They're all civilians of the object I'll show you gotta wash then I'll show you a quick quick blaze this is it just a bunch of studies I did a while ago now I use a big brush like this last week this is another one of those things last week I said this was a sable brush it's not it's a squirrel brush squirrel brushes air very very soft it's a squirrel natural squirrel it's anand this is a natural bristle brush it's not synthetic it's I know I know e I'm sorry is somebody asked are you concerned about using these natural hairs and things like that? I've had this brush I don't know if you could have had this brush lee eleven or twelve years and you know nobody was paying too much attention to that stuff back then but it's a squirrel brush so squirrels to provide something more than just antagonizing yes yes so I'm just going to glaze with a just a very very light boyd very light yeah, too much water little more pigment so you just do what you do you can push whole areas of the painting right back or bring it forward with how you glaze over it and see what it does to the color underneath and you could do it to just the mountain part I could do it to just the sky yeah, absolutely if I wanted to bring more color if I wanted to take that sky color and make it more of a sort of an awkward skye I would go on like this see how that change the color of the sky that's glazing it's a glass term yeah, you know it's ah think about laying colored glass on top of something what it does to the color underneath one question is what's the difference between a wash ah, why she's something that usually put down first you'll lay a wash down uh often it'll be a a wet on dry paper where you start putting the wash down and you pick up the beat of paint you just keep on washing uh glazing is you glaze on top of something that's already been painting, so what just tinting your paper but yes, yes or you are like you could do a washing your sky. You, khun, put wet down like I could have taken it, but painting with a mountain in it. And I could wet the whole sky area and then just start dropping in color in ultra marine. Or, uh, you know, a pleasure, and I put eliza in and skies before, in order to mix with ultra marine to turn into kind of a purple. You know, grainy day, let it drip down on the wet paper, bend it, tilt it, let the paint mix on the pen on the paper. Amazing stuff. You can get amazing stuff that way.
Class Materials
bonus material with purchase
Ratings and Reviews
user-9ba4d8
I would also recommend this class with some hesitation. This course is a broad and sweeping overview of watercolor painting. It is a good reference course and I will probably be treated like a reference book for watercolors. The skills we covered were valuable. It was beneficial to hear about the watercolor artists that Molly enjoyed and to have a list. The exercises were appropriate. I would recommend this course to someone who likes to know all the details of things before getting started. If you are someone that wants to jump right in this may be frustrating. Obviously, I am the latter. A few suggestions from my perspective....limit the product pushing. The references to Daniel Smith were off putting. I will try to avoid purchasing their products at all costs even if they are the best. It was very difficult to get access to the paint colors that she wanted us to have as some of the names are slightly different than what is available to me locally. I have already taken a beginner color watercolor course which I loved!! If I had not taken that course I probably would have been lost here. In that course(also online) we finished a project for every 10 minute lesson. I learned the basic technique's and it was FUN! I wish this class had more projects to practice that can be completed by a beginner and intermediate. Portraits seem like a large undertaking and it would be helpful to build confidence with smaller and simpler projects. I just felt a little discouraged. Molly is very talented and the work she shared was very thoughtful and showed incredible skill! I am very thankful that she took the time to teach the class and share her knowledge.
a Creativelive Student
This course was fabulous. Molly is a great artist/teacher. Her instruction has really unleashed my creativity and given me confidence to create.
jennymak
Looks like a really fun class! I'll take it soon!
Student Work
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