Digital Watercolors - Getting Started

hi everyone uh this is going to be a redo of  just my previous demo I still have a drawn on from the last time so I thought I'd do a real  splashy one just to really let the watercolors fly we're going to let the color and water do  the work again but since it is watercolor and watercolor is all about water and color so let's  go ahead and do a really splashy demo and we'll see what this one turns out compared to the last  one that's already already posted let's go ahead and get started okay we'

re going to go ahead and  get started I like to plan out a little bit all soft edges all subtle gradations these are going  to be kind of an afterthought now when you have detail hard contrast sharp edges hard texture  all of those sorts of compositional elements or eye Grabbers so what we want to do is I want to  make the head the eye the be this area right in here the center of the painting where all the  attention should be and then everything else will be just kind of like soft and splashy a

nd  just more or less a rendering of the rest of the sumac the branch the body down here will just  be a loose rendering this way I will just make some textures hard textures to counterbalance  the head if I Splash my hard textures here and there that's going to create eye movement  throughout the painting that is very important when it comes to more or less a compositional  movement uh throughout your artwork now what I want to do is keep this head and beak and eye area  pretty much almost like

I had it the last time but it'll be a little bit looser but then everything  else will be really loose and splashy and this is almost kind of like one of those paintings  where you just have fun and let things happen if you're not sure about that layer turn it off  try another one turn it back on experiment with a mask experiment with blending modes there's a  lot of different things we could do to vary the kind of Splash artwork we're going to do let's  get started before we get started we're

going to go over as many different techniques as we can  just to see how we're going to piece this bird together what we'll do is go over different visual  settings different combinations of water tools and paint brushes just to give us all kind of drip  effects granulation little bit of everything to try and make this painting more interesting and  have visual impact that we're looking for now what we're going to start with first is the visual  settings now the re-wet and the edge darkening usu

ally go together the re-wet is just when you  layer down a second coat of paint on top of the first one it will carry that first layer out where  the water is moving now that's providing that if it's still wet and you have a lot of water we  with your second coat of paint also and then the edge darkening will determine how dark that  edge of moving water and paint will get this way uh this will create a a special effect depending  on whether we have them set at zero or 10 now that would be a mor

e or less the extreme opposites  of each other but we'll use those two just to show you what can be done now you could set them  anywhere in between between to get the desired effect now if I put them down to zero that is The  Edge darkening and the re-wet right here these two right here re-wet and Edge darkening under the  visual settings then what we will do is get an effect of a real smooth airbrush effect that the  paint will spread out onto the paper and give us almost a perfect gradation f

rom the the opacity  that we have down to just clear white paper now what I want to do though first is to wet the  paper and that would be right here and then I will verify that it is wet and now if I take uh  let's just say uh let's go with the Quinacridone gold I'll put up the opacity just a little bit so  we can see the effect in action I want a lot of water and the size is irrelevant for this one and  what I'm going to do is just put down some paint okay that's just about done moving and you

could  see right down in here there was a slight very slight Edge but it's just about gone so anywhere  I look all around that it is a very nice gradation from the intense color that we use the opacity  level we used out into just clear white paper so if you want to lose an edge all together and  you don't want an edge this is a very nice effect for many different reasons uh this is a very good  effect when you're you're doing Landscapes and you want just distant tree lines and just real soft 

edges that you could just blend one color into another or just the colors into your background  colors let's move on to effect number two I will make a new layer and then I'll turn this one off  and now what I'll do is go back up to the visual settings and take them all the way up to 10 this  will be the extreme opposite of what we just did but you'll see what happen and I'll just put the  same color down we'll just use the Quinacridone gold again we can make a comparison if we need to  but I'll

just make a random pattern and leave it go but now remember the most important thing this  time is I put it on dry paper and what's going to happen is it's going to carry the pigment out to  the very edge of the water which will be right there that's the edge of the water and it'll carry  the pigment out but then what it will do is give me some little bit of the darker edges but that  will happen most when we re-wet it with a second color now the big difference between not wetting  the paper th

is time is I'll keep those nice sharp edges where the color will go to the end of the  water and then stop at the dry paper if I would have wet the paper then these edges would have  just kept on diffusing what we could do is we will Fast dry that now we'll wet the paper and  we'll verify that it's all wet now if I put down a c those edges are going to disappear and you  can see what's happening with the re-wet it's taken the water through the color that we already  had there and it's lifting it

up and carrying it but then out on the edge it's blending out and  it just keeps on going and we don't have that hard Edge like down in here this Edge all along  here where it's stopped with a dry paper it's going to keep on moving because all the paper  is wet so there's a big difference plus we also lost our original shape that it's just moving in  a very even oval way instead of the the sporadic pattern we had before you can see how it's really  lifting up the uh Quinacridone gold and carryi

ng it with it and now if we fast dry that we'll get  that effect but then for the rewet it's the same thing if I take another color we'll go with the  Dioxazine purple if I put it down now it's going to lift up that Quinacridone gold and carry it  off and make cauliflowers and you could stop it at any point you want depending on what visual  effect you want or how intense you want the effect to be we'll stop it right there and now it's  fast dried but then again if I take my water tool and if I

go back over this with just water  it's going to do the same thing but this time I didn't add any color this is the same effect we  use to get the the sumac on on the last painting of the house finch sumac 1 this will be house  finch sumac 2 but this one is going to be a lot looser and we're going to get just uh basic  shapes that we're going to piece together to just render the bird and the plant a way we want  okay let's move on to effect number three I will create a new layer turn that one of

f and then  now what we'll do is go up to visual settings and we have our create drips on and then the drip  size that would be more or less what DPI and what size paper you're using I personally would want  to keep my drip size wi that would be is just as realistic as possible so they don't look like  a river flowing off of your uh paper if it is just a drip now if you want that River then that's  fine but now if the drip length for me personally I like to keep them all within the paper if they

  start running off the paper that may lead your eye compositionally out of the painting which  may not be as good or what you want either now again that's obviously up to you depending on what  you're doing all compositional rules are meant to break uh now if the drip size and drip length we  will keep those just at five each and then I will go over here now this tilt this is our tilt wheel  and when I turn it on this is going to determine the angle of our drawing board so to speak that  the th

e more I take this down the longer I go the the steeper the angle so in other words the faster  they'll drip and if I put it up about halfway that would be it but then if I turn this around uh  this would be the angle your drips are going uh for this uh effect we'll just leave them pretty  much straight down at about half roughly now what I will do is I'll go with the well we already  have cobalt blue selected and what I will do is just draw a little patch up here and we'll just  see the drips f

orm so we got a lot of paper down here to watch the drips form and again that's  half speed now they're going to start breaking through the paint right in here already there's  one already and then once they start breaking through that dry paper barrier then they'll start  there's a couple right here there's a couple here now we got our drips going pretty good now again  this is an 8x12 at 300 DPI so what I would do is put this at 62% on my monitor just to view it  at print size that it would be

actually 12 in wide I am going to stop it right there and then  this way uh what we could do is uh see what the width of the drips look like at actual print size  and this will make a big difference for me because I like to view everything that I do do at print  size so I know what it's going to look like once it's been printed now this would be effect number  three we'll leave that go just like that and we'll move on to effect number four now for effect four  what we're going to do is see how

when we made our drips all of our color drain completely out which  is nice that will work good if we want a nice soft Edge on the one side opposite of the drips but  now if we want color up there and we want to maintain our shape there's a series of steps  we could do to keep that now what I will do is create another layer turn this one off this time  we're going to do everything fast now I'm going to turn off the tilt wheel and then I'm going to  put we'll stay with the same blue and I'm going

to put down some blue and then fast dry that and  then duplicate that layer and now it's duplicated and then what we're going to do is we're going to  put our transparent lock on turn on the tilt wheel we can put it anywhere we want and then this time  we're going to take our water tool I'll use I'll just use this soft big oversized brush and then  I'm going to coat it with water but as soon as I do I have to turn the transparent lock off now  I'm coating it with water with the transparent lock

on just so I put my water perfectly back  over the blue if I leave the transparent lock on nothing will happen because the drips will not  leave that transparent locked area so ready let's go we're going to put down the that's the water  now if I take the transparent lock off now it'll start dripping but what will happen is we'll  have that same layer of blue behind it and all the color won't drain off we'll have very specific  patterns of blues uh that will be there from layer one and then whe

n we duplicated that layer that  is the layer that's running layer number two so this is just another way of creating drips that if  you want to maintain your shape this would be the way to do it I'll fast dry that now we have the  drips on Layer Two which is right here but then there's layer one still intact now if I put the  drips back on and then turn off our first layer then we have the same effect as what we did as  an effect three let's move on to effect five okay let's go on to five and w

hat we're going to  do is create a new layer and then I'll turn these off and what I want to do first this time I don't  want no drips for this one and we're going to just start with the water tool first so I'll show wet  and I'm going to use this one right here and what I want to do is just put down some water just in  a random pattern now this is just going to show you what would happen and we could control this  more if we do want this effect on a painting but what I want to do now is just li

ft a little bit of  that up let's go with this one now let's stay with that one and what I want to do is just lift up a  little bit of water just to make those patterns just a little bit tighter smaller and there's what  we want there and then you can see how much dry paper in here now what this will do is put down  water only in certain areas so what I want to do is now turn off the water show wet and if I go  back to my watercolor brushes I'm going to use a pattern Let's uh try this one right

here and I'm  going to turn up the opacity just so you can see what the effect is plus the color will bleed out  nice and let's go with Quinacridone gold and if I put this down and you can see how sharp the edges  are but now let's watch what happens what they'll do is now they're starting to diffuse out some of  the edges into the water that was already there so now you'll have some sharp edges and some very  soft edges that will blend into the water that was there now they'll only go as far as

to where  that water was so in other words if I turn on the show wet you can see that there's still some dry  areas in there so it's only going to go to where the water was when we first put it down with the  water tool otherwise it's just not going to bleed out into open paper it will be a more or less a a  specific area where the paint can run to and you can see how that's working this this is excellent  up in here I will show you this up in here is where it's it's getting soft and blending i

nto  the water that was already there and then down in here where there was no water from the water  tool the edges are staying very sharp and even the intensity of the color is changing where it's  staying very bold down here and then other places it's diffusing out and softening up a little bit  so with that in mind that's the effect you'll get if you put water down first and then a uh a  very wet layer of paint over it in a different way and let that randomly mix soften your edges  let's go o

n to the next one okay the next effect number six I will turn this off and create a  new layer and now this one is going to be with the lock transparency now what I could do is lock  transparency a couple of different ways this one I will first put down the water just like we did  the last time I'll show wet and what I'm going to do is put down some water here and there we could  dry it out a little bit or we could just leave it the way it is but what I want to do though is  touch the lock trans

parency which is right here right there is lock transparency transparency  lock touch that first and then turn off the wet show wet and now I'll only be able to paint where  that water was so if I go back to my watercolor brushes pick any kind of brush I want and let  let it work and then we could also if you want a specific effect you could also use the Tilt with  this one we're not going to use it in this first effect let's go with burn Sienna now if I put down  the burn Sienna no matter what

my brush is made of or how what pattern it creates I'm only going to  be able to put down paint where that water was is everything else the transparent area of the water  layer is going to be protected so in other words here's all my water all that that light blue  is the only place I could put down paint that would stay because I have the transparent lock on  meaning it's protecting all the white paper areas so if I turn this off and I add some more it's  going to keep on mixing and if I even b

uild up the opacity I'm only going to be able to put it in  certain places but because I have a lot of water to the paint itself it's going to bleed and blend  out into that watered area and create patterns uh very spontaneous so this is just a specific way  of putting down a color in a specific area that the transparent lock will help you with that okay  now the next effect would be building off of this one what I want to do is instead of getting the  c Flower effect we did with the first coupl

e of effects what I would do is take my re-wet turn  it all the way down to zero and my Edge darkening all the way down to zero and then get any kind  of textured brush let's go with this one right here and then what I could do is I'll turn down  the opacity just a little bit and let's go with a French ultramarine blue would be good and now  with the lock transparency still on I'll only be able to put the blue down wherever that water  was and the burnt sienna but what will happen is it's going

to blend out into that burnt sienna  real nice and soft and not give me a hard edge of re-wet where the blue would be carrying the burnt  Santa out and making uh circle patterns as it went so now I'm getting very soft subtle mixes of the  two colors within that specific area this is great if you want to just create uh multiple colors uh  in a specific area or in a specific way I'll put down a whole bunch of blue and we'll see that  it'll just slowly mix out and it'll blend and bleed into the wat

er that's already there we could  see it happening down in here and up in here it's blending out into the water that was already there  and then also the burnt sienna that was all also already there and it's softening up nice actually  and that's a very interesting spontaneous pattern that we could get that way also let's go on to  the next one okay our next effect is actually just making a mask a layer mask we'll work with the  one we're working on right now I'll turn off the transparency lock

and I will add right click add a  layer mask to this particular layer now what this will allow us to do is we could take different  colors black of different values if you want but other colors will work also if you only want to  take a little bit down at a time that I could go back down to just say for example yellow and if I  have the opacity all the way up we don't need any water for this at all and then if I start working  I have to make sure that the mask itself is outlined with blue that m

eans I am working on the  mask now if I take yellow down I could actually go back over this but the yellow will only take it  so dark no matter how much it will only mask off a specific amount in a value of black which yellow  is a very light color so in other words it's not going to take off very much I have another demo  that explains this in detail I'll put that up now but then if I go to a darker color it will remove  more and more of what I'm working with right here I'm putting down paint n

ow but the yellow you can  see it right here how much I'm putting down down but then if I go to a darker color just say for  example red and if I start putting red down it's going to take even more of that off and then if  I finally go to Black it's going to take it all off and you can see it's completely disappearing  now but the important effect to remember about masks is that if I go over here and take some  of this out and you can see how it's taking it out and just working with it now that'

s taken out  very hard if I want to take it off a little bit at a time then I would go to a lighter color or  a value of black either one I like to use solid colors only because it will only let me take it  down so much and that's it and then it'll stop whatever the value that is in black and white but  the important thing to know about the mask itself is if I make a layer above it we'll just use that  I mask this all off if I go back to here and and right click on it and I if I use layer mask c

heck  that off then now that's what I masked it's all coming back so you can see how much I removed of  the original pattern but what I want to show you is if I apply that mask again use layer mask right  here on a right click now the big difference is if I go to that layer above it then I could still  use the white of the paper again and go back over where I masked off the previous layer so again  that's giving me the opportunity to block out some of the color on some layers but then reapply  p

aint above that masked layer to be able to rework that paper again and this is again just another  way of controlling uh your final effect of what you'll get so now if I take off the mask now it  will show all this color over here underneath the the yellow there it is but if I put the mask back  on then it's gone and now you see the yellow more but the nice part about a layer mask is it's not  a permanent change you could uh disable the mask uh or apply the mask later if you're sure that's  what

you want okay let's go on to the next one now what we're going to do next is turn these two off  we'll create a new layer and we are going to move on to granulation this will be another effect now  we can have the drips on but if we don't have the tilt on then it's not going to make any difference  now if we turn on the granulation I'll put it all the way up so we get the full effect just to  see what we're looking for now the re-wet and the edge darkening may make a difference here also  becau

se it's going to carry the color uh specific directions in a specific way but what will also  make a difference is the texture influence I'm going to cut that back a little bit so we see  more of the granulation versus the paper texture now with those settings right there I'm going  to close this up and then we're going to see what happens now I'm going to start with oddly  enough French ultramarine blue in traditional is a very good color when it's a better quality of  Blue that will really gra

nulate and sometimes it does depend on the quality of the paint and how  much pigment is in the paint I'm going to leave this go real time then what I'm going to do is put  another color into it and then we will watch it in real time granulate as it happens let me go with a  permanent magenta okay now let's zoom in a little bit and there it's moving back and forth now once  the water and color stop moving that's why the absorbency may have a little bit to do with this  that it will start to gran

ulate now you could see it flowing around in different directions I cut  the paper texture down and we'll watch for it to happen be patient it's still moving up here here comes some  granulation right here there it goes right through here now it's going out through the  center and that's what we're looking for now I wanted to leave this real time again a machine  may have the difference of how fast it works or how long it takes with no editing at all just  to show you how how long it takes befor

e the granulation actually happens and that's very  important because you have to be patient now that is with just the settings the way they are  now and then if we obviously take it down to just one there will be very little granulation and  then we can also use drips with granulation and I will show you that next okay for the last one  we're going to just follow up on this one and we will do the drips and what I was going to  do is take this up give us a little bit more room to watch the drips

and then I'm going to  turn it on about right there halfway down again and then I'm just going to take uh let's go  with just even burn Sienna and we'll get some varied colors now if I put some burnt sienna out  here way to the right and then through the paint I should get multiple color drips and there they  go and then we'll wait until we see there's some burnt sienna drips over here purple a little bit  of blue and purple what I want to do is get my pointer and we can even watch it on the dr

ips  when it starts to granulate also now I'll let the drips run off be now we're just looking for  the granulation and we'll see it happen when it does again we have to be  patient I'm leaving this go real time H here it is right here here's the  granulation on this one right here and then here it is right here it's going to work its way down  and it's going to work its way down this drip so even the drips are starting to granulate and they  look rather very believable and then now these are do

ne now this one is still dripping but the  granulation right here is kep catching up to the bottom of the drip there it is that's it so now  here's another one working right over here right here and then now because that that's granulating  rather well that is actually a very believable granulation usually in traditional watercolor it  often happens a lot when you use uh flat paper like an illustration cold press illustration  board you can really see the granulation nice if you uh charge pure p

aint into a watery wash it  will granulate nice or a lot of times if you have what's called student grade paper uh it will fill  up the dimples of the paper itself which sometimes you get a spotted effect instead of a nice clean  wash so sometimes it's really hard to get what you want without it granulating here you have the  opportunity to granulate or not to granulate okay just to show you one last last item here  and that is what happened to our wash while we were watching the drips close up

very interesting  now what I'll do is I'll turn the group off and I'll close it down and we are going to get ready  to paint now here's the freehand version I just stayed with the same freehand version of the  first one but we're going to wash this one out completely different and this is the drawing so I  will start with a new layer above it and we will just make it uh we'll leave at layer 9 and we're  going to go from there and we are ready to paint okay let's see what we got here what I want

to do  is put some blues probably cobalt blue and Cobalt Violet along the left hand side of the sumac just  to Define a bright edge of the sumac itself we'll make the light coming a little bit more from the  left compared to the photograph and then this way I'll leave the left- hand side of the sumac  a real bright white uh we could do that also with the bird's head and then make it detailed  uh let's go ahead and start and what I want to do though is I want to make sure I don't want no  drips t

hat and I'm not going to use granulation yet either we'll leave everything else where it  is I want a Direction but I don't want drips so I'm going to take this back over here and we're  going to make it to the right this way all the paint will go to my right and create a real hard  Edge right along the uh sumac itself and that's a little bit too big just a little bit cut it back  just a little bit uh we'll leave the color there because we're going to keep things light and  then I'm going to go

with the cobalt blue and we're going to just make it like this and we'll  let it go and there's there's what we're looking for just a nice hard Edge and as that paint goes  to the edge of where it's wet I'm going to go back in and put a little bit of cobalt Violet in and  then my Violet will not go further than where the blue is and then I'm going to do this to the bird  itself too and then I can can even have a new edge of just Violet I'll stop it right there that looks  kind of interesting the

re and that will Define the highlighted edge of my sumac so and then we're  going to do that down in here also but then I'm going to take so many subtle layers of colors back  and forth that's what will make it complex now if I want to leave this the way it is I could dry  it and it will pretty much leave it the way it is but if you're just experimenting you want to  leave something and there make new layers that's the best thing you could do let's go ahead and put  some down here okay now we co

uld start some subtle shapes the opposite direction and what I will do  is take this back over this way just a little we bit just to get some movement we don't need a real  lot this time and then I'm going to make another layer and then we'll stay with the blues for now  but what I'm going to do is cut the opacity way back I want all the water I'm going to make it a  little bit bigger this time and then I'm going to just put down some Cobalt Violet and blue again  we'll make it real soft and I'l

l even take that into the sumac itself and we'll let that work  maybe take it a little bit faster there we go it's starting to move now now I'm going to take  some blue into that and like I said I will mask off the head but this is going to be real light  I can even Define the top a little bit too just like that and then we'll just get some very subtle  patterns and that's what I'm looking for like this right in here and that's it I'll quick try that  just to give some very subtle patterns on th

is side of the sumac okay now we'll go to different  colors and then also we'll dry these layers and we'll just keep on going okay what we're going  to do next is just to give you another option now looking at what I have done so far I really  like this left-and side but I would like to see it darker and all I'm going to do is go back down  to it and duplicate the layer and then I'll leave it like that and then what I'll do is group these  two layers together and then that is the left side left

sky and then I'll leave that like that and  then this way I'm if if I wanted a little bit lighter I could just take one of the layers down  in opacity and then merge them later if I'm happy with the way it's at but I'll leave the right hand  side a little bit lighter because I want to make a dark edge on the right hand side of the sumac now  so it's going to be revers it'll be light against dark here and then it'll be dark against light  here okay let's go ahead and put in some more skying color

s over here I want to fill in these  little gaps right in here that would be right in here on the photo just some blues here and there  and what I want to do is just keep on making splashy layers that overlap all the overlapped  areas are what's going to add complexity to this type of a painting instead of just making a real  nice clear blue wash uh that would be not this style of a painting so what we're going to do is  go back in and we're going to use our water tool and pull out some water ar

eas of where we just  want some more sky and it can even overlap the bird splashy that's what splashy is all about so  we're going to go ahead and do that right now okay let's go ahead and put some color on the right  hand side here what I might do is just put the blues and purples back into the sky just a little  bit but then start taking some Reds and oranges down into the bird and just let them stay there  for a very subtle pattern to build off of and then that way this is just going to be ag

ain splashy  and not even necessarily any kind of feather patterns just uh shapes I'm going to go up here  and make a new layer we'll just leave it a layer 11 but what I'm going to do this time I'm going to  turn that off we're going to go to the water tool and we're going to use this brush right here and  I'm going to put down some water first me make a little bit small we're going to take the water all  the way up and then we're going to take it down just a little no that's not bad right there

okay  we're going to take it right there and then again I don't have to use all of the water and I want  just a random pattern and then let's see we'll go up in here okay that's it and then we're going to  turn that off oh we got to put on the transparent lock first now turn it off and then now I'm going  to go back to my watercolors and I will use a splash brush I'm going to start out real light  uh with some Cobalt violet make it a little bit bigger lots of water don't want no Direction yet 

and I'll pick up that water wherever it was right there and I just want splashes here and there  and I'm going to leave the water work a little bit [Music] okay and then let's see we're  going to put some orange in down here cobalt violet and we'll make the shapes we'll let  them go we'll see what we end up with CU we could stop at any time but if we don't like  it yet we'll just be patient and wait because remember this is all on a transparent locked  area pick up that edge right there and then

I can even take a back out I'm going to put a  little bit of Quinacridone on gold in here for the bird that's getting interesting this  is interesting up here but we'll leave it go for a little while and see what we get  you never know to a certain extent but if you like what you see you better fast dry it  and save it or just start working on another layer okay I really like what's going on down here  I'm getting some swirls here and there I'm going to stop it right there fast dry we're going

to  let that go and we're going to save that because I got some oranges and Golds mixing in with the  violets and blues uh where the bird starts and I can even leave some of that orange and violet in  the in the uh Branch itself and then we're going to make little splashes up here in the sumac yeah  we'll stay with that for now that's not bad and it's light enough that we can still build off  of it and then always remember if it's not dark enough that we can just duplicate the layer let's  go ah

ead and keep building on to this what we got okay let's go ahead and make some shadows and  some texture in the sumac self I'm going to start with even just some Quinacridone gold I'm going  to keep it light and this is our previous layer so I'm going to make a new layer above that and  then we'll just leave a 12 and I'm going to start just real light I'm going to cut it back a little  bit and the reason why is I just want to keep on building up a bunch of different layers that have  texture thi

s way it'll look more complicated than it really is instead of trying to do everything  in one layer because this is is digital and for this particular demo we'll take advantage of that  okay there's our Quinacridone gold and I'm going to stay with the bloom wet I want a lot of water  and I'm just going to start making some shapes here and let them work I don't want no Direction  yet and I'll even leave it overlap the and I can even take it right down into the bird but I'll  even overlap the sky

that's okay and then we'll leave that like that and then we're going to put  some shadowed areas but we may make that now that that's wet I am going to go ahead and put the  transparent lock on I'm going to take some burnt sienna maybe even a little touch of red into that  and The Potter's pink looks like it'll be a good color to go into that too we'll just put some here  we'll take up the opacity a little bit we'll let that work a little bit and we'll see what we end  up with and we'll leave i

t work just to see if we could get something different here and I'm going  to put a little bit of burnt sienna into that and I can even change up the brushes too to get a  stronger texture and then we can even add movement to it if if it's not doing enough okay these would  just be what I would consider our medium values so we can't let this play tricks on us for lack  of better words because what you see now will be the medium values and we can even leave the left  hand side almost Pure White j

ust add a little bit of texture to it and that that's it that would be  done but then we're going to add some darker seas and maybe some Prussian Blue and get some darker  shapes in there too but we're going to leave this work a little bit let's put a little bit of a  direction to it it might be pretty well done so we'll just leave it there unless I add some  more to it and we'll see what we come up with I'm going to go change brushes I'm going to go with a  sharp Splash and I still have the tra

nsparent lock on I'll cut the opacity back a little bit and  this time we'll go we'll go with the permanent magenta and just to give it just a little we bit  and then we're going to get some movement here now I'm going to change things around a little  bit we'll leave that just like that I'm going to fast dry that that's interesting there and  then we're going to create another layer on top of that and then we will put some darker the  sepia and the Prussian blue on this layer let's keep on goin

g with these and make some darker  values okay continuing on I'm going to go back to the bloom wet and that's right here and then  we're going to keep the Sepia right where it's at this time I'm going to go into the raw Umber  and this one's going to be a darker one and we'll start on our layer 13 but then I'm going to make  this a little bit smaller and we're going to put some dark right in here and then maybe let's see  where else can we put some right through here and then I'll leave those go

out and then again we'll  put on the uh put a streak right through here and we'll put on the transparent lock and only work  with what we just painted and again we can move these around slide them around duplicate them and  mix them and match them so to speak and then I'm going to put some sepia and that just to see what  kind of and I don't have the transparency lock on so I'm going to get some different values which  is okay and then Prussian blue into that this time I'm going to put the tran

sparent lock on  and I'm going to get some blues in here and I may even use any kind of spatter tool also but  that's giving us some pretty good texture now and then let's stop it right there actually okay  now we got a couple here now what we're going to do is I'm actually going to duplicate the dark  ones over I think then we can even duplicate the medium values too now if we don't think the  medium values are dark enough we could duplicate them over exactly just to make them darker or we  cou

ld also slide it around and let the overlapped areas be dark and the single layers will be  lighter okay now just to see if we can make some adjustments and changes is uh first I'm going  to take the gold layer and I'm going to duplicate it all you have to do is right click and then  duplicate layer control shift d or up here to with layer and then just duplicate layer right  here uh and then I just did so now I'm going to take that copy and use my transform move tool  and move it around just a

little bit to see if that'll make a difference and it is and now when  I stack the layers they're going to create even more unique effects I'm gonna leave that one right  there that don't look too bad at all and this is just taking advantage of digital now I could do  the same thing with the dark layer that's this one right here and what I could do is lighten  it up if it's too light maybe destroy some of those edges with a and a layer mask or also I  am going to duplicate it and then but this o

ne I'm going to take my move tool and spin it  the whole way around and see what we could get if we manipulate it that way just like this  and then some areas will be darker keep in mind we could use the mesh tool and uh destroy  this Outer Edge a little bit maybe or even just uh let's tip it and see what that does yeah  that's better right there and then uh we could leave that there I'm going to leave that there  and then I might even duplicate that one more time I'm going to go back to the mov

e tool and  then right here see what I'm doing here just to kind of fill in the shadowed areas but it's  getting a lot more complex as I keep overlapping the layers themselves but then keep in mind  you can even experiment with over here the uh blending modes for each layers if you want to get  some really interesting effects but then again I could go back in and use a transparent lock on  any one of these layers to add colors if they're too flat too gray and I want to really snap them  up with

uh maybe some bright Reds or anything in between then I could do that because they're still  fairly transparent but then also once we get them to the point where we want them then we'll uh just  sandwich them all together merge them all together let's stay with this right here this doesn't  look too bad and we'll keep moving on okay now what we're going to do is we're going to work with  these shadowed layers I'm going to leave the gold one the way it is so what I'll do is I'll take all  the 13

I'll just uh it's highlighted at the very top now I'll just hold the shift key grab the very  bottom 13 and then I'm going to hit Control G put those in a group and then I'm going to open them  up and select all three of them again but I want to keep these all in the same group so I know what  they are and then I'm going to right click and duplicate all three of them and then now that all  three of those duplicates are still selected I'm going to go ahead and merge those together and  now I have

one layer of all three so now I can turn these off they're just uh duplicate backup  layers and then if I turn this one off I don't have anything but now that I merged all those  together I got this particular shape that I can even put the transparent lock on it now and then  just work with this one particular layer if I want to add some colors or more importantly I want to  apply a mask to this layer and start pulling out my highlights for the twigs and the branch itself  uh or even just light

en or darken it and then add some Snappy color to it here or there like out  in the edges or something uh but next I think we're going to talk about the tail and I'll show  you why okay let's see what the scoop is on the tail and the reason why I say that is because I  wanted to have plans of making my head of the bird the head the eye the beak little bit more detailed  maybe a little bit snap happier in color and make that the focal point of this particular painting  and what I got to do is mak

e sure I don't overdo with anything else and that would for example one  be the tail now if I change this reference image into a black and white then we could see right  away what the problem is the tail is jumping out at me way more than the head is even though I  make the head in detail it's very close in value to the background of the sky so for that reason  what would be more eye grabbing a little bit of contrast with a lot of detail or just a lot  of contrast with no detail so in other word

s I may not want to make the tail as dark as it is  even though it's in Shadows but we could remember one thing and that is that this particular uh  photograph was taken with old-fashioned slide film meaning that it did not have the latitude  that modern day uh cameras have it creates just about black Shadows when we know there's not going  to be any black uh on a bright sunny day okay now with that said we need to do something about our  dark shape that's a sumac itself it might be a little bit

too dark now but we're going to change  things as time goes on what we are going to do is uh take this and make a mask out of it that we  just duplicated everything over we're going to add a layer mask now keep in mind as long as it's  a mask we can constantly keep changing things this is the layer we're working on right now but what I  want to do is be able to erase with the mask some of these dark areas and then reveal that gold  layer underneath and that will cut back our our dark contrasty

shape right now so now that I'm on  that one I'm going to get a texture brush which is right here and I'm going to make it bigger but  then I'm working on the layer mask so I'm not adding any color I will go with just a black at  about B 30% and if I start taking some of these over you could see that I'm going to be taking  out some shapes of the dark and then I can even go back to even I think it was my Aspen brush  right here and I'll even take out a little bit more and just to see what this w

ill do and that's  taking out some hard textures there too but again this is just a mask so if I don't like it if I  want to go back in and make some areas darker I can now you can see what that did it gave us a  good bit of texture and then again remember that even though there's a mask on this layer if I put  a layer above this particular layer then I can add even more colors on top of that even though the  layer below is masked off I'm going to get rid of this hard edge up here and I am going

to take  the opacity up just a little bit and get rid of that right there just like that and and that that  looks a lot better there we'll keep some of the sharp edges here and there but then now you can  see how much of a difference the the layer mask made and this becomes a little bit more believable  once we make the bird dark enough and then uh put some Snappy Reds in this yet too so that's going  to change uh let's keep on moving on with this and I think I'm going to take out this gold her

e too  and then just go back to the uh sky colors there we're going to have some real real dark lines  going across the Blue Sky of where the Twigs are where there's no sumac fruit at and then I'm just  going to move it outside the group right there and then we'll just leave it as layer 14 I'm going  to go to the water tool we're going to put down water first for this one pretty much the brush I  always use I will show wet um that's a good size right there and then I'm going to just give it a  h

eavy layer of water because I'm going to use it textured brush on top of that so in other words  I will not be using all the water I put down uh lock transparency turn it off now I'm going to go  to back to my watercolor brushes and I'm going to go down to uh this one right here Aspen 2 and then  I'm going to start with strong red 100% big size and then since the transparency locks on I'm only  going to be able to put this down wherever the water was and you can see it's still limited even  thou

gh how much water I put down and and then I'm going to go with even a little bit of permanent  magenta just to shade it up a little bit on the right hand side but what I'm going to do next  is what will help this I'll let that blend just a little bit and what I'm going to do I'm going  to stop it there and then I'm going to make that layer an overlay layer and what that'll do is  it'll make it darker on the right hand side but just about eliminate it on the highlighted side  we could use the hig

hlighted side separately with its own layer to just control the red more but  let's see what this does first right down to here overlay that's not bad that's putting some red in  but it's more controlled if I want it darker I can even duplicate that layer and then see what that  does and then we will go ahead we'll leave that one the way it is and we're going to go down  and we're going to start putting a wash on the branch and twigs themselves but what I'll do is uh  start off with just a real

loose wash so it bleeds outside the branch and then start overlaying it  but I just don't want to make a perfect Branch uh the way it would be in the previous demo uh  this one's going to be loose and splashy so let's go ahead and do that next start off with a new  layer I will just leave it layer 15 and then I am going to go back uh to just a loose watercolor  brush let's see what we got we can actually just go with uh even a round or anything cuz what  we're going to do this time time is turn

off the diffusion and then let them overlap but then  because we're going to have a lot of water we'll go with a mop wet and because we're going to have  a lot of water in the color even if I get overlap marks that won't matter but what I'm also going  to do is wet this layer first right there and I will verify that yes the entire layer is wet and  then I'm going to put down some color and leave it blend out a little bit but I'm going to crosshatch  uh just different patterns just so I don't mak

e just the whole entire twig bigger I just want  random Strokes here and there overlapping and then I can even feather it off into just white  paper too I don't have to carry it off the the page if I want uh then that way it would have more  of a vignette effect and we kind of already have that going so we could do that if we want just  to take a little bit less uh attention uh from the very bottom of the of the branch itself now  what we will do is go let's go with orange and I'm just going to

start and we're going to turn  the diffusion off and what we'll do is put down all our colors first that's the diffusion right  here right there I'll turn it off I'll pause it and then I'm going to put some colors down we're  going to put them light make that a little bit smaller and then wherever I put them just like  this and I can even put this down into the tail and a little bit up into the body too and then  let it bleed everywhere and the shadowed side that'll warm it up a little bit then

once I put  my Blues in and then I'll stop right here and then now I'm going to put some Quinacridone and  gold in there oh that's Violet I'm going to go with it and then now some gold and then a little  bit of let's go with the raw umber Just a Touch here and there and that this I might not even do  much more than this on the tail but I'll let it bleed out back to the gold and orange and and  then now I'm going to let that blend out once I hit the uh turn off PAW and we're going to put a  littl

e bit more up in here and then these have to go quite a bit darker so we have to keep that in  mind and then now I'm going to turn off the paws and leave that blend and remember it's going to  diffuse out in all directions because the paper is already wet but I'm going to keep my finger  on the fast dry key there we go it's going out this way going out this way and it's making some  nice interesting I could just even just take just water blend it out but that's okay it's looking  pretty decent a

nd I'll get a lot of interesting effects once the colors start mixing and creating  very subtle edges that then that's what I'm going to go back over and then remember we could pull  any of this out with a a layer mask on top of these colors and pull out some highlights for the  the top of the branch or however you want to do it that's depending on how you want to shadow and  shape your objects that's not looking too bad and it even Blended right back into our sky wash too  so that's even better

yet all right we're going to stop it there and leave it there and then we're  going to redefine this Branch even a little bit more now I'm going to do the same thing with the  same colors except this time leave it with the subtle edges just create a new layer I'll leave  layer 15 all wet just the way it was in case I want to go back to it and then now I'm going to  use the same colors I will turn the diffusion off still pause it and now I'm going to put some  of the same colors down and they wi

ll blend in we're going to even mix up the size a little bit  and just to get some oranges in there and we're going to put some up in here and I'm even going to  put some over the head I'm going to tone it down just a little bit and I'll leave that orange up in  the sky I'll just leave it there then we're going to go back to the Quinacridone gold put a little  bit there put a little bit here and then wherever that those edges are that's where they're going  to stay now I'm going to hit the diffu

sion just for a little bit and we're going to get ready to  fast dry that's it I fast dried it we're going to leave those subtle edges there and now we're going  to take some darker colors back over those but we could be a little bit more precise now and roughly  use the same colors but then we'll add raw Umber and sepia to these and even make some uh probably  the Dioxazine purple and the Prussian Blue up in these darker Twigs uh like up in here we'll do  that next starting with a new layer I w

ill just leave at 17 and then what I'm going to do is go  back to a slight textured brush and then I'm going to take the size way down and that's good right  there and then I'm going to take the opacity way down I'm just going to start with a real light  wash here and there and then I'm going to charge pure colors into this and leave them bleed out  and I want to even make it just a little bit smaller I'm going to do the little branches first  and then we're just going to skip here and there jus

t like this but I'm already putting down some  color and water and this will be this will be the raw umber make a little bit darker I can barely  see it we'll leave that bleed out because that's the way this brush is make it a little bit bigger  I'm going to take it down to just there I'm going to stop it and I'll get some texture up in here  and again remember we could go back into that orange and pull some of that out with a mask and  I'm going to take this off into the bird even and let that

little bit diffuse together and again we  might not make the tail that dark that's way I'll leave it there and we're going to do this one  here and if I lightly press I might be able to get it thin enough yep and now that that is uh  that's not bad now that that is uh just roughed in we'll take that value off the paper now I can  go back in and put some really strong colors uh too big a pure Prussian blue and Dioxazine purple  especially the Dioxazine purple even some of the Potters Pink right h

ere would probably look pretty  good but what I want to do though also is is make let that bleed out oh I need water there we go  that's better and then let that bleed out but what I don't want is just any kind of real round Brushy  edges I'll take it up in and just stagger The Edge so I it that that is going to match the texture  that I was trying to create in the sumac if I put a perfect round Edge it's going to destroy the  effect of the raggedness I was trying to create uh with the fruit its

elf we'll just put a little  we bit of this here and there and let it diffuse out let's see where the wet is yeah we're on the  right track and again ragged Edge we'll let that bleed for a little bit and then we're going to go  to our Dioxazine purple we're going to cut that back a little bit and it's only going to go out  as far as I have the water so it will stop even though I'm just touching it down here and there  there I know that it won't travel the whole way and we'll stop our purples rig

ht in here just to  have a little bit of accuracy the way it was and if this little bit bleeds into that that's okay  but I wanted just a heart Edge right there very subtle and we're going to go to sepia or no let's  go to the Prussian Blue first and anywhere there is going to be a shadowed area that's where I  want my deeper colors again I'm just touching it here and there leaving it bleed out kind of  back a little bit just to get a little bit in here I going to overlap it a couple times go ba

ck  to the permanent magenta and then we're going to take some out in here but we'll we'll do that  with the mask first and then do that back over it let's turn it up a little bit and then now I'm  going to go right down in here I'm going to go to the sepia let this all blend together in streaks  and if it becomes a ragged Edge that's okay I'm going to fast dry that right there and then add a  couple more dark down here STP that go back up in here with some purple stop that Potter's pink stop  t

hat stop that there we go and some of those edges are ragged that's okay because that's a pretty  ragged plant and let's see we'll put a little bit of detail in here stop that okay let's see what  else we can do now we could even put a couple of bright red berries here later then but we'll leave  this the way it is now other than we're going to put a little bit of Prussian Blue down in here  just to make it even darker stop that froze that right away and then just to give it there and then  just

to take some of these darker colors down in I'll go to a softer brush and take the opacity  down a little bit and then I'm going to start with sepia that's it and then we'll go straight  to the Prussian Blue and then I'll Define the feathers just a little we bit more but I'm not  going to make them too much darker but that I'll do in a separate layer just to keep intact what I  got and that's it then we'll will take some very light colors do a little bit on the top too small  right here we will

go back to the Sepia and then a little bit of let's go with the French ultramarine  I want that to bleed together there we go and just stop there a little we bit right under there I'm  trying this pretty quick then we'll put the uh feed in here too and then what I might do is we  could uh just Define this Edge real quick and and a painting like this is really nice even with uh  just a to finish with black line work that would be kind of pen and ink on top of a water color  but we're going to ke

ep on going okay while we have that layer up let's go make a mask and we're  going to pull out some highlights of just where uh this is right here we could even just pull  this out right here right in there just to add a little bit and again remember this is uh just  a mask so we could change things around any way we want want we'll just stay with black and I'm  going to make the size down a little bit and I'm going to actually go to a bloom white so it's  an irregular shape make it a little bit

bigger and then we'll take up the opacity and then we'll  just slowly take it off that's too big and let's see we'll put it right in here just like that take  it down in here and then we'll straighten out some of those edges make them sharp there we go and  and I don't want to get too crazy about this but I'll just give a hint of it this will add to the  complexity and then remember again if I want this hard black line right in here if I want it then  I could put it back over but then what I'll

do is put it in any layer above that mask and then I'll  be able to take a real hard line over that just to Define that even further what I can also do is  go back to a texture brush and take out a little bit of this right here just to break up some of  these edges and that'll again add more complexity this is almost like a dry brush effect now which  is working out really nice because putting a lot of texture to it and that has a lot of texture  of the bark and then now I could go back over it

with some oranges and some Quinacridone gold  and then we're going to put some up in here and this will touch this layer up just a little  bit just to add some complexity of what I could not do while the color was wet there we go that  changed things a little bit let's see what that looks like yeah that's better okay we'll leave  it there and then we'll keep on going okay let's first pull out our highlight out of The Twig the  branch itself and I'm going to go in close just so you can see what

I'm up to but what I'm going  to do is because all of our oranges from previous layers are right in here then and that is going to  work good and I'll show you why first I'm going to go to the mask itself make sure I have the mask  selected I'm going to stay with the bloom wet I got to cut the size down and what I'll do is just  dust a little bit of this first and we're going to choose black and then right here you'll see what  I'm doing you can see this changing right in here but we need this d

own through here and you'll see  the purple starting to disappear and a little bit of this color but I'll show you what up to we'll  stop it right there but then now where this little bit of purple is right here I'm going to make a  nice hard Edge there with my mop dry and there it is what I'll do is I'll take the opacity all  the way up just so you can see the edge you can see it now I'll take this right into the foot and  then I can blend that back out and if I go through the toes it's not goi

ng to make any difference  because the toes will be real dark and they'll go over anything I'm doing now what I'll do is go  back back to the bloom wet and then just get rid of that straight edge on the left hand side but  now here's what I'm going to do I'll back this off just a little bit now that I have that mask  taken you can see where it's blocking off the purple right here I'm going to copy that mask copy  layer mask and then I'm going to go down to the layer below it where I have two lay

ers of orange  this is the second layer and I'll paste that layer mask now you can see what it did to my highlight  it cut off the exact same amount that I mask on this layer uh to the layer below it and it matched  it up just nice perfect but then because I have no oranges down in here this part of the mask on The  Twig doesn't matter and this part of the Mask up in here doesn't matter because I have no colors  of of Golds or oranges up in here I only have them right in here and that's the only

place this  particular mask is affecting even though I copied and pasted the exact same mask now what I'll do  is go ahead and give this a wash of water so I could protect this Edge no matter how I'm mixing  my colors within the bird and then if I make some sharper edges that's no problem at all because I  could take some washes back over those edges and just diffuse the contrast and the edge itself but  I kind of want to build a specific pattern of some kind within the bird let's go ahead and

do that  now okay let's start building some more color onto the bird we're going to go up here create a new  layer and we'll just leave it 18 and then I going to zoom in a little bit just so we can see what  we're doing and we're going to just start making some puddles of colors here and there what we  can do is turn the diffusion off that way we can put all our different colors down and we won't be  fighting the clock so to speak and then we could just let them blend all together and then just 

get some interesting edges first we're going to start with our clean brush other words just clean  clean edged brush we'll actually go with just the uh let's just go with the soft mop I'm going to  take a down size take a d color we're going to put water all the way up then we have the diffusion  off and I'm going to start with raw umber we're going to do this just like this but then what  we're going to do is we're going to put other colors in here but then we're going to also change  up the e

dges a little bit with a rough brush and it won't matter if we overlap them because there's  a lot of water in it and those will all blend together now I'm going to go to a different brush  let's just use the uh let's use the kleenex take it back all the way down I can to leave this one  a little bit bigger because it's a very soft Edge but then I'm going to put this over these edges  in some places just to get rid of the round and then take some Russian blue get a little darker  let's see what

that does we'll have our finger on the F key ready to go now let's stop it there  okay now we're just starting to build up remember our legs got to go really dark and then we're  going to make this dark down in here and we're going to keep on taking layers up like that and  just keep on leaving them overlap we'll do that up here but then we'll also make this Wing right  here just a edge of the wing real dark and we'll pronounce it even with a deeper black line and  then we're going to do the hea

d the darkest and we'll keep it the most textured and then we're  just going to give hints of Shadows down here we don't have to go as dark as the photograph  that's for sure let's keep on going with that okay we'll go to 19 that's that right there and  then we're going to make the tail a little bit darker just to start we'll give it a complete  layer of paint we'll go with the raw umber I'm just going to paint it in m and I'm going to cut  the opacity way down make it a little bit bigger and I'

m going to turn turn off the diffusion this  way I could go out of the lines if I want to and leave it blend and then I'm going to put some  blue in it let's go with the sepia first that's purple this one's going to be a quick one just to  give some hints I'll go back to the blue and it's not going to be anything like we're putting down  now once it starts running so you have to just kind of Imagine what it's going to look like and  a little bit more Brown down here okay let's try it let's stomp

it there that doesn't look too  bad let going get rid of this Edge right here leave all the other ones there and then we're  going to leave that racket Edge there we could destroy it a little bit just here and there and  we can make it more pronounced back underneath I'll fast dry that let's see what we got yeah  let's stay with that okay then we're just going to keep on taking everything darker okay let's  start adding some more color to the body just go up here and make another layer 20 and t

hen  we're going to start with our let's go back to the soft mop okay we're ready to go I'm going to  start with magenta this time this will start to introduce the Reds I'm going to take it down  a little bit though and I'm going to turn off the diffusion even if I get some in the legs  that's okay but I'm going to leave my Branch just the way it is we're going to put some up  in here this will all diffuse out again and then we're going to put some bright Reds over this  going to happen quick le

t's go our Bloom wet get a little bit of texture in there we'll see how  this Blends together and keep in mind just the again save variations of what you get because if  you don't like the first attempt you could always go back and try again where you left off from  the previous saved version okay I'm going take little bit of Prussian blue down in here make it  darker and we'll see what this Blends out like and some Sepia okay are we ready turn off the  diffusion turn off the paws get ready to s

top it now we got a lot of heart edges in here so we  could destroy them a little bit all we have to do is take some light washes of Quinacridone  gold we can even just take water over it too I think that's what I'm going to do take this  down let those fuzz out a little bit and they'll go out in little veins that's what we'll want too  actually just like that perfect and we'll pick and choose there's the water even blend out a little bit more  and we'll even take a little bit more darker colors

here and there  going to make the head pretty dark give a direction to it okay we'll stop it right there and  keep on going new layer add some more colors we are going to go back to our  water brush and let's see go with our Splash mix it up a little bit try this  one and let's see now we'll go with more Browns turn off the diffusion again I'm  going put some this is going to be hard mixture okay that happened quick we're going to  go with that for now see what we get and we'll put a couple mor

e coats over and keep in mind I'm  going to take a mask back over some of those and just pull some of those uh darker areas out uh  just to put some subtle breaks in in the solid dark shapes and that will make a difference just  like down in here but we had it happen natural down there in fact let's go ahead and do that  now I add a layer mask and then we're going to go back in and add some texture uh let's go back  to our Bloom wet and then I will go back to I got to make sure that I have the T

he Mask selected and  I'm going to dust a little bit on here see what it does just like that we can take up the opacity  take down the size oh we need a stronger brush okay you can see where I'm taking out the blues  especially this down in here just a little hint I can turn it down some and then I'm going  to take that off completely I will go to a straight edge there we go see what we got let's  go with that for now because we're going to do a little bit more to it yet main branch a little  bi

t and I'm going to find it all I have to do is hit control shift and that's it right there  yes it is I'm going to make a new layer above it and then we're going to add some oranges now  this right here in fact I'm going to go back to that one I know this little black Gob here this  dark gray I I don't I don't like it I'm going to just take it out completely and we're going  to take it out and then I'll just blend that back in uh we'll just use that and then let's see  we're going to go to a dif

ferent brush though we use that one as a blend I'm just going to soft  that edge up a little bit where the Eraser hit it I could I could have taken it out with the  mask and then and possibly have left it there but I'm sure I don't want it so I just made that  corporate decision and took it out now we're going to go back back up to 22 and then we're going to  start adding some oranges to this and I'm going to leave it a little bit on a rough side and  we're going to put some orange Right In Here

let that work a little bit then I'm going to  stop that now we can make the brush a little bit smaller and then put some burnt sienna in  it this will be like the shadowed areas but then it'll still have texture with this particular  brush especially if I fast dry it quick that's what I want a little bit of texture that's it  and then let's see put some orange back down in here that's it and then now I'm gonna now if I  take the water all the way down and use a brush just to put in that dark li

ne even though it's  on water it shouldn't move okay we're going to go with yeah we'll go with that one we're going  to put just a little line right in here okay now if I use this brush I take the water all the  way down then even though I'm putting it on a wet surface with no water in it it shouldn't  move at all it should just stay a sharp line there we go that's fine we'll just leave it  like that and that's it and we'll leave that little highlight there I'll dry everything  else and that is

it and I'm going to go back up here put a little bit more purples on  the same layer and maybe some little bit of oranges I think I like that Potter's pink  up there I'm going to go back to my Bloom wet and we're going to make it a little bit bigger  we need water now okay and then we're going to fast try that make it a little bit smaller put  in some permanent magenta we could snap it up the color just a little bit I'm only going  to go here and there I want to erase all my highlights that I pu

t in before but with  a with a mask we could always put them back in okay that's it and then we're going to put  in a little bit more oranges right in here and then especially the Potter's  pink and we'll leave the texture there okay let's see what we have here and we'll  leave the branch the way it is now for now we're going to go back up and change a few things I'll  probably copy that one Quinacridone gold layer and then move it up into here just to kill some  of the white a little bit just s

o it's not Pure White and it'll have some kind of very subtle  texture to it and that might be it for the sumac itself as far as texture goes but then we have to  bring our twig up through here right up through here and what we'll do is maybe make it instead of  having it out on top I'm going to have it inside like this one is down here so I only put it like  right in here and then maybe bring it up out of here and then up and that's it but we'll keep on  going okay I think I ran into my first c

risis and that is the orange now I kept those on separate  layers and I'm happy I did if I would have put a bunch of work on those same layers and try to  undo back to the orange I would have probably had to have undone a lot of work that may have  wanted to keep so now that they're on separate layers I am going to back up and turn them off  and they should be 15 and 16 right here as I can see them in the thumbs and turning them off  I think I like that better already I'm going to make the sky a

little bit darker around the bird  and that will indirectly give me the opportunity to make a nice crisp highlight on the top of the  bird's head and then the bird looks even a little bit cleaner if I put a little bit of um oranges  but I think maybe even preferably uh Quinacridone gold in there I'll put it underneath the layers  I already have let's go ahead and do that now so what I will do is go back down underneath my  sky washes I'm going to put another layer on top of that and then I am g

oing to go with some  blues let's see we're going to go with the bloom wet and I'm going to make it bigger and we're  going to just take a little bit of color at a time and I'm going to try a little bit of we'll  start off with the Cobalt Violet and I'm going to turn off the diffuser we're going to put a  little wee bit down if I take it over the bird that's okay I'm going to put a little bit of blue  in that and we'll let this bleed out a little bit see what we get and then definitely some down

in  here this has to go darker anyway we're going to let it diffuse and we'll just let it carry out  to the ends of the wet area being that it's on its own separate layer it's not going to affect  anything I already put down and I'm going to take a little bit more over the bird itself I'm going  to change up brushes we're going to go with the Splash and we're going to just do this right here  let's see if that does anything and then I'm also going to put maybe one or two more puddles right  her

e and let that carry out and I I can also put a little bit of I think I got to watch what happens  while I'm getting new colors but I'm going to put a little bit of permanent Magenta in there also  I like this up in here let's change directions on that one there we go let's leave it right  there okay now I'm going to run with that now I got a little bit of Blues and purples coming  down in the bird and then this is not looking too bad down here either but I'm going to stay  here with this becaus

e I definitely like this this better than the oranges uh and we're going  to run with this now let's keep on going moving on to the Head we're going to go way up on top  add a new layer and then I'm going to zoom in a little bit so we can see what we're doing  and then I'm going to start adding a little bit of color and let that work in take this size  way down we're going to go back to our Bloom wet take it way down too much and then I am going  to start with a little bit of of the raw umber we

're going to put it right in here and I'll  leave it like that and we're going to put some red in this turn off the diffusion make it Vivid  red okay and then we're going to put some Grays back in here we'll let all this bleed together  little bit of orange okay we'll let it blend okay now I'm going to cut back the water and  make them a little bit darker I'm going to turn off the first I'm going to dry the layer  make sure it's completely dry and I'm going to turn off the diffusion we're going

to  make these areas darker lots of red right in here okay little bit more orange I'm going  to take the value way down but then I'm going to flood it a little bit this will just give  me some water and paint to blend okay let's let that work okay let's go ahead and put  the eye in I'm going to make it a separate layer okay real dark no water okay I'm going  to take a little we bit of dark brown around the edges CIA just just a hint of an eye we're  going to pull out one highlight make it a litt

le bit smaller all the way up that's it okay we'll  leave that like that we'll leave the eye there we're going to do a little bit of the beak might  make this area up on its cap a little bit darker and we got to put some more color in the body few  other things here and there we're getting there okay we're going to make the body a little bit  darker I'm going to zoom in a little bit so we can see what we're doing I'm going to put down a wash  of water and let them bleed out just in different one

s I'll turn off the diffuser put my water down  go to the water tool and I'm going to use the Kleenex on this one it's so wet so I can see what  I'm doing here it's going to lay down water fairly light as this is a really light brush and then I'm  going to take some colors back back into it and now we'll put them down and then we will leave it  run all at once start off with the let's go with the uh permanent magenta down and then a little  bit of uh let's see the Prussian Blue let that bleed no

w I'm going to take a little bit of sepia  in it and let it blend in with it we'll make some puddles here and there there we go I like this  let's go back to the water tool diffuse some of these edges okay I'm going to darken up this lower  right corner of the bird here but what I'm going to do I think is actually just find that layer  and double it there it is right there I'm going to double this one duplicate it and that's it and  then I think the one right below it no we'll leave that just th

e way it is now and I'm going to go  back in I'm going to do the bill we'll put that on a new layer and I'm going to do a little bit  to the head make it a little bit darker and we're going to do that with a smoother brush smaller  and we're going to start off with a little bit of we can even zoom into the picture let's start  off with a little bit of uh the Potters pink I'm just going to rough it in a little bit let that  blend out and we're going to do that again down here that's it and then I

'm going to take some  let's go start off with a sepia and then Prussian blue we'll let that blend out that's it under here  okay there we go and a little bit of Prussian Blue little bit here and a little bit right here that's  it okay okay let's see what that looks like we're going to leave that go just like that I'm going to  make a nice dark line through that we're going to zoom in and then I'm going to go to no water  a little bit more and smaller and then we're going to take the sepia we're

going to etch in a  line just like that not a solid one we'll make it a little bit on a dotted side this will be the  script work already for this one we're going to let it go like that there we go that's it for the  beak now we'll do a little bit to the back of the head few other things and we'll put this one Wing  in here right in here yet too but we'll just make out a gob of paint and that's it we're getting  there with the bird now okay next one with do one quick change here and I am going

to move this over  here but then we're going to darken up this white a little bit on the top of the sumac and I'm going  to find that gold that's so I think it's 12 yeah there it is now the 12 copy I inverted but the 12  itself I'm going to duplicate it and then move one side of it over and we'll take our transform move  tool and we're going to move it right up over here there we go just to kill that white just a little  bit that's better I'll accept that and we're done with that and then we wil

l also go ahead and make  this little Gob of color here I'm going to go to sepia first and we'll Tu cut back the color make a  little bit bigger and a lot of water and let's see where we at we're going to make this a separate  layer okay and then we are going to paint this in just like this and then we're going to add a  little bit of blue to it that's it there we go we'll leave that like that and let's take a back  out we're going to do some work to the branch next we're got to do a little bit

to the back of the  head okay and let's run with that then once we do the legs that'll make a big difference too and  we're going to make this a little bit darker okay okay I'm going to make a new layer and I'm going  to go back down to the sky colors and I'm going to define a line right around the bird itself we're  going to go with a sharper one sharp and we'll go with the soft there we go little bit bigger  a little bit more color lots of water and then I'm going to zoom in a little bit so we

can see  what we're doing and I am going to put it down right here like this and then I'm going to turn  off the diffusion and what I'm going to do this time is add a little we bit of Dioxazine purple  into that but then I'm going to blend this out just with my brush just like this so I could get  some odd shapes in there and let that blend in and see what we get we're ready there we go okay I'll  stop it there get rid of that edge right there and this White Spot down here okay let's see what 

that looks like like yeah that pronounces the bird okay we'll leave that there and we'll keep  on going we're going to make the top of the head on this side dark but then what we'll have is we  will have light against dark here but then dark against light here and that's kind of the reversal  I want then I'm going to put some dark underneath its chin yet and a couple other patches of deeper  colors here and there and we'll see what we end up with okay I'm going to uh just to break up this  purpl

e shape just a little bit now I wanted it to define the edge of the bird but I don't want  it to overpower the bird so what I'm going to do is just cut back some of the purple I'll put a  layer mask on it and I can go back and forth with blacks and whites till I get what I want I'm going  to go with the splash though this time and we're going to cut the well we'll leave the black all  the way up and then I'm just going to make one shape there one shape here and then that might be  it there we go

that's it I'll leave it just like that and these are this is a little bit more of  a challenge because you might have to go back and forth because keep in mind a lot of the brushes I  made and posted online free on the Escape motions assets page they are meant to be random so  you don't always know what you're going to get when you touch it down hence the point of being  random so you just have to experiment sometimes or go back over with white until you get what you  want but that's a whole id

ea of being random and not getting necessarily what you expect now we're  going to leave that there and we're going to keep on going okay we're going to go back in and make  some of the head the throat uh maybe this shoulder over here a little bit darker I'm going to go in a  little bit so we can see what we're doing and then I'm also going to go up to the top and put a new  layer for these things okay then we're going to start stay with the bloom wet I'm going to go with  the sepia right here a

nd I'm going to start up top first about right like this and I'm going to put a  little bit more red in that I'm going to take take this up over here and once this I'm going to stop  the diffusion and once I put a little bit more red in I'm going to take this around hopefully  that highlight will stay there and then we're going to put some more red into first and let  that blend and bleed together let's go back to the sepia that'll bleed out pretty good then we're  going to go back and put a sho

ulder in this will be dark and then I'll make another line here I'm  going to put a little bit of Rush Prussian blue in this one it'll all go to the lower left just  a little bit and then I'm going to put some Grays warm Browns right in here and these are going to  be just splotches in here just a hint right here and I'm going to put a little we bit go with the  red in here let those mix together and then I'm going to put some purples I think just leave that  bleed out with no direction for now

I'll go back and soften some edges up uh let's go back to the  permanent magenta I'm going to put some down here we'll shade the upper part just with purples so  it doesn't get too muddy go back to Dioxazine and this will also keep the colors more vibrant too  here and there okay let's let that bleed out and get ready to stop it if we need to okay that's it  I'll stop it right there and I am going to let's see what can we do here we're going to soften  up just a couple of these let's go in and p

ut a mask on it and then I'm going to take some of  these down I use the same brush and I'm going to go to the black I'll leave it down a little bit  then I'm going to take a little bit of this out just to give it a texture okay I'm going to take  all that out it's like that and then destroy this Edge just a little bit I kind of kept my highlight  okay that and then we're going to get rid of this too because that'll make its beak look funny and  let's see right in here get rid of this Edge I jus

t like some soft edges and not a hard Edge the  whole way around a shape just like this right in here when you have hard edges right in here but  then they blend off into nothing it just gives you a a transition place to go from one shape to  another let's see what we got there yeah that's not looking too bad we'll stay with that that for  now but we could clean it up with the mask and we still got to add some more things to it okay let's  make the back of the head just a little bit darker too a

nd we're going to make another layer at the  very top and I am going to go back to the sepia and let's see let's also start with maybe start  with a little bit of red and I'm going to pause the diffusion just a little bit here and there and  then we're going to go to orange cat orange bit of Quinacridone gold I don't want to take it all the  way to the edge I'd like to have that hard Edge there and then we're going to go to Quinacridone  Gold little bit more okay and then little bit of sepia rig

ht at the edge okay we'll let that bleed  and see what it looks like get ready okay that's it leave it right there and we're going to go down  let's see what we have here so far yeah that white Edge is pretty pretty strong maybe even a little  bit too strong but we'll see uh then I'm want probably put the feet in next and then also make  the uh main branch more Orange let's do that next okay let's zoom in so we can see what we're doing  we're going to do the let's do the branch first I'm going t

o put some more oranges in it we'll go  way up to the top and add a new layer and then I'm going to start with cadmium orange and I need a  lot of water I'm going to turn off the diffusion not too much color we we'll add it in stages  okay right there and we're going to turn off the diffusion let's put some orange in right in here  I'm not going to take it off the paper and we'll let all this blend in a little bit of texture  here and there okay then burn Sienna take that up into the purple work

good once this all Blends  together kind of looks like crayons now once this all Blends together it's going to change I want  to mix it up a little bit too then I'm going to put some sepia in the most shadowed areas okay  sepia next and even this is a little bit dark in here but we don't have to go exactly but we'll  just keep the essence of it and I'll put even a little bit of Prussian Blue in the most shadowed  areas just to make it a little bit snappier okay A little bit of Prussian Blue and

that'll be it  okay get ready to stop it here we go and right there now that's some really interesting colors  in here the blues and oranges and burnt sienna is all mixed together got a ton of texture there  and then if I want to soften up this Edge just a little bit have a more of a transition I can  either do that with a blend or apply mask uh this time I'll just blend it a little bit it it  has some sharp edges in some places where that white starts but we'll we'll blend a little we bit  jus

t like that just destroy that edge there maybe one or or two more other edges that's it and this  one right here we tone it down a little bit and that's it okay let's see what we got yeah that's  not bad that's long as it says sumac to us that's all we need to know okay let's go in I'm going  to carry this stem right here this stem right up in here you can see how the stem over here is  on top of everything but I already made my sumac look so thick that instead of trying to make it  on top of it

I'm going to make it look like it's going through the middle so in other words I'll  put a little section right here and then maybe up in here I'll make it look like it's coming out of  of go up a little bit and then come out and then up and then that's the one that will be on top of  everything uh we'll just play on the perspective a little bit so to speak let's do that next okay  let's go and do our stem I am going to zoom in a little bit and again we're going to draw a little  bit in here an

d then maybe up in here and maybe right here and then we'll have it come out and  go up uh first new layer that is our orange okay let's go back to our brush we're going to use  the bloom wet and I'm going to start with the Permanent magenta leave a little bit of water on  and then we're going to start right in here just like that I don't want a straight edge because I  want to reinforce all that texture I try to make in the sumac and I'm going to take a little bit of  Dioxazine purple in that w

e can even end up with a little bit on Fast dry that I'm going to take  it down some and then take up the opacity and put a little bit of press and blue in it just  in the shadowed areas and let that blend out a little bit that's it okay that's it that's how  we'll make that and we'll make another section up in here maybe uh let's see let's make one more  up in here and then we'll make it go up through here start with the permanent magenta make it a  little bit bigger and right in here right her

e and then right there then we're going to make it  come up through here and this is where it'll go up through right here and we're going to just kind of  paint it up over through here take it all the way out but then we're going to take a little bit of  take it into a little bit of raw umber to make it look like it's dried out and that's it stop that  now I'll go to a a little bit smaller brush and go to my Prussian Blue this one will be shadowed  underneath there and we'll leave that blend out

that's it right here leave that blend out and then  I'm going to cross this one over so we know which one's going over which that's it do that one fast  okay just give a little hint of Shadows on this side that's it okay and now this one down here  blend leave this one blend that's it okay let's see what we got there okay yeah that's it now we  can even take a little bit of what we could do is even if you don't want to use a mask or you don't  want to use an eraser we can always use a little bi

t of white o opaque uh that would be the same as  traditional using a gesso uh there's also scraping with a razor blade uh scraping with a card while  it's still wet there's a couple of different ways that are still considered traditional watercolor  even if you want to go back in and just spot some fine highlights with an opaque color so let's do  that this time and what I'll do is I'll make it permanent though let's make it on a layer above  just so we can keep it and this time we'll even call

it highlight okay and then that one and then  we'll use that for any other one too and then I'm going to take a little we bit of titanium  white CU it'll be bright this the this is the unbleached titanium I use this color in uh oils  and acrylics of traditional and we we don't need too much water I'll make it a little bit bigger  we're going to stay with the bloom wet so it's a texture white and then this will go white over  everything but I want to put a little bit of white right in here just

like that and then this one  right here just a little bit and then this one for sure and this is going to be shadowed went in  so I'll put the white up here and this is already the script work for this fast dry that fast dry  that and fast dry that there we go then we got a real strong highlight on this one there we go and  since it's on its own layer we could uh take some out if we want to or and let's take a little bit  out just with the Eraser right here and that's how we would do that okay l

et's uh see what we got  yeah that's looking interesting and then keep in mind we could also uh put in uh some red berries  here individually just here and there just some uh just some of these bigger ones over here and  then that way uh just to add a little bit exact texture here and there but we can put a little bit  more orange in too we're going to go back down to that layer and that's it right there now we're  going to put a little bit more orange in here but then I'm also going to take som

e of this dark  blue the Prussian Blue over the edge when I start putting in the feet we going to put a little bit  more orange right now we'll just leave it blend in I still got the Eraser on leave that blend out  there we go that's it okay let's take a look back and see what we got and there's a few things we  got to do yet the feet and few other things we're getting there okay that worked out well let's  add a few more branches I'm going to go way up to that layer right there that's it and I'

m going  to add them to the same layer because they'll be separated so we can leave everything on the same  layer and I'm going to zoom in a little bit and I seen this one pencil drawing right here I'm going  to add some to it and I'm going to stay with my Bloom wet I'll start with a permanent magenta  I'm going to take the size down just a little bit because these will be smaller branches and  I'm going to start right here because this will bleed out a little bit too even though it's fairly  sm

all I'll stop right there make it look like it's going inside too that's it and then we're going  to go up through here and then out just a little one and that's it I'll stop there then I'm going  to take another one from up in here maybe just to mix things up and put a little one there and then  we'll put a couple over here let's see where can we put one right right in here again I'll go to  the raw umber to make them look like they're dried out on top that's it and I can even put a couple  of

pieces of fruit on some of these just to add a little bit of snap and let's see we can you could  put a couple more up in here uh there's a couple of straight ones I'll go back to the permanent  magenta put one uh let's see I would say right in here and then I'll angle it in can even connect  this one stop that okay now I'll go back to the Prussian Blue we'll turn it down even a little  bit more that's it that one goes in underneath that that's fine okay these These are out and in  the open we'l

l leave those there okay then this will make a little bit more sense once we start  adding berries to them fruit itself or whatever it's called actually I'm not sure okay that's  it now what I might also do is make this main stock right in here right in here a little bit  darker I think I like the dark better this looks a little washed out just to give it some snap  but I'll go back to that same layer to do that okay we can find a layer I want to work on just  control shift click on it and there

it is we'll double check yeah that's a top layer we'll just  stay on that one and I'm going to add a little we bit more darker colors just to give it a little  bit more of a snap and we'll start off with the permanent magenta I can make it bigger and then  we'll go back in and give it a little bit more color and this one right here got a little washed  out somehow and we'll take some Prussian Blue back over that okay and then we're going to take some  Po's pink put it over this one make this on

e a little bit brighter let that bleed a little bit  then we're going to go back to the magenta we'll leave this one scraggly looking that bleed out and  this one up in there they it to look a little bit curly okay now let's see what that looks like let  me blend this one out just a little bit there we go sometimes I don't know when to stop okay yeah  we'll leave that like that then we'll put some berries in here we'll finish the feet couple other  things we're getting close okay let's go ahead

and put in the feet and the legs oh one thing I want  to do though I'm looking at it right now this is kind of bother me right here the brown uh I'm  going to take that out a little bit it just looks a little bit muddy I think that's these  right here uh way up right here yeah that's him right there cuz it's a doubled layer and I'm going  to I'm going to actually just work right on the layer mask and take them out we're going to stay  with the bloom wet I'm going to take it down just a well no m

aybe not I'll take the opacity all the  way up go my black and I'm just going to take out some of it on this layer I'll go down to the other  one take it out on this one too just a little bit here and there just to free up the leg a little  bit just like okay now we get do the feet the legs uh first I'm going to start with uh I think I'm  going to make a new layer for the feet and then we're going to start with the let's see there's  one right here one right here I can barely see my pencil anymo

re I'm going to make it a good bit  smaller we're going to start off light and then we're going to go to The Potter's pink and we'll  zoom in a little bit on the feet there just to see what's going on okay and now this one has to be  a lot longer so we'll make this one a short one right in here in fact it's mostly claw and I'll  quick dry these so it doesn't go too long after I move on to the next one okay and this one's  going to go out this way and we'll brighten this up a little bit with the

Prussian Blue and this  one's just a short one right here the rest will be claw okay that's it and then we're going to  start with the leg here that shadowed pretty good back in there I just just a little bit thinner  than the pencil lines that's it leave that bleed then we're to make this one short about right here  and that's claw that's actually the pad underneath its foot and we're going to cut this off right  here divide the two toes separately we'll take that down into here and this one ev

en goes off the  branch that's good enough there this one's another short one I go right to here and that's it and the  rest will be cloth okay now we'll start with the blue and this is going to blend in fast I'm going  to go actually I'm going to go sepia first give a little bit here and there I'm going to fast try  it quick that's it that's it that's it okay now we're going to do this down in here there a subtle  Shadow okay and this one just goes right into this one like that then this one co

mes down across the  other one okay that's it a little bit on this one that's it and then I'll go to the Prussian Blue  to make it deeper I'll blend in with that sepia if I leave it straight blue almost in some places  that'll be okay too because this is kind of a little bit on the colorful side that's it stomp  there the little scratches here and there and once it Blends in with that Sepia I'll get a nicer  neutral gray whether it be a little bit warmer or a little bit cooler put some sepia bac

k in those  toenails I don't think it wants blue toenails stop okay okay now we'll take the little bit more  CPI in here and there we're going to make that shadowed back in there stop okay now we'll go  to the Russian blue put it in the nail and even though I'm just putting straight blue down for  like the claws uh the brown will take it back to a nice neutral gray and we're just letting  the water do the mixing that's all could mix the colors before you put them down but then you  lose those su

btle variations of the two colors together if you just put a neutral third color  down that's it that's it that's it and being that these are on their separate layer we can lighten  up the entire layer if we have to and we can also take some highlights out with the layer mask  or even just scratch them out or put them back in with an opaque color stop okay let's see what  we got yeah that's not bad they're a little bit dark but I think we can lighten them up just by  adjusting the PC of the laye

r we'll put in some fruit I think that's it let's try this let's  leave them about right there let's try 90 yeah we'll leave them there for now okay let's do some  fruit and we might be done okay I'm going to make one little correction on the leg I'm going to  take that all the way in we're going to go back to our let's see we'll just keep it on the same  layer I'm going to take that all the way in just like this looks a little chopped off right now and  then I'll leave that mix with some blue a

gain and we can even blend it out Feather by hand if we  have to that's it okay let's see if that looks a little bit better I think I already like that  better looks like the leg is coming back in out looks like the leg was kind of hanging on from  nowhere yeah that's a little bit better we'll leave it like that okay we're going to just  make some sumac fruit and we're just going to make a couple here in there we'll see how we  like it and then I could also make them face in different directions

if the real bright vivid  red is on the front side then that means I could have some facing sideways right at me away from  me we're going to try a little little bit of red first and I'm going to make I'm going to stay  with this Bloom wet because it is a rough edged paintbrush and let's see we're going to make  these bold okay let's have a couple right here we'll just start with the red leave that bleed  out anyway it wants to going to matter now and then let's see let's put another one right

here  make these slightly different shapes some will be a little bit toned down anyway one of other  colors and then we're going to go back in and add some Browns and Golds to them they're kind of like  just a little not perfectly round they're just a little bit on the uh pear shape side so to speak  [Music] okay put a couple behind things too these will be darker over here put them back in here  and there okay now I'm going to go back with the Quinacridone gold just a little bit now Sepia stop 

stop okay these are going to be overall darker and stop okay there we go and this one up here I put a  short little stem on some of these okay let's see how that looks that's not bad that's interesting I  can put a few more on or even just a hint a couple of splashes of Reds we could try that I'm going  to put a couple down here though that's that's for sure I wanted to put a couple on this one back  here we're going to start with the red again if I just paint half of a circle it's going to loo

k  like it's on the back side okay and then we'll go back with the sepia that's it that's it okay  that's it one more Darkness okay and then we're going to have a couple of dead ones on this that's  it okay put a couple squiggles on these okay let's see how that looks okay I'm going to leave it  there I'm just going to put we could put more berries in if we want to but even just a hint I  think I'd rather even put some bold splashes of red in we could try that and then we'll leave  that on a sep

arate layer so if we like it we could leave it if not we could turn off that layer  okay let's try a little bit of splashed Reds and that'll be it I'll put that on a separate layer  and I'm going to try that and what I'm going to do is this time go to the water tool we're going  to put down use our favorite water tool brush I'm going to make a little bit smaller I'm going to  put some water down first and we're going to lock the transparency and this way we'll control where  it goes okay like th

at and then I'm going to lock the transparency turn that off and I'm going to  go down to my Aspen brush that's kind of like a leave pattern right here and then we're going to  put it on with red and then I'm going to touch it over here and there especially on the bright sides  and then we're going to tone that down with some sepia fast dry that I got to take the color way  down I use pure red a little bit of sepia now let It tone down a little bit here and there that's it  but then now I'm goin

g to take an eraser to it of the same one just to cut back the amount that  I put down looks like we're going to take the opacity up okay there's a little bit of splashy  red not too much this is how much we put down so it's not too much yeah let's see that's on its own  layer so we could turn it off if we have to okay let's put our hard line in we'll do that with a  script dark and cut the opacity down just a little bit I'll leave with the sepia and we'll just put  it on that layer just hit con

trol shift find that layer that's it right there yep that's the one I  want I'll make sure I'm on the thumbnail and not the mask and I'm just going to put in just a dark  line right here it has to stop by that branch and then we'll just blend it out just a little bit  okay and that's it we'll leave that like that and I'm going to put a little bit more darker  color n I'll leave it like that I will take it down a little bit though just a little bit I'll go  back to the mask take the opacity down

a leave it on sepia that'll be dark enough take up the size  I'm going to go fact I'm going to go the bloom wet it'll dust it out make it a little bit textured  I'll tone it down just a little bit there we go that's it that's it okay okay let's put in some  drips but I'll do them a couple of different ways just for the sake of a demo I'm going to put them  in front and behind objects this will give you an idea of how much importance you want to place on  the drips themselves versus taking attent

ion away from your subject now you could always just  put the drips over top of everything but then they will be the first and foremost object that  there is let me show you what I mean I'm going to go down to 12 and I'm going to click on 11 and  then I'm going to put a layer there we go I'll put a layer just called drips and we're going to  go back in and put some Golds up we got to make sure our drips are turned on no they're not we  got to turn them on and I'll just leave these as lives and t

hen I'm going to take the Tilt and I'll  take it down about right here for this demo we'll just leave everything straight down and then now  remember when I put a big puddle of gold where I'm at right in here then that's going to drain off so  even though it might look like a big Gob of gold right now it won't stay that way now this is going  to be Golds behind all the layers of the sumac and we'll let it start dripping okay there we go now  what I'm going to do is hit the transparent lock and t

hen hurry up put in uh the raw Umber and then  maybe even a little bit of red and then turn the transparent lock off and let them run again and  this way what I did was I actually and now I'll stop them I don't want them to go the whole way to  the edge and off the paper because that could take your eye off the paper now being that these are  lighter colors they are going over the blues so that's fine in a way that that if I want though  I could even take some of those drips and erase them so th

ey're behind these uh purple stems and  then that way that will put them in space so to speak and have a three-dimensional drip instead  of just a flat two-dimensional drip so just say for example if I take this one out right here I  could go back to my Eraser and and I'll just use this round and then take it down some in size and  then if I take this one out right here but leave it everywhere else then what I did was I put  those couple drips behind the stem and this is something I could do and

then you can see there's  multiple colors in there and then now that I they are on their own layer now see that here is this  one is a good example that's over the tail now if I wanted this one from the sumac behind the  tail then just as an example I will erase this right here do it nice and clean and again this  is just to give you an idea and that's it now if I do that now this is what this will do to your  painting it's going to actually put the drips in space and depending on where it's dr

ipping from  then that will create an illusion of what is in front of what now we could put a couple more sets  of drips in uh we could put some real strong Reds here and then we could tone each set down as  we go we could put some uh the Cobalt Violet and cobalt blue BL drips in the sky if you want  and then they could stop at the bird but then keep on coming down below the bird they'll stop  up here and then come back down that is just to give you a rough idea now of course if you want  your d

rips over everything overlapping everything that's fine uh that is just to give you something  to think about whether you want them in space or not now that would be What's called the picture  box okay now let's go back up and let's play with the now if I want to tone them down and take them  down in importance I'll leave them right there at 40 but then you can see that it's still behind  that now I could change that at any time I want uh let's put in uh just some even right here these  purples

let's put those in and again they'll drain out and all I have to do is hit control shift  and I'll find that layer of purples right here and there they are right there now if I just want  a few smaller drips there uh that would be this one here yes it is okay so now keep in mind mind  too that if you want to drip then what you can do is just go to that and take a color of that  exact drip because those might be mixed colors now if I started mixing these colors together and  I want that mixed col

or as a drip then I'll just use my Color Picker grab that particular color  and use that as the drip color so now that we did that I'm going to cut back the size of the  brush a little bit and then the opacity and then we will put some drips on this and what we'll  do is we'll put it on a layer above this one okay and then now we are going to go ahead and  put some color down and wait for this one to drip okay I'll fast dry there but then you could  see that this is a fairly light color that it'

s it's not going to uh go over my branches very  strong so whether we had them in front or behind in this particular case it's not going to make  much of a difference but but just to give you ideas of what you could do with drips whether you  want them to be a part of the composition or if you just want them to be a creative afterthought  uh that will be also up to you too now I could even take those down obviously take them down  to about maybe let's see let's take them down to 50 also and then

they'll be very subtle and  that's it and that would be drips uh just added to it and if we want some uh Stronger ones that  we could even try uh some purple especially in this heavy Gob right here we could start the  drips but then let them go over the bird but then erase everything over the bird and over the  main branch and let them come down here we could try that but then if we let them go over the bird  then that's kind of like giving you a false sense of depth because you're creating an

object way in  the background and putting drips from it over top of everything that's in front of that object so  we'll try it and see what it does let's go now we could use that as a very top layer because it's  going to be on top anyway so I will just make a new layer there and we will put it right here we  won't even name that one but then I'll just take some colors again but I'll mix them again and put  some uh Cobalt Violet and some cobalt blue and we will make it a little bit bigger we'll

leave the  opacity well we'll turn it up a little bit and then what I'll do is I can actually even put it  behind the bird and then erase around the bird and you'll see what I mean we're going to start  with Cobalt Violet we'll just put it right here see what I'm doing and then soon as it starts  dripping I'm going to put the cobalt blue into it and then we're going to hit transparent lock  grab the blue put it in and then hit it off again and let it go again and now you'll get multiple  colored

drips which is rather interesting now turn turn that off and then now what I'll do is  duplicate this layer and we'll turn one off and then We'll erase the other one so I'm going to  take my Eraser again and make it a little bit bigger erase all of this okay and then there you  have some drips from the colors in the sky but what the difference will be is between this and  that so you can see how much emphasis the drips become much more dominant when they're from the  sky colors but they're over

lapping the bird but then if I turn this one off and this one on then  now that's the difference so personally for me I don't like the drips overpowering anything I  have within the painting especially the subject it's okay to have it for me as a creative  afterthought but I don't want it to control uh itself to become the main subject or the main  attention of the painting okay okay now with that all said I hope you have something in mind for  your next painting or if you got something out of t

his particular demo I covered quite a bit  again and it takes me quite a long time to put these together so please if you have any feedback  go ahead and comment let me know this one has been a total non-stop real time demo and I don't know  if those are good or bad or indifferent it is a 2-hour demo again although I have seen a lot  lot of views in my previous lengthy demos so even if you go back to it every now and then and  even just take certain parts out of it I try to label the chapters re

ally well that you don't  need to necessarily watch the whole thing to grab something quick out of it so uh please hit  that like button and please hit the uh subscribe and like I always say until I see you out in the  field or back at the studio thanks for watching