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“Toco Toucan” Watercolor Painting Demonstration How to Paint Watercolor Layering Art Technique ASMR

you’re watching “Toco Toucan” in
watercolor and welcome to my channel this is Dena Tollefson I’m so glad to have
you here today so today I’ll be unlocking the mystery of watercolor
paper why you want to use watercolor paper versus multi purpose or Bristol
paper what advantages that gives you when you are creating your watercolor
works and also understanding the differences between hot pressed cold
press rough all the different type of paper weights and then in this
demonstration I’m going to be demonstrating how to create a realistic
toucan by building up layers and layers of transparent color and then also
discussing why those layers are important for realism then I’m also
going to show you a little bit I have a later in as I’m working on the bird I
made a boo-boo on the paper so I had a problem where some of the watercolor got
on to my watercolor paper where I didn’t want it and I’ll demonstrate if that
happens to you how to fix that problem so let’s get started so what I’m using here is I am using a
the brush I’m using is a silver black squirrel and synthetic combination it’s
a lspecific watercolor brush and I’m using those here to paint and I’m
applying these colors you can either use tube watercolors or watercolors out of a
pan what I’ve done is I’ve taken paint in the tube watercolor paint and then
put it into what you see here is called a lock box the container that is holding
the paint and that is from Jack Richeson it’s called the Jack
Richeson Lock Box palette that’s kind of a mouthful and I’m also
using a Jack Richeson hand glazed porcelain palette mixing tray and what
I’ve got here is a little bit of ultramarine blue I first pre wet the
paper with the brush just clean water and now came on top with this
ultramarine blue and the ultramarine blue is a wonderful color to use because
it is really really transparent and so you can build up layers you can put it
on top of other colors to darken things it’s a great color this Toco toucan is a
black bird and so the areas of highlight and areas of shadow we can use the color
blue really effectively to indicate those areas that are not specifically
black putting a little bit of the highlight on
his wing the end of his wing Toco Toucans
I love toco Toucans if you’re familiar with there’s like a breakfast cereal
fruit loops that has the Toco Toucan they live in South America and they’re
about 2 feet long and roughly when they’re full full size a pound and a
half with an 8-inch beak so this this beak that they have their tongue is
almost as long as their beak but they hop around in trees and this time this
beak that they have which is almost 8 inches long the beak
they’ll tuck under their wings to help them stay warm at night and help to
regulate their temperature so this is this color I’m putting on here that
looks like black is called neutral tint and that is from Holbein and I’m
applying the paint following the contours of the bird’s body the way the
feathers the direction that the feathers grow so you might wonder why do you need
to put the brush strokes in the direction of the feathers it’s because
when we’re using these transparent colors all of the colors are very become
very subtle and all the colors layer upon one another so you can see where
the neutral tint went over the top of the ultramarine blue you can see that layering effect I can control how much pigment is put on
whether the paint under the layer underneath is either wet or dry so the
water color will only travel where you where it as wet where the paper is wet so
that’s a little tip if you want the water color to travel then apply your
paint wet over wet or first pre wet your paper if you want you’re like I’m doing
here you can see it kind of moves across and blend does a soft blend if you want
to have a tight specific detail then put just a small amount of water on your
brush with the paint but make sure that the paper below is super dry so building up those layers of the beat
for Mr. Toucan coming back over this is that same Holbein neutral tint coming
into Winsor and Newton Winsor orange doing more layering on top of the paper
underneath is slightly damp so the color will travel and blend this is a Winsor and Newton permanent
magenta let’s get a little bit right up here on
the top of his lower beak there we go so that’s a Holbein permanent
violet which I’m just layering color upon color with the slightly wet paper so just a little bucket of water to
rinse that brush out it’s important to keep your brush clean and then just dab
off on a rag or a paper towel so some of the Winsor an Newton
permanent magenta so here the paper was dry when I’m applying the paint because
I want to control where it’s gonna go I don’t want it to bleed outside the edges
so when I’m coming up on the edge of the bird any of those areas I’ll make sure
that the paper is bone-dry before I put the paint on so it doesn’t migrate out
to an area where I don’t want it to go but the little tip if you want to keep
if you keep your watercolor keep that paper dry and the color can’t migrate
where you don’t want it to go now this color is Winsor and Newton new
gamboge reminds me a lot of the color yellow ochre that you can find in
acrylic and oil I like this new gamboge color a lot now just layering over-the-top so we
have now several layers we have below the French ultramarine and then a layer
of the neutral tint and now more another layer of the neutral tint so by building
these layers up little by little we can increase the sense of realism on the
bird just layer after layer waiting for the paper to dry in my case I’m using a
heat tool a heat gun now let me show you what to do here I
have a you can see how to boo boo here here’s a mistake where I inadvertently
the brush went on the paper where I didn’t want it to go so when I’m
doing first as I’m using clean water and trying to get as much of it off as
possible and then I switched to a multi-purpose filbert brush just a
little bit gives me a little bit more scrubbing power and I’m just taking
clean water and going back over and wiping off and getting all of that extra
paint but what’s wonderful is when you’re using watercolor paper you have
this scrub-ability the thicker the heavier the paper is in other words the
heavier or the larger the weight of the paper is the more ability you have to
scrub out if you have any boo-boos or you need to remove any color the lifting
ability is really key and watercolor so I want to talk a little bit about some
of the materials were using I made a little chart for my Richeson Lockbox
of what color is where and using a plain water in a glass tube and to activate
the paint it comes out of the tube really thick thickly just adding plain
water and then for my sketch I used the Grafwood watercolor pencil that came in
my box and while wiping off if I’ve got any eraser crumbs or anything but this
this is my Caran d’Ache Grafwood pencil and it is water soluble so it’s nice
because you can erase it and then it will also be water soluble when you were
working on your paper if it gets wet it will
not look as harsh as standard graphite so let’s talk a little bit about paper
so this is an Arches 140 pound cold pressed paper and I’m using a pH neutral
masking tape and the reason that you put a paper the paper will buckle when it
gets wet so I like to keep it from first of all keep it in place
but to keep it so when it dries it’ll dry flat is to hold the paper down some
people use washi tape I used I like to use a pH neutral masking tape just for
water color and it will leave a clean crisp white edge where the it’ll mat
keep the paint from going all the way to the edge if you want to have a nice
clean crisp white edge and what’s nice about the pH neutral tape is that this
is designed to work with watercolor paper this is not stick or leave any
residue on the paper and when you’re done you can just peel it off and you
don’t have to worry about it tearing or anything like that so it’s a different
paper than r it’s different tape than a standard masking tape it’s if
you’re looking for this tape I have it out on my Amazon site I’ll put the link
for all of the materials that I’m using in the description below but on my
Amazon site you can see all of my favorite art materials the materials
that I use every day in my art practice as a professional artist I do this
full-time it’s super important to me to be sure to use the materials that are
tried-and-true and I don’t want to make a painting about of a sudden I
inadvertently tear the sheet or do something like
so the thing of the trick about paper is when you look at there’s cold press
there’s hot press and then there’s rough textured paper and a hot pressed paper
is smoother and it will dry very quickly your strokes will dry quickly cold
pressed paper which is what I’m using here it has a little bit of a texture to
it which I like and then there’s a rough texture which I typically don’t use that
the reason I don’t use the super rough texture paper is because in order to get
the pigment where you want it to go you have to really kind of wiggle the paint
in and get it in the crevices I prefer this cold pressed paper and this is from
the brand Arches lots of different makers make cold press paper hot pressed
paper and rough texture paper but the weight is always people wonder well what
is the weight mean when they say it’s a certain like this is 140 pound paper
what that means is they take a standard size sheet which is 30 by 22 and they
take 500 of them and they put them on a scale and what that weight is is it’s
the amount of how much they actual how much that weighs so for example 140
pound paper would be 500 full-size sheets
22 by 30 inch sheets that would weigh for example 140 pounds so the higher the
weight is the thicker your paper is I recommend that you work with at least a
90 pound paper I like to use this 140 pound paper I’ve used heavier papers as
well but the they’re more expensive them the heavier papers are more expensive
but it allows you to do the scrubbing and the removing and that type of thing
and in addition when you’re working your paper won’t buckle as much so the reason
that you want to use watercolor paper specifically instead of Bristol paper or
multi-purpose paper is because of the of what is included in the paper so
watercolor paper is made up of very large amounts of cotton but regular
paper like paper that comes for a computer printer or sketchbook paper
Bristol paper that type of thing those are made from wood shavings and so wood
shavings are made very very tiny into a pulp and then it’s flattened out to make
standard paper but watercolor paper because of the cotton the high amount of
cotton that’s in it it will it is designed to absorb water and it will
avoid the warping there’ll be some warping on any watercolor that you do
it’s easy to get that out but when you’re working with just a paper shaving
kind of paper it is not intended to take water and then return to its normal
thing you can get tearing and buckling that won’t be able to be removed easily
that type of thing so my advice is whenever you do watercolor anything with
water media be sure to use watercolor paper or paper that’s specifically
designed for watercolor you know and if you learn new to my
channel I’m gonna just give a quick shout out and say I’m really glad to see
you here and they said this is your first time hope that you will ring the
subscription bell and leave me a comment let me know what you think and if you
have any questions and if you’re coming back again to my channel I’m so glad
that you’re here and it means a lot to me that you’re here I hope that you’ll
come back again what I’m doing here now is I’m laying on
another layer of the Winsor Orange in a wet-on-wet technique and I want the
color to travel across the beak because these Toco Toucan have got this really wonderfully colored beak it’s it’s got a
lot of little marks in it it’s made of keratin or protein it’s a very
lightweight beak even though it takes up about a third of the body of the toucan
it’s actually surprisingly very very lightweight rinsing out that brush so here’s this little cheat sheet or
this little chart that I made to keep track of what I was working on so I know
what color I’ve got sometimes when I look at these colors coming out of the
tube it’s difficult to tell indigo from neutral tint that type of thing I’m
putting indigo on which is a very inky dark blue and layering that over the
let’s see we have the first layer we have that French ultramarine and then
several layers of neutral tint and now coming in with indigo describing the
bird with many different colors so even if you have like an overall color it’s
it’s always a good idea to layer colors to get more complexity now I could have gotten one individual
dark color straight off the bat by just putting very little water in with the
pigment but I’m not doing that on purpose because I want to be able to get
that the subtle nuance of having many layers in there so this is a defining
the area of the beak letting now I can get some detail in here by letting the
paper dry and then coming back over here’s some neutral tint with just more
water in it and you can see that neutral tint is just a nice lovely gray and it
can either read as a light gray or actually almost a black the thicker it
is more new to attend with the first of pre-wet pre wetted paper when I say pre wetted when I mean by
that is I’ll allow the paper the color underneath to dry completely either with
the heat gun or just air dry and then come in with plain water over the top to
pre wet and then now adding the additional color that way so this is
Chinese white the really it’s a opaque the most opaque of the water colors it
was a Winsor and Newton Chinese white and then i’m adding some new gamboge
just to soften that edge coming back over with the Winsor and Newton Winsor
red and then the Winsor and Newton
permanent magenta I’m letting these colors mingle together
and play your together and watercolor is one of those things where it is darker
when you put it on and it will dry later so these when you put it on it’s gonna
feel like oh my goodness it’s so dark but don’t worry about that make sure to
make it dark enough and it will dry later
so here’s some where that Chinese white putting that on top to indicate on our
bird the areas where where it’s the lightest where the sunlight is hitting now Van Dyke Brown for the area where he’s where his feet
are sitting and some more of this lovely transparent ultramarine blue now I’ve
come back in with my eraser and I’m erasing all of the original pencil marks
that I didn’t want to stay or to keep showing so some of the pencil marks that
are on the bird are of course underneath layers of paint and you can’t see them
but there were some on the edge and I wanted to get rid of those so a little
bit of detail here with the Chinese white so yeah with don’t be afraid to
come back in with an eraser if you ever need to and if you have on the margin
where you’re painting if you have some pencil marks that you don’t want you can
always get rid of those with the eraser just a tiny amount of Chinese white for
the reflection in his bill I’m using just a small detail brush a
multi-purpose detail brush so you can you can paint with actual watercolor
brushes or multi-purpose brushes the reason I want my a watercolor brush is
designed to hold more water or more pigment so that’s why those are used I’m
just using a little liner brush here a multi-purpose liner brush to sign my
name and then now taking off that masking
tape the pH neutral watercolor masking tape that was fun to see when the paint
one when the tape comes off all right well thank you so much for joining me
today and I’m so glad to have you here so until next time this is Dena
Tollefson and all my best to you bye bye

About Roger Trantham

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