Underestimate the process of wet dry and watch and this is ultramarine. Now, I'm going to stick with the ultra marine to start with. And watch me take my brush up just learning about wet and dry on the cardstock. I will give a little swipe on the 90 pound dry paper, a little swipe, loaded up again, on the mat board, a little swipe on the Sumi paper, a swipe. That one really soaked in immediately. And on the 140 pound watercolor paper, a swipe.

Now you see the paints getting what we call a little dry, so just get another slip. So each of these looks fairly much the same except cardstock. It's a little darker That's wet on dry. So wet page on dry paper. Okay, here's the dry brush. No, I'm going to use this paper right here and I'm going to show you how to get to a dry brush stage.

So popping the brush on like this is called stippling. And as you move across on the 140 pound paper, the brush is getting drier and drier. It creates texture for bark for grass for hair, and that's called dry brush at the end you can actually just stroke it like that. And you'll get a beautiful texture for say a fir tree or a pine tree. Okay, so now as the brush gets drier and drier, remember wet, dry watch as the brush gets drier It gets scratched here and creates hard edges. Great for foilage in pine trees, textures on brick pavement stone and looked.

So what's happening here that paints dry it's just scumbling. This is called scumbling. Now over the top of the paper and it isn't getting under into the paper. So there we go and do that whole side of the paper with this dry brush technique. Now the dry brush technique works on the Sumi paper also, here's the semi paper we find the edge there it is. So let's try the dry brush technique on the Sumi paper.

And this time rather than putting it all over the paper. I'm going to just get rid of some of the paper here. And touch it to my paper towel. Let the paper towel soak up. Okay. Here we go.

Let's try it on here. See what happens. Notice how it's a little quicker to lose all the paint. Of course I did do this but nevertheless, this is definitely well look, it's gone. Let's do a full one on that. Let's not empty it into the towel.

See if so we're experimenting with wet and dry. So now we have a fully loaded brush. We didn't touch it to here. I'm going to put that above it a bit. See what happens. Oh my goodness.

Look at how that soaks in. Okay, now look, it's that paper has sucked all the moisture out of the brush. Very quickly. Look at that. didn't take any time. at all to do that, will that do it on this paper?

Let's see. So there's the full so we just kind of sit there for a minute. And notice we're puddling here, see the puddle. It's puddling and I'm probably going to go much farther than the Sumi paper. Before my brush runs out of pate, I'm still laying on top, a very thin layer of the blue. So I got all the way to the edge did not work here.

That's Sumi paper. great results with it. Okay, let's move on to another paper and see what happens to it not sized. That means that it's going to react like the Sumi paper, which doesn't have sizing in the sizing is album and that's what prevents paint from going into the paper too quickly. That's what we like about watercolor paper, the traditional Western one. So here we go.

We're doing the same as the Sumi, you'll see it's still puddles. So it's not quite as receptive, or it's not quite as absorbent as the Sumi paper. But you'll see that it still goes across for quite a while, but we do have a puddle and we're going to talk about puddling. Remember, it's one of the secrets. One of the qualities of paper of water, it runs downhill. We haven't even done that.

All we're doing right now is seeing what happens with wet paint and dry paper. Okay, now we're going to move to the 90 pound paper. And that's nice too it puddles a bit and it reacts very much slowly. Like the 140 pound paper, and there's your puddle. And now the cardstock I'm thinking the cardstock is going to be like the Sumi paper and the matte board because it's not size. So here comes the cardstock.

It probably will puddle cuz cardstock has a coating on the outside. It's shiny. So Oh look, it's responding very much like the watercolor paper. There we go. That's the coating on it. Okay, so definitely different results.

Next, we are going to see what happens when we tilt the paper. So these are dry, and I'm going to be putting yellow over them. So I'm going to take a little bit of the yellow and I'm going to thin it down right beside Hansa yellow. Now I'm going to tilt water runs down hill. If I don't tilt the paper, it won't run downhill. So here we go.

I'm going to go over the dry blue here and there's no water to run. So what do I do? I need a little more water. Wet water will not run unless it has water. Water runs downhill so you need enough water to get it running. So we'll put a little more on there.

Oh, I'm starting to get a puddle now. Okay, just tapping it can you know if you can see the puddle better I can show you what happens when I touch it. See the puddle keeps following because of gravity. You want to have a puddle all the time. If you're doing Wash. Now you can really see the puddle now there was a little bit of blue. Now my yellow is has become what we call solid.

So I'm going to take some clean yellow. Put it here. There we go. That's a little cleaner and it takes some pure water. So if I put it there it will. Hey, I got some blue in this brush.

Watch what happens here. tilted because water runs downhill. Oh, it's wet. Did you see what happened? As soon as the color hit the wet yellow. It went downhill.

Well, water runs downhill this way too. So you see that the paint is doing its job. I'm all I'm watching. I am watching now. I wet it. It went on to the dry paper.

And now I'm watching this is where you know having a few different brushes so you don't suddenly up your colors. Is the paper still wet? Yes. How do I tell if I look at it on an angle it's shiny. So now I can drop in. It's still creating a soft edge See?

Soft edges why the papers wet and watching now. I'm going to come at the wet area from the dry paper here. Oh look. I'm getting a hard and dry right here. All along the outside. I'm doing Getting a hard edge because the papers dry here and wet here.

So if I put it in the wet part it will disperse and mix as long as I watch it. If I fiddle with it, I can lose the beautiful variety of mingling that it will do. I could encourage it by blowing which creates even a softer edge. Now, because this edge is hard up here, I'm going to come at it with some water so I need to clean my brush off very well so it's clean. And now I only have a little jar of water here. Usually I would have a huge thing of water because I don't want to get up and change but this is going to work.

So now I'm going to run water along the edge and you'll see that the water because it's not totally dry the paint, the water will soften the edge. clean my brush again. And I'll try from this side see hard edge. Now I might want a hard edge in my painting but I'm just showing you that the water softens that edge. You can be very gentle with it and you only have to put the water on once you don't have to rub it rubbing a water color. It's not the best thing you can do unless you want a certain effect.

So now by softening the paint here, you know, watching is the most important thing. Why do I say that? I'll tell you why. Because I'm starting to see a tree here. I did to start out with that idea. I just started out with technique, learning about wet, dry.

Watch. Now that I'm watching and I see something like can do something I can I want to mix because I'd have tree in my mind now. I'm thinking tree. So I'm thinking strong, this is wet. As long as it's wet, it will do something. Now it's getting drier up here.

I can feel it. So let's see what happens when all it's getting drier. That means it's spreading less. It's actually quite dry up there. But it's still wet here. How wet is it?

Let's pull this stroke into the dry paper. See what happens. I'll push it down and flick it. You see the edge here is dry and hard. I'm just gonna go up and down like this pointed up a little this time and right to the end of my paper. See how when it hits the dry part it gets it takes a different quality, it gets hard edged.

If I want that I leave it if I want to soften the edge I'll be very careful because this they'll have seen likes to spread. Whoa, look at that. That's a big spread there. I like that hard edge. I might leave that hard edge here, right where the paper I think I'll soften underneath all the edges but leave the top hard. So I'm leaving the top edge chart and the bottom edges are so softened.

Good. Now if I want a dark spot here, I clean my brush off. I'll take a little bit of the Alizarin and rather than mixing the lizard and to try and get brown, which people think all trunks are brown, they're not. I take that lizard and clean my brush. Notice how I put the lizard the lizard in fairly strong, it was not thin, it was quite strong and then I'll add a little glue into see I'm rubbing a little bit into the lizard and that will give me a darker color. I'm working with dry or paints meaning there's less water in the paints.

Now I might want to take an add a dark green. So what do I do? Always cleaning my brush See, I take a little bit of the But last water, wet, dry, and watch. So, I'm going to use dry or paint, I'm going to add a little bit in here. Notice we've got this bright area behind the paint the walk the tree, we could call this rim lighting. That's when the light is hitting the tree from behind like a sunset.

So I could put that in here. And now I want a darker green. I could just add blue to it or I could mix the yellow and the blue. That will give me a secondary color. Now when you mix two colors, that's okay. Once you get up to mixing three different colors like red, yellow and blue, then you can get muddy colors and muddy colors can be dissolved.

For a watercolor. Oh, look at that. There's my dark green. Let's see what happens. Oh, look at that. So I've added a dark green here now.

There we go. actually done a tree even though I didn't want to, or I mean I didn't intend to, but we did it and we used wet, dry and watch