Hi, I'm
Terry Madden with The Wonderful World of Watercolor.
Boy, do we have something exciting for you today.
The Seven Secrets to Doing Great Watercolor.
Even if you've never painted before, even if you've never held one of these in your
hand before, you're going to learn how to turn out a great painting, okay?
You really are.
Before I give you the seven secrets, I'm going to tell you three truths.
The first one is this, you will know the truth and the truth will set you free.
If you know what the real facts are, you're going to be free to do stuff.
If you know the truth, it's going to set you free.
The next thing is this, watercolor is easy.
I know you may have been told, oh, it's so hard, it's so hard.
It's not hard, it's easy.
And the next secret or the next truth is this, that it's correctable.
It's not forgiving, anything can be fixed.
So don't worry, if you make a mistake, big deal, it doesn't matter.
So the truth will set you free and the truth is you can do it, it's easy, and you can
fix it, it's correctable.
So now let's go to the first of the seven secrets.
Alright, the first of the secrets, it's so simple.
This one is so simple.
Two brushes are better than one.
That's the first secret.
Always keep one brush with paint on it and one brush with just water on it.
Keep two brushes in your hand, that's secret number one, one with paint on it, one with
water on it, or one with paint on it, one with water on it.
Really simple.
You always want to have at least one clean brush in your hand, always.
We teach thousands and thousands of students over the years and this is something that,
actually my wife Judy reminded me, she said, you know what, so many of them don't realize
that that's what you're always doing.
You always have one clean brush in your hand.
Alright, next thing you want to do, the next secret is this, is how to bleed without hurting.
And here's all we mean by bleeding.
I'm going to show you real quickly what we mean when we say bleed.
I'm going to take a little bit of paint, let me just grab some color here, I'm going
to put that color down like that, okay.
Now I'm going to take another brush, what did I just say, always have a clean one, and
I'm going to make this bleed.
Now in order to bleed, what you want to remember is this, tilt, say I have it tilted just a
little bit, and touch, tilt and touch.
This is just water on this brush, now watch, tilt and touch.
When the brush touches, the water pours.
I'm going to do it again, tilt and touch, now look at that.
You see, when you do most kinds of painting or many kinds of painting, if you don't put
the paint down, if you don't do it, it doesn't happen, but not so with watercolor.
With watercolor, wherever you put paint, something's going to happen.
Wherever you put water, something's going to happen, the paint's going to flow in there.
So you're going to get all sorts of effects that you didn't mean to happen.
Now let me show you what not to do, because I found when I teach my classes, this is just
as important as what to do.
Don't do this.
Now I'm going to put some paint down, there's the paint, okay, now I'm going to take and
do the same, it's going to look at first like the same thing I did before.
I'm going to take this, I'm going to tilt, I'm going to touch, and it's going to bleed.
Tilt and touch, let it bleed, okay, and then here's what a lot of people do, they come
back up here, touch again, and do this, okay, and boom, boom, boom, all of a sudden you
didn't get the effect you were looking for at all, it all just turned to the same.
Secret number one, two brushes, one with paint, one with water, by the way that saves on paint.
Secret number two is when you bleed, just tilt and touch, okay.
Now I'm going to toss this to the side, and I want to talk to you for a minute about color.
If you can tell time, if you can tell time, you can not only understand color, but you
can be good at it.
Not only understand it, but you can be good at it.
Look down here.
Now up here at the top, we're going to put the color yellow, okay.
Over here we're going to put the color blue, over here we're going to put the color red.
Those are called primary colors, number one colors.
Down here we're going to put violet, that's what you get when you mix red and blue, you
get violet or purple, okay.
When you mix yellow and blue, you get the color green, okay, and over here when you
mix red and yellow, you get the color orange.
Those are called secondary colors.
You mix a one plus a one, you get a two.
That's easy.
Now when you mix a one and a two, you get a three.
Over here you get yellow green, that's a third color.
They call those tertiary colors or intermediate colors.
What I've got to remember right now is it's a third color.
In your mix a one and a two, you get one for blue, two for green, you get a three called
blue green, okay, blue green.
Then you get blue violet, and I'll just write these down quickly.
Red violet, red orange, and then yellow orange when you mix those.
Now I designed a thing.
If this is 12 spaces and it's round, what's that remind you of?
It reminds me of a clock.
So I came up with a thing called Terry's color clock, okay.
Now Terry's color clock, this is the actual one here, but this is a large one that we
came up with.
I just blew this up for you.
All right, up at the top at 12 o'clock is yellow, 1 o'clock is yellow green, 2 o'clock
is green, 3 o'clock is blue green, and so on around the clock.
A couple of things to remember.
If you can tell time, you can understand color with this thing.
Number one, the primary colors are at 12 o'clock, 4 o'clock, and 8 o'clock.
They're four hours apart.
Each one is four hours apart.
The second thing is this.
Any four hours of color from 12 to 4, from 1 to 5, from 2 to 6, any four hours of color
will give you what's called a harmonious color scheme.
Now a harmonious color scheme means you use those four hours of color, it's going to
look pretty.
It doesn't matter which four hours you pick.
You could start here with yellow-orange, work your way over from 11 o'clock over to 3 o'clock
with blue-green.
It's going to look pretty.
Any four hours will look pretty.
That's all you have to remember right now.
Okay, now let me come back down here on the table, and what I've done is I've just laid
out two real quick color schemes for you, just real quickly.
I've done two color schemes.
All right, now the first one is this one right here.
I started with some yellow-orange, which is right there on the color clock, and there's
the yellow-orange.
Then I used some yellow, then yellow-green, green, and some blue-green.
This is the color scheme that makes.
It's beautiful.
It's beautiful.
If you're looking at a paint and trying to decide, well, how would I ever decide how
to paint something like this?
This is how you decide.
You just take four hours' work.
The other one that I did, I did a color scheme that went from blue-violet, which is blue-violet
in here, violet, which is your purple-y color, your red-violet, your red, and your red-orange.
Again, four hours a time.
That particular one went from five o'clock up to nine o'clock.
All you have to do is remember four hours, four hours makes a great color scheme.
Now let's take all of this, toss it to the side, and we're going to start a painting.
Now this first painting, the way this is going to work, I'm going to do two kinds of paintings.
I'm going to do one painting that's designed primarily for those of you that haven't painted
before or just have basically done very little with your painting.
That's going to be the first one.
I'm going to take this one, I'm going to start a painting right now, and I am going to use,
this is the Terry Madden watercolor starter set.
This is the starter set we made exclusively for public television.
This was done just for public television.
You can't get it anyplace else.
Now this starter set, everything I'm going to use in this painting right now is going
to come out of the starter set.
The painting we're going to do is going to be this one right here.
We're going to paint this.
This is called the Lavender House.
Here let me lay it down on the paper for you for a second.
This is the Lavender House.
Now the Lavender House is in Squim, Washington.
Squim's a funny town.
It's spelled S-E-Q-U-I-M, sequim, but they pronounce it squim.
They get a big kick when I go out there and I say, oh I was in sequim yesterday, and they
go, oh it's not sequim, it's squim, old Indian name.
It's the only place in the United States where they grow lavender.
It's the only place where they grow lavender in big quantities.
It's very similar, I guess, to Provence, France.
That's a really big industry out there.
All right, so I'm going to lay this aside for now and we're going to start our painting.
Everything I'm using right now is coming out of the Terry Madden watercolor starter set
for PBS.
All right, we're going to use one of these brushes.
This is my palette.
These are the paints.
These are the paints that are included in that set.
We're only going to use those paints.
I'm going to take a little bit of blue paint.
Now one of the things they do, they call it watercolor because you use a lot of water.
So the first thing we're going to do is come down here.
Even the paper.
The paper is included in the, the paper is included in the set.
In fact, there's even a drawing in the set of this house, of this, of this, of the lavender
house.
I put a drawing in there.
So you don't even have to draw it the first time.
It's there for you.
Now I'm painting around the roof of the house like this, like so.
And then I'm going to just use lots of water, okay, like this, second brush with water on
it.
There's water, water, water, water, water, water, and then I'm going to bring that blue.
Now I'm going to skip the roof.
I'm not going to paint the roof right now, but I'm going to paint, jump down here to
the side of the building.
And I'm painting the side of the building just like that.
And stop.
I'm going to take just, oh gosh, just a little tiny bit of red, just a little bit of red
and add it to this blue, just a little bit, okay?
Just right like that.
And I'm going to put some of that up in the sky there too.
That was probably not even necessary.
I always skip that part.
Okay, now we're going to take a little bit of yellow, a little bit of yellow.
This is the yellow right here.
I'm going to add some of that, a little bit of water.
And we're going to come over and we're going to paint this.
Now here it's just going to be a yellowish green.
Then as we get over here where I'm mixing it with the blue, it's going to have some
blue green in it as well.
So it was a yellow green and then turn into a blue green.
Okay.
Now I'm going to put a little bit of blue into the screen like that, like so, and make
it more blue green over here.
So we have yellow green, blue green, just like that.
And the house is in shadow.
You notice I didn't paint this part of the house, left that part blank, okay?
Left that blank for right now.
Now we're going to come down to the bottom here.
This is going to be a lavender field down here.
So what I want to do is I'm going to clean this out real quickly.
Just wipe that out of there.
Throw that to the side, and I'm going to take a little bit of the purple.
This is the purple right here.
Just take a little bit of that and do this part right here with the purple.
Now you notice I didn't paint the entire piece of paper.
A lot of people think you always have to cover the whole piece of paper.
Not necessary.
It's not necessary to do that.
This is, gosh, you know what, anybody can, what I just did in what, two, three minutes,
okay?
Now you don't have to go that fast.
You can take six, seven, or eight minutes to do it.
You don't want to take hours to do this, okay?
Because part of the thing is that you do, see watercolor is quick.
There's probably no easier way to make a statement with paint and paintbrush than with watercolor.
This is step one on this.
It's that simple.
We put in some lavender, mauve down here, which is our purple-y color, our violet color.
You know what I'm going to do?
I'm going to drop a little bit of that mauve-y color up in here also.
Just a little bit.
Just like that.
Leave it.
Okay.
Now let's toss this one to the side.
We'll come back to this.
In the next segment, we'll come back and we'll work on this some more.
Within a very, very short period of time, we're going to have a really, really nice
painting.
Wouldn't it be nice to be able to go someplace, take a little pad with you, and be able to
turn out a nice little painting, have a little set with you that doesn't fit in your pocketbook
for Pete's sake?
It's so easy.
Now what I'm going to do is I'm going to start a painting that's a little more advanced.
This is a more advanced piece.
Now this one, remember the color clock.
On the color clock, colors that are four hours apart are called triads.
So like your primary colors were four hours apart, that's a triad.
Remember those third colors I talked about?
Now I'm going to talk to those of you that have painted a little bit.
Those are called tertiaries, and when you go four hours apart, you get tertiary triads.
So what we're going to do, this whole painting, the painting I'm about to do right now, I'm
going to do with four colors, starting with blue-green.
We're going to only use four colors.
We're going to use blue-green, we're going to use magenta, that's that color right there,
and we're going to use yellow-orange, which is this color right here.
Now my yellow-orange, by the way, I make by mixing orange and yellow together.
I actually squeeze two up into the same spot.
I'm going to start up here at the top of the bird with magenta.
Now I've painted a lot of parrots over the years.
Let me just be a little bit careful here.
I've painted a lot of parrots, but I've never done one with a tertiary triad.
The tertiary triad is gorgeous, it works so well.
It's such a beautiful, beautiful color combination.
For you advanced painters, I think this is one of those things where when you get stuck
and you can't think, oh man, I'm bored, I don't know what to paint, I haven't painted
anything really different for a while, try painting with a tertiary triad.
You're going to find that.
I'm going to go into a little bit more on that after this show is over.
I'll go into a little bit more on what a tertiary triad is exactly, just so you know.
Because I don't know, man, this is just a great way to paint.
Four hours, again, is the key.
Four hours apart.
You pick three tertiary colors that are four hours apart.
There's two sets of them.
There's our magenta color, our red-violet.
Now we're going to come with our blue-green color.
Our blue-green color will be next, and we're going to do this and let it touch a little
bit, bring it down three-quarters of the way down on his chest like this, like so.
Oh my goodness, do you always paint this fast?
This is a little bit faster than I might paint him in my studio, but not much.
When I paint him in the studio, I would paint him just about this quickly, just about.
Maybe I'd tone it down 40%.
Because I'm working within the time constraints of television, I've got to go just a little
bit faster.
Now I'm going to put in the yellow, the yellow-orange.
The yellow-orange comes in like this.
You'll notice that's going to make some greens up here, get it clean again, yellow-orange
over here on his wing.
We're going to do this.
Again, I'm only using the three colors.
No tricks here.
I'm using three colors.
See how that gets a greenish color there?
Now I want to get clean.
This is yellow-orange again, but a clean version down here at the bottom.
While this is still a little wet, and you've got to do this, let me just pull some of this
up just a little bit like that.
While this is still a little bit wet, I'm going to take our scraper and I'm going to
come in and I'm going to put some feathers in.
These feathers go in like this, just like so, and put some small ones up here on his
head, just like that.
On the macaws, the feathers are small up here, then they get bigger as they come down into
the chest.
Now you don't have to put in every feather.
Later on, you're going to see we're going to do some stuff with this that's a little
bit different, but you don't have to do every one.
You just do some of them, just put in a few of the feathers.
I'm going to put a touch of the red, like he's catching just a little bit of this shoulder
over here, maybe right there, just like that, and that's enough for that side.
Now I'm going to come down and do below the tail here.
I've got to remember which brush has which color on it.
I think this one has yellow, yeah, this one's my yellow one, and this is my yellow-orange.
We're going to come down below the branch.
He's sitting on a branch.
I know some of you, if you watch my show, you've seen me paint parrots before.
I do a lot of tropical things, but this is truly a totally different parrot.
Now we're going to come with the red brush again.
This is the magenta, and let me get a little water.
I'm going to start down at the bottom, and at first it's not going to touch the yellow.
I'm not going to let it touch for a second.
Come up like this, again with the magenta.
There we go, just like this.
Still hasn't touched, still hasn't touched, still hasn't touched, like that, like this,
like that.
Now we're going to let them touch.
Now we're going to come up here, clean the brush, and let them touch, like that.
Maybe pull a little of that down there, a little of that up there, like so.
I'm going to take the scraper again and finish this out.
This is the first step on this guy.
Throughout the rest of the show, we're going to finish him, we're going to finish that
basic painting.
What we just went over, I'm telling you, this is great stuff.
It really is.
When I started, I couldn't match my socks.
That's the truth.
I had no sense of color.
It took me years to learn a lot of this stuff.
You're going to be able to get it all in 90 minutes.
Stay tuned.
You're going to learn how to get all this stuff.
Wow, it's just us for the next few minutes.
Let me just explain a few things in a little more detail.
The very first thing I want to touch on is the wet brushes, just to make sure everybody
really understood that.
It is so important to always have one clean brush in your hand.
Having that clean brush in your hand allows you to do so much.
Some of you guys that have been painting for years, I know you know that, but if you're
like me, you might forget occasionally.
I know, as Judy and I talked about this, and as we observed, we've got like 1,500 students
a year that come to our live workshops, and we realized that was one of the things they
really weren't getting.
We decided that was something we really needed to push and stress with our students.
Keep a clean brush in your hand.
The second thing on bleeding, I think we did a pretty good example of that.
I don't think there's a lot more to do on that, except I wanted to just show you one
thing.
Why do you want to bleed it out in the first place?
The first thing is, let's just use some of that.
This is phthalo blue.
Let's put a little bit of phthalo blue down on paper like that.
With a clean brush, what I'm trying to do when I bleed it out, you notice I only touch
the edge.
That's the key to bleeding out, is just touching the edge.
What I'm trying to do is create a value change so that I've got, without ever having painted
a dark value and a light value, I've created a value change right here.
As you can see, what this is doing right now is much more interesting, much more interesting
than what I could do if I tried to paint that with a brush.
The key though is using clean water and then just touching the edge.
Now let's go to truly the more complicated one, and that's the color clock.
The color clock, in my mind, I'm telling you, this is a revolution.
This is really going to help people to understand color better.
Let's go back over to this thing.
Up here at the top, you've got 12 o'clock, that's a simple one.
It's a primary color.
The other primary color is blue at 4 o'clock, four hours away.
The other primary is red, again, from 4 o'clock over to 8 o'clock, so it's four hours away,
and then back up to 12.
This makes a triangle, or what's called a triad.
Every time you set up colors that are four hours away, you make a triad.
There's a secondary triad.
The secondary one is green at 2 o'clock, violet down here at 6, and then orange over
at 10, so it's 2 to 6 to 10.
Why is the clock concept important?
Well, before when we were just using the color wheel, what we'd do is say, oh, the blue is
sort of, here's the yellow, and then the blue is over here.
It's kind of this far away.
There was no way to numerically say it's four hours away.
Now we can give it a number.
We can say this.
We also know that colors that are directly across from each other, now we didn't touch
on this during the show, but this is important to understand, colors that are directly across
from each other, like blue and orange.
They're directly across from each other.
They're six hours apart, 4 o'clock to 10 o'clock, 12 o'clock to 6 o'clock.
They're six hours apart.
Those colors are called complements, okay, the ones that are directly across from each
other.
Those are called complements, and they're six hours from each other.
Now let's go back one last time to the triads.
We've done the primary triad or triangle.
We've done the secondary triad or triangle.
Now there are two, what they call tertiary or third triads.
You use yellow, green, which is at one o'clock, which means you drop down to five o'clock,
you get blue, violet, and then to nine o'clock, and you get red, orange, and back to one.
That's your four hours, four hours, four hours, okay?
And the next triad is yellow, orange at 11 o'clock, you come over four hours, one, two,
three, four, to blue, green at three o'clock, and then four more hours to seven o'clock,
red, violet, and that makes another triangle.
Those are your different triad triangles, and they make wonderful, wonderful color combinations.
Again, let's come down here for just a second, and let me just show you.
This is the blue-green.
I'm using the blue-green right now like we did in the parrot.
This is a little bit of the magenta or the red-violet.
So we're using the blue-green right here, then we're going over to the red-violet.
Now we're going to come up to the yellow-orange.
Let me just use a clean brush for the yellow-orange.
This is the same thing we just did in the parrot, same color combination.
It's a beautiful color combination.
Because the colors are all within four hours of each other, they don't make mud.
They look good together.
They all work together.
Now let's just do one other tertiary triad.
Here comes yellow-green.
This is a little bit of yellow-green.
I actually make my yellow-green.
I just mix yellow and green, about 10 times yellow to one part of green.
So there's my yellow-green.
Now I'm going to come down, and I'm going to come to four hours away from one o'clock
is five o'clock.
That would be my blue-violet.
My blue-violet is French ultramarine.
So I come in now with the French ultramarine.
And then my third one, I go from five o'clock up to nine o'clock, which is my red-orange.
And here's my red-orange right here, and that becomes the third color in that triad.
So that's another combination of colors that you could use.
We could have actually painted the parrot in that combination and made a real pretty
thing.
Now every four hours that touch, which would be, let's say, from 12 o'clock to four o'clock,
you got yellow, yellow-green, green, blue-green, and blue makes a harmonious color scheme,
a color scheme where you know you can paint your painting in that, it'll look good.
Let's do another one.
From three o'clock to seven o'clock, you'd have blue-green, blue, blue-violet, violet,
red-violet.
Those colors will look good together.
So anytime you use four hours of color, which is actually five touching colors, it's going
to look good together.
It's a great way, a great way to design your paintings.
I said at the end of the last show, I literally couldn't match my socks.
I didn't know anything about color.
And over the years, just working with it, playing with it, I've filled dozens of little
notebooks like this, these watercolor notebooks, and that's what I suggest you do.
Practice it.
Try each of the different possible combinations.
See how it works for you.
I know that if you work at it just a little bit, you're going to get good at it.
Those of you that haven't painted before, where you're just starting, man, I wish somebody
had taught me this.
I wish somebody had taught me this years ago.
It would have made it so much easier.
You have no idea how many times I messed up colors and got mud and all that stuff because
I didn't know which colors work together.
This is just a great, great way to get started.
I really encourage you.
The complements, by the way, just so you know this, I don't want to get into it.
I don't want to overdo here.
We've got another, actually we have a whole video out on color theory and everything.
But the complements, when you mix them together, you get grayed down colors.
When you put them next to each other, they tend to brighten each other up.
That means when you mix a color that's six hours apart, when you mix it together with
its counterpart, like violet and yellow, you're going to get a grayed down color.
But when you put the violet and yellow next to each other, not grayed down, the colors
are going to brighten up.
Again, just to go back to you guys that are just starting, I remember when I first started
trying to say, how do you ever get all this stuff?
You know what?
It comes.
The clock idea was designed, I came up with this idea, to make it come to you quicker.
I think instead of some abstract color wheel, if you're working with something that you're
familiar with, like a clock, where you know the positions and everything, you already
know where the different hours are, it's going to come to you that much quicker.
So don't put too much pressure on yourself, just relax and enjoy it.
Hey guys, this is supposed to be fun.
Keep going.
Hi, Terry Madden in the wonderful world of watercolor.
What we're doing right now is going through the seven secrets to do great watercolors.
Now we've already gone through three of the secrets, but before we did the secrets,
what was the first thing we did?
We went over several truths.
The first truth was this, you're going to know the truth and the truth will set you
free.
You see, if you've been told that watercolor is really difficult and really hard and you
probably can't do it, that's going to bind you up.
But the truth is, number one, that it's easy and you can do it.
And number two is it's totally correctable.
So whatever mistakes you make, they're not a big deal.
You can fix them.
Now, we already went over the first three secrets just by way of review.
We're going to use two brushes, one that's clean, one that has paint on it.
Always have two brushes available to you.
The second secret is how to bleed things out.
Just touch and tip was the secret.
And then finally, we went over the color clock and how to use, how to paint.
If you can tell time, you can learn color.
If you can tell time, you can learn color.
Now we're going to do the third or the fourth, rather, of the secrets.
By the way, we're also doing two paintings, as you recall.
I'm going to work a little bit more on those in a minute.
We're doing that painting that beginners can do, then we're doing one that's advanced.
The one that beginners can do, everything you need is included in this set that we did
exclusively for PBS.
Everything you need is in here.
And now we're going to go to the fourth secret for doing great watercolor.
The fourth secret is you don't know which way is up.
What am I talking about?
And that's drawing upside down.
You know, in that last one, inside the kit, the kit that was made for public television
was the drawing.
There's a drawing already in there for that one.
But what if you have to draw it yourself?
What if you're going to work from this photograph or you're going to just draw from a line
drawing or something like that?
This is a little secret that I learned years ago, and it's one of the best things that
you'll ever learn.
A lot of people will say to me, I can't draw.
If you draw upside down, you're going to find out that you can draw.
It's called getting on to the right side of your brain.
Now watch this for a minute.
We're just going to take this thing.
I've turned it upside down.
I've got a pencil here.
And now we'll just draw this thing.
I've turned my reference piece upside down.
Now I'm turning my drawing upside down.
And I just begin to draw from this upside down position.
Now the reason that it's called drawing on the right side of the brain, which is actually
a book Betty Edwards wrote that's wonderful, the reason it's called drawing on the right
side of the brain is because this makes you focus not on, I'm drawing a roof.
Maybe you don't know how to draw a roof, but it makes you focus on the shapes of the lines
that you're drawing.
Just like this.
Now I'm not going to do the whole thing, but I'll do enough just to give you an idea.
I know I have to come out to there, come down like this, there's that line, and that line,
and let's stop right there for a second.
Let me draw in this one side right there, and then maybe a little bit right there, and
you just give you the idea.
Now what this has done, I'm going to turn it around so I'm looking at it the right way
for a second now.
What I just did is I drew the house by drawing upside down.
I wasn't focused on the parts.
I was focused on the shapes.
You do this for, you turn something that's even relatively complicated, even if you're
not a good drawer, and you take something that's relatively complicated, turn it upside
down and draw it, and all of a sudden you're drawing these shapes.
You're not focusing on the logical side of your brain.
You're over on the right side of your brain.
It feels really great, and you get really, really, really creative.
That's the fourth secret, is turn things upside down to draw them.
Let's say you're at the zoo, and you want to draw that elephant that's there in front
of you.
All you've got to do is get him to stand on his head.
No.
Obviously, you're going to work from reference photographs and things like that.
Ultimately, the goal is not to draw everything upside down, but to know what it feels like
to be on the right side of your brain.
Pretty soon you'll find that you can have that elephant standing in front of you, not
too close, and you can draw around him, and you'll know how it feels, and you're going
to find your drawing improves, not 100%, 200%, but 500%, 600%, 700%.
You will be amazed.
I was not a good drawer, by the way, and this was very, very, very helpful to me.
The fifth secret is, where's the sun?
We're going to talk for just a minute about shadows and values.
First is values.
Now, what do I mean when I say values?
What am I talking about?
Am I talking about, don't drink too much and don't sleep around?
No, I'm not talking about those kinds of values.
I'm talking about the differences between darks and lights in your painting.
What makes good paintings is having darks and lights.
If you look down here, let's look at this thing right here first.
Now, I've got tape on here, and I'm going to just peel that off.
I did this, before I came here, I did these three colors, like so, and I just took them
from right out of the tube, right there, so it's real, real dark.
This was just a gray color that I had, and I went from out of the tube, then to where
it gets lighter, gets middle, sort of a middle shade, and as it comes down here, it gets
lighter still, to where it's real pale.
All I did, in watercolor, all you do to take it from dark down to light, is you add water
to it.
So here it has almost no water, it's right out of the tube.
Here it's got maybe 50-50, here it's got more water than paint, okay?
And that takes you from darks to middles to lights.
Now here, I've done it with two other colors.
Let's just look at them real quickly.
The first one I used is some blue.
I took some, this is phthalo blue, I took phthalo blue, dark, right out of the tube.
Almost no water in that.
Then I began to add water to it, it's got a middle tone right there, all the way down
to here, a little bit more water, and then finally down to where it's just a tint.
Here I did the same thing with permanent rose, which is a red color.
I just took it from the dark right out of the tube, can't make that any darker than
that unless you've added something else to it.
But I mean, out of the tube, that's as dark as it gets, and then all the way down to a
tint.
Now, one of the things that I would suggest to you is at some point have done this with
all your colors, okay?
Actually have done a dark to light on every color that you use, okay, on every color that
you use.
Okay, the next thing I want to show you is some shadows, okay?
Now here is, right here is a cube, okay?
This is a cube, the sunlight is coming from this direction.
It's hitting the top of the cube, so the dark shadow will be on this side.
This is catching a little more light, so it's not as bright as that, but it's lighter
than this.
So this is sort of a tint right there, and then this is what's called the cast shadow
right here.
This is the shadow that the cube makes.
So you just draw a cube, figure out which way is the sun coming, which direction is
the sun, where is the sun, that's why you've got to ask yourself, where is the sun?
Then you have your different values.
You have your light, your dark, and your mid-tone right there, all right?
Now this is on a cube, and here it is, the same thing on a cylinder, okay, on a cylinder
like this would be a pole or a tree or whatever, but on a cylinder shape, sun's coming that
same direction, where's the sun?
This is the light side, this is the dark side, this is catching the most sunlight, so it
doesn't have any paint on it at all, and then this is the cast shadow.
You know, I first learned these things on television years and years ago, back in 1952,
somewhere in that area, 1951, from a guy by the name of John Nagy.
He taught these things on television, and you know that's what made, I didn't become
an artist until I was 39 years old, but that's what made me originally want to paint.
I learned these things, these couple little simple things, I learned those, and it made
me want to paint, and years and years later, I was only 12 years old I guess at the time,
years and years later, that's what got me started, or made me want to get going, here
I go.
He always said to me, how do you know so much about shadows, and how did you learn all that
stuff?
Well, from watching television, isn't that something?
So watch public television, it's a national treasure, support it, protect it.
Here we go, we're coming back over to our basic painting, this is the one we started
in the last step, now we're going to do the next thing on it.
Next thing I want to do is make this side more in shadow, so we're going to take some
mauve, this is our mauve right here, take a little bit of mauve, and I'm going to
just go over this part again with the mauve paint.
So I'm just going over what I had done before, this is dry now by the way, I should tell
you that, that's dry, and that just threw that side a little more into shadow, and like
so.
Now over here, remember what I told you about always having one brush in your hand that
has water in it, and one brush that has paint.
Over here I'm going to put again a little shadow, let me get some mauve, I'm going
to put a little shadow underneath this overhang of this roof right here, okay, then I'm going
to touch that with a brush that just has some paint on it, or has some water on it, so there
we go.
Now what that did, that created what's called a soft edge, that's a soft edge right there.
Now we're going to go back to the flat brush again, actually right here I'm going to show
you with both brushes, and you can decide which way is easier for you.
I'm going to get some green, this is sap, like a sap green here, and we're just going
to take some of that green, and we're going to go like this, make a little line like that,
then we're going to touch the brush like this, just touch this corner to the paper,
like so, and like this, and then putting the whole brush down and dabbing with the brush,
now look, just like this, we're going to go like that, like that, like that, and we
just made some pine trees, or a pine tree.
Now let me go back and get some more green here, a little bit of blue, a little more
green, using all our colors, there we go, now just make some more of this, and here
comes some more trees, and like so, and like this, now in a second I'm going to sort of
join this all together.
This style of painting, by the way, where you leave a little bit of white paper, this
is called vignette, vignette, I'd spell it for you, but I'd probably spell it wrong,
I think it's spelled V-I-G-N-E-T-T-E, but a vignette style, which means you don't go
all the way to the edges of the paper.
If you prefer to paint all the way to the edges of the paper, that's fine, I personally
like this style.
Do you see what I just did there, I took the brush that had clean water on it, and I just
touched the bottoms there, and let them bleed, just let them bleed in.
Now, over here I'm going to do another tree, only this one I'm going to paint with the
round brush instead of the straight brush, because some people may be more comfortable
doing it this way, and that's fine, you know, I prefer to learn how to use, the way
I was taught, the way I was taught was use the biggest brush you can get away with.
So that's the way I'm doing it.
I'm going to come over here, I'm going to put some red in this, on the roof, a little
bit of a red roof like this, and boom, boom, boom, like so, I'm using the small brush,
just like that.
That's step two guys, it's pretty simple, we did the trees, we did the roof, and we
tossed this to the side.
Now let's bring up our more complicated piece, this is the more complicated one, and
this is our parrot.
Now on the parrot, I'm going to use some bigger brushes, and I'm going to put some
shadows in.
Let me get this palette out of the way, I'm using different paints on this guy, remember
we're painting this guy with three colors, so first color is this blue, blue green, and
I'm going to come in and just underneath right there, and making him stand out a little
bit.
Here's a brush with just clean water on it, so we do that, like so, and like that,
okay there's that part, and maybe a little bit of dark over here, like so, we're going
to take some of the red, and we're going to put some of the red violet around this
face, like this, and just darken it up a little bit with the red violet, and again take the
brush that's clean, that's not the clean one, take a brush that's clean and bleed
some of this out, blot that a little bit, there we go, just like that, and we'll bleed
some of this out, just like so, and I've got one up here that's already finished that
I'm glancing at every now and then, okay, and so that's how you do your shadows.
Now we're going to start to put in some leaves, okay, I'm going to use my pencil
for a second, and I'm going to put in a few leaves.
Let me show you how to do leaves, this is a little trick on how to do leaves.
These are coming out, here's the center of this plant, okay, right here, and I'm going
to come like this, like that, with one leaf, two leaves, three leaves, four leaves, like
so, five, six, seven, and some of them are going that direction.
Now having drawn the middle of the leaves, all I do then is come in from the point like
this and do those, alright, here I come in like this and do those, really, really simple,
leaves, ferns, plants, everything is really easy if you do the middles first, look how
easy that is, that is really, really simple.
Okay now, I'm going to create some background, I have a third color I'm working with, remember
I'm working with three colors, this is a three-color painting, the three colors are yellow, orange,
which is right there, okay, then we're using the blue, green, and the red.
Now up till now we've not mixed them together much, but watch what happens when I start
to mix these together, over here I get sort of an orangey-reddish color, over here I mix
that I get this greenish color, and if I mix them all together I get sort of a khaki color
almost, alright, now I'm going to take that, like so, and I'm just going to start this
background, okay, we're not going to get real far on it but I'll get it started for
you, when I bring up the next step you're going to say, well he's cheating, it doesn't
look anything like this one, but I'll get it started for you, now I'm painting around
those leaves, if I get a little bit of paint on the leaves, not a big deal, not a big deal
at all, again here mix this together a little bit, come like this, I'll tell you, I remember
when Judy and I first started painting and we wanted to know how do you get khaki colors
and how do you get, I'm going to get some moss green in just a second, you're going
to see moss green, and how do you get moss green, we had no clue how to get those colors,
no clue at all, and we used to mix 7 or 8, there's moss green right there, okay, what
I did is use more of the blue and yellow and less of the red and I get this moss green
color, okay, and I continue to paint around this like so, now watch this, now I'll bleed
that out, okay, just bleed it out, like this, what a beautiful green, the colors on this
thing are gorgeous, they are absolutely gorgeous, okay, now when I bring up the next one you'll
see I put in some additional leaves and all that stuff and I've continued the background
all over it, I've done this, and again I've left white spaces, I've left some nice white
spaces, so I'll come back to the background in the next step, okay, but right now let
me come up and work on this part up here which is his beak, okay, just come up there real
quick and just start his beak, and I want to show you how we take some of the magenta
which is our purple-red-violet color, some of the blue-green, mix that together and we
get a bluish-purpley color for his beak, and that's where that is, and we do that like
so, leave a highlight like that, okay, we are moving quick but we're getting it done,
this is so much fun, we'll be right back, this is my favorite part, okay, it's just
us again, you know we talked about drawing upside down, it really is a key, and as I
said before it's not so much to learn how to draw upside down, that's not really the
secret, that's not really the key, the key is you draw upside down to learn how to get
on the right side of your brain, you can take really really complicated subject matter and
draw it if you draw it upside down, but once you start learning what it is to draw upside
down, I'm going to just stand for a second with my hand on my hip like this, okay, and
can you see the space in between me, okay, so if I want to draw my arm right now, okay,
what I learn to draw after I've practiced upside down, now I'm going to do it right
side up, what I learn to draw is instead of trying to draw an arm, draw this space that
exists in here in between my arm, okay, draw that space right there, then when I'm doing
the other side of my arm, again don't think, you don't think arm, you draw this space that
exists out here, so you end up drawing this line, but not as the, not as the end of this
part right here, but as the end of that space, okay, it's called negative thinking, negative
drawing, not like negative like, oh I can't do it, that's too hard, no, that's called
whining, okay, but this is a negative way to think, you're drawing negative space, okay,
it's just phenomenal, if you look down here for just a second, what I just, and I started
this maybe 20 seconds ago, or 30 seconds ago, I'm just taking this really handsome guy here,
and let me just give him a little more hair than he actually has, and I'm just kind of
drawing that guy, and there's his nose, and a little bit of this, and boy he's got a lot
of wrinkles, I don't know, I don't know about this guy, but anyway maybe he has some glasses
on or something coming back here, and boy he is good looking though, good looking guy,
there's that, and so anyway what we've done, and I turn it around, and it's not the best
example in the world, but it's the beginning of moi, okay, and actually I think I'm not
quite that good looking, okay, so anyway, the way you do, the way you do the upside
down drawing, put on some music, serious now, okay, put on some classical music, or something
that really gets you away from yourself, okay, put on some music, and sit, if you're going
to do something like this, like I just did, give yourself probably 20 minutes, set aside
20 minutes, first two or three minutes your mind will drift, it will be a little bit hard
and all that jazz, but after two or three minutes you're going to, your brain almost
clicks, okay, there's almost click, and you're there, okay, and then you won't even remember
the other 17 minutes, you'll just be there drawing these shapes, and you'll turn the
thing around and it will be gorgeous, practice it, try it, I'm telling you it's great,
okay, and the other thing that we want to touch on was the shadows just a little bit,
and let me just show you that, I'm going to make a cube here real quick, okay, here's
a cube, don't worry about whether the lines are straight, that's not the point, okay,
draw it like this, and this, and this, and this, I want to, now see now here I just drew
a cube that is, that doesn't have a top, see the difference, here, let me do it again,
in order for it to have a top, this line has to go this way, do you see that, okay, there
is a cube with a top, there's a cube with a top, that would be a cube looking up at
it, this would be a cube looking down at it, let's paint this one, alright, so I'm going
to take that and I'm going to make some gray, now let me tell you how to make gray, take
a little bit of burnt sienna, this is burnt sienna right here, let's get some clean burnt
sienna, there's a little bit of burnt sienna and a little bit of French ultramarine blue,
French ultramarine blue burnt sienna, beautiful gray, right there, alright, here's my dark
right there, the sun's coming from this direction, there's my sunshine right there, alright,
there's my gray, there's as dark as it's going to get, okay, like that, that's the
dark side, the side away from the sun, okay, here's my, this is called the form shadow
by the way, FORM, that's the form shadow, and here's the cast shadow, just like this,
come under here just a little bit, just like so, and there's the cast shadow of the thing,
just like that, and then finally, I'm just going to take a little bit of this with mainly
water, mainly water, and just put a little bit of light into there, just so that's sort
of very light tint, okay, so this would be our side that's not getting any sunlight,
this is the side that's getting a lot of sunlight, and this is the side that's getting
a little bit, okay, so we have our dark, our light, and so on and so forth, and so on and
so forth, and so on and so forth, that was easy, you can do this dudes, you can do this,
whether you've been painting a long time or a short time, I'm going to, I don't want
to confuse you, but I'm going to talk about one last thing, and that's reflections, okay,
what if something is in the water, here's a pole, and let's do it this way, I'm going
to have the pole lean like this, okay, and it's in the water, there's the water right
there, okay, there's the pole, sun's coming this way, okay, now, I'm going to put the
shadow side of the pole in, since the sun's coming from here, this will be the shadow
side of the pole, no problemo there, no problem, that makes sense, it's the same way as the
other way, but if the sun's coming from here, which way does the reflection of the pole
go? The sun has no bearing on the reflections, okay, reflections are like mirrors, they fall
underneath the object, if this was on ground, if this was on solid ground, obviously there
would be a shadow that would come this way, but the reflection of this pole goes like
this, the reflection of the pole goes like that, goes right underneath where the pole's
located, so there's a difference between shadows and reflections, I see a lot of people,
they get messed up, they go to do reflections, and they do them just like shadows, so it
goes this way, not right, there's a difference between shadows and reflections, values, again
I encourage you, just do this, take your, here I'm going to use some, let's take Prussian
Blue, I'm going to take some Prussian Blue, I'm going to put it down, that's as dark
as I can get Prussian Blue, there's almost no water on that, I'm going to dip my brush
in the water, and I'm going to paint a little more Prussian Blue, then I'm going to dip
my brush in the water again, and I'm going to paint a little more Prussian Blue, and
I've gone from a dark, to a mid-tone, to a tint, okay, dark, middle, light, okay, that's
all you really have to know how to do with your darks and your lights and so on, I keep
coming back to this guy, he really is good looking, have fun guys, see you next time.
Hi welcome back, Terry Madden, the wonderful world of watercolor, we're coming to the
end of the seven secrets to doing great watercolor, I hope this has been helpful to you so far,
I've had a ball teaching it and I just can't wait for this next part, okay, the next secret
is what I call linear or non-linear painting, now very quickly here I'm just going to take
a brush and I'm going to show you the way some people would paint a house, okay, this
is how some people would do it, they would paint a house by going jup, jup, there's
a roof, there's another part of a roof, there's the other part, this part, this part, this
part, this part, there's the bottom and so on and there's the door and they'd have
to put a doorknob in and all that good jazz and everything has to be so precise and that's
called linear painting, two things, one is its outline and second is that you're only
getting out of it what you put into it, you're only getting what you give it, okay, now here's
non-linear painting, let me show you this real quickly, same house, okay, same house
except here I'm going to take some color, a little bit of mauve, a little bit of purple,
a little bit of violet, here we go like that, okay, we're going to put the roof on, we're
going to go like this, okay, there's the roof, okay, that same roof, here's the underside
of that roof there, here's the shadow side of the house right there, this is the under
part there, here's the doorway, here's a window, window, maybe another one there, little
bush over here that forms that and then here's the cast shadow of the house, now both of
them say house, this one looks like art, this one looks like a bunch of lines, okay, this
is linear, this is linear and non-linear, non-linear you get more bang for your buck,
okay, it looks cool and that's what you're trying to teach yourself to do, not outline
everything but have things look like this, okay, that's the linear and non-linear approach,
now the next secret, that's secret number six, the seventh secret is getting texture
out of your paintings, now I've got some here that are all finished and I'll show
you these in just a second but I want to see if I can just get at least a few of these
started, I'm going to take some color, okay let's take some of this purple and blue and
get all this mixed together, I'm just going to make a squash of color like this, okay
like so and I'm going to take, to get some interesting texture, I'm going to take some
plastic wrap, crinkle it just a little bit and put it down like that, now I didn't push
it down all the way everywhere, I didn't try and flatten it out in other words, okay,
it's just laying there, I got to just tell you a quick story, first time I ever tried
this was probably twenty years ago, I'd read about it in a book, I tried it and every ten
seconds I'd pick it up to check and see if it was working, I'd say oh is it working
and I didn't see anything, I'd pick it up again, you got to leave it like that for about
twenty minutes, don't touch it, okay, just don't touch it for twenty minutes and I'll
show you in a minute what that's going to look like, okay, the next texture is like
this, we're going to take some stuff like this, oh let's take some of this and some
green, okay a little bit of blue, a little bit of green, a little bit of blue green and
come over here and make a thing like that, okay and just make some stuff like this and
this first one was plastic wrap, the second one I'm going to use is a scraper, okay we're
just going to take our scraper and while this is still wet we're just going to go like this
and make some shapes, some tree shapes like that, woo look at that, okay you got trees
just appearing right before your eyes, okay it's like woo it's magic, okay every time
I do this I blow myself away, okay now here's another one, this is another way to get texture,
okay while that is still wet we just take a little bit of salt and we sprinkle some
salt on there like that, okay now again I'm going to show you in a minute what that looks
like, okay right now the salt is absorbing some of the wet paint and I take another one
like this and I'm going to do this and do this and do this and do this, let's see I
want this drier so I'm going to put a little bit of drier paint in there, okay like that,
that's pretty good, okay and now on this one what we're going to do is I'm going to take
a squirt bottle, let me make sure I've got a good squirt on this, there we go, sheep
like that, alright and I'm just going to squirt down into that, just like so, just
like that, woo look at what it's doing already, okay and again in a second I'll show you
some more of it and then the final way to get texture, now there's some other ways
but this is, these are some really good ways right here, okay you do these in your paintings
you're going to have some interesting paintings, okay final way I want to do on this one is
I've got a wet sponge, the sponge was wet, I'm getting some paint directly from the
pallet so the paint's fairly thick, sponge is fairly wet and I'm doing this kind of
stuff, okay and I can make all sorts of different patterns and shapes and whatever just using
the sponge like that, now there's five, one, two, three, four, count them, five different
ways to get texture in just a few seconds, okay and I'm going to throw this to the
side and I want to bring up the dry ones just so you can see it and I'll show you, I'll
review with you what they were, okay this is the plastic wrap after I peeled it off,
this is what it looks like after it's peeled off, look at that, it looks like a frosting
on a, it's just cool looking, okay here's the scrapes, there's some sponge, look how,
you know how easy it'd be to turn those into some flowers or something, here's the salt
right here and then here's the spray marks right there, whoa was that cool or what, okay
yeah all right, now we're going to go back to our painting, I'm going to bring up the
step that we were on the last time because I want to show you one more thing on that
step and I got something else here in my hand that I'll show you in a second also, let
me get all my stuff out of the way here, now again this whole painting is being done, this
whole painting is being done with the stuff that's in the special kit just for public
television, this is not available anywhere else, this is just in here and I'm going
to show you in a second something that's in there that I haven't shown you yet that's
really really cool, but first on this step I wanted to put some windows in, so let me
get the right palette here, here's my palette, okay this is the palette that I'm working
from on this particular one, this is the palette that's in the kit, okay and I'm going to
take some blue, a little bit of purple and I'm going to just put a couple of windows,
there's one right there and here's another one right there like so, just like that and
there's another one right there like that, now having done that, remember how I told
you always keep a wet brush in there, okay, after you do this maybe blot it just a little
bit and then smear it just a little bit, one of the things you don't want in your paintings
is perfection, perfection is the enemy of art, it looks boring if it's perfect, look
how much more interesting that is once I smear it, now I'm going to go to the other painting
and in fact let's do that now, I'm going to go to the finished version of this and
I'll show you the last couple of things to do on it, put that down there, here's the
finished version, this is basically exactly the same thing except now I want to take something,
this is called Terry's Magic Overlay, okay now I'm going to lay this on this painting
for a second, this is just a specially treated piece of plastic, okay I'm going to lay it
over here and I'm going to say what if, I wonder what it would look like if I had one
of those trees back behind the house, okay so I'm going to just, on the plastic I'm
going to paint in one of the trees, okay and just see does this look better if I tie it
in like this, what if I just do a little bit of stuff right like there and there's my
roof, does that tie this section and this section together better and then you make
your decision without having messed up your painting, okay and you just peel, take this
back off now and you say well I don't know, do I like it better that way or do I like
it better that way and you can tell, okay this, the Magic Overlay is included in the
kit, it's a specially treated acetate, in fact it's, Terry's is the only one that
you can get that is treated this way, you wipe that off, you use it over and over and
over again, I mean there's no limit to how many times you can use the thing, alright
now let's finish out this piece, okay to finish out this piece you can see I put the windows
in, I put a little fence in, okay to put the fence in I used a little bit of the reddish
color and just made some lines this way and lines that way but the big thing I want to
show you right now is with the sponge, let me clean this, let me get this nice and clean,
now let me get some, this is magenta right here and a little bit of purple, a little
bit of purple, a little magenta and I'm going to put in the lavender field, okay here comes
the lavender field, okay just like this, just like so, now this is already dry, everything
on here is dry so what I'm doing now is just popping and I squeeze that out just a little
bit, a little bit wetter than I want and a little more, anybody can do this, my wife
just said in my ear she said I can do that, anybody can do this, okay that's the beauty
dude, look at that, it's so cool looking, it is so cool looking, okay and then finally,
finally maybe use a little bit of green, okay and put some green in the bush, that didn't
come out very green did it, okay here let's try again, see if we can get some green, trying
to get some green, I'm working, I'm working, I'm messing up my pallet, there we go, there's
some green and we'll put some green in the bushes back there, you know what I even like
the thing I did that was a mistake, get some color back there, that's kind of neat looking,
dudes you can do this one, I know you can do it, I know it, I know it, I know it, I know
it, it's easy, it's easy and everything you need is in the kit from Public Television,
everything you need, okay let's go to our more complicated painting, now I'm going to
just bring this down for a second, this is the last step, okay, this is from the last
time, I really ran short on time, remember I'm only painting with three colors here,
I'm painting with the yellow orange and the blue green and the red violet, I want to put
his eye in just like that, okay there's his eye, okay the other thing, when I bring the
next step up you're going to say wow it's really a lot different, but all I did was
more of the same, okay it's just more of the same, there's his eye and I'm going to put
a little bit into his face, oh excuse me can't use that color, here's my blue green, here's
my blue green and here's my red violet, okay which gives me kind of a grayish purpley color
and I'm going to use that in his face a little bit like this to put some lines in his face
just like so, okay, now when I pull this up you'll see what I did, now don't panic,
don't say oh man he didn't tell us all of it, he didn't show us the whole thing,
I know there's a lot on here that's different, I'm going to try and give you as much as
I can as fast as I can, alright now obviously right here I drew in some additional leaves
okay and these are called banana leaves okay and you can draw these in, take your time,
I used some, every now and then I'd have some more of the blue in there, sometimes
I'd have more of the yellow in there, alright let me clean my palette real quick, let me
just get this clean so I can work with our three colors, just like that, get my hand
clean, okay and now first thing I'm going to do is take some of the blue green color
just like this and let me get my brushes here, I'm going to take some of the blue green
color and I'm going to make a, oh wrong color, there it is, there's my blue green color
and I'm going to put in some shadow underneath some of these feathers and I'll put a little
split in the feather just like that, then I'll take a clean brush, has no paint on
it and just touch the bottom of that, okay like so, I'll do one more for you, alright
let's do, let's see where's, here's one, I'll do it right there, put a little split
in it and then touch the bottom like so, alright like that, alright so there's, there's how
I got some interest to the feathers, what it does, it makes the feathers look more three
dimensional, that's the whole idea behind that, okay the next thing I'm going to do
is take some of the blue green mixed with the magenta, this is the magenta, mix the
two together and I'm going to come in and make his eye, now it looks almost black when
you look at it because I have it so thick, okay so that kind of brought him to life,
you notice I used a similar color by mixing that magenta and the blue together and that
made the underside of his beak, I put in some darker greens for some of the leaves coming
forward like this, let me just do some of those for you, here's the blue green right
there like that, then I'm going to take another brush that's clean and put some yellow, the
yellow orange in that, this is the yellow orange and not much else, just those two,
let's come right here and do some, I'm going to just pull this in like so, just like that,
now then what I'm going to do is take another brush with just water on it, touch that and
it gives me a nice feeling like that, alright now I took some yellow and glazed over these,
remember these were left white before, so I took some yellow and glazed over them, let
me just show you quickly how I did, I'm going to take some of the yellow orange that we've
been working with, I'm going to get it fairly clean and fairly watery, now watch I'm just
going to come down over the stuff that I've already painted, I'm not trying to, you don't,
if you leave these white when you glaze, when you glaze you don't then try and paint around
it, you want to paint right over top of the part that you left white and right into the
background, so you're doing this, just like this, actually let me get just a little bit
more of that and a little more water, this is on dry paper, there we go that's what I'm
looking for right there, alright just like that, I went into my wet green, didn't want
to do that, but like so, like so, now see you got to have a thing called catitude, c-a-t-t-a-t-i-t-u-t-o-d,
boy I can't spell the word, catitude, okay, to, just spell it with a to, okay, catitude
is this, I didn't really mean to do that part right there, but you know what, it looks cool,
I had a dog when he'd run into the sliding glass door we had and he'd walk away so embarrassed,
okay, he'd be all with his tail between his legs, but I had some cats, they used to run
into that glass door and then they'd go, I meant to do that, I'm cool, I meant to do
that, that's what you want to have with your paintings, okay, yeah I meant to do that,
that is really good, okay, so have catitude, have catitude, will travel, alright, oh my
gosh this is, okay now look I'm going to put some of that color up here, it's in the
bird and it's there and it's there, look how it balances out, if you put some of it
right there, leaves some of it white, I should put a little bit on his feet, you know again
this could be some of the yellow on his feet and just get a little bit of it here, a little
bit with the magenta mixed in, I'm not going to do much with his feet, you know what, I
never stress the feet on birds, I find most people don't even like the, don't even like
the feet on birds, well you've learned the seven secrets, we've done a very basic painting
and we've done a painting that's a little more advanced using triad colors, here I'm
just scraping in the things on his feet, we've had some fun, we've learned a lot, I can't
wait to see you the next time.
Slow it down a pace, it's just us again, I want to just take a minute, I want to show
you another use for the acetate, this is one of my books right here, that's one of the
books, here I've got the acetate, in the back of the books there are drawings, now on this
particular one I just laid it over this flower drawing that's right here, let's say you're
not sure what it should look like or whatever or what colors you want to use, here I take
the acetate and just put it down like that, take maybe a little bit of water, spread it
around like so and get a feeling, practice your strokes, builds confidence in you, and
it truly does, it really does, it really builds confidence, when you've done it this way and
then you go to do the painting on paper, especially if you've not painted much, this gives you
tremendous confidence, and remember what I said before, this stuff can be used over and
over and over again, I'm not going to do all of these but just to give you an idea,
so there you get a feeling for what you want it to look like, or you might say to yourself
hey I wonder what it would look like if I did it in purple and so you do that, whatever,
I certainly like the red, how about you, but that's another one of the uses for the acetate,
palm trees, you know a lot of my paintings have palm trees in them, people say to me
how do you do your palm trees, you can lay this right over my palm tree in the painting
and just practice your palm tree right over top of mine and see what it looks like, it's
a great use for it, besides deciding what you want to paint, you can also decide colors,
let me show you one last use for this, this is really cool, this is really cool, I'm
going to just take this for a second, let's say I've finished my painting, the painting
is all done, I'm going to just write here, I'm going to write M, this is the way I sign
my name, like this, alright now I've done this, in fact what I do is I keep one of these
acetates with my signature on it, okay, now I'm trying to decide you know where do I want
to sign this one, do I want to sign it down there, do I want to sign it over on this side
okay and I move it around, it is such a good thing to use okay, you'll find a lot of uses
for it and as I said before you can clean it, use it over and over and over and over
and over and over and over and over again, the last thing I want to show you is this,
is correcting okay, I'm going to do two kinds of correcting for you, the first one is I've
painted something and I've painted it, let's say I painted it green okay, I painted it
green like that, can you see that, I'm going to hold this up and I want to change that
green to pink okay, I want to change it to pink, so I'm going to take some pink and
I'm going to just go, now all the books I've ever read say you can't do, now this is going
to run in a second and that's fine, if you don't want it to run you could have taken
a paper towel or something and put it right underneath there okay, but I actually in this
case I'm going to just let it run, but all the books say once you paint with a color
like that you can't change it and it's just not true, now let's make that fairly bright
pink, there we go, just like that, now we got a fairly bright pink, so we changed it
from green to pink, now I can change that then to, let's just again just for example
I'm going to change it to yellow orange okay, there we go we changed it to yellow orange
and then finally let's say I want to have, you know what I really like the green better,
I think I think I'll go back to the green, no problem, you just go back and do it green,
this is how you correct while it's wet, you know what the key here is, it's holding the
piece vertically okay or giving it at least a decent angle, now watch this, if I'm actually
working in my studio the way I would do it probably not quite this steep an angle, let's
say maybe I've painted all of this stuff and now I've painted this and I just want to change
the color, I would probably hold it about like that and then just come in like so and
do my change okay and so I'm catching the change in the tissue just like this, that's
how I do it, so that's how you change the stuff when it's wet okay, I'm going to throw
that to the side for a second, but what if it's dry Terry, I did it days ago and it's
dry can I still fix it, the good news is you can still fix it yeah, even when it's dry,
this has probably been dry for oh I don't know maybe a week, I'm going to just take
a brush here, I'm going to show you two different ways to do it when it's dry, let's take let's
do this one first right here okay, can you see that all right and now I'm going to take
some clean water and I'm going to just say let's say I want to change this part right
here okay, that part right there to pink okay, now I made this as ugly and dark and rough
a color as I could think to make it okay and I'm just and I'm not doing anything right
now except letting the water remove the color, I'm not pressing hard, I'm not doing anything
to suck it in, I'm not blotting it, I'm just letting the water take the color away, every
book I've ever read says you can't do this, but you know what you can okay, you can do
it, now is there a secret, yes I'm using this Terry Madden's secret hydrogen oxygen
mixture, it's two parts hydrogen, one part oxygen, it's called H2O okay, it's a 29.95
for a little bottle like that, now of course not, it's water, that's all it is, it's
just water, now watch, now we've taken that enough then again now let's come in and as
dark as that color was now we can come back in and just boom, now it's pink okay, now
since it's wet I can go right back and do the stuff I was doing earlier, I don't want
it pink, you say I don't want it pink okay fine, make it yellow or whatever okay, you
can now change it to whatever color you want it to be, the same way you did when it was
wet the first time, how about that okay, that is pretty cool isn't it, you know for years
water color was taught as unforgiving, you can't change it and I have no idea why because
it just isn't that hard to fix mistakes, over here let's do something a little different,
I'm going to actually let's do something, I'll do something here then I'll do something
over there, let me do this one first okay, I'm going to just take a spray and let's
say I don't like this whole section right here, this is another way to just lift the
color, let me get it out here where you can see okay, now watch this right here, I'm
going to just lift some color, it's going to go, you don't have to make that silly
little sound but you could, seems to help, see how much better it went when I'm making
the sound, all right, I'm actually taking that back so it's close enough to white paper,
now blot that ching ching ching and boom there it is okay, it's clean, the little part
that was on my brush, boop like that, there it's clean, all right, so you can lift it
that way, now one last thing to do, let's say just as an example, let's say you that
parrot, the macaw that we just worked on, let's say you were doing the background and you're
trying to make it interesting and it's supposed to look like a jungle back there and you ended
up with this, okay, you know it all just got kind of ick, okay, which can happen, I mean
that happens to everybody at times, okay, what you do is you take a spray bottle, okay,
take a spray bottle and let me just make this nice and tight, okay, take the spray bottle
and you set it on the hard spray, hard spray is like that, okay, now let me just make sure
I got it, ching, okay that's pretty hard, okay, now I'm going to hold this over the
border here so it doesn't make a total mess, all right, now watch this, I'm just going
to come in, I'm going to spray, ching, ching, ching, ching, ching, that wasn't the ick
sound from before, okay, this is ching, ching, ching, ching, ching, ching, okay, go all different
directions with it like that, maybe a little bit of this and a little bit of that and all
of a sudden the area that was boring looking is interesting looking, okay, now I'm going
to blot that with a tissue just like so and boom, you took an area that was all one value,
one shade, you made it interesting, now you could, if you wanted to, you could drop some
color in there, again I'm going to, let me just get some nice clean color, everything's
getting dirty on me here, okay, let me get some clean color, get a clean pink for a second
and I'm just going to come in, while this is still wet or you could do it even after
it dried, but I could drop some pink in there if I wanted to, okay, so you could leave it
the white color or you could leave it the pink color, whichever way you want to do it,
but there's, everything can be fixed, there is, now listen to me, now listen to me, there
is nothing in watercolor that can't be fixed, over the past ten years I've probably had,
I'm going to say ten to fifteen thousand people come to my live workshops, I've seen
virtually every mistake you can possibly think of, I mean I can't think of any mistake
that could be made I haven't seen and they can all be fixed, everything can be fixed,
so be encouraged, keep up the good work and thank you so much for letting me teach you,
I appreciate it.