Painting Set Up & Masking Layer in Rebelle

Painting Set Up & Masking Layer in Rebelle

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00:01
[Music] okay what i'm going to do here next is just a demonstration of a watercolor illustration almost more or less like a a textbook type illustration of a just a chunk of maple branch that's missing some bark it's dead it has a lot of color variations and texture that would be an interesting challenge for us to do in watercolor now what i want to do is just let you know that i'm going to do some real-time demonstration and explanation and then move into some speed drawing and painting
00:36
uh just to save some time but right now what we'll do is run through how i'll set this up now i have this drawn out sketched out in paper uh with a pencil and then i digitized it and put it into the pc uh so what i'll do is open that up right now and if i just go to file and then import image what i'll do is go to that folder and what i could do is bring it up and then now here it is here and it'll come up with the
01:09
transform tool nodes on it so i could actually rotate it or resize it if i want to if not i could just single click and just leave it right where it's at but the only problem is it still has the paper background and i could verify that by if i go to this layer and then just say for example choose just this red and now these are the colors that i normally use with that are identical matches with even my traditional watercolor palette and they all have the winsor newton names that i use
01:40
uh with the common colors now that will be nice but we're going to change that around here in a little bit uh but what i'll do first is start painting with my red i'll just go to a mop and it doesn't matter if it's wet or not but you could see i'm painting but you're not going to be able to see anything behind that paper of my original sketch and if i turn that off you'll see what i was painting but you can't see it at all because of the white paper from the imported sketch now
02:12
we could eliminate that issue by going back up to the maple branch drawing and then going up to filter and then just hit white to alpha and that immediately got rid of all of my white paper and now i'm just left with a pencil sketch and so uh for the sake of this demo i could even actually then just get rid of the red and just drag it down to the minus sign and it's gone so now alls i'll have is a pencil drawing uh ready to go a sketch of my branch now
02:44
i need my reference material to work from so what i could do is go up to window and then just hit right here reference image and that'll open up a window and if i click on this single i'll go to that same folder and open up my reference material branch and now here's my branch ready to paint and here's my drawing ready to paint on but now if i use my traditional colors that would be okay but we could take this a little step further all i have to do is click on this
03:15
and then it'll show me it'll say create color set from image file do i want 4 9 16 or 25 colors let's go with the 25 colors and then if i open up that same picture it will actually make me a custom palette that it will just name it the file name maple branch reference and then i could just hide that and now i have a custom palette of colors that will match this branch perfectly and these are the colors i'll use
03:47
to start painting as we go okay now that we're ready to begin uh painting here i'm just gonna do a few more further steps just to move us along number one is i'm going to make a few more layers here i'm just going to change this one to just a drawing and then we can add a couple more and what i want to do is actually
04:22
looking at this drawing i see at least two different layers and then a third layer for the background what i would want to do is do the bare wood as far as on one layer and then the bark on another and you'll see why i would keep those layers separate here shortly but what we're going to do first is we'll go ahead and make a new layer and then we'll call this one just bare wood and then we're going to put this one we're going to leave the drawing on top and put that one down here then
04:59
now we can make a new one and then we'll just call that one the bark and then since that one is on top we'll leave it there and then but then we'll also create one just called background and we're gonna move that one down to the bottom and then we're gonna have one more here and we'll just call it mask and i'm gonna paint that in black and
05:34
create a mask out of it but i'll go ahead and run through that okay that's it now once i get this painted in all solid black and what i'm going to do is i'm going to take it all the way off the paper even though our illustration ends right here and right here what i'm going to do is still take the black off the paper then that way when i start to feather these colors into just the paper then that way if if my background comes in close to either side of of the uh
06:12
feathered in paint what i'll be able to do is still protect that white and make sure the white stays the paper but right now what i'll do is i'm going to go ahead and start coloring this in black and we'll just zip through that okay what we're going to do next here is just start putting in our masking layer and to do that i have the masking layer selected and then i'm just going to go over here and grab a nice sharp edge script brush and what i'll do is i want the water all
06:44
the way down the opacity all the way up and then i'll make it a smaller brush so i could fit into some of these tiny places just to start off with and then i have the black selected and that's what i'm going to make it out of but then what i could do is actually zoom in a little bit just to get us started and as i said i'm going to take it off of the right off of the edge of the paper and i'll just
07:18
do this as i go and then what we could even do is even to color it in i can even go to a little bit of speed painting but you'll see what i'm up to here just to give you a rough idea of how long this would take and i am working with a pen so it's uh no comparison to a mouse that's for sure but what we could do is just outline this and give us a nice straight edge
07:50
and i want to be as close to that pencil line as i can only because uh then when i go to do my background if i need to clean up the edge of the mask at all i'll be able to otherwise we may have some daylight in between the branch and the uh background itself and that's where the two don't meet up exactly if we adjust some things and we very well made throughout
08:22
the illustration now i'm just going to go down here i could even include that line there and then this is the edge of the bark here and then bring that one down when we're still in place and then now i'm just going to take this right off the edge of the paper just in the a wavy line kind of way that would still kind of represent a natural branch not be a perfectly
09:04
straight line and then also keep the rough thickness going too and we'll do it up here and that's it i'll stop there and we'll color it in and then we'll go back to setting it up as a masking layer
09:37
okay now that i have the black completely uh shaded in i could have just used the magic wand and selected that area and then just filled it but we'll just do with a brush and save that for another demo what i want to do now is go over to the masking layer and then make that the mask layer and also have to do is hit m and then that will make that the mask layer and all the other layers influence layers all that means is no matter what layer i work on i will not be able to paint within that black
10:10
area it will mask it out and keep it white and we will need that later on but what i also want to do now is go up to the magic wand and then select it and then select that area and what i can actually do is turn off the mask layer and it will be completely off but it will still work even though it's turned off but what i want to do now though is to be able to work within that selected area
10:40
and then i'll also work and and use the transparency lock tool to actually be able to work only a specific area within this selected area and you'll see why that'll be important here in a second but what i want to do right now is i will actually enlarge that and then enlarge this and i can even bring it out this way a little bit here and enlarge this so i can actually
11:11
see both of the areas roughly at the same time i'm going to be working on and as you could see this bark has like a base color of one of these lighter grays and what i will do is actually give it a real light coat and i'll just start with uh looks like this bluish gray right here and then i will go down to my bark layer and select it and then i have to since i'm going to
11:44
be i can't do nothing now since i'm going to be working within my masking layer i have to turn that off and i don't want it to be an influence layer right now so i can work in it so what i'll do is then just pick a smaller brush just so i can get in that one tight little area and then i have my gray selected now i'm going to use a good bit of water here because it's on dry paper but also and i'm going to turn the opacity to weigh down and then the water will help
12:15
it mix together if i lift up my brush and start again so now what i could do is then just start coloring this in just like this and we'll do this in real time because all i'll do is be careful around these edges right here because that's the inner side of the bark and that's going to be more along the burnt sienna colors and then once i get close to the edge i don't have to worry about painting outside the lines for lack of better words
12:45
i always will have the selected area to protect me and again if i pick up now down here this is the outside edge of the bark here if i pick up i could start a new coat which will be two coats in some areas and only one coat in others and that's where you sometimes get the paint overlap but because i have a lot of water in it it won't be as bad you'll see what i
13:17
mean like right here see where that is overlapping that'll diffuse out as soon as i lift up the pin it's not going to start mixing until i lift up the pin and now if i just go back around in here this is all the silvery gray areas and that's it and now as soon as i lift it up we'll leave that mix and that is it and now let that go and then now you could see how quickly that vanished and disappeared because it
13:51
mixed together and then what i'll do is just let that dry by quick drying and you could watch up in here the upper left hand corner of my paper every time i hit the quick dry that's where it'll appear and then you'll know that i just quick dried it and kept it in place now we could see and verify what's all wet now that is still all wet so that's okay i'll just even clean this up here a little bit let that dry in and quick dry that and then now what we
14:23
could do is i'll turn that off uh now that this is all wet already still but i'm i'm working in a protected area and how i could do that is just stay on this layer and then hit the lock transparency now what that will make me do is only be allowed to paint within this area that i just painted if i even get a bigger size brush and if i try and paint up in here not going to do it but now you can see that as soon as i hit the pre-painted area
14:53
what i'll do is i will start laying in some more darker grays and that will what it will do is start establishing my cylindrical shape so if i can make this a little wee bit bigger then i'm going to pick a little wee bit darker gray we'll go with this one right here and then what i could do is now that since this area right here this this little piece of bark folded over since i didn't paint that yet i won't have to worry about painting that now and if i do that then now that
15:25
it's wet i will just let that bleed in and then come down here and do this and let that bleed in and then down at the bottom i'll do this and then let these bleed in and i can even hurry it along a little bit i'll quick dry that and then the way my pen is set up if i hit the uh back click the alt click i have it set up so it immediately becomes my blender brush and then what i could
15:56
do is just soften it up a little bit just to help it out and then what i will also do is go back in and grab that same gray but this time i'm going to make it a good bit darker and do the same thing and then now i'll let that bleed out a little bit we could help it along and i'm even using a hard edge brush to do this but it's still carrying the paint pretty good and then now quick dry that
16:40
and then one last one and you'll see if i use that same color but then if i go to a softer brush like this mop um i will turn its size way down and then it will actually be a lot different as far as how well it blends and then i will actually give it one more coat at the very bottom and then just help that along and that's it and then i'll quick dry that because you could see
17:17
how this bottom area down here is a good bit darker and that it has that speckled color pattern it's a very strong texture throughout the all bark area with the exception of this area right in here there's still a light silvery and then we also have and i can even zoom in on two just for that we have certain lichens uh that are part of the uh growing on the part of the of the bark itself and for that reason i
17:48
added uh this cobalt turquoise and then also a burnt sienna uh for the bare wood those i added uh just as far as to give me a couple of extra colors to work with even on top of the colors it picked because remember we're doing this for ourselves and we can do it uh how we see fit and i definitely see some strong burnt siennas in here that i would like to to work with but that would be my base color and then i would make it a little bit more brown on top of that but now
18:19
since we have this area protected what i'm going to do now is i'm going to do one more of the same gray and i'm gonna go a little wee bit darker this time and then i'm going to uh just give it one more coat at the very outside edge just to keep that cylindrical shape alive and that would be it and i'll go around here and then you can see that's feathering in nice i don't even have to help it too much and i'm going to darken this up down in
18:53
here and then that's it and i quick dried all that but now what i'm going to do next because this is a protected area because of my transparency lock then what i could do is go back in here and grab my heavy splatter brush and i will turn it down a little bit it doesn't have to be that big but then if i grab that greenish gray especially both of these colors i can even make it what i'll do is i'll start with the brown and just give it a light coat but i want to turn my water way down
19:25
uh just so it bleeds and blends a little bit it'll soften the edge so it kind of feathers it into what's there but then i don't want it to make it look like it's a a layer of color floating above everything else with real hard edges so what i will do is then turn up the opacity and then what i could do is then just go ahead and and just start and you'll see and i'll quick dry that right away and quick dry that right away and then now
19:55
we're already starting to have a hard strong texture and then i'll even go ahead and grab that greenish color now and then i'll go back and do the same thing and stop that and go back in here and stop this this looks like this is all pretty well covered with this this type of uh pattern a real strong speckled pattern and then stop that but what we could do though is even some of these areas we could even go back in what's nice about digital is could go back in with a
20:26
an eraser and pull some of these wider much smaller areas out uh instead of trying to paint around them it'd be much easier to remove the color than versus uh trying to paint around them and then as intricate as they are it'd be pretty impractical to actually try and uh mask them out or even block them out in any way uh now that i have this started i'm going to maybe give it one more coat right in here and then block that and then right in here too it's pretty dark we'll give it another coat right there
20:59
and that'll give me something to even pick up a little bit of color later if i have to erase it and then that way we'll be ready to go now for example this right here where i accidentally painted over the area that's exactly what i'm talking about and what i could do is actually just go back in with the eraser and take a nice straight hard edge and we'll take it way down and then i can actually even just go back in and lift that area right out
21:28
and we would be ready to go and then that way now i could start these this is going to be a real deep brown that's this color right here and then along here is going to be all deep brown and then this is going to be a deep round which is this right here and i have it just roughly penciled in because i will actually draw so to speak as i paint because i don't have to have a real detailed drawing for this particular case i can actually change things as i go and what i'll do is start working on this up
22:00
here too but right now this will give you a rough idea why i needed to make this area a lock transparency area within my selected area so i could use my splatter tool but then the splatter tool is very uh how would you say confined as to where it's going to go which is pretty much exactly where i want it to go and then now i would actually start working on the bare wood layer if i started work on these areas themselves
22:30
and then if i even need to make another layer for whatever reason i could also do that as we go but right now i'll just start working and we'll move on to the speed drawing and painting and then i'll come back and explain a few things after that okay this is the beginning of the speed painting there's only about a total of two minutes that will bring us to the finished piece and all i'm doing is refining the shapes uh more and more i may start out with uh
23:02
some of the larger shapes and and draw them in first i usually just uh draw as i paint because a drawing will tell me nothing about what colors i want to use or how i'll mix them and then keep in mind even with transparency watercolors depending on your pattern of how you lay your colors down is quite different if you start working with more than one color they will have a different effect in other words obviously putting black over yellow is not the same as putting yellow over black
23:32
which is an extreme example but it is uh the case with watercolors uh now for uh the shapes and and the uh different uh details that i'm working i'm just trying to refine each shape and color more and more and what i'm trying to do is actually use the colors that i chose because i added the burnt sienna and the cobalt turquoise to add to my palette just because i want to put the burnt
24:04
sienna down first and then build up the browns over that um that is a big difference because that's my artist's choice going by traditional watercolors i will soon be adding another layer here just a yellow layer and what i wanted to do there is just add the yellows to the bark and this gives me the option of how much yellow i want to add but not necessarily committed to the painting you'd have to hit a bunch of undo steps if that was the case whereas i could
24:35
bring it up in layers at a little bit at a time and then finally commit and merge layers if i want okay now that we have enough of the illustration done uh what we have to do is adjust our mask to fit the new perimeter of the branch itself now i didn't copy it exactly but i did the best i could as far as just taking out the important characteristics of the bark and the bare wood just to make it look like a maple branch now what we need to
25:08
do though is to adjust our outer perimeter since i made some changes as i went uh then what i can do is actually go back to my masking layer turn it back on and it'll be black but then now we could already see some pieces here sticking out that i'll have to add black to them but then what i can also do is just run the opacity back and forth and then i will also see what needs cut out there's a little wee bit right here
25:40
changing this is definitely changing and then there's a few pieces down in here that will have to be erased out just to adjust the outer perimeter because the reason why is i do really want my mask to to match as perfect as i can to my branch just so none of these colors the lighter colors of the branch especially the silvery area these are fairly light colors so they're not contaminated by any of the colors from the background but then also so i don't have no
26:12
daylight in between the branch and the background that would just stay pure white there then if i would try to paint around it now but i have to get rid of that part of the mask so what we'll do is i will do that and clean this up and i will be right back with the new perimeter okay our mask is done we adjusted the perimeter uh to the changes we made while we were
26:49
painting and then now the only thing i do want to show you just real quickly uh was uh the gold layer i added while i was speed painting what i wanted to do was add a yellow ochre that brings it closer to what i have here but i wanted to be able to do it uh in a very controlled way not to overdo it under do it so i didn't also commit it to the bark layer then i would have a hard time readjusting so if i made that on my own layer if i turn that
27:20
off then you could see what i had before and it was pretty cool compared to the colors over here and this way i put it on its own layer now that i'm pretty well happy with where i put it and how it turned out i could start merging these layers but i'll just leave them go for now our illustration is pretty well done for the branch itself so i could close out my reference window just to give me some more room and then what i wanted to do is just
27:50
uh real quick explain that i added a couple of layers here we'll give it a couple of variations for the background on each layer and just see how they work but also if you ever need to know where your masking layer is uh just uh for the sake of uh detail work or or fine script work and you need to know where you're painting compared to where the mask is i turn it on instead of that big black gob you can actually uh turn down the opacity and then you'll still be able to see
28:22
where it's at up against the white paper but then you'll also be able to paint according to where your mask is if if you need to now for me in this particular case i i don't even need to know where it's at because i'm just trying to protect the branch area and that's all i'm concerned about so i can even even turn off the layer completely but it will still work and still block out the branch area or any influence layer that i have and that is the big advantage of the masking area versus a marquee tool that i could
28:54
choose what layers i want to be influenced by the mask or leave it uninfluenced in other words say for example if i was painting a barn and i wanted some of the background colors whether they be burnt siennas or light yellow ochres to be mixed in with the barn wood then i would turn off that particular layer and let that color splash into my barn area if i was trying to protect the barn this way you can control what layers you
29:25
want to be influenced and and not influenced that's a very big advantage over marquee tool now what i did was i added some additional layers wet drips drips with no mask then dry on dry and simple wash and this will be just a couple of variations of our background that we'll try and see how it works now i don't know if i would want too much texture in the background it has to be a fairly simple background we'll try drips but the drips might start taking away from the illustration itself
29:56
if you have too much going on in the background or too much texture it may start to compete uh with the illustration itself and i obviously want the illustration uh to be the the center of attention and not the background so with that in mind what i will do is go up and and with the wet drips i will go to the tilt turn that on and then my layer is already wet i could verify that and then again you could see how the mask is already working that it's
30:27
protecting my mask area and keeping that area dry so if i uh turn that off so the light blue doesn't bother us i will go over here and grab a color and i went back to my uh traditional palette only because it has a lot more blues in it and i wanted a cooler background uh versus all warm colors then that way i'll have the contrast of a warm object up against a cool background and that will help set it off uh in another way also now if i just go ahead
30:58
and take some of these cool colors i'll just start with the cobalt violet i'm sorry cobalt blue here and then just put some down and then let that go and then we will go into the cobalt violet and it's a little a bit warmer than the blues but it's still fairly cold and i have the opacity way down because i'm just going to do this a little wee bit at a time and then you could see now how these colors compare to our mask but then you can also see up
31:30
in here and down in here how the mask is protecting the branch area so if i wanted that paint to be feathered off into nothing that will still be there now you can see it's already starting to blend it's already starting to bleed but unfortunately what we're getting here i'll go to a little wee bit of burnt sienna and just to tie it up and give a little bit of color unity uh we're starting to get some runs here and we're let me see if i can get
32:02
that i made a nice sharp edge there now if we don't want that we could destroy it later or even erase it but now what's happening is i'm starting to get some runs here and watch what happens to this run it's going to start going around that branch and i may not want that because it's going to outline the branch and then also down here at the bottom the uh mask itself is preventing the paint from going down below that branch so in here it's puddling it up against the mask and
32:34
then down here it's draining away from it and it's creating a white shape that i may not want um it's it's almost like a pillow effect where you go around the object and it's creating a situation that i may not want now what i'll do is i will actually quick dry that and uh lock that in place but now that would be one system but if i want to eliminate that problem i could go on to my next
33:06
um layer and we'll turn that one off and then we'll go to this one now the drips with no mask just real quickly what i would do is actually turn off my masking layer and not make it a masking layer anymore and then that way if i go back in and start painting again i will be painting right uh into my branch and it will affect the colors even though it's a layer below all of the branch layers because i'm working transparent it's still going to make a difference
33:38
as to now you could see that there's no more protection up here as far as what the mask was doing before but now what i'm doing now is just working these in place and then what i will do is add some a little bit of violet and let that go and run together and i could go back to the burnt sienna again and just add a little bit here and there and then we'll see what that does but as you can see now it's not puddling up anymore down here and it's also not pulling away
34:09
away from the branch and if we get a run it's not going to stop it's just going to keep on going i'll just put some french ultramarine and i can make this a little bit darker but again i can't go too dark because then it'll you'll start losing the edges but now you could see how muted the colors are now because i've been putting layers of blue behind those layers but what it's doing is it's actually affecting my branch now i don't have any more white and i don't
34:41
have any more issues with colors going around it because if i turn these two layers off you'll see that the colors are non-stop but now how can i go back and redo my actual branch and get rid of that contaminated color all i have to do is what i will do is i will quick dry it a couple times and make sure everything is dry and dry the layer and then what i would do is go back up to the masking layer turn it back on and then make it a
35:12
masking layer again but what i will do is turn up the opacity and then go back to my magic wand and select that layer and then go back down to the layer i was working on which is the drips with no mask and then what i could do is i'll turn this off so we could see what happens and grab my eraser and i have a hard edged eraser and start uh up first i have to take it
35:44
off the influenced layer so i can work in that area of the mask now i'll be able to erase and you could see how it's cleaning up the shape of my branch and it's going back to the original colors that i made it and that way um i have to have the influence layer over here turned off so i can work within that area because it won't even let me erase if i don't but now that i have that i could go back up to the magic wand
36:14
and deselect that and now this is what we would have as far as a background but it it's uh something that i took advantage of the black masking area and just selected that area and then went back and erased um the the wash that was behind uh the transparent colors of the branch uh and this way um that is one way of uh the drips not affecting uh the the way they go or the way the colors blend
36:45
then that way i can actually uh have an unobstructed background okay now that we pretty much dried the paper and everything set where it's at you can see how the texture is starting to compete with the branch itself and in this particular case i don't know if i'd want that even the hard edges uh i would have to tone them down a little bit i i just wouldn't want a simple background competing with our illustration uh but that's my preference um but now
37:17
if i turn that off and then i'll go back to the dry on dry and we'll give that one a shot i will turn off the drips and then what i can do is stay with the same colors just to keep everything the same but what i'll do is just a little bit at a time and but what i would do is grab this flat dry and then our paper should be dry which it is and what i can do is the opacity is way down
37:49
and what i will do is just give some very subtle watercolor brush strokes here and then just let them go now keep in mind since this is dry and dry nothing's going to happen but what i will do is how i'm getting nice uh subtle edges if they become too strong then what i would do is just go to the blender and start destroying them a little bit and then just let some of them there
38:24
though just very subtle if they don't overpower uh the branch itself but then it could be more of a little bit of a traditional watercolor look now keep in mind i could adjust the visual settings and let the water carry the paint to the outer perimeters of the brush strokes but then what that would do is create what's called blooms and those edges might again
38:56
overpower uh my uh illustration of the branch so i don't know if i would want that either and so i would rather keep the background somewhat simple in this particular case and that way i could then just leave it just like that and i'm drawing away here blending just trying to diffuse certain areas and then if i want i can even go back in
39:28
and maybe put a little wee bit of the burnt sienna in here and there but what i could do is just put it right here right there maybe right here right there right here and then go back in and then destroy those edges just a little bit and i'll even leave this edge here just a little bit i could leave that edge there and then destroy these just a little bit and now this could be considered one variation of a basic background
40:07
and uh if i want to uh expose more of my white area now what i did was since the mask is on i didn't have to be concerned about it but what i also did with the background i also stopped my colors right even with where the painting stops of the illustration and i think that's a little bit better only because then it looks a little bit more intentional and that way what i'm doing is
40:40
creating the effect of my background feathering off into white paper at the same place the branch is feathering off into white paper and with a simple background like this i think i would could even leave that one right there and that's it uh that i would leave just the way it is but then now to do a little bit more of a watercolor wash classic wash i could go to the simple wash i'll turn that one off
41:12
and then now what i could do is this layer i will wet i could verify that that it is wet but then what i'm going to do is turn off the diffusion for this one and that way everything will be soft and what i'm going to try to do is get an airbrush effect and what i'll do is go back to the round mop and i am going to put these layers down all one time and then lift up so i get a nice even coat now if i have a lot of water in it it'll diffuse together to a certain
41:46
point but we're going to try and get this like an airbrush effect as much as we can and then i'll go with the burnt sienna again and just go a little bit down here and then a little bit up there and then i'll turn on the diffusion and let it soften up the edges uh to the point where i won't even be able to see my original brush strokes and this will give me the air uh brush effect
42:18
or look that i am uh looking for and what it can do is carry uh the paint off in all directions now if i help it out with the blender then what i will have to do is what i'll do is it'll smudge the paper a little bit and it will destroy that paper texture so i want to leave it blend again for a little while but because i'm doing it the way i'm doing uh real light subtle colors and then flat with no drips over here turned on
42:51
then i know it's gonna evenly run in all directions and i won't get any uh washed out effects of where the paint was being carried off uh down below these two branches here and then that way now i'm just getting a real light uh airbrush look and i would actually possibly leave that one right where it's at also you could see the subtle lines here where the mask did but then i know that if i turn
43:22
these two layers off then it did protect my branch area and that's what i would want uh if i turn these back on and then i'll i'll be back to the full illustration and i could even quick dry that a couple of times just to make sure everything's set in place and then that i would use it would be this one or i could turn that one off or it could be this one they both are very close but they have some subtle differences but
43:54
either one in my opinion doesn't overpower uh the branch itself if i turn this one off and then go back to this one then i think this one is starting to compete with the branches you're still starting to get some really strong uh streaks in in the background because of how wet i had everything and then a slight edges that i would have to destroy because that contrast it could be an eye grabber uh if it's too strong and that way
44:25
i would have to work on the background to the point where i would not want it competing with the illustration itself this one i will turn off and i think i would actually go with that one myself because it's very uh simple and basic but it is a background instead of just white paper and i do like the cools uh there with the the warm colors up against it and that is the reason why i went back to my traditional watercolor palette because i have a lot
44:56
more blues in it that i'm familiar with i centered up the finished piece and here we are this is at 35 percent we'll just take a quick scan over the finished piece and it looks like a completed piece of work so we will just re-center back up and i hope you enjoyed this demo and hope you found something that will help you painting
45:35
your favorite subjects in your style thanks for watching you

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