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In today's video, I'm going to show you 10 really clever watercolor techniques that I stole from other mediums.
Discover 10 innovative watercolor techniques adapted from other mediums to enhance your painting skills and create unique effects.
Ask about this video. Answers come from its transcript only — with the timestamp, so you can check them.
Generated from the transcript and can be wrong — check the timestamp.
Key Takeaways
- Watercolor techniques can be successfully adapted from other mediums to expand creative possibilities.
- Choosing the right pigments and tools is crucial for achieving desired effects, such as fine lines or textured surfaces.
- Gum arabic is a valuable additive for modifying watercolor paint consistency and drying behavior.
- Pressing absorbent materials like paper towels into wet paint can create unique textures not achievable with traditional methods.
- Layering and glazing techniques allow for nuanced color adjustments and enhanced visual depth in watercolor paintings.
What the video covers
- The video presents 10 clever watercolor techniques inspired by other art mediums like printmaking, oil painting, and mixed media.
- Techniques include using dip pens with watercolor paint for fine lines, adapting the oil painting tonking method with paper towels for texture, and mixing gum arabic to thicken paint.
- The presenter explains how to choose staining colors for ink-like watercolor effects and how to manipulate paint while wet.
- The tonking technique is modified for watercolor by pressing scrunched paper towels to create foliage and rock textures.
- Gum arabic is introduced to mimic the glossy, thick brush strokes typical of oils and acrylics, slowing drying time and enhancing texture.
- The video covers practical advice on when and how to use each technique effectively in watercolor painting.
- Additional techniques discussed include glazing alternatives, layering colors to adjust temperature and brightness, and using stencils for precise edges.
- The presenter draws on extensive experience in printmaking to demonstrate advanced techniques like drypoint and screen printing adaptations.
- Tips for cleaning and preparing materials, as well as combining techniques for complex effects, are provided.
- The video encourages experimentation and offers links to related tutorials for deeper learning.
Chapters
- 00:00Introduction to 10 Watercolor Techniques from Other Mediums
- 01:35Creating Ink-like Effects with Dip Pens and Watercolor
- 04:17Adapting Tonking Technique with Paper Towels for Texture
- 06:21Using Tonking for Foliage and Papery Textures
- 07:51Thickening Watercolor with Gum Arabic for Oil-like Effects
- 09:28Glazing Techniques and Color Adjustments in Watercolor
- 12:32Using Old Paintings and Collage Materials Creatively
- 15:44Printmaking Techniques Adapted for Watercolor
- 18:36Stencil Use and Precise Edging in Watercolor
- 21:00Final Tips and Combining Techniques for Complex Effects
Full Transcript — Download SRT & Markdown
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Now, over the years I've worked in pretty much every medium going, especially things like traditional printmaking and lots of different mixed media techniques. So, today we're going to take 10 techniques that you may have thought yourself or you may not even
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know they exist, but if you have found them, you might have thought yourself, "Well, you can't do that in watercolor painting. Watercolor paint is too liquid. It just won't work." So, today we're going to take 10 of these
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techniques. I'm going to tell you where they come from. I'm going to adapt them so that you can use them in watercolor painting. We're going to get some amazing results. I'm also going to give you some practical ideas of exactly when
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to use these techniques. So, let's jump in. Do you love the fast, fine line results that you can get when you're working in ink? Do you wish you could do the same with watercolor? Well, you can. Let me
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show you how. I often use this dip pen or one like it to create ink drawings. If you haven't seen any of my dip pen tutorials, my pen and ink tutorials, I'll put one in the video description so you can watch that.
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Get a brief overview of how to use a tool like this. But, today we're going to use paint instead of ink. So, we need to make some ink-like paint. So, I've got some colors here. And what I want to
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do is choose a dark color, a color that's really strong, really staining. I've got several options here. I've got some phthalo blue. I've got some Prussian blue, some indigo, and some permanent blue violet, and I've even got some Payne's gray. Any of these would be
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good choices. I wouldn't, for example, choose something like a cerulean blue or this cobalt violet. They're too light and weak, but of course it depends on the effect you want to get. You may want something very subtle. Now, I'll make my
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painty ink. What should I choose? Let's do this indigo. And what I want to do is get very watery paint. You can start with some water directly into this little dish if you want to. You want to get it very strongly pigmented but still
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quite watery, which is why it's a good idea to choose the staining colors. They'll also be more stable, so a granulating color will tend to separate in the dish. A staining color like this one stays strong and true. Now, dip pens
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can drip, so you want to make sure that it's not too deep. And we're going to dip in like this. And again, you want to make sure that the nib doesn't dip in too deep. If it's really, really full of
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paint, you're just going to get in a mess. And if there's a load of paint sitting on the back of the nib here, it will drip. What I can do now is to actually draw, just like I would with
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ink, but with my watercolor paint. Now, the ink can be manipulated when it's wet, and then it's permanent when dry.
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Unlike watercolor, watercolor will reactivate. So, when would I use this? Really, anywhere that I want some really, really fine details, or I just want to draw something with a lot of lines quickly.
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Because it reactivates, what I would tend to do is draw it at the end. So, draw it on top, perhaps, of a background. I'm imagining something quite botanical here. And again, I can use a damp brush to manipulate this and change it in any way
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that I want. I can allow parts of it to bleed like this. I hope you can see how fast and versatile this is. Why not give it a go?
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Have you heard of an oil painting technique called tonking? Yes, that's a real word. It was actually invented by a person whose surname was Tonks. This is a technique that's often used with oil painting and acrylics. I'm going to
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adapt it so we can use it in watercolor painting. In fact, it's something I use all the time.
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So, tonking uses newspaper. So, it was invented when an oil painter found that he had just too much oil paint on his canvas and he wanted to remove some of it. So, he started to press with some newspaper and
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lift up and he found that some very interesting textures were left behind. Since then, people have also scrunched up their newspaper and pressed into their oil and acrylic paint like this in order to get unusual and interesting textures. It's also been further
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developed whereby some artists, particularly working in mixed media, will actually press newsprint into their paper and lift it so that part of it remains behind so you can actually see things like the newsprint. Now, pressing newspaper like this into watercolor
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doesn't really work too well because as you push the watercolor aside, it's just going to fill in the gaps. But, we can use something more absorbent. So, I've got this paper towel here and what we're going to do is we're going to use this
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scrunched up to press into watercolor paint in order to get some interesting texture. And something else happens that doesn't happen with oils or acrylics.
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What can happen is it can pick up one of the colors and leave one of the other colors behind. I often find this when I'm painting with blues and greens. This is a technique I often use for foliage.
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And sometimes what happens is the blue will lift and leave sort of brighter highlights of yellow. But, it really depends on which pigment you're using.
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All sorts of things can happen. It's really interesting. I've had to grab a different palette. I'm using all of these palettes up. And, I think because it's the weaker color, most of the yellows have been used up
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first. Let's put some bright green in as well. And so, we can imagine getting sort of foliage effects here. So, whilst the paint is wet and we can see this granulation happening, I'm going to take my paper towel,
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scrunch it up, and just press and lift. Now, because the paper towel is absorbent, it's going to work with watercolor, whereas newspaper wouldn't.
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The other danger with newspaper is, of course, some of the print would get onto our paper and mess it up. So, that's why the paper towel works better. Now, I don't just use this for foliage. It can also be used for things like rocks. Once
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we've got initial marks, we can go back in and put other colors in. Sometimes it can almost work a little too well and be a bit too noticeable.
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So, you can sort of work in like this in layers and continue to blot and press.
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This technique is also great if you're painting something that's a bit papery, like a poppy, for example.
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And rather than just scrunching like this, we can actually fold and get an idea of those papery folds in the flowers. It's one of my favorite and most useful techniques. So, let's get talking.
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Another thing that's used all the time in acrylic and oil painting, mediums where you have thick, sticky paint, is to have visible brush strokes on show.
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We can get really soft effects, we can get texture effects. But, if you try doing this with watercolor paint, it can end up just giving you a load of uncomfortable drying lines. It just doesn't look the same. However, there is
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something we can use along with our watercolor paint to mimic this oil painting and acrylic painting technique.
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I think you're going to love it. So, we've all left brush marks in skies and end up with them looking quite disastrous. How can we make our paint look more like oils and acrylics and give that soft focus? What we need is
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something called gum arabic. Now, this can be bought separately. It's also in your paints already. It's a natural product. It's plant-based and vegan because it comes from the gum of the acacia tree. And if, like me, you're old
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enough to remember postage stamps where you had to actually lick the back? This is what's on there. So, it's edible, but don't eat it if you've bought it for art. And what we're going to do is we're going to mix this with our paint. So,
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what it does is it makes the paints thicker and stickier. It's often sold as a retardant for drying time, so it will slow down the drying time of your paint.
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It will make it look shiny and glossy, so it
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Let's try some lighter color. I'm really going to have to clean my palettes well after this, aren't I? But, it's not anything to worry about too much because as I said, there is already this substance in your paints. If you've ever
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had a tube of paint that has been traveling and you get a load of clear liquid come out, that's usually mostly gum arabic. So, you see here, we can get soft focus looks. It's not going to dry too quickly. I am using a little water
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to agitate the paint and also a little gum arabic. The more gum arabic we use, the shinier the paint looks and becomes.
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If I can find it, I'll put up a picture of a geisha lady that I painted and I used this as a background. So, there's no gum arabic on the geisha herself, but I painted in the background like this.
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It doesn't have to be abstract either. If we use some thicker paint, we can paint shapes. They'll be very soft edged and the paint will dry slightly glossy.
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But, we can also use that gum arabic to mimic the brush marks that we get with oils and acrylics without the horrible drying lines that we would get if we just applied watercolor like this alone.
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Something else that's traditionally used with thicker paint mediums is glazing. Now, you may have heard it being used for watercolors, but perhaps not understood why and how to use it. I'm going to give you a couple of alternatives here and explain exactly
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how it can transform your work. So, if you've done any acrylic painting, you may have used something like this.
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This is acrylic gloss medium. It makes acrylic paints shiny and transparent and enables them to gloss over other colors because if you put too much water into acrylic paint, it can mess with the integrity of the paint. There are
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exceptions to that rule. It kind of depends what surface you're working on. But, what about glazing in watercolor?
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So, I've got some dried samples here and we can glaze for all sorts of reasons. I could glaze, for example, to cool this color down. Let's pop some indigo over the top.
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And you generally want to choose colors that are quite transparent, staining colors, if you will. You can glaze with any color, but it's a little bit trickier if you're using something that granulates. So, here we've sort of muted
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and cooled this color down by putting some blue over the top. Another thing that glazing does is it just makes things look a little bit more solid. So, if you've got something that's light-colored, but you just find that
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when you paint it, maybe something like a rock, it looks very ethereal and transparent. Adding another layer, even if you don't significantly darken the color, will just make the color look more solid. I can take this green here
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and layer some warm yellow over the top to warm up the color. So, we can adjust colors. We can cool them down, warm them up, mute them, or brighten them. But, what if we want that shiny acrylic look?
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Again, I've got some gum arabic here and a little bit of paint. Let's put some more in.
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And in this way, I can do more of an acrylic type layering effect. This one will leave your paint slightly shiny and that can be helpful at times.
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Over the years, I've made lots of mosaics, you'll be surprised to know I not only made them as little wall decorations, but I've also made them for my own home. I once mosaiced an entire fireplace, only took me 8 weeks. Let's
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look at how we can use a mosaic technique with our watercolors and how it can transform bad work or work that you've made mistakes on or just old sample papers into something new. So, here's a mosaic I made several years
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ago. Now, I was always very disinterested in mosaics. The idea of getting a load of pre-cut pieces of glass, all the same shape, and making some kind of picture out of them bored me to tears until I discovered something
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called pic assiette mosaic making. So, pic assiette is French and it means something like picked or stolen plate.
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In other words, it's mosaics that are made out of all sorts of broken bits and pieces. I've got some shell in here and some glass and some ceramic. Let me know if you're interested in a mosaic tutorial on this channel. But, how can
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we use this idea to make use of our old watercolor paintings? So, I often have demonstration pieces or just samples like this one I was making earlier. It's so pretty, but it's not useful for anything. So, what I'm going to do is
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chop some of these up and show you how we can apply them to a new piece of paper, perhaps incorporating some found materials too.
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So, I've got a mixture here. I've got some pieces of watercolor painting I did a painting for YouTube that was just a demo, so there were lots of mistakes in it and lots of experiments. So, I've got some watercolor paper like this. I've
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got some samples here I was making of a pattern design. And I've also got some magazine papers here. And really, the world is your oyster. Now, you can apply to the back of the pieces. That can be a
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little bit tricky because you can end up getting the glue all over your fingers, you might miss something. So, you can also, if you've got a bit of a design worked out, I'm just going to um apply these randomly here. But, when it comes
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to mosaic, you have to think most about the um the contrast levels, so the lights against darks, cuz those are what matter. Now, you can butt them directly up against each other, like this. Of course, you can cut them to the uh the
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shape that you want them, but I do like, just in the uh same manner as we would make a piece set mosaic, where we've already got the little pieces, and they're whatever size they were broken to, then sometimes it's nice just to
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make a little bit of a jigsaw out of what you've already got. Now, as I said, I'm not making any specific design here, but the world really is your oyster.
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I've used things like dyed eggshells before now. If you break them small enough, those will fit in, as well. Now, sometimes we'll end up with a little gap, like this, and we might want to cut a piece specifically to go in there. You
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could also, if you wanted to leave actual gaps in between the pieces. I quite like to butt them one up against another.
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And out of something old, we can make something interesting and new. Now, you can make abstract designs, like I'm doing here, or you can make, perhaps you could gather all your blue pieces and make a sky, and then all your green
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pieces and make a foreground. You could make a flower or a butterfly. You can use these to make cute little gift tags, greeting cards, or you can even use them to make larger pieces of fine art. Now, if you're doing that, what I would
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suggest is that you work on stretched paper, because PVA glue is wet. You see already the paper is trying to lift and buckle. So, I would do this on stretched paper, so that when it dries, I get a
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nice flat surface. It's also important to remember that when you're using things like magazines, you are going to get some fading with sunlight over time, because you've no control over what dyes they used in the printing process and if
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you sell a piece of work like that, it's important just to let people know that it will change over time. So whilst I haven't made a specific picture here, I hope that you can see the results that you can get. And if you'd like me to
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take any of the techniques I show in this video and make a larger full piece a full piece of art, do let me know in the comments.
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We're halfway through and for our last five techniques, I'll be drawing heavily on my experience in traditional print making. But just before we get to those really exciting techniques, can I ask you quickly just to give me a thumbs up,
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a like on this video, perhaps share with a friend who might also find it useful.
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Leave me a comment or better still free subscribe. This channel is one of the few channels here on YouTube that is fully cat approved. Perhaps you've seen or tried mono printing where inks and different materials and papers are
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applied to a block or a flat surface and then damp paper is pressed on top and an impression is made. I'm going to show you how we can do mono printing with watercolor. If this surface looks shiny and you can see cameras and things
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reflected, it's because this is a sheet of glass. So I'll show you the edge of it. And I've just placed it on a drawing board and there's a piece of paper underneath. The paper is just a guide so
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that I can get nice square edges for my tape. The white paper also gives me a nice background so I can see what I'm painting. So I'm going to paint on this glass now and because watercolor paint doesn't stick very easily to glass, we
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need quite thick paint. I'm also going to mix in some of this gum arabic here.
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It's going to make my paint a little bit more sticky and I'm going to paint a really simple design of some flowers on here. You can paint anything at all but remember whatever you paint will come out quite soft focus so it's It's great
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technique as an underneath background for painting more stuff on top. Now, I want to put a background around these flowers and some color in the center of them, but if I do that now, it'll all bleed together. So, I'm going to put the
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flowers in first and then I'm going to let these first areas dry. So, my flowers have dried. If the light has changed or changes through this video, it's because I um don't always film consecutively. I stop and start and this
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is actually a different day. So, what I'm going to do now is I'm just going to go in and uh get some greens, blues, and maybe some browns in the background. And by allowing this first layer to dry, I
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can get a sharp edge. Remember, it will take some time for that first layer to dry. You can do it all in one go, but things will run together quite considerably and they're already going to soften when we print this onto paper.
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And the last thing I'm going to do to this plate is just pop some red, pink in the center. I'm not even bothering to mix the gum arabic into that bit because it will stick anyway.
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That's my cat, Gimli. Um he wants something. I don't know what he wants. He doesn't know what he wants, but he definitely wants it right away and is very angry at the lack of service.
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Now. Now, he's spiking my leg to get my attention. I'll go and sort him out. We need to let this get completely dry. So, I need to work quickly. So, I'll explain what I'm doing exactly in a moment. So, I'm just
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going to place this paper down here and tape it at the top. That's really important. So, it can't move around.
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Now, I removed the tape from the glass. I then went around the outside using a piece of damp cotton wool like this just to clean up anything that have gone under the tape. Then I soaked my paper in water for about a minute. Don't leave
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it in there too long and placed it between some clean cloths just to get the excess water out. Now I'm taking just a household dusting cloth and I'm just burnishing. You can use things like the back of a spoon or hard object. You
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can buy specific tools for this. I'm just using this cloth. What I'll do now is lift and see how much has moved across.
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And here we have our result. I'm going to turn it round so you can see. Now I may have left a little bit too much water on the edges here. So I've got some bleeding happening, but we get this
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really interesting result. Now I can tape this to a board because the paper's wet so it'll tend to crinkle. So if I tape it down then that'll stop it from crinkling too much. It's almost like stretching your paper. And we can do
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something called ghost printing where we continue to take lighter and lighter versions of this print and we can get some really interesting effects that we can then work on top of. Now sometimes you'll get a full transfer like this.
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Sometimes you'll get these little speckles like so. I think it's a really beautiful technique.
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Another type of print making which is really exciting is drypoint print making where an impression is scratched on a block. I'll explain more about that and show you one of my own pieces from years ago and then I'll show you how we can
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actually use this same technique for our watercolors. This is a drypoint print I made years ago. Now there are some areas of collage on here, that's the red, but ignoring that this is a drypoint print.
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So you take a plate of some kind, usually a type of plastic and you scratch into that plate. Then you add ink to that plate with a roller and you rub and rub and rub until the ink is
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only sat in the little scratches. Then you take some damp paper, run it through a press, and the damp paper gets pushed into the dents where the scratches are, and we get this really interesting effect. But, how can we do something
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like this in watercolor? Let me show you. Now, the drypoint print I just showed you was actually quite simple spaced out lines. But, drypoint prints are often much more organic with a lot more lines and scratches on. So, what I'm doing
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here is I'm using a scalpel blade. So, it's really important that you don't hold it this way and cut the paper. So, I'm holding it flat, but at a slight angle, and I'm using the point to make maybe some leaf shapes here, something
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organic, and just scratching in the direction of growth. Let's add another leaf shape down the bottom here. It's also important that you're on paper that will resist scratching. In other words, it's thick enough. So, this is a watercolor paper. It's not even a thick
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one. It's just a cheap practice paper. But, if I were on a sketch paper, for example, I might end up cutting a hole in the paper. So, you need to make sure that you're on watercolor paper. What we're going to do now is add some paint,
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and the pigment will be attracted to the dips. So, just as in drypoint printing, the paper is pushed into the dips, picks up the ink, we're going to do a simpler technique and just apply it paint, and it will sit in those dips and scratches.
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So, I'm going to go roughly where I think the dips are. And we're not going to be too neat about this, because the edges will actually be defined by the scratch marks I made, not so much the paint. Now, it's important
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to note that if you go too light, you won't see this. If you go too dark, you'll cover it up. So, you want to apply lightly in areas, and you'll often need to apply several coats because sometimes the scratches like here will appear very
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strong and then as it dries they'll appear to slightly disappear. But don't panic because all you need to do is to layer your colors on top and they will start to become more defined. So I'm going to go a little lighter around the
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outside because the usual rules of getting some kind of contrast apply. And then where I want more definition of those scratches, I'm going to go in with stronger colors. You can use staining colors, you can perhaps use granulating
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colors. Now see here I've gone too dark. It's going to cover up the scratches. So we're not going to panic, we're just going to add more water and spread.
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I can dry my brush. I can sweep color out like this or apply more like this.
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Now not only can this be used to do a full picture in its own right, but it can also be used in certain areas of your watercolor painting. So perhaps you've got some leaves that are a lot more neatly painted than this but
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they've got fine lines on. You can use your scratches in that way. You can also use it for things like tree bark texture. It has many applications but it also can just be fun to play around with as a medium on its own.
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Now I only tried screen printing once or twice. For some reason I'll spend absolutely hours carving a block of lino, but cutting out stencils seemed a little bit boring to me. However, you can make great use of stencils with your
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watercolor paints and there are lots of different ways you can use them. Let me explain.
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I've got a stencil here that I made years ago. I actually stenciled some beautiful gold flowers in the bathroom of a previous house. So I made this stencil myself by buying some stencil film. You can also get stencil card if
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you don't need it to hold up for as long and you can cut your own stencil. You can buy a ready-made stencil. You need a stencil brush. I can't find one, but I've got this makeup brush here. It's an
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old one, and it's pretty much the same. So, you need a brush that's round, but it's cut flat at the top. And then, we just need some paint that's fairly sticky. You need the brush quite dry, so you want to try it out first. If it's
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looking splattery or drippy, then you need to get rid of a little bit like this. And then, what you're going to do is just hit straight down.
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If you're working in a large area, it's a good idea to tape your stencil at the edge as well. You can paint a full design or just part of one. You see that's a bit wet there, so I'm going to keep
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tapping. And we'll start adding like this. If your paint is too wet, what will happen is it will go underneath edges of the stencil. Look at this beautiful result. And stenciling doesn't always have to be used to make something
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specific like this. Maybe you just want to make the edge of a building or something straight, or be sure not to paint across anything else. It's a great way of helping you to get a straight edge on things like buildings.
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Stenciling is fun to do and gives great results. Let's look at another monoprinting technique. One of the things I love to do with monoprints was to gather natural materials such as grasses and leaves, put them on the block, and then as they
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go through the press, those parts don't get the ink pressed onto them, so you get a white impression of something like a leaf skeleton. It's absolutely beautiful. So, it was my huge intention to have a go at recreating this in my
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own work with watercolor paints. I figured out a way to do it. You may have seen me do this in one or two other videos, but let me explain it again.
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So, we're going to use masking fluid to get our natural impressions. This one's blue, but any color will do. If you haven't used it before, it's basically like a type of liquid rubber. It'll protect the surface of the paper from
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getting any paint on it. I've got a pressed leaf here from my garden. I'm going to dip it in and coat it in the masking fluid. This stuff dries fast, so we're going to work quickly. I'm going to place it down, take some paper towel,
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and hit. Next, I'm going to lift. Don't worry if some breaks and is left behind. This often happens. Let's do some more.
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If any gets left on the paper, just leave it until the end of the picture when you will be able to remove it.
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Let's try one of these as well. This is one of my favorite ones to print from.
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It's just a weed that grows around here, but whenever I see it, I try and grab some and press it. So, again, we're going to dip in. Make sure that there's not so much on there that it starts to
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glue pieces together. So, you can sort of wipe it a little bit. You will get in a horrendous mess cuz it's such fun. And then we're going to place it down and press.
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Now, I'm going to let it dry and then apply some paint. Looks messy at the moment, but it'll all clean up nicely.
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Once it's dry, all we're going to do is apply our colors. Remember that this will end up all of these blue areas and all the areas that have still got leaf on will end up as white. So, you want to
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go nice and strong with your colors around the white. So, maybe we'll take some of this lighter yellow around the outside areas, then go in with some stronger areas.
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You can use reds if you want some autumny effects or keep it light and bright.
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So, dropping this darker paint around the areas I know are going to end up white.
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What I'll do now is allow it to dry completely. Then I'll take an eraser across the whole thing. That will not only remove the masking fluid, but it will also remove the little bits of leaf that were left on. It's really important
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that you rub in small circles. Never grab long pieces of masking fluid and pull it off because you risk tearing your paper. I'll put a picture up so you can see how it looks. Now, this technique of course requires no drawing
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skills, but if you do need more help with your painting and drawing, please be aware that I have a full range of online courses. They're all very well reviewed. a students Facebook group where you can come in and actually see
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people taking the courses before you purchase. There's a link to my courses in the video description.
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If you're a crafter, you may have done some stamping. You may have got those readymade stamps and made impressions in ink and use them for things like greetings cards. However, we can actually use stamping for watercolor.
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I'm not talking about those particular stamps that you might buy ready carved into something intricate, but I'm talking about taking household items and stamping watercolor paint onto your own paper. It's actually a really useful technique that can give us lots of
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different textures. So, what can we use for stamping with watercolor? Well, circles are always good. So, I can get something like a bottle lid or a little pot like this one and stamp like so.
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I can then use my brush to make shapes and bubbles. This makes a great background technique. Another thing I experimented with in a recent video was using some bathroom loofah like this. So, we need to wet this first
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just to soften it a little. We can stamp and it's great for things like tree foliage.
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Another favorite of mine is a cotton bud like this or Q-tip. So, the trick with all of these techniques is to get enough paint on the surface without it being too drippy so that you can paint. And you might think to yourself, "Well, when
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would I use something like this? I once used this to paint a shell like this one. So, do let me know in the comments which one of these techniques was your favorite. Were any of these techniques, or even all of them, new to
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you? And how are you going to use them in your own work? Let's start a conversation down in the comments. Don't forget to share this video with a friend, and before you leave, don't forget to also have a look in the video
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description. There's lots of free stuff down there for you. There's some free downloadable PDFs. There's even a free watercolor painting course that you can take for no money whatsoever. One of my favorite techniques in this video is the
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printing with masking fluid. If you'd like to learn more about those sort of techniques, and dive into that little bit more in-depth, I'll put a video up for you to watch right now.
Topics:watercolor techniquesmixed mediaprintmakingdip pen watercolortonking techniquegum arabicwatercolor texturewatercolor glazingwatercolor layeringart tutorial
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