I sat here watching this video like *oh no, I do all those things" 🤣 As someone who just started out in watercolours, thanks! This was actually super helpful
I have been painting, on and off, for years and still overwork and use too much water. Great tips, excellent photography and teaching style. You explain things so well in a way that would benefit all skill levels. thanks ever so much!
I ruin so much through lack of patience. I know i should be waiting until its completely dry, but I work fast so I jump into a damp area and end up regretting it. Just immature i guess! Love your videos! Thanks.
Thanks Emily! Overworking is a big issue and I intend to tame it. Lately my mantra has been MOVE ON. The mistake for me is becoming hyper focused on an area then the overworking begins. It’s such a delicate balance, like a ballet dancer trying to get a movement perfect before she has fallen numerous times. Loving your straight up approach. Some are really long winded here on RUclips so I appreciate that you are not. Blessings to you!
Turner, the british master of watercolor made that "mistake" almost in all his paintings but he painted seascapes, i agree that with Portraits the fault is more obvious and requires more delicate time but shouldn't feel bad if you paint other things than portraits and make that mistake. Great video
Spot on, great advice and loved the straight to the point teaching. You never stop learning and these videos always are a great go to when stuck and need some advice. Thanks Emily!
Very helpful, thank you! I think it’s good to know what causes these effects, so that you can control when they happen. Sometimes I like an area to get “muddy” but it’s frustrating when I don’t want it
Great Video. Also, your artwork is stunning and you are truly talented and your hard work and study has payed off big-time! I'm in awe of your talent. Some amazing watercolour portraits you've shown us.
Hi Emily- this was so good! love the helpful hints and also I read the Mary Whyte book too since you had suggested it to me a while back..OMG..her work is unreal...I read it cover to cover also..I want to start painting portraits too..yours are so good..keep doing your vids! I watch every one! thank you so much!
YES! Mary Whyte is my watercolor hero! Thanks for the encouragement to keep making videos. It's definitely not the traditional path of an artist, but I'm having fun! So glad you are finding the videos helpful. And I appreciate all of your kind comments so much!
I love your tips! Very well said and true. Although I do not recommend ultra marine blue OR sienna because they are granulating pigments which is not suitable for skin. Maybe something more like, Phthalo blue + lemon yellow + quinacridone rose - then you will have smooth shadows :)
Thank you for this wonderful video!! And for the book recommendation! I got Mary Whyte's book; it's absolutely incredible. I've watched the end of your video so many times trying to figure this out: how did you decide which parts of the shadow to paint in blue vs brown? Does it have to do with bone structure? Or something about the concavity of the cheeks? Or is it just a kind of random fluctuation? I struggle a lot with color placement in my shadows, so would love to hear how you approach it!
Can you let the blue shadow dry before you add a layer of burnt sienna? :) or is it better to let them blend wet on wet? Thanks for really good tutorials.
Although I can't answer as to exactly why Mary Whyte works upright, I can guess that it is for a couple of reasons: she often paints from life, and she works very large scale. When I work larger, I also have my paper upright on an easel, and only lay it flat if I need to achieve certain wet in wet effects. My reasons for working flat are mainly that I can produce a better quality video this way, and also if it's a small painting it's easier to have all my supplies flat on my desk and easy to access. :)
To control the wash, flow of the water. Working vertically ensures that the pigmented water will always go down, hence more predictable. Working flat can have some advantages and disadvantages. Washes can backflow and create blooms or create butterfly effect. Many eastern watercolorists work flat too. You can control how the two adjacent wet pigmented areas mix with each other more efficiently.
Thank you for this info. I have a question - If you do overwork an area, can you ever salvage it or do you have to just trash it? I’ve seen people use a “magic eraser” to lift off an area almost completely.
If you're working on a good quality surface you can indeed lift paint out almost to white (assuming also that you're using transparent and non-staining pigments). If the surface becomes pilly or the paper is beginning to rub off and tear, then it's time to scrap it and start over.
personally I think he first option is much better and far less boring...the 'fixed' version doesn't stand out nearly as muxh, if anything this should be a matter of OPINION not 'oh this is wrong and this is right' and it's painfully obvious that the people in the comment sections aren't actually artists and probably only got started as a hobby because as far as I can see, most comments here are incredibly ignorant and lacking the flexibility that's necessary in an artist.
why can't you lay in soft face tone and wait till almost dry and lay in blue shadows? We know that in life, shadows are always more of the original color, blue and it's complimentary...hmmm...
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i like how u go straight forward to the point and not like other youtuber trying as hard as they can so the video will reach to 10min lmao!!
That's a kind comment! I appreciate clarity and brevity, too. :)
I sat here watching this video like *oh no, I do all those things" 🤣
As someone who just started out in watercolours, thanks! This was actually super helpful
So glad it was helpful!
Me too
best art teacher. I can listen without getting bored.
Thank you! 😊
Very true 👍
True
Your portraits are so beautiful!
Thank you so much 😀
Thanks for advice! Btw, your logo with a dog with a flower is sweet :3
I appreciate your nice comment! Thanks for stopping by my channel!
I have been painting, on and off, for years and still overwork and use too much water. Great tips, excellent photography and teaching style. You explain things so well in a way that would benefit all skill levels. thanks ever so much!
What a kind comment. Thank you, Joy!
Wow! The blue technique for the shadows really got me!!
Same@
I ruin so much through lack of patience. I know i should be waiting until its completely dry, but I work fast so I jump into a damp area and end up regretting it. Just immature i guess! Love your videos! Thanks.
Thanks Emily! Overworking is a big issue and I intend to tame it. Lately my mantra has been MOVE ON. The mistake for me is becoming hyper focused on an area then the overworking begins. It’s such a delicate balance, like a ballet dancer trying to get a movement perfect before she has fallen numerous times. Loving your straight up approach. Some are really long winded here on RUclips so I appreciate that you are not. Blessings to you!
I appreciate your comment!
Great video explaining an often unexplained concept in watercolor.
Turner, the british master of watercolor made that "mistake" almost in all his paintings but he painted seascapes, i agree that with Portraits the fault is more obvious and requires more delicate time but shouldn't feel bad if you paint other things than portraits and make that mistake. Great video
Spot on, great advice and loved the straight to the point teaching. You never stop learning and these videos always are a great go to when stuck and need some advice. Thanks Emily!
I appreciate your kind comment!
What a great video. Thank you so much.
Wow, I love that shadow trick!!
Thanks for the information
even your paintings with "bad" shadows look phenominal. ive caught myself making these mistakes. great video!!
Thank you so much 😀
Very helpful, thank you! I think it’s good to know what causes these effects, so that you can control when they happen. Sometimes I like an area to get “muddy” but it’s frustrating when I don’t want it
So true! It takes practice to know how to get the effect you want, for sure!
The final tip about shadows is very useful. But do you put that on first or add it on top of the paler skin tones?
Hey your trick with ultramarine blue works fantastic, thank you very much!
Great to hear!
Great Video. Also, your artwork is stunning and you are truly talented and your hard work and study has payed off big-time! I'm in awe of your talent. Some amazing watercolour portraits you've shown us.
I appreciate that so much!
you're spoke so sweetly i could watch for hours
Thank you!
That trick was awesome, really!
Thank you so much for the tips
Good subject. I'm never happy with my work and will continually try to adjust and improve it usually ruining it in the meantime.
Hi Emily- this was so good! love the helpful hints and also I read the Mary Whyte book too since you had suggested it to me a while back..OMG..her work is unreal...I read it cover to cover also..I want to start painting portraits too..yours are so good..keep doing your vids! I watch every one! thank you so much!
YES! Mary Whyte is my watercolor hero! Thanks for the encouragement to keep making videos. It's definitely not the traditional path of an artist, but I'm having fun! So glad you are finding the videos helpful. And I appreciate all of your kind comments so much!
Awesome Thankyou for the advice and the Mary White shadow tip!
I love your tips! Very well said and true. Although I do not recommend ultra marine blue OR sienna because they are granulating pigments which is not suitable for skin. Maybe something more like, Phthalo blue + lemon yellow + quinacridone rose - then you will have smooth shadows :)
Thanks for sharing!!
Thanks Emily.
Thank you for this wonderful video!! And for the book recommendation! I got Mary Whyte's book; it's absolutely incredible.
I've watched the end of your video so many times trying to figure this out: how did you decide which parts of the shadow to paint in blue vs brown? Does it have to do with bone structure? Or something about the concavity of the cheeks? Or is it just a kind of random fluctuation? I struggle a lot with color placement in my shadows, so would love to hear how you approach it!
Amazing!!!
Thanks for the Tips ! Useful.
You bet!
Thank you!
Wow, it was luminous! Thank you!
Thanks for the quick lesson!
My pleasure!
Extremely helpful 😊
Excellent teaching!! Thanks!!
Thanks for watching! Glad you enjoyed it!
Thank you sooo much, that's exactly the mistake I make over and over again!
Good tips. Thank you for sharing.
My pleasure!
Your tips is very helpful. Thanks😍
Thank you
Thanks for this! I'm curious why you wouldn't mix the blue and brown together and then apply it as a shadow? Why do you paint them on separately?
You could do that, but then the nuance is lost. It does look different-premixing vs putting two colors down wet onto wet.
@@EmilyOlsonArt thank you!
Thans for the tips
Thank you.
Thanks for the tip!
Lovly video
Can you do a video about opaque versus transparent hues?
Which combination of two colors should you use on dark skin tones?
This is so helpful. Simple and direct. Excuse the pun, but you didn't overwork the tutorial!
Hah! Thank you very much!
These are awesome
Thank you!
Honestly I kind of like the look of the overworked paint
Hah hah! There’s a style for every taste, right?
❤🙂❤🙂❤🙂❤🙂❤🙂
❤❤❤❤❤❤❤❤❤❤
THANK YOU!!!!🙂❤
Can you let the blue shadow dry before you add a layer of burnt sienna? :) or is it better to let them blend wet on wet? Thanks for really good tutorials.
Yes, you can! You'll get the same color, but it's a different look than wet in wet--doing a wet on dry layer over the top is called glazing.
1:42 What? Are these really your FIRST works? Okay, I should stop painting right away. :O
You’re so kind! But keep at it...don’t stop painting! ♥️
@@EmilyOlsonArt Painting is relaxing and inspiring so maybe i will keep doing it. :)
Can u make a video about black or darker skin pls
Would love to!
@@EmilyOlsonArt thx
Mary white works vertically and you work flat ... the reason for those options would be interesting.
Although I can't answer as to exactly why Mary Whyte works upright, I can guess that it is for a couple of reasons: she often paints from life, and she works very large scale. When I work larger, I also have my paper upright on an easel, and only lay it flat if I need to achieve certain wet in wet effects. My reasons for working flat are mainly that I can produce a better quality video this way, and also if it's a small painting it's easier to have all my supplies flat on my desk and easy to access. :)
@@EmilyOlsonArt muchas gracias!!!!
To control the wash, flow of the water. Working vertically ensures that the pigmented water will always go down, hence more predictable.
Working flat can have some advantages and disadvantages. Washes can backflow and create blooms or create butterfly effect.
Many eastern watercolorists work flat too. You can control how the two adjacent wet pigmented areas mix with each other more efficiently.
wow
Thank you for this info. I have a question - If you do overwork an area, can you ever salvage it or do you have to just trash it? I’ve seen people use a “magic eraser” to lift off an area almost completely.
If you're working on a good quality surface you can indeed lift paint out almost to white (assuming also that you're using transparent and non-staining pigments). If the surface becomes pilly or the paper is beginning to rub off and tear, then it's time to scrap it and start over.
@@EmilyOlsonArt thank you
Can i use that colour combo (burnt sienna and blue) for all shadows?
You definitely could! Works great for landscapes, too.
personally I think he first option is much better and far less boring...the 'fixed' version doesn't stand out nearly as muxh, if anything this should be a matter of OPINION not 'oh this is wrong and this is right' and it's painfully obvious that the people in the comment sections aren't actually artists and probably only got started as a hobby because as far as I can see, most comments here are incredibly ignorant and lacking the flexibility that's necessary in an artist.
I can’t seem to buy Mary Whytes book in the UK ?? 😰
Uhm do you paint the shadows or the skin first??
Hello 😍
why can't you lay in soft face tone and wait till almost dry and lay in blue shadows? We know that in life, shadows are always more of the original color, blue and it's complimentary...hmmm...
Im so scared because this is going on my final piece 😭
самое смешное, что первый нос-то нарисован лучше второго.
thank you so much for this!
My pleasure!