hi everybody welcome back to the
painting channel something a little bit
different this week it is a watercolor
but i want to show you how you can make
some inventive sizes to help
sell your work so let's roll the intro
let's see what happens
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so
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hi everybody welcome back as i said at
the start it is a watercolor plate
is something just a little bit different
this week what i wanted to talk to you
about was how
you can create much more economically
viable watercolor paintings and
sell them to prospective clients through
various
outlets at a much better rate now what
i've
decided to do in my gallery lately is
start to create
smaller watercolors in different formats
that i can then put into a frame
or a mount accordingly that i can buy
fairly
inexpensively now this goes across the
board you can actually have
lots of different frames sizes you can
go to many
retail outlets where they sell these
generic frames you can find one that
fits
and you can paint using those and
therefore you can supply them
in a mount or in a frame to your
clients now i've been doing something
like this in the gallery i decided to
paint some smaller pictures
that i can then put into generic size
mounts and frames
that i can offer at a much better rate
as an original
and if they're good i can also turn them
into prints and sell them
very much in the same way at even a more
reduced rate
because of course they're a print and
i've also been looking at
making multiple aperture window mounts
and putting smaller pictures in those
and then selling them in say
a 12 by 12 or a 12 by 16
frame and that way i can give so many
more options to
a very decorative piece for somebody's
home and
i can also sell print sets of the very
same
setup so there are multiple ways
of uh creating more prospective cells
from the artwork that you create
by thinking outside of the box and
making it
easy to obtain not only mounts and
frames but also
multiple windows and also doing prints
of the same
thing so that's what i've been doing in
the gallery but before we get on into
that
and i'll talk to you a little bit more
about it i just want to say
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and those
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you guys to
learn from and enjoy so that would be
fantastic and without further ado
let's talk about some ways of making
some money from
your art in a much easier much
prospectively better way
while i paint a picture on one of those
set pieces of paper
let's get on okay so what i've been
doing
at work is i've been taking a standard
sheet of paper now this
actually uh our sets cut down
from a much bigger piece now this i
think is a
an a3 piece or something like that there
is a little bit of wastage but if you
do good work then one assumes that
you're going to make
more than enough money to cover any bits
of wastage
on the paper that you've cut away and if
you're a little bit careful
and what i found is that not only could
i cut these two pieces out
but i actually had a nice letterbox
image at the bottom
that i could salvage and make in even
more
even more paintings from that or even if
i wanted to cut that down i could make
things like bookmarks and things like
that which are
really interesting and you can have a
lot of fun with that sort of thing
so there's yet another way of creating a
piece of
artwork that you can sell somewhere for
a much
reduced or not reduce that's the wrong
word but a much more reasonable rate
so what i simply did as i took some old
mount card
i know the overall size of the
frame that i wanted to put them in which
is going to be
one that will fit these panels here now
i think i've got these in the wrong way
for this one here for instance like that
okay
and there is a larger one i believe
no it's not yes it is there we go it
fits this piece
but these uh these will go into set
generic frames where i can go
and i can buy a certain size frame from
one of these retailers
and i know that this will go in it and
therefore i know that if i paint all the
pictures
i can put them in these into the frames
or into cellophane wraps
and i can simply swap them around if i
need to change them
i cut a piece of card that was just a
little bit
wider of the actual
well that one is the wrong one i get the
right one again
there we go i cut a piece of card that
was just a little wider
on all sides than the aperture that i
was making or creating
so that i could simply draw a line
around it and i know that if i paint to
that pencil line
i know that my painting is going to fit
each time
every time into the aperture that i that
i wanted to go into
this size and this side these are for
the
um single frames that i'm making
and these ones will fit into an aperture
that's for that size and i can actually
make
a 12 by 16 frame
or have a 12 by 16 frame with multiple
apertures in it
and it will take one two three across
and one two three across the bottom so i
can put
six of these paintings into a
16 by 12 frame and that really is quite
a nice way of creating some artwork
that you can still sell for very very
good money because in fact the client's
getting six
original watercolors for the price of
in one frame and you can do it in a 12
or 12. you can use the same
size with the same small aperture split
between them
and you can put a set of four in and
that means to say that you can
create many many different um
themes i think you know you could do one
on still lies
uh skies landscapes anything
boats whatever your favorite things are
bees
i like painting visas you know and but
anything you like you can actually
make something from it and you can make
little sets
but once you've done the originals then
you can scan and print those
and create even more sets and you can
keep on going with that
so what i'm going to do now is i'm just
going to put one of these pieces of
paper down
i'm going to take it down and i'm just
going to carry on chatting
while i do a little i'm actually working
on a little theme
of um landscapes and little seascapes
so i'm just going to take this down very
very quickly
i know my painting is going to be well
sorted out in that space so i'm not
overly worried by that
put that down
very quickly done
there we go i could actually take him
right up there there's no need to i'm
not leaving any white space on these
paintings
they will be framed up or matted
or mounted depending on where you're
from
that it will be matted just on this side
on the inside of that line so that will
be hidden by the mount
and you won't actually see any of that
so it's no
worry whatever comes on after here so
i'm just going to paint a very very
simple
landscape and there we are let's just
put in a very
small or sort of nice little
um eye line and i'm working for some
local reference here
so a little bit of hillside in the
background
now this is the north downs nice big
tree and this is the thing you don't
have to be
hugely specific on what's going on what
you're painting
you need to make really nice attractive
little paintings that people
would like to hang on the wall for
whatever reason they are whether it's a
still life or
a wildlife piece people are attracted to
certain paintings a certain genre and
you know a wildlife painting is not
going to attract
everybody but therefore nora's are still
life
nor is a landscape we each have
our sets of uh paintings or
subject matter that really attract us i
think that's all i need to do as a
drawing something very very simple
little lead in line there maybe a little
track or something from the farmer's
tractor that go
off into that space there okay so the
drawing is very very quick it's very
simply done
didn't take too many minutes but now
let's get in some color
so i'm going to do my sky and i'm going
to put some nice
ultramarine blue make quite a bit of
that
it's a very very dominant part obviously
i'm going to come into that with a
little
very subtle light color
get rid of the blue out the brush there
we go nice bit of
yellow ochre so let's come back into our
blue again
and let's just quickly uh put in our sky
now the idea of these paintings really
is not to
labor over them too much we need to get
them in
done so that hopefully we can sort of
move on
to our next one and create a series
of work very very fast very quickly i'm
putting a little bit more water into
that to make that
flow a little bit more like that
now i'm going to come in with my ochre
and i'm just going to
pull that in and create my clouds
like that making some of them soft edges
some of them hard edges if you want more
soft ones
gently tap the brush along the edge with
a little bit of moisture in it
and it will take out as much or as
little
of that hard edge that you wish i quite
like what's left there i'm going to
leave that on so kind of bring some more
of that down through here
and then put in some nice blue
but much more reduced much more water
going in
and let's create our passage
down to the top of the hills so there we
are
so there's pretty much one sky down just
gonna
fill that in just miss that
not a problem there we go so that's let
that dry let this settle up
i'm just going to take a real dry almost
dry brush just soften that bit there
just tease that around so that it's not
as hard
and get away with that i'm probably
going to leave that and not take the
chance
but there's our sky so we've got that
sorted out
now let us look at our hills so for that
use the same blue put a little bit of
um indium red into that
so we get this sort of very dull violet
color let's push that through that's a
little heavy
we can make that lighter by just coming
across with a bit of water in our brush
not too much
but just a little bit of water take that
through
and that's taken the pigment and the
impact out of that color
just bring in a little stronger one as
it comes through here
and bring that down to our horizon line
and while that is starting to dry off a
little bit i'm going to look at putting
some oreolene
in there and
to that i'm going to add a little bit of
my
turquoise not too much or a really nice
light flush of green through there it
may
ping itself back into the hillside a
little bit because that is still quite
wet and i am moving quite fast but not a
problem
going to bring in some phthalo green now
look at the difference of that phthalo
green it's a really
strong green i'm going to put a little
bit of orange to that and dirty it up
and that will become my bit of field in
the foreground
like that across there and i'm just
going to leave
almost white paper not quite but a
little bit of white paper
just to give me sparkles of light
through the field
and while i've got that use some
raw sienna a little bit of green into it
from a previous painting not a problem
raw sienna
let's just drop that into there so we
get a sense of that
field and that track that's running
through there once this is dry
we can actually add to it let's just run
that all the way off so we got that
covered and there's mainly our painting
is done all we've got to do now is come
back in
and once it's dry and we can just put in
a few trees
a few shrubs and a few lines that are
in the field and we can um
yeah we can just call that when finished
okay so it's
all dried off now now the paper i'm
using is a 200 pound
in weight um which i think is about
four to three something like that gsm
it's a daily roundy product it says it's
a wrap but i think it's more of a knot
surface to be quite honest with you or
there's a nice little
bump in there to leave some white paper
now i'm going to come back in
and i'm going to put my greens together
so my trees want to be fairly light so
i'm going to be using
some oreolene and maybe actually add
some more
of the yellow ochre to that makes quite
a good green put some of the
phthalo green into that and let's get a
nice spring
summary green and this is going to be
the light side of some of our trees in
here
so i'm just going to literally a little
bit of dry brush
across there and to some of these bushes
through there and there and that's that
part
done and we're going to put some in the
distance but we're going to put another
one that's fairly close through here
like that just to give a nice sense
and once that's dry or whilst it's dry
we can come back in with
a darker value now the darker value
green
could be a dark green but you could
equally make a
violet dirty violet color like this by
putting some
ultramarine violet to the green that we
had or even add in some more green look
how we
can make a very strong dark green a cool
green
by coming in with the violet color so
let's just tap in
one or two darker values into here
a little bit more solid as it comes
across here
into the sky leaving little parts to
um excite the idea that you can see
through the tree
natural breaks within the tree gonna
bring a little bit more warmth into that
and make that a little
darker i think so by bringing some green
and orange together
we're gonna make a warmer green because
this tree can take it
it's much closer to us so we can
actually get away with putting this
much warmer darker green color into this
tree wouldn't want to use this for one
that is a long way
off but we can certainly use it into the
one that's very close to
going to bring that down i want to
suggest that that's coming down this
line here
so i'm going to bring it down to me
somewhere through there
on this set notice how i'm using
negative spaces to create the contour
in the field and little breaks in the
shrubs or whatever might be there
i'm going to bring another part and
shadow part of this side
across here definitely leaving a little
bit
of light to suggest that this
tree is slightly behind the current set
that i've just been painting
another one there and take that off to
one side
nice bit of dart in there we'll set this
one up
and you can take this as high or as low
as you want to
it needs to be lower than this one this
one is definitely
the strongest element in the painting it
sets the whole
scene for a nice display
of shape and the composition now i'm
going to come in with
some ultramarine violet which is a
little bit
dirty which is no problem with that and
i'll bring some of that green into it
now i've got a really dirty green
maybe slightly greener and i want to
suggest
the trees in the background these are
way off
trees they will dry much light as a
little bit
less pigment more water to these so
they will create or they want to go down
that far
just bring that through to there and we
got a nice suggestion
of some trees in the background like
that
come back to this one let's put in a
nice deep shadow through here
so we can bring this one up and
bring it to there like that
so we've got a nice secondary push
in the foreground like that
now then i think that's quite solid
there as a color and i'm not too happy
with the color i actually put there
i think it could have been a little
cooler so what i'm going to do
is using the dampness of the brush just
carefully
tease out some of that color
just lift it back out so that when it
does properly dry
it will be much lighter and somewhere
where i was hoping it would have been in
the first place
and just gently teasing the pigment
off the paper you're not going to get
rid of it all because the contrast is
way too strong
but there we are hopefully that will
have done what i hope it will do
and that gives us our distance now i'm
also a little bit unhappy here
i just want to lift some of this out now
i can get away with that if i'm careful
if i don't go
too mad my brush is quite
clean of color but it's got very little
water in it either i'm
squeezing it out into my hand which is
very wet but got some paper towel in it
and i'm just using it to lift out some
of the pigment and make a little bit
more variation
into some of these paint marks that i've
just put in
i think that will create a another
level of lights and darts in this
particular tree
there we are i think we've got away with
that quite nicely
i'm not unhappy with that i want to
leave that nice dark line there because
that gives me a lot of suggestion with
the field
and what's happening now i've got a
suggestion of the track here
and i'm going to put in a little bit
more green and bits and pieces just to
suggest that there are
little undulations tuffets of grass all
sorts of things
but i'm making them lead up to
the top of the field and just making a
little bit more of some of this field
information
like furrows with weeds on where it's
been plowed by the farmer at some point
and has been left fallow for a little
while
things like that and i can bring a
little bit more orange
bit more warmth into some of those so we
get a
different color coming in
it just creates a lovely aspect to draw
the eye
into the whole picture and how long has
this painting taken
not very long i hope not too long anyway
certainly
it's um one that you can sort of
sit down and in the evening and just
do some sketching and create something
like this
and it's just another one that you can
maybe sell
at one of these particular shows society
shows
and i know that the shows locally to me
they have little tables these days where
you can have mounted in plastic and the
mount and
backing with your price and your name on
and you
sit and it sits there in a little basket
or something
along with all the other contributors
and you know people can flick through
and if it's not unreasonably priced then
people
will like to buy and add it to their
collection and it's not so big that it's
going to take
a lot of money for them to actually
frame it so
it's a really nice idea to create
lots of little interesting paintings
that you can then
sell at a much better price and attract
more buyers
and if you can sell quite a few of these
then you soon
make your money so that's
just a little observation a little bit
of advice from me anyway
there we go i think we've got a nice
little picture
if you want to be um a little bit
more then there's nothing stopping you
as i would often do if i can find my
little brush
just put a few generic birds into the
scene
it's the romney marsh so we've got gulls
we've got corvids crows and rooks flying
everywhere so it's just nice to have
that little bit of
life other than the trees etc
in your painting you're gonna do these
then try and make them odd numbers don't
uh necessarily make even numbers it
doesn't
work well one two three four five six
seven eight odd number
there you go nine so there we go we've
got a nice bit of interest now we've got
a lovely pastoral scene
of the romney marshes and it is number
one
i hope of a series of paintings that i
can then make
if i get the right mount on there just
to show you when it's
in place it looks i don't know if i've
actually got the right mounts but there
we are
um it's something like that and you've
got a nice little picture
that you can sell
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[Applause]
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on the balcony
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no one else is
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to give away
on the balcony and it's just
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it was just
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to do