The Video Club

Lesson Description:

This lesson starts with a still life of red roses in three glass containers. Karlyn will draw the composition with a Kimberly watercolor pencil and share some techniques for free hand drawing.
1. She will use a different watercolor pencil drawing for her painting. The painting starts by wetting both sides of the paper with a hake brush. Slowly pull water over the watercolor pencil lines to activate the black color.
2. Color is then charged onto the wet surface. A sprayer is essential to keep the paper wet and the colors moving. Color sanding may take place while the paper is wet.
3. After the under-painting dries, colors may be enriched and adjusted. Be careful to not lose the loose wet into wet look.

• Karlyn Holman Signature Series Brush Set (or brushes of your choosing)

• Palette – Round, Filled

• Kimberly black pencil

• 100-grit sandpaper

• Hake brush

• Half sheet of Arches cold press 140# paper

• Spray bottle filled with water

• Tissue to lift dark areas that may get too dark

• Watercolor Pencils

Lesson Description:

This lesson is a fun and free interpretation of the work created by our ancestors. My first introduction entering a prehistoric cave was an unforgettable experience. I hope to visit many more caves and keep inspired to paint interpretations of this subject.

Start your interpretation by wetting the paper on both sides. Paint the darkest colors mainly on the top and bottom of the picture plane and save the center for lighter colors. Tip the paper a lot to suggest the wet walls of the cave. Draw in the symbols for your composition with a watercolor pencil, a watercolor crayon or a small brush. Add wax paper, salt, stamping and color sanding.

Lesson Description:

Northern lights   THis tutorial shows two different approaches to painting wet into wet, saturated night scenes of the Northern Lights.

The first approach uses non-staining colors and that will lift out the movement of the shapes on the wet surface.  Check out the color chart included with your free gift box and you will notice that all my colors indicate which colors are staining and non-staining.  Choose only non-straining  colors for this lesson.  Use a one half inch flat brush to lift the color.

The second approach can be painted with any color.  This lesson depends on saving the light shapes by painting around them.

Materials List

Lesson Description:

Choosing color compliments and color accents.

Limiting your colors to compliments can add more impact to your paintings.  This subject was drawn with my black Stadler pen in a small village in Tuscany.  Limiting the shadows to a green tone helped to simplify the already very gray subject.  Adding the red Vespa was an idea suggested to me by my co-teacher Pauline Hailwood from New Zealand.  I love motorcycles so adding this red Vespa really put the finishing color accent that this painting needed.

This motorcycle subject was drawn in a small village on a Northern Greek Island.  Pauline also told me about the black Stabilo watercolor pencil.  This small tool is always with me when I travel and paint.  You can paint in the gray shadows in minutes and then add the color over these shadows anytime.  The motorcycle had to be red for that added color accent.

Negative painting of Morning Glories. The intertwining leaves make this flower perfect for learning negative painting.

This painting starts with a drawing on Arches 140# paper using an HB pencil, (in your gift bag).  The paper is then wet on both sides and colors are selected that do not move in water.  I used  Aureolin yellow, Permanent rose and manganese blue.

When dry, draw in more shapes and paint around your drawn foliage with a mid tone green color, I used quinacridone gold and Antwerp blue.

When dry, draw in more foliage shapes and paint around these shapes with a darker value green using Quinacridone burnt orange and Antwerp blue.

Paint flowers by wetting half of the flower and adding quinacridone rose and French Ultramarine  blue.  Move the color so it mimics the shape of the flower.  When dry do the other side.

At the very end, paint in some positive shapes.

The entire focus of this lesson is negative painting by layering transparent watercolor.

• HB Pencil
• Arches Cold Press
• Oops Eraser
• 1″ Flat Brush
• Stencil
• 100 grit sandpaper
• Watercolor Pencils
• Fine Mister
• Table Salt
• #8 Round Brush
• Script Brush

Lesson Description:

Karlyn will draw the white houses of Frigiliani, Spain and explain one-point perspective.

The shadows of the white houses were painted with a gray tone made by using cobalt blue and Winsor orange.

The grays were varied by the amount of water used to dilute this mixture.

Materials List

Lesson Description:

Storefront with windows in old San Gimignano, Italy
This lesson shows a straight on view of a close up storefront with a window. Windows reflect as well as mysteriously allow an image from within to peek out. This lesson uses a layered approach. The cool colors of cobalt blue and permanent magenta are used to capture the cast shadows. Then the warm colors are layered over the cool colors to create the grays.

Lesson Description:

A subtle but very enriching understanding of controlling the warm and cool color temperatures found in our composition.

The subject stairs at a 17th century convent in Frayssinet, France.

This new lesson focuses on capturing the gray shadows, using a mixture of cobalt blue and Windsor orange. While this mixture is still wet, charge in pure warm and cool colors. This added enhancement is so exciting.

Areas in the sun should have a warm temperature and colors in the shade should have a cool temperature.

Lesson Description:

Painting waterfalls is a very exciting and actually a really fun subject. After much trial and error, I decided that painting everything that frames in the waterfalls is the best way to approach this subject. This lesson is about values and keeping the initial framing in very dark makes the waterfalls look light.
Draw your subject with an HB pencil on Arches 140# cold press paper. Using a palette knife, flick a fine spray where the water hits the base of the falls. Be very generous, these fine particles of mist and spray really make the finished painting sparkle. There are two ways to paint the rocks. The foreground rocks should be very precise. Wet the rocks in the foreground very carefully with water. Add a warm color, and then add a cool color in the bottom two thirds of the rock and let the colors mingle on the paper. I used Quinacridone burnt orange, followed by cobalt blue.
Place wax paper over the wet surface and let it remain until almost dry. When you remove the wax paper, adjust the textures and values so that the darkest value is on the bottom third of the rock. The middle of the rock should be mid tone and the top of the rock is the lightest area. Add more darks on the bottom of the rocks if necessary.
The rocks in the background should be misty and atmospheric looking. I wet the rock area in the background rocks beyond the actual rock area. Place a warm color down, followed by a cool color. Place a cut out wax paper shape of your rocks over this wet area. The area beyond the wax paper will just dry as a soft wet area. This will create rocks that look like they are in the atmospheric mist from the falls. Continue painting all the rocks that frame the falls. Remove the wax paper when dry.
Paint the background trees very soft and atmospheric. Mist the surface with water before you start painting the trees. Continue to soften the colors, leaving a few white dry shapes. Painting the trees frames in the water. You need the trees so you know where to paint the reflections in the water.
Paint the water on dry paper. This way, when you throw or dry brush the paint onto the surface, you will leave little white, random shapes that look like surf. The horizontal water is much darker than the falling water. The dark values in the water are created by the surrounding rocks and trees reflecting in the water. The falls are the lightest value, going all the way to the white of the paper.
When painting the falls, start with a mid- tone value at the top of the falls using a mixture of Quinacridone burnt orange and cobalt orange. Add pure water and tip the paper so gravity forces the water to fall downward. When the water reaches the bottom of the falls, lay the painting flat and immediately lift away the color with a tissue to create the misty part. Also add table salt to this misty area. When the painting dries, remove the masking and salt.
(My demo starts out on 140# cold press half sheet paper. The water part is done on a full sheet stretched over a wooden frame. The stretched paper will require a finish of either Dorlan’s wax medium or four coats of Acrylic spray with UV protection.)

Lesson Description:

Painting grapes is a fantastic lesson to share with a friend or grandchild. You should pick the grape leaves and freeze them until just before you need them. This makes the leaves more relaxed and they make betterstamps. These leaves can remain frozen for a long time and still be effective.

Grape Lesson 1
Fold wax paper like paper dolls and cut out many round or oval shapes of grapes at a time. Start by wetting the paper on both sides.
Design soft warm colors in a path onto the wet surface. Using a flat brush, apply Windsor yellow, quinacridone gold to the veins on the back of the leaf. Press the leaves firmly onto the wet surface with a tissue paper. Continue until you have placed all the leaves onto the wet surface. Place a few grape shapes over the wet surface. Paint a circle of your desired grape color and place the wax paper circle on top of this color. Continue until the grapes are designed into hanging grapes. Stretch gauze over the leaves and the grapes to form branch-like shapes in the background. Paint in a path of dark through out the painting. The addition of ultramarine blue around the leaves creates a lovely dark outline. Add salt near the white areas. Spray metallic gold into the gauze lines if desired.

Materials List

Lesson Description:

Painting grapes is a fantastic lesson to share with a friend or grandchild. You should pick the grape leaves and freeze them until just before you need them. This makes the leaves more relaxed and they make betterstamps. These leaves can remain frozen for a long time and still be effective.

Grape Lesson 2
Using a HB pencil, draw some vines for the leaves and grapes to form an attachment. Using thinned YES Paste for glue, I designed in some light-toned collage papers. Be sure to overlap some of the papers and to keep the papers close to the vines. Cut out some round or oval shaped grape circles to use for the grapes. Leave the paper dry and apply quinacridone gold and Windsor yellow on the veins on the back of a dry leaf. Place on the paper and press with a dry tissue. After you have completed stamping the leaves on the dry paper, wet the entire rest of the paper and apply some pure warm or cool color ( I used quinacridone burnt orange) in a path to start your painting

Add additional pure complementary color (I used Antwerp blue) next to your first application of color. Be sure to use a fine mister to keep the paper wet or touch the edges of the color with a wet brush to keep the edges soft. Stretch the gauze behind the leaves and through the grapes to suggest branches and vines in the background. Place the cut circles of wax paper onto the wet paper. Add additional color if desired before applying the grape circles. Add salt if desired. Place a stencil over the wet surface and sand watercolor pencils into the stencil using a 100 grit sandpaper. Spray with a fine mister to be sure that those watercolor particles really melt onto the surface. When completely dry, remove the grape circles, gauze and leaves. With a HB pencil, draw in shapes to enhance the composition. On dry paper, paint in the shapes and negatively paint around other shapes. To complete the painting, I lifted out the grape shapes with a stencil of the grape shape cut out of acetate and a damp Mr. Clean magic eraser. Lastly, I added green Caron D”Ache crayon over some leaves and on parts of the background. I also added more collage paper using thinned down YES Paste. I also sprayed gold marbleizing spray.

Materials List