Beautiful Butterflies: Painting Watercolor Butterflies in 3 Ways! | Sade J | Skillshare

Beautiful Butterflies: Painting Watercolor Butterflies in 3 Ways!

Sade J, Watercolorist & Illustrator

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25 Lessons (2h 15m)
    • 1. Introduction

      1:12
    • 2. Before You Start

      0:14
    • 3. The Monarch Butterfly

      3:37
    • 4. Adding Veins

      2:38
    • 5. Adding Spots

      4:19
    • 6. The Red Spotted Purple Butterfly

      4:29
    • 7. The Colors to be Used

      0:48
    • 8. Painting the Left Forewing

      7:57
    • 9. Painting the Hindwings

      11:07
    • 10. Painting the Right Forwing

      16:16
    • 11. Painting the Right Forwing

      16:16
    • 12. The Swallowtail Butterfly

      5:07
    • 13. Painting the First Wash

      1:54
    • 14. Color-blocking

      1:45
    • 15. Beginning Yellow Textures

      3:35
    • 16. Beginning Black Textures

      9:26
    • 17. Deepening Textures

      4:16
    • 18. First Pass on the Abdomen

      3:58
    • 19. Varying Texture

      11:24
    • 20. Deepening Yellow Textures

      3:26
    • 21. Deepening Dark Textures

      13:53
    • 22. Adding Spots

      3:45
    • 23. Adding Hair

      1:53
    • 24. Wrap Up: What Did We Learn

      0:42
    • 25. Class Project and Thank YOU!

      1:08

About This Class

Have you ever wanted to capture the beauty of a butterfly in your painting, but you just didn’t know how?

Whether you are a beginner or an advanced painter, this class will teach you new techniques to tackle a range of different real butterflies!

You’ll learn:

  • How to blend between vibrant colors seamlessly.
  • Both simple and advanced techniques for tackling dots on butterfly wings.
  • The way that gouache can be used to help you in your watercolor painting.
  • When to use wet on wet, wet on dry, and dry on dry techniques to get the best results.
  • How to vary paint consistency.
  • And lots more!

This class is just bursting with tips that will help you in painting the butterfly of your dreams!

So what are you waiting for?

Pick up your brushes, and let’s go!

Transcripts

1. Introduction: What do you feel when you see a butterfly doesn't their delicate fluttering? Just grab your attention, Don't you stop for a moment to watch their beautiful colors fluttering around do well? I want to help you capture that moment on paper with a little help from watercolor. Hi, I'm shoddy. The artist behind Sadie saves the day. I love helping artists of every level gain confidence in their ability to tackle any subject. But if isa are such great subjects because they're bright, colors are perfectly suited to relaxed watercolor painting. But you can also get lost in there textures and patterns if you want to. In this class, I will teach you how to paint three different types of butterflies in three different ways . A simple monarch butterfly, an intermediate red spotted purple butterfly and an advanced swallowtail butterfly. No matter your level, there will be something for you in this course, and you'll learn skills that you could take with you and improve all of your future painting. Are you excited to get started? So my So let's go 2. Before You Start: just one quick thing before we get going. If you have any questions about any paints, materials or references, I have made a handbook for you With everything you could possibly need to know. You can find it in the class project section. OK, got it. Let's go. 3. The Monarch Butterfly: the first butterfly that we're going to paint is this beautiful but easy relaxing monarch butterfly. The thing that I love so much about the technique that we're going to do is that it is just so relaxing. You choose your color is ahead of time, and then all you have to do is just lay them down. I'll show you two ways that you can lay them down. You can leave them down, leading let where you can leave them down, went on dry all those colors that you see there on the side. I already have mixed up in Wells, and I'm just taking my brush, dipping into a little bit of one, dipping into a little bit of the other and playing around with the colors as I see fit. And as I see in the reference photo in the reference photo, the four wings are slightly darker than the hind wing, so I have a little bit more p 0 48 which is a little bit darker, but the colors are mostly the same. The right for wing I'm doing letting let, which means I put water down and then I put the colors on top, and that generally leads to a bit of a softer blend and gives you more time to work so you can really decide which version you want to go with. The wet on dry gives you a bit of a harder edge, and the wet on wet gives you a softer ed and much more blending between the colors and to the edges of both of the wings. I added a little bit, though. Black paint, since there's going to be black paint in that area later, and I just continue this technique. Who are the hind wings using the wet and wet to blend this really bright yellow into a bright orange into a red or orange and then into the black? With this combination of colors, there's not really any way that you can go wrong, and the cool thing about this technique is that you really can replace it with any colors and then just put the plane on top later and we'll have something that looks like a butterfly. So even if you don't feel like it looks that pretty right now, I promise you, by the end, it's kind of look gorgeous. This technique is so easy that you can even do it with Children. And it would be a great begin to project for you and the child that you love to do together . Thanks. 4. Adding Veins: Now we have our little bit of chaos, just letting paint run everywhere that we want it. It is time to rain that all in, and I'm going to use Blackwater color. You could also use black quash or acrylic, but I like to use watercolor because it's not entirely opaque. And using that I could get varieties of rapacity, and I can even simulate light coming through the wings, and that's pretty cool. So first, let's just draw out in our veins wherever we saw them and then fill in the black. Make sure to paint around the orange dots, but you can paint over the white dots because we're going to be adding those later. I know it's a little sad. A lot of your painting is going to be covered up by black paint, but that really makes those areas that are beautiful and orange glow like . I don't have to be super precise with this or secret care hope. Just probably what you see in the reference you can do a second layer if you like. Or 1/3 later, 5. Adding Spots: Now, the last part of this simple butterfly is we're going to add in the abdomen and the thoughts which make it a monarch butterfly because you see it right now and it kind of looks like a monarch butterfly. But something is not right. So since this is a symbol butterfly, we don't really care that much about the abdomen. You can just paint the whole thing in black, maybe add a little extra black on one side to get a little bit of form. But we're not going into a lot of detail, Theo. Next time you get some light quash, you could also use acrylic or color pencil. Whatever it works for you. I'm using light, quash and add the white dots wherever you see it. On the reference photo that's around the edges of the four wings in the front and in the back and a little bit of white glinting on the veins. I see it on the body of the caterpillar, mostly on the outer edges of the wings. Don't forget those little half moons that go all the way around out of the way, since I am using thisted of what you can see as it dries. It is not as bright white as when I painted it. So I end up having to dio to different layers in order to get it just as white as I want it . But once you get all those dots and you really see that it is a moaner butterfly, you don't have to be super precise with the placement of the dots a song as you get them in the general area and in the general shape, it's fine way probably have noticed that there are some dots that are not white and they're slightly off warned in order to make that, I just take some of the paint that I had before and mix it in with the white quash and paint on top of those white dots. And there we go. We have light foreign shots, and that's it. Easy peasy. If you want to tone down some of the white areas that we added, you can just add some water or paint over it lightly with some black paint, and then it won't be sticking out so much. So I decided to do that with some of the veins. I felt like they were a little too white, so I just toned them down a little bit. And that's it. We have, uh, Monarch Butterfly. 6. The Red Spotted Purple Butterfly: the second butterfly that we're going to paint is the red spotted purple. This is a beautiful blue butterfly, and we're going to be using intermediate techniques here. Let us start with our second butterfly, the red spotted purple. But if I this But if I is going to be and intermediate level so not super advanced, but a bit more difficult than the butterfly, we just paint it. But you're going to see a lot of the same techniques, but we're going to pick up some new ones, too. So first of all, we started off in a similar matter. We're going to be putting down a wash wet into wet. I'm showing you two different ways that we can put down. This first wash on the butterfly could do it with on wet, or it went on dry, and you can choose which method for her, his first wing. I'm doing wet on wet now. When you do this, you want to make sure that your wing is not too wet, because then it's going to be very messy. I'm adding just a really dilute mixture of a little turquoise all over the wing and making sure that gets evenly all over the wing except for the bottom part, which need to remain white. No, make sure not to have any pools of color and kind of stop up anywhere where there's too much water now, using a very thirsty brush, go in and move color wherever there is a white dot because in the four wings we really want those spots of the white instead of blue and the hind wings. They are a little blue, but here they need to be bright white. So look at your sketch and look at your reference to see where those stops are just removed them out. - Thanks now for the right for wing, I'm doing wet on dry, and you can see that it has a bit of a different effect. It's much lighter, and there's a lot less water, but it's a lot more difficult to remove the white spots than it was with a wet on wet. But you get less of a harsh outline, as you do with the lead on wet, so people have their advantages and disadvantages for the rest of the wings and using the wet on dry technique that hind wings, I don't have any spots that you need to paint around except for the moons on the bottom. So they are a lot easier to dio. You don't have to lift anything, just make sure to get a nice even layer on both of them. 7. The Colors to be Used: here are the colors that I'm going to be using in this painting day. Love Turquoise halo turquoise mixed with a little blue red shade that's going to be the main blue color but quite dilute in Dan thrown blue mixed with Prussian blue for the deeper blue sections. A mixture of transparent brown and in dan throwing blue for the brown sections along with people 71. You could also use burn number if you can't makes this color and P S 67 for the orange sections. 8. Painting the Left Forewing: Now let's go back to the fore wings. I'm gonna do a little more scrubbing to try to make sure that those spots are as white as possible before continuing painting, just lifting those up with a tissue and then I'm going to start painting. Using that deeper, they low turquoise color. We're doing fairly thin washes, and we're going to go right over each cell instead of over the whole butterfly at the parts that I want to be darker. I'm just dropping in that in Dan throwing in question blue mixture that I added already and that's going to start helped build shape before I've done anything else, and I'm just lifting out a little bit of paint where I want the shape to be the lighter. So already we have a darker side and a lighter side, like when you're painting in the cells, you're going to want to make sure to skip around so that you're not painting one. Let cell next to another wet cell because if you do that, you're going to end up with a bunch of mess, so you'll notice that I don't do it to sell in order. Instead, I skip around, and the procedure is essentially the same for each of them. Where, on the reference, whether you have darker colors, I drop in that in Dan Thrown blue, probably the most difficult part of this. But if I is thes brown spots, luckily, orange and blue do make brown, so that's not too much of a problem in blending. But the problem is how to get a nice bright orange with all of that brown around it. So when I start this cell, I start with a brown and I negative paint around where the bright born should be. And while I'm doing it, I try to make a little texture so that it's not very smooth. And then, at the top of the cell I had in that in death room blue. So it transitions seamlessly into a blue at the top. Just light on the butter high, and I take that same blue and bring it down to the rest of the cell and using my brush, I try to get a little bit of a rough texture so that it's not entirely some around each of those circles. So for each of the cells to make sure to leave room for the white dots or the orange stops or anything like that. But make sure also not to have them just completely smooth at a little bit of texture and Jack Guiness to the edge As you go along, you can lighten up edges and dark images. So for this next one and doing the same thing, notice how the two different shapes meld into one another. You see that this brown is around the same level. Is the brown in the cell next to it, and it blends into that in Dan Thrown blue. We'll continue working this wing until you have all of the cells filled. - Okay , - some of the cells will have darkness right in the middle of the and don't paint right up to the edge. But just leave a little bit of the cap so that we can see as face for the beans. This might look a bit disjointed, but then, as you continue painting, it's all going to come together. Finally wants all of those cells I feel in start adding in down through blue underneath the orange dots because the wing is a bit darker under there, it's also a darker at the very tip of the wing. So had a bit of that. A low blue dale turquoise mixture there with more and anthem blue at the very, very bottom, making this sort of Harry texture and then just very gently add in the edge of the wings in the very dilute color so that you can see the edge. 9. Painting the Hindwings: we're gonna continue Move being from left to right. On this time, we're going to be painting the hind wing, and the hind legs are a lot easier than the four wings because they are just blue. So all you have to do is use that they Lou Blue Veil turquoise mixture and bring it down, avoiding the light brew spots on the wings. And make sure to leave this just drag it as you did before in the four wings. Easy peasy, but you can do is drop in a little bit of in Dan thrown blue in between the two big cells so that it's a little darker there in the same way skip between the cells so that you're not having them bleed between cells and just continue that all the way through . Like you can also add something dan through blue to the top of the settle to add a little bit of darkness there, depending on what the field looks like in the reference photo, and for these ones, you'll notice that I'm not making a gap between the different cells on as because I want to emphasize the darkness of the veins here. Stan having a little bit of a hardline overlap, but help with that. Thanks now, once you got all the cells and you can start deepening certain sections. So the whole section underneath the top of thought that a lot darker than the rest of the wing. So you can take that in Dan thrown and crushing blue and bring it all the way down in a sort of mountain like shape to the bottom of the wing. But you don't have to feel in the center part completely between the two thinner and dots. It's a little lighter there. It's just a little softer and lighter, so you can use a little bit of water to blend that area that make sure to make a jagged edge between the likeness of the thought and the darkness of the texture. Underneath. All of this darkness is going to link up all the way across the butterflies, so make sure to pay attention to that shape. Now, do this to each one of the cells in the hind wings. Now the last thing and then two, is at some darkness to the tops of the hind wings, and just put in that darkness and then use a bit of water to blend it down into the rest of the song. Not all of the cells have this, but wherever you see it definitely added as a little bit more dimension and depth. Don't be afraid of using dark colors now. Also, to give a little bit more shape. You can add some of that in down, thrown to the spaces between the cells that will give it a more rounded effects. So just drag it down over the lines between the cells and then soften it with some water. You don't have to be super precise with this. Just make sure to leave the middle of the cell lighter than the other part of the cell and do this for each of them. You need to work quickly so that it doesn't have a hard edge, but it's not too difficult and at least a lovely effect. Keep doing that over these lines and you'll get a really grounded, soft, rippling effect on the wings. This was really fun to Dio. Maybe this was perhaps my favorite part of the painting. I loved how those hind wings looked like giant blue pillows 10. Painting the Right Forwing: Now it's time to work on the right for Wing will also work on the rest of the but if I in order to keep everything at about the same level. So we're essentially using the same process that we did before putting in the brown around those orange spots on the four wing and then blending that out into blue thisted time. I'm showing you a slightly drier technique because I know that sometimes the wet into wet can be a little difficult to control, so you can see how it will end up. If you use a wet on dry technique, you'll end up with some more hard edges, but it might be a little easier for you to control. And just like before, we're also going to put in those cells that are just blue, and we're going to start shading them with a little wet on wet within Dan three and blew into that a little blue mixture. Then go back to those brown cells and add the halo blue mixture trying to blend those two colors together. And, of course what add the orange on top, where they should be in the brown cells. I'm feathering those out with a little bit of a damp, clean brush so that it blends into the color seamlessly instead of just having really hard lines. And just like before, we were skipping around so that we don't have the different cells mixing together. Continue to look really closely at the reference to see where there is darkness and lightness. It's easy to think that this is just an exact copy of the other wing, but it's not exactly just like your right hand in your left hand are not exactly the same. - Now I'm putting in our along the edges of the butterfly the little markings to show the white legislate doesn't just bleed into the page. Put that in just very delicately around the whole set of wings. Now, since we've have basically the whole right for wing worked up, we need to put in the admin. Before we get any further. I'm starting with a bit of orange on the antenna because I feel like I see that color underneath and black for the body. This is not going to be super detailed, but it's gonna be more detailed than the monarch butterfly that we did before, and we also have some little feathery bits were not going to have to put super tons of effort into this. But we want it to look like they're some little hairs coming out. So I'm going to show you how I'm going to put in a little bit more of that texture around. The white spot is really dark, so I'm putting in a really dark mixture of deigned anthem blue there and making this kind of Harry texture. The paint is not super dry, so it's not going to stay super duper Harry. But you're just going to get a suggestion of it. That's really all that we need here. And make sure to get those corners really duck. That's going to make a big difference to how the butterfly looks overall. Continue doing that throughout all of the hind wings, really, really making those bottom corners nice and dark. - Okay , And now really, we have all the basics blocked in, and it's just about really deepening those colors, adding, in deeper brown deeper glues, I mixed up the slightly redder version of the brown mixture. - See there you can see what I have to wet parts too close together and they kind of bleed, and I have to mop that up now with adding, these darker colors are really starting to see the saturation on the hind wings. I'm really just adding more of that failure blue. And on the four wings, I'm adding more of the in dancer and glue now the same way that we added that darkness to the hind legs. We're going to add that to the dark spots on the four wings, which are not as big, but they're still there, and they connect up to the ones in the hind wing. So let's put those in using really deep in Dan through blue and that area texture. Now we're just gonna have a little bit of a hair texture to that feathery portion underneath the abdomen and just use that same gray color, which we had made from the botanical black, uh, watering it down. And we're just going to make some nice flowing strokes. This is actually really relaxing. It's kind of like hair, and we're gonna take that same color and put it into all of the shadows so that we start making a little bit of form on the abdomen. It's not going to be super detailed. You're gonna actually see that it is a real butterfly. Now, The same thing that we did on the left four wing with doing the right for wing, really deepening it up dark in those hairs in the body with even deeper gray, Not quite black it. Then add that brown to the antenna. No, I'm going on the right for a wing and deepening at those dark spots. You're really starting to see it come together. And finally, we're going to get the vein. So what I'm doing here is taking a water down in Dan thrown mixture and putting it over those Baines and then blending it out into the cells during that on both of the four wings . So now it feels a little more like the hind wings because that's a technique that we use their, uh, Now we're gonna put in a bit darker of a color on the body, making sure to pay attention. Now we're going to just do a little bit of a wash on the wings because it's a little deeper towards the center, so we're going to take a bit of that in Dan through mixture and just put the darker bit of it towards the center of the wing and then blended out with a really, really soft brush so that you don't disturb your colors into just water. Doing that all towards the center. So it's really deep by the abdomen now, since I'm going to be doing some detailed work, I'm using some paper again. After that, watches drive, and I'm putting in the veins with a really, really, really deep in Dan thrown and question glue mixture and a really nice then brush will take your time. This can take a little while, but it's definitely worth it. - Just moving all the way across the butter five from the left to the right. Now there is a little bit of a shadow from the four wings on top of the hide wings, so I'm gonna put the in underneath there, using that in dancer and blue again. We're using a lot of that in dancer and blue, and we just got try to darken up that intersection of those hairs and then finally adding in just your grey black mixture onto the abdomen so that we get a bit of form like That's it. You did it 11. Painting the Right Forwing: Now it's time to work on the right for Wing will also work on the rest of the but if I in order to keep everything at about the same level. So we're essentially using the same process that we did before putting in the brown around those orange spots on the four wing and then blending that out into blue thisted time. I'm showing you a slightly drier technique because I know that sometimes the wet into wet can be a little difficult to control, so you can see how it will end up. If you use a wet on dry technique, you'll end up with some more hard edges, but it might be a little easier for you to control. And just like before, we're also going to put in those cells that are just blue, and we're going to start shading them with a little wet on wet within Dan three and blew into that a little blue mixture. Then go back to those brown cells and add the halo blue mixture trying to blend those two colors together. And, of course what add the orange on top, where they should be in the brown cells. I'm feathering those out with a little bit of a damp, clean brush so that it blends into the color seamlessly instead of just having really hard lines. And just like before, we were skipping around so that we don't have the different cells mixing together. Continue to look really closely at the reference to see where there is darkness and lightness. It's easy to think that this is just an exact copy of the other wing, but it's not exactly just like your right hand in your left hand are not exactly the same. - Now I'm putting in our along the edges of the butterfly the little markings to show the white legislate doesn't just bleed into the page. Put that in just very delicately around the whole set of wings. Now, since we've have basically the whole right for wing worked up, we need to put in the admin. Before we get any further. I'm starting with a bit of orange on the antenna because I feel like I see that color underneath and black for the body. This is not going to be super detailed, but it's gonna be more detailed than the monarch butterfly that we did before, and we also have some little feathery bits were not going to have to put super tons of effort into this. But we want it to look like they're some little hairs coming out. So I'm going to show you how I'm going to put in a little bit more of that texture around. The white spot is really dark, so I'm putting in a really dark mixture of deigned anthem blue there and making this kind of Harry texture. The paint is not super dry, so it's not going to stay super duper Harry. But you're just going to get a suggestion of it. That's really all that we need here. And make sure to get those corners really duck. That's going to make a big difference to how the butterfly looks overall. Continue doing that throughout all of the hind wings, really, really making those bottom corners nice and dark. - Okay , And now really, we have all the basics blocked in, and it's just about really deepening those colors, adding, in deeper brown deeper glues, I mixed up the slightly redder version of the brown mixture. - See there you can see what I have to wet parts too close together and they kind of bleed, and I have to mop that up now with adding, these darker colors are really starting to see the saturation on the hind wings. I'm really just adding more of that failure blue. And on the four wings, I'm adding more of the in dancer and glue now the same way that we added that darkness to the hind legs. We're going to add that to the dark spots on the four wings, which are not as big, but they're still there, and they connect up to the ones in the hind wing. So let's put those in using really deep in Dan through blue and that area texture. Now we're just gonna have a little bit of a hair texture to that feathery portion underneath the abdomen and just use that same gray color, which we had made from the botanical black, uh, watering it down. And we're just going to make some nice flowing strokes. This is actually really relaxing. It's kind of like hair, and we're gonna take that same color and put it into all of the shadows so that we start making a little bit of form on the abdomen. It's not going to be super detailed. You're gonna actually see that it is a real butterfly. Now, The same thing that we did on the left four wing with doing the right for wing, really deepening it up dark in those hairs in the body with even deeper gray, Not quite black it. Then add that brown to the antenna. No, I'm going on the right for a wing and deepening at those dark spots. You're really starting to see it come together. And finally, we're going to get the vein. So what I'm doing here is taking a water down in Dan thrown mixture and putting it over those Baines and then blending it out into the cells during that on both of the four wings . So now it feels a little more like the hind wings because that's a technique that we use their, uh, Now we're gonna put in a bit darker of a color on the body, making sure to pay attention. Now we're going to just do a little bit of a wash on the wings because it's a little deeper towards the center, so we're going to take a bit of that in Dan through mixture and just put the darker bit of it towards the center of the wing and then blended out with a really, really soft brush so that you don't disturb your colors into just water. Doing that all towards the center. So it's really deep by the abdomen now, since I'm going to be doing some detailed work, I'm using some paper again. After that, watches drive, and I'm putting in the veins with a really, really, really deep in Dan thrown and question glue mixture and a really nice then brush will take your time. This can take a little while, but it's definitely worth it. - Just moving all the way across the butter five from the left to the right. Now there is a little bit of a shadow from the four wings on top of the hide wings, so I'm gonna put the in underneath there, using that in dancer and blue again. We're using a lot of that in dancer and blue, and we just got try to darken up that intersection of those hairs and then finally adding in just your grey black mixture onto the abdomen so that we get a bit of form like That's it. You did it 12. The Swallowtail Butterfly : the third butterfly is this swallowtail butterfly. I love swallowtail butterflies, and I chose a butterfly with a bit more simple coloring so that we can focus on all of the advanced yummy texture building. Let's get started on this swallowtail butterfly. We're going to be using some different techniques, and you probably notice something very different already on the screen. I'm holding a *** pen in a pen holder, and I'm using that to apply Masking Pruitt. I'm using the Fabio latex free masking fluid because I am allergic to latex, and also it doesn't smell as bad as the latex version. And the reason why I'm using the pen to apply these markings is because I want to be really precise in these little dots that you see all over the butterfly, and that's a bit easier to do with a pen, then with a brush. Even with a super tiny brush, it's a lot easier to get these little dot firm ations and very consistent coverage with a pen, so I would recommend that if you have one of those, if you don't, you can definitely use a brush. Just be really careful to be consistent with all of your dots like So we're going to apply those dots anywhere that we see a dotted texture in the reference that's going to be the upper part of the four wings. And in between the yellow spots there and also in the bottom part of the hind wings. Those are going to be blue dots instead of yellow dots and just continue all the way across . All of doing. We're using masking fluid because that will allow us toe have these thoughts without necessarily having to use and extremely opaque paint over them. You could use watercolor over them, or you could use squash, whichever you prefer. So and also this late, we won't have to worry about painting around every single one of these little dots, which would be extremely difficult. - Now you're going to have to let those starts dry for at the very least 30 minutes. I really recommend a couple of hours just to make sure that they're totally dry 13. Painting the First Wash: Now you've let your masking fluid dry, and it is time for the first wash. There's not going to be a lot of big juicy washes on this one. This butterfly is going to be done with a lot more die strokes, but this is the moment where we get to put a nice, big, juicy wash over everything. This is going to be in extremely dilute wash. Of P y 1 29 green gold. You can use any kind of really cold, pale de saturated yellow here, and that's going to go over everything except for the abdomen. Try to make sure to get yourself some nice, crisp lines at the edges and work quickly so that you don't have any hard lines between anything and going for a nice flat wash. I like to put down a wash at first because it helps to unify the color so everything's going to have this little bit of a creamy yellow behind it instead of just being a bunch of blocks of separate color, which you don't want to happen with your butterfly like 14. Color-blocking: the next stage is color blocking, So basically, this is just laying down a plan for yourself so that you don't get confused with the next stage that's coming up. We're going to be doing a lot of fine work with textures and patterns, and it could be confusing to remember what part to be what color. So this is going to be a couple of extremely dilute washes that just let you know where the yellow should be and where the black should be so that you don't get confused. You want these to be extremely dilute because you don't want them to interfere with the layers that you're going to paint later, and you don't want any really hard edges between the shapes. So the color that is mostly going down here is what is called a botanical black that's a black next mix from other colors. In this case, I'm using a mixture of purely maroon and peril in green, with lots and lots and lots of water, and just go cell by cell painting in the dark parts of the butterfly until you have them all filled in and your colors mapped out again. Try not to make any harsh lines and try to get your colors nice and flat. I do. It did cell by cell instead of just a big wash because I wanted to make sure that I got with them should be in my painting as well. And once you're done with that, you have a nice road map to move forward. 15. Beginning Yellow Textures: Now we have a basic idea of our butterfly, but it's looking kind of pale now. We have to start pumping of the texture, but we're not going to do that with washes like we do that the last one. Instead, what we're going to do here is we have to use little strokes to imitate the rial texture of the butterfly's wing, which is full of overlapping scales so they imitate the scales. We're going to put these colors down and textures. I'm using P Y 53 here, which is nickel. Tighten that yellow. This is a nice cream yellow. It's appearing a lot brighter on the screen, but it's a pretty nice cream yellow, very similar to the yellow on the swallowtail wing, and at first it's going to feel like what you're doing is not changing the painting at all . But when you see the overall effect, you'll really see how it changes and brightens up those yellow area. As always, I'm moving from left to right because I am right handed, so I won't be smudging the painting if I move in this direction. If you're left handed, you might wanna work from right to left. And for this part of the painting, I also have a bit of paper under my hand so that my hand oils don't get all over the painting in these early stages. Oh, just take your time and put in your little strokes. Don't try to rest too much and make sure that your mixture of paint is nice and creamy. In the earlier painting with the red spot of purple butterfly, we use a lot of watery consistency. Paint that in order to get these thin lines, you're going to have to make sure that the paint that you mix up is quite thick. That could be a little difficult to do with pans. So if you do have tubes of paint, I recommend using that and just diluting the paint from the two slightly. If not, when you're trying to get this texture from a pan, take your brush that is a just damp, not dripping wet and describe your pan over and over again until a large amount of paint has come out. That should be fairly thick and able to make nice spin lines. If it's still too watery, try waiting a little bit until it dries out of it. We're scrubbing more to get more pigment out of your pan. Remember? Of course, to use a nice, fine brush and hold your brush at the very tip of the hairs. Thanks. 16. Beginning Black Textures: now we just finished with the yellow and we're going to start with a black and this is going to take a bit longer because there is much more black on this butterfly than yo. And for this section, I would encourage you to think about what kind of texture you want the scales of the butterfly wings to have in this 1st 4 weighing. I am using shorter strokes, so you get a more broken up texture. And in the rest of the wings, I used longer strokes. So you get this more flowing texture. Thank both of them have their advantages, and it really just depends on what kind of mood you like. You can see as I paint what they look like and decide for yourself what you prefer as you're going along, painting in the different cells, make sure to leave a gap between them, because that is where we're going to have our veins. Right now. It's fine to have a messy border. We're going to go in and clean them up later, so this is also gonna take a long time, so make sure to maintain the consistency of the thickness of your pain. It's very easy to just water down your pain and end up with just the cream mixture instead of a black mixture to make sure that you mixed up enough thick black, which is the same mixture is the sen one we use for the wash earlier. It's purely clean and pure Lehman. You can, of course, use a standard black if you prefer to do that instead of mixing a botanical black. I like to use the mechanical black because it's let more transparent and less granulated ing and easier to work with. And I can change the warmth and the coolness of it if I want to, - as you're going along feeling in those cells. Also make sure to make a sort of hatched edge on each of the yellow cells so that the two colors blend together. And so the detection resembles what you actually see on the butterfly wing. They don't have clean edges around the yellow dots. They have a ragged edge. Try to imitate that thanks and also, of course, make sure to remember that bottoms of the four wings and hind wings have a little circle of yellow, so don't paint over those way . - Okay , - This part was kind of fun to do. Listening to some podcasts or some music, because once you know where everything has to go and congest kind of let your hand do what it needs to dio like. 17. Deepening Textures: Now we have most of the basics of the butterfly plotted in. So what we're going to do from here on out, it's basically just deepening the texture, deepening the colors, making them more saturated, making them more vibrant. And, of course, don't forget those two little dots of color. I'm using ultra marine blue for the green and then a mixture of P 0 71 np 0 25 for the orange. So deepening the yellow. But we're not going over. The entire yellow dots were just going around edges, so it's going to appear that the outside is darker and the inside is lighter, and that's going to give it a bit of a globe. I go a little outside of the yellow into the black with us to merge those two shapes together. Good like again, you're going to feel like nothing is happening. But definitely by the end you can see the difference. But yellow looks much more saturated and more vibrant. - Thanks , just like with what? Make sure that your paint is nice and thick so you can get nice thin. Heinz 18. First Pass on the Abdomen: Now we're going to work into the abdomen of the butterfly. We're starting this now because you want to try to keep most aspects of your painting at around the same level of done. You don't want to be completely done with the wings and then start on the abdomen because then you can end up with an unbalanced painting. So before we go any further, we definitely have to get that abdomen in there. - We're going to use the same colors that we've been using. So I'm taking first that p Y 53 using the for the yellow hairs like but since the body also had a lot of darker colors, I'm darkening that p Y 53 with p 0 49 of it to make a deeper brown and also using that same black to start plotting in the black areas of the body. Think we didn't go too far here, But you get a suggestion of the Harry nous than the eyes and the whole abdomen, and that's enough to help us be able to continue without making a totally districted painting. In order to do the hairs on the abdomen. You can go over into the wing and also draw in from the wing into the hairs so that you can see the darkness of the wing peeking out underneath the light hairs on abdomen. That helps to give it some depth. Of course, we won't be able to put the light hairs from top of the dark part of the wing, though that is going to be part of the last set. When we do this painting, we're going to use some light quash to put some light hairs over the darkness of the wing. 19. Varying Texture: so we already deep in the texture of the yellow dots. Now we're going toe, turn our attention to the dark part of the wings, and the first thing that we're going to do is establish our vein so going in and cleaning up and making a dark line by the veins so they're not so fuzzy anymore. That's going to do a lot to meeting up the painting and start to make it look really like a butterfly. Make sure that that line is really nice and thin and not too thick, which means maintain your pressure and also maintain the thickness of the pain. - Like think now, after adding in your veins, wriggling to very the texture in each one of the cells at each end of the cells you're going then want to make it darker and particularly underneath that bottom. Yellow dot is going to be a lot darker than the middle part of the cell, with the lightest part in the four wing being that spot with the mask include between the two yellow dots. This is going at some variation to the texture, which helps the butterfly not look so boring and one color and it also helps to deepen up the black because we need the black to be a believable black. We don't want it to just be gray were streaking, so we're getting closer to a deep black with texture in it way. - Okay , - After deepening up all those blacks, we go in just a little bit to the yellows again, and we take that P Y 53 with peel 49 that we made earlier for the abdomen and add it to the very edges of the yellow dots, just going around them in a circle that helps to meld the black and the yellow a little firmer without muddying up the yellow color, like had in the texture on the on the little blue and orange spots. And then let's go back into the abdomen, adding a lot more dark black because in our reference photo, the abdomen is really dark and really black. But we wanted to have a little more texture and be a little less flat. So we're going to make sure to have each one of those segments of the abdomen and add in those really darks into the antenna and the eyes so that the eyes seem nice and round and add in some really dark dogs by the very Harry portion. And as you can see, it's really starting to come together and not look like just some destroy painted wings and body. They all look like they're at around the same level of development, and that's exactly what we want. We really started to get something that looks like a swallowtail butterfly, but it's just not quite there yet, so let's keep working. 20. Deepening Yellow Textures: so you might be surprised to hear me say that we are going to do the wash. But it's not going to be overwhelmed wash, because if we did that, then we're going to lose all of the beautiful texture that we've developed over all of this time. Instead, it's just going to be really, really gentle washed of P Y 1 50 over the yellow spots. And that's just going to make those yellow spots really glow. Make sure to use the most delicate and gentle touch you possibly can and try not to go over one area more than once because you don't want to disturb the texture that you develop in those spots. So hit it quickly and gently. Then, after that, make sure that you drag some of that same P Y 1 50 Dilute mixture over each of the veins because the veins will have a little bit of a yellow to them. Might not be able to see it first, but that starts to make the veins not seem like a part that's been left out of the painting but look like it's melding into the rest of the maintain. Yes, 21. Deepening Dark Textures: since we just did the yellow You know what's coming? The black. So we're gonna use just a slightly more watery mix. Not a lot, but just slightly more watery mixture to deepen those cars that we want to be just totally black and not have a ton of streaky texture. So that's going to be the very tops right around the edges of the veins and the very bottoms and underneath the yellow circles. - So go along and darken up all of those area until we have something really nice pen black by your there. Go ahead and dark and those orange spots Thanks. - Like way. - Okay , - that's not all we're going to do. We're also going at a bit of burnt number. Now you might wonder, Why am I going at Brown parts that are supposed to be like, Well, we already have a yellow, And if you're between yellow and black, we're going to probably end up with Brown, and the Brown will help to give a little more saturation to the black. So it's not just so cold and flat and separated from the yellow, and in the end, it's really going to read as black and not brown. We're going apply this not as a wash, but we're going to use the same texture that we were before, striping the brown all the way down to the yellow spots. And that's also going to help Give a little depth to deal of spots and make sure to drag that brown down between the mask include dots that's going to help get a little more stripey texture there, too, which is really interesting, like again, quite thick burnt number, and you're gonna make sure that you want a burn number that's not very green. Some burnt numbers are really, really queen. I used a burnt number that's on the warmer side while still being an number and not a burnt sienna or something like that. So very dark, very cool, but not so cool that it turns screen. And I think that really gives something to the blacks. - Like you can add that same break number to the abdomen to make sure that we have color harmony. You always want to use the same colors in as many places as possible because that really helps unify the painting in the same way that a wash those 22. Adding Spots: now, finally, it is time to take off them, asking who it So have fun running that off. If you have a rubber masking pickup, use that I don't have one of those. I'd issues my fingers. If you use your fingers, make sure that your hands are totally clean and have no oils on them. Before you start this little, you're not rubbing a bunch of whales into your painting. Now, once you clean off your painting, I use a little fan brush to make sure I'm also not getting more oil from the rest of my hand. And once you're done that that you can start painting in the dots. At first I'm showing you how you can do this with a brush. It's entirely possible with a brush amusing that same P Y 53 that I use before on the main of the yellow dots. But then I moved to a steel new pen because that's a lot easier. And really, all I have to do is add that very thick watercolor paint onto the new but and get going like Be careful when you're using a steel new because it's possible for your paint to drop out in the blob, so make sure that you don't have too much pain on your new. - So put in the dots everywhere that you rubbed away the mask include. But remember that the hind wings do not have yellow dots that they have blue dots on the bottom part. Instead, since the hind wings have a kind of light blue color, I mixed that ultra marine blue that we painted with earlier with some light quash. And I use that for the blue dots, putting them where they are in the reference photo in the bottom half of the hind wings. Now our painting looks really different than it did with help the dogs. Aren't you glad that you didn't have to paint around every single one of those? 23. Adding Hair: Now it's time for the very last part. Add hair. You can use that same people. I 53 that's been in your net and just started. Dragging out some hair in the direction of the air is easy in the records photo. Don't go too crazy with it. It's entirely cost will go too crazy because it just feels one after all, of that super tight control painting. But just be careful, okay, now I added a little bit more of the P 0 49 to make the there's a little darker and added a little darker yellow color. Then I started actually going in with that burn number to get a couple more darker hairs in there and that's it. You completed your swallowtail butterfly. OK, guys, did you make it? That was a lot, but within it were hit. If it's such a flimsy little guy, just like he would be in real life 24. Wrap Up: What Did We Learn: all right, we did it. You've got your own personal butterfly garden growing while you admire your work. Let's take a look back at everything that we've learned. We learned that you can paint a simple butterfly using a wet and wet technique. That quash can be added to a painting to get defined. Details where watercolor wouldn't work. When to use negative painting to preserve white spaces. How washes unify color Why a thicker paint consistency is important for sharper details and that a steel nib pen is an unexpectedly useful tool in watercolor painting. That's a lot of stuff, Great job. 25. Class Project and Thank YOU!: Thank you so much for taking this course. I hope that you had a lot of fun painting with me and that you were able to capture some of the beauty of the butterfly on your very own page. Don't forget to complete your cost project, which is to paint any kind of butterfly in watercolor. It could even be one that you made up yourself. I just can't wait to see what you create. If you have any questions or comments, please post them in the community section. And if you enjoy the class, please let me know where the review. Honestly, I read every single one and it makes me so happy to see them. And finally, if you would like to check out more of my watercolor courses and grow your journey in water color even deeper, I have courses on learning how to mix color and what a color and a special course in painting perfect porters, which will take you from zero all the way to being confident in painting any type of portrait. If you're interested in those the link in the description and also in your guidebook. Thank you so so much can see you in the next class by