Botanical painting, Blueberries in Mixed Media | Victoria Diaz | Skillshare

Botanical painting, Blueberries in Mixed Media

Victoria Diaz, Teaching Art

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8 Lessons (1h 15m)
    • 1. Introduction

      1:12
    • 2. Materials

      5:32
    • 3. Drawing

      1:54
    • 4. First Layers of watercolor

      14:36
    • 5. Second Layer and details

      21:31
    • 6. How to apply cp part one

      13:23
    • 7. How to apply cp part two

      15:25
    • 8. How to apply cp SpeedPaint BONUS

      1:39

About This Class

In this class, you'll learn how to use colored pencils over watercolors to achieve a realistic and powerful look. We'll take the challenge from the first washes of watercolors to the last details in colored pencils. You'll also understand how to apply colored pencils and how much you need of odorless mineral spirits (oms) a solvent to manipulate color pencil pigments to create strong and colorful pieces of art.

Transcripts

1. Introduction: Hi, My name is Victor. Yes, I'm a watercolor artist based in to it today. I want to teach you how to a tip. Really Think using mixed media, especially you see what a cover and our project will be paying these beautiful blueberries . We will apply a couple of Washington's what colors to harder mix the colors we need, according toa reference picture. Then we'll see the color pencils way need for the project, and I will be using or less mineral spirits. That's a solvent that you can use with a rash to suffer your core pencils. But that's up to you if you want to use it or not, and we will work until we get that colorful and powerful realistic illustration. Self. If you're interested in this glass hit minutes unit and I'll see you there by 2. Materials: for this project will need what color paper I will be using. Hot breast turning just by 14 inches can use whatever we're cover paper you want, But I recommend you use hot pressed or the smoothest watercolor paper you can find because we will be using colored pencils. And if you have a rough surface, the God of Brent Seales won't work us. We wanted to scent of water colors for this project. We need some blues. French Ultra Marine. Oh, are just go to Marine Fork over blue If you have some purple like that existing proposal be nice. Are you can use a red. This is Sen earlier Red, but it's like, um, like a primary red to make sweet there and maybe a yellow toe paint the leads we will makes colors so you can have the primaries. Here we have these. You can add some purple, and if you want, you can have a green. I have green this I always try to make my greens. You don't need to get a full set for this project. You can just buy the tubes or parents of the corners. You want to use a couple of brushes. I will use a number eight for the first wash in the first layer on. Then I'll use this number four for little details masking tape Because we are going to take down our paper to this board. So our paper stays flat all the time. Clean water and paper toe. So this is the first part. The part with the watercolor painting. Now we are going to use color pencils that that I would show you right now. These are mine Favor color pencils. This are Lee Rembrandt Poly color. You can use whatever color pence's you want. The only color princes I don't recommend Are those schools great in a red box from our Castel? They are to what see, and they don't have enough call around them. But you can use the yo tow from lira or polychrome, most of Christmas colors, whatever you want. And we're going to use the blues. Maybe some. Maybe those like a little purple like that violet, for example, and the blues and some greens for the leaves way. We need a very, very dark color for the shadows in the fruit. That could be this sepia darks. CPR. Well, Maybe he's one base Cecil sizing name anymore, but I think it's the same 75. Yes, that CBS It's something very, very important. Is there white? I will be using this current dash White. This is all these silver letters are so hard to read. Buff titanium. You can use both titanium, which is nothing. Two white color for simply a white but a recommended use. A very, very pigmented white. Otherwise it won't show. For instance, the white from Lira. This one, this one is terrible. I love this set. I love this line off color pencils, but the white is terrible. You gonna just don't use it? It's not worth it. It's like using a blender. It doesn't have color. So you can use, um, the current dash or, um, polychrome doesn't. It's not to go. This one is not good. Um, the prisma color. I've heard that Bruce McCall has a nice white. So that's it. 3. Drawing: No, I have a clean drawing. And no, I'm going to light enough that graphite using these eraser. - It is very C to do, but it's it would be complicated to do with with with any racer like this one, it won't pick up the graphite, even be so. You have some erased lines on the other strong lines there. I think that, you know, and now we're ready to start with our first layer of weather colors. 4. First Layers of watercolor: now that I've clean my palette and prepared my colors, I'm gonna start laying over my first wash of water colors, as you can see, starting with the top left. You know, very with that very late wash. It's always better to start with a light wash and then at color than adding a little color from the beginning. Because if you would make some highlights Oh, are you? I used the wrong color. You you have a hard time recover in the white of the paper, so you better stand with a whitewash, and I'm painting the fruits that are not touching each other. So the color from it fruit done mix with the other, and since these are like washes, they will drive very fast. So once they both are dry, I can paint a blueberry that's in between them. I'll keep going like days painting fruit. There are not touching each other until there's nothing left and these first washes are dry . Then I can start painting the rest of the fruits. I made this video a little faster for for you to see, because if I made it really time, you will have ah, really, really long class and the part of the color pencils. I have a lot of explaining to do. So I thought the washes could be something you can watch in a faster Spain. Now I'm applying the layers off water corner, the first wash of water color in the fruits there in between the other two, because the other washes are already dry, even though I'm using the same color. But some of these fruits will have more intense tone than the others, so I prefer toe paint being in between the lines and not mix a mix them. The idea of thes of doing a couple of washes of watercolor first and then adding color pencil is that the weather colors are faster than Cara pencil, so you can cover a lot of area in a couple of minutes and for making an under paintings off some sort. It's very helpful that part of the painting got outside of the camera frame, but I'm just doing the same thing. I'm covering different with the that blue we mixed, and another important thing I haven't mentioned is that I'm brushing. I'm using my brush in the direction of the shape off the blueberry, so some parts might have some brush drugs alone. The the shape, and that'll help me to have some volume with my watercolors to make some volume and help the painting have ah shape. Those blueberries on the back will be darker. They are hidden from the light so they won't have much detail. So painting a dark wash that will be enough. And now I'm adding some details with a doctor wash. Since my my meeks for the wash off the blueberries is blue, I will use the opposite color in the color wheel That's orange to darken up a little bit my blue mix. So I have a darker blue. And with that Arkin flu, I will paint all the rivers that are in the shadows and that bottom of it blueberry. - As you can see, I'm kind of drawing in that ribery of the back, making breast strokes with shape off lines, some darker, some lighter to create some texture because the that way I will have those blueberries ready faster with a piece off paper towel I can with my blueberry and lift some of the color. If I want to make a highlight now this is in real time. I need to go darker in some areas. So I will be adding more blue and more off that dark blue mix in the parts that the blueberry circle of hidden Oh, they are making shadows. Um, using a brush that's kind of fake, kind of big. It's a number eight Princeton Neptune, but those Princeton iTunes have set a fine tape find point that they are so useful because you can work a lot of washes. But you can also painted tales. So this one was very helpful for doing the the borders, the contour off the fruits so they can get perfectly round. - Now I'm adding some details marks on kind of stapling, uh, using dry brush over the over the wild colors. Teoh. Help me build some texture in some Valium, but this will be the last touches with watercolor, and then I'll start working with core pencils over the blues. We need to finish the the branch, the stamps on the leaves, but for the blueberries, that's it for now, 5. Second Layer and details: Okay, Now I'm ready with my blueberries, fruit and the stamps and the brunch. So I'm going to prepare the green a few greens. I'm gonna put this aside. I like this green. I made it. You sing these orange on, you know, and days tell a blue Okay, so I'm going to makes, um, two or three different greens kinds of brings. All right, e. I prepared, uh, four greens. This one has more blue than the other two colors. Remember? I'm using this one's tell a blue red, a ranch and sanitary Elodie, which is like a you know, deep, you know, for warm yellow. Um, this one has more blue and yellow and a tiny bit of arrange. This one has blue end, a ranch in almost people parts and just a pinch of yellow. These has more yellow than this one. And this is a lot of yellow and a tiny bit really small amount off blue. So I will start painting with the lighter tone. Maybe a big water down, because it is a little thick here, Andi. Then I start started building up layers. I will always follow my reference picture until I get to the darkest. Oh, and after that, we are ready with the watercolors reporting my palate on this. Sorry. And my painting. I'm putting it upside down because I want the leaves to be near me. I don't know. I don't wanna be painting like this on top of the painting. I don't want us much or really anything, so I'll turn it upside down. That way. I will rest my hand on my are my forearm on the table and not on the painting. And I'm not turning upside down my picture because all I'm gonna do now is cover the entire leaves with the letter green completely. So, uh, I don't need to be looking at my reference picture right now. All I have to do is one wash. But right now I'm going to start with my second layer off work. Order for the leaves. I have my colors ready. I will be you seeing these three colors. This is the one I used in the first layer I will have at hand. Is three brushes in case I need to paint with detail. I can use these number two. If not, I might use something like this. This is, uh, 20 but maybe it's not necessary. So I'll have these three at hand here, my clean water. And I'll keep my set of watercolor tubes at hand in case everyone out off this mix, I can prepare more quickly. And, of course, my coffee. Put it over here, away from the water and I'll start painting the leaves. Since I just got here to the studio and I waas out running errands, the first thing I did was to wash my hands because I don't want to have anything on them that might ruin the painting. No hand creams on no. There from the outside. That's one thing. No, um, looking at my reference picture wedding. My brush always with your rash before start painting. I need help. You absorb better the water going around your father. If it's dry, it one So cut the were colors. I'm gonna faint. I'm gonna paint this one over here, and I need to be comfortable. So I do turn it upside down. He makes from this still looking at my picture. I have to go darker. - I'm speaking brushes. This one is to be just this number two. I don't know if you noticed, but I have, like, two different stages off, um, off meister and this lead here's dryer and here is more wet. I don't want to have marks my So I jumped me. Oh, don't be moving around is like dry brushing over what being too. And I'll see if I can live some the green with this brush. I'm not sure because it is very, very soft. You said, Can you need to keep it clean? And here were in the water, color his dryer. It's a bit harder, actually. I'm realizing I have my lines wrong, So I'm gonna fix it right now before the watercolors. Completely right. See how I can fix this quickly. - Right there. The lines that I need to draw. Let's a draw with Rush. The veins of the leaf are going upwards, and I was doing them going down works that wasn't about that was my mistake. So let's do this again. - Cleaning my brush, looking at the picture, lifting, cleaning, looking at the picture, how they I never beat this with with all the leaves, get just step to a point because there are some lines there so, so, so thin. I'm not sure I'm gonna be able to do the lifting there. So in those cases are considered using a pencil. Okay. Even now, I'm making lines through thick. And the other thing I want great is this one. It's too bright, But maybe I can work that with 1/4 pencils, so it doesn't look too pretty. It's like the address stage some artist talk about. But once this is dry, we can work on top with color pencils, and we can make it credit. And this same steps I did here, I'm going to repeat. 6. How to apply cp part one: right in. And this very some marks your darker marks. Mark, I have light here. I have a life here. So it's Italy's here for me. If I start you see one of News Corp. I wouldn't make sand. I will be making some most circles small. I would give me every texture doing this. But like this, I wouldn't have a strong contrast to my right blueberry spot. And I'm doing this circles very fast because I don't need to get a full cover off the paper because I have the water color blue them on the bottom. Then I have, like, some marks. Yes, marks here. But they are darker. So I need to apply, you know. Great. So this color help me make a transition from the darkest part here. In the light of one, I'm gonna some great, very soft here circles, shadow. And this part of the fruit is not a slight aside left, so it's probably very, very light layer of the same special person. Christian. I don't know how it's pronounced in Spanish is assumed that Drusilla. Now I'm gonna add white. I want toe hoping grand some of that light layer. So make it so almost like a blender. Keep keep a painting with circles I'm drawing, I say fainting the all messing all I feel like color pencils is a painting. Now I want to go everywhere here. But now I could violent, violent. I don't want to go over forward with fire that especially because this this blueberry is the one on the background. So I don't need to make too much detail Now the white Now I'm gonna blend a little with my brush because I told you this one is in the background. I don't want it to have too much texture very softly. And the colors will get really intense. They will feel the truth of the paper. So no grains will be left that night closer immediately. Because even though it says order, miss, I still feel a strong smell on. Sometimes my head hurts and I'm sitting right next to a window. And I'm not opening it. No, um, thinking of more these white? No, I'm almost burnishing. And I said I had toe some great in the marks to make it big darker. Call you so Mark here. I'm following the shape in the light the shape off beach fruit and the light right, because the shadows make some parts brighter. But I'm not following except same colors because, you know, I already had it, Violet. And the picture doesn't have Violet. I'm making it a bit more dramatic. So I have stronger life Gonna have a stronger Shino, and that makes it harder Contrast. I don't know more life cold This use fresh Mbalula. It's very, very strong. Lose. So I need to lend again. Mark, I'm gonna put the other looking and again overnight. Something great. The great thing about the onus on a good work on paper that you can get so so many layers. So many. All right, that's it for these. Well, um oh, I need to dark enough that the bottom off this part like the site graze us like more Raj. They're so I'm looking for grow. Yes, you. I make a mixture off this. And why don't up? Who said it's very dark? Because I have the blue corn around me. I was just in great Keep usually gray, small circles, very defined edges. And I have to make eye shadow because it looks yeah to add some volume. It doesn't have enough volume. Right? Go. But again, great on top. And so but just their sovereign That's left on the results. There. Now I want to this being your one Now I'm gonna make the marks so much here over here very softly. I want a flat in off the paper the truth of the paper because I went out more and more layers. Rundle lines mocks to see how I'm not painting the border because I notice there's some light in the contour. Then I'll be using white so I don't want extra layers corner offense. You taking the truth using it to year? You know all of these marks I will add gray on top because they are not just blew us amusing. But I said I didn't have Ah, they're like an indigo. So I have meats and that is just fine with me. It's even better because you learn a lot. No, I think I'm ready with my marks. Um 7. How to apply cp part two: I need to pick up around a couple of browse to read the details inside. Try to use the same. I don't wanna have a too broad a collection of corners, a good mix. So this one tends modest romper. It's more, you know, we brown. So I need another brown. That's more, um like right. I could see if this one works. Yes, here's to. This is, uh, burnt sienna and rule number here is dark. So this one is further then then the other one. So I'll allow the texture too. Be there and try not to blend it too much with the women's and the circles also helped me to get that texture on blueberries have. See, I'm making their circles a little bigger now and in the direction of the shape to get that delusional volume I need to dark in there. Those marks before I lose. Yeah, finishing this blueberry, I'll stop. I will have to sharpen my pencils again. And so I told you, they lose their point very, very fast and I'll come back to the rest on. You will start painting yours. It would be so cool if you share with me some of your painting. The stage is your painting. Maybe I don't know to see, uh, your approach, how you did it. What did you do differently? What do you think I shouldn't be doing? That would be nice feedback for me if liked something more than so feels color. Paseo is a slow techniques, especially when you're working and realism. So facial patients is invoked. A lot of fish I've never done, um, a car offensive base bigger. Hyundai's let me by 40 because I always think I'm gonna get stuck for a 1,000,000 years painting these work and I will never finish. And it'll be super challenging to keep up. So I've no time it. And that's why I prefer watercolors were faster. Even if you are working in realism, Watercolors are way faster. Car pencil for all painting I find out of 20 0 no as well. You have to wait for layers on Mr Painting a pre mom all in one sitting. But they could never find the time to paint a prima. All right, marble. I'm losing the blue way aren't too marked Great. But you know everything can be fixed when working in layers everything has a solution, you see, Haven't deep my brush again in the soul went to the oneness. I'm still using what's left in the brush and since I'm always of lending the same colors, I don't need to go and clean again. I'm softening and I'm letting the pigment get inside the paper thanks to the only mess. And now that it has a bit of ah Loy stir because of the oh, I miss I will use that to get a core offensive on top and it should be stronger. It kind of melts. Buster kind of taken more of our artistic license right now. I wanted more dramatic, so I'm not looking at the reference picture as much as I did before. This has toe stature. You said. So I'm stopping. You see, health may suffer not just the right amount. I need more blues here. And this part is also white. No, I'm not doing circles to several like lines very, very gently. I don't want marks there of strokes, no repeating the same stuff. I just and here what? You It's that good. I need that grows just just just on the inside. I have a white later spoke tonight on the one I don't want that quite like to be a straight line. So I'm something in the edge with my brush and no markings again because I lost them. No, I'm not being so careful. We have a lot of arguments. So it's kind of mounting and its getting darker, strong. I'm in the stage of, um, burnishing. I'm a blame of pressure because I know I'm doing the last layer that'll get me a stronger corner. I'm flooding the tooth of the paper on. Probably won't be able to put any more layers on top. But I don't need any more layers, and that's fine. I don't burnish too often because it's too hard in the wrist. Rather used over my suppose sometimes there. Now I need so contrast nights would be such a from this one is stronger than these one. And I made him the same. So I need to tone down this one, uh, small, soft layer of white. But I'm not gonna burnish on. I'm not gonna use going this just so Some circles were evidently Yeah, on another circle. So here. And I need to go dark in here. That's not enough. So I guess I'm gonna have to use of a black are a doxy. Pia, What I have here have a read media. Okay, I'm gonna use that. Arencibia. I try to avoid using ladders. Two too strong. And it's time to take Buck. - Here's whiter. There's dark again. All right? I think that's it for now. 8. How to apply cp SpeedPaint BONUS: