Color Psychology: Creative and fun watercolor portrait painting | Aarju Sanjel | Skillshare

Color Psychology: Creative and fun watercolor portrait painting

Aarju Sanjel, Watercolor Artist, Youtuber

Color Psychology: Creative and fun watercolor portrait painting

Aarju Sanjel, Watercolor Artist, Youtuber

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11 Lessons (36m)
    • 1. Introduction

      1:24
    • 2. Understanding Color Psychology

      6:14
    • 3. Materials you will need

      1:18
    • 4. Painting the vivid background

      1:39
    • 5. Adding base layer

      2:17
    • 6. Defining the hair

      1:30
    • 7. Adding layers to the face

      10:10
    • 8. Blending background with the painting.

      2:26
    • 9. Identifying area of interest

      6:44
    • 10. Finishing the painting

      1:45
    • 11. Finally !

      0:38
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About This Class

The aim of the course is for students to be mindful of colours they are using in painting.

The background is a powerful element in any picture, which, if supported by the right colour will provide meaning to the painting. Also, the course aims to answer questions such as where and when to blend colours and why is patience important in watercolours. 

First, we shall look into colour psychology in detail and then will start the painting of Timothee Chalamet (the reference photo can be found on the resource section). By the end of the course, you shall be able to:

1. Identify colour psychology and identify the correct mood set by pictures.

2. Make interesting portraits that are striking as well as meaningful

3. Make backgrounds that blend with the portrait making it mysterious and creative

Meet Your Teacher

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Aarju Sanjel

Watercolor Artist, Youtuber

Teacher

 

 

 

I am a Chartered Accountant and artist that is passionate about life in general. I found that art is the way I want to express myself. Out of all mediums, I love using watercolors. They are uncertain but make beautiful patterns if applied correctly.

I have tought people from children to elderly and I have had the pleasure to learn from them too. I believe that everyone has an inner child with immense creativity. With proper guidance and practice, anyone can be an artist.

 In this platform, I will share tools, habits and techniques to reignite with your inner child.

I post my works regularly on Instagram, and Youtube, you can follow me there aswell !

If you are new to skillshare, click this link to get 14 day... See full profile

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Transcripts

1. Introduction: Hi, welcome to the course for creating a meaningful paint in it as importantly, establish relationship and harmony in the applied color combinations. It is an extraordinary skill that not everyone can achieve. In this course, we will focus on creating that valence and develop storytelling through the colour combinations and application. In my previous courses, I've addressed full method of painting a portrait. But if this is your first course with me, I will keep Color Psychology as my mean aspect and velocity thoroughly go through all the details of Beijing portrait. First, we will dive into policy. Then application for the painting I've chosen of Timothy Charlemagne. His facial structure is very defined and will be a great learning exercise to the course has nine core lessons. But we will look at these important question and I want to use you also think about this. Why do we choose where to blend? Second one, why is area of interest needed? Side run? What is the most important part? Is it patients? I believe that when you're done with this course, you are confident to paint and use the colors that were scary to you before. So let's begin the course. 2. Understanding Color Psychology: Before deciding color combinations, it is so important to ensure that their colors you choose go well with the mood and personality of the painting. A color harmony is important for every kind of art. Color compositions and moods are equally more important for films. Interior designing and fashion designing. They all have something in common. They tell a story and want to lead the viewers in certain direction of thoughts. So I shall quickly state all the characteristics of the colors. So looking at the color of red, it's about passion and anger and hatred. So when you look at the picture ds1 and death one, there's a lot of Shuang emotion that's about, I love the immersion of anger, some sort. But the immersion so intensified by choosing the color red. The second one is orange. Orange is a very happy colors. And using the color orange in the background, or even parts of their includes really, really uplift the mood of the painting it, or make it so much energetic and happy. We can see this picture has, or there is so much vitality going on. And it really reminds me of the chocolate that I used to eat button fun aside. The third one is yellow color. Just having one look at this background. Looks happy. There's a story about hope. It's about deceit and madness. The forest one is green. The green is the color of new beginning, abundance and nature. You can easily see that this so much freshness going on. The cream or ivory. And this color is really one of my favorite. So if you want reporters to have that feeling of pureness of elegance, then add that green color. So we'll see the next photos. It's literally so calm. And when you see that there's so much elements of cream, you get that feeling of almost meditative and spiritual. So it's so much com, and move on to the next one. It's tan, it really shows conservativeness and dollar. So this picture also hits the nail on the head of having that conservative feeling in the next one is black. So I didn't need to say much about this color. It's so much mysterious and it has elegant, and it also has a component of evil. So if you have seen a lot of error term movies, you know that the villains are almost always dressed in either black or whenever the villain comes, the whole scenery loops. So black, brown is about nature or wholesomeness and dependability. So, and I'm going to look at a Brown painting. It's easily gives a start. You feel and impression that the picture is very brittle grounding. I do not need to explain much protein as you know that the picture really look so calm. It also looks so responsible. So it also represents suddenness. Barber is about creativity roadie. And so as an artist, I really like the color purple because it's such a modern collar. And it's like electrifying and also it's so pure. And of course it resonates a lot with me because it's so creative and I like to use it a lot. So the takeaways color is about healing, emotional balance, and security. This is my one of the favorite color and also use the same color in this exercise. The color really looks so homely. So the gray color is very much moody and also conservative, and it holds a lot of virtue. So whenever you're painting someone who's a bit aged or bit older, then I really recommend you add competence of Greg. So now that we have looked at the main colors that I really like and are most prominent in Asia. I feel like I should also discuss some combinations. So I've chosen some pictures and you'll get the idea of what I'm talking about. The first one is about the code that's burning. Legolas are gray and yet, when you see this, it's almost like there's so much mystery to it. There's a lot of anger. Whenever we use this color combination, it almost sure that Moody and passionate and anger or even hatred. The next one is a collars and turns off puppet. And I loved S1. And it also has that a lot of creativity, a sense of royalty is sense of wealth and also stability and healing. The next photo I'm showing is this really colorful folder where there's a pug and there's a lot of rainbow colors. That's grey, orange, red, purple, and green. And this really shows that the colors are so much harmony is when you look at the picture, it's the colours are used in a way that's so much a inviting and very playful. So you can use this knowledge to play with the emersion and composition of a painting. And I promise you that this simple exercise little elevate your paintings and make it more personal, but adding meanings for it. So this presentation and grow now, we will go to the next lesson. 3. Materials you will need: In this lesson, I will quickly go through all the materials that you need. And what I've used. The first thing I use is called breath watercolor paper from Cass art, and it is excellent for my paintings. My masking fluid is from Windsor and Newton. You can also skip this because I just rarely use it. I use Filburn brushes in five different shapes. I recommend using weasel had brushes. As these are considered best for oil and water color because of its strength, spring and ability to retain its shape. So it hose a very fine point or edge. Another close competitor, synthetic brushes because it gives that fine points lines. And it's also a very smooth. However, it does not hold as much water as Louisa had brushes. I also recommend having to water jars in front of you so you can have clean strokes all the time. The photo reference will be found only source section. Let's move on to another lesson. 4. Painting the vivid background: In this lesson, we will paint the background. Firstly, for this painting, I've chosen blue, red, and green as my main colors. I will use the burnt umber and some cameo orange. I will play with all these colors to make new colleagues. So for application, I will first paint the background as well, help me understand the values more accurately. I will use background as a guide when identifying the intensity of colors needed in the portrait. Here, I will apply blue background layer by layer, intensifying in the areas that I need. And mostly experimenting with blues and greens to create Togolese. Using my large number it brush, I gently dip it into the color turquoise and purpley and into the palette. I like intense color. So I am dabbing my pan frequently to get hold of that rich blue and adding some ample amount of water. My mix is ready, applying gently in back and fourth position. That worrying a lot about precision. It's all about having fun, right? However, I need to make sure that I do not paint on the skin part. And I will let this rest. Now. Let's move on to next kicks in. 5. Adding base layer: After the background is try and makes the cadmium orange UX and some yellow ochre and add a lot of waters make it like consistency. Then apply to the whole of the neck and pace, applying it very gently towards every part of the skin that is showing. So let the area dry for a minute. And then using the same larger brush, I mix populate and Suilin, blue hue to my remaining Bluemix. It is a great way to have shown dedicated to warm or cool colors so that you do not need to clean the area again and again. Make sure not to add so much order so that the mix is 2n. Try to experiment yourself or kind of right, consistency would be great for a base layer. And remember that supposed to be pretty light. Actually purple is a very strange color choice for the hat. But I thought that it would really go well with the murder of the painting. And what I want people to look at. I want my painting to be animated, creator and almost alien like. So I say that is, we'll have that feel when I finally finished the painting. That's why it's so important for you to experiment. A base layer is an important part of the painting, and it can act as an contrasting guide for the rest of the work. On the pigeons are done in watercolors as an oil. But the fact is in oils you can actually change columns because once it dries off, it doesn't react with the other color that we put them on top of it. If completely dry meat, try and paint over it. But the thing is with watercolors, you have to be very careful with color that you apply because it will react to it. 6. Defining the hair: In this lesson, we are painting their hair is a part which needs to be laid carefully as it will play a great drone in adding value to the quality of painting. Like any other part painting, each need patient. So each layer needs to dry before adding the next. As I'm choosing a strong purple color for her, I'm treating it like any other natural color of hair. Just adding more values to build the volume. I need to make it soft at the edges so that it looks natural. Using number four brush as the strokes are thinner than before. Think of this like another block of color and using the same column mix, but adding lesser water than before. This is the principal in watercolor. Intensity you want to put into less water you have in the mix. And making strokes that are in waves and not stiff. Also making irregular shapes to make it more natural. I think you get the idea. Next, we will paint the face of the portrait. 7. Adding layers to the face: In this lesson, we are going to paint the sky. Most of the work of the Soul painting is going to be in this fastly and defining the lines of eyes and shadow part. So it becomes easy for me to paint on it later. After that, I mix cadmium red and cadmium orange for skin. Has deskilling. Speak. If you want to learn more on printings kitten, then I have a whole different course on desk. So please check that. I will paint the skin into Molly's. Fast. I relate a mix in the skimp except the highlighted portion, such as the forehead, which I will leave while it has been dry. And we add another layer of background as I wanted to be more intense. So adding more green two takeaways. I paint the background evenly. Using a brush for this will ensure that I shall not be bumped into details. This alley. Tried to add details will only make it impossible to paint quickly and with hinder any human realistic painting. The painting lag, unity and harmony sullied the details and using smaller brush for later stages in the painting. After the skin is dry, I'm adding another layer using a smaller brush. After the skin is dry, I am adding another layer using a smaller brush. So leave the details and smaller brush for later stages of intake. After the skin is dry, I'm adding another layer using a smaller brush. For precision. I use the brush in the direction of muscles and skin on the face. Notice how I'm using the brush and cheeks, and particularly knows it is quite similar to using pencil. The way of making strokes will give the hint of having muscles and add to the Realism. The only other color that I'm adding to my skin mixture is some popcorn mouth for the rosy cheeks and Nips. After carefully painting, leaving the highlighted bits. I'm ready to live it to dry. Using a number to brush. I'm painting the tiny details of eyebrows one by one. And then some outlines of eyes, nose, and lips using the color mix of background. In the next lesson, we will integrate the painting with the background. Okay? Okay. Yeah. Two. Okay. 8. Blending background with the painting.: In this lesson, I'm going to integrate the background with the portrait. For this, I'm playing with the color of portrait and that of background. I like to blend the background of the painting. And this allows me to achieve a dreamy, flowing painting that is surreal to the I. For this, one needs to make sure that the columns are bleeding into the skin one or the other way. So it looks like the background and portrait have relationship with each other. I have pulled a background into the portrait from the right side. The shadows are the same color. You can mix the color with similar colors and achieve an interesting effect. Firstly, after the first layer is dried, I did the same mix I have for hares. And using number fruit brush, I paint the darkest parts of the hes. Not very fine, but just about the breadth of the Philbrick brush. I am deliberately choosing the colors that are often background. This will give that unified effect. Do my painting, I want my painting to kind of dissolve in the background. As tacos and purple colors are creative, imaginative, and emotional healing. I wanted this painting to give that impression to the viewer, a sort of otherworldly experience. Then extending the color of hair on the background and letting my brush make a dripping effect by making lines and added Water Economics. So it drips down even more. Also, I'm using the same mix foreshadow pots. So the painting looks very much integrated with the single turquoise color. In the next lesson, we are going to define the painting. 9. Identifying area of interest: Firstly, I'm adding another faint layer on the skin with my previous mix of cadmium orange and yellow ochre, selected me to rest. I need to know the area of interest for this painting. For your viewers, it must be the place where you want others to look at fast. It can be the details of wrinkles. If you want to show the eagerness of a person, it can be the working hand and strong palms when showing the strength of anyone. Or it can be the delicate eyes. To show the softness or beauty of someone. You can even go further by adding background that have items that reflect someone, like flowers or fields or trees, or a place someone likes to. Yet, it is all about how much information you want to give to the viewers. Here, I want to show the intensity of gaze and the redness of the face that represents the youth, love and anger. For that, I use my smallest normatively brush and use the purple color I mixed before to create dark lines. I use this on the corner of the eyes. Beans in eyes and eyebrows. The iris are binded with precaution. As I do not want, unrealistic has on the same direction. They need to be on different directions that look more natural. I do not use black as it just kills the mood of the painting and it takes away all the fun in any Winton. One advice is to let the painting on full on its own and make very deliberate marks. The noise part is very pink, so I am using cadmium red GPU. For this. I have switched into using number to round brush as it gives me more precision for details such as eyebrows. I'm using the brush to make Angular mocks. That is in the direction the muscles are placed. So, so it shows how the facial structure is. This is one thing I learned with great Patients. The most important thing in watercolor is also to have patience with it. It is all about letting the colors do their job and giving yourself a break in between. Any glaze of color or mix of color need to dry first unless you want it to react with other layers. Overworking will only make colors look muddy and also weaken the quality of paper. Making muddy is also very intentional. If you want a certain place to have neutralist, then you can make money. Otherwise, overworking will only make it was in this painting, I take regular breaks to let the layers rest. Another thing to remember is to paint the inner part of the iss two and with little of that skin mixture as their skin inside our eyes, having blood vessels. Finally for that red, I add bubble rose and make strokes in the direction of muscles. There are no mistakes, just happy little accidents. In the next lesson, we are finishing up hinting. Okay? Yeah. 10. Finishing the painting: In this part, we're all having fun using the same intended color. Who makes more of filler green. Two takeaways. That gives me the striking color. I also add ample amount of water to the mix. Again, letting the color drip on its own to give me a dreamy painting. Adding that layer to the hair as well from the back and then towards the clothes. So it looks like the person is emerging from the midst. Would like the passion is inside water. You name it for you. It may feel differently. Whatever you feel kinda plays a comment after watching this. It really lends by me and others to make more amazing paintings. We have now finished the pins in part. Say in the next lesson, I will reveal the finished painting. 11. Finally !: Finally, our course is now over. So many ways to experiment. And I encourage you to go bold with colors this time, certain mood and play with colors that make you really happy. So please leave a question or do a review so I can answer them and look at them. Also, I would like you to attempt this portrait with your choice of colours, looking at the color psychology and post them. You can use the same colors as minus all. I hope you took something out of this course. So please stay creative and happy painting.