Exploring Sunlight Effect in Watercolor | Fitri Kamila | Skillshare

Exploring Sunlight Effect in Watercolor

Fitri Kamila, Watercolor Artist

Exploring Sunlight Effect in Watercolor

Fitri Kamila, Watercolor Artist

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11 Lessons (1h 18m)
    • 1. Introduction

      1:16
    • 2. Principles

      4:09
    • 3. Light Streak

      6:19
    • 4. Supplies

      3:24
    • 5. Project 1: Mountain

      9:18
    • 6. Project 2.1: Sunset Pine Trees

      3:37
    • 7. Project 2.2: Sunset Pine Trees

      12:50
    • 8. Project 3: Dense Forest

      12:04
    • 9. Project 4.1: Morning in Countryside

      12:46
    • 10. Project 4.2: Morning in Countryside

      10:54
    • 11. Thank You!

      1:11
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About This Class

Painting a sunlight effect with watercolor is something that I really wish I could do back in the days I started in watercolor. It took me months to be able to paint it, but now, you can make it in just less than 2 hours!


In this 78 minutes class, we will learn about how to make the sunlight effect pop in a painting; by starting from the very bottom, what are the principles, when is the perfect time to add the light streaks, then do four handpicked fun and easy projects related to the topic. Eventually, you will be able to implement these principles into your own creation in the future.

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Meet Your Teacher

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Fitri Kamila

Watercolor Artist

Teacher

Hello, I'm Fitri Kamila. I am a 19 years old artist based in Jakarta, Indonesia. I've discovered that I am so into art, (especially watercolor) when I was back in Junior High School, about 4 years ago. The process was so slow but I'm getting there! I love flowers, but been trying to paint landscapes and handlettering at times, which I wish I could teach some in the future!

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Transcripts

1. Introduction: Hey, guys, My name is Federico Mvula. Welcome to the class. Today you will explore this on a defect with watercolor. As you might already know, working with watercolor is completely different compared to other mediums like oil or acrylic. Because instead of going from doctor like in watercolor, you work your way around, so it is from light to dark. Therefore, creating the Senate effect with this medium is kind of freaky and needed a deeper understanding and observation because you can't reverse the whiteness of the paper, even if you have a white watercolor painting. Unlike those two other mediums, where you can just put lighter color over a darker paint in watercolors, you can't do that. So that's why I create this class to make it simpler and more approachable for everyone. The governess class is not just about creating a network, and that's it. At the end of the class, I wanted to be able to master the son that if I given if your future references that that have any sunlit effect from it, so without too much talking, let's get sorry 2. Principles: in order to paint a really good sunlight affect watercolor painting, you need to understand a few things. The first thing is that is really, really important because it reminds the rest of the point is the light source light source . You already know that we have one son, so there is always one light source unless you're painting a an alternate universe where there is more than one son. But in this case, I'm going to you. Just use the one light source on Lee. Let's take a look at this painting. Thies to Theo. Difference between the two is just this one. Have a son. This one doesn't and it really changes the atmosphere between the two painting right Because of this tiny dot in the center, it changes the surrounding colors off the object near the sun and the shadows. But in this case, in this particular painting, it only changed this running colors. Let's see, that's three over here in the three right here and a whole sign here. The color change. It goes from cold blue and then goes up to read and write yellow. Why? Because it is the closest to the sun. Same like this one. Let's take a look. Another example. This'll painting. Same like the previous one on the change, the color, the color surrounding it. It doesn't have any shadow. It doesn't have any light street, and that's it. Let's see another example. This this. When you see this painting, it completely erase the tree trunks because off how bright the sun is, and for this one, it creates a shadow. This this large objects in here and the sun. Here it just create a strong shadow that goes thorn that way. Let's take a look. Another example. This painting. Like I said in the beginning, Son changes three point shadows, colors, Running Dog, Jek and light streak. This one only changes the colors, and it has one additional feature. Fled Street. But this doesn't have a shadow, but this one has it all. It changes everything the color surrounding the sun shadows and let's streak over there. In order to paint the successful sun rays effect, you need to take a look at three main points where the sun is where the shadow is heading and the colors surrounding the sun Okay, we can now continue to the next part 3. Light Streak: Okay. The question is why Light Street this so important? 1st 1 is because the subtle effect will look more distinctly brighter in the 2nd 1 It makes everything just look better. That's an example from here. E get to What can you see from these two paintings? This one have a more definition to the light streak. It is sharp, and it is like popping, so it creates the effect that the center is really, really right. But this one, let's photos of this one life story gets kind of week. It's It is really weak. You can barely see it in the camera. So in some cases I don't have lights streets on. But when I do that, it looks like the eyes more to the center of the brightest part. And the perfect time to put your legs light streak is when your paper is to what? So basically it is just like lifting out the paint that you just push and it takes a lot of practices and consciousness to do this often times I just forgot about it. Okay, Here, I'll show you some example. Okay. I already stated in the beginning that the perfect time to do the lifting technique is a wonder. Paper is don't wet. But are we just really want to show you what will happen when you do it. If the paper is them and really dry, like just do a comparison between the three and this is gonna be really interesting. So you don't forget this important stuff when you want to leave great painting, I will start working on the blue one, the one that is still wet with my clean them fresh, Gonna make sure it is clean. Every time I lived out the pain by raising it a bit in my water and write a little in the paper towel or old front brake like I using here, just make sure it is clean and them not too dry and not too right and then to make the whole thing is your make sure that you use ah, synthetic brush something that is really cheap and really springing. And since like this, let's see what happens when we try to lift up pains from down paper with a damp brush and then you slide it across. It doesn't really have that much of fact, but you see that there's a It tends to release more water at the end. But sometimes I also forgot that I have way too much water. And what happened when you do that? It creates Waterworth something that you really don't want to appear in your paper. Something like this. It creates a really hard edges around the corner. We don't want that in here. Okay? No. Move on to the one on the left. Dr. Pains, don't. Brown. Can you do it? Let's see what happens. See, my my brushes down. Try one more time to time. Three time. It doesn't much. So what can you do is it's just put another layer of colors. Okay? Not right in here. Do this one more time. It is a fixable problem. But the result obviously won't be as good as if you did it. While the pains first a wet the resulting like streak one best bright. But well, it is the look decent. So just make sure that the paper is still wet. All right, on. And we can go to YouTube and export 4. Supplies: When it comes to watercolor painting, you already know. What do you need? So it's always the same paper brush pains. And for this project for this class, I will use Chinese brushes, one synthetic Dylan brush and one natural squirrel here more brush and also some pencils and a razor. And for the paint, I will use Jello purely consent. And for the paper, I will use arches and go home. This to paper for me are the best paper quality I can get. And you should find your own best quality paper. He can possibly for chase, because this the base foundation of your painting You don't want it to use the lower quality one because it will affect the final result. No matter how good your pains are, no matter how expensive your brushes, you use a cheap paper. Local paper. The end result will not look good. These are the essentials. And for the additional tools, I will have some ceramic pellet. These are actually just a regular dining plate. And I guess this is so much better than a plastic political appellate. So yeah, and then I'm also have a spray bottle and then forget the paper towel or scrap fabric like I use right now and then off course. Don't forget the water bucket. This container approximately can hold up to three liters of water capacity. This is really great cause I don't like to constantly change the water when it gets murky, And I'm just generally a lazy person. So larger bucket is mine, too. And some tapes? Just your regular Really cheap one tape. I mean, get the chief is possible. These air, like two cents and where I live thing, That's it for everything. Let's continue to the next part. 5. Project 1: Mountain: all right. Dumping your people are slightly and spread it evenly with your brush. If you had too much water, you may wait till its rise up a bit before you begin. No, add the yellow deep. Take it from the pen, and don't forget to mix it a bit. An appellate and apply the color on the paper, loosely creating a hall circle shape surrounding an invisible son in the middle. Just keep adding colors while occasionally switching between colors and just water. Also, don't forget to add the lighter yellow tone closer to the center. It is advice. Make bigger clouds and over part of the sky to give the illusion that Theo area is closer to the eye, while the lower part off this guy is further away is so far behind. Now I'm adding Rose matter. Just put that on my palette and mix that with the yellow D and just put that on the paper everywhere. And keep in mind that the upper part must be bigger than the lower part, just sometimes wiggling the brush and maker flat wash broken flat washing here and there - with your clean brush. Now let's clean the edges around the sun says, like just go over that area and blend the colors so it will be smooth around the corner. And now I'm mixing dialects is in violent with a little bit of prose, mother, and just wiggle that color on the corner, off the paper and at some more. And now to get a darker shade of then to get a darker shade of purple, I will use to get a darker shade of purple. I've ill used Dusko Violet by Fenical and put that in some corners around ah, purple around the purple clouds and after the whole thing dry, I will move on to start outlining mountain using rosiana. Leave the part that is nearest to the sun on touch and using them fresh sultan out the edges near the sun, dark in the areas as you go down in here. I am mixing no rosiana place up green to get a deeper color. Good, bad bamboo green as well. Also, burnt Sienna burn Zanna is, honestly my favorite color. It's so versatile, and you can literally use that Sandy Colorado still would look good. Just keep at that mixture as you go to the lower part. There will be more burnt sienna than those up green and bamboo green, so it will be more like brownish green. And don't forget to make a light streaks using your most stiff brush. As usual, I really used the and in here I am using my synthetic Nuland hairbrush and just lift it up quickly. Okay, After the previously dry, we're going to start a new layer again and just darken the color and giving more definition to the previous layer. Now I'm mixing sap green with black and at a little bit of the night brown and just go from the bottom with red on dry technique. Dry brush what paint and then slowly moving to the top. But now I'm betting yellow poker as well, and I want the left side of the mounted is darker than in the right side, so I'm adding more Oakar and no yellow on the left side and then blending the colors. It's that green and black. Make sure with poker. No, I'm taking rosiana and yellow joker slowly work my way up to the top and add yellow light as well, then just makes the colors blend all together. It's a lot nicer if you use, they gotta brush. Like doing here now to lift out the pain toe. Make a like three. I am taking my synthetic fresh and just lift out some of those fresh paint with the straight motions. Do it multiple times. Clean the brush after every stroke. Make sure that it is straight and not wonky, so it will appear more natural. Way have it. Let's continue to the next many painting. 6. Project 2.1: Sunset Pine Trees: you. Hello, guys. I am glad they're still around. We are going to create the in famous pine trees painting. You're not a true article friend. If you never tried this kind of fainting, I'm going to use this girl here. Brush and start from the lightest color, which is Elodie. Put that into the mixing palette and at a little bit off you the light to and applied it loosely to the paper until everything is smooth and nice with the horizon till stroke. And at Caracara and Rose Officer that it some more on the corner. And then I will add color blue to create a purple from the correct rose. Have you noticed are some hair and my paper is because I use Chinese brush to to spread the water in the beginning. But that doesn't matter because we can lift it out once the paint dry. Then at the darkest shade inner painting, which is the desk filing life at home. When water Karpin's dry, the colors will be lighter and brighter than when it was wet, so you need to build up the layers because sitting great pains has less present age of figment in it makes them less situated unless pigmented in the artist's version. But don't be discouraged. Just at two or three more years, you could have fun by experimenting with different shapes of clouds in here and there. So are you ready? Let's meet me the next part to paint the treats. 7. Project 2.2: Sunset Pine Trees: So after the paper dry, I am going to spray the paper again with the spray bottle and spread it evenly with the Chinese brush. And then I'm going to take the yellow deep and mixed it with a little bit of the light. Make a pine trees and a doctor value with owns an orange blend and evenly, and the bottom should be darker than the top. So I'm going to do to Israel, adding darker orange in here and there. - Get that orange color onto orange in this case, and then I mixed that with thanks is in violet to get a nice, deeper shade of orange and put it in some off the trees to make It has more dimension, and after that I'm going to lift out some of the pains to create, like streaks using this, the very same brush I've been using to make the trees. - After the previous slayer dry, I am preparing the black pain. The man, of course, yellow light plays yellow deep, mixed those two together and create another trees. But this time, Miss Towler and way the technique wet on dry, dry paper but pained and then adding darker color as we go down and further away from the sun makes the black with the previews orange mixers that we have before before we finally go in with with that pure black paint left on some of those pains, put more black in there. Basically, this is just the same thing to me and just keep remembered further away from the sun, the darker the colors and the closer it is to the sun, the colors will get brighter and more were just for comparison. The next 0.3 will be made using Chinese brush. - I leave some of the left part of the tree empty because I want it to put warm colors in it. Now I'm yellow and orange mixes. Put that in there and don't forget to left out some of those pains again after that Later dry. I am moving on to the left side of the painting, and it take Need is basically the same, so I will just leave you paint in peace. I hope you enjoy. - And for the final touch, I will add some birds in the sky, - and that's a wrap 8. Project 3: Dense Forest: Hello. Everyone in this project will use benefit. Color is only starting with rosiana excited repellent and applies it a paper diagonally and a permanent yellow light to the areas near the top. Right core after that, with your clean brush left, so those pains to make the edges soft and smooth. Using the same technique, apply a very diluted sat grain near the bottom left corner and a little bit on the top left corner. And while the paper is still wet, I will mix ivory black sat green and a little bit off loser and crimson together as the forest floor applied out to the paper vertically. I suggest you to do this quickly. So did witness of the paper were being the same, preventing unwanted hard edges and blooming. When you're done with the first layer off the forest floor, quickly make the treats runs in a distance by using a diluted, burnt sienna. The blurry effect is what we want to show you. So do this when the paper is still wet. - After everything cooled down and dry, we're moving to the next layer and with the synthetic brush, I will make the treats wrongs in the foreground. We will use burnt sienna and Rosie and together just a lot less water and more pigmented. Draw the three throngs with your foot brush, no pigment, just water and then at the picnic on me on the left side of the tree. We are using work on your technique, and when you're done playing the colors, don't forget to blend in nicely on the right side, saying with the previous one. Just make a line with water. But this time, instead of using burn Gina, let's just use yellow light and then at the burnt sienna Onley near the lower part off the trees. And from there I will erase some of the colors on the tips of the three so the trunks will completely disappear in some part because of the bright sunlight. Just keep going until you reach to the very left of the paper. Remember to spell. Repeat after me diverted away from the sun. The doctors. The color would be and blend the hard edges on the right side, using just water. So basically you will get the same result, but with a little bit of a twist and a different technique. This time. Threes and nature are never perfectly straight, so allow yourself to let the brush move Booze lee for the trees in the distance, Just add more water to the color mixture and make them very diluted share and apply that to the paper with a different tonal value and various thickness of the truck. Okay, let's add another three in here. - Let's start in a few spots using burnt Sienna makes with and I crown Justin here and they're gonna too much now there as well. Don't forget to smoothing it out. And then I want to have ah, pure black tree drunk on the far left. Then at the branches, make sure the branches are the same color as the three Thrones. So in here I'm using that Van Dyke brown and, like on the left burnt sienna for the middle trees. Just keep adding until you feel satisfied. No, let's go back to over for us, for we will use the same mixture as we use. In the beginning. Every black site green and a little bit of a lizard in crimson makes them all together and then apply that to the paper. The same the same way we did that the first time. And don't forget to blend the hard edges by pulling a clean, damp brush from day inside to the outside. Just keep going. And now, for the final touch, we will add leaves. I want you to get the least expensive brush you have. In this case, it will use Chinese fresh, but if you have their foot brush or a stapler brush, you can use that instead because that brushes were made for this exact purpose. Let's start from the middle. I'm adding Rosie and into the mixing pellet and mix that with a little bit of the van dyke brown on the left and just makes that until your brushes fully covered with the color and then literally punch your paper with the brush. This is why I want you to use your least expensive brush because you will not feel guilty. Vote punching the brush to the paper, this part blood to move on to the right, I'm adding permanent. You light into the mixture and just use that color on the right side of the paper. Remember, you have to be a rope in this so it will create that really irregular and wild texture for the trees on the left. You can use the same pain to use quarter forest floor and make your on a lot of been like prone in it. Just give to this until you feel satisfied with the result. You can Vegas multiple times, maybe two or three layers. For a very final touch, just flick your brush to create that splatter effect. Far you can manually added one by one. 01 more thing. If you accidentally create a watermark like this, just erase this using your damn clean brush and you're good to go and that's it. The whole painting is finally done. 9. Project 4.1: Morning in Countryside: Okay. Hello, guys. So for this project I will use are just watercolor block pad and just opening up. And what The paper? First, we're going to work with the weapon with taken eight for this guy using caracara and rose yellow permanent deep and couple blew it. Also some permanent. You liked this makes toe Quinn rose print rooms with permanent deep and applied that Lucy to do paper. And now I'm mixing global blue and applied out to the right side of the paper. You don't want Teoh have a crazy looking sky because we are going to focus on the object, not this guy. So keep it simple. No, I apply a little bit of your the light under the what happened Rose Apply some more of cobalt blue like lift out some of those pain near the yellow part While waiting for the upper part to dry. We are coming to work on the dress. That's the base layer. I am using sap green and black and some other crimson green and a blizzard crimson and from India, Cotman while the black one is from my ankle and just play that on a dry paper and we're diagonally it over to the center and drag those colors from the inside to the outside because we will feel in that areas with. Now, let's go back to the upper part of the painting. We will start with the mountain and let's prepare to come in first. No, I'm mixing permanent yellow light plays on some orange mix those two together and Rose mother and dusk a violet. It is actually very easy to make the mountain. It is just a bunch of vertical lines with no details whatsoever. And don't forget to leave gap between the two between the Yellow Mountains and then continue with the rose matter mixed with yellow before finally putting the desk a violet on the bright side of the paper. And don't forget to blend the gaps and the rest of the colors. Just blend it, using your damp brush, and then you're good to go if you blend too much and erase some of the pain just at them again. Now let's catch the house. I will put this catch down below so you can see what it really looks like. And then let's start making the bushes spray everything and make it wet, but leave the house untouched. This area should be really light than the rest of it. And the area around how should be darker. So I'm switching my palette again. So as the base layer, I would put sub green makes that mixed that and quit the colors around house. You gonna make sure that you don't touch the house because we will leave the wall white? I had a darker color they're using the previous makes us we have and blend colors were just clean version. And then I'm adding Rosiana. Put, uh, under the Yellow Mountain so it doesn't have a hard edges. We want divers leaders to be just blurry, and then I'm adding permanent. You won't light under the yellow part off the mountain. Just imagine that there is a circle in your paper. The inner circle is filled with objects whose color are affected by the sunlight, so their colors shifted to the warmer site and always yellowish, while the odors circle are the one who is less affected by the sun, therefore, make make the colors in this outer area darker than the one inside the circle. Now, after we finish with the base layer off the trees. Let's to go back to the grass and add some sunlight. Effect on it, so I will grab the Roseanna, put that into the mixing ballot and call with my entire bristles with the paint. Remember when we do the green grass we painted from the outside to the inside? Now let's do the other way around. I'm moving my breast passed from the inside to the outside. Don't change the direction. Will adding colors to digress. Rosiana should be from the inside to the outside and vice versa for the sap green mixes. The sun is not exactly in the middle, so the area near the house should be the darkest. Spend the rest of the painting after you finish building of the grass layer. Let's take a break for a minute. Before we finally finished the painting, I will see you in the next part 10. Project 4.2: Morning in Countryside: Hello, friend. I'm glad you still stick around. This is the final of the final reel. Continue with the previous mixture off dark green. We already have an appellate. Then apply that on the very right corner next to the house. Good. And remember to leave the house untouched. Oh, then removed the pigments from the brush, smoothed it out the top. And enough to do this Using your clean them brush applied the area where the bushes and to re supposed to be, which is a little bit of water, and put pine trees with the red on red technique the same way we did the middle ground. Pine trees on project to you may dampen the paper again if you think there's not enough water in it or if the water has already dries up a bit. As we get closer to the sun, I'll have Rosiana and but that they're just continue making glory. Pine trees in the background, while keeping in mind to keep the area near the sun, has a yellowy toned that waiting for those two dry that's jump to digress again. Well, the grass is actually already done, but we have to build up the leaders to get a better result and more Pickman patient. The colors are to say we will use all green ivory, black Eliza in crimson, also like the same. First part will makes those street together, then applied to the same way, starting from the edge of the paper than to live up the brush quickly to the center for the shadows. Next it house, I will use ultra Marine blue, added with a little bit off IRA black kind of those with water and put the colors nicely under. The right side of the house is very thin layer of colors. Then we will just continue building up the grass layer. And if you accidentally added way too much dark colors like this, don't be mad. Don't be set. Just grabbed a lighter version of that color, blend the edges and then lift up Texas paint. Then we're going back to the trees. But before that, make sure that the previous layer is completely dry. Oh, e occasionally put burnt sienna or arrange our a little bit off permanent red just to give them a color combinations or you want look boring. Just apply to colors and keep. Remember, do not put any colors under house, and then slowly direct the brush to the center. Slowly work your way up to the left side of the paper in here. I'm still using sap green. Create a nice straight horizontal line. Yeah, and add a little bit of red just to give them a drug or green in there. You can have fun with the application. We thought you might punch the paper with your brush just like the leaves in the third project. Or you can stroll your brush to get on interesting bushes. Texture we got out of green, makes us ready. And put that on the left side. But let's make the bushes on the left side. Stuff for what? A few centimeters. 10 to 1 on the right. Okay. Remember, dispel before they're away from the sun that that car colors would be. I know you're tired of me saying that all the time, but trust me, that spell this magical, so don't forget it. - The bushes air done. Let's go back to the grass again. I really hope I don't cause you to have a headache, cause I keep making you go back and forth between the bushes and the crash and just kind of like keep building up two colors to give them an even more definition. Now we're almost reaching the finish line. Grab you burnt sienna and start painting the roof and please left the roof on the right side untouched. Also, don't forget to pain, uh, thin, lowing our fruit on the left side way. Want to do with the right side is to make spurn Shana with yellow light, and that makes them together and apply that color nicely today and touch part that we left behind earlier. This gives the effect that the right part of the room is glowing bright because of the sun shining through it. Then, before we add some more finishing touch to our tiny little house, let's add details on the bushes by creating branches with men like brown, just like the color directly from Japan, and use water on Lee to melt the colors from it. Don't add water again after you put it on the palate. We want them to be bold and pigmented. At this point, the roof might be slightly wet, so let's pass the time by adding a bunch of flying birds in the sky using the dark purple life over we have from the mountain. Finally at stake, ultra marine blue from the palate and diluting with a lot of water and then apply that Onley under right side of the wall and leaving the front wall white. And don't forget the left roof. You need to beat up shadow, too, and there blessed Let's at the door. Using his friend Mike Brown, create a small horizontal line and one vertical line on the left side, then blend the colors down, shaved him into a rectangular shape and keep the corners sharp. And that's a wrap. The whole painting is finally finished. 11. Thank You!: thank you so much for taking this class. If you happen to paint along with me, Congratulations. You have made four beautiful paintings that I would really love to see down into Project Gallery. If you have some difficulties, do not hesitate to ask me. Don't in the discussion section as we are learning in here, so feel free to give and ask for read backs from others. Or if you have some other tips and tricks that can improve and make the technique you have learned even simpler. I believe that everyone else would like to know, too. I would be really, really grateful if you take a moment of your previous time to review this class like what you felt about the class and what you have learned and what I can improve as a teacher, because that would be really big motivation for me to continue doing what I love. In the end, no artist is born in just one day. It is a result of a constant learning and practicing, so let's make the world a better place with art. Keep creating, having painting and I will see you in the future classes