Learn Watercolor: Paint 3 step-by-step illustrations | Jamie Kim | Skillshare

Learn Watercolor: Paint 3 step-by-step illustrations

Jamie Kim, Illustrator

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14 Lessons (1h 30m)
    • 1. Hello

    • 2. Materials

    • 3. Warm up (part 1)

    • 4. Warm up (part 2)

    • 5. Scooter - outline

    • 6. Scooter - paint (part 1)

    • 7. Scooter - paint (part 2)

    • 8. Vespa - outline

    • 9. Vespa - paint (part 1)

    • 10. Vespa - paint (part 2)

    • 11. Bike - outline

    • 12. Bike - paint (part 1)

    • 13. Bike - paint (part 2)

    • 14. Project and ty!


About This Class

Paint along and learn some watercolor techniques!  The theme for this class is wheels and flowers. 

Together we'll learn:

  • Key exercises to warm up before painting
  • Visualizing and then drawing outlines of complex objects (downloadable PDF of outlines in project tab)
  • 4 step painting process 
    • Painting big shapes
    • Painting elements (flowers)
    • Adding details
    • Placing shadows and highlights

It's great class to watch if you're a beginner because I'll show you basic techniques you can apply to illustrations.  Also fantastic for anyone looking to try something new and tackle complex subjects like bikes, vespas, and scooters!

Let's start!

You can get 2 months free if you're not a member: 



**background music: lksonmusic.com


Suggested materials 

Sketchbook: Global Handbook Journal https://amzn.to/2lZBUdv

Paint: Primamarketing/ArtPhilosophy Co https://amzn.to/2krIdWE

           Winsor and Newton Cotman https://amzn.to/2x6ANeK

Brushes: The Pigeon Letters Studio Rounds https://bit.ly/2Tymut6

                 Winsor and Newton cotman brushes https://amzn.to/2kuoHZA

White paint pen: Posca https://amzn.to/2kuoHZA


1. Hello: I am Jamie, I'm an illustrator. And today I would love it. If you would keep with. The theme is Meals and flowers in this class will go over some warm up techniques, and we'll both step by step, starting with the outline and being able to visualize and see shapes in complex objects. And then I'll go over my force, that painting process, where I start with painting big shapes and move on to elements such as flowers and then adding details and finishing with shadows and highlights. This is a great class for beginners because I'll show you some basic watercolor techniques that you can use and apply to any illustration, or if you have experienced but just wanna tackle a complex subject like a bike best but or scooter. This is also a great class. Okay, so let's start 2. Materials: So let's go over materials. The first is some watercolor paper. I'm using the handbook journal sketchbook and then some scrap paper. Ah, water color paint. You can have him in pan or tubes, a pencil, a brush. I'm using a size 10 and a thin liner brush for details. A white gel pen or white paint pen, some paper towels or rag and water. You can find a complete list of the materials in the project tap. 3. Warm up (part 1): Before we start, I'd like to do a warm up, and I've just done a contour drawing of random things and the more irregular shapes there are, the better. And so this is going to help loosen us up, and we're just holding the brush at the very tip and then go ahead and try to paint as carefully as you can and stay within the lines. And as you're painting, you might notice your hand, start to slip and moved down for more control. But try to monitor yourself and be aware of when your grip starts to change and then just adjust. And the reason I like to do this as a warm up is not only does it loosen are great, but when it comes time to paint something that requires more precision, it will seem a whole lot easier in comparison to what we're doing now. It might get a little frustrating at times, and actually that's probably a good thing because it's not easy to hold the brush in this way. But stick with it and the end result isn't as important. It's more about getting your hand used to more of ah whiner range of movement that you might not discover just using your normal grip. So try it out. Give yourself five minutes and do a contour drawing of whatever you want to do and then pick a color and start painting. And now let's work on a value study, and the value is the lightness or darkness of a color. So I just created a rectangle and then divide that in half and then divided it in half again. From the left to the right and the furthest square, we're gonna create our darkest value. So this is going to be as dark as you can get your your paint color. So most times the dark values in a painting, they'll be the shadows or the little details. And now we're gonna work on lightning it up just a little bit to create the next value in our scale. And then I'm just darkening and up a tiny bit more to create more contrast, and then our next values going to be even lighter. So I'm not pressing down as much and just trying to get it smooth transition into the third value. And then the final value will be the white of the paper, so you can just leave it un colored and then just start ending up the last value one more time to create greater contrasts. And now we're going to do the same value scale exercise, but this time with paint. And so I'm loading up my brush with one color and there's hardly any water and applying it to the last square, and you can see it's very dark and we're just going to cover the entire area. And now let's paint the next value, and this is gonna be a little bit lighter. So I've put some water on my brush and the blue should be a little bit diluted. And it's really up to you how light you want to go and so just play around with how much water you put on the brush versus the amount of pain. And I'm leaving a tiny bit of white space in between, just so the colors don't blend. And that's because I went from right to left. If we had gone left to right, I think it would have been fined to blend it. But since we did it this way, we'll just leave a little bit of space, and the differences will be a little bit more distinct and clear. And now I'm putting even more water in my mixture, so lighten up the the value of our color, and you can test it out. When you place it on the paper, it looks too dark. Just add more water and you can just take your time. Make sure you're getting the right color down. And for our lightest value, I like to leave the white of the paper, but since we're using blue as a color, I'm just adding the tiniest bit of paint and doing a really water down mixture on the last square. 4. Warm up (part 2): So I just taped off my paper with some washi tape. You can use any kind of painter's tape as well. So now let's do some warm up techniques and the 1st 1 we're going to try this wet on wet and with a clean brush and clean water, I am dampening be paper and just completely saturated area, and then we're waiting for it to be slightly shiny. And then I'm using a yellow color and just dropping it in random spots. And this is just a good way to tests when you want to drop in paint, because the level of wetness will be different in different spots, and so find out what kind of affect or going for. If it's a more blurred look, you want to do it while it's still bullets elite damp. And if you want more defined edges, you wanna wait for it to try a little. And I'm just dropping in a rose color just to see how the two colors interact. And it's okay to use actually stronger paint because the paper is already wet, and so it might disperse a little better if you have more color on your brush and this technique is really great for skies when you want that soft edge and a faded look so good for backgrounds and clouds and things like that. And now let's take a look at the wet on dry technique, and that's where you're just applying paint right on to the surface of your watercolor paper and this one you get a little bit more control compared to the wet on wet technique, but this is the one we're gonna use the most in our illustrations. And so I like to just put down the color and then add a little bit of water could spread out what we already have, and you'll just get a really beautiful value change where some areas or darker and others are lighter. So you're just really pulling color and then adding it back to darken up some spots. And before you add the color, just make sure that the area is still wet, so it gives the paint a chance to blend a little smoother. And I'm just adding a hint of the rim with the same wet on dry technique, and the pain has a little bit more water because I want the effect to be more subtle and to find a lot of the time you'll be using more than one technique in one illustration. So here I'm applying the wet on wet. So I added clean water. And then I'm just dropping in some of that brown to add a bit of shadow and give it a little depth. And it's not completely white. And now let's try a grated wash, and the idea is to go from a dark color and to gradually get lighter. So I'm loading up my brush with a lot of pain and laying down the first layer and then rinsing my brush just a little bit to dilute the color. And then I'm pulling it downwards, trying not to disturb the area above. And I really like to use this when I want to create a difference in value. So rather than paint a shape with a flat color, I'll lay down mostly paint and then rinse my brush slightly so that I can pull the paint and create a smooth transition, and you can try it a couple times using different colors. You can even introduce the second color if you like. Just have fun and see what your paper and your paint can do. And for our final warm up, we're gonna try some layering. And so I've already painted thes raindrops and let them fully dry. And now I'm just picking up a different color and painting the same shapes just on top. And so, depending on the color you use, if it's more transparent, it will be able to see the initial layer shine through. So this one, you can see the overlap, and they combined to create a different color, which is very neat. If you're paint is a little bit more opaque and you won't be able to see the initial layer underneath, and you can also play around with color mixing. So when you mix the primaries like a yellow and a blue, you can see where they intersect that they create a green. You can also try painting different shades of the same color, So here I'm taking a darker blue and then putting it right on top of the lighter blue layer and you can play around with complementary colors. So I'm painting in an orange on top of the blue, and when you do that they create the greatest contrast, so it makes it kind of exciting. But you also have to be careful because when you mix complementary colors, it can cancel each other out and become muddy, and you can keep going layer upon layer. Just make sure that before you paint the next one, it's completely try. And then when you're ready, let's move on to the first illustration. 5. Scooter - outline : Let's start each illustration with an outline. It'll help us see the shapes that were painting and the 1st 1 is a circle, and that's going to represent the main headlight. And then we're just going to double it up on one side to give it dimension. And for the main front of this scooter, it's going to be a triangular shape. And then you can bring that line back to drawl the area where you stand and again a line right next to it to give it dimension. And with your I kind of just followed down past the headlight. And then we're creating a little index for the front wheel and go ahead and and now we're drawing the cover of the wheel, and since the scooters and angle, we're drawing it so we can see it from the side. Okay, so now let's do the wheel. And that's just going to be a circle. And then inside of that another half circle and then some direction. Alliance for the wheel spokes, little decoration. And now we can do that handles, which is a curve line and then a small circle for the headlight. And then I'm just doubling it up on one side, and we can put in some fund streamers, which is just a bunch of squiggly lines, and then go ahead and repeat that on the other side and inside the headlight. We can also add those directional lines, and I'm drawing them curved rather than straight or flat, and that will be consistent with the fact that our scooters viewed from the side. So because the scooters angled words approaching us, I drew the foot stand so that the line gets wider as you reach the front. Now let's draw the flower bucket. The two ends will her inwards slightly, and then you connect them with a circular shape at the top and bottom, and then the front of the lip and the back wheel. We have to draw it as an ellipse because we see it from the side, and I'm adding a second line right next to it to again create that I mentioned. And I like to draw in some of the details like the little flag we're gonna put in. And just as ah reminder, we can actually draw in some of the highlights so that we believe them white when we're painting, and it will give us that illusion that there's a glare which will make it look a little bit more realistic. And we can add in some reflectors. And that's just the rectangular shape, and we can add a curved line to follow the shape of the front. We can draw in a little kickstand and lastly, some indication of shadow to ground our scooter. You can practice drawing this a couple times to get more comfortable with the shapes, and then when you're ready, pencil it on your watercolor paper and we can start painting. 6. Scooter - paint (part 1): so the first thing I like to start off with is painting big shapes, and that's going to be the front of the scooter. And what I like to do is start off at the edge and then work my way in. And if you take a look at the color, you can see that there's a lot more water than pigment. And a good painting, if you'll notice, has a nice contrast of lights and darks. And so while it's still what I am dropping in, just straight paint into the areas that I want to be darker so that's around the edges. And then whatever is remaining on the brush I'm using, too, hold the paint and draw those aligns across the front. So one thing I like to keep in mind is when you want to modify a shape you can as long as the area is still wet. So that includes dropping in color for reworking kind of the curve. Because once you add paint to an area that's already try, the colors won't blend is easily so the transition will be a little bit too abroad. Now we're painting the next shape, and that's gonna be the front of the wheel, and because it's seen from the side, we're gonna take advantage with the use of our color. So while the front is lighter on the side portion, we're gonna use slightly darker paint. And that will create a nice contrast and gives the viewer the indication that we're showing two different planes Alan mixing up a brown color or you can use burnt number and I started a little bit strong. And then, with a little bit of water on my brush, I'm dragging out the color. And so we have some light areas in some dark areas and again that creates that difference of value or different tones and then a little bit darker paint along the edges and working in a small area. You can really focus on just how the paint is reacting and how much water is on the paper, because all of that factors in in how your colors will blend and how they dry. And whenever I'm painting, I try to be as efficient as possible, and that applies to the use of colors. So I'm kind of blocking in all the the Browns before moving on to different colors. And so we're doing the back wheel, the same technique that we use for the front of the wheel, where you're starting off light and then gradually building up contrast by adding darks. And while I still have that brown on my brush, I'm just going to draw in the kickstand, and if you grip the brush down near the bottom, you'll get more control, and you can get those fine lines even with a big brush. Now I'm using a more warmer brown, so this is like a burnt sienna if you have it, and I'm painting one side and then layering on a darker brown, and then we can draw the top of our basket with a little opening for our flowers. And if you notice I left, Ah, tiniest white space in between the lips and the basket. And that's two reasons. One. So the colors don't blend too much and leaving a little white. It gives your painting a little bit more breathing space, and it gives your I kind of a break from all the color and so becomes a point of interest and a reason to look at a certain area and if you remember from our outlying the foot stand area, it's a little bit wider towards the front because, uh, it's approaching us. And so with these lines were reinforcing that perspective so shorter at the back and longer at the front. And now I'm rinsing my brush so that we can move on to a different color. And this is for the headlight, and it's a kind of a turquoise e bluish, greenish, teal ish color. Um, and again it's thicker on the left side to show that we're not looking at it head on, but from the side. And if you notice what I'm doing, I'm kind of error painting the shape that I want to make just to get my hand used to the motion and feel free to to tell your paper. If you can try to follow along the edge of the curve, you can do it in small strokes or one steady stroke. It's up to you, but don't be afraid to go slow and, you know, position yourself to get the best angle, and let's continue to use the same color. And so I'm drawing in the mirror, filling it in to make one side picker and repeat it on the other side. And then I just added a tiny bit of water so that the colors will spread out a little bit. Is it that nice watercolor effect? And now, with a brush with a dinner tip, I'm going to draw in the spokes and again, making them curved rather than straight to give it that look of it being a wheel that's around it, object and not flat. And then let's do the same thing for the headlight so that it's kind of a slight C curve at kind of changes direction as you move along the circle and again while we have a been brush , let's draw a little I don't know what you call it, uh, like a wire rack and then lose in line for the handlebars. I'm using a burnt sienna or ah, a reddish brown, and here you can vary the color as well, by using a slightly darker color in one spot and then lighter by adding more water and then adding squiggle ease for a streamers. Now let's move on to Step two, and that's going to be hanging in the flowers, so I'm grabbing a rose color and it's pretty thick, not a lot of water. I'm drawing see shapes, and as you move towards the bottom, they're going to be a little bit longer. So we have, ah, dark area in our Fars, and now we want toe balance it with some light. So with some water and whatever remaining paint, I had put down a kind of a cloud shape. And then, while it's still wet, I'm dropping in a darker paint. Flowers can be really fun because you don't have to be too descriptive. It could be very loose, and the I will kind of fill in the details and understand. Yeah, this is a pedal, so I'm using that same technique with different colors. So I used the blue and then right underneath it, kind of a yellow orangey color, and I painted them kind of closely because I wanted them to blend and then make their own color. And so you're adding more variation without having to actually add a different color. I'm taking a very watery green and giving indications of stems and leaves while the area still wet, grabbing a darker paint and dropping it in and letting them merge and blend. And in that blue flower I just picked up in, added it at the bottom and then repeating it by dabbing it in different spots. And then you're automatically creating a nice harmony and rather than at the typical dirt, I gotta be more interesting to put in, kind of like a reflection of the flowers that we painted. So I went to the area, and then I'm just dropping in some pinks and some greens and some yellows, and it's just another opportunity to again repeat colors and create that unity in our painting. 7. Scooter - paint (part 2): and so we're almost there. The third step is going to be adding details. So here it's just an opportunity tohave fun. And for the pole, I used a brown color and for the flag, I'm repeating that same teal turquoise color. And in this detail step, it's usually less water, more paint. So this is where we can establish a lot of the Dark's. And since our initial big shape layers were light, the contrast will have more of an impact. So for the reflectors, amusing pretty much straight paint of the burnt Sienna and other areas like that curve in the front of the the scooter and anywhere else you wanna add a little bit of pop of color and in a detail stage is also a good chance for you to kind of step back and see where you could make certain areas darker. And watercolor always tends to dry a little bit lighter. So I wanted to just dark in up the side of the tire cover, and then I added a little edge to our kickstand and then with inter brush, just little dashes and guts, and we need to close off the other end of the foot stand area, some taking that turquoise color and then again remembering to go a little bit wider as you approach the front. And let's go ahead and finish this up with our final step, and the last thing I like to do is add a little shadow so that our scooters and just floating in the air. So I'm taking a mixture of the rose and burnt sienna and really just being loose and making the shape irregular. And then, while it's still wet, I'm splattering. And with a white gel pen, we can at some highlights that we may have either painted over or we just want to add. And you want to make sure that your pain is completely dry. And so I'm just adding little specks wherever I think looks best. And you can get the greatest contrast when you put a light next to a very, very, very dark. So I put one in on the side of the tire cover, and then when you're happy, you can go ahead and a race. Any pencil lines it might still be showing through, but again make sure everything is completely dry before you do that and some finishing touches where you can kind of modify some of this shape by adding a little bit of the white Joe Penn, and that's pretty much it. So in four steps where we first painted big shapes and then we moved on to the flowers and then added details and then finish with shadows and highlights were able to create a very beautiful watercolor illustration. 8. Vespa - outline: So now let's take a look at the outline for the Vespa. So I'm starting with the front of the body, and this piece is made up of two parts. So we have the one that's facing away from us and the part that's facing the rider. And now I'm drawing the area where the feet would go and this is the front portion. So it sticks up a little bit and then drawing that same curve to indicate the back and then just putting in a a shape there. And now we can work on the headlight, and we're just drawing it in a way that we're fitting pieces together. So so there are little curves where different pieces fit, and then this is the handle and then little lines to indicate the direction. And then we'll put in the mirror, which is a circle. And then I doubled it up to give it some volume in the mirror that's further away from us. Is that an angle so we can draw it more of flat shape rather than a full on circle and the sea is made up of three parts, so we're drawing the top the side of it, and the front and I left little gaps so that we can paint them individually. And then this is just the back piece through a little headlight. And then this is just an opportunity to add some fund shapes with various sizes. And then we can do the back wheel, which is an open circle place where the license plate goes, and then the tire cover and then making the front wheel slightly bigger. And then we can put in a little detail where we're gonna leave the white space, and it helps to draw them in ahead of time so that you remember to leave them white is not a big deal if you don't because you can always add it back with, uh, Joe Penn. And they don't have to be precise just wherever you think looks best and then put in the spokes and the kickstand can draw this a couple times to get a feel for the shapes. And then when you're ready, that's paint 9. Vespa - paint (part 1): So let's start with Step One, and that's painting the big shapes. And I'm taking my rose color and outlining the back of the Vespa and then, with little water spreading out the color that's already on the paper, making sure to leave the white space and then gradually adding some darker paint to the edges. And if you take a look at the outline, we're basically just painting little pieces, a kind of fit together, so you don't have to worry about an area drying too quickly. You can just work on one piece at a time. I'm just lifting up some of that color to create a little bit of lightness and give it a little variation. And I'm outlining the front piece of our foot breast area and dropping in more concentrated paint along the edges. And I'm just drawing in with pain. The outline of the foot rest area and this piece is behind. So it's going to be a little bit lighter. And to make that a little bit more obvious, I'm adding a darker color to the front and just like we've been doing, just outlining the shape and I like to draw around the white space so that we leave it untouched and in between each of the pieces. You will also notice that I am leaving tiny bit of white space so the colors don't blend too much. Now I'm going to just lift some of that color and create some highlights, and then right next to it were painting another shape. This one's a little thinner, so if you hold your brush more closer to the tip, you'll have a little bit more control. So I mixed up a little bit more paint on my brush and now applying it to the front wheel cover. And then again, I drew in the highlight, so I don't color over it and then just filling in the shape because it's still wet. We can add in a little bit more concentrated paint to barking up the color along the edges . And there's another side piece that's, Ah, triangular shape that we can add in with our same rose color. And now we can move on to a handlebar, and these shapes are a little bit smaller, so we need a little bit more precision and they start off wide and then get narrow as they approach us, and I'm leaving a tiny bit of white space in between, and it just leaves a nice highlight. And now let's paint the headlight cover. And again, this one, I'm outlining it up to the point where we're leaving the white space and carefully fitting in this piece in between the handlebar and the front. So it's got that curved corner and those air all our rose colored pieces. And now I'm mixing up a raw sienna and I'm painting in the top portion of the seat and you can see that it's a little bit shiny. And that's because I'm using a little bit more water than paint, and it'll give it a luminous look and right underneath it, I'm just painting another shape to fit in between and not letting the colors touch. And then I applied a little bit of, ah, darker color just to create some contrasts. So you see three different pieces for our seat, and with that same raw sienna color, we can paint in the shape of the mirror for the mirror that's further away from us. Rather than drawing in a circle, it's a little bit more flatten because of the angle that we're looking at it from. And I'm lifting up some of the color on the top of the seat to create a little bit more of a highlight. And with a little bit of water on my brush, I'm applying it so that the colors would run a little bit in the mirror. And for the headlight area. I'm playing very light layer of that raw sienna color. And now, with our black, we can start painting the tires and I'm outlining it and using whatever is on my brush to fill in the shape in applying darker pain along the bottom edge is and then using it to outline a shape behind the foot rest area. Now it can pain in the back wheel, which is a little bit smaller, so I'll give that nice perspective that it's at an angle and with a clean brush. I'm just lifting up again some of that color to create highlight in the little cover of some sort. Just a fun shape to add. I'm actually not sure what it's called, and now I mixed in a tiny bit of red to the black just to change it up of it, and I'm painting in just a little interlocking shapes to connect and fill in that white space. And with the tip of your brush, we can draw in the spokes, and I'm making them curved lines to follow the shape of the wheel. And while we have the black honor brush, I'm drawing in the place where you grip the handle and again leaving white space in between each of the shapes and then with your brush that has a little bit of red in it. You can draw the kickstand, and then it's just switched to a, uh, thinner brush to put in some of the lines to connect those pieces near the wheel and with the same brush, I'm going to put in some lines to indicate where the foot rest is. And now we're gonna change colors and I'm grabbing a light blue, and we're gonna add a little wine in that white space. And just to repeat the color, just starting it in the tire, painting in, uh, light and then up top at the mirror and headlight. Now we can go ahead and connect the mirror by drawing kind of a broken curved line, and then I'm just defining the edge of the light a little bit. So now that we've painted the big shapes and the main shapes, let's move on to step two. 10. Vespa - paint (part 2): Okay, so now let's go ahead and paint some flowers, and we're making them very loose. And I've taken okay yellow orangey color. Or it's kind of like the CNO we've been using and just drawing in shapes to indicate the pedals and then mixing up a little bit of the green very lightly with a lot of water to draw the stems and really using the point of the brush to create a shapes. And then let's use Ah, green that's not as diluted to paint into the wet area. So when you do that, you'll get a lot of you'll get a lot of blurred edges. So what on what technique is really fun? It's a little unpredictable, but it gives that expressive look so you can try it on other things besides flowers as well . For the next group of flowers. I'm actually starting with the base and putting in the green's first, and it's just a different approach. So you might find this easier to start from the bottom and work your way up or the other way around when you start at the top and work your way down. So try both ways and I'm taking that rose color we've been using and making little V shapes , so they kind of look like tulips. They don't have to be there, just little thoughts of color that your brain will interpret as flowers. And I'm putting in some lighter ones in the background to fill the space a little bit. And here I'm just seeing where I can add some darks while it's still a little bit wet. So maybe a little bit more blending might happen. And I'm bringing out the stems a little bit with some darker paint just being really loose and just taking a step back and looking at everything as a whole. And I looked at a little bit more of the yellow color song, just kind of placing it wherever there's an opening, and you should just take a look at your own arrangement and maybe you need more pinks. Maybe you need a little bit more greens, or maybe you don't need to add anything more because you're not looking to make it to fold or too busy. It's really personal style and choice. Now let's go ahead and add our third step, which is going to be the shadow and I mixed up Ah, grayish color by diluting the black a little bit and applying it underneath on both sides of the tire. And you can use a straight paint and then dilute it once you put on the paper. Or do what I did. And just use a a light mix and just let the colors blend when you apply it. Now I'm noticing that there's a bit of a gap in the space here, So although it's not in outline, I'm just drawing in a shape, too. Fill that in a little bit, and I think that looks better. But if you Julie yours in a way that there's no gap there, then you don't need to add this part. So now we're on to the last step, where we can add finishing details and some highlights and with, um, straight paint. I am using a in brush to line B foot area just to make it pop a little bit more and then adding some lines to the handle. I'm using a burnt sienna to outline parts of the seat, and this will help bring that piece of the seat really forward because of the the bold edge . And then we can grab our paint pen or white gel pen and put in some final highlights. So any place that you feel could use some white look, I'm putting it on that back and and that's just like scribbles indicate maybe brand of the S pa. Some highlights on this seat and on the main body. And then you can go ahead and add it in the black areas like the tires, and we're pretty much done. So we started with the big shape, which was the Vespa, and then painted the flowers and shadow and details and highlights. 11. Bike - outline: so with a bike, it might look a little complicated, but if we break it down, we can figure out the best way to paint it. And so let's start with the main frame of the bike, and this is kind of the piece that connects the different parts, and I'm really just doing more of ah contour drawing. And so I'm looking at the outline and the negative space, and it really helps to slow down and take your time and look at the the space in between and how the lines curve. And here we're just drawing a bit of a U shape and that's going to wrap around the wheel and we can put in a little square shape, and that's going to be the water bottle holder. And then we can draw in some curved lines to represent the handles, and underneath it I'm drawing a thin rectangle to represent the shadow, so that will give our handles a little bit of I mentioned. And then the handlebar, where the top is a straight line and underneath is kind of an upside down W to show the grooves, and then we're gonna put in a basket for our flowers, and this is just going to be a cube shape, and we're drawing it so that we can see the underside. And then I'm putting in some vertical lines to represent that it's shadowed and then some little shapes to show the front light. And now let's draw the front cover of the tire, and this is just going to be a curved line. And this is just covering 1/3 of the tire. And now I'm just drawing in the outline of the tire, and it doesn't have to be a perfect circle. It could be a little wobbly. It'll just add character and then slightly smaller. We're gonna draw the inside of the tire and then right next to it, adding another line to give it some thickness. And then we can add in a little detail, like the hub, which I'm doing with two circles and connecting them with some lines. And then we can add in the spokes and those air just lines that crisscross. You don't have to be too precise if it's a little bit random. I think it'll look better, and now let's move on to a seat and we want to capture and that top and underside. So I'm leaving a little opening at the bottom, and then we can connect it to the mainframe overbite. And I'm putting in some curved lines to help guide us in drawing the area where the gear and the chains are. And when I'm drawing a circle, I'm adding another line inside to give it some thickness, and so it'll help with the fact that we're looking at it from an angle. Then we can just add some horizontal lines for a little bit of detail. And then the pedal is just, ah, flatten cute and allying for the kickstand. So most of the hard work is done now, and we can just finish off with the back tire, which is going to be a smaller circle because it's going away from us. And it's also more of an ellipse shaped because of the angle and then drawing in the spokes and then a little wire rack. And I'm putting some perv lines inside the gear, putting the back cover for the tire in a little light. And now I'm just putting in the highlights toe help. Remember where we can leave some white. So practice drawing this a couple times, and when you're ready, pencil it in and we can paint. 12. Bike - paint (part 1): for final illustration. Let's again start with Step one, which is painting the big shapes, and that's going to be our front wheel. And I started off with a little bit more paint and then, with water on my brush, dragged the color out and making sure there aren't any puddles anywhere. And you can keep adjusting it as long as it's still wet. And next you can paint the back wheel and we're gonna draw it so it's a little bit smaller because it's further away and more of an ellipse shaped because of the angle that we're looking at it from. And now we can paint a little square shape, and this is kind of representing like a water bottle holder. And now let's paint the seat of the bike, and it's kind of like a modified V shape. And if you notice I didn't paint it completely left the underside open. And that's because we're gonna use a darker paint to help show that it's in shadow. So adding it while it's what really encourages that blend and let's use some of that dark color again to paint the inner part of the wheel and you don't have to go all the way around just in some some spots to show a little thickness and depth. And let's do that for the back wheel, and you can try to do it in one stroke. But you can also do shorter strokes, if that's easier. And now let's paint Ah, handlebar and I use a slightly darker color than I wanted, so I kind of just wiped it up with the paper towel. And if you ever find that you put down the wrong color, you can use a paper towel in a little bit of water and just Gabin in that area and the pain will be gone. And just like we did for the underside of the seat, I'm adding a darker color to put in the grooves of the handlebar. And for the pedal. We're painting a flattened cube shape, and I like to outline it a little bit and then add water to blend the colors and for the basket. Let's again create the outline with paint and very the amount of water on your brush, and you can achieve light areas and dark areas, and I use more concentrated paint at the bottom because that's going to be weren't. Most of the shadow is now that we've put down most of the brown shapes. We can move on to our next color, which is a a light blue. And as in painting the bar, I'm varying the amount of water on my brush, and so sometimes there will be barely any paint. Their other times. There will be more paint, so some areas will be able to get dark and other areas or light and then staying with the same color, just painting the seat post and then the area where the chain will be. And I'm just making dash marks not being too precise but letting the shape of the brush create the strokes. And then there's a little rack, and since the wheel back will is dry, you'll be able to layer one color on top of the other without it running too much. And now we can paint that we'll cover, and you can angle your brush so that you can get ah more precise thinner line. And if you mix your browns and your blues, you can achieve a neutral color. So a good gray color and you can use this to paint the handles. And while we still have that gray owner brush, I'm just taking a look around and seeing where we can add that color. So underneath the seat there's a little detail there, and then we can hate in the spokes and they're kind of ex shapes and random lines and the front wheel. We can see more of it. So we're adding in some elements, like the Hub, and that's just two circles. And I joined them with some horizontal lines, and then I'm adding in this spokes so that some of the lines crisscross and trying to make , um, very loose, Um, not too precise, and I decided to just wipe that extra line. It looked kind of off, but I think it would have been fine if I left it in any way. And now we're just painting a circle to represent the gear that attach is to the chain. And then we can drop in a little kickstand. And while we still have the gray, I'm just adding and a vertical lying in the front bar. So now we can move on to Step two, which is painting the flowers composition tends to look a little better when there's an odd number of objects. So we're just gonna paint three groups of flowers. So the 1st 1 we're starting off with is that blue color, which goes the color that we used in the bike, and I'm painting, scribbling circular shapes, and some of them are lighter, some of more darker. And then, with just water on my brush, I'm pulling down color for some of the stunts and then with more pain on my brush, putting in believes and some spots of dark. And now we can paint our next group of flowers. This is going to be same technique, but we're just using different colors and V shapes this time and positioning our group of flowers so that when you step back they form an arc so the blue ones will be the center, and the pink ones are kind of off to the side. And we painted thes light at first and then dropped in a bit of a darker color at the base of the pedals and lightly dragging our brush to create those stems and the little leaves. And I mixed up a yellow orangish color for our final group of flowers, and I like to think of these as loops so some of them will keep them open, while others I'll fill it in with color just for that variation. So it's just all about variety and changing up the lightness and darkness of your color and then pull down to add the stems and again, go ahead and put in leaves wherever your bouquet needs it. And since we want them to look like they're sitting in the basket, we can go ahead and paint the stems so that they overlap and it can be random. They don't necessarily have to meet up anywhere up top. We just want to kind of give the illusion of fullness, and you can take a look at your composition and see if there any gaps that you want to add more green or more flowers and try to keep them relatively light if they're gonna be in the back, so they're kind of a little bit faded. If you want Adam to the front, use a slightly darker color, and then when you're ready, we can move on to the next step 13. Bike - paint (part 2): Now that we have the big shapes and the flowers put in, all we need to do is work on the details. For example, we can put in a little light at the front and at the back and then under the seat. So these air just nice spots of color. And then I'm outlining the pedal, and everything in this stage were using mostly paint very little water, and you can either use a smaller brush or, uh, have a little bit more controlled by gripping it a little bit lower. So, using a dark mix, which you can achieve with mixing your browns and your blues, I'm putting a little lines to define some of the hub and then adding little thoughts to areas in the spokes. I'm just angling my brush on the side to get that shape and then, underneath of the handles, putting in a dark line to define it. You can go really slowly so you don't disturb any other areas. So we're kind of just mark making and putting in dashes and knots, and we can even add some squiggly lines to represent maybe the chain of the bike in some design on her water bottle holder, and now we can add some texture to our tires. All right, using I'm using, like a burnt sienna color and just putting in gashes and some dots along the outer rim of the tires. And you can repeat that, um, at the front as well and trying not to collector it too much and just taking a step back. After I I place a text trimmer. I'm just noticing the color ran a little bit, so I'm taking a white drop in and just calling down the colors so that it'll fade and more and you can make little adjustments to your illustration as you see them. And we can put in a few more darks in the tires and defined the underside of our basket a little bit. And I'm just Haining over the lines that we already drew with the a darker color. And now we can move on to our final stage, where we're putting in our shadows and highlights. So I'm mixing up a grayish color by again using some of our blues and browns. And then I lay down my brush with the paint and with a little bit of water, dragging out the rest, making the shape pretty. You regular enlightening it up as you move away from the tire. And now we can put in some of those whites. So with the gel pen or a paint pen, I'm picking out spots that have some dark areas and then just dabbing in the white. There, look in the hub or on the tire, maybe in basket and in the blue areas. And these air really good, especially for when you're painting objects that are made of metal because it'll give you that shine and there's one last thing we can add. And that's some string to attach the basket to her bike. And so, with your thin brush and just dark paint, I'm dragging a curved line from the bottom of the basket down to the hub of the wheel and what we're gonna do that on both sides and actually the one on the right should e behind the wheel so you don't wanna draw in front of it like I did, but I don't think anybody will notice our mind. So if you he needed in front, it's OK and I'm just adding a little bit more shadow on the side of the seat and with a slightly darker blue, which you can get by mixing a little bit of your brown into it. We're going to outline some, um, the under side of the bars, just to give it a tad more definition. - And when everything is dry, you can erase any pencil marks and in four steps were able to paint this very cherry bike with flowers. Um, so we started off with big shapes. Then we moved on to the flowers, added some details and then completed it with shadows and highlights. 14. Project and ty!: Thank you for watching the class. And you hope there are things that you learned that you can use as you continue on your watercolor journey. Please upload your projects to be a project gallery so that we can all see. And I'd love to comment and provide any feedback. And you can also share on Instagram with hashtag thanks and things skill share and tag me so I don't miss it. And if it was helpful and you enjoyed the ride Priestly a review so that other students confined the class as well and I'll be seeing you in the next one. Hey, I