Learning to Paint Watercolor Clay Pots | Wilhelmina Bodine | Skillshare

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Learning to Paint Watercolor Clay Pots

teacher avatar Wilhelmina Bodine, Give yourself the gift of watercolor!

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

8 Lessons (44m)
    • 1. Introduction

      0:38
    • 2. Materials Needed

      1:37
    • 3. Mixing Colors

      2:18
    • 4. Drawing Your Clay Pot

      2:21
    • 5. Wet on Wet

      15:56
    • 6. Wet on Dry

      14:21
    • 7. Finishing touches!

      6:33
    • 8. Thank You!

      0:24
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About This Class

Hello! And welcome to this wonderful class, all about painting watercolor clay pots! Clay pots are such a versatile thing to paint, and they are seen all over gardening shops, country homes and used in home decor everywhere! 

Outline:

Materials Needed

How to Draw your Clay Pot

Wet on Wet Demo

Wet on Dry Demo

Finishing touches and adding details

I hope you enjoy this class!

Meet Your Teacher

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Wilhelmina Bodine

Give yourself the gift of watercolor!

Teacher

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Transcripts

1. Introduction : my name's Vilhelmina board. I'm I'm a professional watercolor artist, and I live in New Hampshire. It's a gorgeous day today and surrounded by lovely greenery in my bay window, and I thought, How much fun would have beat playing small clay pot with some fresh oregano in it? Clay pots are seen in many paintings. They make wonderful gifts, a single pot or is no response. And I think you will enjoy us quickly. Simply, we could put one together. I hope you're joining. 2. Materials Needed: through this pain, you will need watercolor. I used for beginners lessons. I use Waterford that you could use whatever you like, as long as you make sure it's 100 £40 weight. That's really important. So it's not too flimsy and what you work. One reason I like this paper. It's very forgiving in the beginning, which is wonderful. We have a palate. If you have a palate heater, lots of different ones out there. This is John Pike, which I've had for years. We have some samples of clay pots, which is always nice to see the real thing in front of you. You wanna know Racer? Good sharp for a nice pencil is nice and sharp. You need a console which was speared, and you need a few, especially round brushes. This is a number 10. This is this gonna be brush, which is something you could get later on. If you want to, it's not necessary. Small round brushes. Number one and two zehr Good. I like a liner brush for some detail work, and I like 1/2 inch flat brush. And that's basically all you need for brushes. We have water. We have paper towels, and when you work, you want to make sure you work slightly elevated, and sometimes this year would cup upside down. We'll do that for you on. That's pretty much all you need. 3. Mixing Colors: I will be using a lot of colors in this painting. We're gonna start with the yellow Oakar. Remember to let you paint because from the tube or from the cake, you need to always wet it first and mix it on a large proportion place or a palette. And this is a nice beginning color that you would use. I didn't let my paper first. I'm just showing you the colors you're using. A raw number. Little watercolor goes a long way. This may not be the order we're doing the minute, but I want to show you the college will be using. If you have an Indian red kind of clay color, it's a wonderful one to have. Okay for the greens, which will introduce in a little while, you can use a sap green. You can make your own green taking ultra marine blow, which we need also for shading the truth of Ultra Marine. You can do a medium cadmium yellow, always mixed first and then added to I have a two year blue and I will do more demos of this when we're actually during the painting. I used to create always my own greens doing this, and I love what began then force. There's always my favorite purple, which we would also use. I find that sometimes if you have a plate full of colors or a palette full of colors, it makes the best clay pot backgrounds. You see all the colors in a clay pot. 4. Drawing Your Clay Pot: to draw a simple clay pot. You want to look at that one. That's always helpful, and you want to start with a downward car. Very important to remember that a clay pot is has sits on around bottom. So this is what you have to imagine. Most students draw a straight line, and it's important not to do that. So he was going with beginning one. That's a slight. This this current follows that curve. I'm sure those lines are not straight. I tend to get these in place first slide second line to suggest that little top to clean. Okay, once I have the basic size and I turned my work around, and I make sure that my lines are even that my shoulder, so to speak, are even there, and that these lines also go the same direction. You could see a lot of things you may have missed by turning it around, so that looks pretty good. Since we're doing the foliage here of a simple oregano plant, it's tumbling over. You want to allow for that tumbling by roughly sketching in a mass so that you don't you don't change. Play cough where the green will tumble over once you have kind of give yourself a rough place you always bring to play back in the feuds. Hard to get just filled foliage with clay background under it. So I like to get rid of these these lines before it starts. Do you feel like doing a little bit of the sketching off the massive greens? I just I'm not really worried about that. Is this kind of where my plan will go? I'm just following what I see here. And that's really all there is to a simple clay pot. Keep their lines as light as you can. It's okay. Offensive line showing watercolors, but keep them light. As you can see them, you're going to go. 5. Wet on Wet: we're beginning a wet on wet demonstration. The first thing you have to decide is where your light is Coming from. Heaven helps to put a little mark somewhere on your page. It's helpful. Um, I sometimes the chairman where my light will come from by how I want my shadows to cast. Do I want my shot to pass this way? Or do I see it this way? It doesn't make much difference right now just smack in the middle. So why don't we make this our light side and my shadow will go this way. But I worry about the showers, but you do want to think about that before you start. So I'm gonna wet the entire pot going around that foliage tree sketched in earlier. And your hand will skip around leaving some white works. Which is fine because the white of your watercolor is the only wife you'll use. Okay. It's nice to win the war. Said some top of it like this. You want Teoh. You want to make sure you give it a chance to to go in to pull into the paper. All right? It sits on top for a while. My dog isn't helping right now. What sits on top for a while and then it starts to pull that, move it around. You can see the highlights and certain light conditions. You'll see way of left light. I've left light on that side, which is going to show Start with my cadmium yellow just dropped that in here. And there you see a heavy bubble. Just let your brush that your brush soak it up a little bit. We'll pull into this paper. I don't have a clean line here, So I want to tighten up this line because I want the college to feed to the end because watercolor will go. The pain will go to wherever your water and then create what we call a hard edge. That's wonderful. In the case of plots like this, I do want to have some kind of an outline without outlining. All right, so I'm pretty happy with that. Once that color sits for a while, I'm gonna take some of my Indian red. Everything is still wet on wet. It's just play time. And rather than make my brush tool, my hands are gonna be the tool because it's by far the nicest way to create a water color. MEDLINE a little bit wherever it's not going on. When I help it along a little bit, that's like flying above there. This is what I'm dry. I have not weapon before. That's fine. It's taking. It's good old time pulling in. I'm adding some raw number on the shadow side. You're in between. Those lease was putting some of that wrong number. And already with this a little bit of color, you have already told the viewer and the lights coming from the left some of some of the darker hopes some of the darker color had feed to that, but it just make it go back to where you wanted it to be. How lovely that it's Once you're happy with the color, they and straight for a while, just let it pulled in. This is a really large highlight. I will leave that for now, but on a second glaze laid around or wash, which is just a layer of paint, um, I made soften that with a soft yellow. I have a little overrun. Their great way to fix it. Sitting towel full it in half and gently pushing on that side, then quite lift off. I'm gonna wait with a flat brush later on. Try to fix that a little bit. Okay? While we're waiting for that to dry, I wouldn't look and start some of the foliage up here and start putting in some shapes. I'm going use the number 10 round brush, which I love for just kind of random putting in the same way I sketched it. I don't want to start doing this because it's instantly going to run into my into my also now and then Pick up your paper and let it still flow because you don't want that heavy pigment. Sit on one cycles. It will call cause a back run, which is water is heavier than the dryness. And it's gonna push and leave kind of ugly, not always ugly. But in this case, I could probably get away with being an old clay pot. But I don't want to do too much of that. So let's some of that excess run away, all right? Basically, this is a heart shape without the end end. Always still would leave next to you. Were you working on it? You may want to sketch it. You may just want a free hand in and I think I'm gonna free handed. You see a little bit of the stem, some very small leaves and some larger ones. So what you might want to do is sketched him with your brush. And I'm not even following the pencil and sexual early because that was just a rough, rough idea. I want to start with that. Start with my yellow. These are getting full sunlight. One sitting there. Now this I did not wet first. That's OK. That's Balto. What? I'm bright. You don't always have to. This is very watery color, just just rightfully noticed. I'm staying away from my pop for now because it is so watery and it's not a staining color . I'm OK. Starting a wet on dry, even to staple. Some masses worry more about where you see the flowers flowing, so it's a nice little composition. Okay, once that's still wet. I'm gonna put a second layer of my sap green, especially towards the tiny cube. Italy's most. I'm a drawn a little bit later, some detail. I'm not feeling the whole area a little fatter joints top. They really have that. Sometimes it helps just to take your brush. I feel that, you know, it's almost looks like a little shovel, doesn't it? It helps to get something in your mind what shape it looks like. It may help you just draw a couple. Every single one has to be. So I got skipping around just to get my green. Hey, I'm gonna raise it back up because I'm like the flow of water color and always moving. This is still very wet down here, but it's beginning to doll up a little bit there. Which means we could put a second glaze in it. Or we could wait. It's up to you. Um, a little. A little bit of purple on the shadow side, grabbing it right away will mix and nicely because it is still wet. Notice. I did not let that again. I want to stay under this lip. Suggest that the lip cast shadow beginning of that. I'm not going. Use your paper tower. I like to use my hands. Feel how much more should I have in the brush? This is pulling away a little bit because it was still kind of wet, but I like like a messy look like it looks of old pots. That's a little bit too much color there. You could simply thank you brush and lift it off again. Certainly define it against the white page there, Report wants to and then bring it back to the shadow side, curved back in a little bit to suggest the curve of the plot. And more and more of that will happen in a little while. When this is totally dry and we second and third places, we've done a 2nd 1 This is still the original color, I said. Not now. Might be a good time to just pull a little bit yellow over there, leaving little white there. When the rest of my plot becomes darker, it's definitely carries a highlight. I'll take a little bit of ah, with my brush. You see the softer highlight there. I spent a little time drawing in some of the leaves, but it does help me just to study the plant and see the shape. But by no means you have to draw on every single leave. It will just help you been around it off there? I've scattered them around everywhere. The rest will just almost just a dabbing. Or like I did in the beginning, Just a free, free, fun flowing plant. A couple more little ones up here. Fun way to really look at something and start studying. We may overlap some more in here later on. But again, let's start from what On wet. I'm still using my large number 10 brush, and I'm going to go ahead and let these first cause we are doing a wet on wet. Wherever I've drawn them. I will just give him a little dab of water. And this space here is space. That stuff is going on the pot, so I'm just gonna give it a fill it up with water in here. This is all gonna be fully stems. I'm gonna draw in late around with my liner brush. Don't worry about that. I've drawn them in with pencil, so I don't know where they are again. Sit for just a minute. Mile pulls in. Is your real bubble on top of the page like these are It's just not right in. It's important. Every started this clay pot wet on wet. It was in case. I don't have to plans go everywhere there. I can go in and soften. Soften that hard edge that was made around the plants. I believe in them cars There. We're doing Wayne Wonder years of our clay pots. I'm not worried about that. That's just softened it a little bit. All right, take my can you yellow medium. I want to start dropping some in here almost always use yellow. It's the beginning, my foliage. What I even on a dark, shady day, I want to see that warmth of yellow comfortable painting. This is very full in here where I haven't drawn any yet, but that's OK. I can still draw some over this area later on runaway stems. It's not enough. I know that that's all right. Sap Green is also sometimes called olive green. Very similar. I think whichever one you have is fine. Where we have my little shapes drawn in. I don't even feel like you need to do the entire shape. Get some of that green going to start moving itself. The advantage of working on angle and sexual in A. It's going to start moving on home. It's important for you to move your paper around. So not all the strokes of the same way. There's nothing worse than uniforms that leaves Nature doesn't do that. No, I want to fill in the inside of this part. I'm definitely put some more color in there. Always move that hand around, suddenly start seeing some leaf shapes that you may not have even intended to be there. But you see them and they picked him out of work with him. Just like our profits gonna have layers are these? We're gonna have layers. Blazes. I like the way this is filling in. I'm needing some room for for my lions to show up. There's a lovely reddish tint to them. To the not lying system. It, I mean all right, well, let that rest. Like what I have so far. But this is nice and dry. One way to test that. It still feels cool. Put your hand behind the work if it still feels cold, which it does it still it still on the wet side. But it's not wet like it was before. So we're going to start building up the value Clay quant 6. Wet on Dry: but no starring to do a wet on dry technique. The paint protects I want it took just painting to the to the hair dryer and write it up a little bit. Cycle. Continue my demo. This bottle is very uneven here, and I think it's actually fine because it is an old pot. But if it bothers you, this is the time you could straighten stuff like that out. So now you just going in, skipping around, filling up what you think believes may not be. This is a real hard edge there, so I can start to reclaimed my clear plot where I think it should be showing that lip is still really thick. I know that when I was let it go, don't color in the whole area. Leave some of those wonderful first color since you've created. Once your colors are mixed on your palate, it's fine to skip around that same brush and mark up your pains here. Just don't look them up in here. Actual bank of pure colors trying to keep those pure. Does the colors do change over time? Alter marinas a great shadow color. Just to be kidding. Oh, setting this up that's getting some depths that's getting some life to it. It's becoming more interesting. This is a week we call very things. I want to straighten the outline there, but rather make it look outlined. A clean my brush and I'm gonna come with clean water and meet up with that line and that it gently flow back into the park, making it look. It's always been there. This is gonna have leaves on the corner and maybe with slightly finer brush, I'm going to softened. I'm a little less of a lip there. I love the Indian red for plants. Obviously, it is a clay Please color. You do want to show that this is still part of the park. Can I put it in? I'm interested. A little water with that soften that So it looks like the highlight, but it's not completely white. Little small. Make sure the curve still stays there. A little bit of a hard edge, which is fine, is in a sense the top of that part. And then this is occur. Let's go to number four brush. Let's keep building values for a while. It will be afraid of strong color again you started. This went on west. So you know you can change. And once you're adding second glazes, you and sense become wet on wet again. Because now that this is all wet, whatever I add in there, it's going to start moving. You control where you wanted to move in where you don't. This is a really hard edge. I wanted to be soft around my foliage and I was a great time to play with it. This is when you see a hard line like that, chances are that wouldn't be happening. So take here. Let's take your brown brush and rescue Aly. Shake over that nice. You don't have a heart out there. A straight line, huh? This will have a leaf forward later on. Just gonna soften it a little bit. So my leave could grow there in a bit. No, it's not Skip around. I don't just outline that whole thing in purple Once all my leaves air where I wanted to be . I will probably you one final, um, bringing in some color If I think I knew there could be a little highlight there. Even those in the shade side. I always get rid of it and we'll leave it if we now this overhang us disappeared. This is covered by leaves. Don't bring back some of my yellow. You could Sprinkle some salt on your plot at this point, but that has to really be down at the first time you went it, Some were not a good idea. Because you have to. I don't blame you Can. You can't really into second washes, but it gives a remodeled effect. Okay. I like the way this is looking. I'm going to work the leaves and just have you watch me. 7. Finishing touches!: The last step of this is to put your shadow with shadow and that the pot will cast the easiest way to do this. To have your ultimate green blue ready making us night wash. Don't have a terribly dark make your brush clean and simply touched the bottom of your part , and we'll still have a little blue in it. This is a great way to, um, also tighten up. If a pop isn't perfectly circular, has that nice curve to it. The colors are bleeding. A little bit of the popular I don't mind at all. The shadow should start right there. And quick and simple is really the best way to go with this. I'm not going to do all the foliage. I tend to just do a quick. His chances are you'll paint. You'll crop it out here anyway. Okay. That's just basically the water. Gonna give it a little bit of blue. Should be a little cleaner. I like to start my shadow right at the pot. In the past, a past applied. I mean, to do that, it might creep back where I was when that happened. I like the way that plays is coming into the don't go back to where it was. It's not perfect, but that's all right, all right. Not blue over there, a little bit them. Turn it upside down a little bit and let the darkest blue when this is a chance to pull in . I like to give the darkest shadow right under the object was any object you look at. If you look at my clay pot here, the darkest shadow will be right at the bottom of that object. And that's what that deeper Blue is going to do. It's too wet right now, so we're gonna give this a little bit of time, and it's already creeping into my plot just fine. But once this is a little dryer, I give it a little bit of either COBOL below or just going back into that ultra Marine. I want to mix a little cold Walton with that, it's a little bit too wet. Someone make it straight, so it doesn't travel too much because I really wanted to stay under the pot. Little dryers too soon, I think. Let's try. It was that I don't want this line to creep into my apartment. Take a thirsty brush Sure doesn't go into that. You really want your color to be very dull. This is too much light here. Still, you want that dullness to make that little blue line work? Even my greens air soft a little bit. You could choose to go back in with a little bit of more of the ultra Marine in the green. I think I'm gonna leave it right now, but that's, you know, that's would be a simple, um, blotting in if it, you know, just popping in some colors and then the fun Let's try this line again because I really want to see how nice that how nice to kind of look, if it's done right, it's creeping into my part. I'd like it to be a little finer line that what it is right now, some hoping that gravity will help push that little blue dying down. Not we'll see what we can do. It's not really moving, which means the paper is trying, which is good. But I wanted to move up more so I'm gonna take a brush laying on my paper, cowl most of the water out, and they want to come underneath that shadow and soon it up a little bit. The quicker you could do shadows, the better. They are messing with this one a little bit more than I want you white space there informed because luckily, this is still wet. What's your biggest brush? It can be as free as possible. I'm loving this quickly as she can. I'm gonna be done. The very last part of this painting is to get that little clean blue edge. We had a little bit there from before, but I wanted to be a little darker. If you look at this tiny pot or are you looking up a coffee? Anything you look at there is that we need dark line right under it. So that's what I just make. I have some Walter Marine flow, and I'm going to go right under this part and a nice, crisp blind. This is what we want. Perfect. Your back has to be dries. This is the shadow is a lot of fun. But you gotta know when you can. I cannot do this. And I was doing a little bit too earlier before on just softening a bit. Want really make it look like it's pushing under the object. I put a little water, my brush. You can go back into it life, soften it a bit too much. That's what I want and your products done. 8. Thank You!: way.