Mix It Up! Creative Ways to Combine Your Art Materials | Ksenia Annis | Skillshare

Mix It Up! Creative Ways to Combine Your Art Materials

Ksenia Annis, Figurative artist

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12 Lessons (2h 40m)
    • 1. 00 Introduction

      2:00
    • 2. 01 Watercolor and Derwent Pencils

      16:00
    • 3. 02 Watercolor and Oil Pastels

      14:18
    • 4. 03 Watercolor and Chinese Ink

      14:16
    • 5. 04 Watercolor and Arteza Brush Pens

      11:13
    • 6. 05 Watercolor and Markers on Toned Paper

      13:23
    • 7. 06 Gouache on Acrylic

      17:40
    • 8. 07 Gouache on Black Acrylic

      20:20
    • 9. 08 Gouache and Watercolor on Gold Acrylic

      24:14
    • 10. 09 Useful Tip

      1:16
    • 11. 10 Class Project

      0:55
    • 12. 11 Bonus video Watercolor and Collage

      24:02

About This Class

In this class we will look at creative ways to combine our art materials to produce captivating and vibrant artwork and to best convey our subjects’ color, texture and lighting. In step-by-step demos  I will paint humans, animals and flowers using water soluble paints like watercolor and gouache. I will combine them with various pencils, markers and pastels. This class is meant for beginners who are learning and trying new things, as well as for more advanced artists in search of inspiration and new ideas.

Transcripts

1. 00 Introduction: Hello. My name is Cassandra, Honest. I'm the owner of Camera App Studio. Welcome to my class. Mix it up. In 2014 I went from working as an architect to create in art full time. Since then, my company Time Europe Studio has produced art for pediatric departments off several health care facilities in the US I recently completed mural commissions for Kroger Company for their store in Katy, Texas, for the City of Grand Prairie, Texas, and percent Albert Chapel and Student Center in Hammond, Louisiana. I regularly exhibit my art and teach classes at the watercolor. Our Society of Houston in this glass will look at creative ways to combine our art materials. Ah, goal will be to produce captivating and vibrant artwork that will convey our subjects color , texture and lighting. In step by step demos, I will paint humans, animals and flowers using water suitable pains like water, color and wash, as well as various pencils, markers and pastels. This glasses man for beginners who are learning and trying to things as well as for more advanced artists in search of inspiration and new ideas. I have included a list of everything I used in my demos in class materials. If you don't know the pdf file, it might be useful for taking notes or in the next time you're shopping for supplies. I'm hoping this class will inspire you to try something you and to find your own exciting and French combinations. Please visit my website to see my art signed up for my monthly newsletter and to connect on social media. If you let this glass, please remember to leave a review so that others confine it as well, Let's get started. 2. 01 Watercolor and Derwent Pencils: but this video will be using, and she had a watercolor paper, some water color paint and what are soluble colored pencils. Please download the pdf file attached to this class for the full list of materials. For this demo, I'll be using a photo off some gerbera flowers the right of the spring. I like the combination off bright flowers with some greenery with a complementary colors, and we'll see what we can do with them. I don't have a pencil drawing because I don't want the pencil to show through my watercolor . Even if you try to erase it later, you can damage the papers. So whenever possible, I avoid doing a pencil sketch before working with watercolor. This is not a very complicated drawing, so I should be able to get away with it. I start with a bit of magenta. I add to it for something that's gold, Crimson Lake. And the reason I'm mixing this two colors together is that I'm just trying toe very my reds for things, and the only reason I'm doing this is I'm just trying to very colors and the flowers. I don't want it all to be the same so mixing a little bit of this and that ed in a little bit of yellow to just the chief of visual interest. It is what I call the dries. It becomes lighter often quite a bit if you don't have enough pigment. If you have too much water and is my flowers start to dry a little bit where I started, I'm adding a little more color, a little more pigment to them to bring forward the front edge of the flower. - And with my greens, I'm doing something similar. I'm mixing a few different shades, and the only reason I'm doing it is that I'm trying to vary the color. I don't want it to be all the same green everywhere and as you can see, a kind of loom loosely following the photo. It's not that I'm copying anything. I'm just random relating the paint float and maybe mixed together, and it's doing the same on my palette, which means they can be some happy accidents for accidents that hopefully I can fix later and almost never used green out of the pan. I tried to mix it with a little bit of blue toe cool it off or with a little bit of yellow to give it a warmer shade. Um, indicating those decorative cabbages that I have here from the bottom and on the right hand side. Basically, just creating varied and interesting shapes in different colors is this stage. I'm pretty much done painting. What I'm doing is just I'm unifying my shapes a little bit, giving them a light wash. And it also there is the tone off the overall peace a little bit, and I think I'm ready to move on to my dear event. Intense pencils, intakes Pencils are water soluble, and they give you beautiful, saturated colors. Amused pencils because the format of my painting is not very large, 11 by 14 inches. If you have a larger piece, pencil might not be enough for you. It will be too thin, so it's a good idea to use intense bars, which are very similar. They're also water soluble, but of course you will get bigger coverage in here. I'm doing kind of the same thing I did with colors. I'm not exactly following my photo. I'm using it as inspiration. All I'm trying to do is very color and thickness and intense. Still, the line. Those pencils. They will go really nicely on them. Watercolor. But if your paper already drive, you can always dip them in clean water and you will get a very nice bright mark. And if you notice what I'm doing with the greens, I'm kind of getting my inspiration from the shapes that my watercolor created. I'm outlining them, and I'm heading some veins to make them look like leaves. In some shapes, I'm living large and some shapes on, breaking up with some additional lines. So again, their ideas, the name of the game and you can see that I'm not drawing constantly. I pause from time to time to take a look and decide where my lives need to go, because sometimes we get so carried away. We just keep painting and then it's delayed. So it's always better to give yourself a couple seconds to evaluate your painting than to Russian and sport. And I'm going to speed up this demo so we don't spend too much time watching it, and now it's time to add a little bit of dark stone. My paintings. I'm not going to pay the brown soil that I see between the leaves mixed a little bit of ultra marine blue with some by a little. I really like that combination, and that's what I'm going to use. It's a cool color, so it's going to go back visually and again. I don't have to follow the photo exactly. I'm just trying to decide what looks good on my painting, what shapes I want to create. And I also tried to vary these shapes. That's why I'm using different brushes, and I'm using splattering as well as painting with the tip of my bride show painting with a brush full long. It all gives me the riding, and that's another reason I love those there ran pencils so much because when I go over them with watercolor, they start to run a little bit, and I get even more variety and interesting shades and combinations on the painting. He just all looks very effortless and fluid and expressing from in a the stage, I feel that the front edge of flowers needs to be brought forward a little more time. Achieving this by aiding a little more intense red thing to them in a few more accentuating lies with my pencil. So, as you see, it's not a part of pastoral the water call first and then do pencils. You go back and forth and you just decide what you're drawing needs. And that's what you do. - And I'm pretty much done with my painting. I feel like it's a little too cool, so I want to add something bright and very warm. So I'm going for this light orange color, and I just kind of strain it all the way through my painting. It's totally arbitrary. I'm not following the photo at all at this stage. I'm just looking at the painting and decide what it needs, - and if you like your painting, always sign it can with them. 3. 02 Watercolor and Oil Pastels: Let's try another flower painting for this one. I'm going to use oil pastels on what a color paper, and I'm also going to use watercolor paid oil. Pastels are going toe act as a resist or kind of like liquid mask that we use when painting with water color, because obviously, what color is not going to stick to them? And again, I didn't do a problem in the re pencil drawing. It's not a complicated composition and flowers. It really doesn't matter if there's like a different shape or positions a little bit differently than on the foot. So I picked very light pink that I'm going to use for highlights on my flower, and I also happen purple color and olive green. This will work for my branches and four leaves, and I'm going to speed up this demo so we don't spend too much time watching it. - My D here is for the flower to be the center of the composition and then that branch that sitting on this Camilla flower gives me nice diagonal movement across the page, but also the want to just concentrate on the flower and I need to fill up the page, so I'm kind of likely indicating other flowers and the grass behind the branch. And if you want leaves, just don't feel the page and have some sort of a design going on. And I'm going to try to indicate the highlighted portions off the leaves with this lighter green kind of leafy green, and we'll see how that turns out after I start painting. And my main flower has this kind of dark yellow center. I think it's a good idea to indicated with pastels as well, so I'm going to do that real quick. So I just bought the tube of this paint. It's called Bright Rose, and I think it's perfect for the color of the Camelia that I'm painting and I'm going to put someone paper and here you can see that because watercolor doesn't stick toe oil pastels. My initial drawing that I did was light pink is starting to come through in the flower, inquires some highlights. You know, I'm gonna put some color on the but as well in on the lower flower. Since it's a little more in the shade, I'm gonna mix it with a little more magenta for his likely dark color. So I don't have to worry about leaving white paper or lifting the color off because already covered paper with oil pastels. And I want to get a little more depth and definition to the pedals. So I'm using this dark magenta colored on my main big flower in the moving onto the leaves there very dark green color, so I don't want to use the green out of the pan. I'm mixing it with some ultramarine blue, which gives me the depths that I need in the cool tone and again because I have some of paper covered with oil pastels, the actors, the resist and what a color pain doesnt go on. That's not those spots, and I'm getting texture and highly, and I want to put a little bit of the green tone on the grass. I'm going a little lighter here because it's first of all, it's in the background, and then it's lit by the sun. Little more. - The main object here is not toe cover everything with green paint, resist that temptation and just go with a light touch and stop from time to time and look at the painting and see where we actually need to put some cop. And while I was working on the leaves and the grass, the flowers dried a little bit So now I can give the pedals even more definition with some deeper bright atone No, I'm switching to a little smaller brush and I'm gonna work on the shadows mixing ultra marine blue And I'm adding a little bit of hundreds green to it and I'm gonna paint some shadows on the leaves and on the branch This ultra marine blue in hundreds green mixture works as a unifying element between various parts of the drawing. And as you can see, some of my pink on my palette ran into the ultramarine blue that I was using. And it actually made really nice, like purple kind of neutral purple color, which will be perfect for my background. I'm gonna indicate the soil and the shadows behind the flowers down below. And I actually see that this painting needs a little purple color or mineral violet and should say it will unify my flowers and the leaves, and it will give little interest if I kind of string it throughout my composition. So that's what I'm going to do, and when I look at my flower now, it's fine. But I think it's a little pale, so I'm going to grab the scarlet color and give it a little more definition. - And I'm also going back to my purple and add a few lines over the painting, also to give it more texture and a little bit depth. - I think we're done. We're going to sign the painting and let's see the final result. 4. 03 Watercolor and Chinese Ink: In this video, I will be painting on watercolor paper with some watercolors and Chinese ink to see the list of materials. Please refer to the pdf file attached to this class. So I have this photo, my model that I took. If you squint when looking at it, you will see that it actually has a lot of very dark areas on her head in her shoal, intra stockings and that piece of jewelry. Sha has her eyes. So I think black accents produced with Chinese ink will work really well for this photo. I'm doing a very light outline of the finger. Just figure out where it's going to be on paper, and to get the proportions right, I'm Here's any water soluble pencil because I wanted to be washed away with watercolor when I start painting and not interfere with my piece. If you'd like to learn more about my sketching methods, you can watch my class. You can sketch people where explain my expressive sketching techniques in great detail, and I'm mixing a little bit of mineral violet with some ultramarine blue. That's my favorite combination for neutrals, almost never pink neutral colors out of the Pan because they come out, though I don't like using like burnt sienna or black. We're going to mix this neutral purple and pain her head, and I'm actually going to run it off the page and connected with the shadow behind the motel. And I'm indicating her dress, which is going for pinkish color, and I'm going to move on to her hair and her skin tone. Just basically working over the finger is you see, um, working with pretty deluded colors, aiding a little water as I go or I'm lifting color. I'm keeping in mind that I will be adding some dark watercolor and also black ink accents, though at this stage I'm doing me tones. That's why I'm using fairly small amount of pigment on my brush, and I know what the stage. The painting looks a little bit like an ugly child, but we can despair for will persevere and for connected, and hopefully we can achieve good results. And I don't really want to paint her face her features in great detail, but I don't want to indicate some shadows on the face. I have this mixture of Fokker with some purple, and I'm just very lightly indicating the main big shadows on the face. So what I'm doing is laying foundation for my ink accents that I will put on later for my darks. A mixing mineral violet with the light orange gives a nice deep color. I feel like I need to put a few dogs here and there just to see what it looks like, because, really, the order in which you paint is not important. It's up to you. Whatever works for you. - I always ask myself what kind of edge I need in water color, because if the paint is already dry, you will obviously get a hard edge when you put paint next to it. And if it's still wet, colors are going to run into each other and is going to be a soft edge. And we're going to indicate some darks on the painting to kind of prepare ground for our black accents. And you can see I'm not going into too many details on trying to stick toe the photo exactly because I'm not copying the photo. It's just a loose, expressive sketch. - Do you? And we're going to just put a few brush strokes to the back ground toe. Unify the figure with the edges off the page, and I think we're ready to move on to our Inc access. So I have a little bit of Chinese ink in my ceramic cup, and a little goes a long way. You don't need much, and I have this genius brush. It has very pointed tip, so it's good for small details because my painting is really not that large. And I should tell you that I left the watercolor painting to drive for a few minutes because I don't want the ink to run. And I'm squinting when I'm looking at my reference photo to see the darkest accents on the photo. And that's what I'm footed. No paper. - And again, the key here is not to go overboard, to exercise restraint and only put a few accents here. And they're not the same thing everywhere. And to vary a stroke to keep that we're interested and entertained with your paintings. And when working on those ink accents, you don't want toe. Confine yourself to just a figure. You obviously want your designed to be balanced, some putting a few strokes here in the background, and I didn't paint that stool or the little table that she has next to her. But now I think it's good time to kind of hint at its existence with a few black brush strokes. And as I said before, with the blocking, a little goes a long way. So light touch is best, and it's especially true when you're working on the face. It's very easy to overload it with dark marks. So just be careful and pause from time to time and look at your painting and see what it needs and what I really love about Chinese ink when it's just too dry. It's really cool to do those dry brush techniques like you see, I'm doing now on the background and under the model kind of on the chair. So I think it really adds interesting variety to your paintings, - and I'm going to add just a few most drugs here and there had some more definition to the form , and I really should stop messing around with this painting, and I'm gonna sign it and let's see the final result 5. 04 Watercolor and Arteza Brush Pens: in this video, I'm going to paint another model in the fancy costume. I'm going to use a sheet of watercolor paper. Watercolor paint in art is a rail brush pins. I'm going to use the reference photo of a model she's wearing kind of whimsical. Arabian Nights are still, and it has quite a bit of intricate detail, and I think artisan brush pins will be good for showing those details. And I've started again with a very light pencil outline all the model if you ground the proportions and the composition, and I'm using water soluble pencils so it will wash off with water colors that work on this kitsch. Amusing. My big number 10 brush and I mixed a few colors, not really worried about being very close to the photo, but something similar to what I have in my reference. And I'm just putting down those washes on paper without any details, and I'm working on the background as well. It's all just imagination. It's not on the photo, but I want to connect the figure to the side of the paper. I don't want it to be isolated on the sheath, so just washes off color to make it interesting. And that's my main washes down before they completely dry. I want to start working with the markers because I don't want any harsh lines. I want them to actually believe that a little bit. And here I'm going toe alternate between the markers and a smaller brush because washes put down to the small brush will also help me soft in my lines. - And she has this skittle gold cap on. So I'm gonna indicate those sequins on the cap with markers from using a couple different shades. - And you see here that the shirt is little toe wet for me to actually work on it. So if you have too much water on paper markers, actually not going to stick to it very well, which is fine. I can come back to it later. And you will notice also that I'm using only four shades of the markers. I don't want them to be totally random. I'm tying them with the colors that I used for the water color on the painting, and I'm going to finish working on her costume. I'm gonna put some color on her little jacket dishes wearing her skirt needs to be a little more intense. Storm aid in a little more color here indicated in the folds of the fabric. And as I did without the materials, I go back and forth between watercolor and markers to do the design on this part. I'm going to pick up the Marfa again and do the Falcon dots, - Okay . And since I've used a purple marker on the jacket, I'm gonna kind of spread it around a little bit and had a few touches in her skirt and also in the background just to tie everything together and maybe a few more details in the background. That's it. We're gonna sign the painting and let's see the final result. 6. 05 Watercolor and Markers on Toned Paper: So this them. I'm going to use great owned paper. What a color! In black and white permanent markers. Don't forget to download the list of materials attached to this class. My friend took the reference photo. It's this you pra cute black and white cat sleeping on the windows. So there are actually a couple off vessels where you put water tow, humid. If I the here and there also cap, he's like the king off cats. And there he is, subject for this demo. I'm going to use great toned paper. It's meant for Conde or regular pencils, maybe with charcoal, but I'm going to try to use permanent markers on that and a little bit of what color. So let's see how this works in a lightly sketching the composition with water soluble pencil. When that's done, I'm gonna take my permanent marker, my black Sharpie, and start working on the drawing. Okay, okay. And I am squinting when looking at my reference photo to see where I need to put those dark marks. But also I'm thinking about the overall design of my sketch because it just wanted to look good. I'm not particularly concerned with copying the reality. Okay, And guess you're wondering. I moved the cat sculptures to the other side. I think it makes about a composition, - and I think that's enough for now. We can always go back and add more later. It's much easier than taking away permanent marker, so I'm going to switch the water color. And because it's not what color paper it's meant for drawing the paper is pretty porous. So if you use too much, water is gonna hold back. Oh, so what? I dio I makes quite a bit of pigment with minimum amount of water, and that's what I'm putting on paper, and I don't expect it to run and make some paper. I just draw shapes whether they're going to stay put, - and I want to keep my painting fairly monochromatic. I'm only using a few colors. I'm using Payne's gray for the cat instead of black. I think it looks much better, have a little bit of light blue, and I have some oil of grain that I'm using for the plants. And for those get sculptures, I want a graphic, stylized effect, not colorful or too realistic, and I think I'm going to add a little bit of Eliza in crimson for the cat's paws on maybe in a few other places, this will be my warm color, and I will mention this again. The papers poorest, so not using too much water, just minimal water required to pay. Now it's time to add our highlights. That's the most fun part of it. I'm going to use a permanent white more, for it's also made by Sharpie, and I'm putting in my highlights the white spots on the cat. So as you see great paper starts as my middle tone in My Doc's Sharpie and dark watercolor and highlights a white marker. And I'm also in some highlights on the windowpane on those flowerpots and some in the background and maybe just a few highlights on the cats cultures. - And now that I have my tonal painting all laid down, I have my darks and I have my Midtown's and I have my highlights and also the pain started to dry. I see some areas that need to build the darker or maybe unified, so I pick up my black permanent marker again, and I'm giving the painting another once over as artists say, restating my darks, - and I think it looks good. I'm going to sign it and let's see how it turned out. 7. 06 Gouache on Acrylic: In this next demo, I'll show you how to paint with wash on acrylic background. I did a little bit off preliminary work. I took a sheet of Bristol paper and I painted on it with acrylics. I took some offer and some mineral violets and some blue. I mixed them with a lot of white, and I did kind of an abstract painting. I used the brush, and I also used a sponge to get a little bit of texture, and I was going for kind of lighter, middle and cooler edges and a little bit of movement. I think it just looks nice and it gives me had started my sketch because the background has already covered. I have a photo off my friend's dog here. I'm going to try to paint her on the sacral background with some gosh have this intense water soluble pencil. I'm going to sketch out my composition. The reason I'm using this pencil is because it's water soluble, and I'm hoping it will bland into the painting later, and it's not going to stand out. And also it's easy to wash off. Unlike regular pencil that you can't wash off, you will have to erase it and that my damage, the paper and my acrylic on the painting and is that work on the sketch? I realized I don't really like the reference photo. The dog was looking sideways. Also, she couldn't understand what I was trying to do with her, so she stuck her tail between her legs so she doesn't look too happy. So I'm going to use another photo. And because I used water soluble pencils, I'm just gonna take damp paper towel and wipe everything off. I'm going to speed up the second sketch quite a bit already. So how I do it so we can get to painting a little faster. Were rated to start painting. And as you see, I have only three colors in my little ceramic cups. I have a lettering crimson. I have ultra marine blue, and I have my white in a separate cup. I'm using his little water as possible, and I'm putting down all my darks. And if you're not familiar with wash, it's water soluble paint. It's very similar to a watercolor. It uses the same pigment, but it has chalk in it, so it's not transparent, and it's very opaque. And this is right for us because our papers sealed. It's not gonna absorb any water. It has acrylic film on it, so we need something that will stay on the surface of that acrylic Phil. I recommend not squeezing out too much wash wants. Once it's dry, it's really hard to reconstitute it. You can answer more water, but it's not gonna be the same nice, soft consistency that you get right out of the tube. So always squeeze just a little bit. And if you need someone later, you just somewhere out the official dogs code I use and even dry brush. Then, when I was painting darks, this technique is called red brushing, and it allows me to achieve this kind of stripey texture that she hasn't her coat. And even though my acrylic on the painting service my Midtown in this sketch, I think I need some meat own mixed with wash as well. So I'm going to do that and we can do the same thing here We did with pencil would take a damp piece of paper towel, and if we messed up something or we put too much color down, we can likely wipe it off. Or why, but off completely. And now it's time to move to our highlights. I'm going to clean my brush and start working with white. - I'm doing a little more dry brushing on her far. I'm bearing using a little more or a little less water to a gym, different textures. And I'm going to move on to smaller details. And you too small a brush for this. And here I'm kind of going to go back and forth between darks and my highlights when you're eating highlights, especially in the eyes. Keep in mind that they can't all be the safe, because one side will be closer to the light than the other. So one highlight will always be slightly bigger and brighter than the other one. Even though our drawing is a bit stylized, we're going from a natural effect on Big Bride highlights of the same size. In both eyes. It's cartoons and animation style, - and because I don't want to use a lot of water to mix my colors to soften, my age is I'm not sure going to use the same damn piece of paper towel that I have and I'm just kind of likely softening my paint. On paper. It is. We're getting closer to being done. It's a good idea to go over your darks again. And, as I mentioned in previous videos, will want to restate the Dark's. That also helps us to verify that the overall drawing is correct. What kind of looking at everything one more time and just finalizing it. You can see I messed up a little bit when I was working on the dog's mouth, so it's very easy to correct it. Just wipe the paint off and I'm gonna paint it again. It's always hard to let go, but I think this particular sketches done, so I'm just gonna sign it and let's see the final results. 8. 07 Gouache on Black Acrylic: in this video, I'll show you another option off painting with gouache and acrylic background. But in this case, my background is going to be black for this kitsch. I took a piece off watercolor paper, and I painted it with black acrylic. I use more water than paint toe break up their Krilic film and to still have some texture for application off squash. I waited for acrylic toe for the dry, and now I'm sketching out. My model was wearing very colorful costumes with white pencil, and I got that pencil from the set off around. Think dance pencils that I have obviously couldn't use the regular pencil because I was able to see anything. The central is water soluble, so I'm not worried about too many marks before I paint because it will all wash off when I start painting. And again, I'm not following my reference photo exactly. I just want my sketch to look nice, so I'm going to have a little more design elements in the sketch that I have in the photo. I'm position in the model a little bit to the side so I can give her this colorful draped covered with flowers and the flowers are going to have the same colors as the models cost him. So I'm going to try to take my model with Wash, since it's pretty, viscous, Painted has sicker consistency than what color, even though it's seven with the water column, I think it will stick better to my acrylic surface. And if you haven't worked with wash before, just keep in mind that once it's dry, it can be reconstituted with water. But it will never be the same creamy consistency, so I don't squeeze out too much of it. I squeeze just not for me to work with. You can always add some more paint later instead of wasting it, and it will just dry out. And it's never gonna be the same, even if you cover it up to show the model's skin tone, a mixing a little bit off orange and a little bit of a lizard in crimson with a lot of white, and I'm covering her whole face. But this will actually be the lit areas, and I will add the shadow later at this point, my brushes pretty dry. I dipped it in water and then I squeezed out most of it. I don't want to deal with my pain too much. I just need enough water to make it stay on paper, and I'm gonna work on her arms and legs as well. Just covering. Pull those shapes with the same skin tone mixture now moving on to the shadow on the right side of her pace. It's the same mixture orange with Elizabeth in crimson, but with a lot less white. If you squint and look at that shadow, it's really warm. That's why I'm here is in this mixture. And while I've watched so much unlike watercolor, you don't have to worry about it drying and then working in sections and layers and not having heart ages or water blossoms or anything. You can relax and enjoy yourself and paint as fast or as slow as you like. This paint is much easier to use than watercolor. It's trillion a good get the same beautiful, transparent effects. But I think it's still very beautiful and can get good results. And she has this goal kind of hand band decoration on her head. I'm going to paint this with some wise and Yellen's, and hopefully I'll be able to convey the treaty bribe shining material that it's made all right. - And I'm going to move on to the scarf she has on her head. I started it a bit too high. So what I'm gonna do and take a piece off wet paper towel and just wipe everything off? And now I can make whatever corrections in need. I'm gonna started a little war for the model skirt I'm using a mixture of Eliza ran crimson with a lot of white. I know it's not an exact shape of than what she has in the photo, but that's what works with my overall color palette. So that's what I'm using and again the shadows on this card of warm. So what I'm doing is just using a little more lettering crimson, and that gives me the illusion of the shadow. - And I think I'm going to use the same color on my decorative, imaginary decorative pain that I have in the background. I'm gonna paint some flowers here. The museum varying the angle of my brush on paper because it's not evenly loaded with paint and rearing. Its angle gives me interesting gradations of color on the pedals off those flowers in a painting and everything. Like home. In the reference photos, she has a bit of orange under her feet. I think it works really well with the colors over costumes. I'm gonna do the same thing and grab some orange here and put some on the background. Even though I'm not copying the reference photo, I do use it as my inspiration. And I'm kind of negatively painting her Black shoes already have black there. I just need to paint the background around them. And I got the shoes and and maybe a few strokes on the other side of her to balance it out . And I really like to use the same color in several places on my painting. So it looks balanced. Some gonna just run it through on a diagonal here and maybe some in the background behind her. Now, everything I have on this cage is one colors. So what I'm gonna do to balance them is mix some coupled blue with ultra marine blue. I just like the mixture. Well, but it's not, you know, Qala straight out of the bottle exit more interesting. And I'm gonna work on some cool details, and I want to feel the space in the background a little more so it's not so black. I think some pale blue will work here and again. Notice that I'm not covering with paint every square millimeter off my paper because I want that black background to just slightly show through the painting. And I'm gonna work some more on the tape mystery that I came up with in some leaves and some Stam's uh in that began to work on her features. Painting is not very large, so I have to be a little bit careful. One painting, small details, I always say with faces, it's always better to do less than to do too much, so some restraint is necessary. When we're working on sketches and not on Portrait's, you will notice that forecasts shadows. I'm actually using my bubble mixture. It's probable Blue with ultra Marine blue because cast Chandos are cool color. And while I have this blue mixture on my brush, I'm gonna a few cast shadows in her Scarpetta's well and overall in Bigger and now I'm going to move on and pain that gold design on her black vest that the best was actually my inspiration for using black background for this painting because I was thinking , How can I paint those intricate gold designs comma? Gonna get the background between them. So I decided to go with the background first and then paint the design just quite a few very dark accents here and there. So I thought if I left a little bit of space between my shapes, my collar shape and will actually look pretty good. So that's what I did Nothing that the all those scarf looked a little bit too isolated there on the right hand side. So I'm gonna do the same thing. Just grab a little bit of yellow and tried to distribute and pull over my sketch. I made a little bit into the tapestry design. - It would go a shit sometimes hard to cover large surfaces with even don't. So I'm gonna take a little more off my light blue mixture and go over the background one more time just to even it out a little bit, and I'm also likely correcting my other shapes. You never really should stop messing with her face, but it's very hard to let it go. You always think you can make improvements, which most of the time is not actually end up being true, and I think we're done. I'm going to sign the sketch and let's see the final results. 9. 08 Gouache and Watercolor on Gold Acrylic: In this demo, I will paint with wash and watercolor on gold acrylic background. Inspiration for this demo will be my friends. And as and her market ground outfit, it's a gold dress with some jewelry and with this fabulous feathered headpiece that she has , um, when I was thinking how to paint her thought about some gold acrylic that I bought a while ago and printed in tears for anything. Preliminary work for the sketch was to take a piece of Bristol paper and cover it with gold acrylic paint. And that was quite a bit of water. When I did this to preserve some off the texture of the paper, I didn't want a sleek film of acrylic on top of it. I wanted some texture to be preserved, and also that reduces the shine a little bit. I'm going to sketch out my model with prevent water soluble himself. This pencil will be easy to remove with a damp paper towel. If I make the mistake, would change my mind about composition in my plan is to leave. As much of the background visible is possible, but I'll have to tone it down behind her a little bit and maybe highlighted wear headdresses. And I'm also going to use White Wash for for a headdress to paint the feathers and probably al mix it with a little bit of what color To get the accents down. I'm gonna start with some Oprah Marine blue. I'm using watercolor, and I'm just spreading it on my acrylic background. It's focused, and I'm getting absorbed into the paper because it's sealed with acrylic. But if you used quite a bit off Hickman's not too much water, you can put like a skin layer on and you let it dry and then paint will go easier on top of that. And isn't my other sketches amusing? Reference photo is my inspiration, but I actually not copying yet. I'm just doing design of the nipple look good with my overall composition. So this is going to be kind off under painting that watercolors skin later that I mentioned earlier. I'm just laying down some paint, and my goal is to separate lights and vetoes on green, indicating the shadows on the dress. Because I have so many materials, I really don't have certain sequence in which I'm going to paint. This is an experiment, some trying different things, and I'm going to see how that works. If it doesn't work, it's very easy to wipe off and it works Great. Then I'm just gonna leave it all right in once one of colors dust to dry his in a flat, soft brush to kind of spread it around and even it out of love. It you see how it softens it, and I can even give the bride should some paint and try those credit ponsi for a little bit . - In those intense pencils that I used to sketch out, my model played. The role is wealth. Once I touched him with them brush, they start to run, aiding some interests and some darker tones to my painting, and I want to get to the fun part. I'm going to gain the feathers in her ahead. Rece, I'm using wife Go wash straight out of the tube from using the flood brush. It slighted them, but basically not using any water at all, because I want to get the dry brush effect on the feathers, and that's the only way to achieve it is to use a brush that it's kind of on the dry side. - No gonna try to apply some highlights on her face. I don't know if you're a white is going toe work. In this case, I'm hoping it will blend with gin tones that I will apply in a minute in this area. But we'll see what happens, and I'm going to move to highlights on her dress. They need to be pretty opaque. So I mixed some white wash with yellow green watercolor and is you know what color and wash . Use the same pigments. It's just washes, not transparent, that has chalking it, so it's perfectly fine to attend. Toe Wash with some water color gives you more a variety of colors without having to buy extra tubes of wash. - Now you see that the dress is becoming more three dimensional. It's acquiring form, and if I start to lose my line, I can always pick up the pencil again and dark on some areas a little bit. Now I think it's time to start working on her face and mix in a little bit again tone color. It's going to be white wash with a bit of blood orange. What a color. - And for shaded areas I made in a little bit less. Run crimson, toe the mixture to indicate the shadows on her face, and I'm gonna put a little skin off color on her hair. I'm gonna work on it later. It's pretty dark, but I don't want to lay very dark color right now. I want to keep my sketch balanced at all times and I'm gonna finish painting her dress. And now it's time to move to our darks. The pain, the dark. So I'm using my trusted mixture of ultra Marine blue and Eliza in Crimson Wash. It's a fake. It's very dark, has good coverage. I'm using a small brush to put it on my sketch, but obviously not everywhere. I'm squinting when I'm looking at the reference photo to see the Dark's. - Yeah , some doctor isn't her headdress in Defended to my Chicken. Always grab a little bit more of white and correct, but some artists up, kind of hesitant about drawing of painting, faces the feel it's too difficult over. They never come out right, And I told you, understand that sometimes it just a better idea not to think about It is a face, but think about it as a collection of forms that you need to reflect in your painting. And here, often the principal less is more works really Well, if you don't do too much, it will actually look better in the end. - And I added a little bit of white into my dark mixture to create purplish Midtown. So that's what I'm using on her arm and kind of in the folds of the address to soften them a little bit. And I'm gonna paint her necklace. I'm using a lot of wide wash tinted with a bit of yellow. What a color. And I really like how it kind of slid to the side because that helps me to describe forms. I'm following the reference photo. In this case, you will notice that I keep going back to my highlights. When gosh dries, it actually gets a little darker, as opposed to a watercolor that always gets a lot lighter. Eso Once paint dries, they kind of tend to disappear on me. So I feel like I need to go over them one more time in here. I'm softening by brushstrokes again, but I'm using a small brush this time so I can really get until those little details and I'm gonna take a smaller brush and just add a few more details on her face pictures in her headdress. It's kind of a balancing act. You don't want to do too much. It will overwork. But at the same time you want to model to have a certain expression, because that's what the viewer connects with and most is the human face and also face on. This conveys the emotion and sets the tone for the painting, and I'm not very happy with her hair. It's too dark and it's too solid looking. So I took a stiff, flat brush and I'm lifting some of the color off the papers. So most in the brush and I pick up the color and I wiped my brush on the people. And I'm thinking here, maybe I should get rid of the here on the right inside, so I'm gonna life and see what happens. And I'm gonna feather out the age of the hair on the other side to I think I need to think about what to do here, - and I do like her much lighter hair, So I think what I'm going to do is take a small brush and just add a few dark accents to it . But leave it much lighter than it is in the reference photo. In general, we can take artistic license and exaggerate the feathers. A little Beth, My flat brushes pretty much dry right now, some definite into white, and I'm gonna feather out the ages of her head dress a little more. I might have a few highlights here and there, like on her dress and on the furniture that I'm indicated here on the bottom left. Not that my German. Let's move it a little bit in the painting, some dark areas in the background, but you won't see them in the final sketch. After everything dried, I decided they don't look right. They distract from the bigger, too much the right side of the sketches. Too much like the left side. I very likely wipe them off with a damp paper towel. They didn't disappear completely. They left kind of a patent on the gold, which I think looks good. Some going to sign the sketch and let's see the final result 10. 09 Useful Tip: Sometimes when we work with water, medium well, obviously use quite a bit of water. So that warps the paper to straighten out your drawing so you can continue working on it or so you can frame it properly. What I would recommend doing is very likely spraying the back side of your painting with water. I just have this little spray bottle that I saved from some perfume. That's what I use. Or you can buy a spray bottle in a our supplies storm, and I put the drawing face down from couple clean sheets of paper. This little wanted to pick up anything from my painting table, and you just need to put something heavy on top of it. Some books or I'm using a bunch of paper pads and elbows, and I'm gonna believe this at least for two hours, and it's better to leave it overnight. Anyone would take the weight off. We can see that paper straightened out quite a bit. It looks much better now 11. 10 Class Project: for the class project created sketch using what a color awash in combination with colored pencils. Bars, pastels, markers in Queen of the materials you like, share the result, as well as a brief description of what you used to create it so others can learn from it and try to. I'm looking forward to seeing your work. If you enjoyed this class is rated and liver you. It helps out the students to find it. It's visit my website at mira dot com to see more art, subscribe to my monthly newsletter and connect on social media. A regular deposed updates about online and offline classes that I teach. 12. 11 Bonus video Watercolor and Collage: in this video, we'll try combining not just two, but several different materials. We will pain from watercolor and rice paper. Will will use water colors, well, pastels and wash. So my inspiration for this sketch is foot off My friends Sphinx Cat. I like the sunshine in this picture, all of how her ears are kind of transparent in add a little warmth to this generally green and blue pallet. And I love the wrinkles on the cat, and I think rice paper will be perfect to convey the skin texture and the wrinkles. So let's see how I do it. First thing I'm going to do is sketch out the cat can kind of figure out where the table is going to be. The window in the plants are working. Very likely. I don't want to many pencil marks on paper. It's just something for me to go by when I start painting and I don't want my background to compete with the cat because as the main character in the sketch, so I'm going toe, simplify the background quite a bit. I'm using a big brush. It's a flats incited brush. Basically, what I'm doing is coating my sheet with water colors. I think I'm using all kinds of blues and greens on my palette, trying to create a little variety, looking at the reference photo but not really following exactly. Just going for the feeling off sunlight and cool blue light from the window. And as you can see, I'm painting around the cat a little bit, but also not worrying too much about preserving the cat. She'll be covered with rice paper, so I don't have to worry about preserving white there. I'm also going to use oil per cells to kind of headline and unifying my whole composition. So again, when I'm painting, I'm not fearing the shapes. I'm just creating the atmosphere for my college. And since I plan on drawing with oil pastels on top later, oil pastels produces quite heavy, brightly colored lines. I don't want my watercolor to be too wimpy, so using pretty saturated strokes using quite a bit of a figment, because water column will need to stand upto oil pastels in the future and collage as well , which will be more solid tone. The flower pot behind the cat has a little warm kind of okra tone in it. So that's what I'm doing. And I lived in some of the paint off the cat shape just to help me seat when I cut out my collage. I don't think it's exactly necessary. But since the paint is still way, if I can just go ahead and do it and I'm going to paint that plan that she has overhead a mixing a little yellow into my green because I want that color to balance out the flowerpot. The Auker So making that green warmer Then I used before, and I'm only aiding blues in the shadows. - Yeah , - in the reference photo, that darker plan. It has a branch in front of the cat. I don't really like that, so I'm just going to ignore it and paint the whole plan behind the cat is you see, I'm only painting leaves because I plan on doing the branch with my oil pastels and you see that I save the bottom right corner of the page. I saved Why there? I think it's very important because that's what lets drawing breathe. In this case, you don't want to cover every square inch off paper with paint. I think I need to add a little more darks on the flowerpot to balance out my dark leaves, and we'll see how that works. Ubisoft that age a little bit. It's kind of hard to judge this painting at this stage. It just doesn't look right with a white shape for the cat, but will persevere and hopefully it will turn out good. So my watercolor and the painting is done. I'm gonna let it dry, and I'm going toe work on preparing rice paper for collage. The next thing I'm going to do is they take a sheet of rice paper. You can find it in any good art supplies store or a mine, and already measured that the width off my paper is approximately the same as I was coming drawing. So I'm gonna tear that shit in half and use half of it for my cat collage. When I look at the reference photo, the cat kindof purplish gray color with orange ears and kind of pinkish orange pause. So I'm going to mix some neutral great color in my palette. I'm using mineral violet with the magenta with a bit of blue green in it, so just mix a bunch of complementary colors and you will get a nice neutral gray. And I have this felt math on the my paper. I got it from my Chinese painting teacher. I took a class on Jenny's brush painting. You don't have to have it. You can use just a piece of packing paper or something to protect your table because it's a lot of paint and water going through the rice paper. I'm guessing it changes brush. It absorbs a lot of water and color, so it's really good for painting large surfaces. And I don't want my sheet of paper to build the same color. Some kind of generally following the colors of the cat, who is more dark gray in the center with a said pinkish orange tips. So that's what I'm doing on my paper and with collage, you can always cut out several parts and glue them down. Doesn't have to be one piece. Mine worked out the way a painted it, but nothing prevents you from painting several sheets of paper, different colors and then just combining them on your painting. That's why Rice paper is perfect for this. It's so thin it's very easy to shape it, especially when it's likely. Damn, this piece is done. And this is what it looked like one and tried. The cat is very wrinkled, so I'm going to wrinkle my paper. And so I'm gonna take the other half of the sheet and I'm gonna use it for some leaves because I don't want the cat to be the only collapsed shape. I want to support it with something else. So I think I'm going to collage some of the vegetation in the photo as well. This one is easier to do. I'm just starting with some ultra marine blue for believes that are in shadow. It didn't have some green as I go have some blue green and moving on to some warmer greens for leaves that are in sunlight. Just want to have a good selection of colors, so I can decide later what I'm gonna use and what I'm not going to use. And we will let that drive and move on to our next step. My next step is to cut out the cat shape from rice paper so I can collage it until my watercolor painting. I'm using a light box to transfer the cat outline on rice paper. If you don't have lightbox, it's no big deal. You can just hold your papers against the window. They don't get now the cat shape. I don't have to be exact. I can make adjustments and corrections when I glue it on my watercolor painting. Rest papers very thin. So it's very easy to kind of format and wrinkle it and move it around. And I'm looking at my reference photo, and I'm trying to add some more wrinkles where they are on the bottle and get the eaters kind of space about the size where they are on the cat. And next thing I'm gonna do is cut out of here leaves out of the other sheet of my rice paper because I don't want the cat to be the only collage shape. I think it will look weird, so I need a few other things to add to my artwork, and I know I painted those leaves, but it's no big deal. I can make it all work together. A collage and the watercolor. - Okay , I think that's enough leaves that can start glowing things on paper. I'm using Matt acrylic medium to do this. And I'm using just the cheap, flat synthetic brush. No matter how well you wash that brush after you used at a credit medium, some of it will still called the bristles. So don't use a good brush for this because you're unable to paint with it afterwards. Collage. We have to go kind of from the back to the front. So whatever leaves, they're gonna be the background goal on first. And then you kind of work in layers. And as you see, my painting actually is visible through the collage. So I think it adds additional interest in depths to the drawing. So that worked out pretty well. Okay, that leaves our own glue. So we're gonna move on to the cat, overlap him over the leaves. 11. We left Paris, you say, and that gluing process is kind of like painting to you. Still need to think about your oral composition and how forms interact with each other. I'm actually going to move the cat shape a little bit, so I have a bit of white paper picking out under her Billy in where her hind leg is. I think it actually looks good. No, he isn't quite a bit of that medium because I wanted to soak through paper and glue it to the background. Really? Well, after you're done, you can always use a bit of varnish or fixative that's meant for water media and just bind everything together one more time for protection. All right, everything's glowed down. I'm gonna let this dry, and I'm gonna go and push my brush really well so I can use it for another collage. My acrylic medium is Dr Collages ready to be worked on? I'm selecting several well, Purcell sticks. I'm going with some blue, some brown and some purple because again, I like a riot of color in my land work I don't want it'll be the same and I'm going to start with some branches on that plan. That's behind the cat looking in the reference photo. But religious, doing whatever works with my painting at this stage in this branch comes forward. So maybe a warmer color on the branches and brown and let's work on the cat. I'm squinting when I'm looking at the reference photo, and I see that the cat has some really dark points on her like the tips of the ears, her face and kind of her back and her bottom where she's sitting. So that's what I'm trying to indicate with my oil pastels. - E think I need to correct the shape here a little bit. So I'm gonna take small caesars and try toe cut off some of the rice paper that I glued. I'm trying to use some blighter colors on the cat. This is, like very pale blue. But really, all that it's doing is my Jane My dark that I already put down doesn't give me enough off contrast, so I'll have to do something else here. It does a good job, though, in let me to correct whatever dark lines already put down. I'm going to add a little sunshine to my pictures, have this yellow pastel stick, and I'm gonna work around through my painting here. And there are ears on the flower part on the leaves. Just added fuel bright accents here and there. Maybe I'm gonna add a little texture to my shadows. I think that will look interesting. Those weapons tells a pretty sick sticks, and I don't have a pointy tip so that could forces me to simplify my shapes and not go into too many details. - Even do a few leaves, too. If you did something in one spot, it's always a good idea to do it somewhere else. So it's not isolated but balanced throughout this cage. - All right, I think this is done of gonna sign my sketch, and I'm gonna leave it overnight and I'll take a fresh look at it in the morning. My sketch set overnight. It drive a little more. My brain kind of took a break from it, some looking at it with fresh eyes, and I realized that I have Midtown's and darks, but I don't have any highlights on it. I tried to use light colored oil pastels, but it didn't really work. I think what I'm going to do is take some wash and at a few highlights to my painting. I also don't like the fact that the cat's eyes are closed. I want her to kind of peak of the viewer. Well, was connect with the eyes. You know of the model works for cats as well. So that's what I'm going to do. I'm gonna make her look at us. I'm using a bit of green quash as well as white and with a very small brush, because this is not a very large painting, so I need to be able to do smaller details. If I look at my reference drawing again and squint, I see that cat's ears a very brightly lit from behind, the kind of semi transparent. So that's what I'm going to indicate, Um, putting some white accents there with White Wash, and she also has some very light areas about her eyes. So I just see all that stuff by squinting in my reference photo. And there is a bright accent on her chest and going around her hind legs, and you can see at this stage that they can't really comes to life now. Delighting actually works in the sketch. Another great thing about whitewash. If I very lightly applied, I can actually correct my dark oil pastel lines with it a little bit. And if I don't like something and just wipe it with my finger, no big deal and with gouache can actually paid her white whiskers. And now I think with them and let's see the final results