Painting Watercolor/Ink (mixed media) - an original birthday card | Ipaintcreatures . poet painter illustrator and storyteller | Skillshare

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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

3 Lessons (21m)
    • 1. Introduction

      5:26
    • 2. Drawing and Inking

      8:17
    • 3. Mixed Media Coloring

      7:27
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About This Class

In this class I take you through how I make personalized original birthday cards in watercolor/ink (mix media) - on toned paper. I sketch a birthday goblin from my imagination in grease pencil, then ink it and finish it off with acrylics, water brush, colored pencils and gel pen. I take you through my process from conception to concept design to layout to final rendering. I inform you on how I stay focused on the storyline to allow me to bring forth the concept fully. I give you all the insight on the art supplies I use and how I apply them.

Meet Your Teacher

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Ipaintcreatures . poet painter illustrator and storyteller

drawing and painting from the poetic imagination

Teacher

Hello, I'm Ipaintcreatures.

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Transcripts

1. Introduction: What's happening, folks, welcome back to another I pay increases skill share class here on Skillshare.com slash io paying features. And today I'm going to take you to a short tutorial class. That's all about making your own no creature birthday card. And I love to do these for a lot of my client and especially a lot of family and friends. And just draw directly from my imagination. And then I love using mixed media. And so here I'm using watercolor and ink and I think some colored pencil in there and then some acrylics in a water brush. And definitely we'll go through all the tools I use in my thinking process and how I do my composition, and how I lay down the original sketch and drawing and get all happy with that. This class is a little different than my other classes because I'm actually going to show you from the drawing process in the organic process of like to do like this. So I don't do as much refining as I do on a lot of my other illustrations and creature art. But I do this more spontaneously and really communicate to the bean. I'm given the card too, and it's just a whole nother level of hallmarks into you now because that's what to me, Skillshare is all about is sharing all these tips and tricks and insights and basically the inspire you to create your own arts and crafts and doing all you're doing. And especially in the realm of these days and being able to give something so original when the Internet is filled with so many images that are flying file and place. To be able to do this from your imagination and explore your skills and give it an incredible tool. Also in this tutorial, as you see right up top, I'm doing these fantastical blends of like a candle on light in. So I'm going to talk a lot about lighting and shading with that and how I use all the different mixed media is to make it punch in. Like I said, go from a real loose sketch to a finalized card that I give the original to the bean. And they get to have an original painting and drawing and you know, directly from my imagination and it means a lot to them. And especially as someone like me who does all this professionally, it definitely has a high value two because its original creation that has given them on their birthday and they can remember. So you can see right on the mushroom birthday cake I put a 34 and that acknowledges the birthday, basically celebrating on that level. And they have an incredible piece of fine art that can be around for years and remind them of that transition of that 34 cycle. And so I use all archival tools and instruments of what I call mass creation. Our tools and art materials. So to last, and I also do it on tone paper. So I'll talk a lot about the experience of doing it on tone paper and what it brings to the illustration and allows you to, you know, kinda get a little further on. And what I always like to say that the pain in the materials do lot of the heavy lifting for you. So you're, you're free to sing of your imagination can come into full play in full focus. So in Video 1, we're going to go through the drawing process and then the inking and getting the base form. So I'm happy with it. And then Video 2, we will go through the coloring in, like I said, I use Mixed Media, so I'll talk a lot about the different mediums and how they act when I use them and why apply them in a lot of it is to get there pretty quick because did this card probably within maybe a longest me renown and a half to get it done. And that's from a concept in my head and composition on the fly and basically sketching it real loose and then inking it and then bringing it into full rendering like you see right now, is definitely that the goblin, that kind of Canvas let goblin that has the mushroom cake. And it was for definitely a friend of mine and the client. And so it makes it a real special experience. So a c over in video two, we're gonna do the dry. 2. Drawing and Inking: What's happening, folks, Welcome to video 2 of this painting. A birthday card, accustomed birthday card from your imagination on tone paper with mixed media using little bit acrylics, using some grease pencil right here. And using some colored pencil using some gel pens, using some Anki, using acrylics with a water brush or makes you like watercolor, watercolor techniques. This video is all about the drawing, so you can see how I just kinda let my imagination go wild. I thought of a concept and thought about the intro to it and basically wanted to make a gobble, gobble, gobble. A goblin I like the column. And goblins in my world are basically the creatures that have gone more back to their nature or their animal nature in this world and still kept their imagination and language alive, but have gone back to the more primal wild world that exist in the mystery of all our lives. This one is a special one because he's pretty much a mushroom Goblin and he's also birthday goblins. So I had to think a lot about, Oh, let's do a mushroom cake. And, you know, so I'm basically have a lot of that idea and didn't do any sketching this time ahead of time doing it right here on the paper. And a lot of it I think is your imagination and maybe doing a little writing or just even a nice little walk in your neighborhood or somewhere. It may be even the nature and just look at shapes and forms and think about like what do you want to express and communicate in this personalized birthday card from your imagination. And There's a little composition that goes in involved in a lot of it is keeping track of little cemetery which is making each side not exactly perfect, but paying attention to the proportions and things, so it has the appeal. And most of all, in this type of illustration, you are looking to, first of all, express yourself, which is express yourself to your friend or your family member or your client or whoever you're making this as personalized birthday card for. And so you have a kind of mood down. And of course, birthdays are happy in my world and when I give him out. And so I always like to make the creature, the character have a mood, celebration, enjoy. And so I pretty much got that down in this first sketch. What I was doing there is a lot of observations sometimes are, I'll stop in and talk to myself or right, and write a little bit more of the story. Later in video 3, I go into a part where I'm definitely, definitely doing more monologue of the day. And you know, I think the important these for me to get kind of that mood like when I draw a happy character that's celebrating things, he's the kinda smiling and making the expression while I'm doing it in, There's some that translates through your hand all the way to your fingers, do the pan or the pencil and makes it happen. And then also knowing what kind of day it is and where he presented this and if he were really alive, what would happen? So just a lot of animation in my mind about really what this character is in a lot of my experience of working in industry and entertainment industry and developing likable characters and story characters. And so now I'm bringing the pen and ink in and using basically a fine 0.1 of my favorites is this brush pen. They're synthetic. So it's pretty much not like individual law hairs, but it's a little nib that gets flexible that you can flip it around and do what's called WIP shading ray where you push down and you get a little darker line and then you, you it out and then it gets a feathering effect on the end. It tapers off and it's not as bold and thick and the end of the line, right, it gets sharp lines. And so yeah, I'm doing a lot of observation. This video sped up a little bit into speed paint, but you can see every time like right there and kind of pause. I'm just looking at things in and once again is to communicate, right? Because that's why hallmark has been such a staple in greeting card companies because they really think about the communication in the feeling and mood in the gift. And I think that's what you have a lot of fun doing and making these personalized. No birthday cards and doing it in a lot of the processes always, you know, observations. So like right here, I'm definitely pausing a minute to kinda look at it and see if I'm delivering the story. And then I go back to the art side of it and look at the cemetery of like, you know what I'm laying down there. And I'm also starting to establish the values and the light sources. And this one has a pretty, you know, not definitive or realistic light source, but it has the two candles, the one on top of his head in the morning coming out of the mushroom. And so what I'm doing right there, definitely starting to think about it and then take pauses and I look at it and I started looking at thinking of the story, going back between this story and what the motions I wanted to communicate and feel. And right then really figured out I wanted to put 34 there because that was the person's birthday. And acknowledging that in a good design form. And enough because when you do a lot of type, you know, it's fun to do, kinda lose, but you definitely have to nail it a little bit because people are so used to reading things in numbers and type that if it gets a little too illustrated, are two creative and can't read it, got to place it in there. And then definitely think of the strategy because right now with the ink pen, I'm definitely putting in values to show the forms and put in the shadows him. But I'm also thinking a lot about the coloring and areas that I can put blends in and really punch with the colors you'll see in the next video. But at this point, yeah, I pretty much have all the outlined and it's describing the form. Now it's just playing a little bit the cemetery like you just saw me dab a little bit more lines on the left side the hair to kinda make you have a continuous shape and definitely shaped language in communicating. Using lines and dashes and little marks to illustrate the form and communicate before. Especially with creatures that makes a lot more fun that, oh, this guy could actually exist in these punching off the page. And once again, I'm working on tone paper. And so pen and ink with the tone paper, you can already start to see that has a lot of form because already gray in that middle tone. So it works itself into place. We're definitely has a lot of the features that communicate that this guy is stemming is holding the mushroom cake and motion crepes could take is a creature to, and I'm really happy with the motion that I communicated and illustrated. And so we move on to video 3 or we do the colony. And I see folks over there. 3. Mixed Media Coloring: All right, here is video 3. And what we're doing here is we're coloring in. So in the last video we saw basically the sketch and then my loose inking process, they bring its form and now I'm using basically acrylics watered down in watercolor format to start to color it. And definitely it's on this tan paper. So what the term paper allows, the do's provides what are called mid-tones, right? And so it has kind of a neutral midtone instead of a real bright, bright white, which is more, most surfaces and most papers, right? And so basically what it allows you to do here is it already kinda brings you up to the value level and that's what starts to bring shape and form into things. And this still the tone gray, still light enough, that is definitely a highlight. But you can see how I'm using a water brush. I'm using a pretty much generic one. I always like to use the pentel brush, but then here I'm experimenting with some of these generic brands. Oh, who, you or any of those type bear brands that make a little cheaper water brushes. And they all work pretty much the same, but definitely the Pentel awkward brush that I love and I always recommend on, on here, is basically a lot more longevity if you take care of it and love it, more perishability. So I use a lot cheaper water versus at home, I'm using kind of a middle range tip. And this water brush is really interesting because Azure little bit larger chamber for the water. But I'm basically using acrylics. Basically basic acrylics and use use the basic acrylics and I haven't laid out. And my stay wet palette, which stay wet palette is basically has a sponge in it and then you get it wet and then you put some pallet paper on top and you keep your kinda moist in there by using the little spray bottle. And then you put the lid on and it conserves the pain in. Acrylics will last for a lot of times. If I keep it moist and maintain your last like a month and I can just keep open it up in painting from it. And like I said, I'm using a water brush here and I use a lot of water. And so It's basically a way of doing watercolor. But why I like the watercolor technique with acrylic into the Kurtz, you can really punching the saturation, the brightness and the boldness of the color really quickly. And even though you use water to lay it out. And I'm mainly using a lot of watercolors techniques because I'm using the classic pen and ink watercolor kinda coloring process where I'm using a lot of the lines are really sketchy and really adhere to this, this, you know, this Gabo I got gone here. Goblin, I like the kong gobbles and allows me to use the transparency right in the whiteness of things. And in parts I really like to do right here is like a really explaining the story of the Gabo. Move my hand around right here because I'm really explaining the story to myself. So I kinda know what was happening in the mood and helps me lay in the background and I'm about to do. And the background is special technique. Once again, using watercolor techniques with the acrylics. And I will lay down a really nice blend that basically illuminates the light from the candle outward. So I finished really describing the story always. You know, I'm a specialist in visual storytelling, so I always like to basically tell a lot of the story and tell it to myself and really know what's going on with it and what kind of birthday it is for this card. And so you see right there I use kinda was called titanium buff in it's basically it's titanium paid right butt. Not fully flushed out to the pearly pearly white. It kinda gets a little off-white into yellow color. And I laid that down right around the candle. Then I kept a lot of water in there and then I laid down yellow like a Hansa yellow or lemon yellow, lemon yellow zone or favorite. All right, and then I blend them and then lay down a little orange and a little magenta and just went out outward. And now you can see I'm using water and I'm blending in a little bit more saturation, punching in that yellow little bit more. And that's pretty much the process to blending. And the best way to think about blending light is pretty much the highest, highest form. The brightest part of the light is, is pearly color or a white color, right? And then it goes across the spectrum. If you think about it in nature, right? It goes to the yellow than the orange to the reds, to the maroons, to the, you know, the purples to the browns. And that's one way to look at it. Just when it comes from the light source, just keep moving out further and further into those colors and just kinda, you know, that's a color wheel. You can look at the color wheel to see that. And you see, so I got a really nice blend, doing a little bit of that storytelling and talking to myself about what the story is behind him. Let my imagination also gives a lot more fluidly when I'm coloring in. Really know what I want to stand for it. And so what I'll make punch in and put more shadows in it in. Here, I'm using my signal gel pen, and that's one of the best gel pens over found because it flows, you have a lot of problems with gel pens or is clogging up, right? And then I'm using my favorite Castile or polychrome. Most was works really good on top. So it kind of just punch back in some details and you know, it's all about the details and bring back pen and ink by Escher a fine point. And just punching in our little more shadow and making everything punch more, bringing the story forward. The Sigma gel pen, the white gel pen, bringing back some of the highlights that I got last. And then bone. There's a beautiful card and be proud of it. And you worked your skills and you can give it away. So thanks for watching my Skillshare class leave a comment down below. Let's get a dialogue. Request. Any classes you would like to see on him. And I appreciate you watching the class here on Skillshare.com slash item. Thank you very much.