Reflections in Watercolor | Renato Palmuti | Skillshare
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9 Lessons (22m)
    • 1. 1 Introduction

      1:03
    • 2. 2 Materials

      0:57
    • 3. 3 Anatomy of reflections

      2:22
    • 4. 4 Drawing

      1:44
    • 5. 5 First wash

      1:45
    • 6. 6 Second wash

      4:01
    • 7. 7 Third wash

      5:18
    • 8. 8 Details

      3:17
    • 9. 9 Conclusion

      1:17

About This Class

It is a watercolor class with focus in water reflections. Although the work evolves in a scene with the theme of reflections, other concepts and techniques related to watercolor are covered in detail and practice.

Transcripts

1. 1 Introduction: Hi, I am not and I'm back with more watercolor in a new West execution. I'm an illustrator and watercolor artist here in Brazil. Some years ago, I started a consistent practice of watercolor painting, working in my own studio, painting all doors and also in live motor sessions. Due to my studies, I was invited to teach watercolor techniques and art schools and institutions. Today, we're going to focus the class on water reflections that are different effects that can be reaching. But we'll try to go over the basic concept and thinking's so that you can develop and try your own students. Let's go. 2. 2 Materials: For this project, you need a set of watercolors with a good range of hot and cool colors. I like to use the paint in tubes, but you can use pens if you want. You need his phone across or tissues to balance the amount of water. The brush. There is no water cooler without water, so around a good quantity in a glass into some water. Colder burgess. We won't use money, but try to have this big degree kind with loads a lot of water and have a good tip. Used tape to fix the watercolor paper in a hardboard paper should have a little bit of texture. 3. 3 Anatomy of reflections: Let's understand how water reflections were. The detainee level depends on the flatness off the surface. The same surface could be weaving are flat because of the wind because off something that heats the surface Omega's most scene to speak about some concepts. The first point is that the reflection that bands on the object that's being reflected in terms of size, position and strength. So if the object has darks and lights, it has to be considered in the reflections to when the object appears far from the camera. As you can see in the middle Mountain of this picture, on the right side, it's lighter, and then the reflection gets like two. So notice that there is a correspondence between values used to draw reflections. It helps the brain to create the mirror sensation. When you look at that, another important thing is the radiant you find in any water surface, which becomes darker and darker as it comes to the viewer direction. It happens because of a feature off physics. Let's consider this is the water let and here we have the beholding. Everything depends on this point of view. Imagine the light hits the water surface in a determinative direction. Perla race. The rays hit the surface and reflective, but it creates different angles, depending on the beholder. Eye level, the tighter the angle last reflection and the more transparency is revealed. The weather D angle more reflexive restaurants. Piracy is visible. 4. 4 Drawing: This is the picture I'll use as a reference for the project. It's from a friend of mine who lives in port ago and has very good characteristics for a watercolor. I put it in the project for you to download. If you want to paint with the same reference, I'll draw it here in a couple off lines just to get the necessary drawing for painting. First I drove your resin line from it. I start bringing some perspective lines to fix the position of the beauties Trees boat. And so, with the master guides in the paper, I do some details. I can see they're important for the structure of the scene, and I give special attention to the lines, which has to fit dimension points. Most of the things are drawn a silhouettes so that we can put tales with the brush, not with pencil. Even if you want to mark some holes, windows or limits, don't be tempted to drop everything. Try to draw just necessary. Maybe it's handy to make a mark for the reflection limits because it to guide us when we will be dealing with paper and when you feel comfortable who started the painting process 5. 5 First wash: So let's start our first wash. What's important to pay attention here? The first thing is the density off the paint. First wash is just a big man plays for the painting with being the lightest tones for death . We use more water than in wide births, strokes, not defining any form or giving attention to the tails, trying to make confidence troops to have a more pleasurable painting and take a tentage off the Dexter to generate this white spots in the surface. In this first wash, we started doing degrading, we commended in the previews video. So start increasing the quantity of pigment in the brush and connect the breast strokes to attain on the Virginias, radiant from light to dark, always preserving the areas within a dense light in the scene. The bank gets lighter after drying, so don't be a free to add a darker value in the base of the greedy. It's wet. You can add paint and take advantage of the gravity to spread it over the surface. Let's put the physics to help us 6. 6 Second wash : in the seven wash we'll start to define something's forms start to appear the drawing off the shadows, objects and limits. I noticed that the pain is too very transparent, but it has a big men than two previews later. Darker cars. Although it's time to define things, I try to let the births strokes as lose as you can. Another characteristic off this step is that we have to defer to callers. We won't reach the darker stones in these washed, so focus in the callers. You would like to see the different parts off the composition, but anyway, don't try to detail too much. You still can't wear the colors to talk to each other in the wet limits. With the end of this washed, we'll have colored silhouettes and shapes. Don't try to reach the final contrast of the painting in these step. The big advantage of working and layers is exactly the control we have to make a step by step, feeling the contrasts and deciding when to go ahead. Even when you were working in small choir, it's often image trying not to be very precise. Avoid using only the tip off the brush, explore the wide bursts. Fruits. There was something I always keeping my mind whirling painting water quarters, the last verse troops better with here, you can notice that the shapes and colors get connected to each other, and it's another characteristic off this kind of painting. You can see more about it in my previous class, connecting teens in order expert brushes and discover different ways to transfer the paint to paper in the vegetation. For example, you can use this kind of shaggy brush to take advantage of texture and create easy greens in the composition. I think a glance in the global result and see if there is any part that lost too much strength due to the drain and that you can rein force with a little bit more off paint. 7. 7 Third wash: in the third wash. We're reading the fine things, not by adding lots off the tales but putting the definite contrast off tones for Dad. You should focus in the shadows that my room are the darkest areas and by itself, defying shapes. By contrast, even in this step, avoid over the team. If you analyze the image, you see large chain did areas to work. If there are extreme darks to consider, that's the time to add them to the painting. Try to find the best way of adding this tunes like dropping them in the final wet area like the basis of these constructions. We'll let this water level line very dark, very wet, because the plan is to connect it to the reflection. Will paint right after notice that I'm going to establish a color relation here, using the water level as an access sticking out in the buildings and vegetation colors, toe work, the reflections. I'll start with the greens of the trees in a brush movement that simulates the wave you order surfers. It's convenient to rehearse this movements in a separated paper to to the correct Bruce to use and also the best way off scoring streak. Here we start using this hot color, base it in the inky houses on their roofs, always connecting and searching for the next related color. As the construction becomes darker, reflection follows the same color and tone one more time. Used the fast and confidence troops. Always you can. It gives energy and gesture to the wash, but they care off the light of Spartz on. Reserve the shapes. Now we connect the reflection with beauty in breach that there's too wet. It help us to transfer the tones that are above the access to the reflections below the water line. We can't emphasize this transition at in a dark tone in the wet paper and see how they told enforcing the relation about Rio and reflected as amusing on sloping board to paint. Gravity will help me again, making this new pain to come down naturally and beautifully. To keep the wavy ist backed off the water surface, you can use a humid brush with no pain. Look for a little bit off the wet paint in the surface, creating some lights that will turn clear mirror effect off the reflection. No, we're gonna bank the bolt reflection and out of the boat is still right. The reflection has to keep the same intensity off their reflections behind. So let's fainted stronger. And then we'll compensate the tones off the boot right after to give this foreground a good weight way, Use your pigment over this wet area. That's a technique we call dry on what, and it creates a very strong and diffused dark in the wash. Now we'll put the corresponding town to the boat who, and it will start to be part off the correct own balance off the composition after putting the darkest times way, are able to detect which parts have to be enforced and made the final tone equalization. 8. 8 Details: for the final details, observed the reference and pick up only the things that are really important to give veracity to depict some windows, stairs and blends that can ever gate to the composition. Maybe we'll feel the necessity off some important shadow or reflection, some element that is too weak and also the small objects and elements they have to be defined. Wait'll circle with quarter are important things and should be done precisely in high contrast and definition. Way can also stress in the boat bands that are quite dark. Present. The water level has some highlights, but in some parts line disappears. It also happens in the contact off the boat with water so we can use a post producing technique. Two green back. A highlight. In these connections, the painting has to be totally dry, so we can use a tape to mask those contact areas to make a sharp division way didn't like there for debt. We're gonna use the brush with water, toe wet a little bit those regions melting the dry paint. After that way, use a dry tissue to river and take out some of the pain to reveal again. White paper waking do the same on the basis of the who to make a difference between the boat on the water flickering some spots like dirt on the water surface, might be handy to see it. That's something really like small leaves or something similar that reads the emptiness off the surface. If there is an highlight, you notice that was covert for the bigger burst fruits. Put them back with the spot off paint, but beware to use just necessary. 9. 9 Conclusion: So this is the final paint takeover. Dispense acts off water reflections and also many concepts and techniques related to water colors. After watching this glass maker, research and see the different water reflect on effects. When you walk in a park near a leak or a river, try to notice the anatomy of reflections. Explain new video, make your own painting basic, don't disprove or, in the reference over research, both hear the results and let other students to see and learn with your experiences. I wait for your post and for your feedback about this class. Thanks a lot for watching, and we will meet again in a new class.