Sketch Your Life: Create Expressive Sketches in Pen and Watercolor | Elisa Ang | Skillshare

Sketch Your Life: Create Expressive Sketches in Pen and Watercolor

Elisa Ang, empower you to make art inspired by your stories

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15 Lessons (1h 5m)
    • 1. Welcome to Class

      2:08
    • 2. Materials - Sketchbook and Pen

      4:39
    • 3. Materials - Watercolour Paints and Packing Light

      4:43
    • 4. How to See and Observe

      5:09
    • 5. How to Choose Your Subject

      2:26
    • 6. Structure in Linework

      3:16
    • 7. Mood in Shading

      5:18
    • 8. Simplicity in Details

      1:07
    • 9. Create a Color Chart

      5:36
    • 10. Create Value Contrast in Colors

      7:58
    • 11. Mix Colors on Paper

      4:45
    • 12. Watercolour Techniques

      5:30
    • 13. Japanese Garden Sketch

      5:58
    • 14. Japanese Garden Paint

      6:00
    • 15. Sketch Your Life Often

      0:47

About This Class

Sketch Your Life: Create Expressive Sketches in Pen and Watercolor is a class that helps narrate your story that is full of color and life. It helps you remember more of the detail, feeling and presence of a place, person or thing because of how you deliberately slow down to truly see the beauty and fragility of every moment.

Through this class you will learn how to see and observe with your eyes, to record what you see by sketching loosely in pen, and to paint expressively in watercolor. This class is for everyone young and old alike. The goal is to be able to express oneself by capturing the life around us through quick sketches and paints. 

By the end of this class, you are encouraged to bring your sketchbooks wherever you go and fill it up daily with sketches that tell your life stories worth sharing with the world.

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Image: sketch of commuters waiting patiently for the train home (pen and watercolor on sketchbook)

Transcripts

1. Welcome to Class: Hello, everyone and welcome to sketch her life class. My name is ELISA, and I'm a watercolor artist. In 2011 I started bringing a sketchbook as a way to slow down and savor the scenery around me. To the sketching has been my companion but has enabled me the saber life's beautiful detail . Now some might ask, Why sketch and not just take photos? I always say that I don't want to take the little things for granted. These are flying fast and we're becoming busier and busier. Often we don't have the time to pause and not this. I enjoy sketching because it enables me to have a personal encounter. But the things that I think I am always on, the lookout for subjects that are meaningful and the truck my artist I It can be the vivid light, shadow and colors, a certain arrangement of things. Nature. Monday life off People are animals, unique architecture and so forth. In this class, sketcher life create expressive sketches in pen and watercolor. I will discuss about the simple tools you will need to start sketching daily how to trust your subject. I will teach you also help to observe and sketch loosely from knife using a pen. Finally, I will guide you how to bring your sketches to life by painting expressively in water corner. The class project is about sketching her life wherever you are, whether you are traveling or commuting, working, arresting. Just remember that the world is her inspiration. I encourage you to share your sketchbook pages at the Project government and write a short caption behind your sketch of Now go sketch and inspire the world with your story. 2. Materials - Sketchbook and Pen: Hello, everyone, and welcome back to test. Today I will discuss to you the simple tools that you will need in order to start sketching your life wherever you are, you will need a sketchbook. Pains Russia's and pen. Let's get started. Sketchbook is where we express on our stories, ideas and discoveries. How do you truth, which sketchbooks to use some factors to consider our dis ice binding and the weight off the paper first is the sense I am using the a six wonder look sketchbook for beginners. I recommend using this size or on a five, because it is portable and the page sizes enough to sketch and paint details. However, if you prefer the sketch more details in one page, you can choose a four, but you will need a bigger bag to put in your sketchbook and more time The finisher sketches. Next is the binding. The binding in this sketchbook is an example. Off a perfect bones. It is stitched by tread to hold the pages together, I can open it flats and sketch close to the edge of the paper, and the page doesn't care us. The other types of binding our Speidel and tape. They are easy to hold, especially when you're sketching outside. But they are not the most durable types of binding, especially the paper bound where the paper, both her easily when flipped open, moving on to the paper weight. It is denoted by GSM, which means grams per square meter. The paper weights off. This sketchbook is 140 GSM, the higher the GSM number, the heavier and thicker the paper, while low GSM means the paper is thin. If you want the painter sketches in what's the color, you need at least 100 for the GSM and above. But if you use dry media, then you can use 100 GSM and below. When choosing your sketchbook, be assured the read its specification in front. Is the paper acid free? That means the paper won't turn yellow as the time passed. Is the paper suitable for wet, dry media or both? Are the pages blank ruled? Agreed it. As for the brand of sketchbook toe by, I don't have any recommendations because this is personal choice. Some common brands are struck more and most kind. Feel free to explore. Alternatively, you can also bring separate sheets off watercolor paper. Or try binding your own sketchbook using most recorder paper. Okay, let's talk about Penn. Some of you may ask why sketch with a pen, sketching and pen can help us quickly express what we see without the fear of making mistakes and wasting time you're raising. It also helps to capture the spontaneously off the things around us. So how do you choose a pen look for the ones that is labelled archival ink, it means that it contains inks that won't fade over time. Necessary name off the pen, and it comes in different sizes from 005 which is the thinness until 08 which is the thickest. Use. A pen that is waterproof so that when water color is added, it wants much. I use a secure a pig Mom microns 05 It produced nice, smooth lines and dries quickly. You can also check out other pens like UNIP in fine line stabler pigment nine. A sketch, among others. Try them first before you buy 3. Materials - Watercolour Paints and Packing Light: for what? A color pain. It is better to trust the artist great pains, which means they are made from high quality pigments like Winsor and Newton. Reinvent hold mine. But the take off the pressure off expensive materials, especially for the beginners. There are some good quality student great pains like Brown Windsor and Newton Cotman Bang go on when others for sketching purposes. I am using the Windsor and Newton Cartman as I paint. Often, I realized that I only need a few colors, and currently I am using Coggan bread, permanent rose, lemon, yellow, yellow Oakar, burnt sienna, cobalt blue and say low blue. I can make the variety of corners just abusing this paints for the brushes. I prefer a bigger size zero for painting thin lines and small details and a round brush size six, which for me is a versatile brush, and it can be used for painting broad areas and add details. In my small sketchbook. You can also try the trouble brush where you can touch the parts of the brush to make it compact or the water brush where it has a water reservoir inside. Invest in a good quality sable brush. The hair should be springing, and it must come to a points with webs. Remember to not leader brushing the water as it will destroy the hair of the brush. I used this part of our plastic watch a color palette to put my paints. I squeezed them in the wells and let it dry a day or two before I bring it outside. It has a lot of mixing areas. Yeah, it also has a come insert for a steady grips, especially when painting on an easel. As you can see, I don't claim a pallet unless I really have to, because I find that the left over pains are useful in some of my paintings. You can either buy an empty water color palette with a lead and put in your favorite pains . Or you can buy the watercolor travel sets that comes in a range of colors. You can also create their own water color palettes from small containers There. I also bring a sprayer toe, wet, the pains before painting and a small bottle of water with the type lead. I carry some tissue paper to wipe excess water from the brush and music also to lift mistakes and create textures. Now, to organize my tools, I used this pouch to put the water color palette and sketchbook spray bottle 10 Russia's. Then I put the pouch and water bacal inside my backpack. Make sure to only bring the tools that you need and carry it with you. Often, I have just explained the simple tools to help you start sketching or life. Remember that it is all about the act off sketching. Use what you have and make it simple for you to sketched 80 wherever you are. If you forget to bring a sketchbook or pen, you can use a piece of paper or the back of 30 seats or even sketch on your arm. You can borrow a pen. Use crayons are corded pencil. Whatever you have at the moment. Remember, the sketching practice makes you a better artist. In the next video, I will teach you how to see and observe the things around us. I will guide you on how to truth subjects, the sketch that it's meaningful to your nice see you in the next lesson 4. How to See and Observe: Hello, class and welcome back. Today I will teach you how to see and observe the things around you learning This is important because we need to sketch what is there in front of us and to be able to understand what we see, not just what our minds think should be there. So let me give you two steps on house will see an observer conf around you first observe and ask open questions. When I teach my students how to sketch from observation, I always begin with some open questions regarding the subject. They are both the sketch. This is important in helping them become aware for D. C. Because how can be sketched something that we don't not just before doing the sketch we should take sometimes observed and ask open questions. Let me show you what it means. For example, for this uniquely shaped objects Were this the line begin? Is it curved, slanted or straight? How wide is the based compared to the cup? You must have a conversation in your mind in relation to the object that you see in order to understand it better from this example What do you see? You can ask my what is the shape on top off this object? Where does the line begin and ends for the first site off this object? How big is the first time compared to the other side, So you must have the conversation in your mind in relation to the object that you seem in order to understand it better. Second, field the objects. Use your finger or you can hold the pen to slowly trace the edges off an object with all its bumps and curbs. Observe how the line begin and ends form of shape. If you are far from your subject, you can close one eye than trace on air, using your finger to get a feel on its edges. This is helpful if you are not sure how to sketch something, and tracing on air helps. You could visualize how the object looks like. You can also use your sense of smell here and paste the enrich your sketching experience. Let's put this into practice. I place here the object that we have observes a while ago. Now it's your turn to sketch with you. See look at the subject more than the paper and allow your eyes to follow every curve while your sketch. You will sketch this in 30 seconds. Are you ready? Timer starts now. - How was your sketch? I hope you had fun learning how to observe. It takes practice. And I hope you will set yourself a time each day the noticed and feel one simple object and sketch it in the next lesson I will guide you how to choose what subject the sketch. See you in the next video. 5. How to Choose Your Subject: Sometimes it's a challenge to select a subject the sketch, because there are so many the truth from and we don't know which to pick. So let me share with you three ways on how to treat your subject. First sketch are nice. The best subject Mother comes from our data experiences in life, such as our family and friends, animals, the people we meet, nature work, neighborhood, the things we collect, trips to places and so on. We will never run out of things to sketch when we look into our lives. Second observed the characteristics of the subject. When my friend plays apartment Garnett fruits on the kitchen counter, I was immediately drawn to the vivid light and warm shadows that creates an excitement in me. The sketch and painted. Think about what it is about the subject that is inspiring and meaningful to you. Third know the purpose behind why you sketch her life. This may inspire you in choosing your subject to sketch some questions to think about. Is it the capture, the beauty of this world? Is it a way to express our thoughts and feelings in life isn't a way for us to remember that the does afflict BC. Is it the share our stories and inspire other people? Or is it to slow down and savor each moment? Now that you know how to choose your subjects? Here are some examples and the reasons why I am inspired to sketch it. Nature is wonderful and it inspires my creativity. What I'd like about this scenery is how the pink water really stands out among the greens, the brightness off its color gives contrast against the green earthy colors. Is this a good subject? The pain. This huge rock caught my eye because of how every line on its surface follow its contour. It gives me the illusion that it has many layers off rocks. I was never forget its uniqueness. 6. Structure in Linework: Hello, class. Welcome back the day I will teach you how to sketch loosely in pen by using line. Work line work is sketching the outline off the object that form the foundation of your sketch. Before we sketched the beautiful couples, it is helpful to observe and ask some open questions to help us. Not this, but we see. Take the time the posts and understand your subject. Here are some of the open questions that I think off our each part of the capital's growing separate it are in cluster. What part of the lines are curved? Are straight what shape that's the docket spikes look like which part of the campus is the lightest and which part is the darkest Now that I begin to understand what I see, I started by tracing the edges off the capitals to get a feel off my subjects. It is also useful if I am unsure how to sketch a certain part, and tracing helps me visualize how curve a line iss. For example. After the tracing, I let my hand follow the Condor by sketching the line work performed the overall structure of the capitals. Remember that learning how to observe. It's more important and making your sketch perfect. So enjoy the process off seeing and sketching. Another way to sketch it is by using the alternative Blind Condor, which is my own version off using the blind corn. Or accept that I don't use a single line and sometimes look at the paper. So I look at the Cocteau's and start to sketch It's Contour while still fixing my eyes on the subject. At times, I will look on the paper to check the accuracy, like the distance and placement of people's. The alternative Blind contour is also helpful when sketching moving objects or person because you get to quickly capture the essence off your subject. The next lesson. I will show you help create mood in shading. See you in the next video. 7. Mood in Shading: shading gives life to our sketches and makes the object three dimensional, always know where the light source is coming from. There are different types of shading, and for this lesson we are doing the hatching and stippling, showing you an example and how this is done. Let's say the sun is coming from the right. I leave the lighter side unshaded and pressed my pen a bit for the medium shade and harder for the darker shade. Hatching is done by using lines. Sketch closely together. You can also shade the lightest part by not pressing too hard with your pen and ensuring the lines are not so close together. Next we will do the stippling. It is a form of shading that uses small dots for the lightest parts. I make sure that my pressure is light and the dots are spaced apart. And gradually, as I moved to medium, I make the dots a bit closer, and finally I press harder my pen as I moved to the dark value and make the dots as compact as possible. Remember to vary the pressure off your pen. The creator range of values off light to dark. Now let's go back to the capitals. Know this that the light is coming from the back. Therefore, you can see how the light spreads along some parts off the plan. We're leaving some off it in the shade, the left side off. The pot is dark, and there is a cast shadow. After observing the light and dark off the capitals, we can start shading using hatching. Leaving the lightest part and shaded, I proceeded the Larkin, the shadow area, varying the pressure of the pen as I go from medium the dark I follow along the convert off the capital's asai shade. At times, I will just talk in the lines to make the edges standards. Try the placed a simple object with lights and shadow and practice shading. Using your pen for the soil, I shaved by using stippling because it gives a wonderful texture. I also leave some white spaces that shows the particles of the soil when shaving large area like a part, it is helpful toe. Have a relax gripped on the pen so that you can achieve a shading effect that is natural for the cash shadow I created. The light outlines who serve as a guide before I started shaving In the last part, I will discuss to you how to simplify the details in your sketches. 8. Simplicity in Details: I think you make a sketch interesting. It's not to sketch every element but the leave some for the viewer's imagination. Here I added the full spines on the middle part of this capitals while simplifying them on the rest. I think this adds card of the with the sketch. What makes on artwork unique? Which artist is that we created according to our own interest and style? We are not going to make something that has been done before, or just mere to replicate what we see. But we want to be able to add something personal that speaks of who we are as an artist. 9. Create a Color Chart: There are times when I cannot remember the color mixtures that I like or don't like, and I feel unsure about which certain colors to mix together. If you're like me, then creating a color chart will be very handy. To do this, get a small sheet off watercolor paper. If you have few pains, are in line bite off size. If you have a lot, you can always trim the excess. After you're done with your color chart, use a pencil and ruler a measure one inch on the left side, but right then names off the colors. Measure half an inch for the boxes where you will be in your colors and leave a tiny space in between before you plot the next box so that the colors one run into each other. I have seven colors, so I would be measuring seven boxes horizontally and vertically labour. The colors arranged them from warm to cool. Or you can follow the order off the rainbow colors. I erased the excess lines that I the name off the colors below. Make sure to follow the order of colors from the vertical to the horizontal. Now let's go to the fun part and start painting. Start with the first corner at the bottom, where the two corners intersect is where you will paint your first square. I clean my brush, your the permanent rose and painted on the square, and I cleaned my brush again and repeats for the rest of the colors. Next, it's the color mixing. I start with permanent throws and mix it with cabin bread where those two colors intersect is where I will paint the mixture. There are two ways to mix colors. The first is toe makes on the pallet, where I get one color wash my brush load the second color and mix, then ended on the chart. The second way is to mix on paper. I load more off the light color in the dark to achieve a certain balance. Feel free to other the amount off pain in the mix to produce a variety off color mixtures. You can also test your color mixtures on paper or palate to ensure that this is the color you like. The process goes on until I finish mixing permanent rose with all the other colors in nine . Then I start with the next color I really like how the color chart prints out. The colors are also beautiful and bright. I hope that you will create their own color chart because it will help you discover new color combination that you can use us reference when painting your own sketches. In the next lesson, I will teach you how to create value contrast in mixing colors. 10. Create Value Contrast in Colors: I have painted those sceneries. What do you think off this first painting? Although I painted the right colors, they all seemed a pure flat and lifeless, don't you think? Here is the second painting. What do you think is the difference between these two? Although colors play a role in our paintings, it is the value which means the lightness and darkness of a color that makes a painting stand out. You can see how I lighten the color of the sky as it reaches the horizon. You can also tell which of the mountain appears nearer to the viewer because the colors are more vivid in the distant mountains. Even the ocean contains a mix off other colors reflected from the sky and other elements. We lived in a three dimensional world, but its artist. We work on the flat two dimensional surface. In order to make our artwork appear like three d, we need to use value contrast, which means the difference in lightness and darkness off the colors. In watercolor, we use water to make the color light and use its complement or any dull color, the dark and you you can get the know the range of value from your paints by creating a color value steel. I love my brush with cobalt blue and paint the swatch. Then they clean my brush and use the water. Pull out the range of flights. You can see that by adding water, you can already create different things off the blue. Another way is the sketch seven squares, with one being the lightest and seven the darkest. I loathe a lot off the cadmium bread and shooting that the paint is very dark and painted on the seventh box. Then I did my brush a bit in the water. Create a medium dark red as I move along the value scale. I add more water until I was able to reach the end off the cadmium red. You can also create a range of values by mixing two colors. I load my brush full of cobalt blue, then put the burnt sienna on the other side. I paint the cobalt blue on the first box. Then I will introduce burnt sienna in the mix and paint the second box. Next, I will gradually increase the amount off burnt sienna while decreasing the cobalt blue. Until I arrived at the pure burnt Sienna. Here you can see that we can darken the cobalt blue by adding more off that color, plus equal strength off the burnt sienna, then the light and it we gradually add more off the burnt sienna and less of the blue create a range of shades. We can add its complement or a darker cooler. I first paint a permanent rose on the first box and gradually darken it by increasing the amount of cobalt blue. Then, as I continue a lesson, the amount of permanent rose and increased more off the cobalt blue until I arrived at the darkest dark. Let's practice painting value. Contrast off a dried flower. Observe the values parts off this object. You can see the shadow area that I need. Fold be deals and highlights. I start by creating a color value scale. I can see red and dark bluish purple on the dried flower, so I makes cadmium bread with a lot of cobalt blue for the darkest dark. Next, I gradually add red and less off the blue as I moved to the medium shade. Then, as I go to the lighter part, I add water on the red until average up in it. I sketched the curve off the dried flower, using the alternative blind contour in watercolor. We always paint from light to dark, looking at the color value Number one. I add water on the red and paint a whitewash on some areas off the flower while living some parts and painted to serve as the highlight for the medium shaded areas, I use value number six and up in the pain as it merged softly with the first wash. Then I use Value number seven, the drop in the darkest dark and allow it to spread when the shadow parts off the flower. Switching to a rigger brush, I paint value number seven under the food off the flower as well as the cash shadow. I start with blue curve lines for the faint edge off the shadow and soften it with water. I strengthen some off the colors by painting value number four on the fold in value number seven on the shadow to bring out the contrast. Finally, I load value number seven on the brush and stable on the surface. The great texture. I encourage you to create their own color value scale and see how your pains can go from light to dark. In the next lesson, I will teach you how to mix paint on paper. 11. Mix Colors on Paper: Although it is okay to mix colors on a palette, I find that mixing on paper gives a more vivid color. I like how I can see the colors in there up with each other in painting the Cocteau's and load the yellow on the front of the brush and slightly touched a day low blue on the other side and paint on the paper. You can see a faint hint off the green. This time I load more off the blue and dropped it on the first wash. The green personal become brighter again, yellow and blue on the brush and mix on the paper. The result is very interesting as the yellow and the blue merge where you can still see the colors individually as well as the mixed green. Make sure that your brush is dumped but not tripping whipped so that the colors will not be too pale. I want the paint a dart neutron green and referring to my corner chart. I like the mix off a low blue and burnt sienna, so I load both off the corners on my brush and dropped it on the shadow areas off the capitals for the part I prefer a warm, earthy color, and I chose the bread mix with burnt sienna. I picked up both colors and mix on the paper and soften it with water. I strengthen the colores by adding more of the same mix for the shadow on the part. I am using a mix of cobalt blue and burnt sienna and dropping both corners on the still wet wash. Then I continue to build up the colors using a stronger mix. - I step of the same mixture of color on the soil and of a little burnt sienna or variation. Finally, I added some splatter off yellow, green and purple price spontaneous effect. I encourage she will try and enjoy the process off mixing condors on paper. In the last part of the lesson, I will teach you some more recorder techniques that we will be using for the upcoming sketching on location. See you in the next video 12. Watercolour Techniques: watercolor is a fascinating medium, and I'm sharing some off its techniques that you can use to add interest to your paintings . First, it's the wet on wet. I dump in the paper with clear water and you can see a sheen that is what you want to achieve, not the flooded surface. I load my brush with cobalt blue and gently touched the paper. We can see how the paint slowly spreads. Then I dub in the permanent rose and watch how they mix on paper. This is a great technique to use when painting skies. I dump in the paper again and dropped in canyon bread, and you can see how it creates blooms. Then I dub in the cobalt blue in the center. I think it's a great technique. The paint loose flowers. The 2nd 1 is the glazing. It means layering another color on top off the initial paint. Here I apply the first layers of cadmium red and cobalt blue. We will wait first for the corners to dry before doing the glazing 33 splatter. It creates a spontaneous effect or painting. I load the brush with paint and tap it against my finger that I need. Those are done by a rigger. Then I switched to a size six brush for bigger droplets, which I turned in the flowers. Fourth is a dry brush. As the name implies, it is painting with a brush that is almost dry but still holds paint. I load some paint and dried the excess water and tissue paper, then use the belly off the brush. The gently rub against the paper. It creates an irregular looked on the edges off the foliage. Dry brush is also great for creating textures on rocks. I scraped the belly off the brush to create like a hit and miss effects. The last one is the use off tissue paper to correct mistakes. This is my students favorite because you can erase mistakes in watercolor. But not all pains can be removed. Like the stating paints. It's important to test it first, so if you have painted outside of your sketch, you can dump in the painted area, then wipe it with the tissue. If you want to lighten an area in your painting, you can with your brush, wipe the excess off, then gently rub the surface back in force. until you can see the paint slowly being left off, then that big with a tissue. Another way to use the tissue paper is to create clouds. Simply folder tissue paper and pressed it lightly on the surface. The lift. Make sure to use the clean side of the tissue. Tow. Avoid putting back the blue color. Simply used the back off your hand. Don't know if the paint has dried. Now it's time to do the glazing. I layer the yellow over the red, and you can see how it has turned orange. Layering the pink over the blue gives a knife. Purple color glazing allows Thea underneath colors the shine through, and it creates depth toe a painting you can also use pleasing us away toe makes no corners on paper. In the next video, I will sketch and paint a scenery that inspires me. I will also apply what I have discussed so far in the past. Several lessons. See you there 13. Japanese Garden Sketch: hi, everyone. The day I am at the Japanese Garden and there's this thing that caught my eye. It's the Japanese left turn. It's sitting on top off the pebbles, and behind there is the bond feel. Big Brother, Um, this scene captures me because off the Peacefulness that I feel so come that's get I don't use a viewfinder for framing composition. Instead, I always start with the subject that grabs my attention for this scene. The Japanese lantern caught my eye because it is the only call structure a missed the pebble ground and water deal upon. So I was sketchy at first, then include the other elements around it. I begin to define the structure of the Japanese lander in using line work. I used my eyes to observe and follow its contour, then let my hand follow alone by sketching the lines, the form, the overall shape. If you're not these, I put my small finger on the paper to support my sketching. I left my pen a little to do a bit off trace on air while looking at the subject to get a feel off the curved and spiral off the Japanese lantern. I am sketching was standing. So I hope you will bear with me and my constant movement for the three sided Rick tango. I roughly put some dots as a guide before committing it with a line. This helps me to ensure that the perspective is okay. Okay. - He dis important to note where the light is coming from so that you will know where to place your light and shadow. If you prefer the lights as it appears during your sketching time, quickly market in your sketch, so you will have a reference later. Sometimes the skies cloudy, that there are no shadows. Then you have the opportunity to make your own. I simplified that the science on the London by just sketching its offer, all shapes shading gives the mood to the sketch and brings out the contrast in the details . I shaved by using hatching where the lines are close together to indicate the shadows. I strengthen some off the lines to make the lantern stand out. Now I begin to create a scene around the Japanese lantern, my sketching first the rock nearby, then connecting it with a pond off water lilies and the other elements throughout the seam . Sketching my life on location allows me to have this personal connection with the things that I see to develop a sketching habit. Make it easy for you by bringing a sketchbook and pen wherever you go. Start the subjects that are from your daily experiences in life. Maybe you can do a theme like sketcher meal in 30 days. Do not feel pressured in creating those perfect pages. Instead, fill it up with your mistakes and learnings, work in progress and, most importantly, your story. Keep practicing and never give up. Enjoy the process and inspire others with your story. 14. Japanese Garden Paint: The color on the Japanese lantern is great ish, but I wanted it to be colorful, so I'm going to paint it with warm and cool colors. I begin with the lemon yellow and dropped in cadmium bread for that sunlight effect for the shaded area. I load both off the permanent rose and cobalt blue on my brush and makes the colors on paper. I really like how the warm and the cool sort off merge, and yet it gives a lovely contrast. I mixed a low blue and lemon yellow on paper to give a nice plan off yellow green on the leaves off the water Lindy. Then I added more off the halo blue, unless off the yellow for the shadowed area off the leaves. Occasionally you will not have the time, the paint on the spot, and that's OK as long as you sketch on location, then you are able to capture the likeness off the subject. Before you, I always note down my lights and shadow and take a photo off the subject to help remember the colors. But mostly I just use my imagination to make my painting more colorful than the subject itself. I doubt burnt Sienna on the pebbles before mixing it because blue for the darks, I make sure that there are white spaces in between. To give some contrast, I paint a spot off yellow joker on the lightest part of the rocked, then use water to soften it. Then I dropped in the mix off couple blue and burnt sienna for the dark's for the hell. I went the paper first, then dropped in the lemon yellow and a low blue, then soften it with a brush to allow the colors to glide down. Then I dropped in the mix off more different tones off green and watch how the color spread and interact with each other for the trunk. I painted it first with burnt sienna and live a bit off white space on the left, then added a mixed off cobalt blue for the dark for the sky. I paint the cobalt blue weapon wet and softened its edges to create some clouds. Now that the initial wash off the Japanese lantern has drive, I glazed in a doctor makes off the same corners that I've used the great depth. I also blazed a mix of data blue and burnt sienna for the shaded area off the leads. Then I applied dry brush on the rocks, using a mix off burnt sienna and cobalt blue. Then I switched to our rigger brush toe paint the grass for the foliage off the tree. I used a dry brush technique. I used a light makes off the cobalt blue and burnt sienna for the gender ripples off the pond I painted first, then soften it with water to create a faded effect. Now I bring out some off the details of the lantern with a darker, colder. I notice that the left side off the rocked is too dark, so I gently rub the area with the dump brush and that bit with the tissue paper. Finally, I splattered some green paint on the heel for some grassy effects. 15. Sketch Your Life Often: Hello, everyone. We have come to the end of sketcher life class. I hope you had fun and have learned a lot because I have certainly enjoyed making this class. So a sketchbook and a pen is all you need. In order to start sketching or die forever, you are Make sure to infuse her own personality in your artworks because that's what makes you unique. I also encourage you to share your projects in the project gallery, whether it's ink sketches or finish water quarter paintings. And then you can also include a short caption about the story or the inspiration behind your sketches. I look forward. The senior projects in the project Calorie enjoy the process.