The Value of Grisaille: Lily Watercolor Painting (part 2) | Hajra Meeks | Skillshare

The Value of Grisaille: Lily Watercolor Painting (part 2)

Hajra Meeks, School of Watercolor & Wizardry!

The Value of Grisaille: Lily Watercolor Painting (part 2)

Hajra Meeks, School of Watercolor & Wizardry!

Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
8 Lessons (28m)
    • 1. Introduction

    • 2. Sketch Prep + Supplies

    • 3. 1st Yellow Glaze + Grisaille Tips

    • 4. 2nd Yellow Glaze + Wet-on-Dry

    • 5. Green Glazes & Color Harmony

    • 6. Color Temperature + Saturation Glazes

    • 7. Ink & Wash Comparison + Final Touches

    • 8. Value of Grisaille & Examples

  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels
  • Beg/Int level
  • Int/Adv level

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.





About This Class

Hey Watercolor Wizards, Hajra here!

Finish painting a lovely lily with me in a botanical illustration style using watercolor and the historical grisaille method. (Review my previous Skillshare Lily Grisaille workshop to choose a grisaille color and complete the grisaille value underpainting in one color first!) We’ll be going at a relaxed pace with lengthy viewing time and instruction, using wet-on-dry and glazing techniques while learning to render with wet paint over a value painting. Suitable for beginning to advanced artists. You can check out my free ink-and-wash lily demo on Youtube to compare how a lily would look sans grisaille, with ink and with different shadow colors.

About me: I'm a former university lecturer and Author-Illustrator, and you might know me from my channel of Watercolor and Wizardry on YouTube, or from my Patreon tutorials where I share epic watercolor, gouache, and ink instruction, or more recently from my shared art on Instagram!

Thanks for parking your brushes here and let the epic art adventures begin!



Meet Your Teacher

Teacher Profile Image

Hajra Meeks

School of Watercolor & Wizardry!


***UPDATE: I will not be posting further to Skillshare as they treated me in a horribly unprofessional manner; if anyone wants to see more of my art and instruction, please follow me on Instagram and Youtube. My new REAL-TIME, REWATCHABLE, ART CLASS VIDEOS here:

 I'm an Author-Illustrator and former university lecturer who creates and posts nature, botanical & fantasy Illustration. You may be familiar with my Youtube Channel of Watercolor & Wizardry where I post epic watercolor, gouache, and ink tutorials. I brought my in-depth art technique and art history education to some Skillshare classes, and I hope you enjoy the 6 I posted in the past. 

See full profile

Class Ratings

Expectations Met?
  • Exceeded!
  • Yes
  • Somewhat
  • Not really
Reviews Archive

In October 2018, we updated our review system to improve the way we collect feedback. Below are the reviews written before that update.

Your creative journey starts here.

  • Unlimited access to every class
  • Supportive online creative community
  • Learn offline with Skillshare’s app

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.


1. Introduction: Hey, watercolor wizards harsher here in one of my previous skill show videos called Get Trigger Cy on, I defined Versailles and Value under painting variations and demonstrated how to paint a lily with the violate societal relaxed pace. With information on painting techniques and blending edges. Today will be finishing that lily in color glazes over top with more luminous watercolor. Make sure you check out Part one and skill Share, and also my various YouTube videos on watercolor painting and blending techniques. If you need to refresh that info, Thanks for parking your brushes here and lengthy epic Our adventures began. 2. Sketch Prep + Supplies: start with a freehand drawing from the reference painting I provide, or you can trace and transfer the sketch I have provided on Skill Shirt, my sketch transfer and Freehand drawing process or not covered here. But that's all available for free on YouTube and some of my videos. If you want that, he could also feel free to draw in paying your own flower from your own reference. As far as supplies go for this project, I use a synthetic angle. Brush for water media around number to brush with a fine point. A cloth towel, a water cup with clean water. A palette for paint mixing are just hot or cold. Press 1 £40 watercolor paper in a size that comfortably fits your transferred sketch watercolors and a maid yellow, warm yellow and warm green. I use Nellie's Aureole in yellow, Indian yellow and sap green, respectively. If you're starting from the drying stage, you'll also need an HB pencil and softy racer and a sketch done separately in transfer to your painting surface. If you aren't drawing on it directly, 3. 1st Yellow Glaze + Grisaille Tips: now onto the painting Watch Part one of this silly demo on skill share or my free YouTube videos for more Chris I information process and painting techniques. So the hardest drawing, rendering and blending work was done in part one of this lowly project. Now I mostly have to focus on color, intensity and color temperature so it will be less brain work, at least for someone like me, where I need to use more energy for drawing accurately, then for color fills and glazes. Like the previous lowly video, this video has only sped up one time, so it's almost real time, but just a bit faster, so it's not boring. So we're gonna start in with just the mid yellow. In this case, it's an oriole in yellow and apply it thinly, what on dry all over the pedals and then, eventually the buds and leaves and stem because they all have some yellow. You can be a bit more precious if you want, and reserve some white of the paper for bright highlights. But I chose not to, because the pedals aren't super shiny. They're pretty soft and velvety in appearance, so there isn't any indication of really bright white highlights. Notice. How was justice First, Passive yellow. The violent from the gross I under layer transforms into a warm, orangey brown, yellow and violet, or compliments. So violent makes the ideal shadow color for yellow. And because I didn't use gray or black, the shadows are much more warm and Ruthie and lively, yellow and violent or actually one of the most visually impactful and also easiest Chris I combinations to utilize. So it's a great color scheme to try for your first Chris I project. The violet is so dark and perfect as a shadow on value layer, while the yellow is super transparent and light and luminous as a top color layer, and they mixed to make a yummy, complementary brown shadow color. It's one of the reasons why I chose to use this color. A pair for the skill share video. Yellow and Violet are almost fail proof as a dynamic duo for the gross I technique. Just a few things to watch for picture. You don't super overdo the violet and the girls I stage yellow will be going over it so it can't be black hole dark color, so keep the violet at a mid value of five or lighter, unless you have a darker color than yellow going over the top. I mentioned this in part one of the skill share video for this project, but it's worth repeating. Second, Make sure you use transparent yellow over the top of your Chris I unless you want to significantly lighten your Chris eye shadow color using a semi opaque or opaque color glaze . And third, make sure the violet is a staining and non lifting color. This is another thing that was mentioned in the other video on skill share that was the first part of this project. It's worth repeating that colors that sink in work best for Chris. I so know Paige, lifting colors for your value under paintings. 4. 2nd Yellow Glaze + Wet-on-Dry: the first passive Yellow is gonna lighten a bit as all watercolor dozen degrees as it dries . And as is often the case, I also want to make it darker. I want my pedals more vibrant yellow, and I want my shadows less violet and more of a warm brown. So I'm gonna go back in for another layer of Oriole and yellow like the first time around. I could just do this wet paint on dry paper, or what on dry. And I can do this in a moving train, more or less because it's just broadly painting all the pedal surfaces, all the thinking and careful rendering pretty bleeds to create the soft pedals and cash shadows. All that hard stuff was taken care of during the first part when I did the violent course I underpinning. So this is all the faster and easier part, and I could just have fun focusing on color, intensity and saturation. Eventually, I think a bit more about color temperature. But that will really be the bulk of what's left to Dio, which is one reason why doing the values first and separately can help divide and conquer. Ah, harder piece 5. Green Glazes & Color Harmony: after the second layer of the oh, I decided to finally get to some green areas. This is more wet on dry, and if I want hard edges, I will leave them as is. And if I want soft edges, I just need to take a damp, clean brush with a little bit of water in it and sweep away an edge so it blends softly rather than leaving a hard edge on the paper. So I don't have to give up having soft edges. Just because I'm painting one on dry can have hard edges. I'll dry naturally, and I can have soft edges that I create by blending out an ad with a damp brush. I make some of my yellow into the green color, so I have a lighter green and also a darker green on my palette. The lighter green is also a warmer green, whereas a darker green is a cooler green. And that's because the lighter green has more yellow in it, which warms it up. I'm gonna provide my finished flower on skill share as a reference for students to follow. If you want to paint the lily that I painted Garcia version of my painting is also available on skill share under Get Your Grace I on which is the first part of this project . As with the yellow, the green goes over the violet shadow areas and creates a lovely, warm, brownish neutral. It does create a darker neutral because the green is naturally lighter than the yellow, but you can see that the warmth of the violet shines through in both cases. And just like with the yellow areas, my green areas already have that built in punch of value contrast because of the gross I. So I'm just gonna focus on the green, being thinner or thicker paint or warmer or cooler color. And again, that's the focus on color, saturation or intensity for color temperature. And I'm also going to use the violent Chris I areas to inform where my green needs to go on darker and thicker. So, apart from providing me with a value under painting, the Grisha is also a useful map toe help plot my color density as well. And because the violet is a shadow color all over, it harmonizes the whole piece and pulls it together with the petals and the lea use in the stem, all having some color repetition. And this is happening with the yellow, too, because I do have yellow almost all over. So that's another color that's helping to harmonize this whole piece. - No . 6. Color Temperature + Saturation Glazes : when I come back to the yellow petals, I'm gonna focus on color temperature contrast this time. So I'm gonna ply the warmest yellow I have out on my palette. And that's the Indian yellow to the shadow areas of the pedals. Because I'm going to assume this flower is being lit by warm sunlight. I'm gonna keep the shadow areas warm. If I wanted to assume that this was lit by maybe a cool indoor light or artificial light, then I could make the shadows cooler. In this case, I want to keep my shadows warmer, so I'm going to use my warm Indian yellow in the shadow area again. Just more what on dry with my edges softened with a damp brush. Yellow is also easier to blend out. It's not one of those colors that shows up really in a hard edge. So that's the other reason I don't have to be as precious when I'm putting down my yellow colors here. If I was going over the top with some really dark and staining red or blue or something that I would have to be more careful and perhaps use wet on wet even at this stage, and even with the yellow, I'm going to be aware of where the shadow border areas are and make sure I softened the edges with a damp brush there. And I could have admitted the Indian yellow completely and just use two passes of the Oriental yellow and stopped right there. The violet Chris eyes underneath. I'm gonna put one color glaze over the top and just call it a day. But it is up to me for every individual project to see if I want to push the colors further and make them a little bit more complicated than a single color glaze. I've done numerous pieces in the past over Chris I, where I just put a single color glaze and just stopped right there. I've also worked on other pieces where I bought it two or more colors like I am in this piece and that it will help me out a little bit more color, complex city and doc than a single color glaze. And in other situations, I have had a piece where I needed to actually strengthen the gross I value areas. If the car Zions of being too light in certain places which could happen sometimes. And in other cases, I've covered up areas of Accra side that might be too dark with a semi opaque color glaze to help lighten the gross I. So there's all sorts of things that you can do over the course I and there's no set restrictions to what you can do. It all depends on what the individual piece and the colors that you're using and the results that you're getting. If you feel like a single color ways is enough, then that's great. If you feel like you need to do numerous colors, then you can do that, too, if you feel like you need to lighten or darken the Corsa in some places, and that's your call to just do what you got to do to make the piece look like in order to make you happy. If you haven't seen my ink and wash version of the same lily on YouTube for free, I would take the time to check that out. You'll be able to compare how colors are applied when there is no curse. I value layer versus how there is a gross I value under layer like we're doing in this demonstration, I did have the inclines in that ink and wash version giving me value from the start. I sought to use orange and also makes orange and green to create shadows that were dark enough on the pedals for this Chris I version of the Liliane Skill share. I didn't have to use orange anywhere on the pedals, or add an orange and green brown mixed to the pedals for a darker value area. And that's because I have the violet underneath, and as a result of that, just the oriole in an Indian yellow are enough for the pedals, and the yellow in green are enough for the leaves, bugs and stem. I don't have to make green and orange shadow mixes anywhere. 7. Ink & Wash Comparison + Final Touches: once I've warmed up bipedal shadows with some Indian yellow in places, I go back and also spruce up the statement heads and the statement heads because they have that orange you, Paul and on them, or the only place where I ended up using a little bit of orange in this piece. And it's not for a shadow. It's more just for the right actual color identity to make it look like pollen. I'm also gonna keep sprucing up my green color areas for more color depth. And again, you'll have my final flower painting of this to download and follow along with me as a reference when we compare the ink and wash flower to the full watercolor flower with this Chris I. The full watercolor painting is obviously softer, since there's no inclines anywhere, giving those harsh lines and the watercolor flower is also a bit larger. I did paint the ink and wash flower version smaller, so you're not imagining that if you notice that the colors are also different in the two flowers with the yellow, orange and green, along with the black ink resulting in a cooler flour and stems for the ink and wash peace and the violet, yellow and green, resulting in a warmer, softer flour. For the watercolor with the grizz eyepiece, the temperature shifts that you see here are totally up to you. You can make them go in one direction or the other. If you change the Chris eye color, the temperature in the end of the piece will change, too, even if you're doing the same subject. For example, you could do a black Chris I or a great grace. I and you would end up having a cooler, crisper and more sterile looking flower. And on the other hand, if you did a red course, I you would have an even warmer flower having a more orange and red orange result. I really do like the ink and wash version of this lily, too, but I really enjoy the softness of the full watercolor peace, especially for a botanical piece. And I think the gross I under painting is wonderful at constructing a polished drawing and paint to replace the structure of the incline, drawing. If that makes you more comfortable, and that might be the case if you have done drawing and sketching for ink work more than you have painted. It's just another way that gris I might help you become more comfortable with your paints. 8. Value of Grisaille & Examples: I hope you enjoyed Thisted part video tutorial on skill share of this watercolor lily with a Chris I under painting. Now I'm gonna take a few minutes to show some pieces where I used Chris I and other pieces where I didn't use Chris I and my thoughts on all those choices. So let's look at these pieces. You know, Bruce, I is applicable to many different mediums. You can apply it to a digital medium even, and that works very well with layers and photo shop. But in my case, I would be using either watercolor or wash your ink. In this case, I used garage, and you can see that the leaf up here uses a mid tone method, which means to put down the middle color layer the average middle color first, and then you go on and put the darkest and then the highlights. As for his colors on top of that, and then there's tiling here, relating on little mosaic pieces and sort of tiled them together like a puzzle. You can also layer tiles, but there's fear layers in Thailand, and there are in mid tone or in Versailles. And then here's the gross I version of the same leaf and see how much more value contrast in shadow and pop there is. Here is because I put down so black wash before I came back in with the orange and the white highlights. And it makes all the difference as faras value contracts. But once you learn Chris, I, you can reverse it. If that's convenient for you, you can decide to put in your shadows last, and that works sometimes intuitively. For watercolor painters, it's up to you how you take some tools and adapt them to your own techniques in your own mediums. This Zorn widow key So I did and so delight, genuine, and it is a Chris I value under painting. If I wanted to go over it with another color, I could, but I couldn't stop here, and it's a monochromatic piece so you can check out these leaves as a video on YouTube. You can also check out this Maxell Parish piece or this bluegill painting, or this Andrews or widow study all of them, or videos on YouTube. I'm newer to skill share, but I do have quite a library of videos that consist of Master studies and also originals on YouTube. So do go check that out. If you are interested in seeing how I painted any of these, here's a study I did of Maxfield. Parrish is City of Brass from the Arabian Nights, and it was really useful to do a gross I for this entire area because it helped me set in all of these darks before I came back with the lights. To me, that's a lot more convenient whenever I see a piece that has a lot of value contrast now, if you have high key pieces that don't have very much value contrast than doing a course, I may not be useful, but definitely for pieces. Where there's high value contrast, you can go ahead and put that in first. On this piece. This is a study of an Impressionist painting by Edmund Tarbell. The original painting was really large and oil, and it's called the Blue Veil. Very useful to come in with a violet grey side the same way that I came and did for a flower that I showed in Port one of this gruesome video on skill share. I could see that there was a lot of violets and blues and the veil, so I wouldn't have made sense to use a black or grey course. I just made everything darker and certain muddier, more neutral. I wanted to move towards a violent, so there was a reason why I did a violent aside for this piece based your course I color off of what your final pieces colors are going to be. The colors that come over later are gonna be affected by the grocery layer, so choose that so it works with your piece, either as a complementary shadow color or as a harmonious color as part of an analogous game like we have here. The video for this is also on YouTube, and it's a watercolor versus quash. Both of them used Chris I, a dark brown Chris. I worked really well in this case because you end up having the skin tones and the shadows that are sort of brassy in the blond hair, doing really well having a darker brown beside it. You can even have different colors for your value underpinning across the same painting, depending on how your final piece will look. So here's another watercolor versus quashed demo that I had on YouTube. Violet shadow under layer for the guar side and a yellow one on the watercolor side, and you can see how it's affected. The temperatures of both of the pieces separately teaches me to read a painting or a photo or a reference, or even something that I'm making up originally in my head. It helps me to read values and lock in values again. This is a video on YouTube. I did do a dark, neutral Payne's gray gross. I under these butterflies putting my values in first made it so that when I put in the pearlescent color over top, it really helped the whole thing pop because there's a lot of mica there, so they don't really stack up on values as well as conventional watercolors. So that's another way that Chris I can be useful. It helps give you that pop without having to work with the pearlescent paints in a way that they don't want to. For this cardinal painting. Also on YouTube, you can see that I worked in Wash and some parts of the course I haven't even been covered up. This is a great natural History Botanical Journal way of painting where you do some of the parts and color and leave the other parts. Still, in great course I in this Tarzan study, which I did partially on YouTube as well. You can see that I had a dark Violet Gore sigh and this was using watercolors again. You can see that great pop that I get as a result of having all of my dark values done first and then coming back over with paint. Very useful for complicated piece like this figure with all of these cords and muscles on him to have done the values first, and not to try to figure out all these muscles and where they go along with what the color was doing, whether it's the building, the foliage, the waterfall, all of Tarzan and his muscles, his hair. Everything was done in violent first, and then I came back in a separate few layers to do the colors, and it really divided that up and made it easier for me. And here's the botanical peacock paying that I've done this one is not on YouTube, and I did not do grew side for the flowers in this painting is able to push the values in my red or push the values in my peachy apricot colors or my violets or my greens. I was really comfortable pushing value shadows because I've had practice with gross I value under painting thes bunnies that I did again very high key. And compare that to a piece that has a darker value. Contrast this cardinal this Tarzan piece, and you can see that the colors and the shadows go much darker, so it's a natural choice not to do a value underpinning. Now this Winnie the Pooh Peas was don't an intense in this piece. I did not use a gross I value under painting, just like I didn't with the peacock. I just painted like I was painting with watercolor in a so attractive way from light to dark. So this painting is more proof that you don't need to use a value under painting for everything, but it definitely helps you understand value, and it definitely helps you place value in pieces even when you're not doing so. It's an interesting technique, and you can use it by itself, underneath colors or not at all, and still be influenced by it, but it's just a great valuable technique to have in your little supply belts of tools. And that's the real value. Of course, I is that you learn it, and it helps you push your realism and get accurate values and good contrast. And then when you don't use it, having used in the past helps you create paintings that have better value in general. Well, wizards hope he found this lowly tutorial on my thoughts on Gross I constructive. Don't forget to watch Part one De Mowing the Grass. I enter painting on skill share on my other free info dance videos on my YouTube channel. Please, like comment, subscribe and check out my website and patri on page to support my art nor channels below. Thanks for parking your brushes here and wishing you all epic art adventures.