Watercolor Overview | Kendall Stump | Skillshare

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Watercolor Overview

teacher avatar Kendall Stump

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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

1 Lessons (12m)
    • 1. Goats

      12:19
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About This Class

This class will touch on a variety of topics from form to value to technique. This is not a step by step tutorial but rather a touch on some fundamentals that are often overlooked.

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Transcripts

1. Goats: everyone and welcome. Today we're gonna talk about some things. Keep in mind while watercolor painting. Um, so 1st 1 start with a new idea sketch. Draw lightly on your watercolor paper. This paper, depending on found that you have, there's two types. There's cold press and there's hot press. Press tends to be a little bit more smooth, and you can see the texture in this paper here that I'm using. This is cold press paper. This these videos are sped up just a little bit for the sake of time, on the total real time that it took me to paint. All of this was probably about an hour and 1/2. We're not going to spend all that time talking about this one. I do want to talk about some highlights. So right here you see me painting are drawing out the shapes, the shapes of the shadows, the shapes of where the highlights. Maybe this is all for visual cue for me while I am painting. So if there's a spot that need to keep hot or the color of the paper that spot, I will ignore their to spot that I need to be sure to hit. Then I will use paint to go in and hit the shadows. Now the yellow stuff that I have on here is actually masking fluid. I wanted to be sure that those parts of the ears and part on the tail was less completely white. No matter how I attack this painting, I wanted to be sure that those parts were left white. So I'm asking. Float on. When you use masking fluid, be sure to test your paper first. Not all paper reacts the same to masking fluid some. It's a little lower quality paper, and when you take the masking fluid off, it will rip. So please test your paper before you use it when you're applying paint. Working layers work. Now I say that with a bit of caution. Don't overwork your paper. If you overwork your paper, you can get money and colors. You get peeling. You can get you just damaged paper, so be careful but working in layers. You you. If you're careful, can play. You can apply a nice wash. You can continue to add to that wash for shadows for using like a wet on wet method, which will allow you to have some really pretty Grady INTs, color transitions, even from, like toe human value transitions. Um, and we'll talk about that in future lessons. We'll talk about depth and value. Uh, here we're focusing more on on shape. So here, as you can see, I'm I'm adding additional pain. I put in my base wash for this chair. The base layer is down, and I started working in layers. So once that initial layer is try, you can go in and start adding you calm accents. If you like shadow areas, what have you obviously leaving the highlighted areas alone? Don't touch those. Those are gonna be the color that you that they are right now. If you need them to get lighter, there's a couple of things that you can do. You can try again, depending on your paper, which may or may not allow this. You can try to lift some of the color by using the damp brush clean, damp brush. You can go in and lift some of the watercolor, um, or you can use opaque watercolor, which would be wash or poster color. You can go in and apply that trying not to use ST up Wait. Rarely ever will we see straight white. Unless it's maybe a spectacular highlight on something that's wet, it is likewise we probably won't ever see a straight black. These these colors air, generally tinted with something else, is not to say that there's not really, really, really darks. It looked black, but maybe it's a cooler black. Maybe it's a warmer black, uh, the same with white. Maybe it's a warmer white, maybe to cooler white that these things are usually tinted with something. Keep that in mind as's you are going in and putting in your highlights whether it be, um, with watercolor attending the paper or you are planning wash after the fact. Another thing to keep into consideration when you're choosing your color palette of using complementary colors. Uh, complementary colors are colors that are opposite each other on the color. In this case, reds and greens are complementary colors, purples and golds. Oranges, uh, complementary colors. When you're putting your composition together, try to use things that that worked well together. In this case, I used. It's a very warm brown, so I used so the Browns are like would be in the red spectrum, so I used a cooler green, so red angry, so two complementary colors there, so they feel that they work well together. It's a stuntman to distract or pull away from each other. It just it just works. Another thing to keep in mind is going to be the saturation or the value of the color. Just because you have two colors that are complementary doesn't necessarily mean that gonna go together. One is completely vibrant in the other ones. Dull. Give me things close together in the value range of the saturation range is going to help bring your illustration together. Your painting together so there's cover can be described in a couple ways. There's a couple different aspects. There is, uh, color or hue color. The actual color There is the value, which is how which is the this range between black and white. And there is saturation, which would be the color intensity. You need to be sure that, Tom, these things are balanced again, just like with death and value. The closer things are to the viewer, the more contracts see more saturated and more. Um, the more value is gonna have versus something that's further further away. So I continued to work on the form. Use those lines that you drew initially. Hopefully, by this time they should be kind of disappearing into your illustration. Some people like to use watercolor or water soluble pencils. This is This happens to be graphite that I'm using here, but there are other options. When you're playing shadows work with more cool, and what I mean by that is, if you're highlight is warm, your shadow should be cool. If you're highlight is cooled in, your shadow should be warm. This can be done. Has the show this by adding color? It could be done also using a huge or a saturation shift in in the car that you're using, meaning you can if you're color palette. If your color based color is red and you're highlighting is a warmer in it that maybe de saturate that may be dark in that up. And to get more a little more of a cool red. I use a cloth. When I removed the masking fluid, you can use your finger and just going in rob what to do there. But using a cloth, it really, really helps make sure that the cloth is clean. You can see much up your paper with it with a dirty cloth. Independent European. Over it or not, you could have a so much on your work on your artwork. Now here we start talking about death. As things get further away from the viewer, things tend to take on. The less contrast. Things tend to take on less detail. This is something that is often confused or neglected to to use. The further things are from the viewer, the more those things take on the color of the environment. You say that again. The further things are from the viewer, the more they take on the color of the environment. If you're looking at a tree that's a mile off in the distance and it's surrounded by blue sky, that tree is going to have very little detail. It's gonna have very little detail in the color hue of it is going to be blue. The shadows. We're gonna be blue. The highlights are going to be blue. Everything is going to take on the color of the environment. It's as you see years between painting in this full page in the background. It's just suggestion of foliage. I don't want that to be the main focus of this peace. The peace with the most contrast in this is going to be the things of the items that are closest to the viewer. In this case, it's gonna be these goats in this chair. Even this chair isn't the focus, it's the goats and they're the subject. So there's there's of the things that I want to be sure stand out the most once everything is dry. If you like, you can go in and intensify some of the areas using some pet. This is a a co pick multi later. 10. It's got a reaching has a changeable neb and refillable cartridge is You can go in and you can outline the entire piece. If you like using different line waits, concentrate. Problem lining rates please. Heavier the line, The more shadow it is lighter. The line. The mawr like this hitting it. Maybe there's no line at all. So as you can see on the on the chair, lives really light on. The shot are really heavy on the shadow side, Really like from the on the light side. This can add some 96 situations to the peace and really bring everything together. You're pulling a tape off of your drawing. Make sure you pull away from the drawing. And I hope that you enjoy this peace. I plan on doing more in the future regarding value and concept and different things like that. Planning out your pieces. Thanks for joining and see you again.