Watercolor for beginners - Paint Terracota Pots with me | Sweta Kaushik | Skillshare

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Watercolor for beginners - Paint Terracota Pots with me

teacher avatar Sweta Kaushik, Watercolor Artist & Urban Sketcher

Watch this class and thousands more

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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

9 Lessons (39m)
    • 1. Introduction

      1:10
    • 2. Materials Required

      2:20
    • 3. Basic colour mixes for pots

      1:59
    • 4. Key to paint perfect pots - Light & Shadow

      7:20
    • 5. Terracota Pots - Sketching

      4:30
    • 6. Terracota Pots - First Wash of Colors

      7:17
    • 7. Terracota Pots - Final wash of Shadow

      8:17
    • 8. Five ways to add realism

      6:10
    • 9. Conclusion

      0:17
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About This Class

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Learn to paint beautiful Terracota planters in a loose and realistic way! In this 40 minutes class for all skill levels, I will teach you how to approach painting and sketching Terracota pots if you are using a reference pic or painting live. I have also shared with you exact colour palette required to paint pots and we will also swatch out the mixes used to paint pots. The Final Project to paint Terracota pots, are divided into three parts - Sketching, First wash of colors and Final wash of shadows.

After that I have shared with you FIVE ways to make REALISTIC painting every time! , without actually being exact and detailed in painting. Don’t  forget to check it out!!

So if you are ready, let’s start the class !

If you like this class, please leave a review that will help this class reach more students:)

Meet Your Teacher

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Sweta Kaushik

Watercolor Artist & Urban Sketcher

Teacher

 

Hello Artists,

I am Sweta, a traditional Watercolor Artist, Urban Sketcher & the Founder of the 'Urban Sketching Circle - A Membership for on-location painting'. I live in Delhi, India.

I am a passionate teacher and present modern solutions to my student's problems, improving their observational skills and allowing them to visualize and interpret the 3- Dimensional world in front of us accurately on paper.

If painting from 3D world is a bit hard for you, then click here and download my free guide on Urban Sketching - 5 steps to simplify what you see.

See full profile

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Transcripts

1. Introduction : Welcome to my class. Watercolor for beginners, pain, terra cotta parts with me. Hello, guys. I'm sure the akashic, a watercolor artist, and you can connect with me at my insta handle at watercolor dot consultant. In this class, we're going toe pain, Terracotta pars in lieu style. I've also incorporated the effect of flight and shadow in this beautiful parts. We're also going to do some preliminary exercises to get you ready for the final project for the final project will start by sketching the basic shapes, painting the first layer on, then painting the last year of the shadow preliminary exercise. I will tell you how light and shadow walks in parts and I will also share video five steps to make your painting look realistic. So pick up your brush and join me. 2. Materials Required : materials required. I suggest you to get 100% cotton 300 GSM Corporates paper for brushes around school number eight, and the rigour number four would do the work. But you can also use a mop brush to spread water. Other than that you need Are you nibble, waterproof and ah y gel. Pin a masking tape to recline the surface. You're walking on some tissues, a pencil and razor on a water container. Hello, guys. Let's talk about the colors we're going to use in this tutorial. Toe pain Terracotta parts. The 1st 1 is your local. I'm going to use your local at all the places where the light is directly hitting the parts . The next one is vital. Orange viral orange gives really interesting effects if you use it with cobalt blue or video loca. Generally it warms the washes, and I before to use the combination of warm and cool washes to bring out that growing effects in the washes. The next one is department in dread. I'm going to use permanent rate in combination with burnt sienna toe paint that parts the reddish boards gives the reddish parts can paint it in that way. The next one is cobalt blue. It is going to be basically used towards the shadowy parts. The next one is ultra marine blue. I use it toe de saturate, burnt sienna and toe being out grace. And the next one is sap green, obviously to use in the leaves and any green vegetation, then burnt sienna. I can't live without the Spain and I used this. The version I use is from San Alia, and it's really good next, his bunt number and the last one is sort of like genuine. You can also use being scree or any other great you want. 3. Basic colour mixes for pots: And now let's talk about the basic color mixes. The 1st 1 is your Loker and Bon Sierra, and the 2nd 1 I have makes yellow car with sap green. It's basically permanent sap green from Winsor and Newton. Next one is viral orange and burnt Sienna. We're going to use all these mixes in the data gotta bars. We're going to paint, and the next one is viral orange and cobalt blue. This is my favorite mix. I suggest you to try this mix off viral orange and cobalt blue in other arc books. Also on Try Toe makes thespians on the paper rather than on the palate. Next drone is burnt Sienna and ultra Marine. This is a very common Biggs and makes and it is used for Greece, and the next one is burnt Sienna and submarine permanent sub cream. I will use this to be saturate sap green a little bit, and the next one is permanent rate and burnt sienna. I use this to paint parts and the last eight sap green and sort of like General. I love using sort of general, and I'll definitely find some excuses to use tissue, so just go ahead and try these mixes. Find out if some specific paint ism bothering other and how you have to use them together on this list. 4. Key to paint perfect pots - Light & Shadow: what is the secret to paint perfect parts every time? And I would say it is the source of flight and the direction off the shadow. We have already learned about the color mixes. And now in this step, I'm going toe work on the sketching and also will be outlining the source off light and how the shadow is formed. I'll be making three parts to describe the most common situations in this part. The light is falling from the top most direction, so the shadows just been in the object. In the next spot, shadow will be falling towards the right as the light sources towards the left top direction and sure also keep in mind. Don't be very accurate in your drawings. It's totally fine, especially when you're drawing. The parts are just practicing a few dick knees. I really like the irregularities in sketching when you're painting parts, so I am not going to be really exacting my points in the third and last part. The light is falling from the storm right direction, so the right back off part would be eliminated and the left part would be in the shadow in Docker and the shadow falling on the left, and here comes shadow on the left part, and sketching is done. These three basic situations will help unit and define the source of light in the direction of shadow. Even if you're using a reference pick are you're just painting life, let's move on to coloring and in coloring. The main thing is that you have to focus on the values and what is value. If you don't know, then lose the lightness or darkness off any color. So I'm using your loca in the parts off the board, which is facing directly towards the light source and see how I'm going to increase the value as I had more color and worse, the bottom off the part. It's going to be the darkest here. I'm using burnt sienna on the consistency off the pain, slightly thicker than what we used in yellow over. This is how we manage values on here. I'm using a mix off ultra marine blue and burnt sienna on the consistency off ultra marine blue and bones. Dana makes Waas slightly more picker than what we used, and this part won't be facing much off life, making the doctor on now from the shadow, see, this part is the most darkest, and you can meet the edges of the shadow a bit lighter. You can also you deal over. I only use the makes up on the marine blue and burn CNN different proportions. Now I'm going to use the same shades, toe paint the rest of the parts. Ah, watery. Mix off your Loker where the object is directly facing the source off light. Now, this part is very important. Notice that the outer lip off the part is lighter in value and the inner lip is going to be doctor in value because light is not going to strike in that part, I added, Burn CNN, just as I did in the last one and now a bit darker. Washington Bonzi. And actually I did a little bit of ultra marine blue in that this gradual change in the tonal value the part makes it look rounder. And to get more insight on this topic, you can take my previous class, which is everything you need to know about painting shadows. The outer part of the shadow. It is basically lighter than the middle part on the art where the shadow touches the part. It's the most darkest part off the shadow. Keeping thes things. Are these hacks in your mind you can paint any subject, and it will always look technically correct and realistic in the third and the last part, the direction of the shadows. Different Bergdahl basic speech we have learned, or the approaches which we have learned to allow are the same. I'll be using your local towards the light stores, followed by Barnes and towards the middle part, and then makes off ultra marine blue and burnt sienna towards thief left mold spot. Now it's burnt sienna. Don't let the edges dry because for here, example, if the barn CNF the edge of the burnt sienna dries at that moment, the wash is dead, and if you try to continue painting that, you'll get a scratchy result. So whenever if it happens with me, I make a new painting. So try doing these studies in one go to get glorious results and transparent forces. If we're going to continue a war ship, it dries in the middle. You'll get really scratchy and not so transparent painting again, Doc Oh, EEA towards the bottom of the pot on the boundless can be made a little bit lighter using yellow car or a mix of yellow car in burnt sienna. This is nearly done and always keep in mind. Direction off the light and the shadow shape off the object in shadow colors on tonal values. 5. Terracota Pots - Sketching: Now it's time to sketch for our final project. We're going toe being three parts, and the shadow will be in different direction in all three off them. I always simplify the sketching part because most off people find that it's the most difficult part. I'm sketching the major shapes, and I will not at any detail. This is the communist shape off part you must have seen, so I'll start with this one. Andi. This is basically a succulent plant, so I'm going to make Take leaves Andi by making the lower part off the leaves. It will give us and Johns to show the life in shadow. So notice how I'm going to make these leaves from each angle and then copy the same into your paintings. - This is done on it's time to make shadows, but let's make shadows in the end. Together for all the three parts shape of this one is different. It's going to be narrow a bit manner with the dog on street at the bottom. So what kind of leads should be drunk? Let's go for funds, but I'm only going to make this stem at the moment, and forms will be directly painted. Okay, so the third part is broader at the top and narrow already Bottom. And let's do something new in this. Let's make branch toasted Andi. It's going to be a unique one. It's looking so good. I just can't read to fill color. Do make branch narrower as Biko towards the top. And I will also make funds in this one but larger ones. So I'm going to sketch them beforehand. Hawaii making these funds. It's so interesting. And there so many radiations who can draw. Imagine. And as I said that we make shadow in the end, So it's time to do that. It is how the shadow becomes Florida as it comes towards you and in this part the lightest striking from the top right position. I'm making the exact shape off the port, but you can bring variations in the leaves on. In this part, the light is hitting from the left top direction. Now I'm going to make random leaves. This is nearly done in the middle one. The light is falling from the top direction, so it's going to have a simple 6. Terracota Pots - First Wash of Colors: let's start painting the first layer off our final project, as we have learned in the previous classes were going to use your local towards the light source as the light is hitting from the right direction. So these part off the leaves are going to be late on also these. But as the bottom in the back part would be hidden, see how watery these washes are? Andi, don't let these droplets try because the moment they dries, the continued e off the wash would not be there and see Now I'm using sap green. So this knowledge er inside off how you have to work upon the light and shadow. You can only get these when you start either life objects, Captain. Front off you. I'm using silver Velvet brush number eight. It has a really good point now, here I'm using Cobalt blue. Just been in the leaves to show that it's Akula radia on its shadow. Barred basically on here I'm using bone Sienna. You can also makes a bit off ultra marine blue burnt sienna to make it a bit darker. Here again, you're Loker. But here the consistency of the yellow curry slightly thicker than what we used in the leaves. Moving forward for the mid tone. I'm using burnt sienna at any point. My wash is not dry. All the edges are vet all the time. And here I'm using burnt umber and then burnt Sienna makes with ultra marine blue or the darkest stuck. This video is not sped up on its in real time. On I have really painted this first wash in around 7.5 minutes on moving on to the next part. This is viral orange is the light visiting from the up for direction. So the lighters I'm using lighter shade towards the upper part off the park and moving forward. I am using cobalt blue. This is also cobalt blue. Earlier, I had makes a slight amount off viral orange to club cabal do, but this is pure now, using Dale around me rigger Brush number four. It is a synthetic brush, but Gaza first lend. It gives impressionistic marks. First, I made the branches using sap green and now, using a mix of cobalt blue and separate, I'm going to make phones. You can use any other brush, which is thin, like a number two or three, but this lent off. The hair's really adds to our brush strokes, so I would advise you to get a rigger brush on here. I'm using viral orange to bring out the contrast. There were only walking on the first year after these big focus on the second layer in which we're going to be in the shadow slight, splattering off water. It helps in mixing color on the paper, And if you feel that you wash is really flat and an interesting, you should definitely try splattering water again, using your local towards the source of light. And here I am, using a mix off Orman int red and bone sienna, a little bit off ultra marine blue. Or you can also use COBOL Do here. I'm using cobalt blue mixed with a little bit off permanently now moving on towards the branch. Here. I'm using your local in quick motion, and similarly, I put sap green towards the other side and then a little bit off water splattering. Let's more want to paint the leaves here. I'm going to do but in weight, so I'm applying water. The rigger brush gave us different kinds of stroke and similarly, the strong brush will also give us different kinds of broad stroke on it. Defensible? Knew what you want to do, what you want to use. And I used sap green here. I'm also putting your local at some places and if you remember, we put water towards the right side so we will not get hard edges off the leaves there on this Larrys Done, let it dry and let's move on to the next year. 7. Terracota Pots - Final wash of Shadow: This is the second in the last layer. I am going to paint only the shadow part, and then it will be finished. I'm using your Loker and makes off burnt Sienna. And then I have added cobalt blue here. I've already said that and you can see I'm only going to paint the shadow Park. Now I'm going toe. Take sap green, Andi at a bit of cobalt blue to that for the doctor version of Shadow. I will also be adding burnt sienna and ultra marine blue makes to that. And this is the darkest part around the dog. And now, using pickle consistency of born sienna thicker than the one I used in the base layer, I'm going to put these strokes. These are basically the shadow off leaves, but we're not making them exact, only to accentuate on in a more impressionistic style. Using a make soak, ultra marine blue and burnt sienna. I'm going to take this shadow down further and we're going to paint the car shadow. I'm using burnt sienna towards the borders on it doesn't condemnation on this wash off The shadow is in combination with the shadow we have painted on the body. And as I have said previously, don't let it dry it any point, some splattering and the first part is done. I love how this spot has turned out in the next one. I am first putting water as I'm going to do some but in bed. But I didn't put water on any off the leaf side, only on the part where there was no leave. Nothing, because I am going to show you something unique, something different. So now seen. I have taken mix of cobalt blue and barrel orange, and I'm charging in from the better side towards the leave so you can see hard edges also towards the leafy side on. See how it is, how the color is melting away towards the background. It basically gives you the image that there are leaves in the background. If you explored the fighting techniques off for two color, it gives really unique results in just one bush or one stroke. Wasn't it easy you can use this same technique toe paint parts in your state, and then again, you don't have to be exact, just go as you like and do a lot off. But in red. The only thing you which you have to keep in mind is the clear washes. I'm painting the shadow off the phones and the part I'm using Spiral orange and I have added a hint of cobalt blue with that. And in this stroke, I'm you using more of cobalt blue. I'm going to do this radiations in each and every stroke. And now I'm going to make shadows off the funds. If you're thinking that, why did b sketch the shadow off the part and not off the phones? Because it was really my nude. Andi. Until that point, we didn't even sketch the phones. So I basically leave the detail part for the later time moving on to the last part I'm using. Take your consistency off sap green. Andi, I'm going to make the shadow part off the phones. Yeah, since the left part off the battles are 90 detail. I'm not going to put much to deals towards the right part. Some margin using let invade and then some splattering. And now here I have added a bit off bon sienna to the sap green on. I'm painting the shadow parts. Now I'm going to paint the shadow on the right part off the part, and I'm going to use a mix off viral orange and cobalt blue, some random marks and then towards the car shadow. See how using cobalt blue directly brings out that freshness in the wash. So how do they look to you? I really loved the spot, and I definitely want to experiment with different shapes and colors. 8. Five ways to add realism: still, now a painting looks quite simple, and there are so many things which we can add to this painting toe. Increase the visual interest. I have added a background, but still it needs a lot of things. Four of you were to look at it for longer time. You definitely need toe add elements to it, and one of them is splattering. So in this video, I'm going to share with you five pointers. That will definitely help you in creating that visual interest and so that your viewers will look at your painting for longer Peter of time. I used final orange and cobalt blue for splattering. And now, using Dale around the rigger brush, I'm moving to our next step that is wall picture. You could make different kinds of water. I'm going to use the A common one breaks one. You can use big boulders or stones pictures also, and again, I'm using viral orange and cobalt blue. There, I used these techniques of details in all of my paintings. The 1st 1 was flattering, and now we're doing the ball picture. After that, we'll focus on the perspective lines. I don't know if you know about dry brush fix, but I'll be using that also and later the white highlight. These are basically details Sony. And if you're not able to incorporate all of these details in one painting, is totally fine. Just go with one or tow whatever you feel like, because doing a lot of to dealing also doesn't look attractive. What we're doing most off the time is that we are confused that when should be at a certain part, off the tail, like on which wash should be at should be added in the beginning. All only or should be added after our painting is finished. What I say is just focus on the wash is only in our initial steps on These detailing can be done later on. On this way, painting looks really good and I always follow these steps. After making these wild lecture, I remove one toe the perspective lines. I use it one point perspective, which I have discussed in one of my previous class. Basically, I'm just going toe make lines, which are projecting from a single point in space. I took that point just behind the center part, and I'll make lines projecting from the point which a Sure you now see like this Just make them quick. The point is just behind like here and there it goes. Take up towards the viewer on de tener as the diminishes towards the point. These perspective lines helps Bures eyes to enter into the painting and some horizontal lines here and there You can stop it Any time you feel that the details are enough. Our next step is using dry brush effect. And if you don't know what is dry brush effect, we use the thickest consistency off paint in our brush with minimal tune, no amount of water and the quick, swift motion on the paper. It brings out those dry brush effects which we have seen, which I have used in many off my previous paintings also. And I'll show you how. See, combining all of these things all of these pointers I have shared video. They make any painting look realistic. Andi, I really advise you to try it on your own. I'm using silver welded brush number eight For this. Our last step is to use White highlight. I'm going to use why gel pin in this painting? Otherwise I also prefer to use white particle a paint on I usually Buddha highlights using our rigger brush. If, in case I'm using border galloping, I'm going to put some random marks on day some highlights towards the source of late. This is just to bring that noise in the most fear. Again, some rendered marks highlights on its nearly done and I'll repeat it again that using these five steps will make your painting look realistic and respond you How many off these you want to use in your painting? 9. Conclusion : I hope you like my class. And I would definitely love to wash your washing off terra cotta pots so paint and share with me. And furthermore, it would really help me if you would comment, Review our share you project.