Doing Drawing And Watercolors; Figures And Landscapes

1. Figures And Landscapes PREVIEW: classes for beginners. This classes for advanced this classes for anyone in between. Things were going to learn our principles and practices that professional artist use all the time. In illustration design and fine art painting. I'll be guiding you through the course. My name's Ron Mulvey. Welcome and let's get started with doing drawing landscapes and figures. Join me today for one of the most exciting classes that we've done so far doing drawing with figures, illustration and landscapes, learning how to shade with the pencil and, of course, watercolors, one of the other things we love to do. If you love to be successful in drawing and painting, basically, if you can really draw, then following up with some color is not the hardest thing in the world to do. It doesn't matter what you draw, it's how you do it, and are you having fun doing it? So don't think that you have to be serious to do some art. And if it's worth drawing, it's worth colorings, and the best way I know how to color is to use water colors. They're easy, they're fast, they're clean and they're not that expensive. Everything you need for today's class is right here. Get some materials and join me for doing drawing figures and landscapes. Let's have some fun doing drawing and paper paint. Enthusiasm, even bring a little insecurity. We'll get rid of that no time and we'll have great fun doing drawing and painting. I'll see you in class. 2. Mastering Shading/Pencils And Paints: good materials make great pictures. Now here we have an HB office pencil. This is usually orange and everybody uses it. It the H B stands for the hardness. I'm going to be drawing one card stock today. You can just use any sketch paper you want, but the smoother paper is a little easier to draw with than rough paper. The rough paper takes up a lot of the left, so here is what it HB pencil shades like. Now there's two ways to shade. You can shade with the pencil on an angle, which gives you a little more distance, and it's more visible holding the pencil like a tappy finger. Some people hold it like this, but I find this is great. It's like a magic wand, and you could go from dark to light simply by bearing down your weight with this finger here. So watch me go dark. So a good practice with an HB is to start very light, and I should go down, feel your muscles push to go dark. So that's an HB pencil. Now, when you get down a little closer, you can hold your pencil a little closer like this but you will never get as good a control as when you hold it like this for the small areas. So for smaller shading areas, the closer you get to the tip, the more control you have. That's an HB HB is the metal in the middle between soft and hard. The harder the pencil, the less marks it makes, or that it's not as dark so hard. Pencil is very, very light. This is your four be basically the same thing. Oh, that's pretty dark. I gotta go a little less than Okay, so can I match the HB? Yes, I can match the HB. Let me just put it beside. But let's see what the difference is. The lead is a little softer, so it creates more texture and it feels more velvety. And of course, it goes darker, much quicker. And with less effort, you have to bear down on the H B to get the same effect. This is definitely a little grainier than the HP because it's softer now. This is my favorite. It's called a six B. The only drawback is you have to sharpen it more often because it's so soft. So I'm still going to go soft, but right away I could sink into it with very little pressure. This is a blending stump. If you don't have one of these, you can purchase one for 95 there's a whole two or three years worth of them, and you can sharpen them with a razor blade. Once they get dirty, you can sharpen them right down. Or you can sharpen the small ones with the sharpener or get one of those bigger sharp. I'm great to blend the 1st 1 which waas H B or the normal office pencil. Let's see how much comes off on the blending stump. It's a good idea when you're blending to start at the light area and then go to the dark, if that's what you want. A light, dark transition. But if you want to get some of the dark up in the light, go this way. But there is what the pencil looks like. Let's use the other pencil stump Looks like let's use the other side and let's go from the dark. This was the four b gonna pull it down a little bit. This way, both directions. I like blending stumps. One. Keep your finger a lot clear, and actually it works much better. Then your finger fingers were okay, but I've decided to go over the blending stumps and our next one. Let's see how much came off. So it looks about the same issues this end, and this is the six beef, but you'll see. Whoa. Six. Be definitely deposits a little more and it definitely look. It's almost like if you were drawing pictures velvet, you will definitely be using a six B. So all in all, what we would say is that the softer the pencil, it will get darker, and there will be a thicker layer of lead or graphite on the paper. And as far as a racing, it's a little harder to erase a six B. Now, if you don't have a blending stop, you can use Q tips. But you put your finger on the tip and they're great. Fourth lending. Also, you can put a little pencil down. I'll take 60. Put a little mark like that, make it into a circle starting medal, bear down. So if you're not too good at drawing circles, you can take a little six be here. Just go around and around great exercise for getting good at circles. You know it doesn't depend on the pencil. Depends on how often you go around it around with your arm, and there we go. So that's one of the skills will be learning today's blending with either a Q tip, a blending stump and three pencils. The common office pencil, a four B and a six B second thing is erasing. This is an eraser. I always have a cloth with my eraser because they get a little dirty and you could just wipe them with this micro fiber cloth. Keep some nice and white because we use your hand, you smudge what you're doing. So let's take a little eraser. And let's use the eraser not to get rid of a mistake, but to create maybe light effects going through something. Now you see my erasers probably getting dirty, so there's where you little cloth comes in. And look at that. It's all clean again. You can even cut your eraser with a pair of scissors and get a sharp edge. So rather than go like this, brush is better. And it doesn't smart your pencils 3. Figuring Out Figures: Honestly, what you need to do is get some shapes down like that shape and practice these shapes because people are shapes and it's kind of like writing your name. The more you do it, the better you get. Now this is the chest, and there we have 123 You know, you might just practice that one day. I guarantee you you'll get good at drawing people, but you won't get good at it. If you don't do it, keep adding to it. See, you keep repeating the same thing. And don't worry if it doesn't turn out each time, Just keep adding the same thing. And let's add some joints here and I'll forget the elbow. Just pull it down. C could be, uh, at a counter. Pork could be doing another yoga position doing the cobra beginning Teoh. So we're working on little flecks. Even if it gets skinny. See, whatever you do, get the shapes down. Start adding all the parts. That's an awfully long neck. That's what happens when you do a lot of yoga. Okay, so turn us over and must do a few more. This is going to be a full body got the head. One has a slim neck, one a little wider. And here we go. We've added all the parts. Let's make this one slimmer. And now this is I'm going to do the quick one here. I'm not going to do all the joints on here. Very simple. Little straighter legs. Make sure the feet point out notice. I'm using a flicking stroke here, and I'm bringing my hands pretty much down past the waste and the top of the hips. - A little hair. And you can see that we've got a good start on some people. And over here will do the slow one once more. There are many variations on the head. This is to on the side, round of the top, small neck. And I'm just going to go really simple here, coming in and then going out round and halfway and another halfway. Okay. You could put a knee here and any here, I joined them up. Could put an ankle. You're starting to see how the body is formed, line in the middle and then out a bet. No, of course, he's look a little like duck feet, but don't worry about it. it gives you the idea that the feeder in the right position here it's not like the feet are going straight out. Lesser in ballet. Now, some people put the shoulder right into the shoulder, and then you can put the elbow here and the elbow here and the wrist not quite halfway here . And you could join those up and you could put a little hand down to the waist. This is really worth getting good at some years in there and some hair. Yeah. So basically, we have our figures. This one you want to practice, so you get the proportions well balanced, Then you start to play with it, and you could do any proportion you want here, depending on the character you're drawing, and you start to simplify and you start to I do my hands with a little quick little flick out. Then you can do round on the top and flick in. You could draw hands if you want, but this is one of the things that you get good at. It becomes room No, 4. Drawing Your Figure Is Easy: I'm just going to practice a few of these lines and just show you this is the back. Then it comes out of debt for the torso comes around and this is the easy part, the legs, depending on how limber you are, just fly out like this. That's with your knees. So if you know any about yoga positions, the lotus and a little dip down here for the back and now I just take another line and bring it to the knees. So I'm getting kind of what you might call a logo or a little icon and the neck. And here's the best part. You just put ahead in like that, a little oval put in some years and a wiggly line because the hair is up and then a little line on the top. You can add a little shading there. You can bring the arms down like that had shoulders. If you'd like a little bit of shading on the straps on. This is the part I like when you could take your your blending stump. Just pull down some shade, add some hands here. You've got a great little yoga post Now. The trick is. If you look at these is how quickly you can do them, Here's the 1st 1 Just watch me do it. This one's got their hands on the ground, and there's the scoop down there, the neck years and the hair piled up. So, you know, go ahead and do a few of them and get a quick at them, because if you make them quick, sometimes you get lucky and you'll get a great little quick drawing. I would say of all of these, This one's good. So once you've done a few, go over them with your lines. And if you feel an area needs to be thin down or thickened up, got awful. Pointy knees might thin the arms down a bit. Here, See here. Put the madam wider here that is. Here, maybe a water jug. Well, this one's good. This one's good. And if you try a few of them, you know what you're going to find is that you'll get better at, um, and pretty soon you can whip a few off. I don't know if you've watched other artists drawing, but it looks so simple, but don't think they've only done it once they've drawn these things many times. So there is our yoga positions, and it's a quick little drawing, if that's what you like. This problem to recoup in, around the knees, back arms. Maybe this arm ist right down here. Maybe her neck ist. Maybe your heads turned well. I've got room for him. What will I do? I'll put the head in front of this one. She's in the class. See? Great fun, great fun. Got a water bottle break time. So have some fun drawing some yoga poses. 5. How To Shade Like A Pro: I think it's really great when you know the process. You get a couple sketches, thumbnail sketches of all of my yoga participants. Today. I like this one and like this one, but I think my favorite is this one here, which was probably my fastest one because I like the way the hairs piled up. Add the shoulders coming over. It just turned out perfect, a little pointy on the knees. But I can fix that easily. So if you don't want to do somebody with yoga drawn, other person drawing, fishing or just sitting reading, make a story with a person and nature. Dr. There's my little drawing. I can see through it, and holding the pencil like this gives you all this lead. Now, if you don't want your picture, move while you transfer. What you're going to need is a little piece of tape. Hold the paper down so it doesn't move. All these little tricks makes success. Repeat the many times, and you will be very successful. He's going to be here, so there she is now. You could twist it a little if you want to straighten it out a bit, and then I just tape it here. Now here's where the HB comes in. Make sure it's sharp and what we do is we go over our drawing and it pick it up. There she is. I will probably put the rock in 1st 1 Rock there, another rock there and it looks like another rock here. I like three rocks. 123 I could eliminate the tree and just put her on the beach. You know what? I might just do that I could put the tree in. But now I've decided Elect three Rocks. Three is a great number. She's on the beach now to get a straight line. Sometimes I like to turn my paper, especially if I'm doing a low, low horizon line. There's the low horizon line. There's the ocean way out there. I think a small land form would be good way off in the distance. There we go. And there's going to be some energy coming down here. Okay, this is good. We've got it on its way with an HB pencil, and this is six B. Underneath. I take my little blending. This is a small blending stump, and the first thing I do is blend in this little outfit hair side, take a little bit and just add on the bottom of thighs. Here, I want to make sure I leave the white paper on. The light is on this side. Lights coming from here so everything here is shaded. And to get a skin tone, all you have to do is rub it gently. I want to get a clean piece now, just gently rubbing everything in there, and if you feel it's a little thin, you can extend it out of it with this. Remember, soft edges for the body. Hard edges aren't the best on the body. Get over here. Remember our dark and light shadow. Get a right down in the sand. We're going to bring the light this way. You don't a lot of ways. There's no difference between shading and orange and shading a person because this is a piece of clothing. See, I didn't put much on, and this is the six B. It's gonna be very, very velvety, and you'll see that this paper, the English Saunders, is a little bit more, is a lot smoother than the arches there and then sit back a bit like Don't don't get your face right up at it because things look better from a bit of a distance. This two bit in here. It's amazing how little bit suggest. And when you suggest things the men, the mind makes up the rest. You don't have to put super super details and put a little bit at the bottom of each rock on the right side. And there's her hand. This is perfect. You want probably will start with a mid tone here. Now, these will be fine. You could rub those right in. Leave the tops of the rocks light CIA three values light, medium dark, dark right over. Now when you erupted a bit, it's gonna go medium. Leave the top white. Same with this one. You might want to turn your paper here, and the reason being is we want to get a nice, fairly clean edge against the fight and the wrist. And what's happening here, too, is that we've brought the rock and the wrist and the thighs together so that they form a continuous line. Remember, you're upside down. So where's the top of the rock? There it ISS Oh, so I love this great. Let's have a little bit of light shut coming through between these two rocks and with these two. So now here. Thes shadows. Concern suggest some undulations in the sand sea, and maybe the sand comes right up to here, right up to there. Wow, Not bad. Now here's the sky. Three rocks, three lines and some water and a person. Look at that. I want to clean up a few things and the HB or even a little harder pencil. I can give you some war shape and shadow. See, So the harder pencil is great for getting in and really tuning up your picture. Let's put a little principle to work here. See the sand dotting with six B, but the sand in the shade is going to be darker. Your darkest darks are always in the shadow areas, so if you want to put in some little shells, you can. If you want to put a little more at the sky here, just with your six B. Just put a little bit in like this over the three. Take your big blender and a little more. Remember, the beautiful thing about a pencil is you can lighten it. Watch the tape. So at this point, it might turn my paper this way. Way. Oh, look, I could make the rocks at the top. The value stand out. Can't get whites back. But sometimes we don't want whites everywhere. And her shoulder. See a couple ways to do that. Just get it hit against your finger. Put a glow around the head so everything gets a very light blend with the stump and I start working the lines. Now, those original lines, I might not want those. So now they can become white shapes like those clouds, those wispy clouds coming in. And even though we're drawing upside down, it's nice, because when you turn it right, side up always looks a little different. These blending stuff, they really do the job. So see, I'm leaving White halo around her. Let's take a look. Okay? I love that. A little texture on the rocks with the six b just a bit. And we have completed. Oh, yes, you're seeing this is really showing up here. We get my little blending stump here. This is white and this is why just going to add very just touched the water so that the white on her legs now stands out and she's really standing out. She's almost shining little bits. Okay, I think this is a go. I might just leave it like this. I can easily put some color on it. And I'm gonna leave that up to you to put some Colorado. This just a great little pencil sketch of the girl at the beach contemplating oh, playing whatever she'd like to. 6. Full Color Desert Yoga: So I'm going to do this one watercolor. I'm outlining her again, but I'm going to put in a different top, so I'll go in, outline this and show you. So the first thing I need to do take some water and soak the picture that water's gonna soak right in gave Let that soak for for two minutes. It'll be all puddled on top. So now I just gently touch it with a paper towel to get rid of the puddles because they don't want to paint going all over the place. You can take a medium brush of your feet. Want to feel safe? But I'm a firm believer in big brushes to start with, or you can use a little round brush. It just depends on your nature, So I'm going to take some blue. This is cobalt blue, and I'm going to put blue on one side of the paper. So then I clean off my brush and will take some yellow Oakar. Put that into the sand on an angle and in the sky straight up, so I clean off my brush. It takes some a lizard in crimson. Put it in the metal. Come close to her, but not right on her because I touched it with the paper towel. It's stopping the paint from dispersing too quickly. Okay, now I have to get these blended before they start to set and dry. So the easiest ways take a little water on this side. Clean the brush and the yellow and the blue won't touch this way, and it will make a nice band of light that could take a little more yellow Oakar. Yellow ocher looks pasty, but when it dries, it's quite nice, a little more there. And I'll probably switch to a smaller brush now because I'm going to a smaller space. So I'm going to a number eight Robert Simon, And what I do is just add some more water so that this can bleed down into the mountains, bringing it right down into the mountains in between her arms. And now I'm going to watch it. Let it disperse. Remember, watercolors never look the same when they're dry. Never. Here we go. It's had a little bit more. Take a little bit of this. Pick it up here. See? You know, rags really help with watercolor painting, so I can take some of this nice, bright yellow. Put it into the land form here so I can pick it up here. You even get a little cloud form coming in there, or I could just pull it down like that. Pick up the drip here, put it there. It's amazing what you can do. Just with a brush and a rag. It's Ah, cadmium red light. I'm getting a nice shape here, So if you have an object here and a shadow color in the shadow, go up into shape. That's creating the shop now because it's drying. Best thing I could do right now is look for where it's getting out of control, which is right there, softened the edge on the of the shadow like, but I'll take this green. It's a very warm green called sap green, and all I'm going to do is use that as an under painting. Notice how I'm pointing the brush at the edge off the line that I'm painting. If I don't do that, I won't stay in the lines. Sometimes you do want to stay in the light. I'm going to go with a burnt sienna, which is really a red, and it's fairly not gonna have too much water to it. It's about this consistency. Let me show you. So it's drier paint. Put a little bit in here in here. And you know what? That might be a good skin tone to start with. I mean, she is in the desert, so drop on the skin here and a drop on the skin here, drop here. And I think the arms of dry enough to drop here. Okay, well, let that drive for a few minutes. We can take the green, the darker green that was sale of green. And we can ask herself, We have the sun's over here, so we'll just see what happens here. It's still a little damp, which is okay, So you put it on and a little bit here and a little bit there. It will spread too much. So notice. I'm just taking the edge now, putting it over here, I believe the shoulder here light green and that little dark spot at the bottom taking the darker blue. Just dropping it in lightly dark accent in her hair will take a little bit of the Bert number. Maybe put a few down here in the sand, just picking up a few little textures. So you don't have to be putting on gobs of paint, little bits of paint here and there. But what started to talk to me now, when you picture talks to you, that's a good thing. It's telling me that the mountains need cooling, so I'll take a little bit of the cobalt and a pinch of the Eliza Rin with. So I get a violet. I'm still using my little brush, hoping it doesn't go into too much here, Drop it in here. I think darker here, too could be early morning and the hills air still fairly dark. A little bit of the green is blending into here, but that's good with water, cause you want a little dispersion. You want some things to be soft, something's to be hard, and we're gonna put a little bit of this into the shadow Here. Just pull it into the green a little bit there so that it bleeds into the shadow. But under here, too, it's creating a they're gonna let dry secret secret. Let it dry, Let it dry. Don't be in a hurry 7. Adding Depth And Color Notes: It's always great to stop, take a break, let everything dry and then get back to it for your final touches. Here's some final touches and how to do that with water coloring. Being prepared is very important. Happy accidents or lots of fun, but we don't want to many of themselves. I'm covering this picture and I'm going to keep this here and I won't be have my picture on a board like this because I want to tilt my picture because I want the water and the paper and the color to do the work. I just want to be here to put it in the right place. So here we go with the first step in finishing. I don't want to get the girl went because I'm going to be adding some details with thicker paint on her but the sky around her. You notice I'm wedding the sky around her, but I'm not going right into where her skin is our hair, and you'll notice that even though I've put the water on the sky that it hasn't disturbed the paint, most watercolors, if you haven't used them thickly, will pretty much not go anywhere. They'll just stay exactly where you put them. So now that I've wedded, I've clean my brush off and I will take my rag and tilt the board again and pick up any drips of water at the top. I want to create a halo effect around her head. Great to mix up a little bit of this red, which is on a lizard. You you could use magenta and whatever your watercolors say, this is a little bit of Ah, Crimson Red. No, I'm going to go around her head, but I'm going to leave a generous space around the head. See, That's not going to go anywhere just yet. Now I'm going to take that brush, clean it and take a little bit of the cobalt, plus a little bit of the fellow, all kinds of names for colors. Put that up here. Remember, the paper is wet but not near her. Dry my brush off a little bit. Make sure it's clean. Get up nice and close and soften that edge around her head with water so I don't want any hard lines. Light does not have hard lines. When you want to create a lighting effect, use soft lines. Here we go. Gonna take a little bit of the yellow ochre again, then it down on that. Remember the papers wet? We're okay. Not going to put it here because that'll turn the blue into green Have been under her arms . Now I'm going to see if I can get a little bit up into here. Just a little. Tap it in. I like that. Getting a bit of a hard edge against her hair, which is flying. Notice the tapping stroke care that might take a little more of the red. Maybe just go with more of a cloud formation. Here. It's evening. Or it could be morning. Just tapping little strokes on C. I think we need a more yellow car there, So pick up a little more yellow Voelker, tilt the paper a little bit. I can't touch that. White. Not because it's wrong, but because once I touch it, I'm they lose it. I'm thinking what I'll do is so oft blended up to there. Bring a little more of the fail. Oh, blew into the situation. It's a little darker here this time. Bring it right up here. See if I can get that moving over and coming down in the keeping it away from the yellow. Whoa. Almost got a son effect here like that. Now, this is very delicate here because it started to dry. So take a little bit of the blue from here. It's still wet just gently around her hair of that side and tilt picking up the drips here , backing up the drips. Daughter Sound gently. I'm just touching that blue into so half and half. Look at that son effect. I'm going with that. I got the idea for the sun effect during one of these Galaxie pictures. I had a student from Korea come in, wanted to get her portfolio ready for art school. And I asked her, What do you like painting? And she said, I love to do those Galaxie pictures. So we did a galaxy picture. You see, the pure collar goes into the secondary orange, and then once the blue gets in, it turns into a different color. So all I have to do in this corner here and then take a break is used my galaxy picture idea Lighten this up with a little bit of water. My clean rag. Just tap it a bit. So you get a little lighter paper there lifting off some of the paint. Then we'll let that drive and we'll see what it looks like. What is dry? Hey, there's lots of directions. You can go now, But one of things I want to address is pencil marks. Many watercolors leave their pencils and consider it part of the watercolor. Today I'm going to show you what happens when you take them off. I have a brand new eraser, and if you're watercolors are of good quality, you will not erase your watercolors when you do this. Now, one of the advantages of getting rid of the pencil crayons, pencil marks is you do get a soft glow on your drawing. Get nice and close. There, you can see I'm bearing down on my right. The racer. Now, one disadvantage here is you don't want to be going all over the place because you will rough up the paper and when you put your next wash down, then it might show up because you've roughed up the surface of the paper. The next thing to do, Just take one of your brushes and clean off the little eraser leavings. No, You can take a good look at your picture here. You can see I've added a touch of the burnt Sienna and I'm going to do that once again. There it ISS on this site. Clean off my brush. Make sure that it right up to where it was drawn before that great form, great form. Love it. Next is back the neck. I'm going to do dark in the middle like that and because there's a backbone there, what we're going to do is fade it out now. Right and left. Wherever a bone protrudes like my knuckles, it's lighter. One of the things we learned about figures elbows, wrists anywhere where the skin is. Bonus pushing is later. So now what I've done is I've put a flat wash on the neck. All I need to do is take a little bit of the burnt Sienna, put it on that side, and I'm pretty well given a shape to the neck light on this side. Everything here. You know, I I haven't put any details on the face, but it almost looks like it could see a person here now because the lights coming here, then we'll do the same on the arm. Here, take a little of the burnt Sienna. Burnt Sienna is a good Caucasian color, especially if there's a tan going on. Every skin tone is different, and you can add different things to make different tones. So there, this one's going right up the middle of this one on the right hand side. Let's sit for a moment. This one. I'm gonna straighten this out a little bit. I don't want her to look like she has banana arms. So a big coming aware of the form Now I'm softening this edge and losing it. Meaning have sort of lost the edge into at the atmosphere. This one's still kind of round. I'm not gonna worry about that right now. I don't like to worry about anything. Look at this Now I'm going with the dark and dropping it right into the bottom of the suit . Being mindful of the shape I'm getting here. Shoulder needs a little rounding here, promoter that that improves it, adding a drop of the green dark blue green into the hair, takes the brown and darkens it a little red. Here tuned up a few little sections with this teeny tiny brush, and I wet this shoulder and I'm lifting a little highlight off the shoulder with this fine small sable brush. One of the advantages of this paper, which is the English Saunders, is that it lifts very well. I don't want to get too carried away. Just a little suggestion here. I just I don't even know if I'm gonna tap it with my cloth. I think I'm gonna leave it like that. And I'm just going to get a little bit on this shoulder. Also, if you want to get form, you need tohave light and dark. And one of the best lights and darks are called highlights. Little tap. And there we go. I'm thinking that's just about right, and I'm going to leave it right where it iss put my name on it like signing pictures, because what's it signed? There is a possibility that someone might want to buy it and your name's on it. So develop a good low signature on. There we go. We painted our yoga girl always makes a big difference where you take the tape off and remember, pull your tape away from the picture. If you like your picture with the tape on, you will really like it when the tape comes off. If you want to go on, do my yoga. 8. Landscape With Dramatic Contrast: I'm going to choose this one here because I like the way it goes. Dark toe light here and where it's light. I make it dark. See dark toe light, dark, light, dark, light, dark, light, dark plate. Great little of it. Looks like I don't know where it might be. Could even be the Arctic. This could be Great Snow Mountains, so I'm gonna take that little thumbnail, which is basically the same shape. It's a rectangle and a couple little quick little rules live by. If you're a landscape painter, you'll notice on the little sketch if I put a little line through it because it's easy to draw a little and then make it bigger. So the center. I don't want to draw really dark, but let's just say I really just sort of lightly go by with six. B is easy to race if you don't draw dark. There. I found my centrepoint, which is the same as here, and I can see that my horizon line or the bottom of the mountains here where the Lakers is below. So I'm pretty good here. I'll just throw this in with a light line. Here's where little feathery lines really help with your drawing. Okay, Now I put the foreground in first. I want to bring the foreground just above that line, and I want to make an interesting shape. And I want to bring it not to the middle, but just a little past the middle, which is right there. So not a bad idea on your paper. Just to find some mid points on the tape. It helps you make a better picture, but cook past the middle of it. They're gone past the metal, given it an interesting line, and now the next one's going to be a little bit more angled. And it's going right past the middle and my last one. Let's see, I got three mountains and I got this. I'd like to throw in some verticals into this one. I think three of them they're different distances, see? And as we throw in our tree, this one's farther away. See, it's on the other side of the cliff here. This one's here and this one's right through the middle here. So this foreground, mid ground background. Excellent. See, now the lake is coming across here. So when I had a little more interest there with the line. And now I get to work with the shading, which is the most important so dark in the sky toe light. Very simply put a little pencil in here with your six. Be using this method so that you could use more ledge. Just bring it just before half way. And remember, it's not so much the shape here as the shading. It's more about the shading. If you can get the shading really working for you, you can get a great little landscape. Now I take my blending stump. Now, remember the tape. You don't want to bang the tape too much, but nevertheless, look how little I put on here. But look how much it's spreading. Now, remember, this is watercolor paper, so the texture of the paper is very, very rough compared to smooth paper. But that's okay. You can get a smoother you'll see how. Okay, so I brought that across, see him pulling it down so I don't bang the tape, but pulling it down, up and down. See, I want the texture of the paper. It's very I like it now. I'm gonna bring it a little bit into the mountains just a little, and I'm bringing it across and basically putting in a flat wash. So here's where my eraser comes in. I'll take my eraser and rather than rub it because they don't want to really damage the paper, I just tap it. And I take a little bit off the top of this mountain because because I'm consulting my original sketch and I could make changes if I want. See the tabbing really works doesn't hurt the paper now. I could take my little brush sweeping away and back to my blend very, very softly good. And I am going to stick with my original sketch here. So next is a little finger drawing here for shading, and I'm using little lines like this. You see little crosshatched lines. Okay, this one is going dark here, and as it gets down here, it's going lighter. See? But this one is because that's light. This one's going dark. It's kind of a game we play. It's lots of fun. Just remember, you're putting dark against light. Oh, it's getting dark here. Got to keep it light here dark. So if you have a little bit of trouble, maybe shading evenly. Using these little lines works great. So I put my pencil down and I might use the Q tip this time just because it's a smaller space and I wouldn't go from dark here. I'm going to go from light too dark. See how that really really That pencil, even a little bit, goes pretty dark. There we go, dark to light. Now I've got lots on here. Q Tips almost becomes like a brush. Now here's the trick. Two ends to the Q. Tip Clean a dirty here, dirty here. So I'm going to take the dirty end and I'm going to be showing you the eraser trick. So notice where it's dark. I pull it down, but I don't go into here. Just pull it down a bit straight down over here. Take the clean part, just take a little bit and what's left on here. Just going to empty it into here, even though this is going to be a lot darker. Okay, now here's the eraser trick. The side of the eraser, which is a little dirty. I can rub on something to clean it up, see, get it clean brush it off. Now take your eraser. Put a straight and just pull straight across a couple times in one direction. Take your brush and you've got that Lakey look. Which we can go over again later if we want to make it dark. Back to original sketch. Dark toe life. So this is light. I'm going to get dark here. This mountain. Actually, it pretty much is going to be all dark, but not just straight dark. It's going to be dark here, then a little bit lighter in the middle C because that's light. Gonna make it dark as it comes over here. Really bear down on my pencil. Not quite all the way, but a fair amount because once I put my blender in there, it's gonna fill up all those little holes. And now the texture of the papers knots quite so visible. Now I have a lot on here, so all to find a clean spot and take it in here and then pull down here with what's on here now it wouldn't be here because it's behind. So it's down a bit way go. Getting some nice reflections in here. This pretty dark here. So I think I'm gonna go back and put a little more in here. A couple little moves across now back up to the sky because it's a stormy day here and I'm going to get No, I don't touch my paper there. So put this paper on top. You don't be smudging your drawing. So having a paper hand, he's really a good idea and notice because I'm bending my pencil at an angle. I can see what I'm doing. Then I gently just come out of debt, take my stuff and be careful with the edge of the tape and just kind of banging a bit. If you want Ultra ultra smooth and no lines and a perfect complexion on your sky, use a much harder and processed paper, one that doesn't have any tooth. Bristol makes a good one by cancer in Bristol boards air like a Bristol board. So smoother paper gives you a smoother effect. I like the rough look now here's where I might take my finger to just kind of pull a few in like this. Like that. I know. Have you ever been to the coast? But you get some pretty wild looking look at the sky there might even see. It's going this way going that way. And the beauty of an eraser is that you could pick up so that you see, with my cleaner racers, some white hitting and no, you're adjusting values. I might switch to a four B now and more blending Q tip. Beautiful land. Water is soft. We don't want any big, rough edges on the water. I think that's better. And you know what this eraser is to wobbly So you could do it like this with your get a nice, sharp edge, Turn your paper on an angle. Sometimes it's easier to work on an angle. Hold your breath when you do it Poem. And this is equivalent to lifting. When you're doing watercolors, you're lifting off on edge with the eraser. You can also get electric racers, erasers that really do the job. Well, pull down like this, uh, light coming down. Lots of tricks to get water looking wet. Okay, this almost looks like snow. To me. I like this edge here is just a little bit too. That needs a little more blending, so I'm adjusting all my edges, making them soft. Here we go. Almost Looks like snow. Go off with a little hard edge here. Quite dark sea. There we go. Then I just here just a just a just a Just remember our little tree trick. They point up at the top, and as they come down, the branches hang down like this. I saw the real Q tip creates a little bit of a shadow on here. Clean up the edge of the water, make it really white. Maybe a little white mark going through here, too. Then I consult my original, and I see that it's dark here. I like that little dark section in there. So I take my four B over the trees ever so slightly, then darker here. Sometimes because of the light, you'll get a white shape and and the water will still be dark underneath it. Well, look, look. I'm getting some lace white shapes underneath this mountain. It's really amazing what you can do with a pencil using one principle. The principle is see if you know what? What is it? What principle are we using? Dark and light, which means contrast. A couple little marks on the water. Maybe the winds blowing up just a bit. This mountain definitely needs to get a look at that. Look at you. See, that needs a little more forms. It didn't have enough for two. Here we go. 9. Adding Color Creates Mood: Now let's get a little water caller going on this. Nothing fancy. So you don't want to rub really hard on the pencil you want? Just go over it softly, very softly. I do the white areas first like that. Notice how it's puddling. It will make the paper look a little darker, but the paper will come out white later. See how I really gently just puddling that water on their even dropping it on like this just to get it in their first. Because if you rub really hard, the graphite will get picked up. But graphite and watercolors great. Another way to do it is just take your rag and get a little water on it. Put it in your water jar. Shake now the rags wet but not soaking because it's one of those microfibers. And then just tap it over the picture and the water will spread out because this rank doesn't absorb water really quickly. Great for rubbing and cleaning, but not so good for absorbing water. Okay, now none of it's come off of my rag. We're in good shape. This is a great exercise because you're just going to put a film or what we call a glaze on the paper. I'm loving the way this is looking this white papers just stunning. So now I take a little red, a lizard and notice It's very not very thick. There's my Liz Rin. One more brush, the fellow blue fellow Blue is really very strong. See how little I have here on my brush? That's even too much. Look at that. I hardly touched it. This sale. Oh, probably last six months. There we go. Black was banned by the Impressionists, but it was revered by everyone that came before them. Impressionists don't use black. That's why their pictures always have a harmony because they're basically tinted paints. Black creates a shade. Now, when you mix black and you mix it with another color, you want to make sure that you put enough black in the color because if you only put a pinch of black into a color, it will make the color look dirty. I'm going to put some black in the blue, so here's the black and the blue that is called a shade, and I want to be able to tilt my paper. One of the secrets of water coloring is tilting. Let's see if anything runs off. Yeah, quite a bit Ran off there. That's good. Just take a paper towel and gently roll it, and still nothing's coming off. This is good. Here comes my pure blue first pure blue, but was at the top over here gently. Okay, papers wet. So it's spreading very gently. I'm hardly touching the paper. I'm just tapping in some blue. Remember, the graphite creates a bit of a barrier between the paper. Had the paint because it's covering it. Now I'll take the darker one, which was the blue with a little black. Now I'm not afraid to just sort of tap it into the pencil. Want to stay away from that white? So I think I think I might even roll that a little more with my paper towel to dry it up because I don't want to paint, hang in there and tilt my paper this way so that it runs downhill. I don't mind if I get a little bit in here. I'm staying away from the white there. Here we go and my pure blue again just a little darker at the top like that and now we're going to let it drift. We call this drifting. It's when the paint drifts down before it hits the bottom. I'm going to take some pure red. Now this red is water collar because it's not full strength, it's more of a tint. I'm gonna leave that bright spot there. It's going to be orange, probably in the end. See now how I'm paid strip drifting up into the blue and by tilting the paper I'm creating Ah, winter sky. Now, the beautiful thing that most guys is that they reflect in the water. So the first thing I'm going to reflect in the water is a bit of the red. I'm going to give it a little swipe like that. I'm going to take a little bit of the blue and let it drift down. Once you've covered your white paper, you won't get it back. So stay away from this area. Look at that. That blue still drifting around. I'm going to go with a little stronger black and blue, so take a little more black. Top it in there black, black and blue. That would bring that blew right up. It's drifting over notice I keep cleaning my brush and I've got my rag here and now I'm going to drifted over. So let it come down and pick up a drip. Pick up the drips now so that graphite really closes the paper off so that the paint doesn't really go very dark into it. But it does create a nice look, and here comes the best part. It's when we take computer yellow and not point at the top. But just over here, putting in a little yellow to warm things up a little. I put on leave the white of that mountains like pure snow up there. Been in here a little warmth at the bottom of the sky. Oh, yeah, a little bit in the water and notice. I'm just stroking in a few colors, cleaning my brush. Wipe it on the rag. Probably come in here with a little dark papers drying up nicely. Notice the water's not spreading everywhere. I didn't put a little bit of the blue in here, see, but I leave the white spot there and here comes my read that I put a little bit of black and to be very careful, here is puzzling is gonna drop it in like that. See what happens. One drop. Watch it Go. One drop. Pick up the drops, put another drop of this and see the papers drying so paid staying put. And the beauty of using black is you get a wonderful harmony of colors. And the last thing I think it needs is a good swipe of something in this sky. Here, I'm gonna do it. A little swipe of blue. Right through here. There. 123 Don't be afraid to be bold boldness, wonderful thing and painting. Oh, look at the purples. Who? Nice. Just getting more fun all the time. More fun like that. Hinder Hope up at the top, though. Let's give it a little rub and see what happens. Lift off. Oh, yeah, Just lifting it off, you see? And maybe just a drop in red just to drop in the orange here. Notice I put it on, cleaned it off my brush. And we've got a sunset happening right over here too. A little bit of red there. Done. Let it dry. See what it looks like when we take the tape off. Don't let you know that lots of the times, I'll go back and I'll just be adding a little bit more because I've got time in the studio and I want to encourage you once you've finished your picture with me. If you want to, you know, continue adding a few things to it. Feel free to do that because that's how you get your pictures looking really fine. Here. You can see I'm taking some pure black, some pure black here, just adding it to my picture. Once the class is finished, go back to your picture. Add those little details that make it yours. Little tiny things make the difference in your thanks for joining us. Let's see what we're gonna do next. 10. Down By The Sea : just going to free draw it on here. The important thing is the big sky and the big shape. So on a picture like this, you want to put a a line across about 3/4 of the way, like 3/4 here, 1/4 here and you don't want to put the shape in the middle, so really go up a little is kind of like a bluff. We're going to go up a little, stay away from the metal and then come up like that. And this is a typical West Coast shape. And then the Scott, the horizon line is behind that and usually get some low mountains behind that. So two sets of mountains and some clouds water's coming in here, and then it's coming around like this. Do you see that? A nice three d effect. Sometimes there's little rocks on the prom in Torrey here and here. A little shape. There we go. Now, why is this so simple? Because simple is a great way to learn. You can always get complicated, but it's not so easy to get simple. Read it. This is really going to be quite a surprise to you because I'm really going to trust that. My picture is going to do all the work for me. The paint is going to mix all by itself. We're using the cobalt blue, and we're going to put a copious amount on here, and I'm going to go right across the top. One stroke. Make sure it doesn't go down too much. So level this out. See when the papers level one stroke, that's all I did. I'm gonna give myself five strokes, so the tilting is going to be part. So that's number one. That was probably the strongest I'm going to get. Take the next one, and I'm going to thin it slightly. Notice I'm not using too much water, so the one lower is going to be lighter. I had a little bit too. Here we go. And the last one is going to be the latest. And now I tilt. They're gonna leave it there. I can see it looks great. Okay, big brush. Take a little more. And this time I'm going to add it up here because I'm going to make that water much darker than the sky. Know if you've been to the beach lately, But that's something that happens all the time. We get a very dark water and light sky, so this color is a darker blue. We call this a fellow blue, darkest at the bottom here, True three. And now we're gonna pick up that big drip there. I see it Good to pick up your drips and by tilting you'll see what's happened here. I have two options here. If you want to control it, you can take this brush and lift it. Remember, this is the fail. Oh, so at the moment it's just sitting in the water on top of the paper. But in a few more moments, it's going to penetrate in below into the paper, which you will not get out. So I'm lifting a few spots here. Nice. And that feels good. And just like our last picture, I'm gonna take more of a fail Oh, Green Fei Lo Green, you can see is quite a bit stronger. Gonna mix it with a little blue there and just going to drop a little bit in and check for dispersion. Yeah, it's not dispersing too much, and I'm staying away from the edge and also I believe I will put a little bit of that into green blue. Notice the puddles up here. That's collectors. Keep your eye on this and collected here. So watercolors, a patient sort of thing. And this is the first coat. And I might have a little time here just to put in a little bit of the far away. Just get rid of some of the paint here. So the green and the red harmonize well, but in the cloud there for the bottom of the class, it's getting drier, so but still, it might be a little wet. So I take a small brush and just had a few dark little accents here in there. So I could use a little more than that. Checking out the waters, as they say. So you know, I've got that. I don't want a too wet, but I do want a little bit of wetness in it. And I need another one. I need one more here. Why do I need one more Here? 3123 Now I'm gonna take a little over a 1,000,000 red or kind of a cadmium white. I'm going to add a red note. It could be a train going by a red roof. Whatever. But I'm just gonna add some little color notes in accents such as near the tip here. I think I'll leave it, but I'm gonna put a darker, warm green so it takes some sap green, and I'm just the paints prop the papers. Probably pretty dry. That's okay. Now, here's a little trick. Don't put your greens right beside your reds. It does give you a shock value, but it's actually more pleasing if you keep your reds and greens a little more separate. So I've added a little pitter patter to my land form, which I couldn't. You couldn't do whatever you want there. And I'm going to take some gambar, which is a great yellow Just sneak in a little bit in there and probably come up and touch the green so that it bleeds there. You notice I've left white here, here and here. There we go. Take that dry now, just going to dark enough the top so that it's not the same value. All three places they alone just to drop nice and thin. Start at this end, put it on very carefully as they come closer to the cloud, We'll stay away from it right across the sky Here. Lovely shapes underneath this paint. Oh, I like that curve. I might leave that. But I do thin my paintbrush in the water out and softened the edge there. Okay. See, our values knows you have a dark value and medium and quite light. I think I'm going to darken this value up with drop with fellow. Also, you don't need to add much, so maybe I'll do a little been about what we call it a drip wash. That's we just kind of drip it down and then I'll take my other brush. Clean it off this pressure during the paper to get a relatively straight or edge wider here , skinny here, that gives variation to the line. You don't want all your lines to be exactly the same. Maybe a little darker on the mountain Here. Just take a little bit of the sale of green. I just use my brush, wiggle it and just get a little darker shade there on the top. Oh, nice green and red here green and red pinch of the fellow once again twist it and model it just a pinch darker than all the others because it's closer. Great line there. That's called a bleed mark. Sometimes that happens. Sometimes you like it. Sometimes you don't. In this case, I like it. And I think I need one more strong stroke through here. So I'll take a little bit of the fellow just a little bit on my brush. Pull it right through right through, feather out the edges. I like that. It's a good one. Landscapes, Seascapes, cityscapes, any kind escape greatest. So here's our variation on this picture. Differences. It's length wise. It's a little darker. Little bolder colors. Take your pictures and try them different ways. Make them your own. Keep them small until you feel confident to go a little bigger. Well, thanks for joining and well done. You made it through to the end. I'm just encouraging you to take that work that you've learned today and work on it at home . Had some things to it. Make it a value added project and post it so that I could see what you're doing. As a teacher, I'm interested in what you're doing