Transcripts
1. Introduction: Hello, everyone. My name is didn't saying on I water the artist working with this medium on this medium is fascinated me, you know, with every user make. So I've been helping a lot of off or watercolor, no aspirants who want being Michael monsters. They really want to bet Place Dancel for with this, you know, amazing medium. So in this wonderful at last, I'm going to teach you off the speeds. So this is the Indian street where the people are, you know, walking on the street. There are some vehicle around on behind some of the objects on some architecture buildings and all of that. So it's a kind of a story when experience which is have been closed since, like a very complicated. But let me tell you that once you just go through that step by step but the learning process, it's a way, way simpler loan and prosper and make your own watercolor technique, which is a highly effective while doing this water galore. A lot of withdrawing on some of the best practices watercolor hard. You can just, you know, take away. It's off the learning and making old second. I'm just welcoming all of you to go forward on, happens less and enjoy making Portugal of art. You know, just just discover your word with this technique. So thank you so much, everyone. I look forward to have you in my class.
2. Sketching: everyone. I'm really excited to see you on here in my watercolor class. So the very first finger What we are walking on his making this coach, because this is Skechers, your your story point. The's story will define the personality off the spending. So I'm making a sketch off very crowded city streets. The Indian city street where there's a lot of people are on the moving on a lot off vehicle . So it's a kind off story off the business city market on That's really inspired me to make that make, you know, make this make this painting. So I hope this painting is going to give you a lot of for, you know, a lot of ability on help you to learn and understand this this medium. So I would request you toe, you know, Absorb, See that how each character has been built, how the components and the overall approach has been taken. That is really important. Toe Lorne, you should take away those learning eso currently making those sketches on. As I said, these skaters are so much of important because that keeps you in a direction off your off your painting. So I'm making the sketch on. Once the sketch is done, we will be making this very first waas. So this painting is going to be complete in a three different layers on a side. You can see this class. I have disputed the second layer in a three different part because the second layer is going to be in a quite land you so understand on, see absorb each woman off my the color selection on how am approaching the death on the light on how the overall character has been established That is very important. So if you're not a very much comfortable with her drawing, then I would request you to just, you know, you need to improve that also because in in watercolor the drawings are so important because that is something like It keeps you a complete you know, personality, because if you're drawing itself is not right on your entire paintings is going to be a little, you know, disoriented. So try to meet that, you know, it's catch more convincing if it is. You know, if you don't want to do it right here than probably you just spend doing a little of a reason just go take any people and make few of the character. It's a pretty simple don't worry about like, this is You're not going to make this. It's a very tough on. You're not able to achieve that. Just eliminate all of those. You know the fear. Just calm on. Make whatever you could. The important part. Just your ability to try something on on that were, And that is something, you know, help you learn this medium. So don't worry about the kind of the an hour you will receive are you know, my painting is going to going to spoil Just eliminate all of those and be very free. Make what you really love most. So I'm just going to complete this Scotch now. And as I said after completing the sketch, we will be doing the very first waas. I'll keep myself quite because I don't want to distract you, You know, from this process, I want you to concentrate on the painting on. That is why I'm talking so much. So I apologize for this, but yeah, once this painting is done, applied those learning on, uh, makes you that you know, if it is not happen once Try a second time twice and fries. But don't limit yourself with with kind of sense that okay? It is It is very, you know, complicated. Nothing is complicated. Trust me this super easy, and you're going to make this. So with this world, I'm just keeping myself quite on. Just enjoy the process on loan Observed. Observed the thing very carefully. That's tough luck all off you. Andi, I hope you you will make this painting and on a Plourde this as, ah watercolor project in the section I definitely reply you back on. I'll give them some constructive feedback O R area to improve, enjoy the process on loan observed observed the thing very carefully.
3. First layer of painting: dollars. So we are doing very force layer, which is very important. Onda. We will be using all of these colors, so please, so watch it very carefully, the kind of for color mixing together or and I'm using from my palate. So let's start with sky first. So I'm using ultramarine blue mixing with sepia, which is just next to that. This is the sappier and mixing with ultramarine blue. So I'm using a lot of water here because the people absorb a lot of water, especially in the first layer. So it's a recommended to have, ah, slightly more water and in the first layer. So it's a kind of more thing I'm doing on applying the color on the paper wherever I want to give. I know certain color, you know, mostly because the first layer is something like it gives it a personality off your you're painting where and how you're painting should look like so in this way. Currently I am using this yellow occur because I want my wall to be a little your loy's. So I'm just using, you know, yellow Walker on meeting with the sepia Bonzi Anna. So idea here is to play with several color. So, um, just living a white space for the crowd. So this wife space, which I am living for, the people and all I will be dealing all of that detailing in a second or third layer. So in the first layer, you just need to give mostly the direction off your painting on. Uh, make sure that you should be a little fast here in the first layer, because if you're painting dry, you know the color, then that will give you a lot of problems. So make sure that your color the edge is not good drive, so you need to be a little faster here. It's basically enough first layer. Secondly, and thirdly and all, that's not much important. Even if it can dry. It doesn't give you a lot of problems, but basically, in a first layer, you have to be very, very fast. I know. I mean, I don't want to scare you being very fast, but what I want to say is, I don't like the color dry, so no, the moment I'm coming little forward, I'm using a little deaf tear because these are all the, you know, the left side of the wall. I was going to be a little darker. On the right side is the little lighter because the source off light is from from left side . So these oldest on diesel some off the point. You need to, you know, deter mined very all these days off your painting, okay? And be very free. The watercolor is something like keeps You are, uh ah, lot off. You know, space toe. Do your experiment on the water itself will form some sape. It has their own flavor and characteristics. So this enjoy. Let's put the color on paper and see how things are coming. So again, I'm using yellow car. So these are the sign board off the market. The sign bowl the holdings just so dick away the extra You know, the water you have and I'm you're going to use thus ultramarine blue for the rickshaw. So though one guy was bricks are polar. We're just going in opposite direction on there is one passenger and it make sure that whenever you're painting your your painting has to be at least 20 degrees off angle. This is very important. And this is why uh, this is how your color will, you know, fall down. So don't keep your bold your art board straight. It has to have some sort of for angle. Probably 2020 degrees. Good. Trying to identify degree. So now I'm going toe, You know, slowly. I'm moving in tow. This surfaced roads. I'm just again playing with various color. Here. Something is like enough. Oh, when your pain fly to Cobb, the multi color. So that gives a lot of good flavor. Because having a lot of color in your painting is always fun, right? So keep that in mind. Now, this is the another. You know, the Redick side started, but it's a like Anna the fairy off some some boxes when one guy sets taking from one place to another. So that is the the sequence. No. Here. A lot of people that I wanted to, you know, make it a less prominent. So the whole emphasize I wanted to give he had on a center point example er on the crowd like a remote list by close. No, uh, this right color for the stop holdings and just uses up here and there for the salt roof sandals. So, as I said, audio. Just enjoy the process. Don't, uh, you know, kill use help to, you know, wondering. I'm sorry. Why things are not coming the way it's happening here. It takes time. Um uh, It only happens when used with a lot of a diligent Ford to make it possible for Europe. A practice or after practice, he had to make a painting. Oh, at least someone being thing. No, you know, in a week of complete painting, All right, so we have almost complete off first layer. Now, I know these white space, which we kept a little big doing that, you know, second and third layer. That is the kind of for the personality, which, you know, suddenly you much So when we'll work on that. But first, we wanted to work on a little. I know the other other parts, like, you know, the foreground and all that. So, in a secondly, we will be crafting more. Uh, you know, more visible experience in our in our painting. So let's go ahead. And a second later on, we'll try to understand. What is that coming off for us?
4. Second layer - Part 1: All right, so we're doing the second layer. So in the second layer, actually a second there is going to be else likely lend you. So I hope you know, I have speaker this in a three different part. So this is the part one off. Secondly, so what we are doing here, I So I'm walking on this part of way that it's up the tree. The a lot of tree a wallet on. So since this is a very far away, so I'm using a little lighter Cholera, ultramarine blue, the same color I have used for the sky. But this time I just taken a slightly darker so that gives him a They feel that the trees so the way or behind off this entire painting. So we're just giving up the saddles, the world. And I said all you, uh, the source off the light is from the lab sites. The most of the are places. You know, this left side would be a slightly darker than the life sort of left side. And I'm just leaving the sound The space whitespace. Your first layer has to be visible on that keeps your very interesting. You know the flavor, keeping that space. So those appalled are a little a little bit off fourth that the daily most of the time does live in the space for hoarding That actually signifies the holdings And, you know, in the the other stuff off the market. So just a kind of for no, the ambiance with the death from the light color combination. So no, uh, what we need to do is such that we need to give up the light reflects. And so this is the saddle. Oh, it is falling on the wall. So it has to the head has to be very stop, because that's the delight the saddles, which is falling into the wall, this little bit of for the deft here and there. So this is the time where we will be defining the posts and cross over there on, uh, you can always more the extra color. It gets in a little soft color on it. And this is the upper part of checked wall. So we really don't looking for very you know, the detail level off the architecture. It's just a kind of embrace, you know, impression. We wanted to bend him on. Uh, we should always try to not to overwork. We should stop whenever we feel like it's a too many things are coming up the stop doing Try to stop yourself. I know it's hard, but yeah, that is kind of full, You know, the behavior things which everybody asked. So this is the primary entrance attack market. So at this moment, I'm very soft color, very soft on the reason It is soft because they have taken a good amount of water less color in it, this time. A little darker because people don't want to lose. No. And his order for you know, the complete architecture just wanted toe have stumbled off it. Not a betting that somebody off I could take you. But at this moment, we are getting too much detail because we don't want that as of now. So what? I want you to concentrate. Here is how I'm using the death of the light here. This is very critical. Basically no water cooler. No, I'm be taking even more death because this upper roof off us entrance has to be visible since our the right didn't the reflection the source of light is from left side. So this is going to be in a doctor? No, we have to work on the right side off these building. So as I mentioned, or you, uh, this side of the building? Uh, well, bay a little lighter. So currently, I'm just making on the one off the roof of it. It just No, you know, they came out toward the road on, uh, they're several boards. And the other stuff, we just need to make that feuds like that. There is a lot of objects around. No need to have. Ah, a clear Delaford. What exactly occurs? But I said it's just a kind of impression we need toe bring in. So this is, uh, one of the board. The sign board on, uh, we're going to make that the sign board and the name of that sign board and all end of this session. No, there are the multiple Bud's. So we just need to highlight leaving that the first layer instead on very minimal work. Not much. These older other building, which is just behind this. I mean building
5. Second layer - Part 2: All right, so we're in a part two in secondary. So, as I told you in my previous section, the secondary something which actually defines you painting. Oh, you know, it gives you a personality, so it required. Ah, phew. A bit of work. So that's the reason. No, the secondary is so important. So at this moment, I'm I'm using this the light door and deft. Oh, you know, to stab list the character so he had it. You can see I'm using a deft for this rickshaw puller in the bottom of that Onda, Uh, the upper part is still light, So basically, we have to to find the right amount off. You know, the highlights which will take out the character the focal point. So giving a weapon with the deft it's something which which fulfills that toe. Oh, you know, intent. So I'm just trying toe walk more and more death. I've just taken a little bit off. I really lack of mixing with ultramarine blue because the moment York going down, uh, most of the elements become a darker because it's in a bottom off it on the deed delights the rich, the rich off light is not available. So it good to have that communism The lighter on the death Onda uh, Currently, I don't have a much water on my Bruce that just sticking a It's kind of for dry. I just walked extra. What of? So there's the I'm walking on the sort off direct support. So all of apple, it would be same for creating the human and the crowds. So wherever we're saying, the white space will be walking on, you know, to define the characteristic off each. You know, each object on the people there, Rick saw and all of that. So what way we need to do here that we just need to bring in more and more death on the light? It's only about that which we need toe defined here. So there's another picture which is slightly behind. So will have ah, lighter, you know, light a match off for a condom. So I'm using the multiple color like door Dr So such kind off color. It makes you go watercolor more intuitive and mawr engaging because off the uses off color , the multiple color. So here I'm just using this ultramarine blue mixing with you know orange and Ponsana, So try to use a T least 45 primary color. So, as I said, this white space, we kept it initially because we wanted toe Define it every character off this so painting. So I'm just trying toe being that the essence toe the deft on light. So this is the motorbike on, uh, make sure that when you are walking on the second layer, you have to very much, you know, more concepts that how much water should be there in your breast. So that is something also very important. Just take what, uh, you know how much the dryness you want in your painting. So currently I'm just using ah, very less water in my breast. And that is the reason I'm getting a lot off dryness, that tax texture. So wherever on, whenever you warned that texture keep the very minimal. Oh, you know the water in your breasts and more bit if you have an access water more bit in the drive cloth. So that is one of the secret off for having though dry technique and you're being too. So I'm using this. The reload, this bike, the front wheel so I'm just hoping there extra. What? Train it. So currently I Harbin, my Prosperi less water. So this is that there are the biker I was using only one side Excuse me for his riding a two wheeler a game, but he's going the opposite direction. So if you have ever being do India, you can relate this experience. So it's a very crowded, uneven, you know? No, the experience. So But there's this has that owned uniqueness and excitement. I love that on, uh, that is the reason I paint a lot said escape a crowded market. So this is the the bottom part of the scooter. So whenever a you see that darkness leaving the white space So wherever I need, you know, something toe represent, like up the number plate of this vehicle. So I'm just leaving that andare turned a list. So, you know Oh, right. Don the number plate the number off the vehicle on this, but it died. So do you observe that? I'm just using the death now that more darker color in the bottom part of the scooter. So this is how it should be. So no death on the light the watercolor is basically all about deft on the light. How your new a shooting and the using off the color, the uses of color and do not afraid to use any color. Just go on to see what happens. Be very exploitative. So I'm using this, said PR you. This is the another guy who's writing by cycle the middle of the road.
6. Second layer - Part 3: All right, So we are doing this part tree on Were students again, Larry On. As I said, the second layer is something which defines your artwork. So most of the time, the second layer takes time. Toe. You know, to complete this painting because once you're done this again, second layer, you're almost got your painting. So that is the reason I have categorised the second layer in a three different parts. So now we're going ahead with this on duh. Making this other excel here. They're Explorer IHS, actually. Oh, there's a 11 guy sitting on the rigs are on, so this is kind of off the commuting, the vehicle. It's a man. Ah, man pulled. Oh, you know the picks up we'll be having in India. You must be. You'll get this Modoff traveling no calls India. So visit by another the presentation off these business street. So I'm just using. I'm using that deft off this Rexha just a little bit off deft here and there, that is the front of the land. The bold side, the end of the behind. Well, so if you don't know about this correction so you can just chip bill. Oh, and intimate, you will get to understand what exactly I'm talking about. - So a little far, there is a some more picture there. So we need to define that exactly the same. The death and far, far behind the guard, The people, um, you know, let us walk in the street. Their supper, they're just walking around doing the job went offers. So it's a kind off environment where the people are engaged with their own job. So such kind off, you know, the atmosphere we need to being I'm just using unosom multiple color here because the people were in India. We're very colorful dress. So here one guy waas was riding on this, I think so. Wearing blue showed I'm just making a sad off those people that he's a little walk. Don't don't spend much time, you know, if the object is a far behind, you don't want toe No, given a too much of emphasize on that. So this guy is a little foreign, so I'm just using a little hard color. I'm using this one Sienna POTUS band. Actually, his self is a writing by cycle. So you must be seeing that I'm just using on one breast. But you're always free to use. You know, As for you ask for your convenient You can change your birth so I'm pretty much OK with this tiny brush which, uh, actually east, you know, help me to create such such sort off character. This dress is capable, so I'm just doing that. So is that another guy? It was. We're sitting in this having back behind It's no saddle off the character, the Altuve's Because the sad Oh, it's so important You cannot just meet a any character. And if there is a proper said, oh, than your work will look very Monnet on us So it should have a proper saddle Who? Tin Sadow Tick sorrow on the direction where hado You know who the saddle comes ordered the source off light So where the shadows should fall So everything go you lacto think about it Saddle should be always in obedient There should be a take If it isn't far behind then it should feel like toe If it is near object than the standard should be more Dr Onda ticker. So in this case, we have on a ticker saddle Um using this saipi a and ultramarine blue. Excuse me so I'm mixing black and ultramarine blue
7. Third layer: So we're doing Cordelia. So in this layer will be giving a little bit up for personality. A little bit off death and the light Mostly deaf. No. Currently underst walking on the far behind there. It's on large. You're just making this more obvious. So behind us large, the wall that is some more building and some architectural things are there. So we just need to bring on that at the same place. In effect, you should not be black. So wherever possible. Yes, uh, make the things Elvis. So this bi cycle right work He is riding a cycle so that look more obvious. But dont overlook just the little you know, little batch If it this is something very important because, uh, you are giving girl the deft so deft has to be very much precise. It's a convertido you know, the audience that what does it mean when you are trying to give a death, Be very much show that where the left has to go? Well, dissident at the guy was so right in the scooter. So if you're getting confused, what exactly it is? This is the air extra tire which is always available and scooter. So in India there is a lot of scooter would still have that extra. We'll have a live in all the time behind. So that is one hundreds. In our days it is available. But in order, Martin in 70 s, 80 s mortal Rico. It was there. So I'm so these guys actually writing very old Vic. So you can see I'm just playing with deft. There's a new light lighted cell comes I'm just playing with Doc or one here and there. So we need to give a little bored off the architectural feel offered that is up. Demarcation off, dull blown. So it has a win duels. We just need to give it just a small bit off immigration. But so far in this layer, not using too much water in my breasts. As you can see, I'm not taking much water. So whatever water is there in my breasts, I'm just using that. But it doesn't mean that you don't take water it all. Otherwise you're not able toe get that color itself. Trendy obras. What I mean is, if you have ah, water in your breast more bit in the plot, so you'll get the texture. Yeah, this is so we need. And here and there a little bit off. Did telling. I wouldn't say telling you. Just stop the death. More extra water on. I'm just giving the So the electric balls, the wires. No, I'm just walking on this example or the face. I'm not willing to make a deal off this face, but just kind of feel in Britian that this guy has peace pretty hard walking people. These they are at any condition on day. I really salute for these guys. So I'm just again playing with that death on the light. - Yeah , pretty much fine. You can all of this use your kneels to highlight in some media wherever you feel. I usually do that a lot, so, you know, going further, I think this is almost, uh, done this earlier. Now we'll head up to the next layer, which is we call it finally Oh, that we will be. We will have our final final bending, so I hope the process will be really fruitful for you. So I think, uh, after this, let's head into the next layer, which is a final layer
8. The final watercolor art: Okay, so we are doing our final there, so I'm really apologize. The front tricks are the wheel I could not capture in a video because of some technical problem. But you can just for this right now. What I'm doing, the process is same. Oh, the real just taken this up. Very tin Bruce, which has less water. More like a dry on the black color. And I'm making the wheel of this be very free here. So this Rexha has three weeks basically different one one on the behind. Us too. Which fate is the people? The local people there. So I would against him. And you want to know about If you want to see the the really structure off districts, I You can just google it Rexha in India, man pulled rickshaw. You'll get to know what exactly I'm saying. What exactly? It is so again here now the same deft on the behind one guy. We're sitting there and enjoying the ride. No, that's a little bit off Far Walk here and there. The zone, The sign boards Onda house a bit off. Walk on. Duh! Somebody off work on on the street The people head. So highlighting some part of hurt It should look like a human. By the way, If a lot separate them, then a lot of work better. So currently I have a very less in my in my breasts water Does the name just give some name on the So the board is there going another guy? It was by cycling. We need to define that The same mattered using Bill 10 Bruce on, uh, meaning that the weed just impression off noti dealing at all. Just call it. Cover it off with texture on. Uh, we're almost done, I think I think you have Lorne formed us. You You have to try, you know, multiple time. You have to be in every day. And that is the the only mantra to Lord watercolor. This is the beautiful medium. You can just be just being Don't bother about it. The output is not becoming the way you want. It will definitely come. Just loan though the basic which I have tried their death the completion light. So every possible effect which I've tried toe, you know, try to capture here, watch it multiple time and see how things are turning off for you. So the last but not least, the wiles, the cable wires and electric wires. No, let you need to give. This is the final piece. So thank you so much, everyone. I hope this has Spain very useful to you.
Nitin Singh, Let's fall in love with watercolor
