Transcripts
1. Welcome to Class!: Hey, there. How are you? My name is Andy Von, and I'm so happy that you have decided to join me
here for this class. I enjoy working with
alcohol markers, pascamrkers and colored pencils. And sometimes I even like
using artery and even more, such as acrylic paint
and watercolors. And doing something
called mixed media. Over the past ten years
of my artist's career, I have learned and
gathered knowledge on how to draw and paint. And over the past three
years of teaching, I have learned what appeals to my students and how
they learn best. In this class, I want to help build your artistic abilities. Here's what we're
going to learn. In this class. Today, we will be drawing a beautiful and colorful
growing hummingbird using posca Murkers. I really like using posca Mkers because they are very
vibrant and colorful. The materials we will need for this class are covered
in the next video. And you can also find
a list of them with pigs below this video
in the about section. We're going to have a lot of fun today using vibrant colors. I invite you to check me out on Facebook and Instagram
at Andy's Artitude. You sure to also follow
me on Skillshare so that you see new classes
whenever I upload them. And if you have any questions or don't understand
something in the class, I would be more than happy
to answer your questions. So just post your questions
in the discussions tab. I also invite you
to feel free to share your on skill share. Let us all see what you've
done if you'd like to. I would love to be able to check it out and see what you've done and know that your work can
be inspiring to all of us. I also wanted to
announce that I'm now offering one
on one sessions. In other words,
private art classes. A Zoom video call. These are live classes with me, and we animals, landscapes, portraits, work on something
that you want to improve on. These can be ongoing
classes or just one off. I offer different
links of classes from 45 minutes to
an hour and a half. So feel free to check this
out on my class profile. I would love to be able
to meet with you and chat and create some
awesome artwork together. It is now time to
start this class. So sharpen your pencils
and let the class begin.
2. Materials: This class, we will be
drawing using Pasco markers, and the drawing surface we'll be using is a black
illustration board. Now there are different
types of these boards available for sale
online and at stores. I will be using a Crescent
illustration board. If you have another of dark
surface. That is fine. I've had students work
on throwing boxes and on their iPads and follow along the class using my
altering techniques, but adapting it to their needs. I, for my part, like using these black surfaces
because they allow these acrylic
markers that are so vibrant and colorful
to really pop. I love the colors show up so
well on this dark surface. Like I mentioned, we'll
be using Cosco markers. These are acrylic markers. There are other brands
of acrylic markers. So whatever you have at
your disposal is fine. I enjoy using Posca markers, and I find the markers
will be high quality. And in my experience, they don't tend
to get topped up. The colors we will
be needing are the following light
blue, dark green, light green, emerald
green, black, white, violet, orange,
dark blue and yellow. Will also be needing a
white colored pencil to do the initial sketch
on the blackboard. If you're using another type
of material to draw on, such as white paper
or something, then in that case, you will use a regular
pencil or pen. We will also need a dark
blue colored pencil or some of the shading. Or if you don't have that, you can also use a black
or gray colored pencil. I'm using prisma
colored pencils. We will also need a
black colored pencil for some of the deeper
darker shadows. With that, we are done
gathering our materials, so let's start with the class.
3. Initial Sketch - Part A - The Body: So we will start this
class by grabbing our white colored
pencil so we can draw in the initial sketch
of the hummingbird. I'm not going to narrate
this part step by step. I'll just let the video
play in real time, and you can copy what I do. What I do suggest is
that you draw and I'm drawing with these
loose free lines. Do not draw one continuous line instead break up your lines
into these very loose, very fragmented lines and build up your shapes a
little bit at a time. This video we'll be
drawing the body, head, tail, and beak. And in the next video, we'll draw the two wings. You can also find a
black and white sketch of this drawing for you to view and download in the projects and resources tab
below this video. O m
4. Initial Sketch - Part B - The Wings: Y right. Now that the hummingbird
is almost always sketched in except for
a few minor details, I'll grab my eraser
and erase some of the guidelines and shapes that
we drew at the beginning. Some of these lines
are no longer needed. Bing house, we're going to be coloring all over
the hummingbird. It isn't really
necessary to race, but for the sake of the video, I decided to do so. After I finish racing, I'll go in and add in
a few less details, and then we'll start on what I consider the fun
part, the coloring.
5. Coloring the Body - Part A: Okay, so now that we
got this sketch done, we'll start coloring
the hummingbird. And to begin, we'll grab a
light blue posca mercer, and we're going to add in these feathery loose lines starting at the front of
the head of the bird. And basically, they flow down
and back towards the tail. We want these lines to be
very loose, very free. Sometimes they're at
different angles, but for the most part,
they flow downwards. Some of these lines
overlap each other. We are not going to color in all of the black of the paper. We'll leave a bit of
the black showing through and we'll only
add this coloring for now to the body
and a little bit on the beginning of the wing
as you will see I will do. Now that the light
web is a time to try, we go in with a dark
green posca and add in more feathery lines from just above the eye going along the right hand half of the body, from the head to the tail. While the dark green is drying, we'll grab a light green and go on the left
side of the body. We'll add in the
beginning layers of our highlight and we'll draw this from where the beak is near the eye all the way
down to the tail. And we do not want the light green and dark green to meet. We'll leave a gap in between where there's a bit of
a light blue showing. Now that we've allowed time for the dark green to
thoroughly dry, we'll grab a violet
marker and add in our feathers working from
the top above the eye, we are not going to cover
all of the dark green. We want to mainly focus on
maybe half of the area. We want to focus
on the right hand half of where we
add the dark green, and this is the beginning
stages of our shadow, and we'll do this
from the top of the head all the way to
the tip of the tail.
6. Coloring the Body - Part B: Alright, we're going to work on the shadow part of
the body of the bird, and we'll grab a dark
blue Basco marker. We'll come over here on the right side on top
of the purple and add in our feather lines there as the first layer of this
segment of the class. And then once that
blue has dried, we'll come back
with some black and add in some darker
shadow over the blue, remembering not to cover over everything
with either color, just mixing in loosely. We'll bring a bit of the black shadowy lines
over the light green, as you can see in this
middle area of the body. Next, we'll grab an emerald
green and go on top of this light blue and light
green area and also on top of the black lines in this middle
area and adding a bit of lines of emerald green so that the black
lines break up a bit. We're not going to do this over the dark blue and
purple and black area. That's for the deeper shadow, and we'll leave that as it is. We're just trying to make this transition from light to dark, slow and have a slow
gradient and slow transition from light to dark. Next, we'll grab a
yellow and we'll go along the front
edge of the body, adding in the more loose
lines for the feathers. And this is to give the glow of the light as a first layer. And I'm dragging some of
these lines into the green, so it's not just one single line along the front of the body. Next, we'll grab an orange
and we'll add a mid tone in this area between the
yellow and the light blue. We're going a little bit on
top of both colors so that we kind of combine them and have a blending effect to a degree. Finally, we'll grab a white and add in the brightest
highlight right along the front right on top of the yellow on the front
of the hummingbird. And you can see I'm doing
these loose fragmented lines and feathers dragging almost to the bottom of the
tail, but not quite. And I also drag a bit of
this white into the yellow.
7. Beak: All right, so we'll
color in the beak and we'll grab a
yellow and colour it in having it be thinner
near the tip and a bit whiter as it gets
closer to the hummingbird, and we'll end up
giving the two layers, allowing each layer
of yellow thyme to dry thoroughly
before adding the next. Okay, so now that the
yellow has tried, we'll grab a light
blue posca marker and along the lower half of the
beak on top of the yellow. Finally, we'll add
in a shadow going along the very bottom
edge of the beak with a dark blue marker. O.
8. Inner Part of Wing: Okay, so we'll start
working on the wings, and we'll work on the
inner part of the wing, these little curved
triangle areas, and we'll grab a dark
blue posca marker and color this area in solid. Okay. Now that the dark blue has had time to dry, we'll grab our dark
green posca and add in these little feathers
that angle out towards the outer part of the wing
or the tip of the wing. So we'll add in lots
of these little lines, but remember not to cover over
the dark blue all the way. Allow some spaces for it
to show through a bit. So so the Next, we'll grab a black pca mercer, and we'll add in some
more feather lines, but only on the lower part
of this green and blue area. And this is to add
in the shadow. Okay. Next, I'll grab my emerald green
marker and work on the outer edges of
these segments of the wings and these
spines come in, they track into the wing just
a bit over the dark green. And Finally, we'll finish this
off with orange, adding a thin line or the grow along the
upper side of the wing.
9. Outer Feathers of Wings: Alright, so we'll
start working on these outer feathers
of the wings, and we'll grab a white
colored pencil and lightly coloring this area
with a solid layer of white. And this will be
the first layer of these feathers to give
it just a bit of milky, semi transparent look
to these feathers. Next, we'll grab a dark
blue and draw in the veins, or in other words, the main
segments of each feather, and they do curve a bit. They arc a bit with the wing, and as they get closer to
the inner part of the wing, they curve more than they do on the outer part of the wing. We don't want these
lines to be too thick or too skinny. Don't know. You don't know. You'll notice on
this lower wing, because of the
angle of the wing, they really start
to curve around and angle inwards because this
wing is a bit twisted, whereas the other wing, the further away wing is more spread out because it's
at a different angle. Next, we'll grab
our light blue psq marker and add in
some blue right above the blue lines on all except
for the top line of blue and also spread out the blue with some wispy lines near the
upper area of the feather, where we have some
room to do so. I do. I do. I do it. You Next, we'll grab a white posca and go right at the top
of these feathers on top of the light blue and add in some wispy lines of white. And these are the
reflections and highlights on this
area of the feathers. Next, we'll grab a
pluck and we'll add in a few little
scratchy lines over what remains of the
color pencil just to break some of this up and
give it some texture. And these lines
basically are flowing down and away from the
wing, curving a bit. Next, we'll grab the
yellow and go over the white that we added near
the top of these feathers, because the yellow is
a bit transparent. We need a white background
that would reflect through the white paint and
make it nice and bright. Finally, we'll end this section
with an orange and we'll add a very
thin wispy line along the upper edge of the wing over the blue or a bit
of that glowing light.
10. Eye: Alright, so we'll grab a
black fossa marker and color in the eye of
the hummingbird. Just sort it black. Now that the black
has time to try, we'll go in with white and add a little spec for the
highlight on the eye. We'll add it towards the
left side of the eye.
11. Tail: Alright, so we're going
to work on the tail. We'll start off with a
dark blue posca marker, and we'll just coloring
all of the tail feathers. We'll end up adding
in two layers so that the feathers are
well covered with blue. Next, we'll come in with
a violet posca mercer, and we'll color in the
lower part of the feathers, remembering that each feather is overlapping the previous one. That's why you see me coloring
in these triangular areas, and all of this
needs to be towards the lower part of the feather because we have light coming from
the upper part, and therefore we have a shadow a darker area near the bottom. Next, we'll grab
an orange and add in a very thin line as thin as possible along the upper side of each feather on
top of the blue, and also we'll hook around
the end of the feather a bit, and this is the beginning
of the highlight. Well let that
orange dry and grab a black posca merker and add
in these feathery hairy, loose lines on top of the purple so that we
deepen the shadow. We're not coloring
all of the purple, just adding some loose
lines of different lengths. Next, we'll grab a yellow, and we'll go back
over the orange, but just a little bit, just a very thin line, especially near the
tip and lower edge of the feather to really
brighten up that highlight. And we'll only do
this on the left side of the tail and on the lower beginning two or three feathers of the right side of the tail.
12. Shadows: Alright. In this lesson, we're going to grab a
dark blue colored pencil. In my case, I'm using a Chrisma color indigo blue
colored pencil number 901. We'll start off by
doing some shading and adding a shadow
on the two wings. We'll be working with
these very soft layers, slowly building up
our color so that we don't scrape up any
of the posca marker. Doing this, I try to work
with the side of my pencil, as you can see I'm doing instead of working with the point. And this sows for
softer shading, and you can see I'm building up darker areas near the
bottom of the wings, subduing them and pushing them back into the distance
so that the focus of the viewer is on the front of the bird and we're not
distracted by the wings. Yet the colors of
the wings are still there and remain
vibrant, yet subdued. We'll also do this on the
right side of the tail, especially towards the
inner side near the body, having it be nice and dark there and also go over a
bit of the orange, not all of it, just to tone
it down and we'll leave the tips of the tail that
has orange really bright. I'll also go along
the edge where the light blue and dark blue
of the body shadow meet, and I'll soften that edge, so it's a slower transition
from light to dark blue. Also on the neck right where
the neck and head meet, I'll add in some
shadow so that you can see the middle dip it where
the body and head meet. There's a small valley there. So I'll softly lay that
in first with a dark blue and add in some darker feathers with my black posca mercer. I'll go in also with Fosco Merker and deep
in the shadow of the two wings right
near their base on top of the green on the wing, adding in these feathery lines. And this really helps
to see a division between the two wings and pushes the second wing or further away wing back even farther
into the distance. I'll also deepen a shadow on the right side of
the tail just near the body and with
a few lines going out to almost the
end of the feather. Next, I'll grab my
black colored pencil and softly and slowly build up a darker shadow on the edge of the wing on
the lighter blue area. And we do this on the
further away wing so that it is subdued even more. Normally, for shadows, I
don't like to use back. However, I decided
to make an exception so that this wing would
be in the background, and they would bring the first
wing forward in the scene.
13. Thanks for Watching!: Thank you so much for watching. I really hope you
enjoyed this class and were able to learn
something from it. Please feel free to post a
picture of your drawing below this class so that
all of us here on Sco share can
see what you did. If you have any questions, don't hesitate to start a discussion in the Discussions
tab below this video, and I will be happy to
answer your questions. If you would like to support me, please check out my website. At www.andartitd.com, and feel free to visit me
on Instagram and Facebook, where you can see
daily updates of my artwork at Andy's Artitude. Stick around here on Skillshare and follow me because
in the coming weeks, I will be uploading
more classes. That's it for now. I hope
you have a wonderful day. See you in the next class.
Andy Villon, Fine Artist
