Transcripts
1. Introduction: Okay. In today's video, we're going to paint
Rose number two in my art tutorial series. This tutorial is more of
an intermediate level. After getting comfortable
with watercolors, we'll add some more
depth and really bring this painting to life.
Let's get started. Hey, everyone. Welcome
to another art tutorial. For this rose painting today, I am using that background, which as you want, or
you could just leave the painting alone and be
like, No, I'm good to go. Yeah. Well, that is the end
of the tutorial, everybody. I hope you had a fun
and relaxing time. Definitely thanks for
watching and following along, and I hope I see you
in the next video. Take care. See you
next time. Bye.
2. Let’s Start With The Background: In today's video, we're
going to paint rose number two in my art
tutorial series. This tutorial is more of
an intermediate level. After getting comfortable
with watercolors, we'll add some more depth and really bring this
painting to life. Let's get started.
Hey, everyone. Welcome to another art tutorial. For this rose painting today, I am using that background
to really show gray tones. But I didn't want it
to be two two gray, so I'm using a sepia color to give it a little
bit of brown. And so I've put some on my
new palette over there. I recently got this
crescent moon palette, and it's been
pretty nice so far. I think it works really
well for these tutorials because I don't use
50 different colors. It's small enough to
fit them all on there. I'm using this color
and I'm going to go around the whole background with it and we'll do
this first layer. There are a lot of colors
we're going to be using well, not too many colors,
but let me see, one, two, three, four,
five, six, seven. I guess there's going to be
seven colors used today, which I think is the most
I've done for utorial so far. I try to keep it around
I think around usually four or something around
there or five or maybe even. But I'm like with this one, I just kept adding ing various tones to it and ended up using quite a few and I
had to tell myself like, Okay, I don't add any more to this because it's
Yeah, I don't know. I could just keep going,
I guess, just like, Oh, this one might need
a little more yellow, a little more gold or a bit
darker or whatever it was. But I think it was good too because I think
at some point, it just kept playing
around with the browns especially when it comes
to the stem of the rose. So there's a lot of leeway in this painting to
be expressionist about it. That's why I
considered it more of an intermediate thing
because all of the way I'm filling in the space here and giving those different textures and breaths strokes and stuff. That's just up to you to how you want to
fill in the piece. You could definitely put
something in the beginning, since we're just doing
the background right now, you could just put your paper just put water along the
background and make sure it's really wet
and then you could apply your dabs of
color to it and that will create a nice
spore effect or it almost like a shooting start it's going moving in all directions or like a
bright sun or something. Rays There we go. Sun rays, but
they're paint rays. That could be a cool effect, or you could just
do what I'm doing, which is I'm just putting
a lot of water on my palette and then
just using that to fill in these spaces. I am noticing in the
in the photo that the bottom part is a bit darker and the top
is a bit lighter. I'm keeping that in
mind as I'm doing this layer and thinking
about how that will the flower itself will react to that because if the light is
coming from the top, then the top should be a little more lighter than the
rest of the area. So then the left
side of the flower. So the right sides
should be brighter and then the left
sides should have a little more darkness to really have that all make
sense together. I guess. So today, I'm opting
for my big brush to do the to go around all the edges
of the leaves and stuff. If I hold my brush
pretty vertical, then I can get a nice point and go around those delicate
petals and leaf edges. But if any point, there were sometimes where
I got a bit of pain on the petals or
leaves or something, and then I can just go on with my brush and lift
some of that color. If it depends if
it's dried or not, if it's If the color
is if it's wet, then I can just use my dry
brush to wipe it away, and if it has dried, then I can apply a bit
of water to my brush, rewet the area and then wipe
it away with a dry brush. But I'm really
trying to make sure those petals stay light because they're supposed to
be a very delicate soft pink, and it wouldn't come across that way if there was this
CPA color underneath. I'm really building
up the bottom here. I do want it to be
relatively dark. Just really making sure
that you can really tell the different tones to it and we can see there's a lot
of dark at the bottom, and then there's a bit
more of the water to the top area and then it can transition into a lighter
tone near the top. Okay. And yeah, you can see there is some paint
that got on the leaf, so I'm just using that water and cleaning it up in that corner. Okay. And after that
layer has dried, I did use my I've
used this what is it? I think it's a
dryer by craft mow and it is made for crafts
and things like that, and it will dry the page a bit quicker so that I can work quicker when I'm doing
these tutorials. So I've added a little bit
of Let me see burnt umber. I like that burnt
umber to give it just a little bit of lightness,
where the stalks are. If we add a little bit
of that to our plant, we can get a bit of lighter tones in the stem
and then we'll darken it up. Then I added some ivory black to pia on the palette because I wanted to have
a bit of a darker tone, but I went overboard, then I added a little bit
3. Working On The Stem & Leaves: Of burnt sienna to it
to warm it up a bit. So it's a little, maybe
a little too flat. We have a combination
of sepia burnt ivory and sienna and that will make that stem color there. I'm using my smaller
brush to go down the stem and just keep
working that color down. I did leave those little hints of that burnt upper color there, but I am going
towards the bottom of where that stem is and adding a bit of that
darker color there. I just added some
more burnt sienna to the palette to create that more like a brown tone
because I noticed it was a bit on the gray
side at this point, adding that bird Sana really give it a bit of
liveliness there. Okay. Or more like a stalk. It's still healthy,
not too gray, which is usually sign of
decay and stuff in plants. Although this one my partner
Aaron said it does end up looking on the bottom half
that it's wilting and dying. I wonder if that's because
the top is just so bright and then the bottom
it gets steadily darker. I think it's a really nice almost like a moody rose piece, I think it will end up
looking cool there. I keep adding some more
of this burnt sana because I want to
get a bit more of that warm reddish
brown color there. Then once we have that, we will apply that
to our stock again, really building up those layers and making it more
and more brown. I'm going on the underside of those little stems
because I still want that hint of lighter
tone to shine. Okay. I'm sure I get the top there. Because sometimes
on the edges of these there's that
white part that you can see when
we're painting around the background and
going along the sides. How unless you're right
up against the sketch, you'll get that
little bit of white. I just prefer filling
those in as I'm going if I think I missed
a spot or something. Now we're going to
add some sap green, and I like adding it to the colors we already
have there because that will give me a way to have a green that a more green color. Then on the browner side, I can pick some more
from there if I want to have a bit
more of that tone. I'm just going around the leaf. Okay. And filling
that all in. Okay. And then we'll apply same
color to the other leaves. It looks like this
one got a bit more of that darker green and which I really like because
in the w and stuff, all these leaves will
have various tones like some will be
lighter or darker. Some will look a bit
might have some hints of brown in some
spots or some hints. Sometimes there's even
reds on the outer parts, which is the
interesting thing too. That could be something that could be added in
another point in time. I don't have it for this one, but just something
else to look out for. There's all these unique
details in these plants. Roses are definitely one
of my favorite flowers, if not, I mean, it's probably my favorite
flower at this point. I just never get
tired of seeing them and also painting them. I was looking at the stem and where the
leave connects to the stem, and then I was just
blending it out to make a bit of a
nicer transition. I noticed that this
leaf over here was already mostly
dry and so I dropped some more of that green in there to give it some of
those nice tones. Then we'll fill in this top part of the rose a little
bit more green. And we'll go over here again. I want that bottom part of
the leave to be a bit darker. Then I'm doing those
little dots movement as I'm going up and so that you
can see different textures. At this point, I noticed
that my colors were running down my brown was
going down into my green, and so I decided that I
would just take I guess, the palette and just tilt it so that I could move
all the colors to the one side because
I do want to put some pink on the other side, and I definitely don't
want the brown running down into the other side that the petals would definitely look awful
if that was the case. I'm creating a
darker green here, I've added some more
of that sap green. And you could even
add some could use CPO or you could use
that block to even darken up the green there. Then we'll add more
of that darker green. It's basically it's
getting the shade that you like for
darkening colors. I usually I'll rely on
black a little bit, but not too much because I don't want it to look too flat. That's why I like these
that have this bit of darker green when
we're darkening up these leaves or when we're using the sepia color to create
this nice dark background. After this leaf layer has dried, I'm going in again
and filling it in. I want these leaves
to be a pretty
4. Painting The Petals Pink: Dark color here, so that's why we're
applying some more layers. In this layer, I'm really paying attention to the outer sides and the edges of the
leaf and then using my smaller brush to really make sure that I get all
of those parts there. That can really help define
the leaf like really grabbing all of those corners in there and really show
its unique structure. And adding another
layer over that again. This paper has trying
to think, I believe, it's an arches Let me see.
It's the smooth the one. I think that's the
hot pressed one, the arches paper, I know it's a really known as being
a really good paper. I didn't really notice that until I had other papers
to compare it with. I recently tried what was that? Well, I have all kinds
of watercolor papers, so I have some Strathmore
papers home what others. I don't know. I just
get random papers from the store and
try all these out. But this one I've noticed does a really
good job with absorbing the water and you can just keep layering and layering and
the paper doesn't pile up. And then when I'm
waiting for it to dry, it does dry faster than
some others I've used. I think because maybe I don't know the paper so
thick or the texture. The water just
gets absorbed into it so quickly and
helps it dry faster. So depending on what kind
of paper you have, like, you might have to wait a little longer to paint over
the layer of the leaf because we want that like
darker layer to really be, you know, like going on top of it and if it's not dry enough, it might just you know, might just end up like
peeling away some color. So, you know, whatever
it is, you know, how you when you know that
it's dry and things like that, and there we go. So we've done that layer. Over the leaves, and
now we're going to move on to our flower. I have some thalo
crimson on my palette, and I have applied a liberal
amount of water to it because I really want
to make sure I'm getting a nice pale color. I'm also going to add some
Da vinci white guash to it. That is to give it an
even more lighter color. Any of those we
really lighten it up. And I've applied this color quickly because in some spots, I'm going to use my brush
and I'm actually wiping away the color where I want there to be more brightness
and hints of white. So if you work quickly, you can really get you
can move the color off, and then because the to really get that
white color on here. Since with water colors, it's harder if not
impossible to actually add white to the painting through a purely water color medium. I found that removing
this color right away, doing a light enough
wash that you can just you know,
lifted relatively easy. So in the painting,
wherever those, you'll see that bit of
shimmer and the petals and you'll see that bit
of white highlight, it's usually on the
tips of the petal. So on the right side, you'll see it's the tips on the right side are a bit
more towards the light. And then on the left side, you'll see that the white parts and the highlights are a
bit more on the left side. So just paying
attention to where all the highlights would be depending on where
it is in the flower. I just keep looking
at the photo and then just removing color wherever I see those
bright bright whites. Now that I've done that, I'm going to go in and
add a bit of this. This is the thalo and
D vinci white guash together to get that
really pale effect. I'm going around the
outer edges here and just darkening
those up a little bit. And in the bottom here, applying some color under that petal that appears
a little darker. I'm working my way up. I started with the
lightest colors, and now I'm adding
those mid tones where you see those
throughout the flower. And then I'm using my brush
to add a bit of texture here. I'm not trying to
make it super smooth. I'm trying to make
it look like there are there is movement
to the pedal. There are wrangles,
there's lines. So just like flicking
my brush upwards. We give that effect. And there's that bit of
stifling motion going on there. I'm not filling in the there's
some parts of the flower, I'll fill in with
the whole color, but for most of these, we want there to be a darker
to lighter transition. See here, there's
in that color in the bottom right corner is where it starts and then it
goes out into the flower. And we want to make sure
our lines are curvy because there's always going to be some of these
curves in the flower. We're starting at the bottom and then working that color
up and making sure to leave some uncolored space at the top because that will be our brighter
transition color. We don't want to cover
the whole thing. And just moving the
color along there at the bottom ones and using
that upward motion again. There's a lot of
thinking involved. I'm doing these
paintings. I look
5. More Layers On The Petals: Photo. I'm like,
wait to put this. That one, you can see it starts off bigger
and then goes down to the bottom part of
the pedaling some room. Then this part the top of it
is going to be a bit darker. I'm moving that color downwards. Then going around the
edge of the petal here. Then I'm using my brush to do some of those
wrinkles in the pedal. I have a bit of curvy
lines going it. And then a little bit more. At that at the end, Okay. And then on the other side, we're using that adding
some of that color and bringing it from the bottom of the
pill towards the top, making sure to leave
some space for that lighter pink to show. And then with that
color will fill in some parts that are going to be just like that little section. And then we'll add a bit of color along that edge and then bring it
down a little bit. Okay. Building that color. We want the inner part
to be a bit darker. Some more color to that one too. Now that we've
mostly filled it in, we can just add a bit more
and darken up some spots. Then I notice some color wound to another petal so I
just moved it around. Okay. Then now just
going over chop we made and building
up a bit more color. Doing that little
dotting texture, get the flower some of that. Then going over where we already been and just adding a
bit to the bottom of it, but not completely going over
the second layer we did. Because I still want all
the layers to show through. And then over here, following
the line of that petal. Then I did want that part
to be a little lighter. I was just working on adding
some more color there, darkening up some
of the sections and then lightening up that
middle part. Okay. I think it was such a
narrow part that it was hard for the colors
not to blend too much. Now I've got just the
Theo or mostly the Theo. I'm going in and I want to get this darker color going on. We are going over the colors, we've already done and just picking which ones are
going to be a bit darker. I am sometimes I'll use that
lighter pink two at times if I think is maybe a little
too bright or something. And then using my water
to blend that part out. I just a bit of that
lighter color along the tips and then getting some water to blend
that out a bit. Okay. And then I was looking
at this section. I was like, maybe I
could do a little more blending with that darker and that lighter pink there. And then this section could be a bit darker just
towards the bottom part. And then going over where
we did our other layer. I'm just adding a
little bit of lines there and then just making sure that bottom
part is the darkest. Then the picture, the middle is significantly more
of that deeper pink than it is on the outside. I want to make sure that the
middle really stands out.
6. Adding Final Details: In that way with
those darker pinks. It has a really nice transition
from the inner parts being dark and then the
other parts of it later. I added this other
section to the side, another little petal and
then darkening up that side. Really like you can follow
along with the photo to see where are those the
darkest pinks and we're also going to go
over and do a bit more of that lining with that
darker pink color. Okay. And that part looked
a bit light to me. So I wanted to add a
bit more of that darker pink on the left side and
then blended out a bit, so it ends up looking more
like that medium tone. Now that we've done that,
I thought I was done, but then I realized I wanted to build up the
background a little more. I want to do it like the
ankle, the rose is that, we can see that the
light is coming from the top right
corner and it's going diagonally to the
left bottom corner. I want my background to mimic
that then it's going to be darker diagonally about
halfway through the rows, and then the top the diagonal on the right side will
be a bit lighter. Right now, I'm just
adding some more of that sepia and I just
keep playing around with it just keep adding more of this darker tone to just
really build it up. Once I've done that
and I'm you know, happy with that,
and that can be it. But I think it really gives a nice it really makes it
look like it's glowing. Like when I saw this
picture later, I was like, it looks like it's in the
sunlight or something. So the way these colors
really built up. So yes, I'm going about
to there on the petal. So where we did that left petal with the
darker pink edges. I'm going around there
and that's kind of like my stop way
point for you know, where are the darkest kind of
places on this background. Those finishing touches. You never know when you're done, feel free to play around
and build up as much as you want or you
could just leave the painting alone and be
like, No, I'm good to go. Yeah. Well, that is the end
of the tutorial, everybody. I hope you had a fun
and relaxing time. Definitely thanks for
watching and following along, and I hope I see you
in the next video. Take care, see you
next time. Bye.
Sredna Kunowski, Owner of the Sredna Art brand
