Transcripts
1. 01 Introduction: You like watercolor or pendant wash. Then this
class might be for you because pendant wash
actually requires a basic understanding of
good perspective drawing. Main thing is you're actually
trying to create depth. And then watercolor,
actually you're trying to wash in the sense
very light color, that which actually represents the highlight shaded portion and the shadow portion as well. Before all that,
before you start with either pendant wash or
pennant watercolor, all you need is the drying skill and the subject that
you have chosen. Then the next thing is
understand the main perspective, use the water color to
paint the entire painting. If that's the case, then
this class is for you. Hi, I'm Mari Raju, an
artist from India. In this class, I'm going to take you through simple steps. Just basic steps that you need. The main thing is the drawing of either for urban
sketching or otherwise, even for this pendant wash
can go deep into that. When I say deep into
that, actually, you might end up
actually drawing more detailed and spend more time on drawing
rather than painting. But the painting is
also of the essence, when I say is also
of the essence, where you're actually
trying to create dramatic results just by concentrating on
highlights and shadows. The brighter highlights and the shadows, all those things. As part of the project
for this class, I would encourage you
to choose a subject, or otherwise you
can choose the same subject, whatever I'm showing. Then try to paint this and post it as part
of the project. If you're ready to paint, gather your pen and water color. I will see you in
my next lesson.
2. 02 Materials: Let's try to understand the very basic materials that
you need for this. Apart from pencil and erasor, I'm going to use one of these for at least for
sketching the other one. Actually, I've already done, so you know exactly
how long it takes, but at least I'll
show you that drawing as well in terms of materials, pencil, erharper, whatever you need, at
least for drawing. But that is a basic drawing. First with the
pencil, then you'll be using waterproof pen. Make sure that it's
waterproof pen. I have several others, but I'm going to
use this 0.5 MM, which is a little bit
thicker than the other pens. I'm going to use this
0.5 black color. It's a little bit tick
so I can actually get, I don't need thin lines. That's waterproof pen. Make sure waterproof pen. Then I have 200 GSM
watercolor paper. I'm going to use
either round brush, even this is round brush, but I'm going to use this
watercolor brush pan. If you don't have just
use normal brush pan, I would suggest just
go for round brush. I think this is
more than enough. You don't need any other brush, just with one brush, you
can do the entire thing. But if you feel that
bigger area actually needs a little bit of
brush, mainly for the sky. So you can actually
use flat brush just to cover the bigger areas. And then we'll go back with a smaller brush,
These two brushes. This is round brush as well. Above all, this is going to
be my watercolor palette. Any watercolor, just at least
try to have burn rhumb, burn little bit of
blue, cobalt blue, cerulean blue or
ultramarine blue, and a little bit of
yellow and green. We should be done with the entire painting
just with these metals. Gather all the
materials and then I'll see you in the next lesson. And I'll show you how to draw
at least the basic sketch. Although you have the
sketch in the DO form, you can actually
download and trace it. But I would encourage you
to practice drying and then dry it yourself because it takes longer time
to practice here. That's what I'm going to
show you in the next lesson. The basic things that you
need to start off with. And then we'll convert that into a main sketch for
our repent wash.
3. 03 Drawing Practice: Let's understand
the drawing aspect of it because it's
very important. Like I said, the perspective on the drawing is the
main foundation for any of your paintings, unless and until you're
actually looking for just the basic
abstract ones. But as long as you're
trying in terms of shapes and values, then you need drawing. For that reason, what I'm
going to do is I'm going to show you exactly how
it has to be drawn. Based on that, you
put all the details. But thinking is perspective. Let's say if this is the china wall somewhere
here and I'm standing here because you need to find out or you need to locate
where you're standing. Depending on that, your eye level and then the vanishing points, All of them are there. We'll just concentrate on
just one point perspective. Let's see if I'm standing
here on the wall. If I'm standing in between, what I would suggest
you to do is just one part here and
one part here wall. But this is not straight, so this is a little bit
slanted here, slanted here. The wall starts with,
there is a door here. So what we'll do is first
let's draw the door, so you get to know
what I'm doing. That's a door, all right, and there is a window. I've simplified this drawing, don't try to compare with, because the main thing
is when you look at it, you'll be able to
recognize what it is. So that's the main intention. No matter whichever
painting you do, that's what has to
happen from here. The wall actually starts
with somewhere there. And perspective wise,
if I'm standing here, let's just think
that my eye level is somewhere there passing
through my eye. Exactly. Eye level,
That's my eye level. That's where my
eyes are exactly, That's the level of my eye. And then here, if
I take somewhere, if I take the point here, that vanishing 0.1 of the
vanishing points here, then all I need to do is, from here I'll try to draw
the line for the straight. Then again, one
point perspective. If I take that, if it joins somewhere there, that's
where it's point. Just as simple as that, think that there is
a vanishing point, and that's where it is
actually going to march. Maybe I level a
little bit above, but that's what you
need to think of, where is it actually
going to join? Then I have this wall. Vertical lines are vertical
lines for the wall. Then if you think the
perspective, what it tastes. Any object which is
closer to you is taller and bigger compared to the object which is
further away from you. This height of the
wall is smaller, which is away from you,
I'm standing here. And then when it comes closer, this actually goes a
little bit bigger concept, exact concept, I'm
going to go about that. Then you have here the door. Then after that,
as you come down, you have steps here, some steps. And again it goes further and you have
some more steps here. See, the way I'm
actually drawing, the ones which is closer
to you is actually wider, taller, bigger compared to the ones which are away
from you, that's smaller. That's everything
according to perspective. One point here, if I'm
actually exactly facing this, but the main thing is this
wall actually goes around. Something like that. If
it goes here, let's say. If I am going to
take somewhere here. And that's where that wall goes. Perspective wise, this is actually supposed to look bigger compared to the one
which is further away from us. Simple concept. If I'm facing a box entirely, facing exactly in
front of my eyes, I won't be able to see
the left and right. If I go a little
bit onto the left, I'll be able to see the left and the front because
that gets turned. I'll be able to see the
left but not the right. That's the idea that
I've actually taken. If I'm going to take this as my eye level and
what I'm going to do is I'm going to take this as one more vanishing point here and it's some
merit goes there. Bottom part, I won't be able to see if I take it that way, that's where that wall
is actually going to go. Remember that this slanting line is that it's not
horizontal line, it's slanting line
on the other side. Because I'm not exactly
standing in front. Now you know where I'm
actually standing, I'm actually standing
somewhere here. And then it gets, if I was exactly facing this, I
won't be able to see this. Maybe I'll be able to see
this because it's just on the left hand side.
Keep that in mind. Now that is the wall. This horizontal
line, I'm going to draw horizontal because like
I said, I'm facing that. Then on top of that, is that the roof? Here. You have some structure which you want on the
other side as you have. But see this line as well, actually you have to go that
part based on that, right? Then other than this,
I have this here, let me just darken this. You know exactly what
I'm drawing here. That this is the wall for. This wall on both
sides, it's slanting. What I'm going to do is even if I take it this
way on the top, let me get the slanting and then again go
with my perspective. Then if I take it that side, this one actually has
to go with perspective. Again, it's not horizontal. If I take it that side,
that will be perspective. Another vanishing
point here somewhere. Remember, vanishing points
are actually different. Parallel lines have the
vanishing points on the horizon line or 11 on different sections,
many different points. Then again, this
will be because I'm able to see only this side,
not on the other side. These sections actually
you can mark them. Make sure that you have that particular
section, You see that. How it goes. Then again,
if vertical lines, vertical lines, again vanishing point. This touch us here. That one. And this portion
I'll be able to see. Very important. Let me just
do that one more time. And if there is a gap
between this, that gap, if I take the slanting
and discuss that side, vertical line, vertical lines, this is the perspective line. Again, as you can see,
the height is small. Height is bigger as it comes close to me
where I'm standing. Again, see that this is not horizontal,
this is not straight. But main thing is it's
connecting to my vanishing. Maybe it is a little bit curd, but if you consider this
as linear perspective, it's actually going to stand the same thing
goes here as well. I'll continue that here. The thickness, if
I'm standing here, I'll be able to see
that thickness. This particular line goes
to the vanishing point. And I'll still be able
to see that part. Make sure that's very
important in terms of perspective and what you see, what you don't see and
where the light touches. That's another part.
Let's say this door, I'm going to make it
a little bit bigger. Now you got the idea.
Similarly, you do the same thing on the other
side. Other side as well. Let me just show you
one of the slanting. On that side of the slanting, I won't be able to see, depends actually what you can see. Sometimes if I'm standing,
this is close to me. I can see the gap here. I might not be able
to see the gap there, which is exactly depending on how you look at
the top of a cup. If you look at it from
top, it's circular. And then if you start looking at from an angle,
it's over shape. Depending on that, I'm
going to do one here, right slanting again, that particular line
goes with that here. Is that, again, vanishing
point, line one here. This is up to you whether
you want to show or not. I'm going to leave it like that, right? That's where it shows. Then again, I can go here, come back here again. I'll still go back. All right. So now, only thing is the gap, I'm not able to see because of the angle that I'm
actually standing. So depending on where you're
standing, how close you are, or rather in which
direction you're standing, you might be able to see. You
might not be able to see. If you really feel comfortable with this, go with that itself. Exactly the same
with the gap between the right then this wall again. It goes from back till here. If you see here, I have some
steps here that goes there. And then it goes there
and it's covered with all that wall I can
actually just make. Let's draw this first. At least you know
what you're drawing. Draw some vertical
lines best is this. Don't get confused. Join alternative
lines automatically. You'll be done with that, right? Do the same thing
for this as well. As it goes further, it's actually going
to be smaller and a little bit bigger
as it comes forward. Same thing here. As
it goes further, I'm going to do it very small. Alternatively, I'm just
going to join the ones. All right, so then you
can actually arise. This, this is going
to be just like that. All right, so that's about it. Then here I'm going to repeat the same
thing here as well, but it's going to be very small. Visible, small, but
covered with again here. And just like that, some windows here, and then
on top that goes that side. I'll just vanish that
particular section there. Apart from this, all I
want you to do is this is where you can spend
more time just for trace. All irregular, small, big. Depending on whatever
you want to put. Don't just create pattern. When I say pattern like this,
that is just a pattern. I am going to break that apart. Just some trees, again, I'll do the same thing here because this is all
covered with trees. So I'm just going
to go with that. I'll just draw some more on the. Okay, that's about it. So cover this with that. Then the next detail that
you're going to spend more time on is all these stones. Just mark these ones regular. They don't have to have
exactly some windows here. I've just done. The suggestion you get to you will let me make this darker little bit and
then you can make that. You can just draw
it first and then see these bricks that I'm
actually trying to put. You don't have to
draw this once you have your final sketch,
just the outline. Then you go with
your pen and then start drawing with
all the details. Let me just show you
if I'm actually, doesn't just use your
hand and try to do this. See these lines
are actually going to go with my vanishing point. See that they actually, as I come close to eye level
and then they go above, you have to be
very careful with, that's a point that
we have taken. These are the lines
as it comes down. See they actually started going upwards that you
have to keep in mind. And then put some
lines for breaks. Takes a lot of time. I spent a lot of time on this. This is where because it's
a repetitive process. Then after that,
again I'm going to go with any of this black windows. I'm just showing
you exactly what I'm going to do for that. Because otherwise
I'll be sending, I've spent more than 40, 45 minutes just for drawing. As you can see, even when
we paint, you can see that. Let's see if I'm
actually drawing this line. It can be broken. It doesn't have to
be, not all the time. It can be broken as well. You don't worry
about exactly 100% perfect with all the lines. Then when I draw vertical lines, you don't have to draw
all the way everywhere. Just draw here and there. So that it's just, you don't have to
draw all of them. Do the same thing for this
window as well that do well here. Just like that. Then when it goes, there it is. It goes like I've shown. Do the same thing for that
sketch I've provided. If you're watching the
video first, you can pause, take a photo of that, go
through a sketch for tracing, and you can just download
and just start drawing it. This is where I would suggest you to spend a lot
of time on that. But apart from that, let
me just show you some of the stones here as well. These are slanting lines, right? All these are actually
joining my vanishing point. Remember, if I take this joining, joining,
joining, joining, the, that as it
comes closer to me, it gets wider joining. This is where you'll
make a lot of mistakes. Then you try to put all
those small things. As you come closer,
I can make them bigger because you don't
keep the same thing here. They might be smaller because they are further away from you. As I come closer, what I'm
going to do is intentionally, this is how you have to
play with the perspective. Very important concept. As I come even here, this gets wider as you can see. Then I will just intentionally
make them bigger as well. Very important. That
is where you actually cheat the ice and
create the depth. Remember that part.
Remember this part and this one, the
way I've shown. Once you're done here,
actually you can just go with small ones, right? Small ones. I'm just spending a little bit of
time on this drying because drying goes
wrong mainly for this, and then you try to do this. Once this is dried, it'll dry in five, 10 minutes. I would suggest just
leave it for some time in 15 minutes so that 5 minutes
is more than enough. Then once this is done, take a razor and
erase everything. You're ready for the next
lesson where we'll start with some washes for the sky and the basic first
layer of washing. And then we'll put some details for highlights and shadows.
4. 04 Basic Techniques: Let's try to learn some, just two things that
I want to discuss. First, in this class, I'm just going to use wet on
wet and then the layering. Layering is once
the bottom layer is dried first, is
the wet on wet? When I say wet on wet, if someone doesn't know
or doesn't understand, all I'm trying to do is
wash is actually going to be with just the water. Just the water. Use a bigger
brush for bigger areas. So make sure that
that's very important. Wet it then after that, if it is for sky, I'm just going to drop some
blues in this. It'll just automatically
spread and leave some spots. Just as for the sky that
is just wet on wet, even for trees, I'm going
to use the same thing. If you really want this
bottom to be visible, you can just along, I'm going to leave
it as you can see. Actually, cloud
formation is so good, we just wet on wet. It doesn't have to be always
just the clear water. You can have a color first and then while
it is wet again, you apply the second color. But the only thing is
understand when to apply. When it is more wet, it spreads too much. If it is less wet or
otherwise it turns into damp, then it spreads less. You can actually
have a little bit of hard edges than this here. I don't have most of hard edges, all of them are actually
just on the wet surface. I have a light, it just
started spreading. My edges are actually soft, whichever you're after this, that's one technique
which is what I said is wet on wet, right? Wet, wet. Another one is the layering. What I would say is this will be layering
before layering. What I want you to understand is that layering is,
there is a color. I've already prepared
the surface because I wanted this to be dried
so that I can show you. Layering is, once
something is dried, then I apply the layer mainly. In this class, what
we're trying to do is layering for color. Once maybe I applied
lighter color, then I get to the light to dark, water color light to
dark, that's one thing. The other layering is I'm
going to use it for shadows. Thinking that bright
sunlight define where the light source
is entire class. The light source is
from right side, so the shadow is on
the left hand side. But here in this case,
what I've done is I've just painted a pole. But light source, I'm
going to take it from left light source so that I can put the shadow
on the right hand side, depending on where
the light source is, how high, how low. There are two things because I'm going to consider
this as very sunny. The shadow is actually going
to be warm or cool shadow. Let's understand, what does
that mean, mean by that? If you take color wheel, this is the color wheel for
learnings of any medium. So you have to have
a color wheel. This color wheel actually
has primary colors. Just the basic things that
I just want you to know. Red, yellow, and blue. And when you mix those
two primary color, you're going to get the
secondary colors blue and red. That's a secondary color. Blue and yellow, that's
a secondary color. If you make secondary
and the primary, then the same color turns towards that primary because I'm adding more blue to this. This is already made up of blue. If I add blue, that
will be blue green. If I add yellow, this
will be yellow green. That makes up the entire, the color, the colors on the
border of that color wheel. Now let's, if you look at this, there is red violet
and just the violet. Then half of this just take, this is on the right hand side. Half is warm colors. These are all warm
colors, including yellow. And these are all cool colors. Now if you look at the painting, you can actually
paint anything which is a desert and then very hot, I can still have sand. And the shadows towards any of this darker, orange,
brownish color. But still, all of
them are warm colors. If not, I can actually
have the cool colors. But now the painting that
we are going to paint, and then with good sunlight, I thought of any of this because I'm going
to use either bunt, amber rum or banana,
one of these three. But the main thing is I'm
going to use warm colors. Just don't get confused
with just the violet. So I'm going to use red
violet around this, this. I'm going to get it by mixing
crimson and ultra marine, so you get somewhere
close to that. That's the one I'm going
to use it for my shadows. Warm color shadows. Let's just try one of this. This is what I have. What I'm going to do is I'll
take some crimson. When you mix any layering, main thing is it depends
whether you want that to be as a glazing or just cover the
entire bottom paint. This is actually going
to be a type of glazing, although it's layering
one top of the other. But the glazing in the sense the bottom layer is still set. Details that you
might already have, those are still seen
for this Crimson. I'm going to take a little bit of ultra just a little bit. Touch as you can see, that's what we had
here. You can see that. Is that color, the cool violet. It's more of red violet. It's more towards red. I'll take this very watery and then light
is from this side. I'm going to put some
shadow on that side. All right? This shadow can
be don't rub it too much. This is another thing
that I have seen. Don't rub this too much
because if you rub, the bottom layer gets mixed and then you'll start
removing the bottom layer. That's just about it. As you can see, I've used warm
color for the warm shadow, depending on the scenario. You can call this as glazing, I would say, instead of laying. This is a glazing. Glazing in terms of
one top of the other. But the shadow is warm shadow. And this is just, these two are more
than enough to complete the entire class. If you have not heard
of any of this, you can try practicing this
just like the way I've shown. If not, you can straight
away continue with a lesson.
5. 05 The First Wash: Now that you have gone
through all the practice, everything, this is the
drawing that I have. I'm just finishing up the last touches that wherever I want some small details for the tree like I had
shown exactly how to draw those foliage from far. That's what actually I've done. I've done quite a bit
of detail and that's the watercolor palette
that I'm going to use. I've stuck that
paper on my board, and that's a brush which I
show that I'm going to use. If not, like I said,
you can actually use your round brush itself. Let's just see, I think that's too small because by the time I keep
on applying water, it might take longer time. I'm trying to go with the
first wash for the sky. We'll use the wash
for most of them. For some of them
wash is color wash. I'm actually going to
apply the entire thing. Let's that's entire wash
just there about it. Make sure that you're actually
not using Sketchbook, you're 200 GSM at list. But if you're using
200 GSM watercolor pad and all the edges are actually
glued, then it's fine. The reason behind that is
because it might warp a bit. But during that time,
because all edges are actually glued, it won't buckle. It won't warp. That's
the main thing. I'm going to use my
ultramarine blue for the sky. I'm trying to be
very careful here that the color actually doesn't flow into either tree or
otherwise even the structure. As you can see,
I'm just tapping. I'm just tapping but
making sure that there is some shape that I can see as part of blue sky and as well as some clouds
leave that space, don't cover the entire thing. You can actually make it just plain gradient wash
from light to dark, but at least leave
some space that should be more than that. But main thing is see. Another thing you
need to remember is that the first layer of water, what we had put,
it's not too much. Yes, it is a wash. It's not too much
because by now, see even the color
that I'm applying. One more thing before I
say anything about this. The board is actually
kept at an angle of 20 to 30 degrees. No matter even if it is too wet, then it's going to
flow downwards. I'm using Raena, I'm
using Burn Siena, I'm using burnt umber. I'm using rober. As you can see, that's Rob, I'm using all
mixture of all of them. But I think I'll stick to
these four colors itself. A little bit of yellowish color, a little bit of a
brownish color, reddish brown color or otherwise just very mb brownish color. But you have to keep
in mind that the color wash that we had put in the sense the first
layer of water, it's still, if I had applied too much
of water two or three times like the one which I showed as part of the practice, then what happens is it
starts spreading everywhere. And then not only that, it starts flowing downwards because it flows towards
wherever it is slant, don't keep it flat
because for wash it has to be smooth and then
slanting position. As you can see, I'm
using bigger brush, this is the one which I
had shown bigger brush. Make sure that those corners, main thing is this is
just the first wash, very light wash.
Make sure that you have applied just first layer
of water, not too much. That the color
that I'm trying to put is not spreading
too much here. By now, paper must have
a little bit dry zone. Don't worry about it.
What I would suggest you to do is sap green and
a little bit of yellow. That's my permanent yellow. I'll just take that yellow and just drop in here and there. It's already wet with sap green. I'm going to go with
sap green again. Then we'll go with a little
bit of darker green to make show some shapes here. At least as part of, although it is a
little bit of dried, I'm just using this first layer of yellow and then a
little bit of green, we'll just apply a little bit of green and then the
dark green later. Once that these are
done, again, sap green. Just now that it is wet. It's wet, wet on wet, It's wet with yellow. And then you just drop
some sap green here. And then I just want to see that some yellow highlight type. And then a little bit
of mid tone so that we can actually have a little
bit darker color later. Now that that's done, the far away the wall
which goes behind, I'm going to use
Rosana Burn number. Same, very watery
wash. First wash. Make sure that you're not
going outside by now. Water must have already sucked. It might be very
damp, Not too damp. Make sure that that
structure that when I see it from far it should look
like it's continuous. It just goes behind.
That's the layer. Apply. These layers as part of wash don't apply
too much of water. Apply wash for the trees. Apply, wash as yellow
and then the green. Once this is done, let it dry. Then we'll start applying
layers in the next lesson.
6. 06 Trees and Stones: In this lesson, let's
continue with the tree. First I'm going to
use Viridian hue. If you don't have Viridian hue, what I would suggest
is sap green, add more blue to it. In the sense I would say, instead of ultra marine
cobalt or servian blue, try to add Prussian blue. The blue. Prussian blue. If you are Prussian blue, I think you'll get similar, one, similar darker
green, bluish green. Maybe you can try with that. That's the way you can actually
go about it, if at all. If you don't want to do it any. We have applied very light green yellow and
light sap green. Just use sap green itself, but this time actually
use a little bit of less water, very thick paint. Just make sure that the
shapes are actually done. Like actually you can see
the way I'm applying, they're all just the
swells, circular motion. And then just apply, leave a little bit of space in
between because that actually should show the gap
between the foliages. That's the idea behind that. The yellow part shows highlights
on top of the foliage. That's the idea. If you
can just keep it that way. But remember that that's whatever I've done,
it's already dried. That's when I started
doing the gap. Wherever I've
painted a little bit of green, remember that? I'm able to see that's the reason I have to
paint that green as well. If you want to paint a little
bit darker, it's fine. But I think the suggestions
are the notation of trees, group of trees around that is more than on
the right hand side. I could have put that but left it open as just the open sky. The left hand side is
actually covered with trees and then right hand side behind is covered with trees. I'm going to use again, rhumb this is where
is very important. What I would suggest is make sure that the lines
that we had drawn, those are perspective lines. Keeping that in mind,
one point perspective, the one which I explained in
the, the previous lesson. What I've done is I've drawn
the lines and then I'm just using just the same
brush with more water. And then I took off
the color itself. I didn't want that to be dark. But the main thing is keep
in mind that the suggestion of those tiles are the
stones are very important. You can see that I'm not
detailing all of them. Somewhere, one on the
left, one on the right, somewhere in between that
part and only one edge. Maybe one of those tiles again
on the left or right side. Main thing is, I'm just trying to show that
not all of them have the same color
or same value. But the main thing is suggestion of some of
them are old or new, or different colors,
Different texture. Not much of a texture here,
but different colors. But I'm playing around with
the colors from burnt, Umber, Burn, Siena, or Rum. I'm using rumor
again for the steps. Light is from right hand side, that's what we discussed. Light falls on the step. I need to show the step one, which is the flat
where we step on, one which is going downwards. One has to be darker, otherwise I'm just going to
see just the parallel lines. Now that I've applied. The step where we step on is the bright light
and then where it goes down is the darker lines, some of the stones on top. On the left, I'm going
to put a little bit of dark suggestion again, don't want to leave
all as you can see, I'm not covering
the entire thing. It's just the suggestion of showing some old
texture on that. Again, I'm going to
do the same thing on the left hand side. Here on the top actually I can
see a little bit of right. But you see on the
right hand side wall on the inside wall is actually under the shade
where light doesn't reach, it's not dark, light doesn't reach, that's very important.
7. 07 Shades and Shadows: In this lesson, we'll
try to apply most of the things that whatever we have learned as
part of highlights, shadows, casting shadows,
shaded portion, all of them. All I'm trying to do is I'm
using the same rhomber and I'm making a little bit of darker on the darker on the gap. Wherever it is, it has either casting
shadow or otherwise. I want to separate them with
lighter and darker color. I know that something is there. If not, I won't be able to see two different
sections of the wall. That's very important. Some of the windows that have drawn and at the bottom
as well, a little bit, just a little bit darker
so that can separate from the wall on this on the
right hand side, again, I'll do the same
thing but I'm still thinking that on the right
hand side the light is from right inside wall of the right hand side actually
doesn't get light at all. It has to be under shaded
part in the sense it has to be a little bit
darker compared to the wall which is inside
on the left. That's idea. Let's see what we
can do with that. I'm trying to go around here and there with very thin
wash as you can see it. You can call this
as, like I said, not even layering butz with the same water color,
very thin color. And then so that I
can actually get that on the left hand side, light is from right. On the left hand side, I have to glaze it with a
little bit darker. Remember that watercolor
dries lighter. Once it dries, it
will all be good. Don't think that it's
too dark, it's not dark. Always whatever value
you want for watercolor, try to mix the color, which is of the value
one higher than what is required when it
dries. It dries lighter. That's very important.
Keep that in mind. On the right hand side, again, I'm going to put a
little bit darker. Like I said, I'm going to use the same method for where
the light source is, Where the light source
is not on the left side, light doesn't touch reach
it's under shaded portion. Based on that, I'm
going to do that a little bit of shadow underneath here as part of the
shadow casting shadow. Now the foldings wherever
the structure is actually protruded a little bit and then casting
shadow might be there. That's again, one more
little bit of shadow there. A little bit of shadow line there that it gives a structure. Because these are the colors or the glazing or the
shadow highlight. Playing with shadows, shades and highlights are actually
very important to make something look more
three dimensional apart from the basic drawing
of perspective. Let's just see what else, Prussian Blue, I'm
going to use actually, if you look at any
photo or something, you can see that during daytime, if you look at any windows, any windows, any house
windows, during daytime, they look dark because the light is brighter
outside compared to inside. If the light is brighter inside, which is at night, then you'll be able to
see what is inside. All depends on the light source. Instead of using black, what I've done is I've
just taken Prussian blue. Dark Prussian blue. And I've applied a little
bit of dark here. And even the windows, small gaps on the
top, the bottom, Little bit of those on the
little, some small ones. All of this detail actually add up to the entire painting. Like I said, I'm not looking for a perfect every detail
from any photo. Like I said, if
someone looks at it, they should be able
to say what I'm trying to paint or what
I've already painted. That's very important,
like I said. Now I'm going to use crimson and ultramarine blue.
Ultramarine blue. Let's see, that's a color
which is my red violet, which is of cooler color. Right side of the
wall is actually casting shadow on the floor. That's what we have to keep in mind. That is the diagonal. Remember the casting shadows actually you have
to have an idea by looking at many references. And then the light
source, the direction, how high is the light, That one actually diagonal near the door. And then it goes all the way. Also follow the
same perspective, the one which we talked about
as it goes away from us. You can see the width of that casting shadow of
the right side wall is narrower compared to the
width which is closer to us. It's just a glazing way,
Glazing, very watery. And then I'm going
to leave that gap. Remember that gap, light will
fall through that gap then. Don't rub too much. Because if you rub too much here again, you might pick up that color. And then remember that I
said when I said glazing, the bottom detail
is still there. Bottom detail is still there. It is not rubbed or mixed, or done anything with that. On the right hand
side, let's just see. Remember, this is what
I was talking about. On the right side of the wall, inside is actually under
shaded, light doesn't reach, it has to be darker than the inside wall on the left hand side that
has to be brighter, which gets the direct sunlight. This is what I was
talking about. Try to make sure
that these are all the important things that
you actually keep in mind. Even if you're
painting on your own, find out the light source and
see where shaded region is, where the casting shadow is, where light doesn't
reach. Very important. If you've done all of this, I think your painting
should look good as well. Once this is done, please post your project. I would love to see because it's lots of things
to learn from this. But the idea can be applied
to many other things. Like I said, the main thing is understand the concept of perspective and then a
little bit of details, apply the wash color. Your painting should be
as beautiful as mine. I hope you have done well. Post your project. I will
see you in the next lesson.
8. 08 Final Note: I hope you enjoyed
the entire class. It's a very small class, but the main thing is I hope you have learned
something out of it. That the way I've applied
the colors, very simple. You can take out, take any reference material
which is very, either congested or
otherwise too many things. But simplify it based on the main subject and then a
little bit of surrounding looks more beautiful.
So just try to apply the same knowledge in any
of your future paintings. So if you have any
request that you need certain things as
part of pendant wash, I might come up with different ideas for the next classes. But if you have anything,
just write it down. And don't forget to write a
review on the same class. I will see you in some
other class. Thank you.
Beyond Brush, Hidden Artist Within YOU
