Create your own magic illustration. Luminous Objects and a Brickwork in Watercolor.

1. Intro: Hi. I'm [inaudible] , a watercolor Illustrator. In this course, the example of a single wall, I will show you a few watercolor techniques. The first one is how to create luminous objects. In our case, it is a window we use electric light. But for example, storefront, lantern, moon candle and so on are drawn in a similar way. We will draw the window and the dreaming girl in it. I'll show you in detail each stage of the work and step- by-step, we will create the finished illustration. I'll also show you a few others seen variations so be sure that by the end of this course you will be pretty sure at how to draw anything in the window. In addition, I will explain how to draw a human subject environment. In my example, this is a wall of the house but can be any environment around the humanist object. Also, I will show you the easy way to paint a realistic brick wall, to create texture of the old brick wall.I really think, any skill level is able to do it. These techniques are good to create Christmas illustrations, for Halloween or any illustration with magic, mystery or something like that. Lets start. 2. Stuff nedeed: Of course we need the watercolors. I use professional paints in [inaudible] or tubes. But if you don't have it, don't worry, children paints is also suitable to start. Paper. For my illustration I use cotton paper. You can use what you like but it's better if a paper density with 300 grams per square meter. Also we need more plain paper for sketches and drafts. Use any brush as you like. But for the brick wall we definitely need the flat brush. As for me, I use usually a cheap one from child brush set. Still we need white wash, pallet, paper tape, napkins, pencil and eraser. In general that's all. 3. Composition and Draft: Firstly, let's think about the composition of our illustration. Now we need a paper draft. It is not an illustration, it is a draft to draw all the details and to make correction. I draw the outline of my huge illustration because it is different from the size of the draft sheet, and I press on the pencil very strongly so the line could be seen on the video. You can draw as comfortable for you. Now I want to draw one large window. It will be the center for the composition, the point of a viewer attention. At the bottom of a window, there is usually something like a bulk. I don't know how it's named correctly, but I think you understand what I mean. Now look, I decided for myself that the eye level of Hoover is somewhere here. From this we see the deepening of the window in all sides. The window and wall are usually not even. The window is deeper in the wall, so draw this thickness. Then there is the window frame itself. I would like the window to be old-fashioned. Plus we can see the thickness of the frame. Yes, we have a lot of parallel lines here. Now draw the neighboring windows. Based on the edge overview, we don't see frame here. But see here and here another window above. See that the windows view on the same level. Again, here we don't see it as a frame. We can see here, and here we live on the windowsill. Another window and angle. Now withdraw from what we see in the window. I wish our drawing go here. To draw here, I previously looked up some photos in the Internet and train in the draft. Stage 4 is suitable image and posture. Ready. 4. Clean copy: When all the details are completely drawn, we'll leave all the corrections on the draft and redraw the image on the clean copy. Try to make the minimum amount of corrections on the clean copy. Use eraser as little as possible, vertical paper doesn't like it, and press on the pencil very weakly so the lines are barely visible. I guess this process will be poorly visible on the video because the line is really pale, so I'll attach the photo of the draft and the clean copy by course. You can find them on the tab, My Project. In the same tab, you can later show your work. I'll wonder what you'll get. Plus I can give a feedback, suggest what could be done better and underlying positive aspects, if you want, of course. It should look something like this. 5. Light. The main principle: Light. The basic principle is this, make all luminous objects as warm as possible. The light is very warm and very transparent. It may be yellow, yellow ocher, cadmium red, orange, in a way a tone will be dilute. For luminous objects, it is better not to use highly saturated colors like this one. 6. Window. Light: Getting to the window, I wet the surface of the paper where the light is, without touching the frame at the girl. Ready. Now, I make a weak yellow tone. Oops! that happens, it is a water color, be ready to the unexpected. It's okay. A squeeze brush will absorb this spot don't worry. That's all now it's okay. Continue with a window. I decided for myself that the light source is in this corner. So I'm starting to cover the dawn from here. Add some yellow okay. Now, dilute orange, and this corner a bit darker, less light gets here. That's all. 7. Girl: Done girl. I take the thin brush and choose the tone for the skin. Let it be red ocher with water, like this. Skin tone also should be bright. Remember that there should be no sharp contrasts and dark tones. Here is a shadow and gradually, tone become lighter, dilute it with water. Remove excess paint from this side and the bit darker tone on the neck, and then eyes. Look, I make the nose a little bit brighter, removing excess paint by this grease brush. Make the eyes a little darker, but be careful not to overdo them. Make the hand lighter by the one side and darker by the opposite. Getting to the T-shirt, I want it will be a white with stripes, but I will not leave the white paper. I make the yellow okay with gray, it makes warm gray color. The tone must be weak and transparent. Color all the T-shirt. We'll leave the paint to dry and draw here. I take the warm brown. In some places, I leave white highlights. Less light gets here, so there are no highlights. I take a little bit more intensive tone and add some shadows in here. Go back to the T-shirt, for stripes, I take a dilute cadmium red. I draw the stripes, but make them purposefully rough, simulating the folds of clothing. Here, increase the tone of the shadows a little, but note, all scene in the window is made without sharp contrast. It's important, remember it please. Do your tone here. In this stage, we will suspend work on this scene, but we will return to it later. 8. The wall of the house. Background.: Getting to the background of the wall. The idea is this, if the light inside the zone, it means it is cloudy or dusk or night to outside. We will draw the dusk. We have light here and shadow here. In the shadow, all the colors should be gold. Firstly, I'll create the background for the bricks. I take the indigo or rather called gray, dilute it with water, and color the entire area of the wall. It is necessary to make a big puddle of paint solution, because the surface which will be covered by paint is quite large. If we drew not dusk but night, the background would be darker and had the benighted a blue, purple, indigo. If it was just cloudy, then all the colors would be either lighter and brighter, but not much. Now, leave to dry. 9. The frame of the window outside: The ground is dried. Take a brush thinner and cover the frame of the window in the same tone as a background. Because it is in the same plane as a wall of the house, they're are eliminated equally. I do the same with the other windows. Will continue work on the window. Now we need to cover these planes. They're lighter and warmer than this because it gets inside light. I take my palette and add a yellow [inaudible] , we get a warm tone and dilute it with water. 10. The windows with the lights offw outside: Leave the main window to dry and pay our attention to other windows. As planned, they are not illuminated, so for them I need darker tone. There are planes which get less light, then the wall plane. But don't overdo it. Now we need to cover the remaining white areas. Because inside there is no light, it will be the darkest places in our illustration. I take the deep indigo color or rather cold gray and make it so dark as possible. Look, it should be much darker than we used before. Carefully cover the windows. Oops, stop. I found out a mistake. I didn't paint window frame here. Now I'll fix it. I blue the dark stain and leave it to dry. Meanwhile, we deal with that window. I want a cat here. Remember, we painted it. To do this, firstly, I use a diluted gray and then back to the dark gray and cover everything around my cat. Please, no small details here. Just a simple oscillate. I take a thinner brush, squeeze it, and make the cat's ears brighter. Ready. Now let's come back to this window. I draw the window frame. Be sure the planes go on the same level. Again, I take the most intensive tone of indigo and cover the window inside. Squeeze the brush and move paint in places, creating a feeling that there is something inside the room. Ready. Leave to dry. 11. Brick wall: Now, I suggest to take a small pause, go to drink water, for example, and then go back and look at their work with fresh eyes. You will see the video window is already begin to shine. Let's continue to walk with it. Before the next step, I want to remind that there are building constructions here, which we will live there. On the top and the bottom of each window, you can outline them with a pencil. Now we need a flat brush and let's choose the colors for the bricks. They should be saturated and gold. I used gold red, gold brown. You can add [inaudible] or purple, CPM. Try to mix different colors on the draft. Practice to create three bricks. One, near the second one, another one between the bricks, leave the place. It is a concrete solution. The color is dark and intensive, but it is lighter than the color of a window of. Remember, the watercolors become lighter when dry. It's a quite a meditative process. Now, I'm looking at the brick wall and feel that something is missing. It looks flat. I want to add volume and shadows. I take a dilute solution of integral and start to underline the bricks. Don't overdo it. This is not a contour. Basically, I underline the bottom and sides, and maybe not each one.The window seal can be underlined heavy to harden Also, I distinguish some frame elements. It is the shadow of the street lantern. Now brick wall is ready. 12. Finishing touches: Well, the brick wall is ready. Let's go back to the scene in the window. I want to increase the contrast a little. I take a warm brown, maybe add a bit of red and orange. But I note that the tone should be much lighter than the tone of the bricks. I make a little bit darker in this corner for make a contrast with the hand. A warm brown in the hair. I repeat once again, it's important that this brown should be much lighter and warmer than the color of the bricks. The shadow on the arm and neck where the T-shirt is. Now look, I highlight the nose making the area behind it darker. Here, I have a technical problem and the important process of phase drawing wasn't filmed, sorry guys. I'll explain what I did. I drew the mouth using a dilute mix of red and brown. Eyes here were brown. Eyebrows, made darker the space between the eyebrows and eyes, and underline the nose, girl is ready. I look at my picture and realize that there is a little empty around the girl. Let's add something, but make it really gently. Let it be corten. I use a very diluted solution of paint because it is important to not divert attention from the girl. Here, there's something on the ground. It really doesn't matter what is it. Add some stains around the girl, maybe it's her thoughts or dreams or something like that. A flower pot. Our work is almost ready. You can leave it on this stage, but I want to add a little bit snow. Let it be winter. I take the white gouache, dilute with water, and splash. Practice on the draft if it's necessary for you. I have got something like this. The illustration is finally ready. 13. Scene Variations: Look at what we've got, our ready-made illustration. The window can be any subject which you like. For example, a Christmas tree and the girl, or just a Christmas tree. By the way, this Christmas illustration pushed me the idea to create this course. The techniques which I explained in this course are excellent to create cozy Christmas illustrations. If you want to draw on something like this, pay your attention, there is also no dark colors and sharp contrasts. For Christmas tree, I use olive green, natural cayenne, yellow ocher, and so on. There is no cold blue shades at all. There are very quick sketches shown, same variations. Silhouette of cats, people, furring Halloween scene or just flowers on the window seal. In general, I really think that any skill level is able to do it. I'm sure you will succeed. 14. Final Thoughts: Thank you for being with me here. Now you know a detailed process of creating illustration and you can create your own version of this story or repeat all steps following me. You've seen that it's absolutely okay to make a mistake and deal with them, and I really think that you are full of knowledge to start your own work on illustration. I will be happy to see your watercolor class projects and get some feedback from you. If you really like this class, please give me a thumbs up. Ensure book creativity to you. Goodbye.