Transcripts
1. Intro and Project Description: welcome and thank you very much for joining me today. If this is your first time taking a class with me, my name is any person's. And I'm an illustrator and surface designer with focus on creating bold and colorful watercolor artwork. Today I'm gonna be walking through the entire process of creating one fold watercolor character illustration from start to finish. So I'll begin with the sketch and then lay down paint and all wrapped up with some final touches. Along the way, I'm gonna be narrating different techniques and artistic choices that I'm using, as I make the illustration kind of as a snapshot of what my process looks like right now, so that hopefully you can enjoy and come away with some ideas for your own artwork. For your class project, you can post a character illustration of your own to the Project Gallery, with some notes on your process and ideas that you used while making peace. It could be a character from a book or a movie or character from your imagination, or even a take on the character that we're going to be drawing together today. The choice is up to you, all right. I'm excited to get drawing, so let's gather our supplies and get started
2. My Supplies: All right, So before we get started, I just want to take you on a quick tour of the supplies that I'm gonna be using to create this illustration. Today you can do a character illustration with any kind of art supplies or water color supplies that you already have. This is just kind of a snapshot of what I'm using and enjoying these days. And if you're looking for recommendations on watercolor supplies than these are things that I have, I really loved on used a lot. So on the left, I've got my lineup of paints up here on the top left. I've got prema marketings, watercolor confections set in the tropicals palette. There's just some really wonderful warm, bright colors. I've got my mixing train in the middle and then don't here on the bottom, I've got a course which is a quality of results from golden paints, and they also have some really bright, smooth watercolors that I've loved using a lot. If you tuned into any of my life strings on Instagram, you'll have heard me talk about these a lot in the middle. I've got my watercolor paper. This is CANCIONES £140 watercolor paper, and you can find this at Walmart at Hobby Lobby at Michael's. That is a really easy watercolor paper to find on. I use this for 99.9% of my watercolor projects. That's just really good basic watercolor paper to have. I've cut my paper down to a five by seven on. I just taped it to the back of the paper pad with Washington, so the tape will keep the paper in place. And then when I pull it up, hopefully it'll have a nice, clean border around the edge of the peace. So moving over here are my sketching tools. I've got my sketching pencil, which is a very short and very well loved person of color calories in red. It's an array civil color pencil. Um, and as you can see it, I've used it a lot on The reason I am sketching and read today is I usually like to draw people in red or brown or orange or some kind of warm color, so that if my pencil sketch does show through, it's something a little more lifelike than just a pencil gray. Then I got three erasers kind of a small medium and large for my biggest one. I've got again a very beat up a pentacle high polymer blocker racer. It's very soft. And can a race kind of big sections of the sketch if we need it to, Then I've got my Tom Bo sand and Rubber Eraser, the mono That's really good for getting up some stubborn lines. And I've got Tom Bo mono zero, which is a fun little race, so that kind of works like a mechanical pencil. So if we have any tiny details of the sketch that we need to clean up, this will be really useful. Ah, then I've got my brushes. Thes are kind of my all purpose brushes. Thes are Windsor and Newton Cotman Ah, watercolor brushes and Common is Windsor and Newton student brand, and they're just really serviceable synthetic brushes in various sizes. On. Then I have a few Princeton brushes as well, which are a little bit nicer, and they're very fun to use. Um, in 66 and 10 I've got the to Neptune's and then the heritage brush here on the left, and these absorb a lot of water and make some really nice smooth lines. I've got water, of course, because of painting in watercolor and then moving on to my stuff for kind of finishing details. I've got a few very small pens in black. I've got the Tom Beaumont, a drawing pin for one, and then Faber Castells pit artist pen in sepia, and that's, Ah, small size. They're both very small pens that I might use for some tiny details. If there's something I really want to emphasize or pull out later, we'll see. I'm not sure if I'm gonna use that quite yet. One thing I'm really excited about using today for finishing details is prison a color premier colored pencils, these air really soft, really colorful pencils that are great for putting some finishing touches on a piece. And we're gonna be using those a lot today, I think. And over here, I've got prison color, makes a pencil sharpener specifically built for the prison colored premieres, and you can see it use this a lot. I need to empty it up, but that's the pencil sharpener I'm gonna be using today. Okay, that's all our supplies. Go ahead and round up whatever supplies you're going to be using today, and we'll start laying down our sketch
3. Sketching: all right. So as I start with my sketch and move forward and making this drawing, I'm going to trying to do what I normally do just with the camera on and talking a little bit more than I normally dio when I'm creating character illustration. If there's anything I forget to cover as I go, feel free to leave a question about it in the discussion board or go back and slow down the video to watch at your own pace. But if you have any questions, I'm happy to elaborate on what I'm doing. So over the past few days I've been making a few little thumbnail sketches of how I want this drawing toe look and you can see in my sketchbook. It's kind of gone through, Ah, lot of different versions and stages, but I like these two down here on the bottom, right, kind of, Ah, um, waist high portrait with the floral hedge in the background. So I'm just gonna keep it open as a reference. I don't do this every time I create an illustration, but when I want to have a plan going in, I usually do take a few minutes just to sketch out a rough idea of how I want the drawing toe. Look at the end that I have kind of, ah, road map of where I'm going. So I got my pencil, and I'm gonna start just very lightly sketching out the shapes of this character. So let's start with the circle. I'm going very lightly, not even touching the paper at first until I have a head shape that I like, bring the jaw. And if you want a little bit more detail on how I put faces together, you can check out. My other class learned to draw faces with four simple shapes. That's where I really break down a little bit more how I, uh, create faces on, and it's really simple. So if you're looking for a little more, uh, in depth discussion on how that happened, definitely recommend checking that out. So I got ears head job. I'm gonna bring the neck down like so shoulders and again, I'm just going very lightly, just kind of getting the the basic shapes. Don't come back and put some more definite lines on this later. I haven't my sketch here that she's holding a flower pot. And I think I do wanna bring that in right around here that can has a room on it, spring the shoulder up a little higher cause she's got her arm raised. Hands are funky. A lot of artists struggle with it. I kind of freestyle it and define later as the shapes go on. I want to get a glove in there rather than having just her hand bringing a garden glove for I want to do some pattern matching pattern mixing and the glove gives us another opportunity for more fabric and patterns. Elbow comes don't like this or connects there. Maybe she has her sleeves rolled up. We don't see the other arm, but it goes down like that. Do the collar. I'm realizing as I'm doing this sketch that she's facing almost exactly the same way as the face I do in my face is close. So if you're looking for ah more sped up version of that, I guess that's it. Kind of. The shoulder seam of her shirt becomes the strap of her overalls. You've got some dirt in the pot, and I do want there to be a plant. I'm not very good at freestyling print plants, but I'll give it a try. Maybe it goes like, Oh, I have an idea. Let's make it a carrot so we could just see the top of the care of right there and then the greens come out like so I'm not sure why you'd have, like, just one carrot in a pot, but it looks kind of cute. Maybe she's transplanting it. And as I start defining shapes, I press a little harder down on my pencil. So just going back and kind of committing to those shapes a little bit more, especially because if I come back to this later, I want these lines to make perfect sense to be and not be a super muddled. Bring that wrist in just a little bit more more of a curve out to the glove, but trying to make my sketches so that if I leave for a little while and come back to this , I won't be confused as to which lines I'm keeping and which lines and leaving. So there any overlapping shapes, like with the neck and the collar. I tried to erase the overlap lines. Whoops. There goes my pencil so that I know exactly where to fill in and don't lose the basic shape . But button race the overlapping lines on our carrot greens. All right, come in in pencil in details on her face again for specific facial features. Kind of more details on that in my class. Learn to draw faces with four simple shapes. The name of the class. I think I want her eyes to be a little bit lower down. Sometimes it's a matter of trial and error. Really big people's or irises. I've taken to that recently because then you can add a color I've enjoyed doing because Len , maybe a little suggestion of a lower lid keep the eyebrows kind of rough and natural. A couple little lines there for the suggestion of the bridge of the nose. It's dio maybe around her nose. See how that looks. I like the look about NFL mouth, kind of like in the sketch down here, this little too detailed making off a little simpler and a little bigger. Is this part of jaw go that shaping up nicely? Clean up that doll in a little bit so I know which one I'm committing. Teoh maybe a temple. A little more detail on that here. Okay. And the will sketch in hair. So I have things on this kind of section that comes down like this. So I'm just penciling in the rough outline, top of the hair, like so fall in the bun. And then she's got a section that comes over the ear and down like that, and I'll just follow that around a few times. Severe, Really fun. Sometimes I enjoy posting character illustrations like this on my instagram. The air feels a little too full over here. Let's erase one of these outer lives sometimes a post character illustrations like this on my instagram and then just kind of asked, People like, Tell me something about this character like tell me their name or their occupation or something about their personality. And I really don't have any ideas when I do that, But it's really fun to see. Um, people respond with different ideas about the character that I've drawn on, kind of let that be a kickoff place for different people's imaginations, and everybody kind of has a different unique idea when they look at a drawing like this. So It's fun to kind of post them on social media and and say, You know, what does this make you think of? What do you think this person is like? So, yeah, I enjoy posting character illustrations on social media there really good portfolio pieces if you're interested in doing, like, uh, books or anything like that to say, Hey, here's how I draw person Um, they're great for family, and I enjoyed doing Fan are in a lot and so care. Drawing characters of your own imagination is really great practice for fan art, and vice versa. Fan art is good practice for creating your own characters. They make great gifts if you want to do a portrait of somebody from a photograph. So there are a lot of different uses to being able to draw people like this. The one other thing I have in my sketch that I really like is to give her some kind of really simple little hair tie up here next to her bun, all the race that I think this is looking good. Sometimes you don't know until you start laying down paint if something's really gonna work . But so far I'm pleased with sketch. Clean up a few more little lines. Finish extending that pot town. Okay, All right. So I do have some ideas for the background, but I'm not going to sketch those in because I want those to just be a really loose and painted. All of the details are going to be in the foreground with the character. So I'm pleased with how the sketches looking. When we come back, we're going to put some paint on it.
4. Painting, Part 1: Well, we've got our sketch down. We can start laying dubs of paint, which is definitely my favorite part of the illustration process. Skiffle that a razor dust off of there and move sketchbook out of the way. So what I want to do first is mix ah, skin tone for this character. That's usually where I like to begin, just with lightest version of that person's skin tone. I think I'm gonna grab up my five common brush, and usually I mix a few different colors to get to a skin tone that I'm happy with for this character. I am thinking I want to make her a redhead so we'll go ahead and throw some of that orangey brown color into the skin. Tone mixed that out. It's a brighter red from the tropicals palette. Get Teoh a lighter pink color and then maybe bring this into the realm of a peachy skin tone with a little yellow. All right, I think we're not water that down. That's where I will want it to be for the skin. So let's throw some on the page and see what it looks like. We'll start with this arm section just like I could always come in and out more color later . That looks good, just going very light, trying to keep the color. Really, even. It will come in and add shadows and, uh, other kind of tones on top of this later. Once this first layer dries, it's going slow and steady with this coming and right under where the bottom of the ice would be. I usually try to be really careful around there because obviously I wanna reserve the inside of the eyes and leave them white coming around the top of the I carefully on that side. There we go. Once I get around the eyes, I can kind of relax anything else. It's OK if a little bit of the skin tone gets in there. The eyes. We want to leave them pretty white. And if she were showing her teeth, I would want those to stay white as well. It's not coming around the hairline. Sure haven't missed a spot. Looks good. Okay, so for where I'm going next, I usually try not to paint two shapes that border on to each other. So if I were toe paint her hair, for instance, there might be bleeding between her hair and her skin. So I'm gonna leave that alone for a minute. Let's dio a light wash of pink on her overalls. I think I want to make them pink plaid. Just go. Really a really wild here and again. Starting Really? What? Light and water down on this first layer of color? Because we're gonna come back in and add more later. We just see a little bit of her overalls on this side. Okay? I just did a very light layer on the skin. So let's see. I think it's dry enough that we can start painting the hair now. Really? Light layers like this only take a few seconds to dry. You'll notice. I do tend to kind of poke at my sketch a little bit with the tip of my finger to see if the pain is drawing or not. Sometimes that works really well. And sometimes I end up leaving my fingerprint, uh, in the pain. So just do with caution. I'm gonna makes a hair color for her and use that same brown red we used in her skin. I think I can get to her hair color using the same colors we used for her skin just a little bit brighter. We might have to add in a little bit of brown. Let's see, but as much as possible for hair and skin, especially if the character has their natural hair color. I try to keep the hair and skin tones in the same color family by using the same colors. I might add just a little bit of this tiki brown from the Tropicals pellet to bring it into a hair color. There we go. I think that's about where I wanted to be just really light, just filling in the shapes, coloring in the lines at this point. Then again, I'll come in with more detail later. This is more of a brown red than I originally intended to be, but that's OK. I can come in and add some redder details later. Hey, this is good base layer bangs coming down on the forehead. I don't often paint characters with things, but I like this. Then, usually, once I've got the base coat of hair, I'll come in with a smaller brush, grabbed the same color and kind of paint a few flyaways outside of my main shapes just so that the hair is not all living in one shape, that it has a little bit of dimension to it. I find this really fun, so I'm trying not to get carried away because sometimes I paint too many, but its OK, this character can have messy here except for her. All right, I think that's here taking care of for the moment. I'll use that same color to fill in her eyebrows. But usually I come in and fill the eyebrows in a little bit darker than the hair. I find that to be true for most people that their eyebrows seem to be darker than their hair color, but this gives a good base of that. The eyebrows and the hair have the same undertone to them.
5. Painting, Part 2: let's use some of the same color to mix the terra cotta for the pot. I try to as much as I can reuse color so that everything looks nice and harmonious that we go. That's where I wanted to be, making sure the overalls air dry, coming in with a slightly darker color on this terra cotta pot. Because I know that it's kind of a heavier object kind of an object that I'm not gonna put as much detail on. So I'm not gonna worry about keeping the colors light on that, cause I'm not gonna add a whole lot more detail to this after the first layer. And we know that the pot extends underneath her hand. As I'm painting up against the washing tape, I try to start on the Washington and come into the drawing. Otherwise, if I paint towards the washing tape that's forcing paint up under the tape and it may ruin that nice, clean border that we want tohave when everything's finished. Okay, there's the pot taking care off. Think I'm gonna let that be for the moment, I'll come in and add a little bit more detail to the face now that the skin has dried. Sometimes I like to take a little bit more of that skin tone and come back in and just go over the nose with it just lightly. In fact, I might pull some of this color up this maybe a little too much, just to show that the nose is a three dimensional object that kind of sits away from the face. It's not flat, uh, into the face, but it sticks out a little bit. I'm going to use some of the skin tone and mix some pink into it for a lip color. Oh, mix in the same pink that I used for her overalls. I may need a smaller brush to come in to do look, color. I like this part cause it always feels like I'm doing someone's makeup very lightly. I think I'm gonna use that same pink color to add just a little bit of color to the cheeks , just a tiny bit of pigment and then a lot of water because I don't want it to be a parent, Uh, where that color begins and ends. I just wanted to kind of loosely spread across the cheek on both sides Just the barest whisper of color on either side. Come back in and use my little brush I'm gonna grab fallow blue, which is my favorite blue uses a very bright blue but I'm gonna wash it down just a tiny bit to do her eyes And I think I'm also going to use this blue on her shirt That's too much . Get some water the more carefully I draw the closer. I gripped the bottom of my brush, staying it It bled into her cheek. So we'll use a dry brush to pull some of that color up brushes their absorbent. So I'm just using a dry one to pull up that color. I'm gonna stop, let that dry and come back to that area later. Hopefully, that won't be too much of an issue. Let's come down here and use that same blue on her top wall. That area dries out. That's what you do when something like that happens, just kind of sing during your and then move on, using a lot of water with this fellow blue because I wanted to be a very light blue. I'm gonna come back in with pencil and put a little pattern on this shirt. Later on, just a very light wash of blue on the shirt. I might need a bigger breasts. Switch back to the five again, just keeping things very water down on light, tiny but for the other side. There we go. Let's come down to her glove. I think I'm gonna do the glove in sap green. I have a little bit here on my mixing trade, so let's just grab a tiny bit of that. The pot seems like it's nice and dry now, and we'll just do a tiny layer of that very watered down. There's a hair in there. I don't know if you could see it on camera. I just picked it up with my brush and deposited it on my paper. Tell sometimes hairs or a race or dust or any kind of detritus make it into the painting. You can either pick it up when it's wet like I just did, Or you can wait for it to dry and just peel it off. Not quite sure what pattern will do on the glove yet. Figure that out later. The hair seems like it's dried really nicely eso I'm going to come in and maybe we'll do A darker blue on her hair, her hair bow Rather we're not gonna absoluto her hair. Although I suppose we could That's a drunk a different day.
6. Painting, Part 3: I like when you darken this fellow blue How it just turns into this really pretty midnight color. I feel like I've got a hair on this brush to All right. This is dried, so we'll add some sap green to the leaves of the carrot. That's kind of just how it goes, hopping around from shaped to shape, avoiding ones that air drying and then kind of looping back around to ones that have dried . I need a bigger brush. I feel like I'm kind of alternating between my three and my five for this one. That's just kind of what feels right for this and the one. I guess I've used the one a lot as well. I had a little bit of water to let that color kind of distribute itself. Let's hop back up here and see that's still a little wet, so I'm going to stay away from it. Instead, I'll add a little bit more of this terra cotta pot color to her hair. Just kind of filling in alternate sections doesn't have to be that precise. It's giving a little texture a little bit of depths that hair color, especially thinking about which sections of hair, maybe underneath other sections, and those will be a little darker. Okay, I think that eye and cheek section has dried in the first to attempt painting it in again. Let's come back to our fellow blue and just very lately, come over the again. There we go. That's more like it. Tiny bit for the other side. I might use a little more of that tiki brown to darken the eyebrows. As I said, it just kind of looks natural to me. When a person Xiros air slightly darker than their hair, I'll come in with my three and grab. This is a trick that I've used for a little while to make shadows on skin. I tend to mix the skin tone with just a little bit of purple. It keeps the shadow tone nice and warm instead of doing it in a gray or bloom, and I will try my brush off a little bit. Just come under the chin little shadow right there under the sleeves. And usually I like to add just a tiny little triangle of shadow where a person's collarbone might be. I think that's it. In terms of shadows I'm not gonna go overboard on it. Tiny bit on this ear. That's visible. And that's it all used to straight up the tiki brown to make the dirt in the pot Sometimes , if it helps you. I've definitely been known to keep a sticky note with a list of all of the colors I've already used before. Especially if I'm working on a project that involves multiple pieces. Just to say if I need a yellow, I'll go back Teoh this yellow and not, you know, this yellow to keep things really nice and simple. All right. Got my dirt in there. I think I'm gonna leave her tank top white there. The background. See, I stuck my finger in it and it wasn't ready. I'm just gonna replace a little bit of that pigment that I lifted up with my finger. We'll wait on the background because that's still drying. Maybe we can come in and out a little detail on this glove. Maybe it has a slightly darker green band on it, but just a few shadows on the blue shirt. I'm not gonna worry about painting patterns on there. I'll do all of that in pencil looking at a lot because I don't want this drawing to be super realistic or detailed just enough to show kind of where my lights coming from, what shapes are in front of other shapes. Those air general rules of thumb to think about was lighting. I might add a shadow on her forehead here, where her hair is going on to her forehead. There you go. Just really settle. Probably something that nobody besides May well ever think. Toe notice. Tiny little shadow here on the overalls. All right, that's it for the first layer of color or the first couple, the first layer and 1/2 of color. Let's say I'm gonna let this dry, uh, go take a break and I'll come back and paint some details in the background and a little bit
7. Painting, Part 4: not a lot left to do in the way of painting. I'm just gonna add a little more detail to this carrot and then fill in the background. I'm just gonna grab the same red and yellow we've been using. Mix up a nice orange. Hadn't still that in looks nice. Maybe take this up and do a little more detail on these greens. Marissa. Darker green leaves here. And I can add some more detail onto this with the pencil in the next step. But for now, that looks good. And then for the background in my sketch, I had kind of almost like this character is standing in front of a rose hedge. That's my hope. So I think what I'm gonna dio is just do it first. A base layer of sap green on. Leave some holes to pain and some roses later. So maybe I'll put one there, fill in around gun, trying to paint in from the washing tape. It was close up to those shapes as I can and this white space around her. I can either leave it white. It's kind of a nice thing to help pull her out from up against the background, or I can use the pencils to fill that in later. And I'll make that decision as I go later on. It's getting right in that little hole, and we're not worrying too much about variation of color, just kind of letting the paint do its thing. Uh, because I think that creates the most natural effect since I'm painting a hedge. I love the way the stop looks. Maybe a smaller rose right there. Maybe blend this in a little bit. Maybe some roses that are kind of going off the edge of the painting realizing the danger of painting right toe left is pretty soon I'm not gonna have a place to put my hand. I might need to turn this around. Good. That that that's That's what went right there for elements like this. I usually try to keep them in a triangle. I am gonna have to turn this around so that I have a place to put my hand. That's not in what pain? Working upside down for just a minute. Slow and steady, uh, another space for a flower written there. - I was like get down towards the bottom of the page. that I flipped back around to see if this is something I want to dio. I think I do wanna go ahead and throw in just a little extra green down here at the bottom . Kind of like imagining as we go down towards the bottom of the drawing that there's less light. And so the color is a little bit darker. That gives us an opportunity to smooth out this color a little bit as well. Just kind of progressively using more and more water to work that dark color up into the light at the top. Somehow I got a racer just in there. I'm not gonna worry about that, okay? And then with a smaller brush very carefully, I think this is dry enough to do this. I'm gonna grab some of that same pink we've been using and just gently fill in those holes that we left again not worrying about the white space. I can take care of that later. - Okay ? That is my next layer of paint. So menopause and let that dry, and then we'll come back and add some detail with pencil to finish it off.
8. Pencil Details, Part 1: our background is dry and we're almost done. Uh, now we just get to add some pencil detail to the strong, and I think that's what's really going toe. Bring it to life and bring it all together. I took some time Teoh sharpen my pencils real quick while my paint was drying. I like the really nice and sharp, Um, and I think I'm going to start actually, before I break in my pencils. I want to start with the one pen detail I know I wouldn't do, which is the outside of this character's eyes. And I think that's going to be the only detail I do in pen, cause I really want to make sure it stands out and it gives me a little more control. Then the pencil as well. You can kind of fudge everything else, but if the eyes aren't right, then it's really hard. Recover the character. So that's that. That's all I'm gonna do in pencil and in pen, rather, just that eyelash line. Then I'm gonna come in with Crimson Lake, which I've really enjoyed as, uh, a pencil for line work for people. I think it's just a really warm pencil to use when outlining people. So I'm just gonna go over my sketch really, really dark in those lines and define them anything. That skin. - I think I might take my pink and just fill in those lips a little bit more. Give this a little more color. I'm gonna use this light cerulean blue on her eyes to give those just a little more definition. If you feel there's in a little bit, I'm going to be using terra cotta on her hair and on her eyebrows. I usually go for the face first because that's the part that I'm most concerned about getting right. Once I do that, I can kind of relax and do everything else says, he said. I'm not going over every line of my pencil sketch, just kind of giving information that's necessary toe. Understand what's going on in the drawing. What details are important? What details I want to pull out a little bit more, and there may be areas where the paint kind of speaks for itself. But I'm not being too rigid about following my exact sketch from earlier. We're staying inside the lines of my painting and sketch from earlier thinking I might need to add a little more pencil colored her face. Let's use this light. Describe the crimson red. You're just a little more filling in here like that that looks a little less like she's got lip liner on and maybe use the pink to emphasize that painting we did earlier. Just very lightly Go over that Alec. We'll come in and use that same light cerulean to outline her shirt and maybe to dio a very light. I can't remember if I wanted to do. Platt on the overalls are on the shirt, but I'm Chris feeling like doing it on the shirt now, so that's where I'll go. I'll just do a light blue straight like that, Another just kind of letting that texture be rough. Then maybe vertical stripe with, but I kind of like how the texture of the pencil looks on the texture of the watercolor paper. I'm switching over to Copenhagen blue to kind of emphasize that a little bit. It gives that cloth like texture that I'm going for just kind of emphasizing the points for the stripes overlap with the darker blue. Nothing overly detailed because I don't want it to pull the audiences. I just enough to give the suggestion of the clad are really like How about looks? Let's see now go in and outline the overalls. You come in and add a little detail like more of the strap. But you look like that and a very light pattern. I like doing tiny hearts. It's kind of one that I keep coming back to whenever I need to put a pattern on clothes just kind of half dropping Those okay, maybe it will go over the shirt in the Copenhagen blue just to pull out the outline of the shirt from the pattern. Yeah, I think you could see that a little better. Similarly, I'll just go lightly in red over the overalls to pull those out from the pattern a little bit, too. Let's use that same brown to go over the pot shade in the area that's further away from us . Maybe give a little texture to the dirt, come in and use a dark green outline. This carrot leaf. I have an idea. What if I did a little like loop in between to kind of join those leaves together? I like that. I think it's cute. Use that to outline her glove to her fingers. Air kind of gripping the pot. Use the apple green to maybe I've already done stripes already done. 1/2 drop. What if I did dots on the glove? Fill those in with apple green.
9. Pencil Details, Part 2: Right now I'm having fun experimenting with using ah lot of color pencil on the back end of a drawing. That's not always the case. Sometimes I like to let the watercolor speak for itself a lot. Um, it just kind of depends on what I'm in the mood for. And at the time that I'm recording this, this is just kind of where I'm landing and what I'm having fun with. So what I'm doing right now is adding a little pink details with roses that we added in the background. And in some cases I'm kind of even going outside of the spaces we drew or adding in new spots. And it kind of just adds a nice little texture to the background that we painted just a little spiral just to kind of suggest a flower. Nothing. Teoh botanically correct. Maybe I'll use Red outline emphasised the outline of that a little bit. It started raining. We'll use the apple green to kind of fill in some of those white spots a little bit kind of blend the character with the background. This is actually really nice drawing and listening to the rain. Hope you're enjoying it as well. Maybe I'll take the green and add a few leaves in the background. I might do some in apple green and then do a few and dark green as well. Skips a really nice texture to the background, I think. - Oh , I forgot to do. You tell her that flower. And as I say, this is a lot of colored pencil. Like I could easily have done this with watercolor as well. All right, I kind of like just the outline. Maybe I should just outline leaves in the dark green, let overlap in a few places. Oh, I like that. Sometimes you kind of just make stuff up, is you go along. So as I was saying, I could have easily done this in water color as well. But right now I'm having a lot of fun playing with colored pencils on DSO. I'm just following that and, um, letting that texture shine out in a few of my, uh, recent illustrations. That looks really cool. It's just kind of placing them any which way. Until I filled up the area. - Just gonna have a look and see if anything else needs to be emphasized to make sure you can see it up against the background. I'm gonna put a heavier outline on this screen spot to make sure that it's really distinct from the background. Maybe I'll use this dark green just to kind of put an outline on the character. Just to say this and the background are not the same. Maybe not as heavy on the hair, more on the solid shapes. Even use that. Just a touch on the inside. Just a little bit of detail to this Bo. This is really heavy pencil, but I'm kind of digging in. All that's left to do is to peel up my tape and hopefully the border will look nice and clean. That's good. That's exactly what we wanted to see. It's also really fun to peel the tape up and get that nice, clean edge. It's pulling up a little bit of my pad to with us, Okay, you can see the back. It's pretty beat up. There we go. I think I'll call it done. So all that's left is to sign it. And usually I just find a little corner and put on a P. All right, well, that's that done. Join me in the next lesson for a few final thoughts
10. Final Thoughts: Okay, That's it. We're finished. I hope you enjoyed seeing the full process on this character illustration on. I'm definitely excited to see your work. So please do upload your drawing to the project gallery with some notes on your ideas and the techniques that you used to make the peace. And I'll be happy to give you some feedback on your work as well. If you have any questions or feedback for me, you can leave that interview or discussion board below. Or you can get in touch with me on social media. I am at any drones. Things on instagram Facebook, Pinterest I'd love to get to know you and your heart a little bit better. Thank you again for joining me today and I'm excited toe drawn with you again.
Annie Parsons, Art and Creativity
