Drawing to Painting Colourful Gummy Bears with Watercolors

1. Introduction: Hi everyone, My name is Mia and I will be your teacher for today's class. Today I'm going to show you how I'll be painting these colorful gummy bears. And I'll show you the process from start to finish. This includes looking at references and trying to figure out which shape you want your gummy bears to be. And then after that, we're going to sketch it out and try out different compositions. Then we're going to transfer it onto your watercolor paper and how to fix misalignment along the way. And then after that, I'm going to show you how I'll be painting it step-by-step. This will be divided into shorter lessons, so it's easier for you guys to digest. Because the composition that I've chosen for my final painting is very simple and straightforward. There will be a lot of repeated steps. So I will be instructing you guys in a detailed manner for the first couple of gummy bears. And then as I move along to the third and the fourth, I will lessen the instructions along the way. So hopefully by the end of it, you'll be able to paint with flexibility and your own way and even choose your own colors if you would like to. Some of the painting and layering might get a little bit tricky. However, because we're going to repeat this four times, I would say that there's a lot of chance for you to improve along the way, especially for the third and the fourth gummy bear where the steps will be much clearer. So because of this, I would say that this class is suited for all levels. However, if you've never used watercolors before, I would suggest for you to maybe take a couple of watercolor basic techniques first and try to get used to the medium before trying something like this. However, if you want to give it a go and you feel comfortable trying it out and just exploring with the medium, I'd say, just give it a go, just a disclaimer before we start the class. I always skip through or speed through parts of the painting where my hand is either an active or off the camera or if the steps are getting a bit too repetitive. So I would always suggest for students to watch the class or the lesson prior to painting along. And when you are ready to paint too long for you to pause in between each step. So you have time to paint along in your own pace. And then when you're ready to move on to the next one and do the same thing so there's no rush and you can work at your own time. So if this sounds like something you guys are interested in trying, join me in this class and let's begin. 2. Supplies: In this lesson, I'll be going over the supplies that I'll be using in this class. So firstly, this is the paper that I'll be using and this is cut from larger piece of paper. The brand is Strathmore 500 series. This is 300. Yes, I'm hot press paper with access paper that I've cut out. I'm not going to throw it away. Instead, I use it to switch my colors, as it's always best to swatch colors using the same exact brand of paper. So the color that you are switching or trying out and how it reacts on this scrap paper will be exactly the same on your painting. You'll also need a pallet. Mine is just a plastic palette, but you can also use things like porcelain. I would always recommend for you to use a light colored palettes of colors you are mixing will look more clear in terms of the colors. These are the colors that I'll be using. Firstly, this is Quinn read by Daniel Smith, general at number two, by Holbein, Crimson lake by Holbein, lemon yellow by Holbein per minute and green by Holbein. Sap, green by Holbein cobalt violet light and by Holbein mineral Violet I Holbein compost blue by Holbein. Prussian blue by Holbein. Cpo, by Holbein, graphite gray by Daniel Smith. And I'll also be using bleed proof white by Dr. Ph. Martin's. Next here are the two brushes that I'll be using. On the left. The green one is by sec I DO, which is a Japanese brand. This is a liner brush size to with synthetic bristles. And the pink one is by George or less as a size 0 round brush with synthetic resource. He may see that the size 0 brush is actually larger than my size two liner brush. This is because each brand has their own way of giving sizes and measurements. So if you don't have the exact same brand and the best way to pick a brush size is just what would be most suitable for the size of the painting that you're going to paint. And you can even use more brushes, different brushes compared to what I'm using here. Just use whatever is available to you and what you're comfortable with. You'll also need tissue or paper towel right beside you whenever you paint and a clean jar to hold your water. This is completely optional, but I'll also be using a hair dryer to make the drying process faster. This is the drawing that I traced for the final painting, I'll be showing you how to draw the bears yourselves. I'll still have to clean up version of the outline available on the projects and resources section of this class. For the drawing portion of this class, I'll be using the sketchbook by the brand our toe, but you can use any paper you want, even print paper. As for the stationary, I'll be using this drawing pen by snowman and the Psi 0.2. This is just to get a cleaner outline if you're going to draw your own gummy bears. My Pentel sharp LET pencil with HB filling. My eraser is by boxy. And you also need scissors to cut your paper and also a ruler. For the tracing portion, I'll be using my tracing tablet, but you can use any transfer method that you're used to. 3. Looking at References: Before you start to paint anything, I usually like to look at a few references and study them so I have a better understanding of the subject. So here are a few images that I've gathered to help me study the subject. When I look at images, I don't just look for something that I like, but something that is beneficial for the elements or features that I tried to portray and my paintings. Looking at this first one, I like that it looks very three-dimensional, even if it has no core shadow. And it's interesting to see that the shadows are pleased quite methodically around the bear as this is digitally painted. So this becomes a great option for me to shoot it in such a way if I don't want to paint a core shadow or a reflection of the gummy bear. Here's one painted with the cache shadow. I like to look at references for both photos and art work before I paint. Because sometimes it's really interesting to see how artists have broken down the shading as well. And how they portray things like the glow around the sides. For the photos, I looked at both real gummy bears, as well as these gummy bear charms. I personally love the softer colors and the translucency. And I like how this picture is taken to show how the light traveled across the translucent charms. Moving on to this next one, I basically Love the same thing. I love the translucency here, especially on the blue. But this has more vibrant colors compared to the previous one. Now let's have a look at the available option for the real gummy bears. I selected a few and I like to look at the Bear characters and see which feature I like to include and mine. So for this next one, you can see that this is a bit more realistic or detailed. As you can see things like the bear pause, whereas the previous one is a bit more simple. But for this green one, I really love how chubby it looks and how simple it is. So I think I'm going to choose or a workaround the shape more for my painting. Going back to the charms, I love the clarity of the reflection or cache shadow in this picture, I love to see the transition of colors and how the color swatches produce a glowing effect. So you can see here, even if the Burrus Read, the lightest area is more like a pink and the orange, the lightest color is almost like yellow and so on. I'll see if these pictures in the projects and resources section, so you can download them for this class. But also feel free to do your own research as well if you want to customize your painting further. 4. Drawing and Composition: In this lesson, I'm going to figure out what the beer shape is going to look like for mine. I mentioned before and the previous lesson that I want mine to be a bit more simpler and I like the chubby or version of the gummy bears. I'm going to take the basic shapes from the picture that I like, which is an oval for the head, a couple of fat ears with the snout. But I'm also going to add a nose and eyes for mine. I'm just going to keep the rest like the arms and the legs as simple as possible. I'm going to draw it another option which is basically the same. But I made the head a bit more round instead of an oval. And you can just see a slight difference. And the character, this is up to you and you can customize further, just like I mentioned before. And you can also add little details like pause on the hands and the feet. Another option for the arms, for the left one, I'm going to add curved lines on the arms. So now it looks like the arms are reaching to the front. But for the bear on the right, I'm just going to keep the arm as it is. So it looks like it's hugging its own tummy and it's completely up to you which one you want to make for yours. You can even change this as you paint later because you can use the same base outline for both poses. Once you know what you're gonna be various going to look like you can try to fit them in a composition. An option as to line them all up horizontally and display their fun colors this way. But this would require quite a long landscape dimension for your paper, which can be quite fun to make. You can also scatter them around in different angles. So it looks like someone just dumped a few gummy bears on the surface. It might be a bit hard to draw the gummy bears in different angles, but you can get around it by drawing boxes first to figure out a natural looking composition, then fill in the boxes with the gummy bear details. This way, if you don't like how one of the gummy bears is going to be positioned. You don't have to erase a detailed drawing, but just erased the box before drawing on your gummy bears. This is why I also like to stick to thumbnail sketches to keep things as simple and quick as possible. This next one is what I'm going to do for my final painting. For this, I'm just going to include four gummy bears, two at the top and two at the bottom. For the cast shadow, I like to think of one direction where the light is coming from. Then I like to angle the shadow or affliction accordingly while adding the curves of the bears. This is also a chance where you can play around to figure out the shading. I personally will try to think of my own way of shading here. I'm just trying to figure out where to place them because it can also be quite random. But if you can find a reference where the lighting hits the way you want it to look in your painting. You can also use it as reference for your final painting. 5. Placing values: As I'll be painting forebears in different colors, the placement of shadows are actually very repetitive. So before I start painting, I like to just go over things like where I am going to place the shadows. So whenever you feel like you need a bit more clarity of the video demonstration of the painting might be a bit confusing. You can always go back to this lesson to get an overview to help create the forum that I painted for the final painting. So let's just start with the head here. For all of the gummy bears, I want the light source to come from the top left, because I want the shadow to be on the right and slightly at the bottom right corner of the bear. So I'm just trying to please very roughly where I would place the darker parts for the gummy bears. What I'm outlining here are the sessions where I like to place the midtone or slightly darker than a mid-tone color. You can see that I'm concentrating more around the bottom and the right hand side of the face. And as you can see on the ear, I'm going to put the shadow on the left compared to the right year overall. In the face though, I do want to create a light glaze over the whole faith while leaving the snout and eyes. And also leave out an outline words the lightest base color will show through. Here. I'm just going to sketch out the value so you can see it more or less per section. So the part that I'm shading here, I want them to be darker than on the top left-hand side. But I also want to make sure that there's a gradual transition at the bottom of the fees. And this also applies to things like the snout, the nose, the eyes, and the ears. I do want it to be much darker because that part would be hidden from the light. Again, I'm just going to shade it in so you can see the difference in value for all the features. I tend to try to separate them. So you can see clearly that the snout and that's where the line of the nose is, the eyes and so on. And what I tend to do for this is I use a thicker consistency lining around those features. But then I soften them with a clean, damp brush around the edges. So those lines become really subtle. As for the ears, I like to do a basicallys by leaving out a little bit of the outline off the base color, just like what I did with the oval after fees. But as for the darker values, I tend to want to put more on the right-hand side compared to the left. I'm going to treat the arm the same way. So again, I want to leave out a little bit of the outline from the base color, and this will be a midtone value. Then as I add on the details, I'll layer on a slightly darker value and build this up layer by layer. But I also want to soften the transition between those values in terms of the shape of those darker areas. It doesn't have to be exactly the same as mine. In fact, all of mine slightly different. But I just want to follow the curvature of whichever feature that I'm painting. So if it's around the arm, I tend to do shapes like this. If it's around the ear, I tend to do more like a half circle and so on, so forth. The right-hand side, I'm just going to make the shape slightly different. But you'll see that it's just going to more or less meat the same effect for the torso. I do want to make this part of the body slightly darker than the rest of the gummy bear. That's because I'm just imagining that the hands are covering that part. So it will be in shadow for most of the top section. I do want it to be midtone. And then I'm going to add shadows where the arm is slightly covering it under the face and also over the bulge of the tummy. For the tummy, I want to leave a bit of space just like the arms and the ears and the face. So I want to leave a bit of space on the left and right and the bottom of Tommy. And I want to divide this section with three values. I want the outer portion to be the darkest area, the middle to be a midtone. And the very top oval that I round out at the top of the Bulge, that's where I'll leave out a negative space. So it looks like the bulge of the tummy is protruding outwards more compared to the chest area. The outer portion where I'll be adding the darkest value. I want to still follow the features like the hand and the legs. So I do want to build the darker values around those parts. Same thing for the legs, for the front-facing part of the leg or where the pores are supposed to be. I just want to follow that oval-shaped and leave out a little bit of outline. And then I want to make sure that that hasn't midtone value. And as they get towards the center and I build on the darker values, I just follow the shape and makes sure that the transition, it is quite smooth between those valleys. Again, like the arm, you don't have to use the exact same shapes. But I am more or less going to make mine look something like this. For the inner portion of the legs. I'm going to more or less make this sort of scribble with the midtone. And that's often the transition upwards. After I've added the darker values and then I just add the highlights using bleed proof white. And this is very opaque, so it's really easy to layer on top of whatever color you've entered for the gummy bear. And I just try to follow the curvature wherever you feel like adding those highlights. Moving on to the cast shadow, I want to make mine angled like this. So as I'm tracing the outline leader, I want to leave out these lines to indicate the angles and make it much easier for me to just connect the lines and create the curves according to the shape of the gummy bear because it can be quite confusing. I've tried it without using those lines and the curves of my shadows look kind of off and the angles are all wrong. So I just find that this is the easiest way in order for me to visualize where the angle should be. The part that I've sectioned out here will be dampened with clean water. And as the surface is slightly wet, I'm going to use the lightest color off the gummy bear in order to create the core shadow or a little bit of light reflection from the gummy bear to the surface is placed on. After that I'll be using a greenish version of the color. And this will be quite dark and a value. And I'm going to place this around the edges. Leader may still using the wet-on-wet technique. Because those two colors will have a slightly different hue for the grayish area, it'll be much more muted compared to the light bright color of the inner portion of the core shadow. This is where I have to work to create a softer transition between those two colors. 6. Getting the composition on to your watercolor paper: There are several ways you can transfer or trace your drawing onto your watercolor paper. I'm sure you guys know the transfer or the tracing aspect of it. But I wanted to give you options in order to make your own composition other than drawing straight onto your watercolor paper, which can get easily damaged if you're heavy handed or if you raise too much. One thing you want to do is first figure out how big you want your gummy bears to be. This depend on the size of your watercolor paper, the composition, and how many you'd like to include in your composition once you figure that out, one way to go about it as to just draw one gummy bear with the right shape and size. Outline it clearly and use this one gummy bear and move it around your paper as he trace and try to figure out the position or the composition as you go. This way, if you want to tilt the angles and things like that, all you have to do is stick it on the other side of your watercolor paper. Angling the gummy, bear it without having to draw it repeatedly while trying to tilt their positions. Downside of this is that all gummy bears will look exactly the same. If you want yours to be completely uniform, that is fine. But I find slight differences, make the painting look a bit more realistic. So to do that, you do have to draw them separately. While I drove them. It's really hard to position them perfectly so you can draw the grids and lines. But another trick, which is what I'm going to do here, is after you've drawn out the outline of the bears, if some are positioned a bit lower or a bit higher, you can just move the paper around. It's basically the same concept as drawing the one gummy bear and moving it around before you trace. And just find the correct position before you trace it onto your watercolor paper. I want to include the cast shadow, so I drew it out on the sketch to make sure I have enough space for each one because it was a bit dirty. I'm just going to redraw it after I've outlined the gummy bears. And this way, I feel like I can angle the lines a bit more clearly so I can make it look more uniform all across four gummy bears. On. So I've drawn out the angled lines. I'll add on the curves. I'm not going to trace them fully, but these angles will really help me visualize as I paint them later, because the cast shadows can be a bit tricky to paint. Here I'm just watching via just to get a better visualization of the blurry cast shadow. And I feel like I have a better feeling of how it's going to look for the final painting. This is obviously optional. But personally, when I'm unsure about something, I like to just draw it out first to make sure. Hereafter I looked at the outline again. I can clearly see that this gummy bear right here as a bit higher than the one on the left. I'm going to reposition it a bit later. I'm going to first trace the gummy bears on the left, both for the one at the top and the one at the bottom. As for the cast shadow, I just added the angles to make sure that the angles are uniform as light travels straight. But before I trace the gummy bears on the right, I take off the tape and try to position them so they're more aligned with the gummy bears on the left. And then proceed with the tracing on both the gummy bears and the angles for the cast shadow. For the watercolor paper usually taught them up first. But here I want to show you a different way of approaching it. I'm actually going to cut it after I've traced the gummy bears. This way I can trim the paper to make sure that I like how the gummy bears are positioned on framed. As for the scrap paper of this particular paper, I use it to swatch my colors before I put it on the painting whenever I'm unsure about certain colors. 7. Paper Size: After I finished tracing the bears and now I have a good overview of how the bears are laid out and how much space I have around the edges. Now I just want to make sure that everything is even. And here I measured out the size already enrolled it out. Mine came to the size of 17 centimeters by 20.5 centimeters. But this all depend on your initial sketch. If you don't want to draw yours out though, I will still have the outline available for you to download and trace from the projects and resources section. After I'm done, I just cut out the edges and I'm going to use the scrap paper if I'm unsure about certain tones. 8. Red Gummy Bear: Base Colour: Before we begin to paint, let me go over the colors that I'll use for the red bears. Firstly on the left, and this is Quinn, read by Daniel Smith, John Brilliant by Holbein, Crimson lake by Holbein CPR, I hope mine. Graphite gray by Daniel Smith. I'll also be using bleed proof white by Dr. Ph. Martin's for the highlights. If you guys follow me on YouTube, you'll know that one of my favorite mixtures for pink is Quinn red, brilliant mixed together. Here I'm going to use the pink mixture in a light to medium consists In C as the base color. I just wanted to make sure that I make quite a large amount on my palette for easy access. I'm going to use quite a light consistency with a heavy load spread the color on the head of the bear first. You can also use a larger brush for this, but I want to limit my supplies, which is why I'm just going to stick with this one. This is going to be the red bear. But as we looked at one of the references, the ladders area for one of the red gummy bear charms was pink. I'm going to try to use the color palette of the particular bear for this one, just to see how the form will develop with these colors. Usually when I start to paint, I might not get the best load or wetness I need onto my paper. For this one, I need to paint it first in order to get a better feeling of say, my environment because things like air conditioning might play a big role in how fast your paint dries. That's why I like to treat the first parts of my paintings asked warm-up and get used to the wetness I need to make a good base color. I just want this one to be fairly damp but not too wet. The darker color will spread very slowly. After I paint at the base color for the head, I felt like it was trying to phospho instead of painting the base color for the body, I decided to just go ahead and paint the darker red on, which is just by using Quinn read without the genre salient. Here, I'm just going to map out the dark areas. I personally made this up from my head because I can't really find a reference with this particular angle and lighting setup. Here. I just tried my best to imagine it. I'm going to use more or less the same placement of shadows for all the bears. But if he can find the right reference for your painting, you can also use it to help with the placement of the darker colors for yours, for the head, because my base color is very dry already. I used the wet-on-dry technique to blend the color. I just used a clean, damp brush to reactivate the darker color to soften the edges. Soft turn up the shadows on the bottom-right. This means that I want the light to come from the top left. Here. I tried to place the shadows while having that light direction in mind. I also want to paint the bottom shadow off the facial features like the nose, the eyes and ears. While making sure that the edges stay quite defined, we can still recognize those shapes. I think I have a good base for the head and a fairly good mapped out areas for the shadows. Now I'm going to tackle the body portion of the bear, starting with the same pink as the base color from a mixed off John Brilliant with Quinn red with a heavy load. Depending on how light or dark you want the value off the pink to be. If you feel like your paint that you're putting on is a bit too thick inconsistency. While you spread it out, you can just take a bit more water with your brush and use that excess water to spread the paint that you've already placed on your painting. Reloading your brush doesn't always mean that you have to take extra pigment. If you feel you have too much pigment, you can always soften it or make it a bit lighter by adding more water. After I finish painting the legs for the gummy bear, I feel like the top section of the body is fairly dry now, I'm going to go ahead and paint the darker base color or to mop up the shadows using Quinn red. I want to make the gummy bears a look chubby, and I also want the lighter color off the pink to show through the body of the gummy bear. The way I tried placing the shadows is by leaving the edges off the hands and legs a little bit lighter as the light passes through. But as for the tummy because it's placed lower or deeper than the arms or the legs. I feel like that area would be darker in general. So I placed the darkest areas where certain features like the arms is connected or placed on top of tummy or things like under the head to be a bit darker to show that the light is still passing through them to separate the faces like the leg that I'm painting here. I like to leave out a bit of negative space to show the light base color. And between those two faces, you can see a small space between the sole of the foot and the inner leg. After painting the body, I feel like I need to build the color further for the head. I'm just going to go back to painting the head and redefine some of the edges using a medium consistency of quinn read to just balance out the values between the head and the body. Just like before, I'm going to soften the edges using a clean damp brush. And this will create the illusion that the snout that I painted is round instead of it having sharp edges. I'm going to do the same under the ice and on top of the snout. Then as for the head, I'm going to paint around it quite softly using a thinner consistency. Placement is a bit tricky. I do want to leave the lighter area around the head, just like what I did with the body. But I also want the right-hand side to be a bit darker than the top left to show where the light is coming from. But this is what I'm going to do later for the shadows that I'm going to layer on top of this. For the base though, for this one in particular, because this is the first one that I'm painting. And I'm still trying to figure out where the value or the light is coming from. I'm just going to leave out the lighter color around the head first. As I figure it out, layer by layer at later on. 9. Red Gummy Bear: Shadow: For this next step, I'll be painting the darker shadows and really finding what I painted in the previous lesson. For the color mixture, I'm going to use a slightly darker red, then the red. So I use a mixture of crimson lake with the Quinn red that I used earlier and I'm going to use this and a thick consistency for this. I'm working on a dry surface so I have better control off the shadows because I also wanted to make sure that I can create clean edges this time. I'm sorry if this is a bit blurry because I forgot to focus on the camera, hopefully you guys can still see the placement of the shadows here. For the ears or large frown features like the arms or legs. I actually like to create a simple swirl just so the shape of the darker areas, it doesn't look too flat. I find that creating a shape which follows the movement or the curvature off the particular area really helps create the form and the Communists off the gummy bear. For the tummy. I like to add the darker colors around it while avoiding the edges of the body itself. I went the midsection of the tummy to be lighter than the rest of the torso, which I'm going to do later when I soften the blend for the arms and the legs, I'm going to add this world that I mentioned earlier, it's quite hard to predict where the light and shadow would fall for translucent surfaces like this one, which is why I just like to create random swirls to help create a random dark area which follows the curvature of the gummies. I think I have a fairly good distribution so far. So here I just cleaned my brush and use the water to reactivate the red that I've placed earlier and then softening the blend. I first worked on the tummy. And for this, I don't mind it to be darker than the rest of the gummy. I'm just going to spread the color and words for the right-hand side between the arm and the legs, I also decided to add what's left on my brush. The color isn't too harsh, but it's still better than the areas I just painted. I'm going to soften the rest of the darker areas by using water. As you can see, as I reactivate the color, it does pick up quite a lot. So I'm still going to be very careful to not place them on the edges where I want the base color to still show through. For the interface of the lake, I decided to use a slightly thinner consistency of the same red. And I'm also going to soften it while leaving the edges again, just to separate those faces and create the dimension. I'm going to start working on the head now, I used a medium consistency of the same red mixture, which is from Crimson Lake and Quinn red to paint the bottom portion of the headfirst. I'm going to soften the color upwards using a clean, damp brush. While I wait for the pizza, subtle and dry, I'm going to work on the ears and just soften it with a clean, damp brush again, if I find parts of the pink looking to light, I also like to add a slightly thicker consistency of the previous pink mixture. I also added a bit more genre brilliant to make it more peachy compared to the rest of the read off the gummy bear. I also want to place the darker color on top of the snout around the eyes while spreading more off the red on the right-hand side compared to the top. I'm going to do the same for the snout and darkening the value at the bottom portion while leaving the top a bit lighter. The eyes here look very light compared to the rest of the gummies. So I'm going to refine it using the same red mix by outlining it and then softening the edges outwards. Next, I'm going to use an even darker red mixture. And this time I added sepia into the Crimson Lake. And I'm going to use a thick consistency to redefine what we just painted earlier. What I'm doing here is painting smaller portions, more or less in the middle off the dark reds that I painted earlier. So it looks like it's a gradation with a huge range and values from the darkest red that I'm painting here to the previous read that I painted, and so on. For the edges around each feature though, like under the face, under the snout, under the eyes and so on. I tried placing them right at the edge to further define the shape off the gummy. Once they've pleased that dark the spread and a few areas, I'm just going to soften the blend just like what I did previously, but because I've put less of this compared to the previous red layer, the previous red layers. It's through underneath this dark red. For some of the base layer of the pinks, which looks quite faded. I just added a thicker consistency of the pink mixture from John Brilliant and Quinn read. And I just layer on a little bit more of this to increase the intensity of the color. As for the edges, I like to also outline it using the darkest red mix from CPR and crimson lake. And I just like to outline some of the parts while breaking the lines sometimes and leaving other parts without the outline to make it look less two-dimensional. 10. Red Gummy Bear: Highlights: For the highlights of the red gummy bear. Firstly, I feel like I wanted the light outline around the gummy bear to be a bit lighter. But because I've painted over it with a higher value than what I want it to be. I can't really bring it back since watercolor is mostly transparent. Here, I'm troubleshooting it by mixing this very opaque bleed proof white into the light pink mixture of quinn read with ADA John Brilliant The create a semi-opaque pink color. I'm going to use this to fix those areas that I like to be lightened. Now that I know what sort of contrasting value I want, this should be a bit easier to figure out for the next gummy bear. Hopefully I won't have to fix the lighter values again. Because I find that though the opacity is helpful, it does take away from the clarity off the color. However, if you make mistakes like this and the coming on mirrors, this is how you can go about fixing it. Just like watercolors, you can reactivate the color as smooth out the edges using a clean damp brush to get a softer transition. Once I'm done with lightning, those areas. And then this is where I go in with my bleed proof white by itself to paint on the white highlights of the gummy bear. When I am, I'm painting on the white highlights. I'd like to thank off the roundness of the gummy bear. So it means following the curvature to enhance the round cross contour lines. I like to mix and match the markings off the white highlights. Sometimes I like to create thicker lines and mix it with thinner lines or add dots or wavy lines for a little bit of variation. And since bleed proof white is also water-soluble. You can also reduce the opacity by just adding more water in the mixture. If you want to add a more transparent white and vary the opacity as well. I personally like to add white to each off the future's like the eyes, nose, ears, snout and so on. And this is just exaggerate the shape of the gummy bear. However, it does flatten it a little, but I like the sort of illustrative look of this. So it's up to you how much highlights you want to add onto this. But remember to not go too overboard or else your gummy bear will look mostly white. 11. Red Gummy Bear: Cast Shadows: The last step of the gummy bears, I'm going to be painting the cast shadow with this. As you can see, I'm just going to wet the sides are the areas that I've mapped out with my pencil. And I'm going to make sure that the water is absorbed into the paper, but it's not paddling wet. Following the angles from the diagonal lines. And this helped me to figure out where to place the clean water in terms of how far you want to take it. This just depends on your taste. I don't want the shadows to be too far, so I'm keeping mine at this distance. Next year I use the first pink mixture that I use for the base, which is I'm John Brilliant and Quinn red. And I'm using quite a light consistency to just fill in the wet areas from the inside outwards. Next, I'm going to create a dark red and I'm going to use the CPM mixing until the red that I already have on my palette. But this time I'm also going to add a little bit off graphite gray. This is going to create a darker red than what I use for the gummy bear. And I'm going to use a light consistency to line the edges of the cast shadow. Once I've placed them, I just want to move it around with my brush to create a soft transition from the light pink to this grayish Fred. Because I am painting on a small area. I do want to be careful with how much load is on my brush when I'm adding colors. I do want the surface to still be damp, but not so damped and that the color would just travel everywhere and the pink might get contaminated as the surface as drying even further but still a bit damp. I'm just going to keep on adding the same colors, still in a very thin consistency to slowly build up the vibrancy. Once I've placed those two colors, I'm using very slightly damp brush. I don't want it too wet because the surface is still fairly wet. And I'm just going to move the paint around to create a soft transition. Because we're still practically painting on the same areas. The surface should still be damp. While it's slightly damp, I'm going to add Crimson Lake and a very light consistency in-between the pink and the gray. The edges of the gray should be fairly dry and I can see quite a rough edge. So I want to soften it until it creates a softer blend to the white of the paper. And for this, I just use a clean, damp brush to soften it further. Some parts of the outline or the edge of the gummy bear might be a bit smudge from the water that I place on the surface for the cast shadow. I'm just going to redefine it further by using a mixture of CPR and crimson lake with a little bit of graphite gray. And I'm just going to switch to my liner brush and order to get really fine lines. And I'm only going to do this for parts of the gummy bears. I'm not going to outline the whole thing. This is only to refine some of the edges that isn't clear enough. If I can, I also would prefer to break up some of the lines rather than making something really clean and straight. Because I find that if he outlined the whole thing, it might end up looking a bit flat and loose. The three-dimensional form. I've placed all the features down already at this point is just redefining and fixing certain areas. I find that the right-hand side of the head look a bit too light. So I ended up adding a bit more Quinn red on the top. And I wanted to add a little bit of highlights at the backoff, the gummy bear, using the opaque pink for the cast shadow, I felt like a faded a little bit. So I'm just going to redefine the gray areas using a thin consistency of the same green mixture. And I'm just going to soften it with a clean, damp brush. There's no need to follow every single step, especially for this one. I was just looking around to see what I was still unsatisfied for this first gummy bear. If you're already happy with how you're lucky, you don't have to do the step. Next gummy bear that I'm going to paint as green. And before I move on, I just want to make sure that my palette is completely clean. This red won't be able to contaminate the green that I'll be using for the next pair. And this will just help keep the colors as vibrant and bright as possible. To clean my palette, I just use wet tissue or you can also rinse it off with water and you're sick if you prefer. 12. Green Gummy Bear: Base Colour: Next coming here that I'm going to paint is green. So here are the colors that I'll be using. Firstly, this is lemon yellow by Holbein, permanent green by Holbein, sap green by Holbein, CPR by Holbein graphite gray, I, Daniel Smith. I'll also be using the proof white just like before by Dr. Ph. Martin's. For the base color of the Spirit. If I wanted to be very bright green, that I use a mix of lemon yellow with permanent green. Just like the red. I want to prepare a lot of this mixture on my palette for easy access. I'm just going to paint a flat color of this whole bear and I'll get back to you once I'm done. I'm using a medium consistency of this because I don't want it to be too thick, but I still want the base color to be as vibrant as I can make it. I tried to make the spread of color as even as possible by working quickly and connecting the wet edges outwards. But if you can't get a flat distribution, it's also okay because we're still going to lay on the details on top. So don't worry about it too much. After I'm done with the base color and the surface is still a little bit damp but not overly wet. I'm going to add the darker base color for this. I'm going to use sap green by itself and the medium consistency and place it in the areas I want to darken a bit just like the previous gummy bear. If you've painted the first one, it'll be much easier to map out the placement of the shadows because he can reference the placement from the previous gummy bear. So just to recap, I want to place a little bit of green on the bottom left ear, a little bit more on the right ear. I also want more or less to darken either the bottom or around all of the facial features while leaving a little bit of light base color around the outline of the head and the body. I'm also going to soften it with a clean damp brush and also move the paint around with my brush while it's still wet to make sure that they fall in the correct position. Because the surface of my beer is still quite wet. I tried to not add too much off the dark green all at once. While I work on certain areas, I can wait for the rest to dry off little more. That's because if I add on more color, I'm also going to wet the surface even more. So these steps are not something that you're supposed to follow exactly, but work and the condition that you're in, if your surface is very dry, you can treat this by softening the edges after you've placed all the dark areas using a clean damp brush. Or you can work in sections like what I'm doing here. Once I'm done with the torso and the head, I'm going to add sap green to the arms while leaving an outline off the base color. And I'm also going to paint parts of the faces of the legs. When you're working with wet-on-wet, if the paint ever travels too fast, too quickly, more than you want it to be. Quickly take off the excess using tissue to stop the spread and leave it to dry a little more before you add more paint. 13. Green Gummy Bear: Shadows: I'm going to work on the darker shadows now for this, I want to add sepia to the sap green. I'm going to use medium consistency on a dry surface so the dark green won't spread outwards unless we control it using a clean damp brush to lower the risk of contaminating the brighter greens from the base color. For the tummy. I want to separate the top portion of the torso to the tummy of the beer. So I want the top to be fairly flat as I soften the blend and I made sure that the bottom Tommy has a lighter area. It looks like it's protruding more than the rest of the torso. For the rest of the features, I'm going to use a thin consistency first off the green so the tummy look a bit deeper than the rest because I wasn't sure how dark I want to take it at the moment. Usually when I'm unsure about the values, I tend to work with a lighter consistency and build the layers until uncomfortable and get a better visualization of how dark I want certain areas to be. Here. I was just trying to imagine it by using the lighter consistency first. And once I can visualize it, I'm just going to dry off the surface quickly using a hairdryer because the surface is now a little bit damp after I worked on it. And after that I'm just going to add a thicker consistency off the dark green mixture because now I'm more sure of how dark I want to take it. I'm going to work on the rest of the gummy bear by placing the shadow more or less at the same area where the darker base green is placed. But I'm going to limit the amount that I put on the sap green of the base colors still shows through. This dark green mixture should just increase the range of value off the gummy bear. Once I'm done, I'm going to soften the blend using a clean, damp brush. And I just wanted to make sure to not spread it out too much at the same time. So the lighter green that we've left out earlier, it doesn't get covered by the dark green. Lastly, I'm also going to use this dark green to outline parts of the bear for better definition. But just like the previous bear, I want to make sure to limit the amount so it doesn't flatten the form of the painting. 14. Green Gummy Bear: Highlights: The highlights are simple. I'm going to use bleed proof white in a thick consistency. And I'm just going to add curvy lines to some parts of the we're especially areas which I feel is protruding outward score is getting reflection from the light source. And I'm just going to try to make it look shiny. Might not be realistic, but I personally like adding highlights to each of the gummy bear feature because I feel like the highlights will just redefine the features further. Sometimes I also like to wiggle my brush to get small wavy lines and create distorted highlights or just tiny dots. Just have fun with this one. I personally love adding highlights as my favorite part of the painting, but try to not go too overboard. After painting the highlights of the green gummy bear, I feel like the red, let me bear isn't as shiny. So I'm also going to add more of the highlights on the red gummy bear. I just feel like the highlights here are a bit to fix, so I'm going to add finer ones. 15. Green Gummy Bear: Cast Shadow: I'm going to work on the cast shadow now, just like before, I'm just going to what those areas with clean water. It's okay if you accidentally pull some of the green paint from the gummy bears. But I just want to make sure that I'm following the angles that I've placed with pencil. When I'm wetting the surface, I want to make sure that the water is absorbed into the paper, not paddling on top of the paper because this will just help it spread a little bit better. Next, I'm going to use the light green mixture from lemon yellow and permanent green to paint the cast shadow that is closest to the gummy bear. And I'm going to let the paint spread across the wet surface outwards. If parts of the cast shadow is spreading too fast, I usually like to clean the edges using a clean dry brush to stop the spread around the edges. Or if it's way too much water, I would just stop at using tissue because the surface was a little bit too wet on this one. I'm also going to dry it off using a hairdryer to get it to the right dampness, but I need it to be. Next. I'm going to add the dark green gray by using a mix of sap, green sepia and graphite, great, and a medium to thick consistency. I'm just using the tip of my brush to line the outer curves off the cast shadow while leaving a little bit of that wet surface untouched to give a little bit of space for the dark green to travel across. The paint might spread unevenly like what it's doing here. So to soften the blend and make it a bit neater, I use a clean dry brush to move the paint around. I'm not using a damp or wet brush for this because the surface is already fairly wet after I've added the dark green, if you like, building up the saturation of the green here. So I add a sap green to the gray area. And I'm going to follow this up by adding light green on the left side off the cast shadow. At this point, I'm just trying to build the vibrancy as well as create a soft transition between the light green and the great green. Wherever I feel like the Great Green is starting to travel too far and as almost covering the light green, I tried to stop it really quickly with tissue. And here I'm also trying to create a soft transition from the grade to the white of the paper. So for this, if the surface is still a bit damp, I would just use a dry brush or if it's dry, I would use a clean, damp brush, four parts off the gray where a travel too far. I kind of cheated a bit by using an opaque light green. And to create that, I used a little bit of bleed proof white and added onto the light green mix. Now because I've added the light green, I feel like I need to add more of the darker values again. So I'm just going to keep working on it slowly layer by layer. This might be a bit confusing as I'm going back and forth a lot. But this is what painting is for me anyway, it's not about following exact steps, but it's about understanding how to troubleshoot when you need to in order to reach the result that you would like. Here, I like to share my mistakes and how I tried to solve them. And hopefully this will just help troubleshoot your paintings if accidents happen. Here, I find that I have good values down already. So I'm just going to soften the edges to make sure that the darker values blend well enough to the white of the paper. And to finish everything off, I'm just going to line the edges off the gummy bears. Again, not going to overboard by leaving a little bit of space here and there, and not covering the whole thing with an outline. But I'm just going to do this very lightly using the tip off my liner brush with the dark green mix of CPR and sap green. If you feel like the outline is too strong and it's taking away the three-dimensional form. You can also use a lighter consistency or even use less CPR in the mix to lighten the outline. That's it for the green gummy bear. Before I move on to the next one, I just wanted to make sure that my palette is completely clean to lower the risk of contaminating the colors. 16. Purple Gummy Bear: Base Colour Colour: Moving on to the purple gummy bears here at the colors that I'm going to be using. This is cobalt violet light by Holbein, mineral Violet by Holbein, sepia by Holbein graphite grade by Daniel Smith. And of course, we proof white by Dr. Ph. Martin's. I'm going to start by using a medium emergency off cobalt violet light. This color is very light, so I'm just trying to get the same vibrancy to match with the other gummy bears, but I've painted earlier. This color is also very granulating and quite hard to handle because of the granulating texture, especially for this type of illustration where I do want the surface to be nice and smooth. So if you do have any other color available that you feel would suit this, feel free to switch it out. But I personally find that this is the brightest purple or violet that I currently have, which is why I just feel like I should just compromise for this one. So just like the previous gummy bears, I'm going to cover the whole gummy bear base color using this cobalt violet light. And I just tried to make the surface as even as possible, even though it's quite difficult with this one. With this one, I went to work on a completely dry surface because I feel like I just end up moving the paint granules around on the wet surface. I just use a hairdryer to make the process instructor. Once the surface is dry, I'm just going to lay on a bit more paint for areas where I feel is a bit light or if the granules didn't land on a specific space that I want it to land on. This one is bit tricky just because of the granulating texture, but it's still doable. So moving on to the darker parts off the base color, I'm just going to use the same color, which is cobalt violet light. This time in a much thicker consistency paint on the areas like I did for the previous gummy bears. I'm going to paint it on aspect and as evenly as I can make it for the darker areas. Then when I soften them later, you'll see that the paint will become very streaky, which is normal for this type of pigment. It's very hard to just let it flow into each other and it can be quite frustrating. However, as you've known from the previous gummy bears, it's okay if the base color is imperfect and because we're still going to lay her on the darker colors to cover the imperfections. In the next lesson. I'll just cover the rest of the darker areas. It's more or less the same as the previous gummies around the tummy and the facial features inside the arm, the feet and legs while leaving out a bit off the base color around the edges as an outline. And then I'll just soften the edges as best as I can. 17. Purple Gummy Bear: Shadows: Now I'm going to build on the darker areas and this time I'm going to use mineral violet for this because the streaky texture off the base color and how easily I can move the paint about. I prefer to work or section. Here I'm tackling the headfirst and then I'm going to smooth the color out. Then li, then I want to wait for it to dry. By working on another section, I find that a process is less stressful for me. And this way I can work slowly and concentrate more per section because the base color can easily lift, which makes the second layer but harder to control. Here I'm just working slowly. And after I'm done with the head, you can see that even though I applied quiet, a dark color at the beginning, after I smooth it out, it actually turned out quite light. Here. I'm just going to work layer by layer to build on the values. And I find that using thin layers instead of a thick consistency straightaway, it makes it a bit easier for me to not strapped the base color. Just like the previous gummy bears. I liked the left ear to have less of a darker tone compared to the right. And I'm going to add on the shadows for the rest of the limbs and I'll get back to you once I'm ready to build on the second layer, we're smoothing out the dark purple on the left arm. It covered too much off the base colors. So someone that happens, I just use a very slightly damp brush and I tried to pick up the excess paint with dry brush. I'm going to build up the second layer now. And for this, I'm going to add sepia into the mineral violet to make the color even stronger and darker. Again, I'm just going to place it at the same areas, but this time and smaller parts. So it's going to gradually transition from the dark value to the light value. Hopefully you guys can see that I'm placing smaller curvy shapes on the inner part off the arms, the legs, the tummy and so on. I like to especially build darker values around the edges of the facial features to define them. Like around the eyes, the snout and nose. And after that I'll just soften the outer edges with a clean, damp brush so it doesn't look like a flat outline. This part because I've placed the mineral violet over the base color for the layering, I find that it's slightly easier to control the color or the paint around. Here. I just place the darker colors as a whole again before softening the edges. It looks very dark at the moment, but once I soften the color, it'll look a bit more smoother and less bulky and not to overly contrasted in value. Lastly, I'm going to create the outline around the outer edge. Just like before though, I want to break up the lines and leaf parts without the outline so it doesn't flatten the painting. Or you can vary the value off the outline by using a thinner or thicker consistency. And this variation will also help with looking less flat. 18. Purple Gummy Bear: Highlights: The highlights are as straightforward as the other gummy bears. I'm just placing them around areas where I feel is appropriate to enhance the round and chubby form optic gummy bear. You think I think consistency of bleed proof white. I'm using the very tip of my brush in order to get really fine lines. However, if you find that using somewhere around this size brush to be a bit difficult to create those fine lines. You can also switch to your liner brush for this or use maybe an even smaller brush. This is just an adjustment, but after I've placed the highlights, I find that needs a bit more outlined for the features such as the snout and things like that. I ended up using the dark purple mixture from CPR and mineral Violet are just using mineral violet to add on those outlines that I missed in the previous lesson. For any painting, it's okay to go back and forth and fix things along the way if you see that there's a mistake, sometimes some people also like to leave it right at the very end. But for me whenever I see it, I prefer to fix it then and there. If not, I might end up missing it or forgetting about it. 19. Purple Gummy Bear: Cast Shadow: Now onto the trickiest part of the painting for me anyway, which is the cast shadow. I'm just going to start by wetting the surface again. I'm just following the diagonal lines that I've placed earlier when I drew it out. So I know where to connect the curved lines. Remember as you're wetting the surface, you don't want the water to stay on top off the paper and puddle. But you do want to rub it in until it absorbs into the paper. This way the paint that you put on it will travel as you expect it, rather than adding pigment to a puddle of water, which can get very messy, I just want the surface to be slightly damp and not to overly wet so the paint doesn't travel to Fauci there. Now once the paper is nicely damp, I'm going to start with the legs purple, which is cobalt violet light. And I'm going to place the color very close to the gummy bear. Moving on to the grayish purple. Now I'm going to mix NCPI graphite gray with a little bit of the mineral violet. I'm going to use a medium consistency to paint the outer portion of the curves. Now I'm going back in with a clean, damp brush to soften the edges. Now I'm just going to use the mineral Violet by itself. And I'm going to paint in-between the grayish purple and the cobalt violet liked. This way I add a little bit more off the public view and to the grave. And there's a slight variation in color. Once the paint has settled, the color will also fade a bit and it looks lighter as it spreads. I'm just going to go back to the grayish purple by adding more graphite gray in the mix. And I'm just placing this in the middle of the thick purple gray line. And I tried to avoid painting where the light gray is slowly transitioning into the white of the paper. In fact, whenever the color is spreading and it's blooming outwards towards the edge off the wet surface. I tried to smooth it out with a slightly damp brush In the transition further. That's it for the purple gummy bear. And now we're going to move on to the blue ones. So I want to make sure that my palette is completely cleaned before we do that. 20. Blue Gummy Bear: Base Colour: Moving on to the blue gummy bear, here are the colors that I'll be using. Firstly, on the left, this is Prussian blue by Holbein, compost blue by Holbein, sepia by Holbein, graphite grape by Daniel Smith. And of course I'll also use bleed proof white by Dr. Ph. Martin's. For the light base color of the gummy bear, I'm going to use compost blue by itself and a medium consistency. And with a very heavy load on my brush, I tried to spread the color as evenly as possible. You've pretty much heard and seen the method repeated three times so far in different colors and also a slightly different texture from granulating paint. I'm sure you guys know what you're doing by now, so I'm going to limit the instructions and let you guys get to it without much of a distraction this time and just paint along with the final gummy bear. You can also paint more and your composition using your own Friday of colors. But of course I'll let you in on the color mixture that I'll be using for this one as well. For the darker parts off the base color, I'm just going to use a slightly thicker consistency of compost blue. And I'm just going to treat it the same way as I did with the other gummy bears. Going in was the third layer off the compost blue. I'm just going to darken certain areas to define more of the features. 21. Blue Gumy Bear: Shadows: For the dark blue, I'm going to use Prussian blue, and this color activates very easily and the color is very rich. So a little goes a long way. I'm starting with a medium consistency. And if it's a bit hard to blend due to the huge difference and values. Sometimes I like to connect it with a bit more compost blue, while the Prussian blue is still a bit damp to soften the transition, I'm working on a damp surface here, but it's completely up to you whether you want to work on a dry surface where you can manually blend the edges using the clean damp brush. Or you can also let it blend naturally using the wet-on-wet technique. But apart from connecting the color with more of the compost blue, everything else is pretty much the same here as the other gummy bears. There is a very slight change for the second layer, but that's optional. But just watch out for it in case you want to use the exact same method as what I'm doing here. I'm close to moving to the second layer now. And I just want to mention because Prussian blue is very rich and dark one use in a thick consistency, you do have the option of just using Prussian blue by itself. But here I end up using a mixture of complex blue, Prussian blue, and a little bit of sepia to add a very dark blue toned. This is optional. I just find that this mutes the blue slightly. And considering I've mixed CPR and to the rest of the darker versions of the gummy bears. I wanted this one to be consistent with it. So I'll let you guys make your own decision for this one. For the rest of this, I just used the same method as what I did for the rest of the gummy bears. So I'll leave you guys to it and I'll leave the demonstration on so you can still use it as reference. 22. Blue Gummy Bear: Highlights: In this lesson, I'm just going to paint the highlights which are pretty much the same, straightforward as the other ones that I've initially painted. If you're not a fan of the opaque white highlights though you can also treat this like watercolors by reactivating the white with a clean damp brush to soften and light in it so it doesn't stand out too much. But I'll just leave this completely up to your preference. 23. Blue Gummy Bear: Cast Shadow: Moving on to the cast shadow, I'm just wetting the surface here. Again, I'm only going to give you guys minimal instructions. And this way I can give you guys the space to play around and experiment by yourself. Here I'm using a light to medium consistency and I'm going to place it very close to the gummy bear. If the surface is wet enough is just going to spread. Or you can also go back in with a clean, damp brush to soften the edges. For the grayish area, I added graphite grade to the dark blue mix, which was from Prussian blue composts blue, and CPR. The ratio is completely up to you. You can add more graphite gray if you want the edges to be a bit more gray and muted. Or you can use a bit more Prussian blue if you want the color to be a bit more vibrant. After playing with the gray here, I took a thin consistency of Prussian blue and I place it on some parts off the gray area. This way, I can vary the color slightly so it doesn't look too flat. And sometimes I also like to use it as a transitional color from the compost blue to the blue-green mix. You have to control here. If you want the value to be a bit darker or lighter or if you want to increase the saturation. So go ahead and do that until you're happy with how the shadows look. After that, I'm just softening the edges from the grade to the white of the paper. 24. Finishing Touch ups: If you guys have been following me for awhile, you guys know that I always do finishing touch ups at once. I feel like I'm more or less finished with my painting. For this, I feel like I can make the gummy bear and look a bit more chubby and more gummy like by softening the sharp edges. Here, I just chose the dark color of each gummy bear hue to add perf lines to the edges to make it slightly smoother. And I'm just slightly softening those edges using my liner brush. So as an example for the red, I used crimson lake for the green that I'm doing here. I'm just going to use sap green. For the next one, which is purple, I'll be using mineral Violet. And as for the blue abusing Prussian blue. At the same time, if I feel that parts of the outline need a little bit of freshening up, especially if they faded along the way. This is when I would layer on more of the paint and this applies to the highlights, the shadows. Anything else? To really finalize the painting? At this point, everyone's painting will be different and everyone will have their own adjustments or none at all. Just have looked at your painting. If you feel that it's already complete and you feel that nothing needs, It's saying you can leave it be and call it finished. Or you can take your time to just have look around or even leave your painting for a while and come back to it to freshen up your eyes so you can come back with a clear mind and make that decision. For the cast shadow, I feel like I need to break up the color further. And I especially feel that I need to add a lighter areas. So I decided to take a very watered down bleed proof white. It needs to be very watery because bleed proof white is a very opaque. And I just use this water down V provide to place over tiny areas after the light reflection part off the cast shadow. I just got it very thinly to depict reflected highlights. Okay, I think I'm quite satisfied with how they are looking. And now I'm just going to erase some visible diagonal lines that I used as guide. And that's pretty much it for this painting. 25. Closing and Class Project: Congratulations on completing this class. I hope you guys enjoyed watching the process. From planning, drawing to painting. For the class project. I would love for you to either download the outline from the projects and resources section and get to painting straight away. Or if you're up for the challenge, I would love to see your own composition or your own versions of your gummy bears. But either way, I'm just excited to see what you guys come up with. Once you're done, please don't forget to post it in the project section so you can share it with me as well as other students. If you guys enjoyed this class and you would like to see more works by me, you can follow me on my YouTube channel, neon Yani, where I post shorter watercolor tutorials weekly and other related things. If you would like to see more art by me, you can also follow me on my Instagram at IG underscoring Yanni. Thank you so much for watching right to the end of this class if you guys are still here, I hope you guys enjoyed painting along. And I'll see you at the next one. Happy painting. Bye.