Transcripts
1. Introduction: Hi, Selena. I'm a painter and illustrator. Welcome in my studio today, I'm gonna teach you how to make a news and expressive portrait using water way. We'll explore playfully rather than beginning with a frequency tidy. This technique will allow you to work creamy and quickly. You won't need an under fence and throwing before you start. You can apply it to anything you like, not only for fortress, but also for fruit flowers, leaves or any objects that you would like. Toa render in a loose manner. These classes for all levels. Some experience withdrawing on water cars might help open, not necessary, provides guidance. You can follow step by step on our your own base. We will dive into some basic watercolor techniques that will be using in creating our portrait's mixing skilled gardeners. The features of the phase beats about proportions so that you can create your very own portrait. I will provide you be so resources to help you achieve the best results. You will get a skin quarter mixing chart. So, um, reference portrait. It's on all their how to diagrams, so make sure you check them on the project. Resource is by the end of this class, you will be able to create your very own expressive portrait with water. I'm really looking forward to see what you create. Don't forget to share in the project. Gallery off, Let's get started.
2. Project: for today's class is to create a losing render portrait. Using watercolors, we will play from experiment, using some basic techniques but also creating freely to achieve our final portrait in our next session that will be any which materials you need to get started. Then we will talk about so basic watercolor techniques that will be using and creating our peace. Afterwards, I will show you how to makes your skin colors and the colors on your new drills, and we will also talk a little bit about the proportions of the face and off course the futures. Once you practice your basics, you can move forward, and Sperry meant and have fun with this. By completing the class project, you will practice where you have learned you will have a basic understanding on how to make a portrait in this manner. As you continue to practice, you will enjoy this process more and more, and hopefully he will keep your creative juices going. Course you not only to share your final project, but also some of your process. You can always share with me the exercises and the process you went through to finish your final piece. I'm really looking forward to seeing what you create. So don't forget to share it in the print gathered. See you in the next list.
3. Materials: for these class, you will be needing some watercolors. It coming. Oops, Or pans. There's off corners. You will need yellow Oakar, their media writ ultimately blue on or Coble blue burnt umber, all issued in creation on Perry Lane green. There's off brand. I use Daniels meats and wings or a new tone, sometimes for them, mainly. But anything you have any brand that you have available is perfectly fine. I don't recommend using your black because it makes your work look hard. Steve Harsh just received a temptation to do it. I want to teach you how to makes your name rituals. Premier your darkest. You will need a round watercolor brush. Amusing A silver black velvet number eight a Spanish. Also boot. But any round with a nice point will do the most important. Sea is that way. You wet it. You can get also a very nice point. So that's why I asked for round. Grab yourself a big jar of water. Get yourself some old little towel for clothes. Ultimately, you can also use paper towel. You can use any palate you have. This is 18 1 with some space to makes your colors. You also have plastic ones like this again here to mix your colors or Saddam IQ ones, which I really like. You can use anything that you have available. This is just a plate for elite. This is a deep bowl that I bought in the local supermarket, so anything where you can make scholars is perfectly fine. As far as paper is concerned, I recommend a heavy paper 300 grams or higher for 300 Branch Perfect, and I will be using a cold press paper because he has structure supposed to to the hot breast, which is a more smooth paper. The cool press paper houses warm little texture, which when the water gets in them, it creates a really beautiful interesting effects with the pigment. Another reason I chose gold paper is also because it's over or more forgiving, she said. Look from a German brand, Hannah Mutar, but anything you can get locally is fine on by a block. I mean that the paper is blue toe all sides and this is great. Were you working with a lot of water? Just water cooler in general? Because the paper won't work. Alternatively, you can use and lose sheet of paper, which you then take toe a working surface like a board or your table. Make sure you stay fit at all sides and then, with a big clean brush, just wet the surface off the paper. Then get rid of the excess water around the cape. Let it dry. Naturally, the paper is now ready to take more water, minimizing warping. I find it, honey, have a little bit off watercolor papers where I contest my colors before I paint with them on my artwork. Okay, now that we have everything we need in terms of materials, there's move on into some basic watercolor techniques that we will be using in creating our portrait. See you there.
4. Watercolor Basics: Washes: since these classes about creating and use watercolor portrait way will remain using the wet over its technique, which means that we first went to favor Don't be shy about it. Just make that's just made half a seer cold. So my paper is quite wet And then I'm gonna take shown pigment when I used red because you course you see of the best watch how the pigment just runs around that shape that we have made. At this point, you can't pay a different color. I'm taking it. Obviously think Queen ship. Just be darker. I'm Jewish. And at do your previous one see how both corners star mixing together she here that is not just the warm red, but is a combination off Fourth corner's the other technique we're gonna use, which is also welcome Wet Mr Create maybe the same shape, but without the pool's off water. So it is wet, but it's no so wet that we have no control. Where the corner goche We're gonna do the same. We're gonna add some pigment, you see that way the corner spritz. It's a bit less around them to from the previous one. It's just out are sitting creation. I want to add a year usedto show you what happens. You see how it's no really stars joining the other quarter, my abs juiced and it'll be water. I can start blending in a more control. Both of these techniques were when I use while making our portrait and I want to show you with this scheme wash what happens that he used to always start very light. I'm actually doing it a bit darker for the class I started big lighter because otherwise you don't see it on the paper and you have it is very by peach corner. Just stay around sort of your cheek just to give you an I d. And then you want to make it a bit rose, You it is here still very wet. Could you just adds, could be more off your roshi quarter wash, which means he hasn't be more up on the Saudi prince. Then you see how these area here stars darkening. If I go ahead a not burn omer and the green darker. That's one more layer to the colors, and that's the beauty about water colors that you can sort of build your layers. If you start very light, you can make erections. You can change your mind. And when you add more quarter, you can make those decisions be more permanence if you like. I was just talking about raising something. It is also one of the reasons that I asked for a thick paper. Let's just say I don't want the stop part. What I do is well, is wet. I make it very wet with just water on my brush. And basically I can get Reda leads. I can go back then with my clothes and just take it up. So that's how you correct for this class because today is a force that are portrait is going to be made extra damage. Right now, this example here is a bit wetter. So when you make it with a dryer brush, you see that it runs less on the edges. Sometimes you want that and sometimes you want this. But this is the reason I show you both. And then again, we're gonna do the same. I'm gonna add more pink. There you go. That is more being, and you see that it stays more within itself. You do have an extra layer, but it doesn't sort of blend this way. And either one is okay. It just depends. Own which effect you like now gonna adds my number, then you see, it's almost linear, so I don't want that line. So you go back to you, make it a big winner. So we're gonna be switching basically back and forth between both these techniques. I hope this helps you. Us. We start working and you come practice and play with it and just have fun and see what water colored those next. We wanna breakfast some brushstrokes. See you there.
5. Watercolor Basics:Brushstrokes: on the station. We will be breakfasting are brushstrokes. So if you're familiar and cough the boy, use your brush. You can skip the segment altogether. Just use a corner. Start practicing with your brush. I have a beautiful Palestinian tension and just see what kind of lines you can make with your brush and how much water and what it does to your lying like. I had just be too much water. So it sort of blades here and making lines doesn't matter. It's just to get used to the field off your brush and you're colder on the amount of water . It's just good practice. It's not about perfection, just about maybe warming up. That said, you can practice that as long as you like. Another exercise is to use the point off your brush and then flat point again, flat in your brush from the point again. This is just so that you learn how to handle your brush and what kind of marks you can make with it. This is something I used quite often to make the shape of the I. For example, you go from point pressing through the science off your brush. You can also practise this the other way around. Of course, for you're older, I so just pulling flat point. It's more about the movement. He doesn't have to be perfect, and it's just to give you that feeling for it. Very women role. But it's not about that. It's about practicing. I'm feeling comfortable with it. But then, before you know it, you can make your right. What is really important when you practice your line is to get a feeling off how much water and pigment you need, and you still get that feeling off your brush with a pigment here in the paper and how you can create different thickness in your lines by moving your brush. If you feel like you don't have enough water, just keep on playing. Could make even seeker marks to see how the wash girls. If you have to drive a brush, you get more This kind of line, which we won't be. You see much in our portrait's so it's important to having a water so that you can make the very nice point or your brush so you can be more precise If you want to know if you need to be more precise, but if you have too much water, you might end up making a block, which could be nice, but only if you really want to. So it's all about controlling the amount of water and amount of pigment. And this is just what this exercise is about. Just practice enough to get the hang of it, and if you do these a few times, he will start to feel more natural. Next, we will learn how to make our skin corners.
6. Mixing Skin and Lip Colors: to create a basic skin corner. We just makes some yellow car. Just make sure you were brushes to be wet so that you can speak up something from either your toner or your pan. And I'm gonna use these, but you can use a lead or whatever you want, because I want to make a load off the same corner at once. So I'm just speaking up from yellow. Now I have to just get older. Now I'm going to go ahead and at a needle Beano for medium writ. My this is my color is, I think a bit warm and I'm gonna test it. A little piece of paper. This is a warm skiing, fuller. And of course, if you want to make it very light, which is how I recommend you start more water and you hardly see it. This is how I would like it when we start with the contour off the eyes when we start making our portrait. But let's just say that you find these and be warm. I'm gonna out just to be more years because I think I need more corner. It just adds and being more rents. This is very rich so more, you know, again until you have the pinkish color that you like. What are you seeing that you might needs? You can see there's always the same color. But this is Pinker. There is more red in it, are supposed to. Yellow is just a preference. Ideally, you want to combine, have warmer and pointer values because he really adds a lot of fun and makes your portrait much more vivid. Uneconomic. So that is my skin corner. There is basically yellow car I'm for 1,000,000 on. I make it rose here with more red. I'm warmer with higher content. Tokyo Next, I'm gonna make my lip corners and that is basically the same recipe off my skin color. So I have my you know, Oakar and I'm going to add any beetle for me and I think this is nice. It's a nice quarter, sort of in between these two. And I'm gonna add just a little touch off the set in creation because our lips are almost in colder off our skiing. But they are beats cooler. They are rose. Year on these value is still quite warm and forcing the mouth, you also have warmer and cooler. So if I add again a bit more off the alley said intention that I'm gonna get that colder Kohler on the leaks. So if you want to mix darker values on also for darker skins, you either out I'm gonna take the leap. Makes away. This is just my skin. So this is my vermillion with yellow joker and I'm gonna add a little bit off Alterman in blue. I find it toe proposed, Dio. So that means that I'm gonna abs and Dittemore yellow color to it. Then it's immediately turning into a browner warmer corner, which I contest Here. You see, these are the shadow colors you're gonna use or your portrait. This caller I use a lot around the eye for the upper eyelids and just the shadows around it are my darker values. Now I want to try the same but using cobalt blue instead off Ultra Marine. So I'm gonna make again my basic recipe yellow Per this is very read more, you know, can see. Yes, she's a nice one. And I'm gonna add my Coble blue supposed to my own family and then you see what happens. I find that global blue is to be softer and is also indeed cooler. As you can see here more purple, we have more of a for pristine on. This has more off a brownish war, my team. But this is how you make your shadow corners make these colors and notch darker. You just asked and you beat off burns number, which also makes your color combined with blue in Mexico automatically warmer but also darker. So here you have more, really a true brown. But is Reacher because he has the combination off the older three colors and also acts to the burned over to my skin makes with the ultimate e on. This is again This is my skin place ultra marine blue on. This is skin ultra marine blue on burned number. And then you see that is a notch in denser. Even if you have less people, I'm also going to act a little bit of burn number two. My leap makes um, these colder is very handy in creating our parting off the the beautiful, darker lying in between our nukes that is basically skin corner British answering Quinson a little bit off burn homer just refer to the charge. I provide off the color mixing. If you want to experiment with this a little bit more. Now that we have learned how to make our skin on the corners, there's move on into mixing, so
7. Mixing Neutrals: as I mentioned earlier, is additional to use black to create our darkest body. Who makes our nuptials by using to complement very corners. And the result is a nice priority. Off reach Grace. On these class, we will use green and red to create our grace. So I have a bit of my parad aim green and I'm going to ask and it'll be for me. You will be writ, so I'm gonna to be more off Mark Karenin. And when I taste it, you should Gorgeous gray. I find if you asked and it'll be more off paradigm, he's gonna get darker and a bit bluer. I don't know if you can see very well, but this is a touch warmer and he sees Do you see the green coming through a bit more on the gray? So we have just created within 2/4 through different grace. And if I just a beat off red to it, then it is a brownish reddish, but it's still agree it's still a neutral. So this is the phone thing about you see in complementary colors to make your natural oils are supposed to use using black. It just depends traits so much variation using the same colors. And I'm just layering so that you see how much darker you can get with these two porters. I'm going to ask again more green, which I want to be different, darker. Great year. I should force to brown. But if you keep adding, he just gets quite dark. I mean, this is really almost black. With watercolors, I find this is as dark as you should go. I am 40 to experiment on, play with it and enjoy all the variations so you can create. This is it's as far as corner meeting. Those, you know, know the basics to create your quarters for news class, for the complementary colors are purporting, you know, and blue and orange, so feel free to experiment with them. If you own them to create other shades off grace, feel free to refer to the sessions. If you feel like you need to be more breakfast getting the consistency and intensity off the colors the way you would like to see them, just have fun with it and practice, and you feel very comfortable and confident about it.
8. The Eyes: So we have Our colder is ready, and we're gonna make the brush very wet and just speak up. Just enough pigment. Still trying to keep it light is perfect. I hope you can see it. Flashlight you wanted, actually. And this is very important. Just keep it with and light. So we're gonna go around third off the way down on our paper, and we're gonna make She's very died when I pick up a little bit more color and we're gonna make sort of shape off the I would learn it for me. Sick From what? You don't need lines at this stage. And we have made our first I and just leave a little bit off distance. Maybe with third off the shape you have made in between and just do the same thing on the other side trying to align a little bit. He doesn't have to be exact at this moment. More figment. I think they're about the same height does the only thing that should concern you at this point. Now I'm gonna go up a little bit and create of all the leads, the shape wolf, approximate shape off where my eyebrows are and the important scene about the she said It gives you the beginning. Oh, where you're nose is gonna be show. You know, she's shown where again? Show where Here. He's gonna go down. So that's why now you need to have those eyebrows in on that h for the eyes.
9. The Nose: So now we have our eyes, she says, far as we want them for now, and we're gonna try to find the base off the notion. And normally, I just look at my portrait and do something that sort of feels right again. Light and wet, sort of make a little mark. Make sure it's light on. There's always shadow underneath the nose, so this is all very approximate. You can always decide later that it can be a bit shorter or a bit longer. But as a rule foam, I would say that almost the whole I feeds twice from the eyebrow into the base off the no. So this is more or less this ice off my eyes be bigger because it has water around it, but more or less this. And if you want to measure, then start the highest off the eyebrow. Move twice down, show one about there to show that's more or less what it iss. But I would not worry too much about it because, as you can see, this is just the shadow off our nose underneath. And then when you should be dryer, I would just I suggest where my nose drills are going to be with beat, more pain and the movement. You made a sort off little girl going up, then going down, up and down again. It feels good. It feels like it's on the right place, so I'll just leave it alone for now. So we move from the eyes very quickly into the nose without finishing the I. And this is how I want to keep it, because this is the way you keep the portrait's going and you keep it loose on fresh and you don't overwork one area before you have all the information that you like. You can do that later because this is water cooler so you can always add an extra layer toe . Define something in a different way or at a different color. And that is exactly what gives the portrait that richness and that playfulness
10. The Lips: So now that we have our nose, we can find the placement off our lips. Just make a little line, a vertical line going down from our nose and that's going to determine where are deeps are going to be specifically there operated. So I've been using only skin cooler. So now I'm gonna use my creepy pair lip corner down again. This will be that V shape that the leaps make. Then just make a needle curve the one side and then to the other side. So now I can decide we're departing off the lips is and I'm just going to use the same corner for now I can make a darker later. Just I think this is a nice size Were on Oprah leap for No the curve And I always like to make the corners off my mouth Be upwards so that she doesn't look sat and are open Lip is in the shadows normally cause it goes in Show on just make it Give it a bit more corner show And then I just make a decision on how thick I want that leap How four you want it and just make again Little shadow underneath. This is actually not my lower league, but it just indicates the leader shadow that your lower lip makes on your chin. So I don't need to corner my whole league. What is very handy is to decide which side off the face you're gonna make darker and which one you're gonna have The light sort of shiny more on it. And just because these I seems to be darker already, I'm gonna choose the side. So I'm just gonna make keep it lead a bit off color here around the corner, off the leaves. And that's you know, if I find, then I just take a little bit off that and move it and I would just leave the space here. That's light because you can. And just a little point on that defines our lips. Next, we're gonna find the hairline and the Contras off the face
11. The Hairline and Countours of the Face: so fine the hairline. What I normally do, he's just go up and you know, Bates parallel to my where my eyebrows are and that seems OK. Let's sort of go leader just a tiny beato outwards and do the same on the other side. Then for about the same length, go into the the face again, Forehead, something like that. Don't define it too much because you're gonna have hair here. Anyway, it's just to give us an I d off how big our face ish then that Help us determine the chain on the rest, off the counter off the facial. Just leave a very light and joined us two lines. You have just roughly. You don't need to feel it all in because you're gonna have hair around it. I will no be toe worry about this because it's just gonna be our darker side. And hair makes always beat off a shadow around the face. So, as you can see, this is all nice and lose their no harsh life determining anything. So to find the shape of my face is very handy, too roughly know where my ears are gonna be and I'm gonna make them very light because I have no decided if I want the years to show both or one or not at all because I have no decided on her hair yet. This is the nice thing about this technique, and the ear is more or less goes from your eyebrows. Doom the base off your nose so we're gonna do the same on the sides again. Very light. It's just to help us find the rest off the shape. So from about it's the third house for for a year are your lying starch. And it goes slightly inwards, upto more or less where our lips or the parting or the leap off the lips is. And we're gonna do the same on the other side again, very light to give us beat off the perspective. And I think this is OK, but it's again super light so I can change my mind, and I'm gonna calculate that my cheating will be shown were here. And if you make sure your sleep boredom and then measured out again, it's about the same distance. I find us a good way to shut off. Help yourself and then Ewing lightly from the Ching to where we have started when our July . So what? This is into that year and I would chain normally we have some hair around here show thank you now and then stepped away from your portrait. When you step back from your work, it gives you a global view, which helps you make the decisions that you want. You can then decide if you want to give a certain feature a bit more off a shadow or a bit darker, or you are maybe fuller leaps or higher eyebrow. Those kinds of decisions you can make when you sort off Look at what you have been doing from a beat fire away. So now we have the shape off our face on the hard line.
12. Defining and Refining: So this is the darker side of my face. I'm gonna take a little bit off that makes have made off skin Quarter. And I made it in this case, I made it with Ultimately blue. And I'm gonna start just lightly defining that I a little bit too much. Just, you know, if to make it a bit more often eyes shape. Then I'm gonna use, um off my natural color that I have made. And here's from top off my Irish Make it a little bit darker, just a little bit. Don't do too much because you can always add later and then define it. Beat the line off my eyelashes with the same color she can see. I have not added more pigment because I want to keep it that way. I don't want my portrait to be stiff or too dark and harsh. Then we have a little bit off a shadow here and again, you see very light and you see that the two callers the name patrol and my skin corner with the ultra Marine are sort of mixing together. And you want that that that is very nice. Then I will move in with the same quarter and be fine, just a little bit. That eyebrow. I think I like it like that. So I go back with just a touch of no droll and make here on there. It beat darker that north throughout. Just keep it loose, wet again and sort off Joined this two coolers to keep that eyebrow from looking to define . I'm gonna go back with the natural and make that little pew pew inside of my Irish And again, just a little bit and move that big meant around a little bit. I'm satisfied with his I I don't want to do, At least at this moment. I don't want to do much more to it, and I'm gonna check that he's pigment I have is also still lied. So start working on the older I and just check yourself a little bit. If it's about the same highs and without very light color, I'm going to do the same. I'm going to create the Irish and because this is my life site, I'm not going to use more than a literal, but I'm going to just food the debate off my mix with it won't remarrying and give these I a little bit off definition. They will check in with the or the one. They seem to be at the same highs when I take the same color and be fine here, my open lead and there's always a shadow and be doing. I going up to there eyebrow, then again trying to keep that natural. Also very nine. Check it or you're a little piece of paper in the U novel. Too dark. You can always go darker later if you feel the need shut off to racially, you're lying. You can be lower here and just don't be too exact because thes keeps your portrait fresh. Sit on a little bit on that eyebrow, basically, just combining the natural and my own burqas. I wanted lighter on the side. 40 knows I would maybe just go back with a beat well number and my skin corner with ultra mating and just added, you remember and I used to find it on the side that he's gonna be dark, Um, nos. Maybe a leader being off a shadow here, but very light and going into the eye. My dish. That's all you need, actually, as a nose. I would not make it more define done this. Then we have a shadow like I mentioned around the hairline. And here Oh, my cheap. You can use a little bit off the corner off the leaps, which it has a bit of a rose. Your thing to it, forced off the alley shooting creation. And then just pull out the shadow like that and maybe here a little bit again. Keep it light. I cannot say it enough times because he's so important for these technique to keep things light so that you can make your decisions as you go. I would then just put just a little bit off my cheek color on the other side. Just a tiny bit. You normally have light on the forehead here and on top of your eyebrow show. I would not do too much to the forehead except around where our hair is going to be. And that's what we're going to decide on our next session. So see you there
13. The Hair: So I'm very happy with this so far, and I don't feel the need to add anything at this point. And we have to just move on to the hair. I'm for hair. I always say, you know, just make and wet shape with hardly any quarter and here has to be for so I just, you know, make it beak. I like to start always one side of making the older side. Maybe be less, but don't be afraid to go into the hairline. Thus, what's going to make it fluid and lose a playful? So I have here just created a big shape with lots of water. Now I'm gonna just take my natural and play with it. Just throw some pigment into the blow up you have made Try not to do too much on top because the light hits the top of the head. So I would just sort off Leave it like that and, you know, just have fun. Just make a few splashes with your brush. Don't be afraid toe with it even further and moving around that gives it so like a playfulness. Then I would either use a hair dryer or just wait and let it dry. Naturally, just put a little bit off number here. Khost has a bit of a warmer, colder and we want to combine a little bit. And that's all I'm doing on the other side. Just put a bit of number here as well. And while my hair is dry, I'm going to sort off, get my neck being base off the face, going that Marsh and I have to find it more on that side goes that is my darker site and then just a little bit on the other side. And there's a shadow on their knees like that. That's, you know, for my neck, and I would put a little bit off that makes with ultra Marine. We're just a little bit with that ultra Marine. That shadow underneath the face tends to be be bluish color and does it. I have my hair, I have my neck or the beginning of my hair and 1/2 my neck, and I think this is a nice shape, but you can decide on whatever you like, and now I'm when I just let it dry so this has dry just a little bit. But it's still wet. And that's actually what you want, because then you can start playing with that hair. I find it would be too reddish. So I'm gonna add a bit more off the burned over just to make play for shadow off the hair and maybe show it off change. Okay? You know, it goes sort of like this on her face and here around her neck. Don't make it to determine. Just play with it and just keep making blocks off pain if you want it. Loser. I think this is a nice legs, and what I'm gonna do now is you should be more of that natural to make that sort off washy blooms flowers to create them. You just need to keep it wet and at more pigment. So what you already have and that's new. Neyer is sort of going toe spread and create that impression off those flowers or blooms. Furthermore, I can move it a little bit like this, but then again, those are all you should be having phone at this point. And those are old decisions that you can make yourself. I would just give it a bit more definition here I'm gonna keep the year just because I like the playfulness of it. But, you know, you can also put hair there, just you see how lose and how playful. I just work the shapes. If you feel the need to define these to be more, go ahead. I like it like that. So I'm gonna leave it like that and I'm going to sort off unite this in a minor with one is the hairline. And that means I'm going to go back also with water to get rid off that line. You don't one just gonna find funny. You don't want lines or your hairline show does it. I think maybe a little beat off darker cooler there. Just keep on playing with the same colors you have. I have no used in different color that I have no prepare. Previously, I'm very satisfied with the hair. A Swedish, But you know, you can decide something else and I make a little bit of a splash here and I like that. But you can always decide I don't want that. But just don't be afraid toe play and to experiment and a little bit now that I have the hair. I think you know what I just chose to find near Tiny Beat to give that sort off shadow around the face. And I find that enough. But you might find all their wise. I just keep name with it. What he's wit.
14. Other Fun Stuff: I just take my rich just because he's a nice color and decide. Maybe I want to give her a flower here and then again. Now I'm just playing. You can't decide to give it something else. I'm just showing you more or less how I work and how I make this point portrait and just how I just simply have fun. And then I'm using just their yellow Oakar because I want to keep the palate for this class , limited our cities so that just with a few callers, you can create your portrait. But if you have more colors and you want to have fun with it, just for hip. So this is my flower and just like hair I want to keep it with and no totally defined. So don't be afraid to play and bush your shoulders around. It's going to make me warmer here with the yellow Oakar, just like the middle of my flower. And then I would take a little bit of Ali sitting Queen's tomb on Define here. I'm there where my petals are. Keep it loose, keep it play, for If you don't like something, you can still take it out because he's very wet. I want to add a bit more, you know, here just to keep it warm and see how the colors mix in the wash, just like what we practice at the beginning off the class. And I want to make it be darker there, just that beautiful definition. And again, I'm splashing a little bit just because it's fun. I want to take a little bit Speakman unfortunate towards the center where it normally, if now were each darker. So now that my flower has dry a little bit, I'm gonna come back with a bit of unless wit brush and just keep it beat more colder around the needle. But that's all optional, of course, maybe defying this petal a little bit. This I just like it. That is light there, and we worry too much about it, and that's it. You have your portrait. You can always work it a little bit more. You can always decide I want to be more of a rosy thin here, and you just go ahead and out more on the setting convention. But then again does are all extras. You can make it a bit darker if you like, but I like it like this because I like the lightness off it
15. Tips and Bonus: so a few very important point to keep in mind I cannot stress is enough. Starts very light. That is one off the biggest tips I can give you and wet concentrate on creating shapes. So the shape off the eye or the shape off the base off the nose, not so much on the lines or the determination off those features decides on a light side on the dark side that helps you with the overall a feel off your portrait. It also helps you keep your portrait consistent. Don't be afraid to change things as you go, and the more you practice, the more confidence you are going to feel in the way you can manipulate your watercolors until you're satisfied with the result. With this technique, if you keep it, wake and you keep it light. It even adds a certain nice dynamic to it to see all the colors come through and those washes as you correct. Certain things more to your liking have also included a little varnish. Time lapse off another portrait off mate that he should be more off a 3/4 view. This class have course interested only on the frontal because there's only so much you can do in one class under the resource is off this class. I have included the frontal end 3/4 view off the proportions off the face as well as the basic portrait. It's that I have made myself toe help you, maybe in the realization off your own portrait, so feel free if you think you need it to use them, but otherwise just keep it playful.
16. Final thoughts: Okay, you have made it to the end of this class. Congratulations. Today we have learned how to make washes, how to work with a wet on wet technique, how toe makes our skin colors and how to create a portrait in the playful and phone manner . I hope you now have to feeding that you can create your portrait using watercolors in this quick and easy manner and that you don't have the idea that you need to start with a frequency. If I d rather that you discover us, you go alone. And as you work with your watercolors and just keep that playful feeding within you, I encourage you to keep on practicing because the more you do, the more at ease you're going toe feel with this technique, pushing your boundaries and playfully creating your portrait. Thank you so much for joining this class. I really enjoyed detainees. So I hope you also enjoy learning along with me. I really wouldn't have to see all the wonderful portrait. So you're going to create. So please share them with all of us in the project and gallery for this class. If you have enjoyed this class, please give me false up or even better, Let me a review. This will help other people find this class on skill ship. If you have any questions or something was not very clear to you on the video posted on there, the discussion section and I will be very happy to answer any doubt you have once more. Thank you. And just go on today and have fun.
Luz Elena Caballero, Painter and Illustrator
