From Shape to Shine: Glass in Watercolor - Simplify & Paint Transparency

1. Intro: Glass and metal are two of my favorite subjects to paint, because in both cases, we're dealing with illusions. Painting transparent objects can feel intimidating, but with the right approach, they become much more manageable. Hey, there, I'm Tanya. I'm an artist based in Denmark, and in this class, we'll explore how to paint glass in watercolo. I'll walk you through the process step by step of simplifying our subject and break it down into smaller, easier to understand shapes from the initial sketch to the final piece. If that sounds fun to you, let's get right into it. 2. Supplies: Let's have a look at the materials we're going to need. Of course, we're going to need some watercolors. We're going to have a look at exactly which colors in the class, but I recommend having at least some version of your primaries, a red, yellow, and a blue. We're going to need some paper. For a couple of lessons, I'm going to be using my sketchbook. And for the two paintings, I'm going to be using watercol paper. I'm going to be using fabriano artistico extra white, hot pressed, but you can use any watercolor paper you have. Masking tape if you're working on loose sheets of paper and some brushes. The main brush I'm going to be using is by mating and it's size three. And for the final painting, I'm also going to be using size one. However, due to their shape, they're closer to a size six and ten in your average round brush. Finally, for brushes, I'm going to be using one flat brush for lifting paint. We're going to need some masking fluid and a tool to apply the masking fluid. I'm going to be using a dip pen, a pencil and some erasers, a cloth, and some tissue for wiping out brushes, and to help lift paint. And finally, some water. Let's get started. 3. Understanding Our Subject: We are going to jump straight in and do a study, so get out your sketchbook. We're going to go a few of the characteristics that we may want to consider when painting class. And to illustrate things more clearly, here's a reference. Somewhere in the corner of the page, we're first going to do a quick sketch of the glass. It does not have to be perfect. I'm going to start with the ellipsis or the top, something like this. This is not a perfect match to the reference, but that's okay. We don't need to worry about that. I'm going to add in the sides of the glass, and technically, we only have one side. But if we're not going to concern ourselves with perfection, we're not going to concern ourselves with grammatics. The bottom is quite thick, so we're going to add that in. And we got the base of the glass as well, something like that. Perfect. Once we've got that, I'm going to do one more. You don't have to, but you can if you want to. The size doesn't matter, but I'm going to try and keep it somewhat similar to that first one. So I'm going to lightly draw this in. And then with this one, we want to change the shape. So instead of this circle or ellipsis, we want to create a hexagon. So we're going to line up the front and back. And then we're going to create the four remaining sides by drawing lines from here to right here. Next, we can connect that to the bottom. And drawing the base just like we did before. So now what we've got is on the left, we have a glass with one side or one wall, and on the right, we've got a glass with multiple sides plural. The sole purpose of which is to hopefully illustrate some of these talking points more clearly. Okay, so when looking at the reference, what you can't necessarily tell is that the main source of light is coming from this direction. This isn't something we need to know in order to paint something from a reference, but in this case, I have that knowledge because I took the photo. Okay, so when it comes to painting glass, the first thing we're gonna have a look at is shape. The shape is the foundation, and we need a solid foundation in order to render this glass realistically. So we want to make sure the shape of our glass is correct according to the reference. And one of the most important things for a glass like this is the perspective, which due to these ellipses is usually also one of the more challenging paths. So we're going to have a hot look at our reference and try to make sure that these line up with what we see in the photo, at least close to It doesn't have to be perfect. It's just a study. But what we don't want to end up with is something like this where the perspective no longer makes sense. We also want to make sure that our glass is even and symmetrical. And this might tie into perspective, but we want to make sure that our shapes are even. So we don't want the ellipses as an example to be wider in one end. We don't want one side of the glass to be more slanted than the other, and we don't want things to look wobbly. Aside from just the shape, symmetry is also important when it comes to actually adding shading to the glass. Because glass is transparent, what happens on one side usually happens on the opposite side as well, which means that if the light is coming from this direction, this side or this panel is going to be lighter because this is where the light is hitting. And because the glass is transparent, this means that the light is also hitting this panel or side straight across from the first one. So on the sides where the light isn't hitting directly, we're going to find our dark values. Anything from our plain background coll up because of that transparency, all the way to our deep docks depending on what the glass is picking up from the surroundings. If there is a highlight right here on the edge, we need a highlight on the opposite edge. If it was here, we needed to be over here as well. With glass, we can just add shading into it the same way we would with an opaque object. Even if we are seeing some of the same shading which shows us the form of the subject, this is going to be broken up by reflections. Either reflections in the form of light or highlights or in the form of different shapes because everything around the glass is going to reflect onto that surface. So when painting glass, we want to pay close attention to our reference, so we're able to capture and render the glass accurately. If you're ready, let's move on and do a quick what a call study. 4. Exercise: Study: Let's get some paint onto our palette and get started with the study. We're going to keep it super simple, so we're going to use white, and then we need one additional color. I'm going to be using Paine's gray, but you can use any color you want. Next, we want to do a quick sketch of our reference. It does not have to be perfect, but try to get the two ellipses to line up with what we're seeing in the photo to the best of your ability. Something like that. And then for the sides, you can either eyeball it or use your pencil and hold it up to your reference to help get the right angles. Try to keep the angles both on the left and right, fairly symmetrical. We don't want one side of the glass to be more slended than the other. Go to add in the base, keeping it pretty loose. We don't need to add in the details, just the basic shapes. Keep your sketch light. When painting or rendering something in a realistic manner, we don't want visible outlines. And with something like glass where all we're painting is light and shadow, it can really mess with the illusion. We're going to begin by adding in a base colour. Now, typically with Watercolor, we would want to preserve the brightest highlights. But since this is just a study, I've removed those from the side of the glass in Photoshop. And so right now, all we're going to focus on is the basic shading. The paper in my sketchbook is not Watercolor paper. It's some sort of mixed media paper, but I'm still going to use a good amount of water to hopefully get in some soft shading. So we're going to add in the base colour. And then we're going to go straight in and add some shading to this main shape. Don't overthink it. We just want to paint what we see. So we've got some daga values up against the sides. Gonna add that in. If your paper is too dry or doesn't allow for wet and wet techniques, you should brush to soften the edges. It doesn't have to be perfect, but try to avoid hot edges in this area as much as possible. We've also got some deeper values in the sensa so we're going to add that in and avoid the temptation of filling in any outlines like on the top edge. Only focusing on light and shadow. My paper is already too dry, so I'm going to use my brush to manually soften these edges. It really doesn't matter if we end up with some hot edges. It's just a study. And if you do have some shapes with hot edges appearing on the side of the glass, it's just going to look like the surroundings being reflected onto the surface, so it's really not a big deal. Next, we can add in some of the details for the base. Again, just focusing on some of the basic shapes or value changes. We don't need to nitpick. And lastly, we fill in the inside of the class, just one basic shape, and we're not going to outline anything, but we do want to stay away from the top edge in the front. Once we've got that, we can see if anything catches our eye. In my case, I definitely need to deepen the values down at the bottom. I'm going to do that, just like this and add in a couple more details. I'm not worrying about perfection or accuracy. The exact details are not that important, but we can see just how little it takes for this to really start looking like a glass. The final area we need to add shading too is the top edge. And I'm specifically saying shading because we're not adding outlines. What we've got up here is the top flat edge of the glass. So we want to fill in the shape with a deeper value, just like this. Awesome. Next, we're going to have a look at pushing the values. Even though glass is transparent, there are often lots of really deep tones. So we want to find the areas in the photo where we have the deepest values. Don't be afraid to push these values. We can even make them darker than what we see in the reference. Just have fun with it. Finally, all we need to add are the highlights. So we're going to take a white paint, add that to any other places where we see highlights in the reference photo. So up here on the top edge. And a few down here at the bottom. And to really make it pop, we're going to add in the highlights on the side of the class. So we want one over here where the light is coming from. And one on the opposite side. So this is actually on the inside of the class being reflected just across from the first one, just like this. A Willa we've painted glass. 5. Building the Foundation: Knowing the basics and understanding how class behaves can be really helpful. But when rendering a subject from a reference like this picture, knowing that information, although it will give us more freedom in our creative process isn't enough by itself. We need to understand how to bring our subject down onto our paper. Of course, there are many ways you can do this. You could trace your reference. You can use a grip or any other tools you have available to you. But in my opinion, nothing beats practicing the fundamentals, in this case, sketching. And so when faced with a subject like this, what we want to do is break this down into more manageable portions. And no, I agree, there is a difference between sketching a basic glass like we did in the last study and sketching something like a coke bottle which we'll be doing in the final project. But the techniques behind it are the same. We want to simplify our subject. Just for a second, ignore the fact that this is a picture and focus on the basic shapes. That already makes the idea of sketching this a lot more manageable. So let's see. First, we can sketch in the bottom portion. You can also hold your pencil up to your reference to help get the right angles. But for now, I'm not going to worry too much about the accuracy. Next, we want to find out what this shape can tell us about the rest of the picture in terms of proportions. If we take the distance right here, so the width of the bottom, this is going to be slightly longer than the height of the shape. And you can also tell us that the top half of the picture is going to be about the same height as this shape. And if we go in a vertical line, we can tell that these as line up with the top portion up here. Once we've got that, the rest suddenly seems a lot less complicated. From here, it's all about breaking these longer shapes into smaller and smaller shapes, making sure to check the angles and the proportions. The sketch is our foundation, and we need a strong foundation in order to render our subject. Now, it is possible to go in and create amazing paintings, rendering subjects realistically without creating a sketch first or having a very simplistic sketch. But that doesn't mean you don't have a foundation. In those cases, the foundation is a strong knowledge and understanding of the basics. Having put in the miles and the work that allows you to go in with so much confidence. Whether you choose to work with a very simple sketch or a very detailed sketch is completely up to you. It all depends on personal preference. But no matter which one you prefer, it's always worth practicing the basics. Once we've got the shape and the basic foundation in place, we need to focus on the values, bringing in light and shadow to give it form. If everything in our painting is too light or if everything in our painting is too dark, we won't be able to create the illusion of this being a three dimensional object. So we want to locate our brightest highlights and our deepest darks. And, of course, we want to locate our midtones and the values in between, because when all of these come together in just the right way, that's when the magic happens. In this class, we're going to create two paintings. For both of them, we're going to go through the process of creating the sketch or the foundation for our painting, as well as rendering the subjects by breaking them down and simplifying them, focusing on small sections at a time, rather than worrying about the complete picture. So if you're up for it, let's get started with the first painting. 6. Breaking Down Our Reference: Wine: Glass is already a cool subject. But where it starts to get really fun is when we add liquid into the equation because this adds another layer or opportunity for reflections, distortion, et cetera. I took this picture of a glass of rose, so let's try and paint it. First, we need to create the sketch. I'm going to provide my sketch in the projects and resources tab, so feel free to use that if you want. You can also trace the reference or follow along if you want to create your own. Let's start with the ellipse at the top. Getting the right shape can be hard, but try to really focus on and copy the curve you see in the reference. It's also often a lot easier if you do this in one smooth motion rather than doing a bunch of short chopped up lines. You're sketching directly on the Watercolor paper, you may want to try and keep it light. That way, it's easier to erase if you have any unnecessary lines at the end. But if you're sketching on a separate piece of paper, feel free to go with the shape as many times as you want until you're happy with it, and then trace it onto your Watercolor paper when you're done. Next, we can try and look for any proportions that might be helpful in figuring out the height of the glass. If we take the width of our ellipse, this distance is close to the same distance that we have from the very top of the glass and down to where we've got the edge from the wine. We can draw in the sides of the glass, again, trying to follow the curve we see in our reference, something like this. Gonna draw that all the way down along the bottom, almost looks like an upside down egg shape, and then we're going to add in the ellipse for the wine as well. Pretty much the same shape as the first one. So we're going to follow the shape of the curve. And up here at the top, we've got a small space between the edge of the glass and the edge of the liquid. So we want to add that second line around here. When we are faced with a subject like this, we want to try and look past all the details and all the reflections. Instead, we want to take it one step at a time, starting by focusing on larger shapes. And then once we've got that, we can break it down into smaller and smaller sections. So when we've got this initial outline, we want to try and compare the different shapes to our reference photo. So each individual negative space within the class like the inside of the ellipse, this bow tie looking thing, the second ellipse and this, I'm going to call it half an egg. It does not have to be perfect, but we want to try and make sure that those ellipses and perspective is as close as possible and that our shape is even. Once we've got that, we can clean it up and get rid of any unnecessary lines. When sketching directly on my Watercolor paper, I'm always very cautious of not resting my hand directly on the surface of the paper. If the oil from our skin is transferred onto the paper, it can change the way the paint is absorbed or behaves on the surface. In my case, I'm allowing my hand to kind of float above the surface, but a lot of the time when I'm working, if I want to rest my hand on the paper, I usually put a piece of tissue paper or scrap piece of paper in between. With the ellipses, aside from looking at the curves, we also want to make sure that we don't have any cas. It's so easy to accidentally add corners or pointed sides where we have the side of the glass when in reality, all we're seeing are curvy lines. We don't want any pointy bits or shapes on these ellipses. Next, we want to try and break it down into those smaller sections and give ourselves as much information as we can to ease the painting process. Let's start with the top rim of the glass. It's up to you how much of the detail you want to add to your sketch. I'm going to add in the shapes we're seeing right here which show us the thickness of the glass. And then we've also got a similar shape right here at the front. So I'm gonna roughly draw that in as well. Oh right here where we've got the edge from the wine, we don't have one strong line. Instead, we've got this space with a lighter value. So if you want, you can add that to your sketch as well. Continuing down the sides of the glass, we've got a daca shape right here as well, kind of like an elongated triangle, and we've got a similar shape on the other side, although on the side, the triangle itself is not a stack. Instead, the duck value comes from the shading just around it. We're not going to add in too much more information, but we do want to add in some of these reflections, just the main shapes. So near the bottom of where we've got the wine, we've got a reflection going down the side right here, and I actually don't think my bottom is quite pointed enough, so I'm going to fix that. Maybe something closer to this. Adding in this daga kind of oval reflection. And this curve right here as well. They don't have to be perfect, but try to get them somewhat similar to what we see in the reference. We've got something going on right here in the front. And then we've got these, I don't know, bunny ears, one on each side. So we're going to add those in like that. Some of these shapes look really random, but they're all there for a reason. They're reflections from whatever is going on with the surroundings. And so even though we don't need them to be absolutely perfect, we do still want them to be close to what's going on in the reference. In a lot of ways, it's kind of like a puzzle. Each piece on its own may not make a lot of sense, but when it all comes together, it's going to create an illusion, which is always equally satisfying. Lastly, we're going to add in the stem. If you feel it's needed, you can clean up the lines, and then let's move on and pick some colours. 7. Picking Our Colors: Let's pick some colours for this painting. There's never just one way of mixing a color. So if you don't have the specific paints I'm going to be using, have a look at the colors you have available to you because more than likely you'll be able to find colors that are going to give you the same or very similar results. So let's have a look. We've got two main colors in our reference the color for the glass, which is more of a gray, and the color for the wine, which is closest to red. So starting with the red, if I have a look at my palette, the pyrol red could definitely work. But quinacridone scarlet also appears to be a really good match. So I think I might start with this one. I love this color so much. It's beautifully transparent, pink without being too pink and super versatile. The wine is less pink and slightly more yellow tone, though. So we need a yellow. Let's try the first one in the palette, permanent yellow light, a good basic yellow. That is definitely bringing us a lot closer to the color we need for that top half of the wine. But we do need some deeper values as well. A simple way of deepening red, although it will, of course, depend on the exact color you need is adding blue. We don't have a bunch of blue in this reference photo, so I don't think it's all that important which one we're going to go with, but I do feel the glass leans slightly more towards the turquoise or green and yellow leaning blues. So I'm gonna pick helio turquoise. And if we add that to the red, it doesn't look too far off from those bunny ears. We also need some gray for the glass. If you've watched any of my other classes, I usually mix my own, and you can definitely mix a beautiful gray using these three colors. As long as you've got a version of each of your primaries, you're all set. But for once, let's make it easier on ourselves. I'm going to add Pains gray to my selection, which is going to make color mixing for the painting a bit faster. And of course, if you don't have Pains gray and you still want to use a neutral, you can also use something like neutral tint or even a black. Hving the exact colours is not that important. So just to put my money where my mouth is or whatever that saying is, let's say I didn't have quinacroon scarlet and only had pyrol red. If we take that and add in some yellow, this time, I'm going to go with quinacalon yellow, which is more of a green leaning version. Mix those together. We're still able to get a very similar mix. It may not be the exact same but close enough. Or what if we didn't have any proper red and we only had magenta? Let's take quinaquo magenta, add in permanent yellow light. Once again, we're able to get a color that's very similar to the first two. It's not going to be the exact same, and I do prefer the first two versions. But if you're in a pinch, this could definitely work. And you can also have a play with switching out the yellows to potentially get an even better result. But once you have your color selection, let's move on and get started with the painting. 8. Preserving the Highlights: Before we go in with any color, we want to preserve the brightest highlights. It's not an absolute necessity, but I do recommend it. And for this, we're going to use masking fluid. You can use any tool you want. I'm going to be using at dip pen. And so all we have to do is go around the glass and mask off any of these tiny white highlights. They don't have to be in the exact same spot. As long as we get it fairly close, it's good enough. But before you do any masking, you may want to have a look at lightening your sketch. So use a needed eraser or a normal eraser to lighten the pencil lines to make them less visible. And I recommend lighting them as much as you feel comfortable with. Because I'm filming, I need you to be able to see my sketch on camera. So I'm going to do the masking first, and then at the end, I'm going to go in and lighten some of my sketch. Although, for the most part, I am going to keep my sketch darker than I would have if I was painting without filming. These highlights are what's going to help make the glass look nice and sparkly. If you don't have masking fluid, you can go in with white paint, or at the very end when you're completely done, you can take an exacto knife or a craft knife and kind of kick the surface, basically getting rid of that top layer of paint, revealing the white paper underneath. I'm also going to mask off right here where the liquid level stops or stops. Even though this highlight on these values may not be as bright, they're pretty close to being white. So it's going to make it a lot easier than trying to avoid this area when adding the paint. Might as well help ourselves out as much as we can. I think that looks pretty good. The last thing I'm going to do is like my sketch. I'm not going to do too much because I do want you to be able to see it on camera, but I do want to lighten it right here because we really don't have any hot edges in this area. Maybe lighten this sketch a tiny bit right here and down here on those reflections near the bottom. When you're happy with it, let's move on and start adding some colour. 9. Painting the Glass: Rendering a subject like this isn't as difficult as it may look because once we've broken it down into these smaller sections, we can focus on one small area at a time, and each one individually is not that complicated. But once they all start coming together, that's when the process becomes really satisfying. Let's start at the top with the glass itself. We're going to need some gray. So I'm going to take my paints gray, add that to my palette. And then I feel we've got more of a cool tone gray. So I'm going to add in some of the blue. Don't worry too much about the color mixes. I've already said this in quite a few of my classes, but the values are far more important than the colors. If we get the values right or close to, we can do pretty much anything we want with the color. Don't stress. This looks pretty good. Let's watch. I'm happy with that. So we're going to start with the lips at the top to help get an even layer, especially if you're working on hot press paper, we're gonna wet out paper. Make sure we have a nice even shin without any pooling of water. Then we're going to pick up our colour and add that in like this. We want to try and get close to the colour on the value we've got in the majority of the shape. And then while the paint is still wet, we want to lift some of the paint along the top edge and on either side. We're gonna wipe our brush, or you can clean and wipe off your brush if necessary, and then we're gonna go straight in and lift some of the pigment. I still have too much water in my brush. I'm gonna use the tissue to help get rid of some more, wiping that off, and lifting the paint. You may need to go at a couple of times not only to lift more of the pigment, but also to avoid any of the color or pigment bleeding into this area as it's drying. Gonna do the same to the other side, wiping my brush in between. And finally, along the top edge as well. If your color ends up drying lighter than what you want, you can always go in with a layer on top as long as you allow everything to fully dry first. Next, we can have a look at the bow tie shape, and we want to make sure to stay away from the rim of the glass, especially if your first section hasn't dried completely. So we're going to wet the paper just like we did before, and we want to bring the water down here where the wine is to help create that soft transition. So once again, we're going to pick up our color and add that in starting on one side and pulling the color across to the other side. Clean and wipe off our brush and lift some of the pigment over here on the side. Along this edge, creating that smooth transition between the wine and the glass. And over on the other side. Then we can allow that to dry and see what we've got. I'm pretty happy with the overall value, but I didn't manage to get crisp enough of an edge right here, and I do need to slightly deepen the values both here and over here. So I'm going to go in with one more layer just like before, wetting the paper, picking up the color, and adding that in. We don't need it to be perfect, but we do want to try and get it to a point where if we squint, thereby blocking out the finest details that our painting then looks somewhat similar to what we're seeing when looking at the reference. So the color and value changes and the larger, more prominent details. Finally, for the glass, we're going to have a look at the rim. We're not going to finish off this front section just yet because we might as well wait until we have the color we need for the wine, but we can have a look at the shapes right here on the sides and the back. Each of these is a slightly different color to the other one. For the one on the left, we need more of a neutral gray. And though we could bring out some more of the paints gray as a starting point, I'm going to just add some red and some yellow to this mix, bringing it back from that cool tone back to more of a neutral. Then for the shape on the right, we need more of a green. So if we add in just the yellow, we should get pretty close. Let's swatch. This one looks pretty good. This one could use some more yellow. That's better. We don't need it to be an exact match, though. Let's add that in. And bring it all the way to the back. This came out a bit too dark, so I'm going to go with a wet brush and see if I can lift some of this pigment. Gonna quickly define the very edge and do the same to the other side. Before we move on and while we still have these color mixes, we can have a look at the area down here where we see some of those same grays. So we can add those in, starting with the base color and filling in those elongated triangles as well. It's up to you how accurate you want to be. I'm not going to worry about perfection or being super accurate. Our goal for this painting is not hyperalism and we can always come back at the end and add a few final touches. For now, let's move on and paint the wine. Oh 10. Painting the Wine Pt.1: Moving on to the wine, we're going to keep it simple and do one shape or section at a time, starting with this one in the center. For this coll mix, I'm going to start with quinaquion scarlet. Add in some yellow, not too much, but we do want a warmer, slightly more orange hue. This looks pretty close. Let's watch it and see. That looks like a decent match. We're going to go in with two layers. With the first layer, we're going to establish a base color and add in some of those deeper values we see. And then we can use the second layer to make color and value adjustments or correct some of the details or shading if needed. Once our paper is evenly wet, we're going to pick up our color and add that in. We want the most color saturation down near the bottom, and then as we move up towards that top edge, we want to make sure to get that soft transition between the wine and the glass. Then we can pick up some more of our pink mix and add that in right here where we have those deeper values. Do not worry about perfection. Subjects like this are surprisingly forgiving. Of course, we do want to look approximately like it does in the reference, but it really doesn't matter if the shapes are slightly off. If your paper is very wet, you may want to wait for a few seconds before going in with more paint so the pigment doesn't spread too much. But we also don't want the paper to be too dry because we do want these nice soft edges. And then once we're done, we're gonna allow that to dry. Now that it's dry, I can tell that I need to touch more yellow, and I want to deepen the values ever so slightly near the bottom. So I'm going to add some more yellow to my mix. Wet my paper again and go in with that second layer. Starting with the top half, I'm going to bring in a thin glaze to bring in some more orange or yellow. Then I'm going to deepen the values down here in the center and deepen these two shadow shapes. Might need to bring in some more paint for this. And as I'm working on these tip of values, I am starting to see some lifting, so I'm going to use a very light touch and kind of dab in or drop in the color rather than using prop up brush drugs. So Then we can allow that to dry and move on to the next section. If you do have lifto paint, you don't have to clean up your palette because we're working with a limited color palette and a very limited color scheme, more than likely you'll be able to use any lift o paint for new mixes. For this next section, we're going to start with the lighter values. Up here, we're going to need a colour that's very similar to the colour we used before, and then we're going to move down into a slightly more cool tone color. So for the first color mix, I'm going to start with the unequiton scarlet and add in a touch of yellow. O and for the second mix, I'm going to start with quinacrunsct again. But instead of the yellow, I'm going to add in some blue. We're going to go in with two layers again. And just like before, we're going to use the first layer to establish a base color, and then we're going to use the second layer to make any color or value adjustments and add in the deeper values. We're going to wet out paper. Then we're going to pick up our warmer or more yellow toned red, add that in right here. Maybe a touch over here on the other side. And down here at the very bottom, picking up the blue or more cool toned mix and adding that to the rest of this area. The color difference is going to be very subtle. So if you want to keep it even more simple, you can use just one colour. We don't want to go too dark with this layer. Try to stay somewhat close to the values we're seeing around the outer edge of the shape. For the second layer, I'm going to keep these two mixes because I do want to dig in the values near the center a tiny bit. And then we're going to need a third colo mix for these dark reflections. I'm going to start with conectan scallop. Add in a touch of yellow. And some blue to deepen the colour. Maybe a bit more red. Let's see. Pretty close, but I do think I want a touch more red. Not a perfect match, and it may even be a bit too blue, but close enough. So we're going to go in, wet the paper. And then we're going to start with that light glaze. Slightly deepening these values and adding some more depth. Something like this. Then we can pick up our deeper color and add that in to these reflections. I'm going to start right here as far away from those edges as I can. This way, if the pigment bleeds too much and the paper is still too wet, I can wait a few seconds before continuing. Hopefully, I've got enough paint mixed up. One downside to inacton scarlet or this pigment is that it is technically a granulating color. And even though it usually doesn't show in thinner washes, it does tend to show in thicker applications, making these look a bit more splotchy. So for something like this, where we do want that smooth surface, it may not be the most ideal color, but we're not going to worry about that. Keeping an eye on the edges. I'm gonna clean and wipe off my brush and clean up these edges right here. Much better. While that's drying, we can have a look at the rim of the glass, and we're going to fill in that section using our yellow toned mix. Gonna allow that to drive a few seconds, pick up a Daka mix, and add that in to the very edge. Before moving on to the bunny ears, I'm going to revisit the bottom portion of the glass one more time because I want to go over those reflections with one more layer of the Cinqune scalet. This time, I'm going to use just the Quinaqune scalet on its own, see if I can deepen the color value of these shapes a bit more and add in that ring shaped reflection near the very bottom. It's already starting to come together. This type of subjects really is not that difficult once we break it down. It's all about breaking it down into these smaller, more manageable portions. And rather than focusing on it in its whole, in this case, as being a glass of wine with different reflections, we want to try and see it as simple shapes, something that's a lot easier to tackle. I'm going to do a quick version of this ring shaped reflection. Not going to worry too much about the accuracy. So something like this maybe add in a touch of our Tipo Cox. And once we've got that, we're going to move on and fill in those bunny ears. 11. Painting the Wine Pt.2: Let's get some color onto these two remaining shapes. We're going to go from light to dark, starting with the most bright red. One thing to note is that depending on the colors you're using, it may be worth bringing in another one. With the colors I'm using, I may not be able to get a red that is as bright or as red as the one we're seeing in the reference. A color like Pyrrole red or Pyle red mixed with a yellow may be a better option, but I'm going to finish up this painting using just the colors we've already selected. So let's get some paint onto our palette and again, you don't have to clean your palette. You can use the previous mixes. We want to add this to any area within this bunny ear where we see the brighter reds. So right here along here. And down here near the second highlight. That's a fun shape. Let's be professional about it and move onto the other side. Even though the reds over here aren't as bright, we're just going to add this as a base. For the second mix, we want the color closer to the one we have down here. So in my case, I'm going to add in a touch of the blue. Something like this. Maybe a touch of yellow. And then we're going to add that in. We don't have to be all that neat about it. I'm going to start by outlining this shape going in between the two highlights at the bottom and fill in this area around it, keeping it super simple. And for the other side, I'm going to add a thin glaze just to tint the base we already have. For our deepest comics, I'm going to add in some more of the quinacrne scald and then add in the blue to darken it. O. So we want to go in and fill out this remaining portion. Right here, we do have a curved line which comes from the edge of the wine. So we can use that as a guide when filling in these shapes. And once again, it does not have to be perfect. We're just practicing breaking down our reference into these smaller portions, and we'll have plenty of chances to be more neat with the next project. Gonna soften the edge. And bring in some more colour. You can always go in with a second layer, but we want to build up these values to try and bring in as much depth and dimension as possible. Cleaning and wiping my brush, and then I'm going to clean up this half just like this. Finally, I'm going to bring in a touch more of the coacrne scallot just to go at this shape right here. We're going to add in the same deep values to this bit in the front. And fill in the other bunny ear just like we did with the first one, although this one doesn't have as much going on. And then once we've got this, we're almost ready to move on to our final project. We need to get rid of this masking fluid so we can see what we've got. But first, I'm going to take my rough up brush or the brush that I use for mixing my paint, clean and wipe it off to get rid of most of the water, and then I'm going to go in and lightly scrub at this area to soften the edges and at the same time, lift some pigment to create some soft highlights. Because if we look at our reference, we do have some lighter values here, so we want to see if we can bring in or bring back some of those. And once the paper is dry, we can use an eraser to get rid of the masking fluid. Right here where we have that soft transition, you can still see part of my sketch. So I'm going to rub with a bit more force to see if I can get rid of it. Oftentimes, if you only have a thin wash of Watercolor, you can still erase the sketch underneath. Though if you're planning on going in with more paint, you may want to do a test on a separate piece, just to see how the surface of the paper reacts because depending on the type of paper, it may rough up the surface. Cotton paper is pretty resilient, but even then it may still potentially affect any upcoming layers. We're not going to do too much more to this one. The last thing I'm going to do, and this is optional, I'm going to take my rough brush and go over the highlights to make the edges look more diffuse. It's not an absolute necessity, and you can also go in and add some more paint instead to fix up those edges or leave it as is. But even though we haven't focused too much on the details or worried about getting everything exactly as it is in the reference, we've still ended up with something that looks like a glass of wine just by focusing on the larger, more basic shapes. And if you want, we can also bring in some gray to add in the stem and a few final touches. When it comes to rendering glass, so much of it is in the foundation, not just in terms of an actual sketch, because it is possible to go straight in with paint without any preliminary sketch and still end up with something that looks like a glass. It's more so about understanding the form, the shapes, the values, and lastly, the colors. If you're ready, let's have a look at rendering the Queen of glass vessels a classic coke bottle. 12. Glass Bottle Sketch Pt.1: Basic Shape: Glass bottles is one of my favorite subjects to paint. And this one, though we can't see a lot of it, is an absolute classic. So let's see if we can sketch it. I have a piece of paper here, which is not my watercol paper. We're going to be dealing with a lot more lines on this one. And since I want those lines to be visible on camera, there's really no point in messing up the Watercolor paper. So I'm going to create the sketch on here and then transfer onto the watercolur paper when I'm done. First, let's rough out the shape. We're going to keep it super simple, three lines, focusing on getting the right angles. And remember, you can use your pencil to measure the angles by holding it up against our reference. But aside from the angles, the reason why we're doing this is to get a general sense of the size of our sketch and where it's going to sit on the paper. Now, we're going to be grown up about this. It's not my fault if there are funny shapes, but we're going to divide this into the top of the bottle, which is called the finish and the neck. Just like with the picture we did in the beginning of the class, it doesn't have to be too neat because in the next step, we're going to see if we can find anything that can help us with the proportions. M. Something like this. If we take the top, the lip or the top edge is about one third of the shape in height. And if we take the height of this entire shape, we should be able to fit it just over three times into the remaining length of what we see in this photo. And if we do 1.5 times, we'll get pretty close to the point on the neck where we see the top of those details within the glass or reflections right before the neck start to flare out a bit more. That same height from this line and down plus a small extra bit is going to be just about the level of where the liquid is. So we're going to draw that in. And we've got our basic bottle. Let's clean it up, get rid of some of the lines, and refine the shape. Focus on following the shapes, curves, and angles you see in the photo and don't worry about perfection. Try your best. If it ends up not turning out the way you want, you've still put some important miles into your art practice. And then if you prefer for the actual painting, you can use either my sketch or trace the reference. But either way, I still encourage you to practice sketching because practicing the fundamentals, even though you're not playing with paint at the second, you can still help us become stronger painters and especially in a medium like Watercolor, where we're working with transparent paint and mistakes are a lot more difficult to hide. Practicing drawing and sketching help you practice accuracy, and it can help you become more confident not only with your lines, but also with your brush strokes. When we're finding the shape, we also want to focus on the symmetry, so making sure that the two halves of the bottle are about the same shape. Next, we can add in the straw. Go to put that somewhere around here using what we've already sketched to help guide the placement. And honestly, if the straw is a bit further to one side or the other, it's not a big deal. Straws can move around. That looks pretty good. Gonna add in the stripes. And again, we can use the shapes we've already added to help line up where we want these to go. Once we've got this, it's really up to you how much detail you want to add to the inside of the bottle. The more we add, the easier the painting process is going to be because each of these shapes are fairly simple in color, which means that if we add a bunch of these details to our sketch, we're giving ourselves the best and strongest foundation to build from. But at the same time, we don't need to add in all the details. It's okay to add some of them using just paint, and it's also okay if some of them end up being slightly off. I 13. Glass Bottle Sketch Pt.2: Details: We're going to go over each shape or section at a time, adding in as much or as little detail to our sketch as we'd like. So let's start at the top. Any of the details or information we add to our sketch could potentially help us play some of the other details. And right now, we can play around with adding as much detail as we'd like. If it ends up being too much, we can always leave it out when transferring our sketch to our watercolor paper. Up on the lip, we've got a few vertical lines going straight across from one side to the other, one going from corner to Ca right here. The next one sits about halfway between that line and the top edge. And we've got one about halfway from that line to that top edge as well. Next, we've got kind of like a green triangle coming in from this side. And if we look closely, it kind of transitions into a soft highlight, which ends about halfway or at the center of the bottle. We've also got some stuff going on here, but I'm not going to add that in. On the opposite side, we've got the same shape but different color. Down in the next shape, we can add in these lines and details closest to the outer edge. Something like this. Looking at the distance between these edges, we can then add in the next shape. It can definitely be overwhelming, and being able to take what we see and capture that on a piece of paper does require practice, but try to focus on the symbol shapes within the subject. This bottle in its whole may look intimidating, but each of these shapes individually are much less so. Let's move on to the shape. We need this one to continue down the side. But we also have a second line coming in right here, which is going to be a very short distance from the outer edge, and then it's going to follow that shape all the way down. We've also got some stuff going on down here at the bottom, but we're not going to worry about that. Some of that detail is due to the shape of the bottle, but a lot of it is made up from the droplets that are sitting against the side of the glass. And if we have a look at the shape over here, we need this shape or reflection to continue down the neck, and this line specifically sits almost in the center between the straw and the outer edge of the bottle. We constantly and continuously want to simplify the subject in our mind. Ignore the fact that it's a bottle and look at the shapes of the reflections, the highlights, and the negative space. And Every time we're breaking the subject down into smaller shapes, we're giving ourselves more information. So use what you've already sketched to help yourself get to the next point. Like right here, we can use the stripes on the straw to help figure out where we want these reflections on shadow shapes to go. Finally, we've got the shape at the very bottom. We don't need to do a lot to this area, but one thing we can note is that we've got this duck shape right here, which just about lines up with whatever is going on up here, because part of that was caused by the shape of the bottle. And I think that's about the information we need. You'll be able to find my sketch in the projects and resources tab. So if you want to use that, feel free to do so. You can also use your own Otracer reference. But either way, once you're happy with your sketch, we want to transfer it onto our Watercolor paper and move on to picking some colours. Oh 14. Glass Bottle: Picking Our color palette: Now that we've transferred our sketch, we're going to pick the colors we're going to be using, and we should be able to get away with a fairly simple color palette. Some of my favorite pink colors to use for painting this subject, specifically are turquoises, and I'll often bring in a few different ones because I like what each of them has to offer. One of my favorites is this one called mint, which is more green in color, but all of them are so perfect for this subject. Two of these do contain white pigment or titanium white, and all of them are semi opaques. You can paint a transparent subject using opaques or semi opaque as long as we know what to expect when using them for glazing and stuff like that, we can plan our painting process accordingly. If sticking with the colors I have in this palette, the closest we would get to those turquoises would be helio turquoise or peacock blue. So what would be considered a cool tone or a more green leaning blue. And if we add in a touch of yellow, in this case, I'm going to go with a green leaning yellow. We'll be able to mix colors that are pretty perfect for this reference, and both of them are equally good options. And if we add in some more yellow, we'll be able to get some brighter greens, which we do see some of within some of the smallest reflections near the top. With these blues under own, if we look at the more watered down version, it's also the perfect color for this highlight or reflection that we have right here. Next, we need a color for the straw, and without a question, the most logical choice would be to take the most clean red, in this case, pyrole red. But we've also got both highlights and shadow colours on the straw. If we water down the red on its own, it's not quite warm enough. But if we add in a touch of yellow, It's pretty close to what we need. And for the shadow color, we could use a deeper red. But just like with a glass of wine, I'm going to simply deep no red color using blue. Finally, we need some colours for the liquid or the soda. We're going to need some yellows, some oranges, maybe even some reds and some browns. And if we mix together the colors we've already selected, we'll be able to mix all of those. If you wanted an even brighter orange, you could definitely add Iwama yellow as an addition to this color palette, but I'm going to stick to these ones. So my color palette for this painting is Pyrrole red quinacloon yellow. And peacock blue. Have a look at the colors you have available to you, and once you've selected your colours, let's move on and get started with the painting. H 15. Glass Bottle: Masking: Whether or not you want to mask off any highlights is completely optional. I'm going to mask off just a few, so I don't have to worry about them. But first, I'm going to use my needed eraser to light my sketch. Just like with a glass of wine, I recommend lighting them as much as you feel comfortable with. But for the sake of filming, I'm going to light my sketch less than I would otherwise. I'm not going to mask off all of them, just a few of the main ones I see. If you want, you can also mask off those areas under straw that are bright white or just the very edge, almost like an outline to help protect it when adding paint to the butter itself. I think that should do it. Let's get some paint onto our palettes. O. 16. Glass Bottle: Straw: We're going to start with the straw, and because I know I most definitely want to rest my hand on the surface of the paper, I'm going to put down a piece of tissue to help protect it so the oil from my skin don't transfer onto the watercolur paper. For the red stripes, we're going to create three colomix. The first one is going to be our base color, and this is going to be plain red. The second one is going to be a shadow color, and for this one, we're going to add in some blue. Finally, we've got the color for our highlights or lighter values. And for this one, we can add in a small amount of our yellow. And, no, I have no idea why mixed up this much of this color. We only need a tiny bit. If you've got room on your palette and you do mix up too much of one of the colours, just keep it on your palette for future color mixes. You can use it to mix the browns for the coke itself. It doesn't have to be a waste. Let's see what we've got. That looks pretty good. Then for the white, we're going to need two color mixes. The first one is going to be the shadow color, which is going to be our main color. I'm going to start with some blue. Add in a touch of yellow. And then add in red to help neutralize it. We're looking for something that lives right on the edge of being a really sad green and a gray. So almost gray, but not quite. That looks pretty close. Maybe a touch more red and at touch more yellow. I think that's a pretty decent starting point. Let's swatch. So the shadow colour looks pretty good. For the second mix, we're going to need a slightly less sad green. If we start by mixing a colour that's very similar to the first one, but less neutral and then add a bit more yellow, we should get pretty close. The exact color is not that important, and we're only going to be using a tiny bit of this. It's going to sit right in between the brightest highlights and the shadow color. And honestly, you could do without it if you wanted to. When painting something that requires a certain amount of detail, I'll often let my paints dry out on my palette before continuing. That way, we'll be able to control the amount of water we're using with our brush rather than the pink mix. And for the second mix, need this in a very watered down version, almost non existent, but it looks pretty good as well. I'm going to switch to my small brush for this, and there are a couple of things to note about brush sizes. A larger brush is, of course, able to hold more water and paint, but that means it also disperses more water, which can make detail work more difficult. And because it's able to hold more water and more paint, that means that if we have a paint mix, like with our greens where we don't necessarily have a lot of paint mixed up, it's going to suck up more of that. And so when we go to clean out brush or wipe out brush, we're going to waste more paint or use up our paint mix faster than when using a smaller brush. We're going to do one stripe at a time, starting by wetting the paper, and we want that nice even sheen without any pooling of water. We're going to start with the lighter colomics and we want this to start or stop right around the center, and we're going to fill in the rest. If needed, we can rinse and wipe off our brush and clean up the edges. Pick up our daca Comics and add this in on top, leaving a small portion of the lido coomis visible. I don't want to control that edge of the watercolor too much because the way it spreads and kind of spiders out looks very similar to the texture in our reference. And as the paper starts to dry, we can add in a line right here where the paper overlaps. Perfect. We're going to continue with the next drip. Let's do the one up here, wetting our paper. Going in with the lighter colmics like this, continuously looking back and forth between the reference and our painting to see where we need to place the colour. And finally, the Taka mix. We want to try and get fairly close to the correct values, though, if needed, we can always go in with a second or even a third layer. You can build up the values in whatever pace you feel comfortable with. Don't rush it. And while we're at it, we might as well add some paint to this last bit up here. One more strip to go. We're gonna wet our paper and do the exact same thing. For this one, we do see a hint of yellow or orange in the photo. So I'm gonna bring in a small amount of out yellow, mix in some of this red, and add that in. For the red stripes, we're going to go in two times. For the first layer, much like before, we're going to wet out paper, and we don't want the paper to be too wet for this. So we're gonna allow it to dry a few seconds before going in with the paint. Then we're going to take the basic red place it right here, and we don't want this to spread too much because we don't want to cover up the highlight. Then we're going to add in our shadow mix. Like this. And finally, add the basic red to the other side of the straw as well. And while that dries, we can fill in this area with the basic red. Following approximately what we see in the reference, and I'm going to let you in on a secret. I generally don't care that much about being 100% accurate, especially not with something like this. No one is going to be able to point to painting and say, that's the wrong shape in that reflection, unless they're comparing it directly to the reference. With some pots, we do want to be more accurate, like with the general shape of the straw. And with the shape and main details of the butle itself, because that's a very recognizable object. The same counts for if we're doing fonts and littering. But with these distorted shapes, it doesn't matter all that much. So don't stress. For the second layer, I'm going to go in wet and dry, and all we want for this is to deepen the values and create a more saturated color, starting with our basic red, filling in the entire thing, and then we're going to deepen some of this using our shadow color. For the highlight, I'm going to take our last comics and add that in gas like this, mimicking that subtle texture. But you can see that once we have that initial foundation and sketch in place, and when we break it down and focus on one small shape at a time, it's really not that bad. Moving on to the next stripe, we're going to wet the paper again. Pick up our basic red. Add that in. And adding the shadow color. Gonna allow that to dry and go in with the second layer just like before. On this stripe, we've also got a shadow shape coming in right here. I'm going to do a quick representation of this using the red paint, but you could also use the shadow color from the green mixes, which would be a better match. We still need to have a look where the highlight or masking fluid is, but for now, we're going to allow that to dry and move on to the next stripe. We're going to do the exact same thing as we've done to the other stripes. What's great about this straw is that even though a straw is straight, the outside edges look kind of wobbly due to the bottle, so we don't even need to worry that much about being neat with our application. Mm The last stripe is slightly more abstract in shape, and it also has a couple of purple highlights, one to the left, and one right at the outer right edge. We're going to ignore those now and start with a mix of our basic red and our shadow mix. It's okay to be messy with this one because we've got quite a lot of distortion going on. For the second layer, I'm going to bring in some of our basic red here on the left, fill in the rest and bring in our shadow color to deepen the overall value. Back to our highlight. First, we're going to get rid of the masking fluid, then we can take our brush with a small amount of our highlight color and work that in around the edges right here. I'm going to rinse and wipe off my brush, and then I'm going to go back in and soften these edges. Finally, for this lesson, for those purple highlights of reflections down here, we're going to mix some of our blue into red and add that in just like this. I am going to keep these paint mixes for the final touches, so I'm going to just turn my palette in the next lesson. If you're ready, let's get started painting the glass. 17. Bottle Pt.1: For the glass bottle, we're going to start with three color mixes. The first one is going to be pure blue, and this is for those reflections on the left side. The second mix is going to be the base or our main color for the bottle. For this one, we're going to mix blue and yellow. We want a nice kind of minty color, not too blue and not too green. Though depending on your personal preference, you could go more green or blue than the reference. And For the third co mix, we're going to mix blue and yellow again. This time we want more yellow. We want a fresh green, similar to some of those green tones near the top, but one we can alter by adding in some red to help neutralize it. We're not going to do that just yet, though. We're going to start with the top of finish of the bottle and to keep it as simple as possible, let's start on the right side where we've got the least going on. First, we're going to add in a base layer. Just like with the rest, we're going to go in wet and wet so we can wet out paper. Pick up our main comics and go straight in. We want it to be slightly lighter towards the left side, closer to the straw and slightly deeper or more saturated closer to the outer edge. Just like this, keeping it super simple. While waiting for that to dry, we can go in and alter the paint mix because now that these have had some times dry on the palette, we'll be able to mix some paint into half of this color without affecting the other half. We're going to start with some red and see where that gets us. Maybe a touch more blue. And some more red. We want a very deep, kind of neutral green, one that'll work for those really deep tones in the bottle. Let's see what we have. That should be okay. Let's see. We're going to take our base cola and fill in these fine details we see kind of like outlines, but I'm trying to not use that word since I said in the beginning of the class that we're not supposed to outline glass. Let's call them scrawny reflections. Just like this. This one came out a bit too thick, so I'm going to go in with a wet brush. Lift some of this pigment, much better. Fill in this last one. Perfect. Next, we can go in with the deeper tones. You can go in wet and wet or wet and dry, it's completely up to you. In order to have better control, I'm going to go in wet and dry. So I'm going to go straight in with the paint. Following the shapes we see in the reference, it does not have to be perfect. Rinse and wipe off my brush and soften the edges. Just a tad. Tiny bit right here as well, and blend that out. When painting glass, it's one of those things where you kind of just have to ignore what it is you're painting and trust the process. Because when looking at this, even though each of these reflections all stem from something being reflected onto that surface, they don't always appear to make sense. But as long as we get in the right proportions and shapes, once we take a step back, it all comes together. We're going to finish off this area by adding in a touch of color, both using our base mix and the green mix. Follow the approximate colors you see in the reference, and don't worry about perfection. Focus on what you're seeing, the shapes, colors, and especially the values. Before moving on to the other side of the finish on top, let's do the bottom shape down here. We can use this to ease our way into the more detailed areas. For this one, we do have some color details and a highlight near the top. So let's start with that. We're going to take our green mix, add that in just roughly like this, avoiding the highlight. And finally, our base color. Just like this. Now we can move down into the rest of this area, starting by wetting the paper, avoiding that bid at the top, going in with our base color. And slightly deepening values towards the edge, giving it more of that three dimensional feel. We can bring some of this onto the straw on the white pants, but be careful around the red, especially while the paper is wet because the colour may bleed. Oh gonna allow that to dry. And then just like with the top portion, we're going to go in with the details, going in wet and dry, adding them in, and softening the edges, starting over here on the side, using a mix of these two cull mixes, adding that in. And blending it out. Gonna go in with our daga culmx oh, wait, no. That is way too close to the edge. Let's see if we can lift it. Look at me trying to freestyle without looking at the reference. Not a good idea. Maybe a bit more like this. That's definitely better. Gonna give this a few seconds to dry and then go in and deepen some of it. For right now, we're not going to do the details near the bottom, so we're going to move on to the top left portion. U 18. Bottle Pt.2: This side has a lot more detail, so let's take it shape by shape. We're gonna start at the very top, add in our base color just to this thin strip. And add in some of our deeper colmics. And we want to allow each of these sections to dry before continuing. The paper doesn't have to be fully dry, but dry enough to where the pigment doesn't spread if we do accidentally paint into it. Right below this shape, we've got a thin line which is mostly white or clear on the right side, and green on the left side. So we're going to add in that green colour. Tiny bit of the shadow color or our deeper color mix. Like that. Perfect. Onto the next shape. Just like with the one at the top, we're going to start with our base color. For this one, we want to introduce some of our blue mix it over here on the left side. And then we're going to go in with our Deepa colmix again. Some of these color and value changes are going to be very subtle, but being able to notice and capture them will help us achieve a higher level of realism in our paintings. I'm going to quickly go in and add one of those scrawny reflections. Most definitely not an outline. Right here to this edge. I know I'm making fun of myself, but it really is a reflection, not an outline, but I will admit it does look like an outline. You and I, we know better, though. Next up, we've got our green triangle. I'm going to start with a base of green. This is pretty wet, so I'm gonna wait for it to dry a bit, add in the deeper tones. And fill in the remaining section right here. Rendering this isn't that difficult once we break it down. If anything, it's more of a test of patience. But it always feels like such a mesmerizing process seeing these random shapes come together to form not only a recognizable object, but something that looks three dimensional and transparent. Moving down into this larger shape, it may look complicated, but we're going to break it down into smaller shapes, starting with this inner shape near the straw, where we're going to add in our base colour. And just like that, we've filled out almost half of the shape. Because we do have quite a few different details here before filling in the next section, I'm going to go in and outline a few of these. And yes, you heard me say outline, but this doesn't count. We want to map out some of these to simplify the process as much as possible. So we've got the big green shape. Then a highlight surrounded by green. And some of these deep green details over here as well. A touch over here and down here. That wasn't so bad, right? And it's already starting to look like reflections. And now that we've got this, we can start filling in the different shapes, going in wet and wet. Let's start with that big green shape. We're going to pick up a green, not the deepest color just yet. Add that in, keeping an eye on that edge and filling in the space. Then as the paper starts to dry, we can go in with our Diba cool mix and a touch of our brightest green. The exact details are not important, and honestly, we're not going to see the details all that much. As long as we have just some variation in color and value, it should be fine. We're going to continue over on the left side, starting with our base color. And a touch of our blue or to the far left side. We can add in some of our green. And finally, a Pigma Blue, right here on the very edge. Before getting rid of the masking fluid, I'm going to fill in this area with a pale wash of our blue, then allow that to dry and remove the mask. The reason why I'm adding this wash of blue is so that we still maintain some of that detail of pattern from the masking fluid. You don't have to do it this way. You could just remove the masking fluid and add in the blue detail. The odd in which you do this doesn't affect our painting. The masking fluid is just there to protect those highlights in case we went over it with paint. I'm still going to go in and make a few adjustments here. So which way you choose to do this is really up to you. If you've made it this far into the painting process and you're currently working on your glass bottle, take a moment to just step back and admire what you've painted so far. Honestly, the joy of seeing a metal or glass object coming to life on paper is so insanely cool. And I'm so looking forward to seeing what you've created. And what's also really cool is, do you remember that shape with all the details? We just completed it. It's not about perfection, but about breaking it down into smaller shapes or portions that are easier to manage. So let's move down into the final section. We're going to start by you guessed it wetting out paper. And for this one, it's easier if you just wet the whole thing. Then we're going to add in the base color over here on the right side. And at the bottom of the left side. Then as the paper starts to dry, we can bring in the blue. We're going to add that to the side over here and bring it in onto the highlight right here, keeping an eye on the edges because we don't want the paint to bleed too much. And then we're going to see if we can build up this color, getting a good start to this first layer. We are going to go in again. For the second layer, I'm going to deepen the values or increase the saturation, mostly for our base color, but also a tiny bit for that blue. And then while we're at it, we can see if we can get into more detail, namely on the left side or outer edge, and maybe some of that detail near the bottom, although we do still have some masking fluid here, so we'll probably have to remove that in order to properly see what we're doing. But it's really starting to come together. Fingers are a great tool to help smudge the paint, and it kind of perfectly mimics the texture of those water droplets, at least in a more abstract sense. Add in some rough detail. Doesn't have to be super neat. And then once dry, we're gonna get rid of the masking fluid and see what we've got. Okay, let's see. I don't think I'm going to do much more to this right now. Just a few final touches before moving on and finishing up the soda. I'm not going to worry about the details about being neat, some quick, rough texture, and deepen a couple of the values. We can always come back at the end with more detail if we want. For now, let's move on. 19. Glass Bottle: Soda Pt.1: We're almost done. Let's finish up the soda and add a few final touches. So starting with the color mixes, we're going to need a few different ones. These bright highlights, we're going to need an orange, so let's mix our yellow and our red. I'm going to start with an orange that is more yellow than what I think I'm going to need. It's much easier to go in and add more red to an orange that is too yellow than it is to go in and add more yellow to an orange that is too red. Once it's on the painting, that is, when it's on the palette, it doesn't really matter. Next, we need some warm browns around those highlights. For now, I'm going to create just one mix, starting with red, and I want mostly red, add in some yellow and some blue to help neutralize it. I'm going for something like a burnt sienna type of colour. Finally, we need some deep browns. Now, just like with the green from before, we're going to start with one color that we can then alter once it's had some time to dry on the palate. We're going to start with a base that is mostly red again. Add in our yellow. And the blue to neutralize it. This time we want more of the blue. This looks close, but I do think I want a bit more red. Let's see what we've got. We're going to start with this section, wetting our paper. Working around those highlights. We don't want any paint to bleed into these, so we're going to keep them dry for now. We can go in with our first layer, starting with our lighter brown mix and adding that in to any of these areas where we have the lighter values or colours. So those deep burnt oranges and reds. Just like with almost everything else, it does not have to be perfect. Once we've got that, we can pick up our second brown mix and add that in to any area where we see the darker or more neutral brown. Something like this, rinsing and wiping my brush and cleaning up the edge. While that dries, we're going to mix it up at green. We want a colour that is similar to the base color of our bottle, but a slightly deeper version. So we want mostly blue. This is way too much yellow, but going to add in my blue. I need to bring this from this more green colour to a more blue colour. Add in some more. Maybe a bit more. Close. Let's add in some red. Touch more blue. Definitely getting closer. A bit more red. Let's watch. That looks decent. Doesn't have to be a perfect match. We're going to use this to try and get in some of the shadow tones or deeper reflections. So let's start over here on the left side. We're going to wet our paper. Then add this in. This is going to be our base. As it dries, we're going to keep an eye on the edges and clean them up if needed. So I'm gonna wipe my brush and bring this back into place. We're gonna allow that to dry a few seconds. We don't want the paper to be too wet, but we do want it to be wet enough to where the edges of any paint we add still feather out. We're going to mix some of the deeper colour with our brown and then add that in adding some of these finer details. Just a quick, rough version. We want to approximately follow the shapes we see in our reference. It doesn't have to be fully accurate. Then we're going to go back over to the other side and do the exact same thing. So we're gonna wet our paper. Add in some of the softer detail like this, keeping an eye on those edges. We can also bring some of this color onto the soda because right here closer to the opposite side of the bottle, it does have more of that green hue. And as the paper dries, we're going to add in some of those finer details or shapes. Next up, we're going to add some color to this bottom portion down here. This mix should work pretty well for the left side over here, but we do need a darker or more neutral brown for the right side. So let's add in some more blue to co mix to help neutralize it. And in my case, because mine is a bit more yellow in colour, I'm also going to add in some red. This time, I'm not going to go in wet and wet. You can if you want, but I'm going to explain why I'm going in wet and dry. We're going to start with the lighter or less neutral brown. I'm going to add this in keeping my brush well saturated and making sure not to water down the paint mix too much. Then as we move towards the right side, we're going to bring in some of the daga brown, allowing those to mix, creating a good variation in colour. And finally, we're going to bring in some of the green mix for those lighter reflections on the far right. The reason why I'm adding the colour wet and dry is because layers of watercolor that need to be this deep, dark, or saturated can be quite tricky. If we go in wet and wet, it can be more challenging building up enough pigment or saturation, at least in the first layer. And the problem with that is that when we're working with layers, this duck, if we then need to go in with multiple layers, what usually ends up happening is that we're going to see quite a lot of lifting. Going in wet and dry can make it easier to achieve a deeper value right from the get go, so we'll be able to create a layer of color that is close to the col and value we need at the end, minimising the amount of layers we need to add. Before going in with a second layer, we want to make sure that this is fully dry. And then we want to make sure we have a plan so that we can minimize the amount of movements and brush strokes we are adding on top. I 20. Glass Bottle: Soda Pt.2 & Class Project: Before we go in with the second layer, we want to make sure we have a plan. So we want to make sure that we're prepared, that we have the col exies we need, and that we know what we want to achieve and how we're going to do it. I'm pretty happy with this, but I do want to bring in some more red and deepen some of the dark areas. I definitely don't have enough dark paint or paint all left on my palette. So let's mix up some more. For those red tones, I'm going to bring in some more red on my palette and add in some more yellow. And depending on your exact color, you may want to add in some blue as well. For the duck mix, I'm going to add in some more red and some more blue. Finally, before we go in, we're going to have a look at what we've got so far and see if we need to make any adjustments. Right here, where we got those reflections, I don't like how that dried, so I'm going to lift some of that paint, and it's going to lift really easily. Soften those edges and bring in some new colour. That looks a lot better. Once dry, it's time to go in with that second layer. My goal is to go in just like before, deepening the ducks and adding more of a red tone to the rest. Because I'm left handed, I'm going to start over on the right and work my way to left in order to get as smooth an application as possible. Pulling the color towards you is usually less of a struggle than pushing it away from you. I'm going to ignore the edges right where the highlight is for now and then come back to it at the end. You may also want to consider it the brush you're using. Using a brush with really soft bristles is going to make this a lot easier because what we want is to barely touch the surface. If the fibers or bristles of the brush are too rigid, it's going to lift a lot more of that paint. Aside from the type, you may also want to consider the size of the brush. Going in with a small brush means you'll have to do a lot more movements to cover an area than what you'd need if using a larger brush. Flat brushes can also be a great alternative to round brushes in this case, because with those, we'll be able to do one swooping motion on one stroke, covering a wider space. Once we've got that, we can allow that to fully dry again. Once dry, I'm going to rinse and wipe off my brush and carefully go in and soften these edges using a light touch, being careful not to disturb the paint underneath too much. Now, if we do want to go in with more paint, like right here, I could do with some deeper values around that edge. We want to again just go in really carefully, use a super light touch, add that in and blend it into the rest, barely touching the surface of the paper. Et's go in with the second layer to this area. First, we're going to soften these edges. I'm going to use my mixing brush for this so I don't wear down the point on my good brush. And then much like before, I'm going to go in wet and dry, but you can also go in wet and wet. We're going to go in and add one color at a time, starting with those yellow highlights. Bring in some red and orange. From here, we can bring in our burnt sienna mix, and we're just going to carefully add in the different colours, blending out the edges if needed. We want to surround those highlights with deeper colours because in order to have something appear as if it's sparkly or glowing, it's not enough to just have the bright colours, we need some darkness as well. At this point, we're pretty much done. All we need to do is have a look and see if we want to make any more adjustments. I'm going to do a few final touch ups, but for the most part, I'm going to leave it as is. Have a look and see if you want to deepen some of the values, if you want to add in a few more details or even try and bring back some highlights. I et's talk about the class project. For this class, I'd like for you to paint either the glass of wine or this bottle, and of course, you're more than welcome to do both. But the goal is to practice rendering glass objects, going from the sketch to the final painting. Whether you want to create your own sketch or you want to use mine or trace the reference is completely up to you. But even if you use mine or trace the reference, I'd still love to see your sketches. For the very final step, I'm going to take my lifting brush and go in and see if I can bring back some slightly lighter values right here. Glass is such a fun subject, and you can expect to see more classes on this, but I'm going to leave it here for now. I really hope you enjoyed this class, and I can't wait to see what you've painted.